John Arcand Fiddle Fest 2005
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A Commissioned Suite of Piano
THE MOSAÏQUE PROJECT Ensemble Made In Canada’s Mosaïque Project consists of three components: a commissioned suite of piano quartets by 14 Canadian composers, each inspired by a particular region of Canada, a national concert tour throughout the 2018-2019 season, and a specially designed website that will document audience-generated artwork inspired by the musical commission. www.mosaiqueproject.com The Mosaïque Project A unique and exciting nation-wide project. Become a part of the creation and express yourself through drawing as you listen to the music of 14 Canadians, each inspired by a different region of our country. Performed by piano quartet, Ensemble Made In Canada. www.mosaiqueproject.com PROGRAM [order tbd] BRAID, DAVID (Northwest Territories) Great Bear River Blues CROALL, BARBARA (St. Lawrence Seaway and Great Lakes) Nbiidaasamishkaamin/We Come Paddling Here DOIRON, JULIE arr. Andrew Creeggan (New Brunswick) Blessed DOWNING, ANDREW (Manitoba) Red River Fantasy FUNG, VIVIAN (Alberta) Shifting Landscapes GILBERT, NICOLAS (Québec) Ilôts LAU, KEVIN (Yukon) Race to the Midnight Sun LIZÉE, NICOLE (Saskatchewan) The Bessborough Hotel MASCALL, RICHARD (Ontario) Petroglyphs MOUSSA, SAMY (Nunavut) Orpheus in Nunavut ROWSON, WILLIAM (Nova Scotia) Short Variations on Waves SIGESMUND, DARREN (Prince Edward Island) Kensington Ceilidh SLEAN, SARAH (Newfoundland) Jonny Pippy of Pouch Cove, on a Bicycle at Dawn SOKOLOVIĆ, ANA (British Columbia) Splendor Sine Occasu PROGRAM NOTES BRAID, DAVID (Northwest Territories) Great Bear River Blues Situated in the Sahtu Region of the Northwest Territories is the Great Bear River, a 113-kilometre channel connecting to the Mackenzie River at the hamlet of Tulita, the birthplace of “Yatsule” (1879) a prolific musician of Dene Folk Music. -
John Arcand and Andy Dejarlis Crossing Over
studying culture in context Two models in the world of Métis fiddling: John Arcand and Andy DeJarlis Sarah Quick Excerpted from: Crossing Over Fiddle and Dance Studies from around the North Atlantic 3 Edited by Ian Russell and Anna Kearney Guigné First published in 2010 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-6-5 About the author: Sarah Quick currently teaches at Winthrop University. She holds a PhD in Social-Cultural Anthropology (Indiana University, 2009) and received fellowships from the Canadian Studies Grant Program and Skomp fund (Indiana University). Research interests include Métis and First Nations music/dance, culture and history; the heritage industry, and, recently, food movements. Copyright © 2010 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 10 Two models in the world of Métis fiddling: John Arcand and Andy DeJarlis SARAH QUICK ndy DeJarlis and John Arcand are two fiddle-composers well known in Western ACanada in part because of their influence on Métis fiddling practice. Previous scholarship has tended to focus on traditional tunes and traditional stylistics in relation to Métis fiddling; while recent compositions and commercial fiddling have largely been conceived as negatively influencing the unique qualities that define traditional Métis fiddling as a genre. -
Music, Power, and Relations: Fiddling As a Meeting Place
MUSIC, POWER, AND RELATIONS: FIDDLING AS A MEETING PLACE BETWEEN RE-SETTLERS AND INDIGENOUS NATIONS IN MANITOBA MONIQUE GIROUX A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JUNE 2013 © Monique Giroux, 2013 Abstract This dissertation examines fiddling as a meeting place between Turtle Island's Indigenous nations and Manitoba's re-settler population. Based on archival research, interviews, and fieldwork in Manitoba, it argues that fiddling both reflects the broader relationship between Indigenous nations and re-settlers (which is marked by an unequal distribution of power) and is used to remake this relationship. The first section focuses on Indigenous fiddling. Using mainstream (re-settler) newspaper articles from the early twentieth century to the present day, it examines re-settler representations of Indigenous fiddlers and fiddling; it also explores Metisfest, a contemporary Metis rendezvous that functions as a space for Metis cultural resurgence, using fiddling as a central 'draw'. The next section considers the old-time scene by providing a working definition of the style, exploring fiddle contests, and addressing a number of key tensions in the old-time fiddle community. It argues that old-time fiddling functions as an unmarked centre that reinforces an unequal relationship between nations; at the same time, it acknowledges the significant contributions made by Indigenous fiddlers to Manitoba's old-time scene. The final section focuses on the Manitoba Open Old Time Fiddle Championships, a fiddle competition that explicitly brings old-time and Metis (style) fiddling together through the inclusion of a Metis-style category. -
Fiddling in Canada: (Also Known As Country
Fiddling in Canada: (also known as Country, Folk, Celtic or Old Time fiddling, Old Time Music, or by cultural or regional names, eg, Scottish, Cape Breton, Ukrainian-Canadian, French-Canadian, Acadian, Newfoundland, Ottawa Valley, Down-East, Aboriginal, First Nations, Inuit, or Métis fiddling, among others). I. Introduction II. History i. The Historical Record to ca 1920 ii. The Recording Age: 1920 – 75 iii. The Revival: 1975 – iv. Composition and New Directions III. Style and Repertoire i French-Canadian ii Aboriginal (Inuit, First Nations, Métis) iii. Scottish iv. Anglo-Canadian (also called Old Time or Down-east) v. Newfoundland vi. Ukrainian/Eastern European vii. Irish IV. Publications, Research and Collections I. INTRODUCTION Until about 1960, fiddling was the principal medium of dance music in rural Canada. By virtue of its continuous history, dating from the 17th century, the extent of its past and current practice, and the manner in which it has mirrored the cultural development of Canada since the beginning of European habitation, it is our premier instrumental folk tradition. Although research and comparative work between older fiddle and dance traditions in various parts of the country has been somewhat sporadic, and sources are scarce on early practices in many areas, it is clear that many Scottish, Irish, English, French and American tunes which first came to Canada in the 18th and 19th centuries are still widespread in various forms, often modified by local practice. This early repertoire formed the basis of fiddle traditions that eventually extended throughout the country, passed along almost entirely through oral tradition with little formal teaching or musical notation involved. -
By KRISTI WEISS FUOCO B.Mus., Mount Allison University, 2003 A
METIS FIDDLING AT THE BORDERS OF CANADIAN TRADITION by KRISTI WEISS FUOCO B.Mus., Mount Allison University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA August 2007 © Kristi Weiss Fuoco, 2007 Abstract The tradition of Metis fiddling in Canada is an integral yet relatively unknown historical practice that has been handed down through the generations. The rich combination of European culture and Aboriginal culture of Western Canada created a new and distinct group of people, the Metis, who played an important role in shaping Canada's history. - Through a combination of Aboriginal dancing and dnirnming traditions, mixed with the Celtic and French fiddle, what is known today as Metis fiddling emerged. The tradition has been kept alive by the dedication of the older generation who pass it down orally to those willing to learn it, and through festivals and competitions that are becoming more widespread every year. In this thesis I will examine the history of the Metis and their fiddling tradition, the important role it plays in their culture and the close relationship between the fiddle and dance. My research is a combination of ethnographic, historical, cultural and musical analysis that combines to create a comprehensive study of Metis < fiddling in Western Canada. As the Metis population is comparatively small in Canada, and often forgotten, there has not been extensive research conducted into the musical culture of the Metis, particularly the fiddling tradition. Recordings and books which " examine this music are not numerous or easy to find. -
Métisvoyageur
JUNE/ JULY 2008 • THE PUBLICATION OF THE MÉTIS NATION OF ONTARIO SINCE 1997 MÉTISVOYAGEUR AT THE SO YOU RACES THINK YOU OSHAWA MÉTIS JOIN FIRST NATIONS AND CAN JIG? INUIT AT DOG OSHAWA COUNCIL SLEDDING EVENT STARTS MÉTIS DANCE HEALTH IN A BOX PAGE 9 GROUP. PAGE 12 PAGE 19 NEW LEADERSHIP, NEW ENERGY, NEW DIRECTION: PRESIDENT THE MÉTIS BIRDWOMAN ANTIQUE AIRCRAFT LIPINSKI ENTHUSIAST MAKES “It is with a deep sense of humility and high resolve that I accept the DOCUMENTARY ... responsibility with which you have entrusted me as the new Presi- PAGE 21 dent of the Métis Nation of Ontario.” – President Gary Lipinski’s Presidential Address May 6, 2008 by Katelin Peltier teers’ relying solely on the goodness of their Our new president is not a new face to hearts and their commit- the Métis Nation of Ontario (MNO). Gary ment to their nation. Lipinski, has been a tireless champion of This must change!” the Métis in Ontario since he was first As you may recall, in elected as a councillor for the Sunset April of 2008, the MNO Country Métis in 1994. Next, Gary became met with the Hon. Region 1 Councillor on the PCMNO and Michael Bryant, Minis- subsequently, Chair of the Métis Nation of ter of Aboriginal Affairs Ontario, a post he held for the next nine for Ontario, and jointly years. In May of 2008, Gary was acclaimed announced that work is FIDDLE as President of the MNO. being undertaken to President Lipinski’s first order of busi- develop a new Frame- STORIES ness was to deliver his presidential work Agreement PAGE 23 address to the people of this province. -
Spring/Summer 2008 Editors
New Breed MAGAZINE Spring/Summer 2008 Editors: Darren R. Préfontaine [email protected] David Morin [email protected] Amy Gallagher is a publication of Gabriel Dumont Institute of Native Studies [email protected] and Applied Research in partnership with the Métis Nation Amaranta Sokol —Saskatchewan. [email protected] Any correspondence or inquiries can be made to: The Gabriel Dumont Institute Editorial Board: 2—604 22nd Street West Saskatoon, SK S7M 5W1 Geordy McCaffrey, Executive Director Telephone: 306.657.5716 Facsimile: 306.244.0252 Karon Shmon, Publishing Coordinator New Breed Magazine is published quarterly. Contributing Writers: All views and opinions expressed in this publication are those of the various authors and are not necessarily those Belhumeur, Marilyn of the Gabriel Dumont Institute, its Executive, or of the Métis Brown, Bradley Nation—Saskatchewan. Gallagher, Amy No part of this publication may be reproduced, in any shape Kastrukoff, Jennifer or form without the express written consent of New Breed Kirton, Jonina Magazine and the Gabriel Dumont Institute. Kovacs, Kim Advertising rates are posted on the last page of the Morin, David magazine, or can be obtained by contacting New Breed Morin, Lilah Magazine at the Gabriel Dumont Institute. Nicholat, Christa Advertisers and advertising agencies assume full Pahlus, Henri responsibility for all content of advertisements printed. Préfontaine, Darren Advertisers also assume responsibility for any claim arising Sokol, Amaranta therefrom made against New Breed Magazine or the Gabriel Dumont Institute. Tourond-Townson, Margaret Wilson, Lisa New Breed Magazine can be purchased for $4.00 at the Gabriel Dumont Institute.