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).

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01/16/25

Mi’kmaq

The Mi’kmaq (or Mi’kmaw, L’nu) are an Indigenous people with roots in the Atlantic provinces of Canada and parts of the northeastern United States that date back to around 10,000 years ago. Their traditional territory, Mi’gma’gi, spans Nova Scotia, New Brunswick, and parts of Newfoundland, Quebec, and Maine, with a population of over 70,000 people identifying as Mi’kmaq in the 2021 Canadian census. Central to their culture are their strong ties to the natural world, their language (now recognized as Nova Scotia’s first language), and their vibrant artistic traditions, particularly music.

Mi’kmaq music has long been an integral part of cultural expression. Traditional songs and chants, often performed during ceremonies or powwows, convey deep emotion using syllabic sounds rather than structured lyrics. The term “welta’q”, meaning “it sounds good,” refers broadly to all pleasing sounds, including music, storytelling, and natural soundscapes. Many traditional songs are believed to have been inspired by animals, such as birds, whose calls serve as the basis for musical creativity.

A recent example of Mi’kmaq musical innovation is Emma Stevens’ 2019 viral cover of Blackbird by the Beatles, sung in the Mi’kmaq language. Her rendition brought global attention to endangered Indigenous languages and highlighted the power of music in preserving culture. Stevens’ performance, supported by her Cape Breton community, aligns with broader efforts to revitalize the Mi’kmaq language, which, despite challenges, has grown in use due to immersion programs and legislative support such as the 2022 Mi’kmaw Language Act.

The Mi’kmaq people’s resilience is also evident in their activism. From advocating for fishing and hunting rights under 18th-century Peace and Friendship Treaties to protests against environmental exploitation, they continue to assert their sovereignty and protect their lands. This cultural perseverance, mirrored in their music, exemplifies the deep connection between art, language, and identity in Mi’kmaq traditions.

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01/8/25

Marie-Jo Thériault (1965–)

Marie-Jo Thério is an Acadian singer and performer born in Moncton, New Brunswick on July 3, 1965. Her early years in Moncton included piano lessons from the age of 6, and theater performances. During her period growing up in Moncton, she wrote her own music and was inspired by David Bowe and Harmonium’s L’Heptade album (9); a Montreal based folk rock band active between 1972-1979 (2). In 1995, she released her first album Comme de la musique (4). Links to her Acadian heritage can be found in tracks of this album, such as “Petite Acadie” and “Moncton” songs with lyrics that express her feelings and experiences living in Moncton (1, 5, 4). 

At the age of 16, Thério would leave for Montreal to study literature and theater (4), and later come to perform in France, Africa and South America. She would go on to win the Félix award in the category of contemporary folk for her album Les Matins habitables (10). The album contains “Moncton”, of the same from Comme de la musique, and “Évangéline” (3). “Evangeline” is based on the poem “Evangeline: A Tale of Acadie” by Henry Wadsworth Longfellow, which follows the trials of two Acadian lovers who become separated due to consequences of deportation (8). Along with the text content, it also follows similar traditional Acadian folk music elements, such as its strophic musical style and direct key change in the verse. 

Recently, Thério has continued to perform her music, reviving her La Maline album on stage in 2024 (7). 

Suggested Sources:

  1. Comme de la Musique. Spotify. (1995, February 9). https://open.spotify.com/album/0k1QpknX59YYwTfuOqFbqh  
  2. Harmonium. Canadian Songwriters Hall of Fame. (2019, October 7). https://www.cshf.ca/songwriter/harmonium/  
  3. Les Matins habitables. Spotify. (2005, June 21). https://open.spotify.com/album/5YZzIbWvVSe4Cx7LXEIjMT  
  4. Marie-Jo Thério – Moncton lyrics. Musixmatch. (n.d.-b). https://www.musixmatch.com/lyrics/Marie-Jo-Th%C3%A9rio/Moncton  
  5. Marie-Jo Thério – Petite acadie lyrics. Musixmatch. (n.d.-c). https://www.musixmatch.com/de/songtext/Marie-Jo-Th%C3%A9rio/Petite-Acadie  
  6. Marie-Jo Thério – Évangeline. Musixmatch. (n.d.-a). https://www.musixmatch.com/lyrics/Marie-Jo-Th%C3%A9rio/Evangeline  
  7. Marie-Jo Thério. Congrès mondial acadien 2024. (n.d.). https://cma2024.ca/en/program/artists/marie-jo-therio-en  
  8. Parks Canada Agency, G. of C. (2022, November 11). Evangeline. Grand-Pré National Historic Site. https://parks.canada.ca/lhn-nhs/ns/grandpre/culture/evangeline  
  9. Radio-Canada. (2006a, October 24). Marie-Jo Thério, l’artiste sensible au parcours unique. Radio-Canada. https://ici.radio-canada.ca/ohdio/premiere/emissions/les-grands-entretiens/segments/entrevue/129250/marie-jo-therio-moncton-acadie-maline-monique-giroux  
  10. Radio-Canada. (2006b, October 24). Marie-Jo Thério Remporte un félix. https://ici.radio-canada.ca/nouvelle/326763/nb-therio 
  • “Marie-Jo Thério, l’artiste sensible au parcours unique,” Les grands entretiens, Radio-Canada. https://ici.radio-canada.ca/ohdio/premiere/emissions/les-grands-entretiens/segments/entrevue/129250/marie-jo-therio-moncton-acadie-maline-monique-giroux (Accessed January 9, 2025).

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01/6/25

Clémence Desrochers (1933–)

Born is Sherbrooke, QC, Clémence Desrochers moves to Montréal at 17 years old to study at the Conservatoire d’art dramatique in Montréal. Her early performances as a monologuist, comedian, and singer0-ongwriter were in cabarets such as Saint-Germain-des-Prés in Montréal and the Butte à Mathieu in Val-David, alongside other artists such as Louise Latraverse and Diane Dufresne.

Desrochers’ shows combine satire and caricature with candid contents. Her monologues and songs often address issues related to women’s life, including working conditions, homosexuality, and menopause, which inspired the Québec feminist movement which sought work equity, representation, and social justice.

A testimonial to her artistry and important in Québec culture is represented by the following tribute by Georges-Hébert Germain, a critic at La Presse:

 “Again, it was you who perfected the formula for the monologue   and the show. You remain the most brilliant portraitist of the   Quebec woman. You’re like a mirror in which she can see herself,   admire herself, or make herself beautiful once more as required.   The soul of Quebec is revealed in your monologues and   songs…our realities, our dreams, our emotions.”

Suggested Sources:

“La vie d’factrie, Clémence DesRochers,” Trame sonore du Québec, Bibliothèque national du Québec, https://www.banq.qc.ca/explorer/articles/la-vie-dfactrie-clemence-desrochers (Accessed January 6, 2025)