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Although black fiddle music didn't disappear entirely after 1900, it indisputably diminished, especially relative to earlier years, when black violinists dominated music-making within their own communities-and held considerable sway among whites as well. While Bert Strong may have been a bit hard on twentieth-century fiddling, his disdain is understandable nevertheless. They had fiddles but they warn't like these things they have now. Of the weekly entertainments on Cavin's 400-acre farm, he recalled, “My old Master give the chil'ren a candy pulling every Saturday night and had them wrestling and knocking each other about. Over a half century later, Strong dictated his memoirs to an interviewer for the Depression-era WPA ex-slave narratives project. Entering life over a year after the Emancipation Proclamation (January 1, 1863), and only a year before Juneteenth (June 19, 1865, the day Federal troops finally arrived in Galveston to enforce that directive in Texas), Bert, like many of Cavin's thirty-odd slaves, remained with his “old Master” for ten years after freedom, maintaining Cavin's plantation in conditions for the most part unchanged by Lincoln's Proclamation, the Federal Occupation, or the 13th Amendment. “The fiddles we had then made music,” boasted Bert Strong, born July 1864 near the Louisiana line in Harrison County, Texas, the slave of Dave Cavin. West African Fiddles in Deep East Texas 1

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