Tit Galop Pour Mamou (Tee Ga-Lo Pour Evangeline with Historical Accounts of the Period

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TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Work: About the Artwork: A Cajun Medley: Valse; Parlez-Nous à Boire; Tit Galop Pour Cajun is a colloquial diminutive of the word Mamou from the repertoire of Dewey Balfa Acadian. The culture, indigenous to the state of Creators: Louisiana, originated in Nova Scotia, then called Producer: AMAN Folk Ensemble (active 1964-2003) Acadia. Acadians were French people who settled in Music Director/Fiddler, 1984-94: John Zeretzke b. 1958 the New World before the Pilgrims arrived. The Artistic Director, 1984-96: Barry Glass British overtook Acadia, and in time ordered the deportation of the Acadians. For more than thirty Background Information: years the Acadians roamed until they finally settled What makes violinist John Zeretzke special is his never- in Louisiana, which still retained its French beginnings. ending search for new ideas and idioms of music and art. The Cajuns were diligent, hard-working people who But, as a child he didn’t start out feeling very capable. established settlements primarily in the southern By third grade he was unable to keep up with the learn- section of Louisiana. Cajun music has survived, much of ing capabilities of his classmates. He began to feel like a it in its original forms, for over two hundred years. failure in school because he had difficulty doing math and was identified as a “slow reader.” It was suggested Creative Process of the Artist or Culture: that he stay back a grade, but at about this time a “Music In the 1800s each community had several fiddlers. Man” named Don Zimmerman began an instrumental Songs, often added to the instrumentals, were program in his school. When John heard the sound of repetitious and simple without strong beginnings or the violin, he was fascinated and joined the music program. endings. They fall in the folk music category because As soon as he connected with the violin and music, he they were never written down. Like other folk began to feel really happy and dramatically improved in music, the songs focused on the lives of the people. other subjects at school. He began in the classical style, Many were about love and unrequited love. They but as a teenager expanded to folk and finally to the were usually accompanied by fiddles, and perhaps a music of world cultures. His expertise in violin styles guitar and a triangle to carry includes Cajun, Greek, Hungarian, Romanian, the basic beat. By the mid- Appalachian, Eastern European Gypsy, Asian, jazz, nineteenth century accordions classical and country. Serving as Music Director for the became one of the standard AMAN Folk Ensemble for ten years, his talent and Cajun instruments. expertise were compatible with their international repertoire. His work also includes scores for choreographers such as Photo courtesy of John Zeretzke Laura Dean and for companies including the Royal Danish Ballet, Ohio Ballet and Ballet Folklorico del “Folk music stems from the Pacifico. John has received numerous awards, tours soul and heart of all humans.” John Zeretzke nationally and continues to do research. California So.Louisiana Discussion Questions: • Read Henry Wadsworth Longfellow’s epic poem, After listening to the audio recording: Evangeline, a literary resource that chronicles the life of • Can you identify the instruments heard in the an Acadian woman exiled from her homeland. Compare recording, Tit Galop Pour Mamou (Tee Ga-lo Pour Evangeline with historical accounts of the period. Ma-moo), from A Cajun Medley? (guitar, triangle, • Learn about the dances of the Cajun people. Compare accordion and fiddles) them with the folk dances of other American cultures. • Which instruments are playing the melody? • Discuss the practical reasons why the violin became (accordion and fiddle) one of the most popular instruments used by the Cajuns • Which instruments are playing the rhythmic and other early American musicians. (small, carry a melody) structure of the piece? (guitar and triangle) Audio-Visual Materials: • Can you name the wind, string and percussion • Artsource® audio recording: A Cajun Medley: Valse; Parlez- instruments of this ensemble? (wind - accordian; Nous à Boire; Tit Galop Pour Mamou, courtesy of AMAN. percussion - triangle; bowed and plucked stringed • Special thanks to John Zeretzke for collaborating in the instruments - fiddle and guitar) revisions and rewrite of this unit (May 1997). Additional Information: Additional References: The people of the Cajun culture are quite fond of • Recordings: Savoy-Doucet Cajun Band (Arhoolie socializing and dancing. In the early years, families Records 5029); Louisiana Cajun Music, Vol. 3: limited their festive gatherings to the immediate • Books: The Makers of Cajun Music (Barry Jean and extended family and intimate friends but Ancelet), The Cajuns from Acadia to Louisiana (William restricted their merriment to the seasons when it Faulkner Rushton). was permitted by the church. These gatherings were held in the home. As time passed, these social events Sample Experiences: became community events, and often began on LEVEL I Saturdays, stopping for church services on Sunday * • Listen to the three pieces in the Cajun Medley and mornings, and continuing through Sunday. These identify the instruments and musical elements used. dances became known as ‘fais-do-do,’ and the • Percussion sounds for early Cajun music were often facilities where they were held were also labeled provided by playing spoons and washboards, items easi- ‘fais-do-do.’ Those familiar with the French lan- ly found in homes. Find or make some of these musical guage know that ‘fais-do-do’ means ‘go to sleep,’ instruments and try to accompany the Artsource audio certainly a misnomer for a dance. However, it is recording by playing a basic beat or adding more com- assumed that this term comes from the practice of plex rhythmic patterns. placing all of the babies in a room to sleep under the LEVEL II care of a willing grandmother or aunt while the * • Learn more about the folk music of the American adults danced. South and identify similarities and differences. • Have students conduct research within their families Multidisciplinary Options: to learn about the songs and music of their own cultures. • Trace the sojourn of the Acadians from their LEVEL III French roots to their Louisiana settlements. • Trace the evolution of southern American styles of Conduct research to discover where Acadia was * music from their origins to present-day. Compare and located , what it is called now (Nova Scotia), when contrast the past, present and future of these styles. it was settled, why the Acadians left, when/why • Examine the significant contributions of individuals they settled in Louisiana. who have preserved the folk music of Louisiana. (See • Name some of the cultures that have influenced Addenda) Cajun music. (French, African, New Orleans) * Indicates sample lessons 2

MUSIC CAJUN MEDLEY- A LISTENING LESSON ENDURING VALUES

LEVEL I Sample Lesson

INTRODUCTION:

Understanding any type of music, whether it is Japanese taiko drumming, classical European quartet music or regional traditional music of the southern United States, requires concentration, the ability to focus and good listening skills. Learning what to listen for in music and how to listen is very important. Unfortunately, few of us ever are instructed how to develop good critical listening skills. We can train our ears to focus on different sounds in music, specific elements such as rhythmic meter and patterns, melody, harmony and other significant building blocks of musical structure.

When we listen to or hear music that is different, new or foreign to us, we rarely understand it or know its historical or cultural context, understand why it is performed or played, or what type of people play it and for what occasions.

Cajun music is a regional folk music of a specific group of people who have a unique culture and history in the United States. When we listen closely to the music of the Acadians, or Cajuns as they are called, we can begin to understand these people through their own style of music that evolved mostly in Louisiana. What can we learn by just carefully listening to their music?

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate good listening skills and habits when listening critically to music. (Artistic Perception)

• Identify the individual sounds of instruments played in a typical Cajun band. (Artistic Perception)

• Begin to understand basic elements of music, such as beat, rhythmic pattern, melody and tempo. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of A Cajun Medley: Valse; Parley-Nous à Boire; Tit Galop Pour Mamou.

• A recording of an orchestra, a jazz band and a rock and roll band.

3 PROGRESSION:

• Discuss with the students the definition of some of these terms: Focusing Concentrating Hearing Listening Analyzing

• What is the difference between focusing and concentrating? • What is the difference between hearing and listening? • Why is analyzing important when we learn about music?

• Critical listening is when we listen to sounds and try to listen closely to everything we possibly can. To hear and listen to music, we must first learn to be still and quiet. Sit very still, don’t move or talk. Listen to the sounds in the room for one minute. Now write or discuss what you heard. Use descriptive words in discussing the sounds.

How did this exercise make you feel? Describe how the sounds made you feel.

• To hear music more clearly and accurately, we must be able to hear and identify specific sounds. This is critical listening, and it is a skill we can practice. It also involves shutting out the rest of the world while we are listening.

Practice listening to and discussing what you specifically hear after hearing a minute of recorded music of:

• a classical orchestra • a jazz band • a rock and roll band

• Can you identify any of the instruments in these recordings? Can you find pictures of these instruments? What about the history of some of these ensembles or groups or styles of music being represented?

• Listen to the four individual instruments on the recording before A Cajun Medley. Each instrument has a distinctive sound and plays a certain role in the music. The guitar plays the chords and a certain rhythmic pattern. The fiddle or violin often plays that same rhythmic pattern, but it also plays the melody or tune of the song. Of course, the triangle or bastrangue (bhas - trang) plays that same pattern, but the accordion is help- ing out the fiddle with the melody. In fact, sometimes the fiddle and the accordion trade off, sometimes they play the melody together. You might even have noticed that they each take a “solo” and make up some music as they play!

• Now you are warmed-up and ready to listen to and explore some ideas about Cajun music. With your critical listening skills you have started to practice, listen to the recording of A Cajun Medley. Write, discuss, analyze and draw what you have heard. Can you now hear each instrument in the recording? Can you focus on the single sound of one of the instruments of the Cajun band?

• There are three sections of music on this recording. Can you describe each section? Is one faster or slower? We call this the tempo of the music (how fast or how slow music moves). If you were to just tap your toe to the music, you would probably be tapping the “beat” of the tune. Is one section more exciting? Do you think this is dance music? Why?

• Find information about the history of the Cajun or Acadian people in your library. Share your information. Show some pictures of the south and locations where the Cajuns live. What can we tell about these people and their music from seeing pictures of the environment in which they live?

EXTENSIONS:

• Use some of these questions from page 2 of the Cajun unit to further discuss the music.

• Listen to a recording of music that students like to hear. Using some of the tools and ideas we have just learned, can you now describe this music critically? Can you analyze the elements of music used in this recording in the new music? What instruments are being played? What elements of the music are these instruments playing? Can you draw a picture of what you hear?

VOCABULARY: listen, hear, focus, analyze, Cajun accordion, fiddle, bastrangue (triangle), guitar, tempo, rhythmic pattern, beat, melody, harmony, waltz, two-step

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe each of the musical selections in the medley.

DISCUSS: Discuss your first impressions of the music and the setting (location) of each piece of music and what you think is happening. (Refer to the Introduction at the beginning of this lesson.)

ANALYZE: Compare this style of music to music that you listen to.

CONNECT: Discuss other musical instruments you know about and what kind of music they usually play. (clar- inet - classical, folk or jazz; brass - orchestra, bands, jazz; electric bass and keyboard - rock and popular)

MUSIC FOLK MUSIC - THE AMERICAN SOUTH THE HUMAN FAMILY LEVEL II Sample lesson INTRODUCTION:

The United States of America has a rich and varied musical heritage. Some of this music has roots in other coun- tries, while some is indigenous to the cultures which were developed within the United States. Cajun country, located in the State of Louisiana, has given birth to its own unique and distinctive style as have other styles such as Creole (kree-ohl), Appalachian and jazz.

Cajun music also has its own feeling and emotion, much the same way that styles of artwork from certain periods of history have a specific feeling that may be experienced when visually looking at them. When we are able to trans- late the words from Cajun French to English, the meaning of the words give us a deeper understanding of these people called Cajuns.

There are many other regional styles of music in the south that share similar qualities in music with the Cajuns, yet sound very different. Not far from the Cajuns in Louisiana is the birthplace of jazz music from the city of New Orleans. In fact, there are many styles of jazz music that can be heard: Dixieland jazz, New Orleans marching street band jazz, traditional and modern jazz music and so on. Jazz of the south was very much a Creole creation, a mix and blending of ideas into a new musical style.

In most of the rural south we have the traditions of different styles of blues music. Music grew and evolved from the African slaves and became the work songs and shouts that were sung in the fields. Tune families from the British Isles also became the new American work songs that were sung during hard tasks of labor. In the southern Appalachia mountains we have many styles of American string band music including old timey, bluegrass and jug band music. Southern vocal music includes different types of religious and gospel music, ballads, story songs,

American traditions of music in the southern United States is as rich and as varied as can be found any where in the world, yet it is a unique reflection of who we are as Americans. It is a tapestry of stories and history that is still being woven today.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Understand Cajun music better by learning to play, sing and move to a simplified version of a Cajun tune. (Historical and Cultural Context)

• Become more knowledgeable about Cajun music by understanding the meaning of the words and the use of language in music. (Historical and Cultural Context)

• Understand the meaning of the word ‘style’ in music and become more aware of the many different styles of music in the southern United States. (Artistic Valuing and Historical and Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at

6 the end of this lesson. (Aesthetic Valuing) MATERIALS:

• Words to Tit Galop Pour Mamou, page 9.

• Rhythm sticks

• Artsource® audio recording of the Cajun Medley: Tit Galop Pour Mamou.

• A selection of jazz, Creole, Appalachian (can use the Artsource audio for the Suite of Appalachian Music and Dance , Duke Ellington units if you have them) music.

PROGRESSION:

• Listen to the recording of Tit Galop Pour Mamou. How does the Cajun French language sound to your ears? Once you know the meaning of the words, does it change your perception of the song? How does language or the meaning of words to music change our perception of music? Can you sing along with the recording?

• With rhythm sticks or maybe with musical spoons, can you play the “two-step” rhythmic pattern that we hear in the faster tempo Cajun songs?

We can begin to understand this important musical and stylistic rhythmic component of Cajun music in a variety of ways:

We can say, “Slow, quick, quick” (repeat), or

we can visually draw it this way: ______long short short

We could use musical 4 or 2 notation:

We could walk or move to it: RT LT. - RT., LT. RT. - LT. (repeat)

• Can you play this rhythmic pattern on your rhythm sticks? On your spoons? With your feet? With another part of your body?

• Music in the southern United States has many similarities and differences. Can you find other examples of music from the south that use this basic rhythmic pattern?

• How many different recordings of different styles of music from the south can you discover? Can you collect at least five to ten examples of music? Can you catalogue or put these styles of music in groups so you can list how many styles you collected?

• In what ways do you describe your musical styles you have collected? Does knowing the history behind the music help you understand the music better and organize it in some way that makes common sense?

EXTENSION:

• Conduct in-depth studies of other American folk music.

VOCABULARY: style, folk music, southern music, Cajun French, language, music history

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe different instruments played in different styles of Southern music.

DISCUSS: Discuss how each one of the pieces in the Cajun Medley or other types of Southern music makes you feel.

ANALYZE: Compare and contrast two of the pieces in the Cajun Medley or two pieces of different styles of Southern music.

CONNECT: Discuss personal experiences of traveling in the south or other parts of the U.S. and the music you may have heard there or associate with specific places.

8 Tit Galop Pour Mamou (Tee Ga-lo Pour Ma-Moo)

Verse 1. Translation: “Tit galop, tit galop pour Mamou. A gallop, a little gallop for Mamou. J’ai vendu mon ’tit mulet pour quinze sous. I sold my little mule for fifteen sous. J’ai ach’té de candy rouge pour les p’tits I bought some red candy for the little ones Et de suc’ et de café pour les vieux. And some sugar and coffee for the old folks.

Verse 2. Tit galop, tit galop pour Mamou. A gallop, a little gallop for Mamou. J’ai vendu mon ’tit wagon pour quinze sous. I sold my little wagon for fifteen sous. J’ai ach’té de dely-bean pour les p’tits, I bought some jellybeans for the little ones, Et un yard de rubon pour la vieille” And a yard of ribbon for Granny.

MUSIC SOUTHERN MUSIC: PAST, PRESENT AND FUTURE TRANSFORMATION

LEVEL III Sample lesson

INTRODUCTION:

Like the folk music of other cultures, Southern music has been passed from generation to generation. In its earliest days it was preserved through the medium of performance, rather than in written form. Today it can be accessed not only in published form, but also through a variety of media - radio, recordings, television and, of course, live performances. Historical events, other cultures and technological advances have impacted Southern music. Changes are constantly taking place and, over time, altering musical styles all around the world. We can listen to a style of music and begin to understand that it is reflective of a certain time, place and event(s) in this world. Cajun music can be played in an “older” style or “newer” style if we understand the elements that help to create those unique qualities within the music during a given period in time and/or a certain place where it was played.

If we can begin to unlock or understand more completely a style of music of a culture, then we can imitate those char- acteristic elements and sound or play within a style.

Musicians throughout time have learned music from the masters or elders in their culture. Students of music observe, then imitate, then practice their new found skills. Over time, the student usually does what all of human- ity is capable of doing; they explore, experiment, modify or create something new. The student one day becomes the teacher and builds their new musical ideas upon the building blocks of what they have been taught by their teachers. A style of music evolves over time and does not usually stand still. Internal or external influences in society may cause a style or culture in music to change more rapidly or hardly at all.

If we understand the basic elements of Cajun music, or a style of music from the southern United States, if we know some of the influences and historical context of the music, if we learn to play or sing within the stylistic elements of that culture of music, we then can imitate and even create our own music within a style.

Remember, anyone of us could spend a lifetime unlocking the mysteries and undiscovered music of just one Cajun accordion!

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Recognize, analyze, compare and contrast different styles of music of the southern United States. (Historical and Cultural Context and Aesthetic Valuing)

• Create a composition or piece using the stylistic instruments and elements of music from the different types of regional musical styles that we have explored in this unit. (Creative Expression and Historical and Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

10 MATERIALS:

• Different recordings of music of the southern United States.

• An audio cassette recorder and blank cassette.

PROGRESSION:

• Now that you have a collection of at least five to ten examples of different styles of southern music, write and describe the similarities and differences you can find in these musical examples.

• What words do you often use to describe what you are talking about in the music? Can you list these words?

Task: take one or two ideas that you have discovered in these styles of music from the southern United States and write (compose) a piece of music. Suggested criteria:

- at least 1 minute in length - at least 4 people playing music together - at least 2 different rhythmic patterns - create at least one melody - use dynamics (loud and soft) - use language or words in one part of your composition - have a “beginning, middle and an ending” - use at least 3 different sounds or instruments - demonstrate slow and fast tempo

• Record your composition after you are well rehearsed. How did it feel to record your piece?

• Share your compositions live with your class. Discuss your experience creating the composition. Was everyone in your group able to have input for the creating of the piece? What went well and sounded good? What could be improved the next time you perform it? Do you now have other ideas?

• How would you grade your group? How would you grade yourself and others in your group? List the different ideas you would give grades on.

EXTENSIONS:

• Reflect on your piece and rework it so that you make refinements. Record, and compare it with your first version.

• Create a simple dance to your composition.

VOCABULARY: ensemble, group, form, dynamics

ASSESSMENT: (Aesthetic Valuing) Assessment questions are included throughout the lesson.

11 THE PRESERVATIONISTS OF LOUISIANA FOLK MUSIC (A Partial Listing)

Nathan Abshire - “recognized as one of the greatest Cajun accordion players and singers of all time.”

Alphonse “Bois Sec” Ardoin - accordionist, participant in the 1966 Newport Folk Music Festival, the 1974 Tribute to Cajun Music and numerous local festivals, dances and musical events.

Dewey Balfa - fiddler. With his brothers became known in folk music circles nationally, in Canada and in France. Participated in the Newport Folk Music Festival and the Smithsonian Tribute to Cajun Music. Was presented the National Heritage Award in Washington, D. C. in 1982, by the National Endowment for the Arts.

Clifton Chenier - urban zydeco musician, accordionist, recording artist, founder of The Red Hot Louisiana Band, noted for perfecting the washboard as a legitimate musical instrument.

Michael Doucet - a leader in the renaissance of Cajun music, musician, performer - NEA funded Folk Artists in the Schools program, recording artist, founding member of the Society for the Preservation of Ethnic Culture in Acadian Louisiana and founder of Beausoleil, a Cajun music ensemble.

Inez Catalon - singer, regular participant in the annual Cajun Music Festival in Lafayette, Louisiana, participant in the 1976 Festival of American Folklife presented by the Smithsonian Institute in Washington, D. C., touring singer with the National Council for the Traditional Arts.

Varise Connor - fiddler, preservationist of the ‘old-time’ fiddling style, performer with the family string band whose style pre-dates the use of the accordion, featured performer at the Tribute to Cajun Music Festival in Lafayette, Louisiana.

Freeman Fontenot - accordionist, student of some of Cajun music’s key figures during the turn of the century. Participant in the 1966 Newport Folk Festival.

Dennis McGee and Sady Courville - fiddlers who preserved a performing style that pre-dated the use of the accordion in Cajun music. McGee gained a reputation as Dean of Cajun fiddlers. He and Courville were noted for their ‘twin fiddling’ style. They began to make recordings in the late 1920s.

D. L. Menard - guitarist, singer, Cajun songwriter and recording artist, touring artist for the State Department of the United States.

Lula Landry - an excellent performer of Cajun songs, sung as they were traditionally sung. Participated in the 1976 Festival of American Folklife presented by the Smithsonian Institute in Washington, D. C.

Lionel Leleuz - fiddler and self-made fiddlemaker. Played with the Wandering Aces.

Don Montoucet - accordionist, a regular performer for festivals, parties, special events and tours. Along with Lionel Leleux, his playing style represents the Cajun dance band music that developed in the 1950s and ’60s. Participated in the 1976 Festival of American Folklife presented by the Smithsonian Institute in Washington, D. C. 12

Zachary Richard - accordionist, singer, gold record recording artist, recipient of the Prix de la Jeune Chanson from France as the outstanding young French-language singer of 1980.

Marc Savoy - spokesperson for traditional Cajun culture, member of the National Council for the Traditional Arts, musician, accordion builder ‘extraordinaire’ and founding member of the Society for the Preservation of Ethnic Culture in Acadian Louisiana. Established the Savoy Music Center, an accordion factory and retail music store just outside Eunice, Louisiana.

Bibliography - The Southern United States

* Cajun Music, A Reflection of a People, by Ann Allen Savoy, Bluebird Press, 1984, Eunice, LA. Definitive book on Acadian folk music and musicians. Many great old photos, interviews, articles, notated music with words.

Louisiana Folklife, A Guide to the State, by the LA Folklife Program, 1985 Dept. of Culture, Baton Rouge. All different aspects of folklife throughout the state/articles and photos.

The International Book of Folksongs, By N. Luboff & W. Stracke, Walton Music Corp., 170 N. E. 33rd St. Ft Lauderadale, FL 33334 Washington, D. C. Folksongs from around the world, many different and little known tunes.

The Cherokee, by Theda Purdue, Chelsea House Publishing, 1989, New York and Philadelphia. History and pictures of teh Cherokee people. Well done!

Old Time String Band Songbook, by John Cohen and Mike Seeger,Oak Publishing 1976 Old songs, historical conext, pictures, songwords and music /for “players”.

Simple Folk Instruments to Make and Play, by Ilene Hunter and Marilyn Judson, Simon and Schuster 1977.

The Afro-American Tradition in Decorative Arts, by John Michael Vlach, University of Georgia Press 1990. Variety projects, descriptions , pictures, historical context of many styles of southern African American art. Excellent!

Musical Instruments of the World, by the Diagram Group, Unicef Publications 1976. Thousands of world instruments grouped by “families”, pictures, descriptions. Wonderful reference book.

The Jack Tales, by Richard Chase, Houghton Mifflin Company (Sandpiper Books), 1943, 1971 Old ‘Jack’ folktales of the Appalachian Mountains.

Gumbo Ya-Ya, Folk Tales of Louisiana, by Lyle Saxon, Pelican Pub, Co, 1945 Grenta, LA -Lore and tales of the state

Middle Passage, by Charles Jones, Plume Publishing 1990 Fiction/story of young boy as a stowaway slave in 1830 - great story!

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