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Cultures
of Acadiana |
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Cultures
of Acadiana |
by Tiffany R. Spidel, April 10, 1997
The Cajuns originally came from Acadia, today's Nova Scotia. The Acadian settlements began under French control in 1604 with only 150 colonists.1 (The origin of the name Acadia is unknown.) The Acadian people were attacked many times by greedy Englishmen and juggled through four different treaties before the English acquired the colonies from the French.
The people of Acadia were simple, well-mannered, hardworking and industrious, but not learned. Few were able to read and write. They were a religious group though, and drunkenness nor swearing was ever present in an Acadian colony. Their language and customs were French and their loyalty was to the French King. In 1714, the Acadian people were asked to take an oath of loyalty to Britain, but they refused.2 The British threatened them with expulsion from Acadia and the Acadians reluctantly took the oath. Even though the Acadians were sincere in taking the oath, their intentions were doubted and the British expelled them in 1755. The Acadian people, whose population had been rapidly growing, were torn apart into three groups--1500 were sent to Virginia, 2000 were sent to France, and 500 were scattered about North America.3 The Acadians sent to Virginia were rejected upon arrival and shipped on to England while 1300 of the 2000 sent to France perished in shipwrecks. Most of the Acadians left in North America finally escaped to France after the Treaty of Paris in 1763.4 As a result of the "Great Expulsion of 1755," Acadian families were torn apart--deliberately. Wives and children were taken while husbands were at work, siblings were separated and friends never saw each other again. Despite the horror the Acadians had already gone through, the British sent the unfortunate hundreds who were shipped to England to concentration camps to live.
The Spanish rulers and a man named Manuel d'Aspres came to the rescue and began the greatest mass colonization movement ever in North America. Through seven expeditions, a total of 16245 Acadians relocated to Louisiana.6 D'Aspres did all he could to keep families and friends together, set them up with money, land and tools upon arrival, and provided doctors and hospitals for those whom the climate-change affected. The Acadians chose where they wanted to live and scattered about southern Louisiana in La Fourche, Attakapas, Baton Rouge and Manchac.7 They established farms along the Mississippi River and the Bayou Teche, fishing and trapping villages sprang up quickly, and the "Cajun Country" grew to 22 parishes all located in a triangle-shaped area. Today, the Louisiana coast still serves as the base of the triangle and the apex is in central Louisiana near Alexandria. The city of Lafayette is the region's principal city and is considered the unofficial capital of "Acadiana."8
As peaceful as the Cajuns' ("Cajun" was derived from "Acadian" because the New Orleans Creoles couldn't pronounce the "dy" sound) new life seemed, they were constantly haunted by the Puritans along the Atlantic sea coast. After the Louisiana Purchase in 1803 and Louisiana's statehood in 1812, the Cajuns were chased by the Puritans far into the marshy bayous and found themselves scattered and separated.9 It didn't take long, though, for the Cajuns to find their way back and re-unite with their people. The new communities were small and isolated, very poor but extremely friendly and helpful. Although the Cajuns were a distinctly different people, Louisiana soon became melting pot of cultures.
A constant flow of Africans were brought to Louisiana to be sold into slavery, immigrants from many countries were seeking new land, and the existing Creoles all contributed to a new Cajun culture. The Cajuns even developed their own language--Cajun French. The Cajuns are a lively people that enjoy parties and dancing, Every weekend they would hold "fais-do-dos" at the local dance hall. Fais-do-do translates literally into "make sleep," because after the children were asleep, the adults would play!10 They would dance the night away while young adults were getting to know each other under mom's supervision, Young ladies were allowed to go to fais-do-dos with boys, but their moms had to go along. No kissing goodnight was allowed. A popular celebration more commonly associated with New Orleans is Mardi Gras. On this day Cajuns would ride around the country on horseback misbehaving and begging for food for that night's Gumbo. Mardi Gras was a celebration with French costumes, Cajun food and Cajun music.
The music of the Cajuns reflects their lifestyle, They are a people that have great pride in their land and heritage. Out of the "Cajun Country" came two distinct genres of music -- Cajun and zydeco. Although the black Creoles were inhabitants of Louisiana before the Cajuns arrived, their Creole music, zydeco, developed after Cajun music. It is important to realized that) even today, music in the Cajun Country is a black/white issue.
Cajun music began in the isolated rural areas of southwestern Louisiana in the late 19th century. It began as a simple, earthy music using the fiddle, accordian,11 and triangle. The fiddle could handle the intricacies of the melodies while the accordion made such loud music that the singers had to practically shriek to be heard, The triangle, or the 'ti fer' (little iron) was used for rhythm because its clear, tingling sound could pierce through the loudest music. Cajun music was sometimes lively, but mostly melancholy. It usually consisted of 3/4 meter, and therefore the waltz was a popular dance in Cajun dance halls. Its lyrics spoke of lost and found love, the beauty of the land, and the hard times their people have endured.
In the beginning of the 20th century, oil was discovered near Jennings which brought job openings and many strangers to the area. Up until this time, the Cajun people had had little contact with people outside of their area. World War I also took young men to urban cities and showed them a different way of life. All of these events began an assimilation period for the Cajuns. One of the greatest of these movements was the 1916 banning of the French language in public schools.12 Children that knew only French were whipped if they spoke it at school. This gave the Cajuns a bad reputation--they were looked down upon as "backward hayseeds."
One of the positive aspects that came out of this time, though, was the first recording of Cajun music, "Allons A Lafayette" in 1928 by Joseph Falcon and his wife, Ann.13 At this time, the Cajuns also came under the influence of western music and they began emulating the American swing-bands of the time by dropping the accordion and emphasizing the fiddle and guitar. The steel guitar, bass and drums were also added around this time. Further developments were made when the Hackberry Ramblers recorded Cajun and hillbilly on the same record in 1933, and a musician by the name of Harry Choates used French and English in the same song for the first time.14
After World War II, Iry LeJeune15 revived the accordion and pushed the guitar and fiddle back out of the spotlight. This pleased the war veterans who wanted to come home to their old time music. Sadly enough, when the postwar generation grew up, the French heritage began to die out. Fais-do-dos seemed foolish and the once-loved early Cajun music was history to them. The new craze was rook 'n' roll and rhythm and blues. A new genre of music came out of this mainstream-Cajun collision in the 1950s--Swamp Pop.
Swamp Pop, the music of the younger generations referred to as white rhythm and blues, dropped the guitar and fiddle and took on a rhythm and blues/rock 'n' roll/country and western appeal. Its emotional and bilingual lyrics, triple rhythms, an R&B backbeat and sax sections make Swamp Pop a drastically new and different genre compared to early Cajun music. Popular Swamp Pop artists include Johnny Preston, Freddy Fender, Jimmy Clanton, Phil Phillips--and the list goes on. Swamp Pop even influenced some American music such as Bill Haley's cover of "Later Alligator," and the Rolling Stones' version of "You'll Lose A Good Thing."16 This split in musical styles caused the original Cajun music to be forgotten--almost to the point of extinction.
Thankfully, some folklorists were still working to preserve Cajun music. In 1964, Cajun music was rescued when its once forgotten performers received standing ovations from crowds of thousands at the Newport Folk Festival. This event simply kicked-off the return to original Cajun music. Dewey Balfa17 dedicated the rest of his life to teaching the world about the Cajun music culture. Gradually, the traditional Cajun culture of fais-do-dos, Mardi-Gras parades on horseback, and spicy gumbo returned. Cajuns young and old once again had great pride in their heritage and in their entertaining music. In 1968, CODOFIL (Council for the Development of French in Louisiana) was founded and eventually set up the first Tribute to Cajun Music Festival in Lafayette.18
Cajun music developed and changed greatly while working to achieve its popularity. It was mentioned earlier that the Cajun culture had been influenced by their neighbors, the Creoles, but the Cajuns weren't the only ones having a good time down in Louisiana. While the white Cajuns had their Cajun music, the black Creoles developed their own genre of music, eventually known as zydeco. The term "Zydeco" comes from the French phrase "les haricots sont pas sales," meaning "the snap beans aren't salty." (Or, in hard times, there isn't any salt to go around.) Zydeco is a slurred pronunciation of "les haricots." Zydeco music is Cajun music minus the fiddle, plus a guitar, frottoir,19 and nowadays a drum set, tenor sax and a piano, This music is greatly influenced by R&B, and therefore more up-beat than Cajun. It is usually in 4/4 time and accompanied by the two step.
Zydeco music didn't start as Zydeco though--it was simply known as Creole music and was basically undistinguishable from early Cajun music.20 The first man to ever record this Creole music was Douglas Ballard. Then in the late 1920s - early 1930s, a joyful, short, black man by the name of Amédé Ardoin popularized the Creole style of music. He was a poet/composer/performer that wandered the area composing and playing for anyone that asked him to. He would often be asked to entertain in "white clubs"--which was unheard of at the time. All went well until at one club he asked for a towel to wipe the sweat from his face, and the owner's daughter took her own kerchief and wiped it for him. Nothing was said at the time, but after the show a few white men were waiting for Amédé and brutally beat him and ran over him with a car. He didn't die immediately, but people still believed he was murdered since the men had run over his vocal chords and thus ended his life. He did later die as a result of this incident.
Ardoin's music was still classified as Creole music, but soon the blues influence was absorbed from the Mississippi Delta which added a more lively rhythm and the use of the guitar. By the end of World War II this music was known as "la la music," and then finally took the name zydeco. Zydeco actually relates back to an older form of music called juré. Juré music was a common form of music during Lent when instruments and dancing were taboo. It consisted of religious and secular shouts and a form of call and response. In 1954 the first recording of this new "modern zydeco" was made by BooZoo Chavis singing "Paper in My Shoe."21 Royalty disputes forced Chavis to leave the music industry and another man, Clifton Chenier, swept in and took the Zydeco scene by storm.
Clifton Chenier is credited with making Zydeco music its own, distinct sound. A wonderful accordionist and outstanding showman, Clifton's career lasted for more than 30 years, earning him the title "King of Zydeco." He listened to the Greats of the time, Ray Charles and Fats Domino, and took their hoarse singing style; he added the piano, saxophones and electric guitars; and he waited patiently for five years until people began listening to his music. Chenier labeled Zydeco as dance music and as a storytelling genre. His live performances included southern blues, soul hits, and traditional "French" music--but he had to be talked into a Zydeco mood. He often played at churches which sent him to star-status. Nothing could compare to Chenier's live performances--even if the quality of his equipment was poor. Chenier traveled through the 1980's and even won a crown at an accordion contest in Europe--which is how the "King of Zydeco" title became his. In 1984 he won a Grimly for Best Ethnic Recording. Clifton Chenier died in 1987, but his son, C.J., carries on the legacy with his band, "The Red Hot Louisiana Band."
Through his career, Chenier installed a pride in the Creoles for their native music. The popularity of Zydeco was also boosted in 1987 with the release of the movie "The Big Easy," which has a mostly zydeco soundtrack. Many musicians have tried to emulate Chenier's style to achieve his popularity--but only recently has anyone come close. Today's innovative generation of zydeco musicians have mixed rock, rap, and reggae into zydeco making it better dance music yet.
Nowadays, people young and old are enjoying Cajun and zydeco music throughout the country. One of the reasons it is so well liked is that it is simply entertainment. It is music by the people, for the people. Cajun and zydeco may be a folk music that developed from a historical culture, but it only served as a form of release. The Cajun people enjoyed life and liked to dance. Thus, the purpose their music serves is very simple. It's for fun. Popular Cajun bands today include Beau Soleil and Steve Riley and Mamou Playboys. The Cajun club scene consists of mostly married couples who have been dancing together forever to the slow waltzes. Keith Frank is dominating the zydeco scene at the early age of 25. An interesting thing about zydeco music is that only one musician or band seems to be big at once. It's an oddly Cliquey industry. At zydeco dance halls everyone from teens to senior citizens can be found two-stepping their hearts out--but only if they're in a serious relationship with one another! A crucial thing to remember about Cajun and zydeco music--and a touchy subject with the Cajun Country folk--is that their music does not come from New Orleans. Cajun and New Orleans are often classified together--as in the movie "The Big Easy." Cajun and zydeco music came from the Acadian people--from the Cajun Country, and the people take their heritage full of silvery bayous, festive celebrations, fais-do-dos, pirogues, and wonderful food very seriously. New Orleans does not deserve the credit for a heritage as unique as the one that resulted from this melting pot of worldly cultures.
2 Winzerling 16.
3 Winzerling 21.
4 Winzerling 21.
5 1624 - This total includes 1596 Acadians and 28 stowaways who were boyfriends of young Acadian women. They were married upon arrival so their documents would be legal.
6 Winzerling 30.
7 Winzerling 130-138.
8 Shane K. Bernard, "Swamp Pop: Cajun and Creole Rhythm and Blues," 1995, online, Internet, 19 March 1997..
9 William F. Rushton, The Cajuns: From Acadia to Louisiana, (Toronto: McGraw-Hill Ryerson Ltd., 1979) 67.
10 Lache Pas La Patate, dir. Alan Lomax, PBS Home Video, 1990.
11 accordion - The accordion was introduced in 1850 by German immigrants. The common Cajun accordion has ten melody buttons on one side and two bass buttons on the other side for rhythm.
12 Laura Dankner and Grace Leichtenstein, Musical Gumbo: The Music of New Orleans, (New York: Nil Norton and Co., 1993)
13 Shane K. Bernard, "Cajun and Creole Pages," 1995, online, Internet, 19 March 1997.
14 Dankner 199-200.
15 Iry Lejeune--Lejeune was an almost-blind composer that began the accordion revival. His works were heart-wrenching and sung in French with the older style--the crying style of non-amplified vocalists.
16 Bernard, "Swamp Pop..."
17 Dewey Balfa - For more information about Balfa's efforts, see Dankner 203-207.
18 Bernard, "Cajun and Creole..."
19 frottoir - The frottoir, more commonly called a washboard, is an African-based instrument worn on the chest and played by running spoons across its corrugated surface.
20 early Cajun music - Early Creole music sounded much like early Cajun music. This style can be found by listening to the works of Canray Fontenot.
21 Herman Fuselier, "What is Zydeco?" 1995, online, Internet, 20 March 1997.
* MLA Style Guide. Fourth Edition.
