Représentation et redéfinition de la relation avec les Premiers peuples dans la chanson québécoise depuis 1960 : de la prise de conscience à l’émergence d’une chanson des Premiers peuples

Popular music has the power to change people’s perceptions, to revise the image we have created of First Nations, and, ultimately, to redefine the relationship between Aboriginal and non-Aboriginal people. This is precisely what shows a survey of popular Quebecois songs dating from 1960 to 2019 by n...

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Bibliographic Details
Published in:Études canadiennes / Canadian Studies
Main Author: Melançon, Johanne
Format: Article in Journal/Newspaper
Language:French
Published: Association française des études canadiennes (AFEC) 2019
Subjects:
chanson québécoise
Autochtones
identité
postcolonialisme
Canada
littérature
solitude
Quebecois songs
native people
identity
postcolonialism
literature
musiq
art
First Nations
Online Access:https://doi.org/10.4000/eccs.2986
http://journals.openedition.org/eccs/2986
Description
Summary:Popular music has the power to change people’s perceptions, to revise the image we have created of First Nations, and, ultimately, to redefine the relationship between Aboriginal and non-Aboriginal people. This is precisely what shows a survey of popular Quebecois songs dating from 1960 to 2019 by non-Indigenous singers (Gilles Vigneault, the Séguins) and by First Nations singers, namely Kashtin who rose to success in the early 1990s, but also Chloé Sainte-Marie who has chosen to sing in Innu-aimun, or the Métis artist Samian who has multiplied musical collaborations since the beginning of the 21st century so as to contribute to the emergence of Aboriginal popular music in Quebec. La chanson populaire constitue un moyen privilégié pour faire changer les perceptions et revoir l’image que nous avons construite des Premiers peuples et elle permet de redéfinir les relations entre Autochtones et Allochtones. C’est ce que démontre un parcours de la chanson populaire québécoise de 1960 à 2019, qu’il s’agisse de chansons d’Allochtones (Gilles Vigneault, les Séguin), de chansons d’Autochtones, surtout à partir du succès de Kashtin au début des années 1990, de Chloé Sainte-Marie qui choisit de chanter en innu-aimun, ou du métis Samian dans les années 2000 qui multiplie les collaborations, pour arriver à l’émergence d’une chanson autochtone au Québec.

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