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Dsepres Sebastienadrien.Pdf BELIEF AND IDENTITY THROUGH THE PRODUCTION OF MUSIC IN THE ROMAN CATHOLIC LITURGY: AN ETHNOGRAPHY OF LA SAINTE FAMILLE PARISH UNITY'S YOUTH MUSICAL ENSEMBLE, SHAIDA By © Sebastien Adrien Despres A thesis presented to the School of Graduate Studies in partial fulfillment ofthe requirements of Master of Arts Memorial University ofNewfoundland August 2006 St. John's, Newfoundland Library and Bibliotheque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de !'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre reference ISBN: 978-0-494-31245-2 Our file Notre reference ISBN: 978-0-494-31245-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a Ia Bibliotheque et Archives and 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 !'Internet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve Ia propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni Ia these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a Ia loi canadienne Privacy Act some supporting sur Ia protection de Ia vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ant ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans Ia pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. ••• Canada ABSTRACT Shalda is a musical ensemble created by Francophone New Brunswick youths aspiring to "liven up" the Roman Catholic liturgy with their singing and instruments (from violins to electric guitars and drum kits). The group, which typically figures 15-20 participants during a typical Sunday Obligation Mass and attracts parishioners from al1 over the province, has since 1998 attracted over I 00 members, mostly of Acadian descent. This thesis is an (auto)ethnography ofShalda. I explore members' motivations, the meaning of style, youths' response to [youth-created, youth-centered) opportunities for involvement, the significance of 'youth space,' and how participation fosters a sense of belonging and community. Sharda's music, style, fashion, performance, and genre are explored thoroughly as well. 11 ACKNOWLEDGEMENTS I wish to show my appreciation first and foremost the other members of Shaida. Your music and faith are an inspiration to those who hear you, and the generous gift of your time and talents works to create a real sense of Communitas in beloved Cocagne. You have indulged me in my quest to better understand Shaida, its mission, our motivation, and the beliefs we share'. Thanks especially to Nathael, Amelie, Jacques and Martin - you have humoured me through long hours of interviews, endless questions, and have allowed me access to intimate parts of your lives - thank you for having so readily made yourselves ginea pigs for my sake and for the sake of science. My parents: thank you for your input, your support, and for your endless encouragement. Thank you for having helped make this thesis project a collaborative effort by reading drafts, sharing your thoughts, and guiding the scope of this research. Jocelyn, I am grateful for your sustained interest in the success of my projects and your support throughout the years. Laura, thank you for being there, for reading, redressing, and critiquing my ideas, and for somehow managing to tolerate me during the laborious extended writing period. Finally and most importantly, I wish to extend my gratitude to Dr. Diane Goldstein, my patient supervisor. Thank you for your time, direction and flexibility. Your ideas, expetise, depth ofknowledge and your careful attention have made this thesis project possible. 1ll DEDICACE A a Mam pi 'Pa. Merci pour votre amour, votre support, votre input, votre commitment, pi votre decision de vous offrir aux jeunes comme piliers pour les soutenir, les aimer, les guider pi les valoriser. Nat, Jo, My, I hope qu'on saura unjour etre de tels modeles. IV TABLE OF CONTENTS ~EI!S1r~C:1r .••.•••••••..••••.••••••..•.•••.••••.••.••••.••.••••••.•••••••••.•.••..••••••••••••••••• 11 ACKNOWLEDGEMENTS .................................................................. Ill DEDICACE ....................................................................................... IV TABLE OF CONTENTS ......................................................................V f»Fli:~IWIEil.E: •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 1 INTRODUCTION ................................................................................ 3 Aims of Thesis and a Contextualization ofthe Existing Scholarship ........................... 3 An Introduction to Beliefand Folklore ........................................................................ 6 Folk I Vernacular Religion ........................................................................................ 13 Approach .................................................................................................................... 16 Notes on Translation and Citation ............................................................................. 24 CAST OF CHARACTERS ••n•••··························································· 28 CHAPTER 1: A HISTORY OF THE CREATION OF SHAiDA ............. 36 Life in Cocagne .......................................................................................................... 36 The Academie Shaida ................................................................................................. 42 The Academie Threatened and the Youths' Reaction ................................................ 49 From Youth Mass to Youth Music .............................................................................. 61 CHAPTER 2: NUMERICAL, MUSICAL, AND SPIRITUAL GROWTH. 64 The Leaders ................................................................................................................ 65 The First Members ..................................................................................................... 67 The Second Wave ....................................................................................................... 72 The Third Wave- Present Day .................................................................................. 74 A Changing Recruitment Strategy ............................................................................. 82 Why Youths Continue to be Dedicated. ...................................................................... 84 Making Members Less Shy, increasing Self-Esteem .................................................. 85 Serving the Church and the Community .................................................................... 88 Musical Improvement ................................................................................................. 91 Spiritual Depth and the Sacred Fruits ofPerformance ............................................. 93 Recruitment Policy ..................................................................................................... 96 Are They Typical Members ofa Choir? ..................................................................... 97 CHAPTER 3: BELIEF ..................................................................... 1 01 Choice ...................................................................................................................... 101 Duty .......................................................................................................................... 112 Conformity ............................................................................................................... 119 v Doctrine .......... ." ........................................................................................................ I 24 Experience ................................................................................................................ I 34 Personal Authenticity ............................................................................................... I 45 CHAPTER 4: MISSION AND MOTIVATION ................................... 149 Shaida 's Mission According to Adult Organizers ................................................... I 49 Members' Ideas About the Group's Mission ........................................................... I 52 The Danger ofBeing "Corny" ................................................................................ I 60 Philosophy and Motivation ...................................................................................... I6I Recognizing the Personal Benefits ofParticipation ...............................................
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