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Canadian Folk Song Revival: Beginnings to Boom

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Canadian Folk Song Revival: Beginnings to Boom Canadian Folk Song Revival: Beginnings to Boom It is now time to explore the origins, early develop- patriotism and interest in the island’s pioneer days ment and first three post-war decades of the Canadian that would be characteristic of the work of Gerard Folk Music Revival to the end of the 1960s. The ori- Doyle.7 Before then, however, James Murphy had gins of folk music collecting in Canada are not well already begun collecting and printing Newfoundland researched, so the beginnings of the vernacular song vernacular songs in such publications as his 1902 revival are, to say the least, somewhat murky. We Songs and Ballads of Newfoundland: Ancient and can detect a few strands before the First World War, Modern,8 his 1904 Songs of Our Land 9and his 1905 but it is anyone’s guess how representative they are Murphy’s Sealers’ Song Book.10 Murphy continued of what was really taking place. Nonetheless, we with his compiling and publishing activities in the begin with the history of entrepreneurial and scholar- years before the outbreak of war, bringing out Old ly involvement with Canadian traditional music be- Songs of Newfoundland in 191211 and following this fore World War II. up with Songs of Newfoundland by Various Authors Curiously, the earliest known attempt to collect five years later.12 As for British Columbia, folklorists vernacular music in Canada was in the Arctic. Lieu- seemed only interested in the musical culture of the tenant George Back was on an early Franklin expedi- Native peoples of the northern north-west coast. John tion to the Canadian North, and he recorded melodies Swanton’s “Haida Songs”13 suggests this, as does that he heard there, presumably from aboriginal peo- Helen Roberts’ and H. K. Haeberlin’s “Some Songs ple encountered by the expedition. He published Ca- of the Puget Sound Salish.”14 nadian Airs, collected by Lieutenant Back, R.N. dur- Moving on to the interwar era, much of the col- ing the late Arctic Expedition under Captain Franklin lecting activity was again occurring in Newfound- in London in 1823.1 This initiative, however, appears land. Gerald Doyle,15 Elisabeth Greenleaf,16 Maud to have no sequel, and it was in Quebec that the seri- Karpeles17 and Joey Smallwood18 were the main pro- ous business of song-collecting really began. In the tagonists, in approximately chronological order. We earlier section on francophone song we have already have already discussed their contributions in the ear- noted the foundational contributions of Ernest Ga- lier Newfoundland section. Newfoundland was not gnon. His six-part Chansons populaires du Canada yet part of Canada at that time, but in the Dominion was published in 1865.2 The fact that this was re- of Canada other important foundations were laid dur- printed in 1880 suggests that there was already a ing the interwar decades, with John Murray Gibbon growing interest in Canadian folksong in the Late and Marius Barbeau among the key figures. Gibbon Victorian era, as W.C.H. Wood’s 1896 article in edited Canadian Folk Songs, Old and New in 192719 Transactions of the Royal Society of Canada con- and, with composer Sir Ernest MacMillan, a collec- firms.3 tion of French-Canadian songs. 20 He was also re- In the United Kingdom the Edwardian era was sponsible for organizing festivals for the Canadian the heyday of folksong collecting, featuring the ex- Pacific Railway that involved some folk music along traordinary industry of Cecil Sharp, Ralph Vaughan with handicrafts and performances of art music. The Williams, Percy Grainger and the Hammond brothers articles on him and on the CPR Festivals in the Ency- (to name just a few), complementing the achieve- clopedia of Canadian Music provide a brief introduc- ments of such earlier pioneer collectors as Lucy tion to his activities.21 Maud Karpeles was a pioneer Broadwood, Frank Kidson and Sabine Baring-Gould. collector in Ontario, contributing “British Folk Songs So we might expect some parallel collecting activity from Canada.”22 We should also remember that folk in Canada, but it seems likely that this was occurring song collecting in the Maritimes was well underway only in a limited way, in Quebec, Nova Scotia, New- in the 1920s, with William Roy Mackenzie’s The foundland and British Columbia. Quest of the Ballad published in 191923 and his Bal- For Quebec we have Paul-Emile Provost’s Chan- lads and Sea Songs from Nova Scotia in 1928,24 sons canadiennes4 and Julien Tiersot’s Forty-Four while Helen Creighton’s first book of songs that she French Folksongs and Variants from Canada, Nor- had collected, Songs and Ballads from Nova Scotia, mandy, and Brittany.5 was published in Toronto in 193225. In Nova Scotia the focus was on the Gaelic cul- Marius Barbeau, of course, we have also met be- tural heritage of Cape Breton, with Alexander Fra- fore, as the dean of Quebec song collectors. Suffice it ser’s “The Gaelic Folk Songs of Canada.”6 In New- to point out here that Barbeau’s many contributions foundland a 1906 article in the St. John’s Evening to the discovery and revival of vernacular song in Telegram titled “Songs of Our Ancestors/Old Come- Canada began as early as World War I, with his first All-Ye’s of Newfoundland” revealed that mixture of scholarly article on “Folk Songs” in 1918.26 To come 26 to terms with Barbeau one has to take into account The other critically important development in the three main aspects of his work: his collecting and late 1940s and 1950s was the emergence of home- editing of Quebecois folk song; his ethnographical grown folk groups and individual artists. This trans- research into aboriginal culture and collecting of Na- formed the nature of the folk music revival, resulting tive song; and his substantial efforts, which went way in the emergence of contemporary folksong as a beyond his duties at the National Museum, to pro- complement to traditional song. The most influential mote the folk music and folk arts of many regions of of these artists were the Travellers, Wade Hemsworth Canada, including, of course, francophone song. Dur- and Alan Mills in central Canada, and Omar Blon- ing the interwar period his most important publica- dahl in Newfoundland. We can briefly canvass their tions included Chansons of Old French Canada contributions to the nascent movement in the early (published in 1920),27followed by a similar collection post-war years. intended for a francophone audience, Vieilles chan- It is a great pity that the National Film Board has sons françaises du Canada.28 His next edited selec- failed to make available on DVD their excellent ret- tion, Folk Songs of French Canada, was a collabora- rospective video-cassette The Travellers: This Land tion with Edward Sapir.29 1927 saw the publication is Your Land,46 but the group did receive an article in of Twelve Ancient French-Canadian Folk Songs.30 The Encyclopedia of Music in Canada.47 Wade Barbeau then edited with composer Healey Willan a Hemsworth’s legacy as a singer-songwriter can be larger, two-volume selection titled Chansons canadi- approached through an Encyclopedia of Music in ennes (French-Canadian Folk Songs).31 In 1935 he Canada article48 and the obituary pieces by his son published Folk-songs of Old Quebec, which he edited and Lorne Brown in Canadian Folk Music.49 Alan with Regina Shoolman,32 and two years later he Mills was certainly a major figure in the early reviv- found a Toronto publisher for his celebrated Roman- al, and an exploration of his career and contributions cero du Canada,.33 For more details, see the earlier can begin with the Encyclopedia of Music in Canada section on francophone song in Quebec and Ontario. piece on him,50 together with Edith Fowke’s memoir Barbeau, incidentally, also played an important role in Canadian Folk Music.51 We badly need the biog- as an impresario, an activity discussed by Elaine raphy that Lorne Brown is currently researching and Keillor in “Marius Barbeau and Musical Performers” writing. As for Omar Blondahl, Neil Rosenberg’s in the 2004 issue of Canadian Journal for Tradition- article in Canadian Folk Music Journal52 supple- al Music.34 ments the brief biography in the Encyclopedia of Mu- The decade and a half after the Second World sic in Canada.53 War saw two important developments. One was an The post-war revival really took off in the mid- expansion of song collecting, particularly on behalf late 1950s, with Hemsworth and Mills continuing to of the National Museum of Canada, with the use of play important roles. Radio shows on CBC were par- new recording technology, the portable tape recorder. ticularly important in this era. Other pioneers includ- Helen Creighton was perhaps the most promi- ed Hélène Baillargeon, Oscar Brand, Jean Carignan, nent Canadian collector to enthusiastically embrace Tom Kines, Karen James, Derek Lamb, Jacques Le- the tape recorder as an invaluable aid in fieldwork, brecque, Ed McCurdy, and Joyce Sullivan. Encyclo- although the songs in her 1950 book Traditional pedia of Music in Canada articles are available on Songs from Nova Scotia had been collected by hand Baillargeon, Carignan, Labrecque and McCurdy.54 in tandem with Doreen Senior.35 Working for Bar- These were all leading figures as early as the early- beau and the National Museum, she edited Folklore mid ‘50s; others, such as Brand, Kines, James and of Luneburg County, Nova Scotia, which included her Lamb, began their careers in the late ‘50s but had own chapter on “Dances, Games, and Songs.”36 An- more of an impact on the folk scene in the subsequent other important article was “The Songs of Nathan decade.
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