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
34. The Little Folk - Children and Folk Music

Folk music had always had a strong symbiosis with children. Early in the century British Folklorist Cecil Sharp had advocated using folk songs to create cultural identity in the schools. Alan Mills had one of the first folk music shows on CBC in the mid 40’s- Folk Songs for Young Folk. Edith Fowke had pursued the campaign of taking folk music into the schools and other locations. Summer camps in the 50’s and 60’s were one of the most prolific breeding grounds for the future folk music artists and audiences. Merrick Jarrett and Sharon Trostin (later Sharon of Sharon, Lois, and Bram) were performing folk music for children in the early 60’s. In the early 80’s this long marginal activity exploded with the first recording of Raffi. Soon a major industry was created for “kids’ artists”. Like most other areas of folk music, there was the commercial arena and its few stars, while other artists created less saleable but more interesting and challenging work. The new market for children’s music joined with the “world music” boom as a new emphasis on cultural diversity opened the doors of the schools to artists from many musical backgrounds. Infrastructures developed and made full time music making a possibility for more artists than ever before.

Copyright © 2008-2015 Gary Cristall. All rights reserved.