Creolizing Contradance in the Caribbean - Temple University
Creolizing Contradance in the Caribbean - Temple University
Creolizing Contradance in the Caribbean - Temple University
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12 Peter Manuel<br />
colonial term for neo-African dances) that he saw danced by slaves <strong>in</strong> 1698<br />
dur<strong>in</strong>g his travels <strong>in</strong> Santo Dom<strong>in</strong>go and elsewhere:<br />
That which delights <strong>the</strong>m most and is <strong>the</strong>ir favorite diversion is <strong>the</strong><br />
calenda, which comes from <strong>the</strong> Gu<strong>in</strong>ea coast and judg<strong>in</strong>g by its antecedents,<br />
from <strong>the</strong> k<strong>in</strong>gdom of Ardá [Allada]. The Spanish learned it<br />
from <strong>the</strong> blacks and dance it throughout <strong>the</strong> Americas, <strong>in</strong> <strong>the</strong> same<br />
manner as <strong>the</strong> negros. Given <strong>the</strong> nature of <strong>the</strong> gestures and movements<br />
of this dance, <strong>the</strong> masters who live morally have prohibited it, and try<br />
to ma<strong>in</strong>ta<strong>in</strong> <strong>the</strong> prohibition, which is far from easy, s<strong>in</strong>ce <strong>the</strong> dance is<br />
so popular that even <strong>the</strong> children, when barely able to stand, try to imitate<br />
<strong>the</strong>ir parents <strong>in</strong> danc<strong>in</strong>g, and would pass entire days <strong>in</strong> this fashion.<br />
The dancers array <strong>the</strong>mselves <strong>in</strong> two l<strong>in</strong>es, fac<strong>in</strong>g each o<strong>the</strong>r, <strong>the</strong><br />
men on one side and <strong>the</strong> women on <strong>the</strong> o<strong>the</strong>r. The spectators form<br />
a circle around <strong>the</strong> dancers and drummers. The most gifted s<strong>in</strong>gs a<br />
tune, improvis<strong>in</strong>g lyrics on some contemporary <strong>the</strong>me, and <strong>the</strong> refra<strong>in</strong><br />
is repeated by all <strong>the</strong> dancers and onlookers, accompanied by clapp<strong>in</strong>g.<br />
The dancers raise <strong>the</strong>ir arms, as if <strong>the</strong>y were play<strong>in</strong>g castanets, <strong>the</strong>y<br />
leap, sp<strong>in</strong>, approach to with<strong>in</strong> a few steps of each o<strong>the</strong>r and <strong>the</strong>n withdraw,<br />
follow<strong>in</strong>g <strong>the</strong> music, until <strong>the</strong> drum signals <strong>the</strong>m to approach and<br />
bump <strong>the</strong>ir thighs toge<strong>the</strong>r, that is, <strong>the</strong> men aga<strong>in</strong>st <strong>the</strong> women. Upon<br />
see<strong>in</strong>g <strong>the</strong>m, it looks like <strong>the</strong>y are bump<strong>in</strong>g <strong>the</strong>ir bellies, though it is<br />
clear that only <strong>the</strong>ir thighs susta<strong>in</strong> <strong>the</strong> encounter. Withdraw<strong>in</strong>g immediately<br />
with pirouettes, <strong>the</strong>y repeat <strong>the</strong> exercise with <strong>the</strong>se supremely<br />
lascivious movements as often as is guided by <strong>the</strong> drum, which signals<br />
<strong>the</strong>m aga<strong>in</strong> and aga<strong>in</strong>. On occasion <strong>the</strong>y jo<strong>in</strong> arms and take a few turns,<br />
shak<strong>in</strong>g <strong>the</strong>ir hips and kiss<strong>in</strong>g.<br />
One can well appreciate, <strong>the</strong>n, how immodest this dance may be,<br />
<strong>in</strong> spite of which it is so pleas<strong>in</strong>g to <strong>the</strong> Spaniards and creoles of America,<br />
and so <strong>in</strong> use among <strong>the</strong>m, that it constitutes <strong>the</strong> better part of<br />
<strong>the</strong>ir enterta<strong>in</strong>ments and even enters <strong>the</strong>ir religious devotions.<br />
They dance <strong>the</strong> calenda <strong>in</strong> <strong>the</strong>ir churches and Catholic processions,<br />
and <strong>the</strong> nuns even dance it on Christmas Eve <strong>in</strong> a stage erected <strong>in</strong> <strong>the</strong><br />
choir loft, <strong>in</strong> front of <strong>the</strong> rail<strong>in</strong>gs, which are left open so that <strong>the</strong> public<br />
can have <strong>the</strong> aid of <strong>the</strong>se good souls dedicated to <strong>the</strong> birth of our Savior.<br />
. . . And I would like to th<strong>in</strong>k that <strong>the</strong>y dance it with noble <strong>in</strong>tent,<br />
but how many spectators would judge <strong>the</strong>m as charitably as do I? 10<br />
Several decades later, Sa<strong>in</strong>t-Méry offered a similar description of a calenda<br />
<strong>in</strong> Sa<strong>in</strong>t-Dom<strong>in</strong>gue, with its two l<strong>in</strong>es of men and women alternately approach<strong>in</strong>g<br />
and withdraw<strong>in</strong>g to <strong>the</strong> accompaniment of drumm<strong>in</strong>g and responsorial<br />
s<strong>in</strong>g<strong>in</strong>g (1797–98: 44–45). 11 This Afro-<strong>Caribbean</strong> dance formation was<br />
scarcely limited to <strong>the</strong> <strong>Caribbean</strong>, as Dom Peretty documented yet ano<strong>the</strong>r<br />
<strong>in</strong>stance of it, ak<strong>in</strong> to <strong>the</strong> calenda, <strong>in</strong> Montevideo (Uruguay) <strong>in</strong> 1763, stat<strong>in</strong>g