CALENDA: THE RISE AND DECLINE OF A CULTURAL IMAGE 55

 In order to explain the calenda, Ledru quoted Pernety and unwittingly
gave the impression that he did not know about Labat's earlier description
of the dance which Pernety copied. However, Ledru not only located the
calenda in Puerto Rico but also named the drum used by the musicians
bamboula, a name which had to come from Labat since Pernety had not
given any names for the instruments. As to the authenticity of what Ledru
said, there is no evidence to suggest that Ledru's knowledge of Puerto Rico
was more than that of a visitor, but again it seems unlikely that the celebration
which he described was entirely fictitious, even though the names calenda
and bamboula could have been reproduced from literary sources.
 Toward the end of the eighteenth century another writer in French, Moreau
de Saint M&ry, gave a detailed description of dances and accompanying
musical instruments in Saint Domingue in an article called Danse, which he
said he wrote in 1789. As to the musical accompaniment, it retained what
Labat gave but added to it. The name of the small drum was changed to
bamboula to make it relate to the word 'bamboo.' Rattles and banjos (banzas)
were added to the band, and in spite of the fact that these additional
instruments were African in origin, this development was a matter of
evolution and creolisation. As to the dance itself, while there were similarities,
there were also differences from Labat's description. The following is part of
what Moreau de Saint Mery wrote:

 A man and a woman, or a number of couples, proceed to the middle of the
 space and begin to dance, always figuring two by two. This dance, which
 has little variation, consists of a very simple step: you stretch out one foot
 and then you pull it back and then follow with the other foot. With the
 outstretched foot you strike the ground several times quickly with the toe
 and the heel, just like in the anglaise. The man spins or circles the woman
 who also turns and changes place with the man. The only other thing of
 note is the movement of the arms which the man lowers and raises with the
 elbows quite near to the body and the hand almost closed; the woman holds
 the two ends of a kerchief which she waves. (p. 190)

 The approach and retreat and the bumping of thighs or bellies are no
longer identified or highlighted, but the dance is still referred to as a kalenda
by Moreau de Saint M6ry who went on to state that in spite of its stated
simplicity, it could be lively and was a favourite: "the Negroes get so
intoxicated with such pleasure that they always have to be forced to finish
this kind of ball named kalendas..." (191). Then, Moreau de Saint Mery went
on to talk about what presumably was another dance:

 Our Creole customs have adopted another exotic production which, also
 coming from Africa, has had a more widespread influence than all the Negro
 dances which I have spoken of. It is a dance known almost generally across
 the colonies of America as the chica which it is called in the Windward
 Islands and Saint Domingue.