There are two things on which both negroes and mulattoes pride themselves: their fine ear for music, and their proficiency in dancing. A talented French bandmaster told me, that, if taken young, he thought he could train his Haytian pupils to be excellent musicians; and as they are fond of the study and practice, he had no difficulty whatever in keeping them to their classes; and many of the military band in Port-au-Prince played fairly well, though, from inefficient and irregular instruction under native teachers, much was still to be desired. The drum, however, was a very favourite instrument, and the noise produced was sometimes startling. The travelled wife of a President used to say that she thought no music in Paris equal to the Haytian, especially the drums.
The dancing of the upper classes is much the same in all countries, though in Hayti the favourite dance is a special one, called “Carabinier.” Among the people, however, are still to be observed the old dances they brought from Africa.
Moreau St. Mèry, in his admirable work on Santo Domingo during the French colonial days (new edition, p. 52), has described the dances of the slaves as he saw them previous to 1790, and his words might be used to depict what occurs at the present day.
With the negroes dancing is a passion, and no fatigue stands in the way of their indulging in it. The announcement that a dance will take place brings people from surprising distances, and the sound of the drums acts like a charm, and all fatigue is forgotten. Young and old, although they may have walked twenty miles, with heavy burdens for the next day’s market, join in it with enthusiasm.
But the most interesting dances are those performed by the professionals. Generally they consist of a couple of men to beat the drums, a very fat woman as treasurer, and three or four younger woman famous for their skill. Soon after President Salnave came into power I was a guest at a picnic at a place where some famous dancers had invited the young men of the district to come and meet them.
Our hosts had heard of this affair, and invited us to go down to the spot, where a large space was covered in with the leaves of the palm tree, as even there seasoned performers could not stand the burning mid-day sun. The two men with the drums were there, coarse instruments made out of a hollowed piece of wood, one end open, the other closed with the skin of a goat or sheep, on which the men play with their knuckles, one slowly and the other faster; calabashes with pebbles or Indian corn in them are shaken or stricken against the hand, and the spectators intone a chant. Then the master of the ceremonies and the chief of the band calls out a name, and one of the professionals stands forth and begins to perform. Any man from the crowd may come and dance with her, holding his hand raised over his head with a small sum in paper money, worth perhaps a penny. When she wishes a change she takes this money in her hand, and one of the impatient lookers-on cuts in and supplies the place of the first; other performers arise, until the whole shed is full. As the excitement grows, some of the young girls of the neighbourhood also join in. I noticed that every note collected was religiously handed to the treasurer, to be employed in supporting the band and paying for the dresses, which, however, did not appear expensive, as the women were clothed in white gowns, coloured headdresses, and handkerchiefs always carried in their right hands. I noticed, however, that what could be seen of their under-linen was remarkably fine.
The dance itself is not striking or interesting, but they keep time very exactly. To show how African it is, I may mention that an officer from our West Coast squadron was one day passing near these performers, when he was suddenly seized with a desire to dance, and struck in before the prettiest negress of the band. His dancing was so good that gradually all the blacks sat down, and left these two performers in the midst of an interested crowd, who by shouting, clapping their hands, and singing urged on the pair to renewed exertions; and I have heard several who were present say that never had they seen anything equal to this dancing in Hayti. Our friend had learnt the art on the coast of Africa, and was as strong as a lion and as active as a gazelle; he was called “the pocket Hercules.”
To return to our party. After some very insignificant dancing, a new tune was struck up, and the performers began to go through something more attractive to the crowd. This dance was called chica, but popularly I have heard it named bamboula, from the drum, which often consists of a hollow bamboo: so it is said. This lascivious dance is difficult to describe. I think I will let Moreau St. Méry do it for me:—
“Cette danse a un air qui lui est spécialement consacré et où la mesure est fortement marquée. Le talent pour la danseuse est dans la perfection avec laquelle elle peut faire mouvoir ses hanches et la partie inférieure de ses reins, en conservant tout le reste du corps dans une espèce d’immobilité, que ne lui font même pas perdre les faibles agitations de ses bras qui balancent les deux extrémités d’un mouchoir ou de son jupon. Un danseur s’approche d’elle, s’élance tout-à-coup, et tombe en mesure presque à la toucher. Il recule, il s’élance encore, et la provoque à la lutte la plus séduisante. La danse s’anime, et bientôt elle offre un tableau dont tous les traits d’abord voluptueux, deviennent ensuite lascifs. Il serait impossible de peindre le chica avec son véritable caractère, et je me bornerai à dire que l’impression qu’il cause est si puissante que l’Africain ou le Créole de n’importe quelle nuance, qui le verrait danser sans émotion, passerait pour avoir perdu jusqu’aux dernières étin celles de la sensibilité.”
I watched its effect on the bystanders of all colours, and St. Méry has not exaggerated: the flushed faces, the excited eyes, the eager expression, the looks of ill-concealed passion, were fully shared by all. No modest woman would be present at such a scene; but the young females of the neighbourhood were delighted. Drink was flying freely about, and all the performers appeared half-intoxicated: the dance grew fast and furious; as night came on a few candles were lit, and then all are said to give themselves up to the most unreserved debauchery. I ought to add that few respectable girls of the peasant class would care to be seen at one of these dances, where the professionals, without shame, perform regardless of appearances. The bamboula, as practised among the peasantry, is more quiet, but sufficiently lascivious.