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Ernest Leardée or the story of Biguine, history of the bal nègre, rue Blomet

01 janvier 1975
05m 08s
Ref. 00602

Information

Summary :

Report about maloya, the music of Réunionese slaves, born on sugar cane plantations. It was banned for a good many years.

In Réunion, as in all French territories, slavery was abolished in 1848. But it took decades for the former slaves and their descendants to be able to enjoy all their rights. And even though the Republic gave them their freedom, it also denied them their culture. For a very long time, black Creoles on the island were not allowed to play this type of music. Anyone who played the "roulèr", a type of local drum, was liable to a fine. Maloya was finally authorised in 1981. Since then, old musicians on the island have got out their roulèrs, Nagaras and triangles again. Maloya is very much in fashion, and Granmoun Lélé, Firmin Viry or Daniel Waro have all become stars. Banned until recently, this music of former slaves is now even taught in schools.

Media type :
Vidéo
Broadcast date :
01 janvier 1975
Source :
RFO (Réseau France Outre-mer)
Personnalité(s) :
Félix Ardenet / Ernest Leardée
Themes :
Places :

Context

Biguine, a cousin of Jazz, was born in the West Indies in the early 19th century.
Edmony Krater

Transcription

(Music)
Journalist
He chose number 33 Rue Blomet and converted the back room of a café into the bal nègre (black dance hall) that he had always dreamed of.
(Music)
Journalist
We went back with him to the site, 56 years later, to see what had changed.
(Music)
Ernest
When I arrived, I stood at the door for more than 10 minutes, thinking about everything. Everything, I mean, but you still live here? It’s not possible, I said, it’s not possible, Ernest, it’s just not possible! It's been 57 years! Ah, ah, ah, that’s life!
(Music)
Ernest
I said, but Ernest, you are still alive, how old must you be now? It’s not possible, what’s happening to me? It must be a dream, or what is it?
(Music)
Journalist
The filming in this room was only supposed to last a few hours. But we did not want for Ernest’s return to end with the moment he saw what had now become of the place, - a rather empty and morose billiard room. We therefore asked Malavoi, a Martinican band, to join us. Finally, we stirred another memory in him, one of a particularly skilled black dancer who Ernest had hired to liven up the dance evenings which used to attract the whole of Paris. He was called Félix Ardinet, but we nicknamed him Bam-Bam after a tune that Ernest played for him and that touched the hearts of the whole audience.
Ernest
That bloke was so successful at what he was doing, but you just had to see the bloke, how he arched his back, bent over his whole body, and then, how he held his body with his cane in his hand, just like that. Everyone went Bam-Bam, Bam-Bam!
(Music)
Ernest
50 years later, I never thought I’d find a bloke anything like little Félix Ardinet, Bam-Bam, who could do what he did. And that boy is young, and who taught him to perform exactly like Felix? I don’t know!
(Music)