The music of Saint Lucia is home to many vibrant oral and folk traditions and is based on elements derived from the music of Africa, especially rhythmically, and Western Europe, dances like the quadrille, polka and waltz.The banjo and cuatro are iconic Lucian folk instruments, especially a four-stringed banjo called the bwa poye. Celebratory songs called jwé show lyricism, and rhythmic complexity. The most important of the Afro-Lucian Creole folk dances is the kwadril . Music is an integral part of Lucian folk holidays and celebrations, as well as the good-natured rivalry between the La Rose and La Marguerite societies. There is little Western classical music on Saint Lucia, and the country's popular music industry is only nascent. There are few recording opportunities, though live music and radio remain a vital part of Lucian culture. Popular music from abroad, especially Trinidadian styles like calypso and soca, is widespread.
The traditional music of Africa, given the vastness of the continent, is historically ancient, rich and diverse, with different regions and nations of Africa having many distinct musical traditions. Music in Africa is very important when it comes to religion. Songs and music are used in rituals and religious ceremonies, to pass down stories from generation to generation, as well as to sing and dance to.
Rhythm generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds ; to several minutes or hours, or, at the most extreme, even over many years.
Western Europe is the region comprising the western part of Europe. Though the term Western Europe is commonly used, there is no commonly agreed-upon definition of the countries that it encompasses.
Music education has long been a part of Lucian public education in the primary school age groups. More recently, it has been introduced to older students, many of whom now participate in String Orchestras, wind ensembles, steelpan bands and other musical enrichment opportunities. There is also a well-known government assisted non-profit music school, the Saint Lucia School of Music. The Ministry of Education sponsors a variety of festivals and other special events. The island is also home to the prestigious Saint Lucia Jazz Festival and the Creole celebration Jounen Kwéyòl .
Music education is a field of study associated with the teaching and learning of music. It touches on all learning domains, including the psychomotor domain, the cognitive domain, and, in particular and significant ways, the affective domain, including music appreciation and sensitivity. Music training from preschool through post-secondary education is common in most nations because involvement with music is considered a fundamental component of human culture and behavior. Cultures from around the world have different approaches to music education, largely due to the varying histories and politics. Studies show that teaching music from other cultures can help students perceive unfamiliar sounds more comfortably, and they also show that musical preference is related to the language spoken by the listener and the other sounds they are exposed to within their own culture.
Steelpans is a musical instrument originating from Trinidad and Tobago. Steel pan musicians are called pannists.
The St. Lucia Jazz Festival is an annual event on the Caribbean island of Saint Lucia that brings together local and international musicians. The festival presents jazz, R&B, and Calypso music.
Saint Lucia, is an island in the Lesser Antilles of the Caribbean. St.Lucional flower is the rose.
The Caribbean is a region of the Americas that consists of the Caribbean Sea, its islands and the surrounding coasts. The region is southeast of the Gulf of Mexico and the North American mainland, east of Central America, and north of South America.
A typical Saint Lucian folk band is based around the fiddle, cuatro, banjo, guitar and chak-chak (a rattle). The banjo and cuatro are regarded as particularly important in Saint Lucian culture, especially the small, four-stringed bwa poye , or skroud banjo.Saint Lucian dances include moulala, faci and comette (a derivative of the minuet); however, the kwadril is increasingly viewed as a national symbol. It is a highly stylized and formalized dance that derives from the European quadrille. Jwé is a more informal form of Lucian folk music, and is performed at dances, wakes and other social events; performers improvise comedic and often biting or lyrics. Music also plays a role in the La Rose and La Marguerite tradition of two rival societies that compete in celebration and form a fundamental part of Lucian culture.
A fiddle is a bowed string musical instrument, most often a violin. It is a colloquial term for the violin, used by players in all genres including classical music. Although violins and fiddles are essentially synonymous, the style of the music played may determine specific construction differences between fiddles and classical violins. For example, fiddles may optionally be set up with a bridge with a flatter arch to reduce the range of bow-arm motion needed for techniques such as the double shuffle, a form of bariolage involving rapid alternation between pairs of adjacent strings. To produce a "brighter" tone, compared to the deeper tones of gut or synthetic core strings, fiddlers often use steel strings. The fiddle is part of many traditional (folk) styles, which are typically aural traditions—taught 'by ear' rather than via written music.
The cuatro is a family of Latin American string instruments found in Central and South America, Puerto Rico and other parts of the West Indies, derived from the Spanish guitar. Although some have viola-like shapes, most cuatros resemble a small to mid-sized classical guitar.
The banjo is a four-, five-, or six-stringed instrument with a thin membrane stretched over a frame or cavity as a resonator, called the head, which is typically circular. The membrane is typically made of plastic, although animal skin is still occasionally used. Early forms of the instrument were fashioned by Africans in the United States, adapted from African instruments of similar design. The banjo is frequently associated with folk, Irish traditional, and country music. Banjo can also be used in some rock songs. Many rock bands, such as The Eagles, Led Zeppelin, and The Allman Brothers, have used the five-string banjo in some of their songs. Historically, the banjo occupied a central place in African-American traditional music and the folk culture of rural whites before entering the mainstream via the minstrel shows of the 19th century. Along with the fiddle, the banjo is a mainstay of American old-time music. It is also very frequently used in traditional ("trad") jazz.
Jwé (play) is a form of rural Lucian folk music associated with beach parties, wakes, débòt dances and full moon gatherings. Jwé is performed as an informal, social event that provide the chance for Lucians to show off their verbal skills, and communicate their comedic, social and political commentaries without offending people. Jwé includes both songs for men and women, both of which can be singers, though most Lucian folk instrumentalists are male. A jwé performance is considered good if the audience participates enthusiastically by clapping, responding to the leader and singing and dancing. Some Lucians avoid jwé altogether because of its sexually raunchy lyricism and atmosphere; nevertheless, elements of jwé have entered mainstream Lucian culture, such as the use of lang dévivé, or saying the opposite of what is meant.
Jwé is a kind of rural music from Saint Lucia, performed informally at wakes, beach parties, full moon gatherings and other informal events, including débòt dances. Jwé uses raunchy lyrics and innuendos to show off verbal skills, and to express political and comedic commentaries on current events and well-known individuals. One well-known technique that has entered Lucian culture is lang dévivé, which is when the singer says the opposite of his true meaning.
A wake is a social gathering associated with death, usually held before a funeral. Traditionally, a wake takes place in the house of the deceased with the body present; however, modern wakes are often performed at a funeral home or another convenient location. A wake is also sometimes held in place of a funeral as a social celebration of the person's life. In the United States and Canada it is synonymous with a viewing. It is often a social rite that highlights the idea that the loss is one of a social group and affects that group as a whole.
Musical elements of jwé include gém (game song), listwa (storytelling), jwé chanté (sung songs) and jwé dansé (song-play-dance). These forms are united by their use of the Creole language, their use of call-and-response singing between a leader and a chorus, with the exception of listwa, and the use of improvisation. Jwé chanté and listwa are purely vocal styles with no accompaniment, nor any traditional dance; the other two are typically accompanied by a ka drum or sometimes the tibwa percussion sticks, which provides a rhythm for dancers.
Storytelling describes the social and cultural activity of sharing stories, sometimes with improvisation, theatrics, or embellishment. Every culture has its own stories or narratives, which are shared as a means of entertainment, education, cultural preservation or instilling moral values. Crucial elements of stories and storytelling include plot, characters and narrative point of view.
Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found. Improvisation, in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many different faculties, across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines; see Applied improvisation.
Sung jwé, jwé chanté or chanté kont, is mostly part of the funeral wake tradition. A jwé chanté leader uses pantomime to enact scenes from a story, or sometimes just the ribald double entendres from it. The gém (game song) are based around a leader who uses his own flourishes on a choreographed dance and improvises witty lyrics, while the audience participates in the performance.Jwé dansé includes four traditional dances. The solo is a couple dance, and the débòt, yonbòt and jwé pòté are all circle dances. The blòtjé is a musical movement found in all jwé dansé styles, occurring, for example, every four beats in the débòt dance.
Quadrille is a Lucian Creole folk dance derived from the European quadrille. It is performed primarily at private parties which are organized by a host in a private home or rented hall, with musicians paid by the host. Kwadrils are held throughout the year, except during Lent. The modern kwadril has declined in popularity; it had come to be seen as a symbol of colonialism around the time of independence, and was shunned as old-fashioned and out-of-date. More recently, some aspects of Lucian society have come to promote the quadrille as a symbol of Lucian culture.Quadrilles are unlike other Lucian dances in that they must be memorized and choreographed, with only slight room for personal interpretation and improvisation. Learners act as a sort of apprentice for more established performers. A successful performance brings respect and prestige for all participants who dance the correct steps which are traditionally said to "demonstrate control over behavior, manner, and skills" and "symbolize... a set of special values linked with a higher social class".
Kwadril music is provided by an ensemble consisting of a four-stringed instrument, the cuatro (instrument), a rattle, the chakchak , bones called zo, a violin, banjo (skroud, bwa pòyé), mandolin and guitar.A kwadril consists of five separate dances: the pwémyé fidji, dézyèm fidji, twazyèm fidji, katwiyèm fidji (also avantwa or lanmen dwèt) and gwan won (also grande rond). The musicians may also use a lakonmèt (mazurka), schottische or polka; the lakonmèt, also called the mazouk, is especially popular and is the only closed couple dance which originated in Saint Lucia.
La Rose and La Marguerite are rival societies that commemorate the Anglo-French heritage of the island; the factions represent the warring colonial powers, between whose hands Saint Lucia changed fourteen times. La Rose is held on August 30 while La Margurite is held on October 17. The societies date back to the early 19th century, when each village was home to competing organizations of the Roman Catholic Church. Both societies draw on English royalty traditions and have a number of positions, including the King, Queen, Prince, Princess and various lower titles like the Chief of Police and nurse. La Rose and La Marguerite meet once weekly except during Lent. At these meetings, which are on Saturday for La Rose and Sunday for La Marguerite, members sing or play instruments and dance. La Marguerite meetings feature the membership in a seat chorus with a leader, the chantwèl, standing, while La Rose meetings include instruments like the tanbouwen (tambourine), baha (wooden trumpet), chakchak (rattles), guitar and gwaj (scraper).
The celebrations of both groups differ in that La Rose, the "English" faction, is characterized by noisiness, movement, participation, rhythm and exuberance, while La Marguerite, the "French" faction, is characterized by melody, discipline and restraint. There is a vibrant tradition of women singing factional songs related to this rivalry.Traditions common to both factions include the Omans, a sort of waltz, Marches and the duple rhythm manpa (or maynan) dance. Kwadril and lakonmèt are also performed by La Rose.
In addition to jwé and other music performed for entertainment, Saint Lucia is also home to styles used only for specific occasions. These include work songs, drinking songs, funereal music and serenades and masquerades. The latter two traditions are nearly extinct in modern Saint Lucia. The masquerade was a celebration held near holidays like Easter and New Year's Day, which included an orchestra consisting of a tanbou tenbal, chakchak and a bamboo flute. This same ensemble also traditionally performs for cockfights, merry-go-rounds and vocal serenades, called séwinal in Lucian Creole.
The most widespread form of Lucian work song is the chanté siay, which accompanies the sawing of wood. The vocals are performed by a lead singer and two responding singers, accompanied by a ka and tibwa duo. Both instruments are played in an atypical manner. The ka drum is played on the ground rather than upright, and the tibwa percussion sticks are struck against a bamboo or wooden stick rather than the rim of a drum.
Lucian drinking songs are the chanté abwè, which are rarely performed in recent years. Their traditional context, however, is the wibòt celebration, held during Christmas time. Chanté abwè are performed in a game in which the singers, seated at a long table, take turns singing a new song each time their turn comes. Those who lasted the entire evening won prizes, often a bottle of rum.
The bélè tradition is a form of Creole song and couple dance, performed one couple with a leader and chorus. They are performed in several contexts, most notably in funeral wakes. Bélè include the bélè anlè, bélè matjé, bélè anlawis and the bélè atè. The bélè anlawis is the only form which is not responsorial.
On Saint Lucia, wakes are held on the first and eighth night after a person has died, in contrast to other Caribbean islands, which hold their wakes on the first and ninth days. Wakes often include music, such as the singing of hymns and drumming. Traditional music for wakes is performed both inside and outside of the deceased's house. The mourners inside the house sing from a repertoire of songs that are in English and not French Creole, because they are derived from the English-using songs of Lucian churches. The songs include both hymns and sankeys (gospel songs), and are generally responsorial, led by a male singer with the slow, unsyncopated responses of the chorus in unison. The mourners outside the house traditionally perform drumming and a kind of responsorial song performed in Creole and without accompaniment, called kont . These songs often related to the death of the deceased, and may deal with the cause of death, the last words or events surrounding the death. Mourners also dance to both the débòt and bélè, accompanied zo or tibwa and ka.
The villages of La Grace, Piaye and Laborie in the southwest area of Saint Lucia were known for a unique song-dance called the koutoumba. The koutoumba was only performed for the death of a djiné, a person descended from Africans who came to the island in the middle of the 19th century. The koutoumba is unique among Lucian folk dance in that it is performed by a sole dancer and using only two to four lines of text, which is evocative of the song's atmosphere rather than narrative. The last drummer who knew this tradition died in 1986.
Kélé is an Afro-Lucian religious tradition from the Djiné people of the Babonneau region. Only one family, from Resina, in modern Saint Lucia claims to have the religious authority to perform and pass on the kélé rituals. Kélé is based around three deities, Eshu, Shango and Ogun, and is similar to the Nigerian Ogun festival.Kélé's rituals involve contacting one's ancestors to ask for protection, especially "good crops, good health, and good fortune". Kélé has been underground for much of its history, and was only accepted by the Lucian Roman Catholic Church in the early 1960s.
Kélé rituals are accompanied by the drumming of the tanbou manman (mother drum) and the tanbou ich (child drum), which play four different rhythms at specified moments; these are the adan, èrè, koudou and kèré rhythms. Kélé rituals also include singing and dance, as well as feasting, praying to Ogun and the other gods, the smashing of the calabash to appease Eshu at the end of the ceremony, the display of tools made of iron and steel to honor Ogun, and smooth stones to represent Shango, who also receives a ceremonially cleansed sacrificial ram.
Lucian popular music can be traced back to the 1940s, when calypso became a part of the island's musical culture. Calypso is a lyrical Trinidadian genre, related to several styles found through the Antillean music area. Music scholar Jocelyne Guilbault has called calypso the primary way modern Lucians "express social commentary". Along with calypso, Lucia has also imported the Trinidadian steelband and soca traditions.
Some Lucian calypsonians recorded in the 1980s, mostly on 45-RPM discs which remain largely unavailable today. The Lucian music industry is quite small scale, due to the island's small market, its lack of recording studios and record producers, the widespread bootlegging of cassettes, and the general unavailability of funding for musical ventures. Saint Lucia is home to several radio stations including Radio St. Lucia and Radio Caribbean International, which play a variety of popular music; since 1989, St Lucian radio stations have played an increasing number of programs about Lucian culture and in the local Creole tongue.
Modern Saint Lucia has produced a few popular musicians in various styles, but is most closely associated with calypso music. Popular Lucian musicians include Tru Tones, Rameau Poleon, Prolifik, Disturbing Joan and Aimran Simmons. Marie Selipha Sesenne Descartes (known simply as "Sesenne") was named Dame Commander of the Order of the British Empire for her work as a chantwelle and in the promotion of Saint Lucian traditional culture and music.Saint Lucian folk dance and theater includes flower dances, masquerades and the Papa Djab festival; various kinds of music are associated with these celebrations.
In 1969, three Saint Lucians (Eric Brandford, Primrose Bledman and Charles Cadet) collected numerous folk songs for a presentation at the 1969 Expo in Grenada and then again at Guyana's 1973 Carifesta. Two major folk groups emerged; they were The Helenites (led by Clement Springer) and Joyce Auguste's The Hewanorra Voices.Auguste later introduced folk music into Saint Lucian music education. By the end of the 1980s, music and other aspects of Lucian culture was an integral part of the Lucian education system.
In the time leading up to independence from the United Kingdom in 1979, Saint Lucia underwent a profound political and cultural awakening and roots revival which drew on the rise of the black consciousness movement of the United States, the influence of the Caribbean Ecumenical Consultation for Development on local culture and the loosening of restrictions from the powerful Roman Catholic Church on non-Christian cultural elements. Since 1973, the non-government organization Folk Research Centre which seeks to "promote research into St. Lucian culture" and to "explore and clarify the role of culture in the development of our people".
Bouyon soca typically blends old bouyon music rhythms from the 90s' and soca music. In recent years Bouyon soca has become popular in the island of Saint Lucia. Saint Lucian artist Ricky T released a song "Pressure boom" in 2007 which blended the two genres and became very popular throughout the English speaking Caribbean.
This style of bouyon is mostly, but not exclusively, produced in Saint Lucia.
The government has seen value in promoting a music industry, and has formed the Cultural Development Foundation (CDF) the statutory body given responsibility for preservation and promotion of Saint Lucian culture and arts. to accomplish this goal. In 1979, the first-ever M&C Fine Arts Awards were given by Minvielle & Chastanet Ltd, to Saint Lucian artists as an Independence Gift to the Nation; in the early 2000s, this event was handed over to the newly formed Cultural Development Foundation and is now run as the National Arts Festival. The Folk Research Centre has been a prominent part of Lucian cultural research since 1973, and has also published the journal Lucian Kaiso, devoted to Lucian calypso, since 1990. The island's calypso traditions are also celebrated at the annual kaiposium (a kaiso symposium ), held since 1987. The island's music industry remains little-known internationally and of small economic importance. The government of Saint Lucia has worked with the OECS to promote the regional music industry through intellectual property law and sponsoring festivals and other activities.
The most important festival in modern Lucian culture is the Jounen Kwéyòl (International Creole Day) held annually on October 28 since 1983. The Jounen Kwéyòl is sponsored by the Bannzil Kwéyòl , an international organization. Lucian activities are run by the Folk Research Centre in conjunction with the National Research and Development Foundation and the Mouvman Kwéyòl Sent Lisi (St. Lucia Creole Movement).Lucian law protects the owners of intellectual property, such as songwriters, through the Copyright Act of 1995; copyrights are administered by the Hewanorra Musical Society.
There is also a Saint Lucia Jazz Festival that is a major attraction, and a well-known part of the local music scene. It has been an annual event for fifteen years, and has hosted a variety of jazz stars, in addition to local talent. The 2005 festival was a boost for the local music industry, netting $46 million. The Festival is sponsored by a number of corporations and groups, perhaps most significantly BET.
Music is a part of the curriculum at public schools in Saint Lucia; it has long been taught in younger grade levels, but was only introduced to secondary education in 1999. Primary education on Saint Lucia, music and other artistic education is commonly used incidentally to teaching other subjects or for special occasions. About 40% of the island's schools engage in general music education, while others spent more time on general group singing or choir, or recorder ensemble performance. In 2003, a string program was instituted for primary students.
About 70% of schools teach music at the lower secondary level. Many of the schools that do not normally instruct in music may offer volunteer clubs or other more informal opportunities for musical enrichment. Many Lucian schools have formed ensembles, most commonly a wind ensemble (30% of schools), or a steelpan band (20%) or combo group (20%). The public education field has also collaborated with the Saint Lucia School of Music to form the National Youth Choir, String Orchestra and Secondary Schools Wind Ensemble. The governmental Ministry of Education also sponsors a number of festivals and musical special events, both for the benefit of all students and the enrichment of the musically-gifted among them.
The Saint Lucia School of Music is an independent institute of music education that has two branches on the island, one in the north and one in the south. It was established in 1987, and has a student body of around four hundred students. The School's professed goal is to provide music education at all levels, to offer community opportunities for musical enrichment, to facilitate the training and professional development of educators, and to establish the school as a musical resource.There is also a notable music Education Centre operated by a vocal group from the fishing village Anse la Raye; this Centre provides music education opportunities for gifted and underprivileged children from across the island.
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The music of Martinique has a heritage which is intertwined with that of its sister island, Guadeloupe. Despite their small size, the islands have created a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Martinique and Guadeloupe. Zouk's origins are in the folk music of Martinique and Guadeloupe, especially Martinican chouval bwa, and Guadeloupan gwo ka. There's also notable influence of the pan-Caribbean calypso tradition and Haitian kompa.
The music of Guadeloupe encompasses a large popular music industry, which gained in international renown after the success of zouk music in the later 20th century. Zouk's popularity was particularly intense in France, where the genre became an important symbol of identity for Guadeloupe and Martinique. Zouk's origins are in the folk music of Guadeloupe and Martinique, especially Guadeloupan gwo ka and Martinican chouval bwa, and the pan-Caribbean calypso tradition.
The music of Dominica includes a variety of genres including all the popular genres of the world. Popular music is widespread, with a number of native Dominican performers gaining national fame in imported genres such as calypso, reggae, soca, kompa, zouk and rock and roll. Dominica's own popular music industry has created a form called bouyon, which combines elements from several styles and has achieved a wide fanbase in Dominica. Groups include WCK, Native musicians in various forms, such as reggae, kadans (Ophelia Marie, and calypso, have also become stars at home and abroad.
The music of the Lesser Antilles encompasses the music of this chain of small islands making up the eastern and southern portion of the West Indies. Lesser Antillean music is part of the broader category of Caribbean music; much of the folk and popular music is also a part of the Afro-American musical complex, being a mixture of African, European and indigenous American elements. The Lesser Antilles' musical cultures are largely based on the music of African slaves brought by European traders and colonizers. The African musical elements are a hybrid of instruments and styles from numerous West African tribes, while the European slaveholders added their own musics into the mix, as did immigrants from India. In many ways, the Lesser Antilles can be musically divided based on which nation colonized them.
The music of Montserrat is influenced by Irish traditions, noticeable in the set dance-like Bam-chick-lay, and the presence of fife and drum ensembles similar to the bodhrán. Natives are also witness to the jumbie dance, the style of which is still strongly African. Instruments include the ukulele and shak-shak, an African instrument made from a calabash gourd; both of these are used in traditional string bands. Calypso and spiritual-influenced vocal choirs, like the Emerald Isle Community Singers, are popular.
Biguine is a rhythm-centric style of music that originated in Guadeloupe and Martinique in the 19th century. It fuses 19th-century French ballroom dance steps with African rhythms.
The culture of Dominica is formed by the inhabitants of the Commonwealth of Dominica. Dominica is home to a wide range of people. Although it was historically occupied by several native tribes, the Taíno and Island Caribs (Kalinago) tribes remained by the time European settlers reached the island. "Massacre" is a name of a river dedicated to the murders of the native villagers by French and British settlers, because the river ran red with blood for days. Each claimed the island and imported slaves from Africa. The remaining Caribs now live on a 3,700-acre (15 km2) Carib Territory on the east coast of the island. They elect their own chief.
Kont is a kind of Saint Lucian folk song, performed as part of the funereal ceremony by mourners outside the deceased's house. These mourners sing kont, a responsorial Creole song, accompanied by drumming. The lyrics may refer to the last words or other aspects of the deceased's death. Mourners also dance to both the débòt and bélé, accompanied zo or tibwa and ka.
The Culture of Saint Lucia blends the influences of African, French, and English heritage. The official language of the island is English but Kreole, a form of French patois, remains an influential secondary language. The people are predominantly Catholic but the religious climate is tolerant.
Dame Marie Selipha Descartes, DBE, BEM, best known as Sesenne, was a Saint Lucian singer and cultural icon. Singing in her native patois language, at a time when authorities barred its use, Sesenne developed a wide following in the rural area in which she grew up. Patronage by St. Lucia's first woman legislator led to the singer's "discovery" by a cultural preservationist, who in turn introduced Sesenne to an American anthropologist to make recordings of her songs.
Joseph "Rameau" Poleon, also known as "Papa Kilte", is a folk fiddler born in Vieux Fort, Saint Lucia. He has won the Best Violinist Competition in Saint Lucia twice, and was recipient of the Saint Lucia Medal of Merit (Silver) from the Governor General of Saint Lucia in 2000.
A bélé is a folk dance and music from Martinique, St. Lucia, Dominica, Haiti, Grenada, and Guadeloupe. It may be the oldest Creole dance of the creole French West Indian Islands, and it strongly reflects influences from African fertility dances. It is performed most commonly during full moon evenings, or sometimes during funeral wakes. The dance is also popular in Saint Lucia. In Tobago, it is thought to have been performed by women at social events in the planters' great houses, and the dress and dance style copied by the slaves who worked in or around these houses.
Jing Ping is a kind of folk music originated on the slave plantations of Dominica, also known colloquially as an accordion band. Dominican folk music, jing ping bands accompany a circle dance called the flirtation, as well as the Dominican quadrille.
As an overseas départment of France, Martinique's culture is French and Caribbean. Its former capital, Saint-Pierre, was often referred to as the Paris of the Lesser Antilles. Following French custom, many businesses close at midday, then reopen later in the afternoon. The official language is French, although many Martinicans speak a Creole patois. Based in French, Martinique's Creole also incorporates elements of English, Spanish, Portuguese, and African languages. Originally passed down through oral storytelling traditions, it continues to be used more often in speech than in writing.
Chanté mas and Lapo kabrit is a form of Carnival music of Dominica. It is performed by masequerading partygoers in a two-day parade, with a lead vocalist (chantwèl), who is followed by the responsorial chorus (lavwa), with drummers and dancers dancing backwards in front of the drummer on a tambou lélé. The Carnival has African and French roots and is otherwise known as Mas Dominik, the most original Carnival in the Caribbean.
In French Caribbean culture, especially of the Lesser Antilles, the term kwadril is a Creole term referring to a folk dance derived from the quadrille.
Afro-Saint Lucians or African-Saint Lucians, are Saint Lucians whose ancestry lies within the continent of Africa.