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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Introduction 29<br />
dances with her fa<strong>the</strong>r. Danzas survive <strong>in</strong> <strong>the</strong> repertoires of jíbaro musicians,<br />
and through <strong>the</strong> 1960s one could purchase LPs of accordionists, crooners, and<br />
o<strong>the</strong>r ad hoc ensembles perform<strong>in</strong>g <strong>the</strong>ir simplified arrangements of such evergreens<br />
as “Laura y Georg<strong>in</strong>a.” Even <strong>the</strong> occasional modern commercial popular<br />
song, such as El Topo’s well-known “Verde Luz,” may adhere essentially to <strong>the</strong><br />
format of a danza.<br />
If <strong>the</strong> history of <strong>the</strong> <strong>Caribbean</strong> contradance is <strong>in</strong>adequately documented,<br />
even less is known about <strong>the</strong> early history of <strong>the</strong> quadrille <strong>in</strong> <strong>the</strong> region, especially<br />
s<strong>in</strong>ce it has flourished primarily as a lower-class practice of little <strong>in</strong>terest<br />
to literate elites. The quadrille was <strong>in</strong>troduced by British and French colonists<br />
<strong>in</strong> <strong>the</strong>ir respective doma<strong>in</strong>s <strong>in</strong> <strong>the</strong> late eighteenth and early n<strong>in</strong>eteenth centuries,<br />
just as it was tak<strong>in</strong>g European ballrooms by storm. In islands that changed<br />
hands, such as St. Lucia, quadrille seems to have been brought by both colonial<br />
powers. In accordance with its popularity <strong>in</strong> <strong>the</strong> courts and aristocratic<br />
ballrooms of Europe, <strong>in</strong> <strong>the</strong> <strong>Caribbean</strong> <strong>the</strong> quadrille was <strong>in</strong>itially reserved for<br />
<strong>the</strong> plantocracy elite; although subsequently adopted by lower classes, quadrille<br />
danc<strong>in</strong>g requires some practice and <strong>in</strong> some contexts reta<strong>in</strong>s an association<br />
with social elevation and propriety.<br />
Insofar as <strong>the</strong>y flourished as folk genres, <strong>the</strong> West Indian quadrille styles<br />
did not achieve <strong>the</strong> level of professional cultivation that elevated <strong>the</strong> Cuban<br />
and Puerto Rican danza to <strong>the</strong> status of a light-classical art. At <strong>the</strong> same time,<br />
however, while <strong>the</strong> danza decl<strong>in</strong>ed def<strong>in</strong>itively after <strong>the</strong> 1930s, <strong>in</strong> some <strong>Caribbean</strong><br />
locales <strong>the</strong> quadrille, <strong>in</strong> its persistent humble form, has endured. There<br />
is no doubt that its popularity has eclipsed with <strong>the</strong> advent of <strong>the</strong> mass media,<br />
modernity, and <strong>the</strong> panoply of new alternative forms of music and dance, from<br />
soca to reggae. Hence, for example, Rebecca Miller describes <strong>the</strong> late-1990s<br />
quadrille scene <strong>in</strong> Carriacou as consist<strong>in</strong>g of a s<strong>in</strong>gle perform<strong>in</strong>g group, with a<br />
sole, octogenarian fiddler (2005); <strong>the</strong>re, as to some extent elsewhere, quadrille<br />
suffers from be<strong>in</strong>g seen as a derivative colonial-era dance, unlike “big drum”<br />
dance and music, which is celebrated nowadays as an oppositional Afro-<strong>Caribbean</strong><br />
entity. Similarly, while quadrille persists <strong>in</strong> Guadeloupe and Mart<strong>in</strong>ique,<br />
it is <strong>in</strong> some contexts bypassed <strong>in</strong> <strong>the</strong> revived Afrocentricity that currently celebrates<br />
more neo-African forms, such as gwoka and bèlè.<br />
Never<strong>the</strong>less, <strong>the</strong> quadrille (kwadril) rema<strong>in</strong>ed a lively tradition <strong>in</strong> <strong>the</strong><br />
1980s <strong>in</strong> St. Lucia, as documented by Guilbault (1985), and is still performed<br />
by groups <strong>in</strong> Mart<strong>in</strong>ique and Guadeloupe, who alternate host<strong>in</strong>g balls <strong>in</strong>corporat<strong>in</strong>g<br />
enthusiasts of different generations and social backgrounds. In<br />
Dom<strong>in</strong>ica, quadrille has come to be celebrated as a national dance, be<strong>in</strong>g foregrounded<br />
with particular prom<strong>in</strong>ence at <strong>the</strong> Heritage Festival held every October.<br />
Guilbault notes that <strong>the</strong> relatively old age of quadrille participants <strong>in</strong> St.<br />
Lucia does not necessarily <strong>in</strong>dicate stagnation but ra<strong>the</strong>r reflects that many<br />
people take an <strong>in</strong>terest <strong>in</strong> <strong>the</strong> genre only as <strong>the</strong>y age. Quadrille-type dances,<br />
whe<strong>the</strong>r by that name or not, seem to have survived most dynamically <strong>in</strong> Mart<strong>in</strong>ique<br />
and Guadeloupe, where <strong>the</strong>y have been focal genres <strong>in</strong> ballroom dances