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Métis fiddle

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122:(president of the Manitoba Métis Foundation) was interviewed in a 2006 documentary by John Barnard, and emphasizes that the Métis fiddle tradition is an oral tradition which cannot be taught in school. This specific form of fiddling has important musical ties to First Nations, especially Ojibwe, music. Métis fiddling was analyzed by ethno-musicologist Lynn Whidden in the film; she documented that the meter can vary from measure to measure and is very percussive. Players use their feet and choke up on the bow to enable a very sharp "bite". Some players (such as Sierra Noble) play fiddle in a modernized (or blended) Métis style, which incorporates Celtic or country-pop influences. Noble plays Celtic rock fusion in the Sierra Noble Trio, with 222:
tradition is being constrained and held back from innovating. In addition, the Metis-style competitions are offered significantly less prize money; at the Manitoba Open, competitors sought $ 100 compared to the $ 400 offered for the top prize in other old-time styles. These competitions are furthermore problematic for allowing individuals to interact with the Metis culture in one specific way, thus avoiding interacting with the indigenous community of Metis people native to Canada.
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performance allows for the connection of two kinds of sociability that might initially appear to be quite distinct, “musical closeness and interactions between strangers.” Fiddle music is often performed at cultural folk festivals outside of their more intimate community role, where the music draws people together through a “collective identification with Metis heritage.”
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Fiddle tunes for dances have been described as the core repertoire of Metis fiddling. The central defining tune is Red River Jig, which is not actually in jig timing (6/8) but often in the faster duple meter(s) associated with reels. A local anecdote relates that "the way to drive a Métis crazy is to
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and "Indian" derivation of the style, noting that they overlap and have become indistinct. She demonstrates this theme as infusing lyrics as well, as in the song "Redj'Jan's Shoes-White Man's Shoes": "I ain't red nor am I white, I've been like this for all of my life". Citing personal communications,
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The fiddle has become a key feature of Metis identity through the cultural prominence of jigging and social fiddling. Originating from the Red River Region, the Metis fiddle has a similar ethnogenesis as the culture of peoples itself. According to Canadian Geographic, Metis fiddlers are “cultural
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The styles documented are European: polka, waltz, twostep, schottische, jig and square dance; however, the steps intermingle with First Nations dances. The chord progressions use complex harmonic structures, abandoning the I-IV-V-I progression of European-derived tunes. Audience hand-clapping,
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These public performances outside of the sphere of the community are not without controversy, though. With the introduction of Metis-style fiddle competitions, in which competitors are to demonstrate “authenticity” perform without accompaniment and clog while seated, many argue that the Metis
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nail his moccasins to the floor and play the Red River Jig The dancing involves prominent footwork as in Irish dance and has been brought to a high level of dexterity. Cory Poitras demonstrates simultaneous fiddle playing and "jigging" at Métis crossing in a 2007 video clip available online.
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In 1992, Nicholas Vrooman produced "Plains Chippewa/Metis Music from Turtle Mountain." for Smithsonian Folklore Recordings. This album features Metis Master fiddlers Jimmie LaRocque and Mike Page. In 1997, Smithsonian Folklore Recordings released "Wood That Sings: Indian Fiddle Music of the
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or understanding music as sharing, which informs the social aspects of this community. Because of the mobility and vast kinship networks of the Metis peoples, fiddle music has played a large role in connecting and maintaining both relations and a sense of identity. In this way, Metis fiddle
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people are a poly-ethnic post-contact Indigenous peoples. Fiddles were "introduced in this area by Scottish and French-Canadian fur traders in the early 1800s", where the Metis community adopted the instrument into their culture.
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Mary "La" Bolduc, a prominent Canadian folk artist. Though she had European and Indigenous lineage was not Métis. The instrument itself would have been similar to those used by early Metis fiddlers.
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she indicates that nearly everyone in the community played an instrument; gatherings were usually in homes, because of the lack of large buildings; however, she also refers to "weekly" dances.
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Arkansas Traveller), "Drops of Brandy" ("Le Brandy" in Québec), and "Devil's Reel" ("Le Reel du Pendu" in Québec). Other dances include Duck Dance, Square Dance and Drops of Brandy
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According to Lederman, this is the same as the "La Grande Gigue Simple" or "La Grandeux" in Québec, which is also found in Cajun playing. Other repertoire she identifies include
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have developed to play the violin, solo and in folk ensembles. It is marked by the percussive use of the bow and percussive accompaniment (such as spoon percussion). The
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parentage. The term was historically a catch-all describing the offspring of any such union, but within generations the culture coalesced into what is today a distinct
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Metis fiddling can be described as the incorporation of First Nations, Scottish, and French-Canadian rhythms, but with a unique Metis beat.
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Lederman, Anne, 1987. "Old Native and Métis Fiddling in Manitoba". Vol. L Toronto: Falcon Productions, 783A Queen Street West, M6J 1O1.
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ambassadors”, but the music's role in legal, political, and cultural considerations is often overlooked. The metis have a notion of
2871: 1801: 2179: 1756: 602:""La Grande Gigue Simple" and the "Red River Jig": A Comparative Study of Two Regional Styles of a Tradtitional Fiddle Tune" 1838: 1008: 2002: 3259: 3168: 2784: 1431: 874: 292: 102: 52: 2460: 2304: 754:
Giroux, Monique (2018). "Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions".
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Giroux, Monique (2018). "Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions".
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Giroux, Monique (2018). "Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions".
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Lederman, Anne. "Old Indian and Métis Fiddling in Manitoba: Origins, Structure, and Questions of Syncretism".
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dancer=Felicia Morrisseau| affiliation= The Asham Stompers| performance= Red River Jig|venue=unknown|link=
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Americas." This album features Metis Master fiddlers Lawrence 'Teddy Boy' Houle, and Jimmie LaRocque.
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Whidden, Lynn. "How can you dance to Beethoven? Native people and country music". CUMR, 5, 1984.
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Chrétien, Annette (2002). "Under the Double Eagle: From Military March to Métis Miziksharing".
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Dueck, Byron (2007). "Public and Intimate Sociability in First Nations and Métis Fiddling".
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Rinella, Steven. 2008. American Buffalo: In Search of A Lost Icon. NY: Spiegel and Grau.
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Cory Poitras and sister, Kelsey Poitras jigging at Metis crossing 2007
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fathers. Today these two cultures form a single Métis culture.
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Music on the World Register of Intangible Cultural Heritage
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Whidden, Lynn. "Hymn anomalies in traditional Cree song".
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foot-stomping and dancing create an aural accompaniment.
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In "A Note on Métis Music" Whidden emphasizes the French
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Smoky Lake County, Alberta 479:Canadian Folk Music Bulletin 470:Whidden, Lynn (March 1990). 53:Métis people (United States) 7: 3169:Newfoundland & Labrador 822:"Culture - Music and Dance" 304: 113: 10: 3281: 1839:Trinidadian and Tobagonian 321: 293:Lawrence "Teddy Boy" Houle 262:Métis-style fiddle players 145: 3260:North American folk music 3206: 3112: 3067:Traditional country music 2890: 2732: 2632: 2178: 2001: 1921: 1886: 1800: 1695: 1626: 1581: 1525: 1430: 1357: 1149:American primitive guitar 1141: 1044: 1035: 1026: 1019:Folk and indigenous music 963: 923: 882: 81: 76: 58: 44: 26: 21: 2215:Bosnian and Herzegovinan 225: 2915:Christian country music 472:"A Note on Métis Music" 376:Lederman, Anne (1988). 3032:Neotraditional country 1737:by ethnocultural group 1045:By subject or function 316:Rendezvous (fur trade) 244: 97:is the style that the 3072:Truck-driving country 1941:Indigenous Australian 976:Native American flute 673:Quick, Sarah (2009). 242: 142:Cultural Significance 87:French Canadian music 49:Métis people (Canada) 1784:Cape Breton fiddling 351:, vol 15 no 4, 1984. 338:7.2 (1988): 205-30). 3097:Texas country music 3047:Progressive country 2957:Alternative country 2349:Starogradska muzika 2315:Starogradska muzika 2254:Starogradska muzika 2242:Starogradska muzika 2225:Starogradska muzika 253:Arcandsaw Traveller 205:"), descended from 83:Scottish folk music 59:Typical instruments 3152:Cape Breton fiddle 2920:Country en Español 2634:Middle Eastern and 1274:Medieval folk rock 567:The World of Music 300:from Hays, Montana 245: 3265:Folk music genres 3242: 3241: 3214:Appalachian music 3137:Bakersfield sound 2925:Country and Irish 2847: 2846: 2728: 2727: 2523:Gaelic folk music 1968:Papua New Guinean 1796: 1795: 1691: 1690: 1353: 1352: 1311:New Weird America 984: 983: 403:"Music and Dance" 92: 91: 27:Stylistic origins 3272: 3082:New Mexico music 2874: 2867: 2860: 2851: 2850: 2839:History of music 2807:Progressive rock 1978:Solomon Islander 1936:White Australian 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clubs 2752:Filk music 2718:Tsifteteli 2565:Portuguese 2540:Lithuanian 2400:Belarusian 2391:Tsifteteli 2354:Turbo-folk 2305:Macedonian 2276:Tsifteteli 2220:Sevdalinka 2163:Vietnamese 2119:Indonesian 1931:Australian 1906:Venezuelan 1820:Kontradans 1753:by region 1710:Indigenous 1673:Rockabilly 1668:Honky-tonk 1641:Roots rock 1618:Spirituals 1558:New Mexico 1420:Panamanian 1361:traditions 1306:Freak folk 1259:Indie folk 1206:Folk metal 1181:Filk music 1086:Children's 1036:Types and 915:Water drum 883:Percussion 762:(2): 285. 735:(2): 282. 708:(2): 281. 412:2019-12-01 356:References 235:Repertoire 178:Denesuline 39:Strathspey 3130:Bush band 2962:Americana 2898:Bluegrass 2832:Worldbeat 2757:Festivals 2713:Arabesque 2607:Ukrainian 2587:Slovenian 2550:Norwegian 2513:Icelandic 2508:Hungarian 2381:Arabesque 2361:Slovenian 2232:Bulgarian 2158:Pakistani 2148:Mongolian 2038:Cantonese 2023:Bhutanese 1896:Brazilian 1802:Caribbean 1762:Québécois 1648:Bluegrass 1636:Americana 1601:Dixieland 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1844:Cariso 1747:French 1742:Celtic 1568:Tejano 1497:Pueblo 1492:Navajo 1069:Carols 1062:Murder 924:String 910:Qilaut 828:. 2001 685:  655:  647:  612:  585:  577:  174:Ojibwa 67:guitar 2790:Child 2776:List 2624:Welsh 2617:Dumka 2602:Swiss 2518:Irish 2461:Dutch 2449:Polka 2439:Czech 2266:Laïko 2261:Greek 2043:Hakka 2003:Asian 1958:Maori 1866:Kaiso 1832:Mento 1810:Cuban 1730:Métis 1725:Inuit 1591:Blues 1517:Yuman 1512:Yaqui 1507:Sioux 1487:Métis 1477:Kiowa 1467:Inuit 1413:Yaqui 1174:Koplo 1057:Child 653:JSTOR 583:JSTOR 475:(PDF) 226:Forms 201:(or " 166:Inuit 148:Métis 107:Métis 35:Reels 2476:Jigs 2141:Trot 1876:Soca 1720:Innu 1715:Dene 1596:Jazz 1462:Innu 1457:Dene 964:Wind 834:2016 805:2016 645:ISSN 610:ISSN 575:ISSN 170:Cree 101:and 71:drum 31:Jigs 1608:Jug 1345:Xẩm 1325:Raï 764:doi 737:doi 710:doi 637:doi 450:on 433:on 180:or 3251:: 3191:UK 1269:Lu 824:. 807:. 760:62 758:. 733:62 731:. 706:62 704:. 681:. 677:. 665:^ 651:. 643:. 633:51 631:. 608:. 604:. 581:. 571:44 569:. 557:^ 527:. 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Index

Jigs
Reels
Strathspey
Métis people (Canada)
Métis people (United States)
Old time fiddle
guitar
drum
Scottish folk music
French Canadian music
Métis of Canada
Métis in the northern United States
Métis
David Chartrand
Ariel Posen
Métis
Turtle Island
First Nations
Indigenous group
Inuit
Cree
Ojibwa
Denesuline
Saulteaux
francophone
voyageur
Countryborn
Scottish

John Arcand

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