Lapo Kabwit

Lapo Kabwit—also spelt lapo kabrit, lapo kabwit, or lapokabwit, is a cornerstone of Dominica’s traditional Carnival music. Meaning “goat skin drum” in Kwéyòl, the term refers not just to the instrument but to a broader ensemble and performance style that embodies ancestral rhythms, community expression, and cultural resilience.

Historical Origins and Cultural Identity of Lapo Kabwit

Lapo Kabwit traces its origins to West African drumming traditions, carried to Dominica through the transatlantic slave trade. Over generations, it evolved into a uniquely Dominican art form that blends African percussive elements with French colonial influences. By the late 19th and early 20th centuries, it had become a central feature of rural and urban Carnival celebrations, particularly in villages such as Grand Bay, Newtown, and areas within the Kalinago Territory.

The music is traditionally performed during Carnival, religious feasts, or community celebrations. It often serves as the rhythmic backdrop for chanté mas, a style of masquerade song with deep cultural roots. Through this, Lapo Kabwit functions not only as music but also as oral storytelling, resistance, and social commentary.

Instruments and Ensemble Structure

The Lapo Kabwit ensemble is dominated by the goat-skin drum, known locally as the Tambour Bélé or lapo kabwit drum. These hand-made drums produce warm, raw tones that are central to the music’s hypnotic rhythm.

The ensemble often includes:

• Chak chak (shakers)
• Tambourines
• Cowbells
• Triangles
• Conch shells (used for signalling and tonal variation)

A traditional Lapo Kabwit performance features a lead vocalist known as the chantwèl, often female, who engages the audience in call-and-response singing. Supporting vocals come from the lavwa (chorus), whose harmonies add texture and energy to the performance.

Role in Carnival and Community Celebrations

Lapo Kabwit remains essential during Jouvert, the pre-dawn street party that opens Dominica’s Carnival. Bands march through the streets, drumming and chanting, energising revellers in rhythmic unity. The style is also featured during street theatre, cultural competitions, and independent village fêtes throughout the year.

The music has also been used as a tool of community mobilisation, highlighting political, economic, or social grievances through performance. In recent decades, Lapo Kabwit has become a symbol of cultural identity and pride, often taught in schools and performed at national festivals, such as the World Creole Music Festival and Independence celebrations.

Modern Influence and Legacy

Though Dominica’s musical landscape has expanded to include genres like calypso, reggae, and bouyon, Lapo Kabwit has maintained a strong presence. Its rhythms deeply influenced the creation of bouyon music, especially through pioneering bands such as Windward Caribbean Kulture (WCK), who fused traditional drumming with modern instrumentation.

Today, Lapo Kabwit remains a vibrant part of Dominica’s cultural identity. It serves not only as entertainment but as education, activism, and heritage preservation. Its continued practice ensures that younger generations remain connected to their roots, even as musical styles evolve.