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96.More information
Among the forms of oral history, the song, within the Inuit culture, was general practice and quite versatile. Inheriting this tradition, the contemporary Inuit song has risen in popularity starting in the 1970's and has not diminished since. Within the literary field, the lyrics to the Inuit songs demonstrate a remarkable vitality in which the author-composers explore various aesthetics, navigate languages and transmit a part of their culture. Taking into consideration the historical context, this article aims to reflect on the formal evolution of the modern Inuit song and examine the relations that are maintained through more traditional portrayals. Finally, the ultra-contemporary body of musical works in Nunavik is notable for being particularly trilingual yet reveals an upsurge of texts in Inuktitut. What significance will this have on the overall discourse?
Keywords: chanson inuite, littérature inuite, oralité, Nunavik, inuktitut, Inuit songs, Inuit literature, orality, Nunavik, Inuktitut, canción inuit, literatura inuit, oralidad, Nunavik, inuktitut
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97.More information
This research is part of a larger study on the construction of Québec popular culture and is centred around a corpus of wedding songs popular in Eastern Québec between the 1920s and the 1960s. The present article concerns the role played by the Roman Catholic clergy in “social management”, and their attempts to impose a cultural model through song, in particular through the songs found in the ten volumes of La Bonne chanson, published between 1938 and 1951. A preliminary comparative content analysis of five “traditional” songs taken from La Bonne chanson and the same songs taken from Québec oral tradition yields the following remarks: 1) whatever the theme, the text of the published version proposes a completely idealised treatment of the subject, a positive presentation of Canadian society; and 2) the oral versions were rewritten for ideological purposes and concretized by the published version: there is “manipulation” of popular tradition by the elitist clergy, as if they had tried to stifle popular culture as represented in the folksongs in order to better control it.
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98.More information
This paper explores how the regions of Quebec were sung during the first half of the twentieth century by authors from disparate social conditions, starting with the case of Saguenay–Lac-Saint-Jean. It follows two tracks: the use of songs to promote ideas and values, often by the elites, and the non-programmatic appearance of creations generally emanating from other social actors. For the first, the regionalist song mainly, carrying a great project of society, is approached. For the second, a repertoire close to the daily life of the inhabitants delivers more tangible views that are presumed more in conformity with the perceptions of the majority of the population.