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Hearts and Voices: Cultural Selection and Historical Revival in Miramichi, New Brunswick, 1950- 1970." (2009-2010)

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Hearts and Voices: Cultural Selection and Historical Revival in Miramichi, New Brunswick, 1950- 1970. Hearts and Voices: Cultural Selection and Historical Revival in Miramichi, New Brunswick, 1950 - 1970 by Jared Lutes B.A. (Honours History), Atlantic Baptist University, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate Academic Unit of History Supervisor: Greg Marquis, Ph.D, History Examining Board: David Creelman, Ph.D, English William Parenteau, Ph.D, History Sean Kennedy, Ph.D, History This Thesis is accepted by the Dean of Graduate Studies THE UNIVERSITY OF NEW BRUNSWICK September, 2010 © Jared J. Lutes, 2010 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-87606-0 Our file Notre reference ISBN: 978-0-494-87606-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgments At the risk of sounding cliche (which is itself a cliche), this project survived only with the support of others. My supervisor, Dr. Greg Marquis, has gone above and beyond his required responsibilities, making himself available at all hours, always offering relevant and kindly advice, and by responding promptly to my ill-timed questions, despite busy academic and music schedules of his own. Also, thanks to my partner-in-life and best friend, Marie-Josee, who has, during the last year and a half, often taken upon her shoulders many of my family duties during my bouts of isolated travelling and writing. She has also many times actively engaged my topic in conversation, which has often helped me to avoid a few cognitive dead ends. I also have to thank the archivists at the PANB, who were always agreeable, especially while I requested that same case multiple times. Finally, I am very thankful to the University of New Brunswick, which financed much of my studies and research. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract By the 1950s, despite academic advances, folk music collection and promotion remained with amateurs interested in local heritage. Amateur historian and folklorist Louise Manny garnered enough authority in New Brunswick's Miramichi region to present an image of the local folk as firmly rooted in the late nineteenth century lumbering culture from which her upper-class family had profited. The Miramichi Folksong Festival captured a selective tradition situated in a simpler era, ignoring the realities of industrialization, modernization, and urbanization. It was the first and longest running of its kind in Canada. Similar to Helen Creighton in Nova Scotia, Manny's efforts presented a nostalgic respite for a community challenged by economic boom and bust cycles. In contrast to the socially and culturally revolutionary tone of the 1960s, with its popular folk music boom, Manny's largely amateur event was a rare example of a folk festival intended chiefly for celebrating the local community. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Contents Acknowledgments ii Abstract iii Introduction v Chapter I: Folklore Historiography andProfessionalization in North America 1 Chapter II: The Complementary Multiplicity of the Folk Revival, 1958-1968 33 Chapter III: The Miramichi Context and the Early Folklore Career of Louise Manny ... 60 Chapter IV: Tradition, Solidarity, and the Miramichi Folksong Festival 99 Conclusion 147 Bibliography 154 Curriculum Vitae Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Introduction Introduction The more their perspective on the past is distorted by myth and stereotype, the less able they are to cope intelligently with the streams of decisions and judgements which a complex society sends their way.1 -E.R. Forbes How have traditional images, especially that of the bygone lumberman, persisted and thrived for English New Brunswick? Regional historian E.R. Forbes points out that "myths become popular when they serve the purposes of those transmitting and/or receiving them".2 In the case of New Brunswick, one of those popular transmitters was amateur folklorist Louise Manny, herself a cultural icon. Her various public history ventures and association with benefactor Lord Beaverbrook rendered her a local cultural authority on the Miramichi region. Manny, like her Nova Scotia folklorist counterpart and friend, Helen Creighton, set about to preserve a selective traditional-historical heritage version of her community, and in so doing attempted to freeze-frame a fading (but dynamic) musical oral tradition that had supposedly existed in the late nineteenth century. During their quests, however, these cultural enthusiasts inevitably selected the material most in keeping with their personal worldviews, and the entire process had the added effect of preventing extraneous ideological incursion. The result has been a regional internalization of the constructed and anti-modernist concept of what cultural historian 1 E.R. Forbes, Challenging the Regional Stereotype (Fredericton: Acadiensis Press, 1989), 12. 2 Ibid, 9. VI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Introduction Ian McKay defines as the Folk. In other words, like Forbes' "myths", Louise Manny's selected folk songs "persist because they are useful" in that respect.3 In his essay, "The Marketing of Tradition", folklorist Terry Brewer suggests that to successfully 'market' their ideologies (e.g. social justice, representation, continuity, profit) through a medium such as a folk festival, an authority such as Manny would stand to benefit by appropriating what McKay's calls the 'folk' and their symbols. Brewer claims, "Traditional practitioners may be stereotyped as illiterate, backward, 'simple folk', or romanticized as pre-industrial artisans or minstrels. As such, they are 'nonprofessional' in popular understanding."4 In the case of the Miramichi Folksong Festival, local working-class people such as Wilmot MacDonald and Nick Underhill were 'discovered', recorded, aggrandized, and placed amid recreated nineteenth-century lumbering scenery before an eager audience. Manny, an immediate descendant of the local lumbering middle-class, wielded enough authority to be able to select singers and songs most in keeping with her own desire for a communal solidarity based on her sense of traditional-historical heritage in her Miramichi. The historical framework of cultural production, or the 'invention of tradition' schema, as applied to the Maritimes has been a hot topic within academia since McKay began discussing the subject in the early 1990s. McKay argued that cultural producers in Nova Scotia privileged a Scottish/fisherfolk past by bringing those themes to the forefront of cultural expression, especially through the songs collected by folklorists 3 Ibid, 7. Ian McKay, The Quest of the Folk: Antimodernism and Cultural Selection in Twentieth-Century Nova Scotia (Montreal: McGill-Queen's University Press, 1994). 4 Terry Brewer, The Marketing of Tradition: Perspectives on Folklore, Tourism and the Heritage Industry (Enfield Lock: Hisarlik, 1994),55. vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Introduction Helen Creighton. Although McKay's case study focuses on Nova Scotia cultural producers, the insights provided within The Quest of the Folk can drawn upon to make a case for a similar process of cultural production occurring at Louise Manny's popular folk festival.5 This thesis examines Louise Manny's work with local folk songs and their singers as an example
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