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Amaryllis Arna Rennan Barra Bells of the North Morris Dancers Ben Fairbanks Bill Hinkley and Judy Larson Blackbirds Blanche Krbechek Bob Bovee and Gail Heil Bounxou Chanthraphone Bruce Bradley Band CAAM Chinese Dance Theater Carla Vogel Clairseach Creative Theatre Unlimited Dance Revels Moving History Danielle Daniel and Co. Debra Korluka Delores G. Matthews Det Norske Folkedanslaget Diane Jarvi Dolina Polish Folk Dancers Domácí Czech Folk Dancers Drei Groschen Klezmorim Elise M. Schebler Roberts Elizabeth (Becky) Weis Emeline Dziabas Cook Ervey P. Shelley Ethnic Dance Theatre Folk Orchestra, The Finn Hall/Minnesota Pelimannit Flanagan Irish Dancers Flickorna Fem Freshwater Pearls Puppetry Gao Hong Gladys J. Shelley Greenwood Tree Harlen Schmitgen HjerteDans Jim Busta Band John Filipczak and the Classics Joy Parker Karen Jenson Karen Mueller Karen Torkelson Solgård Kip Peltoniemi Konstantinos Papadakis Laura MacKenzie Leo and Kathy Lara Les Harkonen Group Les Schuft and Country Dutchmen Band Linda Breitag Linda Wade Koslowski Lipa Slovak Folk Dancers Mag McDermott Marcie McIntire Mariachi Flor Y Canto Mariachi Serenata Mary Klockeman Mary Reed Matt Vorderbruggen Band Melinda Brobeck Minnesota Chinese Dance Theater Minnesota Scandinavian Ensemble, The Minnesota Scottish Celtic Dance Association Monroe Crossing Montgomery Czech Singers Mooncoin Céilí Dancers Music-On-A-String Nancy Ellison Nordic Angst Norse Folk North Country Fiddle and Dance Paddy O'Brien Paul Wilson and Mary Abendroth Peter and Paul Wendinger Band Piper's Crow Que Huong Rachel Nelson Robayat Robert Hoover Rosemary Lang Roehl Ross Sutter Royal Scottish Country Dance Society Salamat Shakun Maheshwari Sister Cecilia Schmitt Skålmusik Tibetan American Foundation of Minnesota Valeriy Saakian Voices of Sepharad Walter Grittner Wee Willie Band - Bill Makovsky Wild Goose Chase Cloggers, The Zhang Ying |
Additional Information: Linda Breitag first heard this music in 1986 when a friend handed her a recording by a band from Quebec. Linda had played the fiddle for several years, but had never heard anything like this style. The experience inspired her to arrange a trip to Quebec and begin studying the French language. In Quebec, she lived with local musicians, attended local musical gatherings and parties, and immersed herself in the culture of the region. Since that time, she has made many trips to Quebec, living there for over three years in the process, and she now considers it her second home. The French presence in Canada stems from the founding of the town of Port-Royal in Acadia in 1604. Four years later the settlement that would later be known as Quebec was established. Today, Canada is officially a bilingual nation, and French Canadian culture continues to thrive in Quebec, New Brunswick, Nova Scotia, Prince Edward Island, and parts of Ontario. The music that Linda Breitag plays is grounded in the regional traditions of Quebec. Quebec playing has been heavily influenced by Celtic styles. Reels, jigs, waltzes, galopes, and "crooked" tunes are all included in this body of instrumental music. In contrast, the songs of the region show a greater degree of French influence. These include complaintes (ballads), call-and-response songs, and turlutage (a kind of "mouth music"). These songs may be sung with accompanying foot-tapping, guitar or piano, or unaccompanied. Linda's performances are exciting and fun as well as informative. In Red Lake Falls and other areas of Minnesota that have a strong French heritage, there has been special interest in Linda Breitag's performances and cultural presentations. French Canadian traditions influenced communities throughout the midwestern U.S., as voyageurs in the 17th Century and loggers in the 19th and early 20th Centuries shared songs, stories, meals, and material goods with the local residents they encountered. Linda performs in many venues. She has played at parties and sessions, at festivals, in schools and libraries, and at events focused on French heritage. Linda has also served as a master fiddler in the Folk Arts Apprenticeship program, and she has taught fiddle and stepdance to many students. The format for her performances is quite flexible, ranging from lecture demonstrations to informal entertainment. (Linda recommends the Thirty Below website.) | |||