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Raising the Bar: The Reciprocal Roles and Deviant Distinctions of Music and Alcohol in Acadiana by © Marion MacLeod A dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Ethnomusicology Memorial University of Newfoundland June, 2013 St. John 's, Newfoundland ABSTRACT The role of alcohol in musical settings is regularly relegated to that of incidental by­ stander, but its pervasive presence as object, symbol or subject matter in Acadian and Cajun performance contexts highlights its constructive capacity in the formation of Acadian and Cajun musical worlds. Individual and collective attitudes towards alcohol consumption implicate a wide number of cultural domains which, in this work, include religious display, linguistic development, respect for social conventions, and the historically-situated construction of identities. This research uses alcohol as an interpretive lens for ethnomusicological understanding and, in so doing, questions the binaries of marginal and mainstream, normal and deviant, sacred and profane, traditional and contemporary, sober and inebriated. Attitudes towards alcohol are informed by, and reflected in, all ofthese cultural conflicts, highlighting how agitated such categorizations can be in lived culture. Throughout the dissertation, I combine the historical examples of HatTy Choates and Cy aMateur with ethnographic examinations of culturally-distinct perfonnative habits, attitudes toward Catholicism, and compositional qualities. Compiling often incongruous combinations of discursive descriptions and enacted displays, my research suggests that opposition actually confirms interdependence. Central to this study is an assertion that levels of cultural competence in Cajun Louisiana and Acadian Nova Scotia are uneven and that the repercussions of this unevenness are musically and behaviourally demonstrated. Rather than challenging binaries outright, I highlight a Cajun and Acadian comfort with ironic, indirect communication to prove that there is more interpretive space than binaries alone allow. ii The capacity for each participant to engage with a musical moment and/or with another participant depends on each participant's availability, and availability is determined by factors that range from the highly personal to the meta-social. The presented musical occasions provide interpretive room for multiple simultaneous communities of meaning­ makers and perf01mers' intentions are sent, received, and responded to in widely divergent ways. Music, alcohol, and indirection-particularly in combination­ demonstrate the affective potential of social criticism to alter musical meaning, but more than this they outline points of cultural intersection. Certainly, alcohol-affected musical environments are an expression of culture insofar as their patterns are learned, culturally affected, and can operate according to autonomous sets of relations. But ultimately this research proves that alcohol' s musical influence is simultaneously govemed by highly individualized preferences, motivations and effects. Drinking is essentially a social act, but the fact that the act is performed in a recognized social context does not demand that all pmticipants have an equal relationship towards it or a single view as to its capacities. iii DEDICATION I dedicate this work to the mem01y of my grandmother, Marion MacLellan, who showed me there are many valuable things to learn from fun . And to my Mom, my Dad, and my brothers, who are unrivalled in the ways they both provide and alleviate. They' re fun, too. iv ACKNOWLEDGEMENTS I would like to express my appreciation to my supervisory committee: Drs. Beverley Diamond, Kati Szego and Holly Everett for their academic attention, insight and support. More importantly, I thank them for their generous, kind, and nmturing spirits. Thanks to Memorial University' s Centre of Music, Media, and Place, The School of Music St. John' s as a whole, and all of the life-enhancing people 1 met there. I intend to keep all of you very close. I wish to acknowledge the financial support of both the School of Graduate Studies at Memorial University of Newfoundland and the Social Sciences and Humanities Research Council of Canada (SSHRCC). And cettainly I thank and toast all of the people in Church Point, Cheticamp, and Lafayette who shared their music, their lives and their stories with me. There's not much of a dissertation without you. May the best you've ever seen be the worst you' ll ever see. v Table of Contents Abstract. .................................. ........................ ...... .......... ...... ..... .. ..... ... i i Dedication .. .. ... ..... .. ... ... ..... .... ... ..... .... .... .. ........... ... .. ......... .... ...... ...... ..... iv Acknowledgements .. ... ......... ... ... ... ... ................ ... ..... ... ... ........ ... ............ .... v Table of Contents .. ..... ........ ........ ..... ..... ..... ................ ........ .... ... ... ........ .. .. vi List of Figures ............. .......... ... ..... .. ....... ...... .. ... .... ................................ vii List of Appendices ...... ..... ..... ... ... ...... .. ..... ........ .. ...... .................. ......... .... viii Chapter One Introduction and Background ........ .. ........ .... ... .. ..... ........... .... ......... ................ 1 Chapter Two Depictions of Deviance: Cy a Mateur and Harry Choates ..... .. ..... .... ...... ....... .... ..... 60 Chapter Three A Drink and a Song: Expressing Acadian and Cajun Ideology Through Lytic and Language .... .. ... .......... ......... ...... ... ... ... .............. ...... ..... ......... ............... 106 Chapter Four Sacrilege as Sacrament: Cultural Catholicism in Acadian and Cajun Music ..... ... ... .. 159 Chapter Five Irony and Interpretive Risk-Taking .................. ......... .. ........... ...... ............. ... 223 Chapter Six Conclusion, Findings and Future Research ... ... ........... ..... ... ..... .......... ...... ...... 287 Works Cited ..... .... .. .... .. .... ... .... .... ............. .... .. ..... .. ..... .......................... 3 11 Appendices ......... ........... .... ................ .... ....... .. ........ ... .... .... ...... .. ....... ...332 vi List of Figures Figure 2.1 Choates' "Eh ha haa" .............................. ........................ ............... .. ... ....... .. .. ...76 Figure 2.2 Choates' ''Jole Blond''.. ..... ... .................. ....... .... ............ .... ... .... .. ... .... ... .. .... ....... 82 Figure 2.3 Breaux Freres' "Ma Blond Est Parti" ...... ..... ................... ...... .. .... ... .... ..... ....... ..8 4 Figure 5. 1 McGee /Courv ille "Valse des Vachers" excerpt one .. .... .. .. .. .. .. .... ........ ...... .... 269 Figure 5.2 Savoy/Doucet "Valse des Vachers" excerpt one .. ........................ ...... ............ 271 Figure 5.3 Savoy/Doucet Live at the Dance "Valse des Vachers" excerpt two .... .. .... .. .. .279 Figure 5.4 Savoy/Doucet Live at the Dance "Valse des Yachers" excerpt three ............ .28 1 vii List of Appendices 1.1 Acadia 1754. .......................... ......... ........................... .................... .......... .. ................. 332 1.2 Dep01tation and Flight 1755-1785 .................... ............................ .. ........ ................... 333 1.3 Resettlement 1758-1785 ............................................................................................. 334 1.4 Regions Studied: Acadian Nova Scotia...... ........................................... ..................... 335 1.5 Regions Studied: Acadian Parishes ofLouisiana...................... ........ .. ....................... 336 2.1 Lyrics: "Mon Nom C'est Cy a Mateur" ........... .. .............. .......................................... 337 3.1 Music and Lyrics: "Un 1vrogne a Table" ................ ................................................... 338 3.2 Lyrics: " Un Acadien Errant" ...................................................................................... 339 3.3 Music and Lyrics: "Quatre Enfants" .......... ........................................... ..................... 340 3.4 Lyrics: " Pine Grove Blues" ......................................................... ...... .................... ..... 341 viii Chapter One Introduction & Background "All my musical heroes were lousy drunks" (Steve Reilly, personal communication, October, 201 0) Mark Falgout owns and operates the Blue Moon Saloon in Lafayette, Louisiana. He is a proud Cajun and is manied to an equally proud Acadian from Church Point, Nova Scotia. They are raising their young children with keen attention to music, language, the sociability of culture in general, and they speak of how the shared attributes of Acadian and Cajun culture are as common as the behaviours that distinguish one group from the other. "We go to Nova Scotia to visit her fa mily," says Mark, and "Canadians keep all their drinkers in a pen away from their kids" (Falgout, personal communication, September 2011 ). Liquor laws at most Canadian music festivals would demand exactly that. But as a counter-example, the owners of The Blue Moon, one of the most popular live music venues in Lafayette, tell the story of their son being in their bar during an early aftemoon sound check when the bar is closed to patrons. According to the story they tell, he doesn't mi ss much. Later, at home, the little boy imitates the band members
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