Category Archives: 1604–1763

03/15/25

Voyageurs

The cliché, woven red arrowhead sash evokes a vivid character of perilous adventure – les voyageurs. They were mainly hired by The North West company in the fur trade industry during the 17th and 18th centuries.[1] Voyageurs and coureurs des bois were synonymous in the 17th century; both were licensed traders responsible for the exchange of goods between suppliers to Indigenous peoples. While voyageurs remained contracted by merchants or military officers with permits, coureurs des bois did not have permits and were considered outlaws once the trading licence system was implemented in 1681.[2]

The voyageurs were young French men hired to transport goods to trading posts which later developed into a supervising role, a “canoe master”. Voyageurs ensured the engagés (hired workers) would transport goods from merchant-suppliers and return to Montreal with furs. “Merchant voyageurs” were contracted for three years by merchants and military officers with established trading companies. The fur trade shifted in the 19th century; the number of engagés increased drastically and the bourgeois (often Scottish immigrants) replaced the role of the voyageur.[1]

Although the jovial voyageur folksongs and tales of exploration are romantic, they endured extreme hardship. A typical day involved paddling from 14 to 16 hours, sleeping under canoes, enduring mosquitoes, flies, and harsh elements such as the bitter cold, blistering sun, and pouring rain. During a portage, they carried approximately 170 lbs upon their backs. Their survival depended on cheerful camaraderie and supporting one another.[3]

Voyageurs had a variety of clothing attire over the centuries rather than the stereotypical red or blue tuque, arrowhead sash, moccasins, and hood produced by our collective imagination. Singing during their hard labour produced a large repertoire of tuneful songs, such as “Alouette,” “Rame rame,” and “C’est l’aviron.” Annually, events such as the Festival du Voyageur (Manitoba) are presented to celebrate the voyageurs and French-Canadian culture through exquisite cuisine, lively dance, and festive music.[4]

 

Suggested Sources:

  1. Foster, John E. , and Suzanne Gousse. “Voyageurs.” The Canadian Encyclopedia. Historica Canada. Article published June 07, 2007; Last Edited November 07, 2019.
  2. Wien, Tom. “Coureurs des bois.” The Canadian Encyclopedia. Historica Canada. Article published February 06, 2006; Last Edited November 07, 2019.
  1. Government of Canada. “The voyageurs.” Accessed March 6, 2025. https://parks.canada.ca/lhn-nhs/qc/lachine/culture/histoire-history/site/voyageurs
  1. Festival du Voyageur. “Infos Générales.” Accessed March 6, 2025. https://heho.ca/festival/infos-generales/

 

Related Contents:

Rame, rame

C’est l’aviron

Alouette!

The Voyageur Song

The Voyageurs (NFB film)

03/13/25

Fur Trade

Fur Trade: A Key Canadian History

[3] The fur trade has played a critical role in shaping Canada’s history, beginning in the early 1600s and stretching over nearly 250 years. This busy trade involved primarily European traders, mainly the French and British, who worked closely with Indigenous peoples. The Indigenous communities were essential to making the trade successful. The soaring demand for beaver pelts drove explorers further into the heart of the Canadian wilderness, paving the way for new trading routes and settlements. What’s fascinating about the fur trade is how it promoted strong economic relationships between Indigenous and European communities, sparking cultural exchanges that influenced both sides.  In addition, music played a key role for traders to express their culture and for Indigenous peoples to come together [2].

Indigenous Women in the Fur Trade

[1] Indigenous women were essential to the success and sustainability of the fur trade. Their contributions went far beyond just managing the household; they were critical to both survival and commerce. These women took on critical tasks, such as making clothing, preserving food, and creating valuable trade goods, all of which helped their families and trading partners thrive. One important aspect of their involvement was through what’s known as mariage à la façon du pays, or “marriage according to the custom of the country.” These marriages promoted connections that allowed European traders to access Indigenous resources and social networks, which were key to successful transactions. These unions weren’t just formal agreements; they brought families together, established mutual support, and nurtured relationships across cultures. The dynamics of power in these partnerships were quite remarkable. Indigenous women wielded major influence and were adept at negotiating deals that benefited their communities. They ensured their perspectives were considered in trade discussions. Acting as cultural bridges, these women not only reinforced family bonds but also played a crucial role in shaping the fur trade and its impact on Canadian society.

Trade Goods and Cultural Exchange

The fur trade was an exchange between European traders and Indigenous peoples, deeply shaping cultural interactions. Key items like iron axes, flintlock muskets, and glass beads played major roles. Iron axes changed how Indigenous communities made tools and processed wood, while glass beads became popular decorations. These goods weren’t just materials; they represented new tech that made daily tasks easier. Reciprocity was at the core of these trade relationships, with both sides adapting to fit each other’s needs. Indigenous peoples often welcomed European goods, changing their practices and economies in the process. As competition heated up between French and English traders, their strategies evolved. The French built on existing Indigenous trade networks, while the English, represented by the Hudson’s Bay Company, aimed to establish direct access through trading posts. So, the fur trade wasn’t just about economics; it sparked a rich cultural exchange [4].

Music’s Role in the Fur Trade

[4] Music played an essential role in the fur trade, acting not just as a source of entertainment but also as a way for both traders and Indigenous peoples to express their culture. It created a unique space where diverse groups could come together, promoting social bonds that crossed cultural lines. A standout song from this time is “The Red River Valley,” [2] which beautifully captures the feelings and experiences of those involved in the fur trade. Dating back to the mid-19th century, the song touches on themes of love and longing, striking a chord with those who had to leave the lively trading center at Red River. The lyrics often reflect the connections built between Indigenous communities and European settlers, displaying how music can weave together shared stories and emotions of both joy and sorrow amidst the complexities of trading life.

References

[2] Daniel Robert Laxer. Listening to the Fur Trade. McGill-Queen’s Press – MQUP, 2022.

[3] Foster, John, and William Eccles. “Fur Trade | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 23 July 2013, www.thecanadianencyclopedia.ca/en/article/fur-trade. Accessed 4 Mar. 2025.

[4] Inouye, Frank T., and Harold A. Innis. “The Fur Trade in Canada.” Ethnohistory, vol. 4, no. 4, 1957, p. 465, https://doi.org/10.2307/480329.

[1] Kenyon, Walter. “Trade Goods: Indigenous Peoples | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 7 Feb. 2006, www.thecanadianencyclopedia.ca/en/article/indian-trade-goods. Accessed 4 Mar. 2025.

Related Sources

Glover, Fred. “Fur Trade in Canada (Plain-Language Summary) | the Canadian Encyclopedia.” The Canadian Encyclopedia, 15 Jan. 2020, www.thecanadianencyclopedia.ca/en/article/fur-trade-in-canada-plain-language-summary. Accessed 4 Mar. 2025.

Berthelette, Scott. “Women and the Fur Trade | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 30 Jan. 2023, www.thecanadianencyclopedia.ca/en/article/women-and-the-fur-trade. Accessed 4 Mar. 2025.

Suggested Sources

[2a]YouTube Recording of Red River Valley (2014): https://www.youtube.com/watch?v=hrCK_EVjcZ0

[2b]YouTube Lyric Video of Red River Valley (2019): https://www.youtube.com/watch?v=MFgKB5p8F7U

01/23/25

Ma Virginie

Song title: Ma Virginie

Source: YouTube https://www.youtube.com/watch?v=UVob2wJtKQs (could not find on Naxos)

Strophe Rhyme Line Text
A a 1 Ma Virginie, les larmes aux yeux, (M)
a 2 Je viens pour te faire mes adieux. (M)
B b 3 Ah, Je m’en vais vers l’Amérique, je m’en vais vers l’Occident. (M)
b 4 Oh, adieu donc, ma Virginie, les voiles sont déjà au vent (bis). (M)
A b 5 Les voiles au vent, mon cher amant, (F)
b 6 Cela me cause bien du tourment. (F)
B c 7 Tu subiras une tempête (F)
b 8 De l’orage aussi du vent (F)
C d 9 Tu périras dans un offrage, (F)
b 10 Moi je serai sans amants, (bis) (F)
A e 11 Chère Virginie, ne crains donc rien, (M)
e 12 Je suis un des premiers marins. (M)
B f 13 Je te promets ma mignonnette de revenir au pays. (M)
f 14 Nous nous marierons ensemble, moi et toi, chère Virginie, (bis) (M & F)

Legend: M = male singer; F = female singer

Rhyme Type: Coupled (M); Enclosed and irregular (F)

Rime: Suffisante (e.g., lines 1/2) and pauvre (e.g., lines 3/4)

English Translations

My Virginie, with tears in my eyes,
I come to bid you farewell.
Ah, I'm going to America, I'm going to the West.
Oh, farewell then, my Virginie, the sails are already in the wind (repeat).

Sails in the wind, my dear lover
That causes me much torment.
You will endure a storm.
From the storm also from the wind
You will perish in an offering,
I will be without lovers, (repeat)

Dear Virginie, do not fear anything,
I am one of the first sailors.
I promise you my darling to return to the country.
We will marry together, me and you, dear Virginie, (repeat)

Note: I used “Transcribe Tube” to transcribe lyrics for this piece as I could not find the French lyrics online. Then, I copy and pasted the result into Google Translate to get the English translations as I cannot understand French.

Context

Could be sung in moments of personal reflection, during social gatherings like family events or cultural celebrations, or even during more somber occasions like funerals.

Narrative

The theme of the text is about farewell and the expectation of separation, but it is based on the expression of love and promises to return. In the beginning, the speaker is sad and decides to leave for America and the West. The repeated use of “les voiles sont déjà au vent”, which translates to “the sails are already in the wind” symbolizes departure. In the next section, the speaker’s lover is distraught and looks ahead to the hardships and potential danger, but still pledges to not have lovers during the speaker’s absence. Finally, the speaker reassures their lover that they will return and be together sometime in the future, though they will have to endure many challenges. The development of the poem moves from a sad farewell through anxiety and up to hope and promises about life together in the future.

Historical Influences

In the song, the speaker talks about leaving from Europe to America, which were both destinations during mass migrations, particularly during the 19th century, where people moved in search of better opportunities. These movements often involved leaving behind loved ones and facing the uncertainty of the unknown, themes central to the lyrics.

The themes in the song might be influenced by Romanticism, which is a cultural movement emphasizing emotions, individualism, and the search for personal and national identity. It accords with the themes of longing, separation, and idealization of the future. Much of the literature and poetry of the era dealt with exile, homecoming, and personal and national concerns. The speaker vows to return to Virginie, an idealized figure representing the homeland. The action of leaving—especially as a trip to the Americas—could be due to the socio-economic environment at that time; perhaps the speaker’s separation represents some kind of economic or social necessity in which his promise to return is a metaphor for hope, duty, and loyalty. It may have said something about the pressures on people who were forced to leave their homelands in search of a better life and who often left loved ones behind with promises to return that were not always fulfilled.

The writer’s personal relation to the themes of love, departure, and promises of return might mirror their own life experiences. Maybe the author suffered from separation, migration, or the loss of love due to distance. Cultural influence has probably dictated the idealized depiction of love as emotional and romantic, and a function of the latter may find reflection in the writer’s life through hopes or regrets over promises to return. The romantic ideal of Virginie, perhaps a metaphor for the homeland or a loved one, brings it closer to the personal connection that the writer of the song has with the themes involved.

Related Contents

  • Clifford, Becky. “Marie Madeleine: Exploring Language, Style, and Humour in the Acadian Folksong Tradition.” OUPblog, 2 July 2021, blog.oup.com/2021/07/marie-madeleine-exploring-language-style-and-humour-in-the-acadian-folksong-tradition/. Accessed 14 Jan. 2025.
  • A. Sance, Elisa. “The Great Deportation: A Recurring Theme in Acadian Song.” Khronikos: The Blog, 2 Apr. 2014, khronikosum.wordpress.com/2014/04/02/1247/. Accessed 13 Jan. 2025.
  • Winick, Stephen. “Caught Our Ears: Two French Songs from Maine | Folklife Today.” The Library of Congress, Mar. 2021, blogs.loc.gov/folklife/2021/03/caught-our-ears-two-french-songs-from-maine/. Accessed 13 Jan. 2025.

Suggested Sources

  •  YouTube Recording of Ma Virginie (2017): https://www.youtube.com/watch?v=UVob2wJtKQs
01/23/25

Vive la Canadienne

 

Strophe Rhyme Line Text
A a 1 Vive la Canadienne,
b 2 Vole, mon coeur vole!
a 1 Vive la Canadienne,
c 3 Et ses jolis yeux doux,
B c 3 Et ses jolis yeux doux, doux, doux, et ses jolis yeux doux. (bis)
A d 4 Nous la menons aux noces,
b 2 Vole, mon coeur, vole!
d 4 Nous la menons aux noces,
e 5 Dans tous ses beaux atours,
B e 5 Dans tous ses beaux atours, atours, atours, dans tous ses beaux atours. (bis)
A f 6 Nous faisons bonne chère,
b 2 Vole, mon coeur, vole!
f 6 Nous faisons bonne chère,
g 3 Et nous avons bon goût!
B g 3 Et nous avons bon goût, goût, gout; et nous avons bon gout! (bis)
A h 7 On danse avec nos blondes,
b 2 Vole, mon coeur, vole!
h 7 On danse avec nos blondes,
i 8 Nous changeons tour à tour,
B i 8 Nous changeons tour à tour, tour, tour; nous changeons tour à tour, (bis)
A j 9 Ainsi le temps se passe,
b 2 Vole, mon coeur, vole!
j 9 Ainsi le temps se passe,
k 10 Il est vraiment bien doux!
B k 10 Il est vraiment bien doux, doux, doux; il est vraiment bien doux! (bis)
A a 1 Vive la Canadienne,
b 2 Vole, mon coeur vole!
a 1 Vive la Canadienne,
c 3 Et ses jolis yeux doux!

Song type: Traditional; strophic

Context: former national anthem, portrayal of the happy moments of French-Canadians in the 19th century.

Narrative: Celebration of the French-speaking Canadian identity, celebration of French cultural identity, and preservation of their identity. The theme of cherishing joyful moments together.

Suggested sources:

  • “Vive La Canadienne.” 2025. Chezyolie.com. 2025. https://www.chezyolie.com/2009chansons/chansons_autrefois/vive_la_canadienne.htm.
01/22/25

La belle, si j’avais su!

Strophe  Rhyme  Line  Text 
A 1 a  1  La belle, si j’avais su, la belle, si j’avais cru, 
  a  2  Que jamais nos amours en aurions parvenu.   
A2  a  1  La belle, si j’avais su, la belle, si j’avais cru,   
  a  2  Que jamais nos amours en aurions parvenu.   
B1  b  3  J’aurais partout dépensé mon argent,   
  b  4  Le soir au cabaret avec tous tes parents. 
B2  b  3  J’aurais partout dépensé mon argent,   
  b  4  Le soir au cabaret avec tous tes parents. 
A1  a  5  Si tu l’as défoncé, c’est parce que tu l’as bien voulu.   
  a  6  Combien de fois je te l’ai défendu.   
A2  a  5  Si tu l’as défoncé, c’est parce que tu l’as bien voulu. 
  a  6  Combien de fois je te l’ai défendu. 
B1  c  7  Combien de fois nous avons veillé tous deux   
  c  8  Le soir à la chandelle comme de braves amoureux. 
B2  c  7  Combien de fois nous avons veillé tous deux,   
  c  8  Le soir à la chandelle comme de braves amoureux. 

Rhyme Analysis: Each four-line stanza features two lines that repeat, of the monorhyme type and “pauvre” quality. The second half begins with the same rhyme at the beginning, but then brings in a different rhyming sound (i.e., ab/ac).

The text seems to be split into two parts, sung by two different singers. The first two stanzas are sung by the man, and the last two are sung by the woman. These two singers are presumably meant to embody two lovers who are breaking up. As both singers do not sing back and forth to each other, but rather in a long form monologue one after another, it is likely that the text reflects the point of view of each lover after the relationship has ended. 

The first two stanzas, sung by Allan Mills (embodying the man), is mournful about ending his relationship with his lover. He sings about how he would have tried harder to impress her parents, and splurged them with nights at the cabaret, had he known their relationship was leading to an end. 

The second half is sung by Helene Baillargeon (embodying the woman) who sings about the likely reasons why she has decided to end the relationship. In the first stanza, she sings about how it seems her ex-lover has gotten himself in trouble by getting into one too many fights. The last stanza indicates that their relationship was already in troubled waters and had to be kept secret. 

There is a good indication that this may have been a drinking song; despite the text being about two lovers breaking up, it is light-hearted and comical. This is especially evident in the second stanza when the man sings that he would have wooed his partner’s parents by taking them to a cabaret; a seemingly counterintuitive decision. Also, in contrast to the subject, the rhythm of the music is bouncy and set in a major key.  

Suggested sources:

Related contents:

Acadia

Acadie (Acadia)

Acadian Music

 

01/22/25

Acadia

Acadia

[1] Acadia, a region in northeastern North America, has a rich history marked by the first permanent agricultural settlements, along with French colonization, cultural development, and conflicts between European powers. The term “Acadia” is believed to have originated from the Mi’kmaq word “-cadie,” meaning “a piece of land,” though some attribute it to the explorer Verrazzano, who in 1524 named parts of the Atlantic coast “Archadie.” In 1604, Pierre du Gua de Mons took an expedition to build a French colony in North America. Accompanied by Samuel de Champlain, they settled on Île Sainte-Croix. Harsh winter conditions led to numerous deaths, prompting relocation to Port-Royal in 1605. Despite initial success, the revocation of de Mons’ monopoly in 1607 forced the settlers to return to France. Subsequent attempts to re-establish the colony faced challenges, including destruction by British forces in 1613.

[4] Acadian immigrants formed a unique society, combining French traditions and the culture of the Indigenous peoples of the area, primarily the Mi’kmaq. They established agricultural communities, utilizing dyke systems to cultivate fertile marshlands. This lifestyle fostered a close-knit, self-sufficient community with a unique cultural identity. Music played an integral role in Acadian culture, both as a form of entertainment and as a means of preserving traditions. From early on, Acadian music featured songs from France and evolved to include local influences, blending French, Mi’kmaq, and later Celtic styles. Traditional instruments like fiddles and accordions became central to Acadian musical expression, particularly in lively social gatherings like “kitchen parties.” Songs were often passed down orally, reflecting Acadians’ connection to their heritage.

[3] The Acadian song “Le Pêcheur Acadien” was written by Father André-Thaddée Bourque in the early 20th century as part of a series of Acadian nationalist songs and to honor the life and traditions of Acadian fishermen. Likely composed in the Canadian Maritimes, the song captures the deep connection between Acadians and the sea, reflecting their reliance on fishing for sustenance and livelihood. The music features a simple, folk-inspired melody, often accompanied by traditional Acadian instruments such as the fiddle and guitar/mandolin, providing a rhythmic and lively accompaniment [2]. The structure follows a strophic form, with verses narrating the daily life and challenges of Acadian fishermen, emphasizing themes of resilience. 

[1] Acadia’s location made it a focal point of Anglo-French rivalry. The Treaty of Utrecht in 1713 ceded parts of Acadia to Britain, but ambiguities led to ongoing disputes. Tensions culminated in the Great Upheaval of 1755, where Lieutenant Governor Charles Lawrence ordered deportation of approximately 10,000 Acadians. Families were separated, and many perished due to harsh conditions. Most were sent to American colonies while others migrated to France, England, and the Caribbean. In 1763, the British had successfully defeated the French in the Seven Years War. The British authorities allowed Acadians to return to the province under the conditions that they were loyal to the British crown, families to be separated from each other. Today, many institutions assert collective action towards the federal and provincial governments of Prince Edward Island, New Brunswick, and Nova Scotia have ensured that linguistic rights were maintained. More importantly, Acadian descendants have social status and celebrate their heritage through festivals, music, and the preservation of the French language. Regions in the Canadian Maritimes and parts of Maine continue to honor Acadian traditions, reflecting a resilient cultural legacy. 

References

[1] Anon. “Acadia | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 13 Mar. 2006, edited 21 July 2015, www.thecanadianencyclopedia.ca/en/article/acadia. Accessed 21 Jan. 2025.

[4] Anon. “Acadian Culture | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 15 Aug. 2016, edited 20 Sept. 2018, www.thecanadianencyclopedia.ca/en/article/acadian-culture. Accessed 21 Jan. 2025.

[2] Labelle, Ronald. “Acadian Music | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 23 Apr. 2014, edited 4 March 2015, www.thecanadianencyclopedia.ca/en/article/music-in-acadia. Accessed 21 Jan. 2025.

[3] Larry Robichaud – Topic. “Le Pêcheur Acadien.” YouTube, 11 June 2021, www.youtube.com/watch?v=sBQJnHxLQek. Accessed 22 Jan. 2025.

Related Sources

E.S. Griffith, Naomi. Contexts of Acadian History, 16861784. McGillQueen’s University Press, 1992, https://doi.org/10.2307/j.ctt130hhxb. JSTOR. Accessed 21 Jan. 2025.

Glover, Fred. “Acadian Expulsion (Plain-Language Summary) | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 7 July 2021, edited 7 July 2021. www.thecanadianencyclopedia.ca/en/article/acadian-expulsion-plain-language-summary. Accessed 21 Jan. 2025.

Johnson, Marc L., and André Leclerc. “Contemporary Acadia | the Canadian Encyclopedia.” Www.thecanadianencyclopedia.ca, 10 July 2019, edited 10 July 2019. www.thecanadianencyclopedia.ca/en/article/contemporary-acadia. Accessed 21 Jan. 2025.

Landry, Nicolas, and Père Anselme Chiasson. “History of Acadia | the Canadian Encyclopedia.” Thecanadianencyclopedia.ca, 9 Aug. 2013, edited 23 Nov. 2020. www.thecanadianencyclopedia.ca/en/article/history-of-acadia. Accessed 21 Jan. 2025.

University of Maine at Fort Kent. “The First Acadians – Acadian Culture in Maine.” Acim.umfk.edu, 2024, acim.umfk.edu/first_acadians.html. Accessed 21 Jan 2025.

Suggested Sources

[3] Larry Robichaud – Topic. “Le Pêcheur Acadien.” YouTube, 11 June 2021, www.youtube.com/watch?v=sBQJnHxLQek. Accessed 22 Jan. 2025.

01/21/25

À la claire fontaine

À la claire fontaine 
M'en allant promener, 
J'ai trouvé l'eau si belle, 
Que je m'y suis baigné. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

J'ai trouvé l'eau si belle,  
Que je m'y suis baigné.
Sous les feuilles de chêne 
Je me suis fait sécher, 
Sur la plus haute branche 
Le rossignol chantait .

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai.

Sur la plus haute branche,
Le rossignol chantait
Chante, rossignol, chante 
Toi qui as le coeur gai, 
Tu as le coeur à rire 
Moi je l'ai à pleurer.

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Tu as le coeur à rire
Moi je l'ai à pleurer
C'est pour mon ami Pierre 
Qui ne veut plus m'aimer, 
Pour un bouton de rose 
Que je lui refusai.

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Pour un bouton de rose  
Que je lui refusai
J'ai perdu mon ami 
Sans l'avoir mérité,
Pour un bouquet de roses 
Que je lui refusai. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai. 

Pour un bouquet de roses  
Que je lui refusai
Je voudrais que la rose 
Fût encore au rosier, 
Et que mon doux ami 
Fût encore à m'aimer. 

Il y a longtemps que je t'aime 
Jamais je ne t'oublierai.

 

Source: https://www.youtube.com/watch?v=QzrtfA7HHbc

Lyrics source: https://www.iletaitunehistoire.com/genres/comptines-et-chansons/lire/biblidcha_016#histoire

(There are various versions)

Rhyme: monorhyme

Topic/context: unrequited love

The earliest version is 1604. This song was popular in Belgium and in Canada. Numerous versions of both music and lyrics can be found, and versions known in France and Belgium vary from those known in Canada.

The song speaks of a lover bathing in a fountain, hearing a nightingale singing, and thinking about her lover whom she lost long ago after refusing a bouquet of roses he was offering her, most likely symbolizing him proposing to her. The nightingale’s heart laughs but hers weeps.

01/20/25

Vive la Canadienne (1952)

Note: Vive la Canadienne was the national song mostly sung in Québec before “O Canada” became popular. Its origins can be traced back to the early 1840s (Hélène Plouffe, 2013). This album “Folk Songs of French Canada,” which was released in 1952 on January 1st by Smithsonian Folkways Label, contains a collection of traditional Canadian Folk Songs performed by Alan Mills (voice and guitar). “Vive la Canadienne” is the last song of this album. The lyrics by Alan Mills are different from the official lyrics of the “Vive la Candienne” national anthem. The music is a military march of the 22nd Royal Régiment, adapted by Captain Edwin Bélanger, who was Director of Music for the 22nd Royal Régiment (Government of Canada, 2021).

Vive la Canadienne,
Vole, mon coeur vole!
Vive la Canadienne,
Et ses jolis yeux doux,
Et ses jolis yeux doux, doux, doux, et ses jolis yeux doux. (bis)

Nous la menons aux noces,
Vole, mon coeur, vole!
Nous la menons aux noces,
Dans tous ses beaux atours,
Dans tous ses beaux atours, atours, atours, dans tous ses beaux atours. (bis)

Nous faisons bonne chère,
Vole, mon coeur, vole!
Nous faisons bonne chère,
Et nous avons bon goût!
Et nous avons bon goût, goût, gout; et nous avons bon gout! (bis)

On danse avec nos blondes,
Vole, mon coeur, vole!
On danse avec nos blondes,
Nous changeons tour à tour,
Nous changeons tour à tour, tour, tour; nous changeons tour à tour, (bis)

Ainsi le temps se passe,
Vole, mon coeur, vole!
Ainsi le temps se passe,
Il est vraiment bien doux!
Il est vraiment bien doux, doux, doux; il est vraiment bien doux! (bis)

Vive la Canadienne,
Vole, mon coeur vole!
Vive la Canadienne,
Et ses jolis yeux doux!

Source: Folkways Media

Suggested sources:

01/16/25

Beothuk

The Beothuk (a word meaning “the people” or “true people” in the Beothuk language) were an Indigenous people who inhabited what is now called Newfoundland. They were coastal people who mainly lived off fish, seals, and other sea mammals and birds. They traditionally lived in settlements along the southern and northeastern coasts of Newfoundland. Their language is part of the Algonquian language family, and a dictionary of Beothuk vocabulary was created in the 1800s.

The Beothuk were likely the first Indigenous peoples to be in contact with Europeans, possibly as early as when the Norse settled in the area between 800 and 1000 CE. 500 years later, new European settlers arrived from England and France, and the Beothuk were immediately wary of them. As more Europeans flocked to the coasts of Newfoundland and encroached on traditional territory., the Beothuk moved inland. Interestingly, the Beothuk never participated in the trade of goods with Europeans but did repurpose metal objects left behind by settlers into tools for hunting.

As permanent settlements along the coast were established by the English and French, the Beothuk were blocked from fishing in their traditional waters and forced to live off of insufficient land and waterways for their needs. The deterioration of their living situation, combined with the introduction of European diseases, particularly tuberculosis, resulted in a rapid decrease in population. Many history books claim that the Beothuk were wiped out, with Shawnadithit, who died in 1829, being recorded as the last surviving Beothuk. However, the Mi’kmaq, who traded with the Beothuk, have always asserted that some Beothuk fled and intermarried with other Indigenous nations on the mainland.

Very little is known about the Beothuk’s musical traditions, but there are written accounts that reference traditional singing and dancing. One interesting musical artifact is a wax cylinder recording from 1910 of a Beothuk song sung by Santu Toney, a woman who self-identified as Beothuk despite speaking Mi’kmaq and living in Massachusetts. Toney claimed she learned the song from her father before fleeing Newfoundland. While we can never be sure whether the music was traditional or influenced by European traditions, the recording provides our only acoustic glimpse into the musical traditions of the Beothuk people.

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