Despite its current popularity, Cajun   music has evolved through some lean   years. Around the turn of the century   Cajun was a predominently fiddle   based music played at house dances   (bals de maison) and fais-do-dos   (named for the seperate room where   children could be rocked to sleep).   In   the early 1900's, the diatonic accordian   was adopted and by the thirties the   music began to move   out of homes   and into dance halls and bars.

  Traditional Cajun music suffered its   first major blow at this time, when   popular swing and country styles heard   on the radio supplanted the older   styles. The accordian was abandoned   in favor of electric and steel guitars. In   the late forties accordian-based music   enjoyed a brief renaissance, spurred by   Cajun hero Iry Lejeune. The boom was   short-lived, however, as the banning of   French in public schools, the oil boom,   and improved roads and   communication


  began to take a toll on traditional   Cajun folkways. By the Eisenhower era   "Cajun" had become a mainly   deprecatory term and the music, like   the Cajun-French languge, was   shunned by socially conscious Cajuns   and non-Cajuns alike. The flowering of   Cajuns music since the sixties can be   attributes to many influences:   folklorists who brought artists like   Dewey Balfa before a national   audience, stubbornly indepedent Cajun   record men, the Council on   Development of French in Louisiana,   and the musicians who never gave up.

 Due to the efforts of these people, the   music can now be heard in a wide   variety of styles and venues. Whether it   is fiddle and squeeze-box waltz,   pounding piano-accordian rock, or   pedal-steel swing, Cajun music is still   dance music made by working people   who play as hard as they labor.

Cajun Country
(somewhere in Southwest



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Cajun Music


Louisiana Cajuns
Justin Wilson
The Cajun Band
D.L. Menard

Taken from:
"Cajun Country Guide"
Macon Fry and Julie Posner