iana strong Yoruba and Kongo ethnic influence in music as noted in the page.....to pinpoint that it was much more likely that Morton became familiar with the concept in New Orleans than the other explanation. the other explanation is more of a reach. Slavers in both French and Spanish louisian were the same ones/family as the ones in Cuba and St. Domingue. They were transporting Africans from the same places. Free Blacks from those places were moving back and forth also.
I'm more than happy to let @IllmaticDelta continue to school you, but this is just patently false on so many levels. The slave trade to French Louisiana was for the most part not modeled after and connected at all to the slave trade to french caribbean islands like St. Domingue. In fact trade in general between Louisiana and the Caribbean was highly restricted as to not allow the poor louisiana colony to be economically muscled out by the wealthy caribbean colonies, and slaves from the french caribbean were EXPLICITLY BANNED from entering louisiana due to their "bad nature"(something you can, as a caribbean, take pride in instead of trying to leech off my people's cultural achievements), and louisiana slave traders were ordered to obtain slaves directly from Africa.
Most slaves in French Louisiana, two thirds, came form Senegambia due to the slave trade being managed by the Senegal concessions, while most slaves in St. Domingue came from Kongo/Angola and Dahomey. The system of slavery in French louisiana was actually modeled off of the success of the British colonies and Carolinas and Geogia with it's rich cultivation, which also had a disproportionate representation of Senegambian slaves. And lets not even talk about the spanish period when they actually were actually inviting settlers and their slaves from the newly formed independent US to live in Louisiana and help develop the land particularly in Pointee Coupe. Much more slaves would've came from what was then the US than from fukking Cuba. And your entire argument can be put to bed by the fact that the domestic slave trade within the US(which by this time included Louisiana) was many times larger than the atlantic slave trade from outside the US(by and large directly from Africa, not the Caribbean), and Louisiana, and then later Texas was the center point for arrival of these slaves from VA, Carolinas, GA, Tenn. etc etc
So. at you thinking AAs in Louisiana would have more "cultural exchange" with some damn Cuba or Haiti than with AAs from other states in the US, including mississippi from which New Orleans is right across the Mississippi river from(you could literally walk across the bridge between the two), which also contains the habenera/Hambone/Bo diddley rhythm and polyrhythmic cross rhythms in it's hill country fife and drum music, which you keep trying to assert comes from cuba. So, even if it didn't come to New Orleans directly from Africa, then wouldn't the next most obvious explanation be that it came from other fellow AAs from the Carolinas, Georgia or Mississippi(Ya know the next state over) etc etc? Yet here you are trying to draw some way out there connection with Cuba for some reason(I think we all know why).
FYI.....You do know Texas/Tejas was a Spanish colony(later part of Hispanic Mexico) for far longer than Lousiana was right. How come you aren't saying that Scott Joplin's(who's from Texas) "Spanish Tinge" is from Mexico instead of Cuba, especially when he himself drew the association with Mexico? You just can't accept the fact AA musical and other cultural heritage has nada to due with the Caribbean and that the flow of influence is by and large from us to you.
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