She lives on the Tombigbee, I wish I had her wid me. Now I'm a good big nigger, I reckon I won't git bigger, But I'd like to see my mammy, Who lives in Alabamy. The negro's natural impulse for dancing seems to have found its outlet in the 'shout,' as far as the Atlantic seaboard states are concerned at least, for the Christian sects promptly stamped out the dances which were connected with primitive superstition. In Louisiana, however, the negro came in contact with a very different sort of people, the Spanish and French settlers--southern races of a more sensuous turn than the Anglo-Saxon. The musical result was the superposition of Spanish and French melody over negro rhythms--the two ingredients of the Creole folk-songs, which are to a large extent dance songs. The warlike and lascivious dances of the African took on a more civilized form under the influence of Spanish and French culture, though they are said in some cases to have remained licentious enough. But the product has been highly influential musically. Thus the fascinating Habañera, the familiar rhythm of many a Spanish melody, is, according to Albert Friedenthal,[75] of negro origin. As its name indicates, Havana was its home and from there it spread to all Spanish and Portuguese America, the West Indies, Central and South America. 'Extended and complicated rhythms are known only where the negroes are to be found,' says our investigator. Mr. Krehbiel quotes a creole song from Martinique, built upon the Habañera rhythm, entitled _Tant sirop est doux_, and speaks of Afro-American songs in which the characteristic rhythm is so persistently used as to suggest that they were influenced by a subconscious memory of the old dance. Other dances of negro origin, mentioned by writers on the Antilles, are the Bamboula, Bouèné, Counjai, Kalinda, Bélé, Bengume, Babouille, Cata, and Guiouba. The term 'juba' applied to the plucking accompaniments of negro dance-songs in minstrel shows may be a derivative of the last.