Métis fiddle

Fiddles were "introduced in this area by Scottish and French-Canadian fur traders in the early 1800s", where the Metis community adopted the instrument into their culture.

Some players (such as Sierra Noble) play fiddle in a modernized (or blended) Métis style, which incorporates Celtic or country-pop influences.

[5] She demonstrates this theme as infusing lyrics as well, as in the song "Redj'Jan's Shoes-White Man's Shoes": "I ain't red nor am I white, I've been like this for all of my life".

[citation needed] Citing personal communications, she indicates that nearly everyone in the community played an instrument; gatherings were usually in homes, because of the lack of large buildings; however, she also refers to "weekly" dances.

The term was historically a catch-all describing the offspring of any such union; within generations, however, the culture coalesced into what is today a distinct Indigenous group with formal recognition equal to that of the Inuit and First Nations.

[11] Because of the mobility and vast kinship networks of the Metis peoples, fiddle music has played a large role in connecting and maintaining both relations and a sense of identity.

With the introduction of Metis-style fiddle competitions, in which competitors are to demonstrate “authenticity” perform without accompaniment and clog while seated, many argue that the Metis tradition is being constrained and held back from innovating.

[18] Cory Poitras demonstrates simultaneous fiddle playing and "jigging" at Métis crossing in a 2007 video clip available online.