WELTA’Q “it sounds good” - Graham Blair Designs

W E LT A ’ Q “i t sounds good”

T h e M i ’ k m a q are a First Nations people indigenous to eastern North America. Their traditional territory, referred to as Mi’kma’ki, en-compasses parts of Newfoundland, Nova Scotia, New Brunswick, Prince Edward Island, Québec, and Maine. They speak Mi’kmaq, an Algonquian language, and are part of the Wabenaki Confederacy. This Confederacy, which also includes the Abenaki, Maliseet, Passamaquoddy, and Penobscot, was formed among these eastern nations in the late seventeenth century as a political alliance to negotiate with colonizers and an economic alliance for trade. Wabenaki means “the people

of the dawn,” a

reference to their loca-

tion in the east. The Mi’kmaq signed

a Treaty of Peace and Friend-ship with the British Crown in 1752, which secured their hunting and fishing rights. It is commemorated on Treaty Day (October 1) and in Nova Scotia the entire month of October is recognized as Mi’kmaw history month.

The expression welta’q in Mi’kmaq, often used to express the concept of “mu-sic,” literally means “it sounds good.” It refers to the quality and experience of sound, rather than a particular means of producing it (von Rosen 1994). For this reason, welta’q is a broad term encom-

Jerry Evans (Mi’km

aq). “Quill M

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2 WELTA’Q “ i t sounds good” 3

passing any sound that is pleasing to the ear, including chants, songs, instrumental music, and even stories. Welta’q, then, is an apt title for this collection of Historic Recordings of the Mi’kmaq.

Many researchers have travelled to Mi’kma’ki and their field recordings have found their way into archives and private collections across Canada. These collections are not all easily accessible to the families of those recorded, nor to educators and researchers, yet they pre-serve important cultural material critical for revitalization efforts currently under-

way in many communities. Improving community access to these important documents was a primary goal of this CD project. But the audience for this CD extends beyond Mi’kma’ki to include anyone interested in indigenous cul-tures, colonial history, and intercultural exchange.

This compilation is only a frac-tion of the archival material available. Recordings were chosen for their signifi-cance in Mi’kmaw culture and history, and to represent the many musical genres present in Mi’kma’ki. For example, sev-

Mi’kma’ki – The Mi’kmaw Map Of The Maritimes. Used with the permission of the Native Council of Nova Scotia Micmac Language Program, P.O. Box 1320, Truro, NS, Canada, B2N 5N2. Copies may be obtained at a cost of $29.95 by contacting the Council.


eral Ko’jua songs are included to demon-strate the many variations, as well as the importance of this nation-specific song and dance genre. The fiddle music of Michael William Francis and harmonica music of Gilbert Patlas places the better-known fiddle music of Lee Cremo into a broad cultural context. William Paul’s “Promised Land” heard alongside other Catholic hymns provides a space in which conversion and colonization can be considered through music. Songs by Sarah Denny and the Birch Creek Sing-ers showcase their efforts to revitalize Mi’kmaw culture through two different musical modes, while recent recordings by a Friendship Centre Drum Group and Paul Pike reflect the current musi-cal climate. The story of Mi’kmwesu – a flute-playing trickster – is included for its description of beautiful music and as something that “sounds good.”

Not included are recordings al-ready commercially available on CD, such as those produced by Smithsonian Folkways, or recordings that Mi’kmaw artists and studios might release (or re-release). The recordings included here are drawn from collections at the Ca-nadian Museum of Civilization (CMC), the Centre d’études acadiennes (CEA) at Université de Moncton, the Beaton Institute (BI) at Cape Breton Univer-sity, and the Memorial University of Newfoundland Folklore and Language Archive (MUNFLA). Selections are also drawn from the private field recordings of Franziska von Rosen (FvR), now

housed at the Research Centre for Music, Media and Place (MMaP) at Memorial University. Communities and educators were consulted as to which recordings might prove most useful. The final track list was determined by a combination of factors, including our ability to obtain permission from both collectors and families of those recorded. For these and other reasons beyond our control, some notable singers and cultural specialists are regrettably not included.

The sound quality of selections on Welta’q is variable. These field record-ings were not made in studios, where extraneous sounds can be controlled or eliminated. Rather, they were made at public events (sometimes outdoors) or in private domestic settings. None was made with the idea that they would one day become publically available. Some of the ambient sound that is captured, such as the chiming of the clock dur-ing Michael William Francis’s story of Mi’kmwesu, or the children singing along to the Snake Dance at a powwow, helps to convey the contexts in which music-making and story-telling occur. Some collectors made detailed notes about songs and their performance, oth-ers did not, and so what we know about the performers and their songs is differ-ent in each case.

The many Mi’kmaq with whom I consulted in the process of compiling this CD, as well as the translators who diligently transcribed songs and attempt-ed to express their meaning in English,


commented on how different the language sounds today as compared to when these recordings were made. Some selections feature dialects, pronunciations, and even words that are no longer common among Mi’kmaq speakers. The very translation of song texts was not a task undertaken lightly. Not everything is translatable and some aspects of language and meaning are lost in the process. However, many of the project consultants involved work in language revitalization and literacy. For this CD to act as an educational tool in these areas, translations were neces-sary. Music educators pointed out that while listeners will get something from the music itself, the lyrics are needed to truly understand the meaning behind the songs. There are similar issues with musical transcription – a notation system foreign to the tradition cannot notate the nuances of the songs. After some debate, we decided to include transcriptions as an appendix, where they are at best skeletons to assist the study of songs, not definitive descriptions of the song performances (some have been transposed to more user-friendly keys). I have deliberately not placed the text under the notated pitches in the transcriptions to avoid the impres-sion of a songbook. Anyone interested in learning the songs is encouraged to listen closely to the recordings, using the tran-scriptions as an aid.

I extend my sincere thanks to everyone who made this compilation of historic recordings possible. I’m es-pecially grateful to my consultants and

translators, from whom I learned a great deal in the process.

Wela’lioq.Janice Esther Tulk, Producer

A NOTE ON LANGUAGE

In the Smith-Francis orthography, Mi’kmaq is the plural noun, while Mi’kmaw is the singular noun and the adjectival form. Mi’kmaq also refers to the language itself. In this booklet, the outmoded spelling “Micmac” is retained only in direct quotations or transcriptions from early sources. The Grand Council adopted the Smith-Francis orthography officially in 1982; however, other orthog-raphies, including Metallic, Pacifique, and Rand, are still in use throughout Mi’kma’ki.

The Smith-Francis orthography consists of sixteen letters (a, e, i, j, k, l, m, n, o, p, q, s, t, u, w, y) and a schwa (i). In this system, long vowels are indicated by an apostrophe.

basic pronunciation guide

a = amen

e = met

i = bit

o = also

u = put

a’ = palm


TRACK 8

God Save the Queenperformed by Harriet Denny and Annie Cremo

I

Mat mawtamulek

Klutmewse’winen

Ki’l Niskam wkwijal

Elasutmelsewkit nike’n

Elue’wutiktuk kamultijik

Te’ je’ wey kamulamuti

Elasutmelsewinen

II

Melkikno’ti meski’k

Wa’so’qeleke’wa’kik ki’l

Niskam wkwijal

Ke’ ne’ Se’sus wekwisit,

Wekwisit wejiwuli Niskam e’wutiktuk l’nua’sit

Sape’wuti’l waju’penl

Elasutmelse’winen

III

Ktlamilu weji manin

Kji klusuaqn

Ki’l Niskam wkwijal,

Ktinin Se’sus we’kwisin

We’kwisin Weji wuli Niskam ewutiktuk elnua’sin

Sape’wuti’l Waju’penl

Elasutmelse’winen

I

All of us ask you

Speak for us

You God, your mother

We pray over now

In the sin, they are standing

In the heart (breath)

You pray for us

II

Have big strength

Heaven, kingdom

You are God’s mother

Jesus is the son

Through the Holy Spirit, made Himself mortal

You are full of blessings

Pray for us

III

Your stomach he came out of, great Word

You God your mother

You God your mother

Your body Jesus

Through the Holy Spirit, you became mortal

You are full of blessings

Pray for us

God Save the Queen

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Chant National des Micmacs

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Chorus

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TRACK 9

Hymn for Flag Raising(“Mi’kmawey Ktapekiaqn”)performed by Sarah Denny

Translation Of Mi’kmaq Version“Mi’kmawey Ktapekiaqn”

chorus

Nepsa’tunej wli Mtawekn,

Ta’n westawu’lkw neya’toq klujjewey;

Nenuite’tmnej kli’kn,

Ta’n kaqamik Se’nt A’newey.

Wli ntunej ketleweyuaqn

Kisu’lkiktuk weji wla’luek;

Klnmnej alasutmaqn

Wlo’tiktuk ela’luek.

I

Mawi ksite’tmnej ta’n te’si’tis,

Kemitkinaq keknue’k L’nu’kwik,

Knkwi’kinaq teli wli wekasulti’tis,

Sape’wuti kesatmi’tis,

Nike’j wa’so’q eski’pulkik.

chorus

Let’s raise the good flag,

When the Savior brings out the cross;

Remember well the safe place,

The one standing belonging to St. Anne.

Let us speak the truth

From our Creator we get goodness

Let us keep praying

It will bring us to a better place.

I

Let us think most highly of how many of

Our homeland the old ways of our people,

Our ancestors thus loosened their bonds

They liked the Holy,

Now in heaven they are waiting for us.

(section in bold is heard on the recording)


II

Mawi ksite’tmej ta’n sape’wik

Mesnmu’ti’kis sikntasuti:

Nekla kesaltulti’kwik wenujkik,

Meltami pkisitulkupni’k

Wa’so’qewey elita’suti.

III

Mawi ksite’tmnej ta’n ika’qsip

Tet alasutmaqn teli kelu’lkw,

Welkwija’lulkis teli wliaqsip,

Weja’tekemk me’j pemiaqsip,

Me’j pemi apoqnmulkw.

IV

Mawi ksite’tmnej ta’n peykwasik

Teli ksalulk pa’tlia’s kujjinu;

Wtukwaqanm siawa’sik;

Me’j teli wejuowa’sik

Espe’k kusto’qoneminu.

V

Mawi ksite’tmnej ta’n ewle’julti’kw

Me’j ankweyulkw nutawtikemuet;

Wejkwapa’sit ktinenaq L’nuwulti’kw

Se’sukuli, wijikitulti’kw

Nujeyu’lkw kesi ksaluet.

VI

Mawi ksite’tmnej ta’n apu’lkul

Kijjinu Ma’li L’nue’katik,

Aq Se’nt A’n kelu’lkwul nespi pkwatulkul,

Jel kitk wlo’ti’l teplumulkul

Ketlewey wleyue’katik.

II

Let us think most highly of what is holy.

We received Baptism:

Those that love each other together the French

Medals they had brought for us,

Hope from heaven.

III

Let us think most highly of what has arrived

Here the prayer thus/there it is good,

Healed us that was good,

From then on it was still going,

And it is still helping us,

IV

Let us think most highly of when it was spread everywhere

How he loves us, the priest, our father;

His knife that keeps going;

And thus getting closer

Our prominent fir tree [pole].

V

Let us think most highly of when us that are poor

And our Creator who makes a path for us;

He is looking towards our native being

Jesus Christ, we are his brother

One who takes care of us truly loves.

VI

Let us think most highly of when that is sent to us

Our Mother Mary on our native land,

And Saint Anne, good things she has earned for us,

These two Holinesses are promised to us

Which is [a] true place of well being.


chorus

Let us fly the noble banner of Jesus Christ

Our Saviour and King

Let us open our eyes to his light

Let us open our heart to his law

I

Friends, let us be faithful to our fathers

Let us keep intact their pious memory

Let us keep their traditions, their exacting customs

Exempt from objectionable vices

We will go to join them in heaven

II

Friends, let us be faithful to France,

That on our banks, coming to sow peace,

Faith, love and holy Hope,

Consoled us in suffering,

And fulfilled us with her kind deeds.

III

Friends, let us be faithful to the Church

Who approached the proud children of the woods,

Quickly forced our conquered race

To bow its submissive head

Under the standard of the King of kings.

IV

Friends, let us be faithful to the good priest,

Who supports us through his noble work.

Let us in him honorably recognize

The ambassador of the Divine Master,

And the likeness of the Good Shepherd.

Translation Of French Version“Chant National des Micmacs”

(translated by Janice Esther Tulk with Sébastien

Déspres)

chorus

Arborons la noble bannière de Jésus-Christ

Notre Sauveur et Roi

Ouvrons nos yeux à sa lumière

Ouvrons notre Coeur à sa Loi

I

Amis, soyons fidèles à nos pères

Gardons intact leur souvenir pieux

Gardons leurs moeurs, leurs coutumes austères

Exempts des vices délétères

Nous irons les rejoindre aux cieux

II

Amis, soyons fidèles à la France,

Qui, sur nos bords venant semer la paix,

La Foi, l’amour et la sainte Espérance,

Nous consola dans la souffrance,

Et nous combla de ses bienfaits.

III

Amis, soyons fidèles à l’Eglise

Qui, s’approachant des fiers enfants des bois,

Força bientôt notre race conquise,

A ployer sa tête soumise

Sous l’étendard du Roi des rois.

IV

Amis, soyons fidèles au bon prêtre

Qui nous soutient de son noble labour

Sachons en lui dignement reconnaître

L’ambassadeur du Divin Maître,

Et l’image du Bon Pasteur.


V

Friends, let us be the faithful servants

Of the blessed Christ who, over the humble tribe,

Stretches his arms like vast wings,

So that in our immortal souls,

May bloom all virtue.

VI

Friends, let us be faithful to Mary,

And let us implore Saint Anne’s help.

These two torches will guide our life

Towards our heavenly native land,

Where we will reign forever.

V

Amis, soyons les serviteurs fidèles

Du Christ béni qui, sur l’humble tribu,

Etend ses bras comme d’immenses ailes,

Pour qu’en nos âmes immortelles,

Puisse fleurir toute vertu.

VI

Amis, soyons fidèles à Marie,

Et de Sainte Anna implorons le secours,

Ces deux flambeaux guideront notre vie

Vers notre céleste patrie,

Où nous règnerons pour toujours.

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WELTA’Q “it sounds good” - Graham Blair Designs