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 Before the city overgrew its flimsy palisade walls, and closing in about this old stamping-ground gave it set bounds, it was known as Congo Plains. There was wide room for much field sport, and the Indian villagers of the town's outskirts and the lower class of white Creoles made it the ground of their wild ball game of raquette. Sunday afternoons were the time for it. Hence, beside these diversions there was, notably, another.

The hour was the slave's term of momentary liberty, and his simple, savage, musical and superstitious nature dedicated it to amatory song and dance tinctured with his rude notions of supernatural influences.

The booming of African drums and blast of huge wooden horns called to the gathering. It was these notes of invitation, reaching beyond those of other outlandish instruments, that caught the Ethiopian ear, put alacrity into the dark foot, and brought their owners, male and female, trooping from all quarters. The drums were very long, hollowed, often from a single piece of wood, open at one end and having a sheep or goat skin stretched across the other. One was large, the other much smaller. The tight skin heads were not held up to be struck; the drums were laid along on the turf and the drummers be strode them, and beat them on the head madly with fingers, fists, and feet,—with slow vehemence on the great drum, and fiercely and rapidly on the small one. Sometimes an extra per former sat on the ground behind the larger drum, at its open end, and "beat upon the wooden sides of it with two sticks." The smaller drum was often made from a joint or two of very large bamboo, in the West Indies where such could be got, and this is said to be the origin of its name; for it was called the Bamboula.