The earliest-known published book of African-American music, the 1867 Slave Songs of the United States, is primarily devoted to the religious vocal music of the slaves of the eastern seaboard. However, there are several songs at the end that are of a very different nature. These songs are in French and were collected in Louisiana, and they are dance songs.
The editors say of these songs that:
The language, evidently a rude corruption of French, is that spoken by the negroes in that part of the State [Louisiana]; and it is said that it is more difficult for persons who speak French to interpret this dialect, than for those who speak English to understand the most corrupt of the ordinary negro-folk [dialect]. . . . The “calinda” was a sort of contra-dance, which has now passed entirely out of use.
Or has it? This is what it sounds like:
Louisiana planters imported slaves from the Caribbean, and it is believed that the Calinda was one of the dances performed by slaves in Congo Square in New Orleans on Saturday nights. It is still danced and played in Trinidad and Tobago, where it is also related to an Afro-Carribean form of martial arts called Kalinda.
The Trinidadian calinda performed above seems to be related, both lyrically and musically, to this sea shanty:
The calinda is mentioned in the story “La Belle Zoraide” by the nineteenth-century New Orleans-based novelist Kate Chopin.
“La Belle Zoraide” is a story about the horrors of family separation in slavery, and about the hierarchy of color in Louisiana — which is told in part in the Creole language (referred to in Slave Songs of the United States as “evidently a rude corruption of French”). Read it here.
The traditional Cajun song “Allons danser Colinda” (Let’s dance, Colinda) was also influenced by the Afro-Carribean Calinda. Cajuns are a mostly white, French-speaking ethnic group that settled Louisiana after being expelled from Canada by the British in the eighteenth century.
The calinda even shows up in the work of English composer Frederick Delius (1862-1934). While Delius is best known as a composer of English “pastoral” music, he managed an orange plantation in Florida briefly in the 1880s, where he heard and was influenced by African-American music. In 1904, he wrote an opera called Koanga, a tragic love story about slavery in the eighteenth century. This is Delius’s version of the calinda.
In a kind of full circle, Koanga was performed in Trinidad in 1995.
For more on Slave Songs of the United States and the earliest attempts at American ethnomusicology, watch this brief film.