Métis fiddle

Cultural Significance#

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 . 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. 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 have a notion of Miziksharing, or understanding music as sharing, which informs the social aspects of this community. 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.” 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.” 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. 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.

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#

Fiddle tunes for dances have been described as the core repertoire of Metis fiddling. Cory Poitras demonstrates simultaneous fiddle playing and “jigging” at Métis crossing in a 2007 video clip available online. 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.

Métis-style fiddle players#

• John Arcand
• Sierra Noble
• Calvin Vollrath
• Andy de Jarlis
• Patti Kusturok
• Lawrence “Teddy Boy” Houle
• Jamie Fox from Hays, Montana

See also#

• Red River Jig
• Rendezvous (fur trade)

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.