​Why is French the language of Cajun and zydeco music and musicians?

Louisiana Creole Music, cover art by Ronald Clyne. Folkways Records.

The Role of "Louisiana French" in Cajun and Zydeco

MUSIC MAKING

HISTORY & CULTURE

MUSIC LISTENING

20+ MIN

30 MIN

30+ MIN

J'ai été au bal, cover art by Lynda Barry. Arhoolie Records.

Louisiana French

Path 1

20+ minutes

Welcome to Louisiana Road Sign, photo by ErgoSum88. Public Domain, via Wikimedia Commons.

Language and Identity

Why is language a crucial piece of cultural identity?

The French language is a huge part of Louisiana cultural identity, and thus, also a huge part of Cajun and zydeco music.

Can you think of any other regions in the U.S. where a language other than English is spoken?

French Crosses the Ocean

The French language became established in the New World when France's colonization  in the Western Hemisphere began to take hold in the seventeeth century.

LaSalle Taking Possession of Louisiana A.D. 1682, by J. N. Marchand. National Museum of American History.

As the French expanded their territory, the presence and use of the French language in the Americas increased and spread.

North American, Spanish, French, and British Territories Circa 1700, unknown creator. Courtesy of Ambrose Video Publishing Inc.

French in the Americas

"La Louisiane"

Louisiana Purchase, by David Levy. CC-BY-SA-4.0, via Wikimedia Commons.

The French settled first in Canada, but eventually expanded southward to an area known as “La Louisiane.”

“La Louisiane” (shown on this map) was a huge chunk of land under French rule (17th–18th century). It included present day Louisiana and the Midwest.

Text

The Acadians (originally from the Nova Scotia area of Canada) spoke French upon arrival in Louisiana, and their rural form of speaking eventually became what we call today “Cajun French.”

Cajun French

Large Cajun Family, by David Lee. Library of Congress.

"Basile Cajun Hour," by Dewey Balfa.

Louisiana Creole

The Louisiana Creole language formed in the first century of European settlement there (the 1700s), using vocabulary from French and syntax from African languages. Creole languages elsewhere, such as in Haiti, formed by similar processes but with different local ingredients.

Oral traditions are passed down from one generation to the next.

Generally Speaking .....

Oral Traditions

Mother Telling Stories, by unknown artist. Public Domain, via Karen's Whimsy.

Language dialects such as Cajun French and Louisiana Creole are considered “oral traditions” because they are spoken more than written or read.

Dialects like Cajun French and Louisiana Creole differ slightly from “Standard French” (French spoken in France) in accent, grammar, and vocabulary.

Language, Persecution, and Perseverance

Historically, Louisiana French dialects have been looked down upon as “low class.”

People who speak different dialects of French can typically understand each other but may not be able to respond in the same style.

Daughter of Cajun Cane Farmer, photo negative by Russell Lee. Library of Congress.

Generally Speaking .....

A Louisiana French Renaissance

Why was French banned in schools?

As you watch this video, consider these questions:

Why did French speakers fight to preserve their language and culture?

What role did music play in this struggle?

A Louisiana French Renaissance. Louisiana Public Broadcasting.

Modern-day Cajun & zydeco musicians are helping to keep these dialects alive.

Generally Speaking .....

French Dialects in Modern-Day Louisiana

Jeffery Broussard & the Creole Cowboys, unknown photographer. Courtesy of J Jams Entertainment, LLC.

Today, efforts are being made to preserve Cajun French and Louisiana Creole.

“Louisiana French has skipped a generation or two, but the younger generation, like college students, are now really interested in learning Cajun French.”

Learning Checkpoint

End of Path 1: Where will you go next?

Listening for Colloquialisms

Generally Speaking .....

The Role of "Louisiana French" in Cajun and Zydeco

approx. 30 minutes

Cajun Fais Do-Do, cover art by Wayne Pope. Arhoolie Records.

Can you think of any English language colloquialisms?

Generally Speaking .....

What is a Colloquialism?

A colloquialism is a word or phrase that is not formal or literary, and is typically used in ordinary or familiar conversation.

Like slang, colloquialisms are the most common form of functional speech in a given language or dialect. These phrases give the language its unique character!

English-Language Colloquialisms

Colloquialism Word Cloud, by Jennifer Mellizo. Smithsonian Folkways Recordings.

In Louisiana, two unique languages are spoken: Cajun French (typically spoken by descendants of Acadians from Canada and associated with Cajun music) and Louisiana Creole - a mixture of traditional African languages and French typically associated with the Creole community and zydeco music.

Generally Speaking .....

Cajun French and Louisiana Creole

Generally Speaking .....

Cajun French and Louisiana Creole Colloquialisms

Because Cajun French and Lousiana Creole are primarily spoken languages (as opposed to written or read), colloquialisms are used frequently in daily speech, and in music.

• Catin [Ka-tan]: Sweet little thing—another term of endearment but be careful! In standard French this is an insult.  

Generally Speaking .....

Colloquialism Examples

Here are some common phrases (colloquialisms) frequently heard in Cajun and zydeco music that you wouldn't hear in traditional French:

• 'Tit / T [Tee]: Little, short for "petite"—often a term of endearment or nickname 

• Jongler [Zhohn-gluh]: To think, to meditate, reflect, ponder, worry (literally translated as “to juggle”)

Generally Speaking .....

Colloquialism Examples

• Neg' [Nehg]: Friend, another term of endearment—used by Cajuns and Creoles alike 

• Lâche pas la patate [Lahsh pah lah pah-tat]: Don't give up! Literally translated as "don't drop the potato," this is a Cajun motto.

• Gardez Donc [Gar-day dawnk]: Look at that! / Look here / Astonishment

Generally Speaking .....

Colloquialism Examples

• Fais Do-Do [fay doh-doh]: A dance that lasts late into the night, "tonight we're going to the Fais-Do-Do"

• Yé yaille [ee-yahee]: Oh boy/Oh wow

Generally Speaking .....

Colloquialism Examples

• Laissez les bon temps  rouler ​ [lay-zay  lay bon tom  roo-lay]: Let the good times roll!​ 

• Lagniappe [Lahn-yop]: A little something extra

As you listen to this Cajun song, see if you  can pick out any of the colloquialisms we just discussed.

Raise your hand when/if you do!

Generally Speaking .....

Listen for Colloquialisms

Cajun French - Cajun music

“Two-Step de Eunice”

• 'Tit / T [Tee]
• Catin [Ka-tan]
• Neg' [Nehg]
• Lâche pas la patate [Lahsh pah lah pah-tat]
• Fais Do-Do [fay doh-doh]

• Gardez Donc [Gahr-day dohn]
• Laissez les bon temps roulez ​ [lay-zay lay bon tom roo-lay]
• Lagniappe [Lahn-yop]
• Yé yaille  [ee-yahee]
• Jongler [Zhohn-gluh a mwah]

Live! At the Dance, cover art by Wayne Pope.  Arhoolie Records.

Optional Extension Activity:

• Practice your French!

• Read the lyrics aloud as a group (or by yourself), one sentence at a time, using the pronunciation guide.

Generally Speaking .....

Study the Lyrics

Listen again, but this time follow along with the lyrics!

• Underline any colloquialisms you find.

“Co-Fe” (Why?)

As you listen to this zydeco song, see if you  can pick out any of the colloquialisms we just discussed.

Raise your hand when/if you do!

• 'Tit / T [Tee]
• Catin [Ka-tan]
• Neg' [Nehg]
• Lâche pas la patate [Lahsh pah lah pah-tat]
• Fais Do-Do [fay doh-doh]

• Gardez Donc [Gahr-day dohn]
• Laissez les bon temps roulez ​ [lay-zay lay bon tom roo-lay]
• Lagniappe [Lahn-yop]
• Yé yaille  [ee-yahee]
• Jongler [Zhohn-gluh a mwah]

Joe Pete Got Two Women, cover art by Elizabeth Weil.  Arhoolie Records.

Listen for Colloquialisms

Louisiana Creole - zydeco music

Generally Speaking .....

Study the Lyrics

Listen again, but this time follow along with the lyrics!

• Underline any colloquialisms you find.

Discussion: Compare and Contrast

• What role do you think the colloquialisms play in setting the tone for the song, and why is that tone significant and unique to Cajun and Creole culture?

• What stylistic differences did you notice in the language used in each song? Was the difference more significant when you LISTENED to the words, or when you READ them?

• Are there any clues in the music to indicate whether it is Cajun or zydeco?

• What do you notice about the composition of both songs, and the use/purpose of the language?

• Does the music feel more like a poem, a story, or a casual conversation?

Learning Checkpoint

End of Path 2: Where will you go next?

Jouer et Chanter!

(Play and Sing)

The Role of "Louisiana French" in Cajun and Zydeco

30+ minutes

Cleoma and Joe Falcon, unknown photographer.  Arhoolie Records.

Generally Speaking .....

Jouer et Chanter! (Play and Sing)

Under a Green Oak Tree, cover art by Elizabeth Weil.  Arhoolie Records.

Do the musical sounds provide any clues about the song’s meaning?

Generally Speaking .....

Attentive Listening: "J'ai passé devant ta porte!"

First, listen to this song without looking at the lyrics:

What do you think this song is about?

I passed in front of your door.

I cried out, “bye-bye, beautiful one.”

No one answered.

Oh, my heart hurts me.

I had been knocking at the door.

When they opened the door,

me, I saw some lighted candles

all around her coffin.

Generally Speaking .....

Attentive Listening: Song Meaning

What story do these lyrics tell?

Listen again, while following along with the English translation:

The songs Cleoma and Joe recorded together, like "J'ai passé," are some of the most popular in the Cajun music catalog.

A Little History . . .

Cleoma and Joe Falcon

This version of “J’ai Passe” was recorded by Dewey Balfa, D.L. Menard, and Marc Savoy in 1976 (renowned modern-day Cajun musicians).

However, this song was first recorded in 1929 by Cleoma Breaux Falcon. Cleoma sang and played guitar along with her husband, accordion player Joe Falcon.

Engaged Listening: Rhythm

• When you are ready, hum or sing along.

Listen again, while following the lyrics/pronunciation guide

• This time, gently tap along with the rhythm of the words.

• Observe any consistent rhythmic patterns—what is the time signature and overall rhythmic feel?

About Harmonic Structure

• The I-IV-V chord progression is extremely common in folk and popular music.

This song’s harmonic structure is based on three chords: I, IV, and V

• A chord occurs anytime multiple notes/pitches are played at the same time.

• The “I” chord corresponds to the 1st note in a scale, the “IV” chord corresponds to the 4th note in a scale, and the “V” chord corresponds to the 5th note in a scale.

Attentive Listening: Harmony

Can you hear when the chords change?

Listen to the recording again, this time focusing on the changing harmonies.

Arranging and Performing "J'ai passé"

Now it is time for you to create and practice your own arrangement of  "J’ai passé"!

Dancing Icon Clipart, Public Domain, via Microsoft Powerpoint.

Build Your Band!

Option 4: Sing!

• Utilize the phonetic pronunciation provided on the lyrics sheet.

Option 1: Play a percussion instrument

• Your job is holding down the song’s triple meter feel (waltz).

Option 2: Play a chordal instrument (piano, guitar, ukulele)

• Strum the I-IV-V chord progression.

Option 3: Play the melody

• On piano, guitar, violin, wind instrument, etc…

Learning Checkpoint

• What types of choices do musicians make when they create their own arrangements of familiar/popular tunes/standards (hint: think about musical elements and expressive qualities)?

End of Path 3 and Lesson Hub 3: Where will you go next?

Lesson Hub 3 Media Credits

Audio courtesy of​

Smithsonian Folkways Recordings

Video courtesy of​

Louisiana Public Broadcasting

Images courtesy of

Ambrose Video Publishing Inc.

The Arhoolie Foundation

J Jams Entertainment, LLC

Karen's Whimsy

Library of Congress

National Museum of American History

Smithsonian Folkways Recordings

© 2022 Smithsonian Institution. Personal, educational, and non-commercial uses allowed; commercial rights reserved. See Smithsonian terms of use for more information.

This Lesson was funded in part by the Grammy Museum Grant and the Smithsonian Youth Access Grants Program, with support from the Society for Ethnomusicology and the National Association for Music Education.

For full bibliography and media credits, see Lesson 3 landing page.