Documents found
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3733.More information
The contribution of folk-singer Charles Marchand and his “Carillon canadien” to the history of the chanson in Québec before Madame Bolduc deserves to be better understood. First, the article proposes a biographical update about this overlooked artist and his professional networks (magazines, sheet music, concerts, festivals, records, radio broadcastings). Second, the author introduces the new concept of “transfolklorisation” in order to analyze Charles Marchand's chanson performing practices that blend elements from music and theater. The “Carillon canadien” consisted in French Canadian folk-singing, operatic vocals, Montmartre café-concert influences and a taste for French modern theater.
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3740.More information
Based on the concept of "Indigenous Futurism" (Dillon, 2012), I will examine 3 animated adaptations of legends: Little Thunder (2009) by Nance Ackerman and Alan Syliboy, adapted from mi-kmaq legends; Inuit tale Lumaajuuq (2010) created by Alathea Arnaquq-Baril; and SGaana Mountain (2017) created by Christopher Auchter and inspired from haïda legend and myths. I propose to think about the challenges and benefits of animation in order to show that Indigenous arts here becomes the stepping stone to survivance (Vizenor, 1994; 1998) on the one hand, resurgence (Simpson, 2013; 2016; 2017) on the other hand. My hypothesis is that these three short films underlie a decolonial attitude, thanks to their texture and audio as well as their futuristic overtures: they become amplifications of the tradition brought to us orally through the legends, and they sit in their own right within the large constellation of Indigenous works that triggers an insatiable desire to learn more.
Keywords: légendes autochtones adaptées, Indigenous legends adapted, survivance, survivance, resurgence, résurgence, biskaabiiyang, biskaabiiyang, Indigenous futurism, futurisme autochtone