colonial exhibition in 1931. Early stars like Alexandre Stellio and Sam Castandet became popular in Paris. Between the 1930s and 1950s, the dance biguine was popular among the islands' dance orchestras. Its popularity abroad died relatively quickly, but it lasted as a major force in popular music in Martinique and Guadeloupe until Haitian Cadence and Compas music took over in the 1950s. In the later part of the 20th century, biguine musicians like clarinet virtuoso Michel Godzom helped revolutionize the genre. Evolution of biguine The signature sound of the biguine is the interplay between the clarinet and trombone, both solo and as a duet, which can still be heard today throughout Antilles music, from the most traditional forms like cadence or the pop sounds of today's zouk. Biguine vidé Biguine vidé is an up tempo version of the biguine rhythm (tambour and tibwa), combining other carnival elements. It is a form of participatory music from Guadeloupe and Martinique, with the bandleader singing a verse and the audience responding. Modern instrumentation includes a variety of improvised drums made from containers of all kinds, plastic plumbing, bells, tanbou débonda, chacha bèlè, tibwa and bèlè drums. The fast pace of the carnival-associated biguine provided the rhythmic basis for zouk béton ("hard" zouk), which is reserved for individual jump up. See also Beguine (dance) Culture of Martinique Music of Martinique References 20th-century music genres Martinican music Guadeloupean music French styles of music Caribbean music genres Polka derivatives