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II. 3. BAHAMAN NEGRO SONGS
The Bahama Islands are of coral and limestone, part of a system of coral reefs off the east coast of Florida. Covered with a sparse growth of evergreen, aromatic bush, they float low and dark green on the brim of the most brilliant and iridescent blue sea in the world. The soil makes a thin covering over the limestone and coral, and the life of the Negro inhabitant is a bitter struggle, even in that heavenly climate, for food and clothing. The men are sponge fishers and farmers at the same time. They cut back the brush with machetes to find some little pothole in the coral in which to plant a banana sprout, some yams or corn. They harvest their stunted orange trees and fish while the children hunt for the red and purple crabs along the sandy paths. After the evening meal in the nights of the full moon the young people gather on the beach and build a little fire of coconut leaves. Over this they heat the goatskin head of their drum, made at home out of a wooden sugar pail. When the drummer brings it to the right pitch, the long-legged, barefoot girl, who is the leading singer, begins,
"Wind blow east, wind blow west} Wind blow the Settin' Star right down in town"
The girls join with her and the couplet is repeated. They clap their hands with the music and begin to swing their hips. The boys join in the refrain,
"The wind blow the China right down in town"
Over and over they sing as the drum begins to touch the senses with its delicate and subtle rhythms, preparing the young people for the dance. Then out into the center of the singing circle leaps a young boy, his hat on the back of his head, his arms stiff out from his body. Fingers spread wide, legs bowed, his whole body is crouched like a black eagle about to fly. He whirls and stamps his feet, and with the triple rhythm of the drum his body freezes for instants in taut angular postures. Then he whirls and stops with both feet planted flat, his belly out before one of the girls in the circle. She takes his place in the center of the ring then, and dances. The high shrill singing, the clapping, never stop, as the voice of the drum summons the
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