is accompanied by an erotic dance that involves no physical touching. The dance was so racy that the government and the Roman Catholic Church sought to end the practice. The seú was performed during the harvest festival during traditional times, but is now continued during annual parades in the city of Willemstad. Formerly the seú was a march through the fields, during which the workers brought the crops to the warehouses, the men playing drums, kachu and chapi, while the women carried produce on their heads. It was accompanied by a dance called wapa, which gracefully re-enacted the movements associated with planting and harvesting, often including work songs in Guene, the old slave language. As traditional agriculture began dying out with modern industrialization, the seú too began to fade away. The Curaçao Department of Culture now organizes an annual parade in Willemstad on Easter Monday, which sees as many as 2500 people or more participate. Modern music on Curaçao The indigenous Papiamento (Papiamento Song) record industry emerged after the 1950s. Three men were instrumental in this renaissance: Jules de Palm, Rene de Rooy and Pierre Lauffer. They published under the pseudonym Julio Perennal, including a cancionero and a manifesto that called for more Papiamento songs to be written. Many did so, recording throughout the '50s in a mixture of styles, including Cuban and Dominican genres including son montuno, bolero, pambiche, merengue and guaracha. Nowadays the Tumba is especially popular particularly in the Carnival period. Also Ritmo Kombina (literally meaning "combined rhythm") is a combination of different types of music. It is very popular among the young crowd in Curaçao and is played throughout the year. Notes References Further reading Jong, Nanette de. “An Anatomy of Creolization: Curaçao and the Antillean Waltz”. Latin American Music Review, Volume 24, Number 2, Fall/Winter. 2003, pp. 233–251. Lesser Antillean music