Cape Breton’s Cultural Identities: Language and Lifestyle

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Table of Contents

Introduction
Cape Breton Island’s Literature
Music in Cape Breton Island
Art and Craft in Cape Breton
Theatre in Cape Breton
Advertising Cape Breton
Conclusion
References

Introduction

Situated on North America’s Atlantic Coast, Cape Breton Island is one of the preferred tourist destinations in Nova Scotia province, Canada. The island derives its name from the French historical region, which is referred to as Bretagne, a proper noun for the word Breton. The dominant ethnic group in the island traces its origin from the Mi’kmaq ancestors, the archaic maritime natives, and the European arrival inhabitants during the 15th century (Ivakhiv, 2005).

For a couple of decades, the people of Cape Breton have created an identity that reveals the rich culture upheld by Canadians living in the region. Notably, the use of the Gaelic language in the island demonstrates the Celtic culture prevalent in Nova Scotia since the dwellers of the area, particularly those in the Cape Breton communicate through it mostly (Sparling, 2008).

As such, since the 20th century, the process of culture production to create the people’s origin has received considerable embracement from the world. Notably, various aspects of the island’s culture including art and craft, music, literature, and theatre performances have managed to secure the hearts of many internationally thereby prompting an analysis to understand how the traditions, attitudes, and values of the people developed. Further, the tourism sector in the region has adopted persuasive forms of advertisement that seek to attract more people from culturally diverse backgrounds to visit the island (Little, 2014). Therefore, this paper purposes to explore the creation of Cape Breton identity pertinent to its various pieces of work since the 20th century.

Cape Breton Island’s Literature

Cape Breton has a rich literary life that continues to blossom by the day thereby fostering the identity of the people. Importantly, Cape Breton people concentrate on highlighting the literary undertakings of various authors in a manner that nurtures them besides providing inspiration. Notably, the numerous talented writers have facilitated the expression of the people’s culture as depicted by their enduring stories covering various aspects of life in the North American island.

As such, writers like Lynn Coady, Hugh MacLennan, Don Domanski, and Alistair MacLeod represent some of the celebrated individuals owing to their great literary works (Baeton Institute, 2016). Thus, the place is a richly storied one as it continues to raise and lure more writers up to date due to the attitude of nurturing talents embraced by the communities within Cape Breton and Canada in general. Since the onset of the 20th century, various platforms have been established to promote a life of writing.

The Dancing River Sprite Literary feast held monthly after being created by Cora-Lee Eisses and George Smith in the 19th century provides a place where natives and guests in Cape Breton gather to address different literary themes as dinner is served (Ivakhiv, 2005). Each month, the organisers select a different book as the dinner theme where the participants engage in conversations that dissolve into laughter as they wine and dine. Notably, besides the food served complementing the selected theme, it also represents the creativity behind the locally sourced recipes that further demonstrate the people’s identity. Mainly, the people attending the dinner approach books privately, making the experience an intimate one and thus enjoyable. For this reason, the festival has always fostered the identity of the people of Cape Breton, as a community that appreciates different works of literature in unique ways.

Further, the various writers from Cape Breton believe that the island’s literature needs nurturing, just like a forest, to foster its sustainability in the long term. Particularly, authors originating from Inverness including Frank MacDonald and Alistair MacLeod have been proposing the need to have a “Gaelic Forest’ as the former went ahead and included the concept in his book “A Forest for Calum”. In the book, MacDonald proposes that each letter that forms the Gaelic alphabet be used to represent a given tree, where a collection of trees would create the lines of a poem.

The Cabot Trail Writers’ Festival forms another manner in which the people of Cape Breton, especially the North River community meets annually in late September to celebrate the various literary works emanating from the island. Literary events that comprise of theme dinners, workshops and readings bring the authors and readers together to create high-spirited festivals that have continually attracted the attention of the outside world thereby fostering the image and identity of the people of Cape Breton.

Moreover, situated near Cape Breton Highlands National Park, the Lone Sheiling provides an experience similar to the one at Cabot trail where the diverse literature undertakings of different writers are appreciated regularly. The Cabot Trail Writers’ Festival traces its origin from the poem, “Canadian Boat Song.” written in the early 19th century, an event that still occurs up to date with the aim of enlightening the majority on the importance of sustaining the art of writing (Little, 2014).

Music in Cape Breton Island

Music creates part of the magical culture of the Gaelic people living in Cape Breton. The island has seen the emergence of a variety of musicians over the decades as they create songs seeking to communicate the way of life in the region. Notably, the music prevailing in the Nova Scotia is complemented with a step-dancing style that evokes the enthusiasm in the traditional music upheld by the local communities (Sparling, 2008). Mainly, the music that not only pleases the ears of the locals but also that of the outside world traces its origins from Scotland thereby unearthing the cultural depth and wealth of the people.

The typical type of tunes in the music of Cape Breton includes jigs and reels besides the lesser number of clogs, airs, and marches (Sparling, 2008). Particularly, the fiddler’s heel drives a downbeat pulse to the floor as the tunes construct medleys sung at different tempos. The people of the island have unceasingly maintained their musical identity by coupling the various types of songs with step dancing as mentioned earlier. Evidently, fiddlers in the area associate their roles with dance music owing to its embracement as a form of solo art as well as its popularity at the social level. Further, the uniqueness of the step dance in Gaelic music uses a small floor area since the movement only entails the legs, especially below the knees.

Cape Breton music gained global popularity in the early 1900s as artists like Hank Snow, signed by RCA Records, highlighted how the Nova Scotia people appreciate music. Snow’s works gained greater achievement in 1950 when he performed at the Grand Ole Opry, after he released the hit single, “I’m Movin’ On”. Furthermore, the 20th century also saw the growth of Canadian classical music as Portia White made his voice popular internationally following the release of various tracks since 1941 (Sparling, 2008). The musicians maintained the traditional approach of expressing the people’s culture in a bid to foster the image of the great North American islanders. Up to date, the island has been recognised as one of the areas in Canada that nurtured great musicians and family music groups that include the likes of MacMasters, Barra Macneils, and the Rankins (Ivakhiv, 2005).

Moreover, the cultural identity of Cape Breton on music is reinforced by events such as the Celtic Colours International Music Festival held in every October. The festival occurs for nine days and nights where at least 40 concerts entertain the people in a manner that reveals the Celtic music embraced by the dwellers of Cape Breton (Sparling, 2008). The concerts held in the festival have attracted guests and music lovers from the entire world who enjoy a great experience characterised by great music and seafood, denoting the hospitality of the communities in the region. The festival besides attracting visitors from the entire world, it also sees the performance by artists from the US, Ireland, and Scotland. The family and community musical spirit have facilitated the nurturing of a flourishing musical culture in Cape Breton thus promoting the exposure of the culture of the community that identifies with other musical traditions of diverse communities located globally.

Art and Craft in Cape Breton

The people of Cape Breton demonstrate their culture through craft and design thereby showing its artistic qualities. Notably, since the 19th century up to date, the communities in the island have continually highlighted their artwork in the form of clay, textile, specialty foods, jewellery, glass, wood, leather, basketry, paper, stone, visual art, and metal (Baeton Institute, 2016). The Cape Breton Centre for Craft & Design has been at the forefront in highlighting the various artistic works by the people of the island who have used the required skills to express their way of life, one that stuns many guests upon visiting Nova Scotia.

Notably, the fabulous Gallery Shop, situated in Sydney, houses the works of at least 70 artisans where hundreds of authentic and rare items have been put on display for portraying the people’s identity and are available for purchase. Additionally, the Centre, over the decades, has been organising exhibitions as well as design workshops throughout the year, on a regular basis, to remind the locals about their roots besides revealing it to the outside world (Baeton Institute, 2016).

The art and design embraced by the artisans in the island uncover the link between the culture of Cape Breton and the geography of the beautiful place, which is regarded a prime holiday destination in North America (Little, 2014). Additionally, in a bid to foster the sustainability of the people’s identity, the craft employed by the Islanders aims at revealing the charm, history, and adventures of the Cape Breton people. Importantly, the art and craft in the North American island mirror the region’s lifestyle and heritage in a manner that integrates its stunning geography. In doing so, it ensures that the outside world understands the historical, geographical, and cultural elements of Cape Breton.

Through the Big Red Art and Design, Cape Breton’s culture has been unceasingly displayed the works of great artisans like Leana, who covered comprehensive nature themes pertinent to the people’s culture, history, and beautiful landscapes. The centre represents one of the many designer and craft studios established since the 20th century to engage visitors in artistic endeavours that seek to enlighten them about the rich culture practiced in the province of Nova Scotia.

The artisans running the various art and craft studios gain support from the Cape Breton Centre for Craft and Design and Nova Scotia Designer Crafts Council to continue showcasing the people’s culture, in a manner that underlines their unique identity. The Council has, for an extended period, represented and engaged hundreds of artists and craftspeople through programs that seek the promotion of their talent, domestically and on a global level (Baeton Institute, 2016). In this regard, various institutions in the island have been committed to fostering the presentation, elevation, and enhancement of the development of art and craft in Cape Breton through the establishment of programs that purpose to reinforce the people’s identity.

Theatre in Cape Breton

The performing arts industry in Cape Breton has significantly facilitated the exposure of the people’s culture not only to the locals but also globally. Today, several theatres in the island including the Savoy Theatre, Highland Arts Theatre, Strathspey Place, and Boardmore Playhouse represent the various podiums through which performing artists highlight their talent in expressing the people’s identity to the locals and the outside world as well. Established in May 1920s, the Savoy Theatre constitutes one of the playhouses that have staged various artists in Cape Breton as it fulfilled the expectations of the traditional Victorian cinemas. In its initial five decades, the Savoy provided a platform for theatrical productions where local performers highlighted their talent (Little, 2014).

Since 1976, after its official opening, the Savoy has seen performances that reveal the vast array of cultural activities that dominate the lifestyle of the Cape Breton inhabitants (Ivakhiv, 2005). Additionally, the Savoy has invited thousands of visiting stars in a manner that revealed the growth of theatrics productions in Canada. The notable visitors that sought to witness the level of theatre arts growth included the Stomping Tom Connors, Atlantic Symphony, the Neptune Theatre, Canadian Opera Company, the Maureen Forrester, and the Royal Winnipeg Ballet.

Further, institutions of higher learning in the island including Cape Breton University (CBU) have been in the forefront concerning the promotion of drama performances. The CBU has partnered with Boardmore Playhouse after the latter sought to foster the Islanders’ dramatic tradition on a live stage and audience (Baeton Institute, 2016).

Importantly, the theatre has been organising an annual season of plays and biannual production of Shakespeare and Broadway Musical besides the weekly play act festival that stress on the development of new approaches to theatre arts. Therefore, in doing so, the Playhouse in conjunction with the University have been able to inculcate the relevant theatrics skills not only to the locals but also to the international students and visitors who travel to see the dramatic tradition of the Celtic people at Cape Breton.

Advertising Cape Breton

Cape Breton has increasingly invested enormously in the advertisement of its way of life primarily to promote its cultural identity and tourism. In the first place, Cape Breton numerous cultural undertakings of the individuals living in the island are presented to multiple kinds of audiences at various cinemas including the Savoy Theatre (Little, 2014).

Tourists visiting Cape Breton get glimpses of the cultural undertakings that include the dressing code and importantly socialise with the individuals living there to get first-hand cultural perspective. Thus, the visits to the island promote Cape Breton’s culture locally through local tourists and transnationally through international travellers. Of importance also, is the manner through which the theatre was launched in 1976. Premier Regan executed the official opening via radio coverage. Additionally, national guests such as CBC newscasters Robertson and representatives from various rotary clubs marked the event federal and thus attracting numerous international and domestic guests (Sparling, 2008). In the launching event of the theatre, the culture of Cape Breton people was promoted.

The subsequent way in which the island culture is marked includes the creation of numerous websites that demonstrate the way of life at Cape Breton through numerous photographs. One of such web sites holds the domain showcasing pictures of various sceneries such the Cabot trail, fortress of Louisburg, the kind of adventures present in the coastal areas and boating on Bras D’Or Lake. Several websites also portray videos of numerous cultural songs terms as the coastal music and cultural dressings. The online advertising platforms also include videos of the suitable places that are attractive for hiking. All these presentations in this website among other online sites help to advertise the culture of Cape Breton (Little, 2014).

The subsequent way Cape Breton advertises it cultures is the welcoming of guests at the airports. Various international guests arriving at the airports receive a warm welcome from individuals dressed in customary clothing with different traditional markings and paintings. The welcoming marks advertisement of the way of life of people of Cape Breton. The social media today has become an important platform for marketing, which Cape Breton has significantly noticed and exploited. Through a Facebook page and twitter handle like “Cape Breton Island”, various cultural events to be undertaken in the island are promoted. Consequently, Cape Breton advertises its culture to the whole world (Little, 2014).

Conclusion

As noted, the cultural identity of the Cape Breton communities has been fostered through various approaches that seek to preserve it. One of the avenues that seek to foster the identity of the Gaelic people in the island entails the use of a broad array of pieces of work that include but not limited to literature, music, theatre, and art and craft.

The influential literary works of Alistair MacLeod comprise one of the platforms that have fostered the image of Cape Breton on the global map, by depicting it as a talented place. Further, the various festivals that nurture and appreciate talent in literature have further reinforced the image of Canadians as people who love writing passionately to tell the tales of the citizens. Further, the music and dance that traces its roots from Scotland have popularised the island as one that expresses its traditions through sweet melodies and rhythmic body movement.

Interestingly, hundreds of artisans and craftspeople have continually displayed the cultural identity of island dwellers as seen by the various art and design studios opened in different streets. The sector also gets support from agencies like Centre for Craft and Design and Nova Scotia Designer Crafts Council in a bid to reveal the Celtic identity in the form of images and objects. Likewise, since the 1990’s the theatre arts sector has managed to cultivate a culture of staging performances that depict the people’s way of life as it has welcomed many performing artists and stars. Moreover, through various forms of advertising, the island has been able to highlight and pursue the world to visit and learn more about the history, geography, and culture at Cape Breton.

References

Baeton Institute: Arts and culture. (2016).

Ivakhiv, A. (2005). Colouring Cape Breton “Celtic”: Topographies of culture and identity in Cape Breton Island. Ethnologies, 27(2), 107-136.

Little, J. (2014). A fine, hardy, good-looking race of people: travel writers, tourism promoters, and the highland scots identity on Cape Breton Island, 1829-1920. Acadiensis, 44(1), 777-780.

Sparling, H. (2008). Categorically speaking: towards a theory of (musical) genre in Cape Breton Gaelic culture. Ethnomusicology, 52(3), 401-425.

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