Métis fiddle
{{Short description|Style of fiddle playing of the Métis people}}
{{Infobox music genre
| name = Métis fiddle
| stylistic_origins = Jigs, Reels, Strathspey
| cultural_origins = Métis people (Canada), Métis people (United States)
| instruments = Old time fiddle, guitar, drum
| derivatives =
| subgenrelist =
| subgenres =
| fusiongenres =
| regional_scenes =
| other_topics = Scottish folk music, French-Canadian music
}}
Métis fiddle is the style that the Métis of Canada and Métis in the northern United States 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 Métis 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.{{cite journal|last=Lederman|first=Anne|title=Old Indian and Metis Fiddling in Manitoba: Origins, Structure, and Questions of Syncretism|journal=The Canadian Journal of Native Studies|year=1988|volume=7|issue=2|pages=205–30|url=http://cjtm.icaap.org/content/19/v19art7.html}}
{{Wikibooks}}
Overview
Metis fiddling can be described as the incorporation of First Nations, Scottish, and French-Canadian rhythms, but with a unique Metis beat.{{Cite web|url=https://indigenouspeoplesatlasofcanada.ca/article/music-and-dance/|title=Music and Dance|website=indigenouspeoplesatlasofcanada.ca|language=en-CA|access-date=2019-12-01}} David Chartrand (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{{YouTube|id=NGtckNUY7b8|title="Sierra's Song - Metis Fiddle Music"}} 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 Ariel Posen on guitar and Bruce Jacobs on bass.{{YouTube|id=VeUF9DP0PMs&NR=1|title=Sierra Noble TRIO - DABE (Celtic Fiddle Medley)}}
In "A Note on Métis Music", Whidden emphasizes the French chanson and "Indian" derivation of the style, noting that they overlap and have become indistinct.{{cite journal|last=Whidden|first=Lynn|title=A Note on Métis Music|journal=Canadian Folk Music Bulletin|date=March 1990|volume=24|issue=1|pages=12–15|url=http://cfmb.icaap.org/content/24.1/BV24-1art3.pdf}} 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".{{Citation needed|date=October 2019}} Citing personal communications, 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.
In 1992, Nicholas Vrooman produced "Plains Chippewa/Metis Music from Turtle Mountain." for Smithsonian Folklore Recordings.{{Cite web|url=https://folkways.si.edu/plains-chippewa/metis-music-from-turtle-mountain/american-indian/album/smithsonian|title = Plains Chippewa/Metis Music from Turtle Mountain}} 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 Americas." This album features Metis Master fiddlers Lawrence 'Teddy Boy' Houle, and Jimmie LaRocque.{{Cite web|url=https://folkways.si.edu/wood-that-sings-indian-fiddle-music-of-the-americas/american-world/music/album/smithsonian|title=Wood That Sings: Indian Fiddle Music of the Americas}}
{{anchor|Background}}Cultural Significance
{{Main|Métis}}
The Métis are an Indigenous peoples of Turtle Island who trace their descent to mixed European and First Nations parentage. The term was historically a catch-all describing the offspring of any such union; within generations, however, the culture coalesced into what is today a distinct Indigenous group with formal recognition equal to that of the Inuit and First Nations. Mothers were often Cree, Ojibwa, Denesuline or Saulteaux .{{cite web |url=http://www.civilization.ca/cmc/exhibitions/tresors/ethno/etb0170e.shtml |title=First Nations Culture Areas Index |work=the Canadian Museum of Civilization }} At one time, distinctions were made between French Métis (born of francophone voyageur fathers) and Anglo Métis (or "Countryborn"), descended from Scottish fathers. Today, these two cultures form a single Métis culture.[http://www.collectionscanada.gc.ca/genealogie/022-905.004-e.html Ethno-Cultural and Aboriginal Groups]Rinella, Steven. 2008. American Buffalo: In Search of A Lost Icon. NY: Spiegel and Grau.
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 ambassadors”, but the music's role in legal, political, and cultural considerations is often overlooked.{{Cite journal|last=Chrétien|first=Annette|date=2002|title=Under the Double Eagle: From Military March to Métis Miziksharing|journal=The World of Music|volume=44|issue=1|pages=95–114|issn=0043-8774|jstor=41699402}} The metis have a notion of Miziksharing, 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.{{Cite journal|last=Gibbons|first=Roy W.|date=1980-06-01|title="La Grande Gigue Simple" and the "Red River Jig": A Comparative Study of Two Regional Styles of a Tradtitional Fiddle Tune|url=https://journals.lib.unb.ca/index.php/MC/article/view/21834|journal=MUSICultures|language=en|issn=1920-4221}} In this way, Metis fiddle performance allows for the connection of two kinds of sociability that might initially appear to be quite distinct, “musical closeness and interactions between strangers.”{{Cite journal|last=Dueck|first=Byron|date=2007|title=Public and Intimate Sociability in First Nations and Métis Fiddling|journal=Ethnomusicology|volume=51|issue=1|pages=30–63|doi=10.2307/20174501 |issn=0014-1836|jstor=20174501}} 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.”{{Cite journal|last=Quick|first=Sarah|date=2009|title=Performing heritage: Métis music, dance, and identity in a Multicultural State|url=https://www.proquest.com/openview/4881c8d61f6cb37e6bad1b0baa10c9f2/1?cbl=18750&diss=y&pq-origsite=gscholar|journal=Dissertation, Indiana University|language=en|id={{ProQuest|304902818}}}}
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 tradition is being constrained and held back from innovating.{{cite journal |last1=Giroux |first1=Monique |title=Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions |journal=Ethnomusicology |date=2018 |volume=62 |issue=2 |page=281|doi=10.5406/ethnomusicology.62.2.0265 }} 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.{{cite journal |last1=Giroux |first1=Monique |title=Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions |journal=Ethnomusicology |date=2018 |volume=62 |issue=2 |page=282|doi=10.5406/ethnomusicology.62.2.0265 }} 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.{{cite journal |last1=Giroux |first1=Monique |title=Silencing the Other Within: Metis Music at Manitoba's Old-Time Fiddle Competitions |journal=Ethnomusicology |date=2018 |volume=62 |issue=2 |page=285|doi=10.5406/ethnomusicology.62.2.0265 }}
Forms
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, foot-stomping and dancing create an aural accompaniment.
Repertoire
File:LaBolduc1.jpgFiddle 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 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.dancer=Felicia Morrisseau| affiliation= The Asham Stompers| performance= Red River Jig|venue=unknown|link=https://www.youtube.com/watch?v=IoXGCmQ7bLg Cory Poitras demonstrates simultaneous fiddle playing and "jigging" at Métis crossing in a 2007 video clip available online.{{cite AV media | people =Cory Poitras and Kelsey Poitras
| year =2007
| title =Red river jig Metis crossing 2007
| url =https://www.youtube.com/watch?v=N8VYxEZOGRE&NR=1
| access-date =8 October 2016
| location =Smoky Lake County, Alberta
| quote =Cory Poitras and sister, Kelsey Poitras jigging at Metis crossing 2007
}}
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 Arcandsaw Traveller (a Métis version of the American tune ''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 {{cite web
| url =http://www.collectionscanada.gc.ca/eppp-archive/100/205/301/ic/cdc/albertametis/culture/musicdance.htm
| title =Culture - Music and Dance
| date =2001
| website =Alberta Metis Historical Society
| access-date =8 October 2016
}}
{{anchor|Contemporary Métis Style Fiddle players}}Métis-style fiddle players
See also
{{anchor|Other scholarly references}}Sources
- Lederman, Anne, 1987. "Old Native and Métis Fiddling in Manitoba". Vol. L Toronto: Falcon Productions, 783A Queen Street West, M6J 1O1.
- Lederman, Anne. "Old Indian and Métis Fiddling in Manitoba: Origins, Structure, and Questions of Syncretism". Canadian Journal for Traditional Music, 1991 (originally published in The Canadian Journal of Native Studies 7.2 (1988): 205-30).
- "Music of the Indians and Métis" I & n (Kit). Winnipeg: Manitoba Department of Education and Training, Media Productions (1983).
- Whidden, Lynn. "How can you dance to Beethoven? Native people and country music". CUMR, 5, 1984.
- Whidden, Lynn. "Hymn anomalies in traditional Cree song". Recherches Amérindiennes au Québec, vol 15 no 4, 1984.
References
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{{North America indigenous musical instruments}}
{{Folk music|state=collapsed}}
{{Country music}}
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