Redrawing Identity Lines in a Community Experiencing Language Shift Marguerite L
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Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood
et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers. -
Acadiens and Cajuns.Indb
canadiana oenipontana 9 Ursula Mathis-Moser, Günter Bischof (dirs.) Acadians and Cajuns. The Politics and Culture of French Minorities in North America Acadiens et Cajuns. Politique et culture de minorités francophones en Amérique du Nord innsbruck university press SERIES canadiana oenipontana 9 iup • innsbruck university press © innsbruck university press, 2009 Universität Innsbruck, Vizerektorat für Forschung 1. Auflage Alle Rechte vorbehalten. Umschlag: Gregor Sailer Umschlagmotiv: Herménégilde Chiasson, “Evangeline Beach, an American Tragedy, peinture no. 3“ Satz: Palli & Palli OEG, Innsbruck Produktion: Fred Steiner, Rinn www.uibk.ac.at/iup ISBN 978-3-902571-93-9 Ursula Mathis-Moser, Günter Bischof (dirs.) Acadians and Cajuns. The Politics and Culture of French Minorities in North America Acadiens et Cajuns. Politique et culture de minorités francophones en Amérique du Nord Contents — Table des matières Introduction Avant-propos ....................................................................................................... 7 Ursula Mathis-Moser – Günter Bischof des matières Table — By Way of an Introduction En guise d’introduction ................................................................................... 23 Contents Herménégilde Chiasson Beatitudes – BéatitudeS ................................................................................................. 23 Maurice Basque, Université de Moncton Acadiens, Cadiens et Cajuns: identités communes ou distinctes? ............................ 27 History and Politics Histoire -
Acadian Music As a Cultural Symbol and Unifying Factor
L’Union Fait la Force: Acadian Music as a Cultural Symbol and Unifying Factor By Brooke Bisson A thesis submitted in partial fulfilment of the requirements for the Master of Arts in Atlantic Canada Studies at Saint Mary's University Halifax, Nova Scotia A ugust 27, 2003 I Brooke Bisson Approved By: Dr. J(Jihn Rgid Co-Supervisor Dr. Barbara LeBlanc Co-Supervisor Dr. Ma%aret Harry Reader George'S Arsenault Reader National Library Bibliothèque nationale 1^1 of Canada du Canada Acquisitions and Acquisisitons et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre référence ISBN: 0-612-85658-5 Our file Notre référence ISBN: 0-612-85658-5 The author has granted a non L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of theL'auteur conserve la propriété du copyright in this thesis. Neither thedroit d'auteur qui protège cette thèse. thesis nor substantial extracts from Niit la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou aturement reproduits sans son permission. autorisation. In compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this dissertation. -
Unpacking the Louisiana Ballad Tradition: Cajun and Creole Songs of Love, Loss and Drink on the West Texas Stage Stacey Jocoy Mo
Unpacking the Louisiana Ballad Tradition: Cajun and Creole Songs of Love, Loss and Drink on the West Texas Stage Stacey Jocoy Modern Cajun music, Creole music, and Zydeco are often grouped together at festivals and dance halls throughout Louisiana and around the world. These music styles are considered distinct by scholars and fans, yet they are all the result of related generations of Creolization; the product of the variegated host of older localized styles created and impacted by patterns of immigration beginning in the eighteenth century. General audiences, from outside the Southwestern Louisiana area, experience this music as “traditional”: seemingly a closed style, particular to the people from that region and social culture. This perception, which has been both intentionally and unintentionally fostered over generations, has worked in a culturally exclusive fashion, creating stereotypes and socio-cultural barriers to understanding. These barriers can be mitigated, however, through performative study of the music, especially that of one of its integral genres, the ballad. Although ballads are not the first genre that most listeners associate with this region, as dance music by and large reigns supreme, songs with stories primarily of love, loss, and ameliorative drink form a notable backbone throughout this repertoire. Our Cajun Ensemble, part of the World Music Ensemble at Texas Tech University, is also part of the Texas Tech Vernacular Music Center, the mission of which is: “research, teaching, and advocacy.”1 As such, we study the music of the southern Louisiana regions, effectively deconstructing it with students and audiences to better illustrate the richness of its origins. -
The Music of Louisiana: Cajuns, Creoles and Zydeco
The Music of Louisiana: Cajuns, Creoles and Zydeco Carole Poindexter-Sylvers INTRODUCTION The music and cuisine of southern Louisiana experienced a renaissance during the 1980s. Zydeco musicians and recording artists made appearances on morning talk shows, Cajun and Creole restaurants began to spring up across the nation, and celebrity chefs such Paul Prudhomme served as a catalyst for the surge in interest. What was once unknown by the majority of Americans and marginalized within the non-French speaking community in Louisiana had now become a national trend. The Acadians, originally from Acadia, Nova Scotia, were expelled from Canada and gradually became known as Cajuns. These Acadians or Cajuns proudly began teaching the lingua franca in their francophone communities as Cajun French, published children‘s books in Cajun French and school curricula in Cajun French. Courses were offered at local universities in Cajun studies and Cajun professors published scholarly works about Cajuns. Essentially, the once marginalized peasants had become legitimized. Cajuns as a people, as a culture, and as a discipline were deemed worthy of academic study stimulating even more interest. The Creoles of color (referring to light-skinned, French-speaking Negroid people born in Louisiana or the French West Indies), on the other hand, were not acknowledged to the same degree as the Cajuns for their autonomy. It would probably be safe to assume that many people outside of the state of Louisiana do not know that there is a difference between Cajuns and Creoles – that they are a homogeneous ethnic or cultural group. Creoles of color and Louisiana Afro-Francophones have been lumped together with African American culture and folkways or southern folk culture. -
2012-11-November-December
Industry Briefs Board of Directors INSIDE: AdvoCare V100™ Independence Bowl kickoff is 1 p.m., Friday, De- Luke Turner, Jim Johnson, Ray Ferland, Social Media 201 cember 28. It will be televised nationally on ESPN. “As the 2012 AdvoCare Chairman Bossier Rural Shreveport-Bossier news from shreveport-bossier convention & tourist bureau V100™ Independence Bowl date is announced, excitement for game day Bossier Parish Police Municipalities* Hotel & Lodging Free Seminar page 2 has grown even more.” said AdvoCare President and CEO Richard Wright. Jury* Assn.* Ray Tromba, Mardi Gras Bash page 3 Chimp Haven’s staff welcomed a new baby. This news generated about Betty Matthews, Bossier City Mayor’s Debra Hamilton, 100 stories. It was featured in publications such as the Journal Gazette, Vice Chairman Office* Bossier Office Caddo Parish of Community Independence Bowl The Republic-online, The News Leader, NPR, and Associated Press to Commission* Sherry Stuckey, Services* Kicks-off on back name a few. Shreveport-Bossier Nov.-Dec. 2012 Shannon Thomas is the new general manager at Sleep Inn Medical Jerry Kolniak, Hotel & Lodging Tom Lubbe, TALK Treasurer Assn.* Shreveport-Bossier Center. Louisiana Hotel & Lodging Congratulations to industry partners Melinda Coyer, CenturyLink Centers Restaruant Kathy Jackson, Assn.* Assn.* Caddo Rural SMG, Shelli Briery Murphy, Horseshoe Casino/Caesars, and Kathy Municipalities* Mark Garrett, Melancon, LA Film Prize for being 2012 Athena nominees. Special con- Mary Dunn, Greater Shreveport Bureau lands 2014 gratulations to board member Matthew Schupbach for being named 40 Secretary Matthew Chamber of Com- Dates under 40. Attractions Assn.* Schupbach, merce* Louisiana Downs/ Missiliers Conference to Joe Veneto, the Opportunity Guy, will be the featured speaker at the first Frederick Henson, Attraction Assn.* Tari Bradford quarterly Attraction Seminar set for Jan. -
14SUM Syllabus NO Music
MUGN V-246-W01 History of New Orleans Music 3 Credits Summer, 2014 May 19, to July 14, 2014 Instructor: Sanford Hinderlie, E-mail [email protected] Office hours: By appointment via email because I will be administering this course from overseas for most of the summer session. (No calls on my cell). Online Technical Source Contacts: Jonathan Gallaway Blackboard Support [email protected] 504 864 7168 Brian Sullivan Course Support [email protected] 504 864 7129 Phil Rollins Media Support [email protected] 504 864 7167 Class Meeting Time: Via Internet: To be determined in the syllabus following and on Blackboard in “Course Materials.” Course Description This course is a comprehensive study of the history of New Orleans music, dating from the nineteenth century music in Congo Square and opera to the present-day musicians of rhythm- and-blues, rock, jazz and rap. The sources of the music, listening, music identity, social and racial influences, and the history of the music business in New Orleans are components of this course. Prerequisites: English T-122; or English A-205; or English H-233; or TSSAT verbal 680 or higher; or TSSAT2 verbal 680 or higher; or TSSAT English 30 or higher; TSSAT1 English 30 or higher; or is required for this class. Textbooks and Other Materials Purchased by Student: Armstrong, Louis. Satchmo: My Life in New Orleans. Englewood Cliffs, New Jersey: Prentice Hall, 1954. Berry, Jason, Foose, Jonathan, and Jones, Tad. 2009 Up from the Cradle of Jazz, New Orleans Music since World War II, New Addition Edition. Lafayette, LA: University of Louisiana at Lafayette Press. -
Band/Surname First Name Title Label No
BAND/SURNAME FIRST NAME TITLE LABEL NO DVD 13 Featuring Lester Butler Hightone 115 2000 Lbs Of Blues Soul Of A Sinner Own Label 162 4 Jacks Deal With It Eller Soul 177 44s Americana Rip Cat 173 67 Purple Fishes 67 Purple Fishes Doghowl 173 Abel Bill One-Man Band Own Label 156 Abrahams Mick Live In Madrid Indigo 118 Abshire Nathan Pine Grove Blues Swallow 033 Abshire Nathan Pine Grove Blues Ace 084 Abshire Nathan Pine Grove Blues/The Good Times Killin' Me Ace 096 Abshire Nathan The Good Times Killin' Me Sonet 044 Ace Black I Am The Boss Card In Your Hand Arhoolie 100 Ace Johnny Memorial Album Ace 063 Aces Aces And Their Guests Storyville 037 Aces Kings Of The Chicago Blues Vol. 1 Vogue 022 Aces Kings Of The Chicago Blues Vol. 1 Vogue 033 Aces No One Rides For Free El Toro 163 Aces The Crawl Own Label 177 Acey Johnny My Home Li-Jan 173 Adams Arthur Stomp The Floor Delta Groove 163 Adams Faye I'm Goin' To Leave You Mr R & B 090 Adams Johnny After All The Good Is Gone Ariola 068 Adams Johnny After Dark Rounder 079/080 Adams Johnny Christmas In New Orleans Hep Me 068 Adams Johnny From The Heart Rounder 068 Adams Johnny Heart & Soul Vampi 145 Adams Johnny Heart And Soul SSS 068 Adams Johnny I Won't Cry Rounder 098 Adams Johnny Room With A View Of The Blues Demon 082 Adams Johnny Sings Doc Pomus: The Real Me Rounder 097 Adams Johnny Stand By Me Chelsea 068 Adams Johnny The Many Sides Of Johnny Adams Hep Me 068 Adams Johnny The Sweet Country Voice Of Johnny Adams Hep Me 068 Adams Johnny The Tan Nighinggale Charly 068 Adams Johnny Walking On A Tightrope Rounder 089 Adamz & Hayes Doug & Dan Blues Duo Blue Skunk Music 166 Adderly & Watts Nat & Noble Noble And Nat Kingsnake 093 Adegbalola Gaye Bitter Sweet Blues Alligator 124 Adler Jimmy Midnight Rooster Bonedog 170 Adler Jimmy Swing It Around Bonedog 158 Agee Ray Black Night is Gone Mr. -
Cover Design by Bob Mcgrath
Cover design by Bob McGrath CAJUN RECORDS 1946-1989 – A DISCOGRAPHY © Nick Leigh 2018 INTRODUCTION TO THE REVISED EDITION I began collecting blues records in 1959 but it was another 7 years before I heard Cleveland Crochet & the Sugar Bees on the Storyville anthology “Louisiana Blues”. My appetite whetted, I wanted more. Buying the Iry Le Jeune LPs on Goldband a few months later (not one but two volumes – and purchased as imports on a student’s allowance!) fuelled an appreciation of Cajun music that has remained undiminished. In the mid 1960s, however, there was little information available about the great music I was listening to, other than the catalogues I obtained from Goldband and Swallow, and the early articles by Mike Leadbitter and John Broven in “Blues Unlimited” and “Jazz Journal”. Thanks to people like Mike, John, Neil Slaven, Rob Ford and Les Fancourt there is now a lot of information available to provide the background to blues and rhythm & blues recordings. However much of the information about the post World War 2 music of South Louisiana in general and the French (Cajun) recordings in particular, remains elusive So far as I know no single ‘discography’ of post-war Cajun record releases has been published and I thought I would try to correct this oversight. This is notwithstanding the increasing amount of well researched material about the music in general and individual artists. Therefore I take only limited credit for the information included herein about the recordings. My aim has been to bring that material together in a single document. -
21S NOLA Syllabus Part I Graphicsa
HISTORY OF NEW ORLEANS MUSIC 2021S History of New Orleans Music 21S- MUGN-O246-W01 Spring 2021 16-Week Session 1/19/2021 - 5/7/2021 Instructor Information Name: Sanford Hinderlie Phone: (504) 865 2773 (Not to be used with Online course) Email: [email protected] (Preferred contact method. I usually reply to emails within 1-12 hours.) Office Location: World Wide Web Office Hours: By email appointment Terms of Use A student's continued enrollment in this course signifies acknowledgment of agreement with the statements, disclaimers, policies, and procedures outlined within this syllabus and elsewhere in the Canvas environment. This Syllabus is a dynamic document. Elements of the course structure (e.g., dates and topics covered, but not policies) may be changed at the discretion of the professor. Sanford Hinderlie, jazz piano Course Information Prerequisite Courses: ENGL T122 or Equivalent Course Location: Online in Canvas (NOTE: This is an asynchronous online course. However, it is NOT self-paced. Readings as well as all learning activities must be completed according to the weekly schedule provided in this syllabus.) Credit Hours: 3 Credit hours Weeks and Dates of the Course: 16 weeks (full semester), from Wednesday, Jan. 20, 2021 to Friday, May 5, 2021 Class Meeting Time: Each week begins on Monday at 12:00 am and ends on Sunday at 11:59 pm in Canvas Expectations of Workload: e.g. According to the Loyola University Credit Hour Policy http://academicaffairs.loyno.edu/credit-hour-policy, you are supposed to spend at least 6300 minutes (that is 105 hours including 35 hours of classwork and 70 hours of out-of-class work) for the whole semester regardless of how many weeks it is offered. -
Thesis Le Cri Du Bayou
THESIS LE CRI DU BAYOU: THE STATUS AND PROMOTION OF THE FRENCH LANGUAGE AND CAJUN MUSIC IN LOUISIANA Submitted by Melissa Hartmann Department of Foreign Languages and Literatures In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee: Advisor: Mary Vogl Paola Malpezzi-Price Ann Little THÈSE LE CRI DU BAYOU: LE STATUT ET LA PROMOTION DE LA LANGUE FRANÇAISE ET LA MUSIQUE CADIENNE EN LOUISIANE Soumis par Melissa Hartmann Départment of Langues et Littératures Etrangères Réalisée en partie pour remplir les conditions De Diplôme de Master Colorado State University Fort Collins, Colorado Printemps 2012 Comité de Masters: Conseillère de thèse : Mary Vogl Paola Malpezzi-Price Ann Little ABSTRACT LE CRI DU BAYOU: THE STATUS AND PROMOTION OF THE FRENCH LANGUAGE AND CAJUN MUSIC IN LOUISIANA As one of the rare Francophone regions in North America, Louisiana has a unique culture and French dialect, spawning from Acadian immigrants who came to the Louisiana colony in the latter part of the 18th century. As the Cajun identity evolved, several strong influences have shaped and formed the Cajun French language; yet, it remains in danger due to damages from a 1921 law prohibiting the use of French in Louisiana and increased exposure to Anglo-American culture. However, many efforts to promote Cajun French have been employed since 1968 and the creation of the Council for the Development of French in Louisiana (CODOFIL), especially regarding the implementation of French-language immersion programs. In order to obtain their goal of preserving the Cajun French dialect, CODOFIL first realized the need to reestablish a sense of linguistic and cultural pride in the Cajun community. -
33559613.Pdf
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.