Category Archives: 1763–1867

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

03/13/25

La chanson de la Grenouillère

Song title: La Chanson de la Grenouillère

Source: Recording from The Canadian Museum of History

Strophe Rhyme Line Text
A a 1 Voulez vous écouter chanter, Une chanson de verité
b 2 Dix-neuf des gens d’arrière,
B a 3 là-bande des bois brûlés sont arrivés
c 4 comme des bravieri.
C d 6 En arrivant de la gare nordière,
e 7 nous avons pris trois prisonniers.
D f 8 J’avance armée, Puis quittons son armée
f 9 Deux sur la bande, Quatre ou cinq sont sauvés.
g 10 Les gouverneurs qui s’écroient l’Empereur,
g 11 ils l’attagisent avec rigueur
h 12 Les gouverneurs qui l’étaient enragés,
h 13 elles détachaient les soldats tirés.
E i 14 Le premier coup,
g 15 c’est l’Anglais que a tiré l’ambassadeur.
j 16 Il a menté tué.
k 17 Si vous avez vu ces Anglais, des tous ces bois brûlés après,
B l 18 de bête en bête, les Anglais tuent vite les bois brûlés
m 19 en chantant des cris des joies.
D n 20 Il a composé la chanson
n 21 Pierre et Falcon, ce bon garçon
A o 23 À l’altifète que composé, chantons la gloire
p 24 que nous avons gagné.
B o 25 À l’altifète qui compose, sur la victoire
p 24 que nous avons gagné.

Note: I used any2text.com to transcribe this song as I cannot understand French and was not able to find the lyrics online.

*I am not confident about the strophes labelling here nor some of the lyrics as I know AI isn’t too accurate

 

English Translation from here: Lyrics Source (also cited in suggested sources)

Would you care to hear sung  

A song of truth? 

Last June 19th,  

The band of Bois-brûlés arrived — 

A band of brave warriors. 

  

When we got to la Grenouillère, 

We took three prisoners. 

We had surrounded  

Almost all of their army below the hill; 

Only four or five of them escaped.    

  

The governor, imagining himself an emperor, 

Responded harshly. 

The governor, filled with rage, 

Told his soldiers — Fire! 

The first shot  

Was fired by the English. Our ambassador,  

Was nearly killed. 

  

You should have seen the English  

And all the Bois-brûlés chasing them!  

From hill to hill,  

The English fell. The Bois-brûlés 

Shouted for joy!    

  

Who composed this song?  

Good old Pierriche Falcon!  

It was written  

And composed to sing of the glory  

That was ours. 

It was written  

And composed to sing of the victory  

That was ours

Commentary

1 “La Chanson de la Grenouillère,” or “The Song of Frog Plain,” goes beyond a catchy tune—it’s a powerful ballad with deep historical roots, crafted by Métis poet and Northwest Company clerk Pierre Falcon (1793–1876). This song pays tribute to the Métis victory at the Battle of Seven Oaks on June 19, 1816, which stands as a key moment in Métis history. Falcon’s song is an early celebration of Métis identity and strength, displaying their resilience in the face of adversity. The lyrics vividly recount the battle, emphasizing the courage of the Métis fighters and the strategic blunders of their opponents. One of the emphasizes in the song is how the Métis outmaneuvered the enemy, eventually leading to their major victory.

1 The Battle of Seven Oaks happened during a time of rising tension between the Hudson’s Bay Company (HBC) and the Northwest Company (NWC), both vying for dominance in the fur trade around the Red River Valley. The Métis, who were allied with the NWC, were frustrated with the HBC’s restrictive practices that threatened their livelihoods and way of life. When the dust settled at Seven Oaks, the HBC had lost 21 men, including Governor Robert Semple, while the Métis faced only minor losses.

Right from the start, the song invites listeners to tune in to a “song of truth,” promising an authentic retelling of the battle. The Métis warriors, fondly called “Bois-Brûlés,” are depicted as heroic and clever, making tactical moves to capture prisoners and outflank their foes. In contrast, the governor is portrayed as a bit of a braggart, thinking of himself as an emperor, which proves to be a costly mistake. This portrayal really drives home the song’s message about Métis unity and their determination to resist outside control. The song’s lyrics radiate bravery and defiance, detailing the courage displayed by the Métis in the face of violent confrontations. For instance, the line “le premier coup, c’est l’Anglais qui a tiré l’ambassadeur,” which translates to “the first shot is the English who shot the ambassador,” captures an important moment in their fight for survival and rights. This imagery paints a vivid picture of the physical battles while also simplifying psychological impacts of conflict on the Métis community.

2 “La Chanson de la Grenouillère” is typically sung in a folk style that reflects the oral traditions of the Métis culture. You’ll often hear it sung a cappella or possibly accompanied by simple instruments like the fiddle or guitar—both of which are essential to Métis musical heritage. The melody is lively and rhythmic, making it perfect for community gatherings where singing and dancing unite people and strengthen their bonds.

Related Sources

Cass-Beggs, Barbara. Seven Metis Songs of Saskatchewan. 2025. BMI Canada Limited, 1967, pp. 5–26.

Chartrand, Margaret, and Denise Ménard. “Pierre Falcon.” Www.thecanadianencyclopedia.ca, 21 Feb. 2008, www.thecanadianencyclopedia.ca/en/article/pierre-falcon. Accessed 12 Mar. 2025.

Giroux, Monique. “Singing for Frog Plain.” Ethnologies, vol. 37, no. 1, May 2017, pp. 43–64, https://doi.org/10.7202/1039655ar. Accessed 12 Mar. 2025.

Ingraham, Mary I., and Robert C. Rival. Reflections on Malcolm Forsyth. 2025. University of Alberta, 2019, pp. 49–77.

Suggested Sources

Canadian Museum of History. “La Chanson de La Grenouillère.” Teachers’ Zone | Canadian Museum of History, 1957, www.historymuseum.ca/teachers-zone/think-like-a-historian-working-with-primary-source-evidence/audio/la-chanson-de-la-grenouillere/. Accessed 12 Mar. 2025.

References

  1. Barkwell, Lawrence. “Bataille de La Grenouillère | l’Encyclopédie Canadienne.” Www.thecanadianencyclopedia.ca, 7 Feb. 2006, www.thecanadianencyclopedia.ca/fr/article/seven-oaks-incident-de. Accessed 12 Mar. 2025.
  2. Canadian Geographic. “Music and Dance.” Indigenouspeoplesatlasofcanada.ca, 25 Sept. 2018, indigenouspeoplesatlasofcanada.ca/article/music-and-dance/. Accessed 12 Mar. 2025.
  3. Canadian Geographic. Indigenous Peoples Atlas of Canada. 2025. Canadian Geographic, 2018.
  4. Wright, Heather. “La Dernière Bataille de La Grenouillère – Histoire Canada.” Histoirecanada.ca, 1 Jan. 2019, www.histoirecanada.ca/consulter/paix-et-conflit/la-derniere-bataille-de-la-grenouillere. Accessed 12 Mar. 2025.
03/13/25

L’Aumône refusée

Link: On Canvas (no online copy)

Lyrics from Liner notes to CD (via Discogs)

Song title: L’Aumône refusée

Source: Marcel Bénéteau, À la table de mes amis (2000)

 

Strophe Rhyme Line Text Translation
1 a 1 Père et mère qu’élevez des enfants, (bis) O father and mother who raise children,
b 2 Corrigez-les dans leur jeune âge. (bis) Correct them at a young age.
a (p) 3 Pour moi j’ai bien élevé les miens, (bis) As for me, I’ve raised mine well,
c 4 Tout doucement, comme un bon père. (bis) Very gently, like a good father.
2 d 5 Chez mon fils bourgeois j’été, (bis) I went to my gentleman son’s house,
a 6 Pour le lui demander l’aumône. (bis) To ask him for alms.
d (p) 7 La table était tout bien garnie, (bis) The table was laid out really well,
e 8 Garnie de tartes et de pâté-es. (bis) Laid out with pies and pastries.
3 f 9 Héla! Grand Dieu, qui est ceci, (bis) Alas! Great God, who is this,
g 10 Qui est toujours rendu à ma porte? (bis) Who is always coming to my door?
c 11 Mon bon bourgeois, c’est votre père, (bis) My good gentleman, it’s your father,
a 12 Qui vient vous demander l’aumône. (bis) Who comes to ask you for alms.
4 f 13 Qu’on l’ôte ces pâtés-là d’ici, (bis) Take these very pastries away from here,
h 14 Qu’on mettre le pain dessus la table. (bis) Put the bread on top of the table.
a 15a Qu’on lui donne un morceau de pain  Give him a piece of bread,
a 15b Qu’on lui donne tout comme un chien.  Give it to him like a dog.
g 16 Par dessour la sol de la porte. (bis) Below the threshold of the door.
5 d 17 Quand c’ le bonhomme fut retiré, (bis) When the good man had left,
h 18 Ils ont mis les pâtés sur la table. (bis) They put the pastries on the table.
d (p) 19 Le premier qu’il a entammé, (bis) As he was beginning the first one,
i 20 Un crapaud lui saute au visage. (bis) A toad jumped into his face.
6 f 21 Héla! Grand Dieu, qui est ceci (bis) Alas! Great God, who is this
i 22 Qui me déchire tout le visage? (bis) Who’s tearing off my face?
j 23 C’est une pénitence de Dieu, (bis) It’s a penance from God,
c 24 Pour avoir envoyé votre père. (bis) For sending off your father.
7 f 25 Vite, Saint Malcom, allez me le qu’ri, (bis) Quickly, Holy Malcolm, go get him,
c 26 Vite, pour aller chercher mon père. (bis) Quickly, to go and get my father.
d 27 Quand c’ le bonhomme fut arrivé, (bis) When the good man had arrived,
k 28 Trouva son fils réduit en cendres. (bis) He found his son reduced to ashes.

 

Notes on the text: According to the liner notes, this is a Medieval song preserved in about a dozen versions throughout Quebec and Acadia; this version comes from Stella Meloche in Detroit, who learned it from her uncle.

 

Type: Strophic, narrative, ethical fable

 

Context: Perhaps could be sung at a soirée or other family gathering, considering it extols the value of hosting? Bénéteau’s presentation of the album might also suggest this.

 

Narrative: 

Begins with an exhortation to parents in the first strophe; the next 6 illustrate a fable of a poor father and his well-to-do son. When the father comes to ask for some help and finds his son’s table already set with a decadent meal, the son acts annoyed and hides his food, slipping his father bread beneath the door ‘like a dog.’ As the son sits down to enjoy his pastry, a toad jumps onto his face and begins to destroy him; he sends for his father, but it’s already too late – by the time his father arrives, he’s reduced to ‘cendres!’

While the fun narrative is probably the focus here (the song lasts nearly 6 minutes), there is certainly an ethical element to it – the values of hospitality, sharing what you have, and family are all extolled. There’s also a theological element; the son takes God’s name in vain (not cool!) and ends up being stricken down by God for his complacency. Interestingly, I couldn’t find any ‘Saint Malcom’ in the Roman martyrology; perhaps this is a unique feature of the story, but as the only named character in the plot, I would expect there to be some context for this mention.

The text is generally not rhyming (with some exceptions in the beginning) and is repeated throughout – I think this heightens the tension of the narrative. Bénéteau also builds further tension with instrumental interludes between key plot developments, and a regular but surprisingly nonmetrical rhythm.

Information on Bénéteau himself is rather scarce; what I can find is that he’s a professor in Sudbury of Franco-American studies, and has catalogued thousands of Francophone songs from the Detroit region.

This song is performed in a more intimate, narrative style. Instrumentation includes guitar, Bénéteau’s voice, a background fiddle, jaw harp at the end, and what sounds like a mandolin, but they don’t all play at once. The emphasis is definitely on the text and the narrative; even the mastering of the recording brings this out.

 

The music deserves a bit of analysis as well, because of the interesting nonmetrical rhythmic scheme:

I think this could either be read as a sort of elided 6/8, or simply as groups of 2 and 3 pulses. The latter idea could be supported considering the musicians were familiar with Gregorian chant, only I’m not sure whether the idea of subdividing Gregorian chant into 2 and 3-pulse groups would predate the composition of this song. Either way, the rhythms ensure the music flows very nicely and the repetition never gets lugubrious, which is remarkable for a text this long.

01/22/25

V’a l’bon vent (Les trois canards)

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Derrière chez nous y a un étang. (bis)
Trois beaux canards s’en vont baignant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Trois beaux canards s’en vont baignant. (bis)
Le fils du roi s’en va chassant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Le fils du roi s’en va chassant, (bis)
Avec son grand fusil d’argent.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Avec son grand fusil d’argent, (bis)
Visa le noir, tua le blanc.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Visa le noir, tua le blanc. (bis)
Ô fils du roi, tu es méchant.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Ô fils du roi, tu es méchant, (bis)
D’avoir tué mon canard blanc !

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

D’avoir tué mon canard blanc ! (bis)
Par-dessus l’aile, il perd son sang.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

Par-dessus l’aile, il perd son sang, (bis)
De ses yeux lui sortent des diamants.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

De ses yeux lui sortent des diamants, (bis)
Et de son bec l’or et l’argent.

V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’appelle,
V’là l’bon vent, v’là l’joli vent
V’là l’bon vent, ma mie m’attend.

 

Suggested Sources:

 

01/22/25

Bal chez Boulé

Dimanche après les vêpr's y aura bal chez Boulé
Mais il n'ira personn' que ceux qui sav'nt danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tout l'mond'dansait d'son mieux, on s'faisait pas prier
La fill' de "Jos Via-lon" ne voulut pas danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Pourquoi n'dansez-vous pas? êt's vous trop fatiguée?
Ou bien avez-vous peur d'user vos beaux souliers?

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Non, non, ce n'est pas ça, j'ai un p'tit cor au pied,
Je vais me contenter de vous r'garder danser.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Tinest, le violoneux, laissait pas l'temps d'souffler,
Pour mettr' ça plus soul'vant, tapait de ses deux pieds.

Vogue marinier vogue, vogue,
Vogue, beau marinier.

Baptist', qui "câlait l'set", tout tremp' comme un' lavette
S'écria: "Domino! parc' que les femmes on chaud!"

Vogue marinier vogue, vogue,
Vogue, beau marinier.

 

Source: Le bon vieux temps

Suggested Sources:

Related Contents:

 

01/16/25

Métis

Métis People and Their Identity

The Métis community is one of Canada’s three recognized Indigenous peoples (Canadian Geographic 2018). The earliest mixed Aboriginal-European people could be traced back to the first contact period. However, the emergence of the first community that is made up of distinctly Métis people is still being studied to this day. Scholars have argued that their ancestry is either traced back to Red River settlement or the fur trade in the Great Lakes in the late 18th century. In today’s definition, the Métis people include those of mixed ancestry from the 18th to early 19th centuries fur traders of European descent, primarily French settlers, and Indigenous women of Cree and other nations like Ojibwa and Saulteaux. Before the term “Métis” was used to refer to this mixed community in the early 19th century, they were referred to as “Saulteurs,” “bois brûlés,” or “chicots” (Gaudry 2023). The term “Métis” came from the French verb “métisser,” meaning to mix races. The language developed and spoken within the Métis community is called Michif, which combines verbs and phrases from Cree and French nouns. Today, Heritage Michif is considered an endangered language, as less than a few hundred people speak it, and those who can speak the language are mostly people in their 70s or older (Canadian Geographic 2018).

Resistance to the Canadian government

For a long time, the Métis people faced ongoing discrimination and especially land encroachments from the Canadian government. In 1869, the Canadian government acquired Rupert’s Land from the Hudson’s Bay Company, which the territory belonged to the descendants of original inhabitants including the Métis nation, and sold without consultation or consent from the Indigenous people. The event of sending surveyors onto André Nault’s (Métis leader, farmer and buffalo hunter) land further increased the tension between the Métis and the Canadian government, which ultimately led to the Red River uprising. The continuous disregard for Métis people’s land claims and marginalization angered the Red River Métis people, who eventually formed the National Committee of the Métis in October 1869, and later established their provisional government on December 8, 1869, with Louis Riel as the leader (Gaudry 2023). The Métis people, whether they participated in the 1885 North-West Resistance or not, would be socially, economically, and politically marginalized. As they lose their title to the land, they can’t pay taxes, which results in a cycle of poverty for generations to come (Canadian Geographic 2018).

Contribution to Francophone music

The Métis people also made significant contributions to Canada’s music, mostly in the form of dance and fiddle music. Traditional dances like the Red River Jig (1850s), the Rabbit Dance, and the Sash Dance are highly celebrated dances of their heritage, they are still being performed at powwows, functions, national competitions, and community gatherings (Gaudry 2023). As Europeans brought violins to Canada, the Métis people adopted the instrument and played their traditional tunes with it, these tunes are usually a mix of French-Canadian and Indigenous tunes. Many Métis fiddlers traveled across North America and participated in fiddle contests, as many Métis people held competitions to determine who was the best jiggers and fiddlers. Despite a lack of formal training, many Métis fiddlers could play at a virtuosic level and have developed excellent musicianship (Canadian Geographic 2018).

Suggested Sources:

01/3/25

C’est l’aviron

M'en revenant de la joli' Rochelle (bis)
J'ai rencontré trois joli's desmoiselles

C’est l’aviron qui nous mène qui nous mène,
C’est l’aviron qui nous mène en haut.

J’ai point choisi, mais j’ai pris la plus belle, (bis)
J’l’y fis monter derrièr’ moi sur ma selle…

C’est l’aviron qui nous mène qui nous mène,
C’est l’aviron qui nous mène en haut.

J’y fis cent lieues sans parler avec elle, (bis)
Au bout d’cent lieues ell’ me demandait à boire.

C’est l’aviron qui nous mène qui nous mène,
C’est l’aviron qui nous mène en haut.

Je l’ai menée auprès d’une fontaine, (bis)
Quand ell’ fut là, elle ne voulut point boire.

C’est l’aviron qui nous mène qui nous mène,
C’est l’aviron qui nous mène en haut.

Je l’ai r’menée au logis de son père, (bis)
Quand ell’ fut là, elle buvait à plein verre…

C’est l’aviron qui nous mène qui nous mène,
C’est l’aviron qui nous mène en haut.

À la santé d’ses sœurs et frères, (bis)
À la santé d’celui que son cœur aime…

C’est l’aviron qui nous mène qui nous mène,
C’est l’aviron qui nous mène en haut.

 

Suggested Sources:

“C’est l’aviron,” Les chansons des voyageurs, Festival des voyageurs. https://heho.ca/c-est-l-aviron (Accessed January 6, 2025)