Outline of the book


  1. What Is This Book About?
  2. Beginning in the Middle - Mariposa, 1961
  3. The Invention of Folk Music
  4. A Child Shall Lead Them
  5. Canadian Beginnings
  6. Gibbon and the Canadian Mosaic
  7. Red Is The Colour- The Other Mosaic –1900’s-30’s
  8. The Early Labour Song Tradition in Canada
  9. Red Front to Popular Front
  10. New Deal and No Deal
  11. Birth of a Nation
  12. Put Canada First!
  13. People’s Songs and People’s Music
  14. The Golden Age of Canadian Folk Song 1947- 1962- The Beginning
  15. The Emergence of a Repertoire
  16. The First Tour- The UJPO Folksingers
  17. Foreign Affairs
  18. World Music in the Golden Age
  19. Founding Folkies
  20. From Bonavista to the Vancouver Island
  21. Sam Gesser and Folkways Canada
  22. Country and Folk
  23. The “Revival”- Folk as Pop
  24. Mariposa Revisited- The End of the Beginning
  25. The Boom - Early Canadian Folk Professionals and the Marketplace
  26. The Songwriters
  27. East is East and West is West- Halifax, Ottawa, Toronto, Winnipeg, Regina, Calgary, Edmonton, Vancouver & Smaller Towns and Smaller Scenes
  28. Folk Rock
  29. The Real Boom- Folk in the 70’s
  30. The Festivals
  31. The Message in the Music- Political and Social Images in Songwriting and Folk Music in Canada in the 60’s and 70’s
  32. Bigger Than Ever- the 80’s
  33. New World, New Music
  34. The Little Folk- Children and Folk Music
  35. Looking Forward – Looking Backward- Folk Music at the End of the Century and the Beginning of the New Millennium
  36. What Does It Mean
33. New World, New Music

Probably the most important development in the 80’s was the emergence of world music as a force in folk music. Locked up for years as ethnic music and given token status at best on the folk scene, the 80’s saw the beginning of a real presence for artists and music that did not come from the Anglo-Saxon, Celtic or French tradition. Not only was there more appreciation for artists who presented the music of their country of origin, there was more and more music that was created by the fusing of traditions, and the evolution of styles that were entirely new. Toronto’s Companeros gave a hint of the possibilities with their fusion of Greek and Chilean music. Groups like African Heritage and Kartari Taiko in Vancouver, Finjan, a Winnipeg Klezmer band, and others opened the door for the world music boom of the nineties and beyond. Folklorists and ethnomusicologists began to create performing ensembles drawn from various ethno-cultural communities and take the music onto the stages of festivals and clubs.

Photo of the Polish White Eagle Dancers and text describing the involvement of Toronto-based ethnic groups in the Mariposa Festival, as printed in the Mariposa Festival Program 1968, page 21
Photo of Harry Aoki (left) and Jim Johnson (right) as printed on the back of their self-titled album in the Radio Canada International series, Transcription
Photo of Companeros (Demetre Apostolou, Javier Garcia, Juan Opitz, Zacharias Polatos, Marcelo Puente, Ricardo Rivas, Nicolas Tsingos), as printed in the Vancouver Folk Music Festival Program, 1981, page 32
Copyright © 2008-2015 Gary Cristall. All rights reserved.