Reed Miller

4/16/15

MUS-220

Dr. Moore

Cajun Music: The Sound of Acadiana

Being somewhat familiar with music of urban New Orleans and rural southeastern

Louisiana in the early 20th century, the timbres, rhythms, and melodic content of Cajun

music came as a shock to my ear. Comparing early recordings of Cajun dance songs with

blues, jazz, and southern folk from the same era reveals the unique personality of Cajun

music. Characteristics of the sound include rough, brash, timbres, unconventional

instrumentation and techniques, songs in multiple languages, and intense high-pitched

vocals. Situated within a milieu of strong music cultures in the American south, Cajun music

has absorbed a myriad of influences into a unique style with traditions all its own. “Cajun”

is a southern Anglicization and corruption of the French “Acadian” which refers to the

French colonists of Nova Scotia, New Brunswick, and Prince Edward Island and their

descendants. Collectively known as “Acadia”, the French colonized and controlled this

region throughout the 17th century (Bronner 137). The working class colonials brought

with them popular French songs that venerated the beauty of France and adapted popular

melodies for songs like “Patrons, La Mer est Belle”, a song prizing life on the sea (137).

While Roman Catholic hymns also found their way into Acadian culture, secular dance

music that celebrated France and Acadian life predominated (Ancelet). However, in 1711

the British Empire conquered Acadia and from 1755 – 1764, after years of suppressing

unruly Catholic French colonists, forcibly deported all ethnic Acadians from the region.

Known as “The Great Expulsion”, the population was largely deported to France and a

significant number of Acadians began resettling in the newly Spanish controlled territory of

Louisiana in 1765 (English). Typical settlers were poor, uneducated, rural, and French-

speaking Catholics (Bronner 137). Acadians originally settled in the bayous and wetlands

of the Mississippi river delta and throughout the 19th century dispersed north to the plains

of western Louisiana (English). Since 1970, the state of Louisiana has designated a

triangular twenty-two county region of the southwest Acadiana; the city of Lafayette is the

unofficial capital of the region and Cajun culture (Bronner).

The Cajun population has maintained both a strong sense of community and

connection to their cultural ancestry and a flexible identity willing to assimilate ideas from

other cultures (Ancelet). Catholicism is one major bonding force in Cajun communities;

actively practiced, most formal life-cycle events took place in the church. Holidays in the

Catholic liturgical year became occasions for festivals of food, music, and dancing. Lines

between the religious and secular in the community are blurred. Celebrations, festivals, and

dances played a significant role in the Cajun cultural life (Ancelet). Cajun music has been a

constant accompaniment to these activities, and initially Acadian balladeers entertained

dancers solo while stomping and clapping in time (Savoy). Two of the most popular dance

party styles are “Fais do do”, a larger party typically reserved for all-night revelry starting

on Sunday afternoons and “Bals de Maison” a more casual community dance. Dances would

largely feature waltz and two-step accompanied by a handful of musicians and an eager

crowd. Community dances and festivals also provided a space for celebrating the foods

unique to Cajuns: boudin, jambalaya, and gumbo. Festivals like Cajun Mardi Gras are truly a

celebration of Cajun culture, their Acadian-borne heritage, religion, modern music, and

Louisianan food (Bronner).

However, despite the atmosphere of celebration, that has at some points in history

endured intolerance, an element of mourning and grief runs through the lyrics of Cajun

music. Narratives in songs of lost love, broken homes, and unfulfilled courtship are a

common theme across the genre. Cajun scholar Charles J. Stivall argues that “The basic

contradiction of Cajun music . . . is that you have songs which are about nothing but

heartache, loneliness, loss—loss of love, loss of property, loss of stature in the society, all of

these things—on this music that is absolutely joyful (Stivale 2).” The initial loss of home

and exile in 1765 deeply shaped the lyrical content of Cajun music. In addition to the Cajun

work ethic, the culture is one of extremes of work and toil, joyous celebration, and painful

introspection on their position as a marginalized community. Inextricably tied to its French

Acadian heritage, Cajun music is both celebratory and sorrowful reflecting the complex

emotional character of a culture in exile (Stivale).

My assignment in our group was to put together a live performance for the group.

After gathering general information on the culture and music I focused my research on

instrumentation and style. The Southern historian Lauren C. Post states “newcomers lost

all contact with their original groups and had no feeling of belonging to any but the Acadian

population (Malone 62).” While still a questionable generalization, Post points to the reality

of Cajun culture’s adaptability and absorptive nature (Malone). Although they established

the basis for a new culture, Acadians were hardly the only ethnic group to settle in

southwestern Louisiana. One of the most obvious points of assimilation is the Cajun use of

other culture’s instruments and musical ideas. From African American and Caribbean

communities the Cajuns assimilated concepts of syncopation, broader use of percussion,

and signifyin’ wails (Ancelet). In the 1830’s the accordion came to Acadia through German

immigrants and merchants. Spanish folk melodies that arrived in Louisiana during the

Spanish colonial era were also incorporated into the sound (Savoy).

Unfortunately, the advent of recording and commercialization of music in the 1920’s

and 1930’s caused a dramatic shift in Cajun music. The popularity of swing styles, and

especially the radio-friendly western or Texas swing, resulted in a dilution of the

traditionally Cajun sounds in Cajun music. The accordion was crowded out in favor of

guitars and simple violin melodies. Today, traditional Cajun bands, which have their origins

in the Dewey Balfa Brothers Band’s 1960’s Cajun revival records, electrified Cajun, and

Cajun Swing all contribute to the thriving culture of Acadian Louisiana (Malone 64).

Works Cited

Ancelet, Barry J., Malone, Bill C., and Olivier, Julian, “USA, §II, 1: Traditional music: European American, (b) French” Grove Music Online 2015. Oxford Music Online. Web. April 2015

Bronner, Simon J. "Cajun Communities." Encyclopedia of American Folklife. Hoboken: Taylor and Francis, 2015. Print.

English, Greg. "Brief History of Cajun, Creole, Zydeco." Luisiana 101. LSU. Web. 6 Apr. 2015. <http://www.louisiana101.com/rr_cajun_music.html>.

Malone, Bill C. "Expanding Markets: Tejano, Cajun, Hillbilly, Gospel." Southern Music/American Music. Lexington: U of Kentucky, 2015. Print.

Savoy, Ann. "Cajun Music: Alive and Well in Louisiana." Folklife in Louisiana. Louisiana Division of The Arts. Web. 6 Apr. 2015.

Stivale, Charles J. Disenchanting Les Bon Temps: Identity and Authenticity in Cajun Music and Dance. Durham: Duke UP, 2003. Print.