By Gillian Mitchell
This paintings represents the 1st comparative learn of the folks revival move in Anglophone Canada and the U.S. and combines this with dialogue of how folks track intersected with, and used to be established via, conceptions of nationwide affinity and nationwide identification. scholars will locate the publication valuable as an advent, not just to key subject matters within the folks revival, but in addition to ideas within the learn of nationwide identification and to issues in American and Canadian cultural heritage. educational experts will come across an alternate standpoint from the extra common, wide technique provided by way of prior histories of the people revival circulate.
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Additional resources for The North American Folk Music Revival: Nation And Identity in the United States And Canada, 1945-1980
55. Deﬁning the People’s Songs 35 better able to accept folk music as the music of human individuals who were more than merely retainers of borrowed traditions. The biggest contribution made by John Lomax to the growing understanding of American folk music was his recognition of the importance of African-American music. 31 Lomax maintained that African-American music was central to any understanding of national folksong, and in the 1920s and 1930s, accompanied by his son Alan (who would become a key ﬁgure in the folk revival from the late 1950s onwards), John Lomax made a tour of black communities in the South, searching tirelessly for musicians and informants.
21–87. ), The Best of Helen Creighton (Hantsport, Nova Scotia, 1988). 23 McKay, The Quest of the Folk, pp. 43–152. 24 Interestingly, in her memoir, A Life in Folklore, Helen Creighton declared that she had managed to ﬁnd, in Nova Scotia, some 43 variants of the elusive Child Ballads; she considered this ‘a feather in her cap’. ), The Best of Helen Creighton, p. 25 Folklore activity was thriving, and studies of regional and community folklore abounded – and the activities of Canadian folklorists tended, through examination of speciﬁc regions such as the Maritimes and Ontario, to betray the belief that British culture remained the predominant, and most worthwhile, inﬂuence upon Canadian folklore.
Furthermore, while immigration of non-British groups was steadily increasing in Canada, the English, Scottish and Protestant Irish inﬂuences on the culture of the English-speaking portions of the country remained dominant. However, for Canadians from the most inﬂuential sectors of society, to call oneself a British subject was more than merely adopting a derivative identity. Carl Berger’s seminal study of Canadian imperialism during the period 1867–1914 has shown that, for some Canadians, belief in the British Empire was by no means incompatible with the expression of fervent Canadian nationalism.
The North American Folk Music Revival: Nation And Identity in the United States And Canada, 1945-1980 by Gillian Mitchell