Wellness, Culture and Sport
Feature Article #7 / Heritage Week 2008 (08/02/04)
NB 135
Feb. 4, 2008
EDITOR'S NOTE: The following is the seventh in a series of nine feature articles prepared for Heritage Week, Feb. 11 - 18, 2008. Entitled 'Spotlight on our Heritage', this series is a reflection upon the people, places and collections of New Brunswick's past. This article was prepared by the Heritage Branch, Department of Wellness, Culture and Sport. For more information on Heritage Week activities throughout the province, visit the Heritage Week 2008 website.
"The Beaver" and the Lady
Lord Beaverbrook's appreciation for the visual arts, and his dedication to New Brunswick, are well acknowledged by the many treasures on display in the Beaverbrook Art Gallery in Fredericton, but Sir Max Aitken was also responsible for the preservation of New Brunswick folk music.
Following World War II, the former Miramichi resident and Louise Manny engaged in correspondence that would result not only in the conversion of the Old Manse building in Newcastle to a library in 1952, but to the establishment of the Miramichi Folksong Festival. In 1947, Beaverbrook promised to provide Manny with a "fine recording machine" if she would "go out and collect New Brunswick folksongs". His lordship did not realize that his request would result in a passion for folk music that Manny would hold for the rest of her life.
At first, Manny questioned the existence of any "real" folksongs in New Brunswick. To this Beaverbrook responded: "Nonsense. Of course they have folksongs…any amount of songs. Just you start collecting and you'll have lots of fun."
Manny was quickly hooked on her quest. In an Oct. 6, 1947 letter to Beaverbrook, Manny enthusiastically proclaimed: "I have located a good many people who can sing them - they live in rather out-of-the-way places, are shy and need persuasion, will, I think, need to be paid for their time, in addition to expenses to Fredericton." This stereotype was reinforced, and the gender inequality of the time accentuated, when she continued: "I think we will have to get some man to handle the matter, as there will certainly have to be drinks circulating, and someone will have to see that they don't get too inebriated, and all that." But Manny was emphatic that these folksongs be collected: "We really need a trained ballad collector to encourage and stimulate the memories of our singers." At this early stage she probably didn't expect that she would serve as that "trained ballad collector".
By Nov. 21, 1947, with the help of technician Stan Cassidy, fifteen records had been 'cut' on the Miramichi and the singers did not have to be transported to Fredericton after all. Manny was on the lookout for folksongs composed by Larry Gorman, who was credited with composing hundreds, and she thought that time was of the essence: "We are just in time to preserve what there are in the country. I think another ten years will see the last of them."
Among those whose voices were recorded were Wilmot Macdonald of Glenwood, Northumberland County, Stanley Macdonald of Black River Bridge, and Jared MacLean of Strathadam.
In early 1948, Louise Manny told Lord Beaverbrook that "folk song collectors in general are beginning to think that all local songs, which are traditional, even if not very old, should be collected." She wanted to know how many songs she should collect: "We should be able to get at least 100 songs which originated in New Brunswick, mainly from around [the Miramichi]."
From his winter residence in Montego Bay (Jamaica), Beaverbrook wrote Manny with suggestions of songs that should be recorded, including one that some considered his favourite, The Jones Boys - a tune which the chimes of the Lady Beaverbrook Residence at the University of New Brunswick in Fredericton played regularly. He concluded his letter by thanking Manny for her work: "I am grateful to you for the trouble you are taking with this folk song collection."
Manny was pleased with her work as well. She wanted Beaverbrook to provide individual record copies for each singer: "They were fascinated to hear their voices, as recorded on the test records, and I think we should let each singer have his own. They were not paid for their songs, except expenses."
By August 1948, Manny reported to Lord Beaverbrook that: "The folksongs are arousing more and more interest." She wanted to expand her search for folksongs and singers, using financing from Beaverbrook, but "the Beaver" wished to put a brake on her enthusiasm: "You tell me you have 35 songs in hand. It seems to me we should pause now and await results before extending our repertoire."
However, this was not Manny's way. She became more involved with collecting and recording folksongs, mostly from the Miramichi. She promoted the songs on a weekly program on Newcastle radio station CKRM, and developed a professional friendship with folklorist Helen Creighton. This led to more exposure on CBC radio - and to the launching of the Miramichi Folksong Festival in 1958, a musical celebration featuring many of the folk singers that Manny had discovered in her quest for traditional songs.
Fifty years later the Miramichi Folksong Festival continues, thanks to the instigation of Lord Beaverbrook, and the passion of Louise Manny.
08/02/04
MEDIA CONTACTS: Alison Aiton, communications, Wellness, Culture and Sport, 506-457-6445; Cynthia Wallace-Casey, Heritage Branch, Wellness, Culture and Sport, 506-476-1905.
08/02/04