Thesis (M.A.)--Saint Mary's University, 1998. / Includes bibliographical references.

With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.” This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition. One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.”

The purpose of this qualitative research study was to understand the facilitators and/or barriers to safer drug use and sexual practices among a sample of young female injection drug users (IDUs) who live in small towns/rural communities in Cape Breton, Nova Scotia. This study examined how economic status, relationships, social roles, small town/rural living, and stigma function as facilitators and/or barriers to safer practices. Eight female IDUs aged 20-31, living in small towns/rural communities in Cape Breton, engaged in face-to-face, semi-structured interviews. The women described what day-to-day life is like for female IDUs living in small towns/rural communities. They spoke about managing drug addiction, their understanding of safer and unsafe injection drug use and risky and safer sexual practices, as well as their experiences with services/supports. The information obtained from this study will help to inform harm reduction policy and program initiatives.

Human-coyote conflict has intensified in Nova Scotia, following a fatal attack in Cape Breton Highlands National Park of Canada (CBHNPC) in October, 2009. This conflict has impacted people and coyotes across the province, and raised numerous questions about how humans and coyotes relate to one another and what steps we might take to avert future conflict. From 2011-2012, I used scat, remote camera, and snow tracking surveys to assess the degree of spatial overlap between human and coyote activity in CBHNPC. I found a negative correlation between hiker/biker and coyote activity in the summer and fall [r=-.830, n=14, p<.01]. In the winter, I found no correlation between human and coyote activity [r=.006, n=10], and a negative correlation between coyote and domestic dog activity [r=-.612, n=10, p<.05]. I discuss the implications of these research findings and the application of noninvasive survey methods in this, and potentially other, human-wildlife conflicts.

With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.” This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition. One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.”

With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.” This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition. One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.” / Arts, Faculty of / Music, School of / Graduate

This is an inquiry that explores both then and now. Father and Daughter. Temporality and Geography. Within these pages stories are used to explore my family’s present and past; migration, settlement, memory, experience and connection to place – Glace Bay, a village on Cape Breton Island. Through narrative, poetry and photography, the contrasting experiences of having lived in Glace Bay in the past, and the struggle to connect with Glace Bay in the present, and future, are explored. Finally, within this manuscript I examine the impact of my father’s stories and I identify storytelling as an important factor in developing a critical consciousness. My father inspired my sense of social justice at a young age and the impetus for this project was not just to document his stories for the sake of posterity, but also to exemplify the way consciousness is cultivated and passed down; across generations, despite changing landscapes, through story.

This is an inquiry that explores both then and now. Father and Daughter. Temporality and Geography. Within these pages stories are used to explore my family’s present and past; migration, settlement, memory, experience and connection to place – Glace Bay, a village on Cape Breton Island. Through narrative, poetry and photography, the contrasting experiences of having lived in Glace Bay in the past, and the struggle to connect with Glace Bay in the present, and future, are explored. Finally, within this manuscript I examine the impact of my father’s stories and I identify storytelling as an important factor in developing a critical consciousness. My father inspired my sense of social justice at a young age and the impetus for this project was not just to document his stories for the sake of posterity, but also to exemplify the way consciousness is cultivated and passed down; across generations, despite changing landscapes, through story.

This is an inquiry that explores both then and now. Father and Daughter. Temporality and Geography. Within these pages stories are used to explore my family’s present and past; migration, settlement, memory, experience and connection to place – Glace Bay, a village on Cape Breton Island. Through narrative, poetry and photography, the contrasting experiences of having lived in Glace Bay in the past, and the struggle to connect with Glace Bay in the present, and future, are explored. Finally, within this manuscript I examine the impact of my father’s stories and I identify storytelling as an important factor in developing a critical consciousness. My father inspired my sense of social justice at a young age and the impetus for this project was not just to document his stories for the sake of posterity, but also to exemplify the way consciousness is cultivated and passed down; across generations, despite changing landscapes, through story.

This is an inquiry that explores both then and now. Father and Daughter. Temporality and Geography. Within these pages stories are used to explore my family’s present and past; migration, settlement, memory, experience and connection to place – Glace Bay, a village on Cape Breton Island. Through narrative, poetry and photography, the contrasting experiences of having lived in Glace Bay in the past, and the struggle to connect with Glace Bay in the present, and future, are explored. Finally, within this manuscript I examine the impact of my father’s stories and I identify storytelling as an important factor in developing a critical consciousness. My father inspired my sense of social justice at a young age and the impetus for this project was not just to document his stories for the sake of posterity, but also to exemplify the way consciousness is cultivated and passed down; across generations, despite changing landscapes, through story.