On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.

On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.