by Thomas C. Haliburton
I had heard of Yankee clock peddlers, tin peddlers, and Bible peddlers, especially of him who sold Polyglot Bibles (all in English) to the amount of sixteen thousand pounds. The house of every substantial farmer had three substantial ornaments: a wooden clock, a tin reflector, and a Polyglot Bible. How is it that an American can sell his wares, at whatever price he pleases, where a Bluenose would fail to make a sale at all? I will inquire of the Clockmaker the secret of his success.
I am interested in the proximate buildup and the wake of Canada's Centennial, namely 1964-1970. I am segmenting my study further, into pre-buildup (1956-1964) and post-wake (1970-1975). This video includes its original introduction. See youtube page for further information about "Jingle Jangle".
I am including it here to highlight the role of animation, however ineffectual this particular production might have been. I am interested in the general ways in which culture-makers employed and partnered with animation houses, in order to realize shorts, advertisements and segments. What role does support and employment of animation play in an internet-based society, with all its viral, social and networked modes?
I also find the feat of crafting quality popular anthems worthy of reflection. For it doesn't come easy, whatever the product or event. In some cases, the song written out of inspiration and a love for music becomes commercialized, while sometimes production is done with commercial use foremost in mind. Whatever the circumstance, "anthems" taken broadly play a key role in mass communications, large-scale events and ceremonies.
And lastly, as with all media that I, here, unearth and bring forward, I hope my sample captures something of the spirit of that given time. Through music, animation and other creative media we can can give boundaries and frame discussions using art that has something to say about Canadian culture and society, life on Earth and the suffrage of the times. Art is a necessary reference point whenever we are hosting discussions concenring the past. Art will be equally necessary as we mount toward our 150 celebrations. If you have not already, check out this TEDxToronto video on the subject. The speaker is Peter MacLeod of MassLBP, a public consultation group based in Toronto.
Go ahead, check this out.
As a result, Americans tended to see, as they may still do, the structure of Canadian politics as that of the domination of the country's government and economy by a small, influential, pro-British group which by indoctrination and pressure kept Canada from finding its true destiny in union with the United States. In this view they were fortified by the existence from 1775 on of small groups of annexationists and republicans, by a considerable body of opinion which felt that ultimately continental union was inevitable, and finally, by a large body of careless good nature, or even mistaken courtesy, which sometimes led considerable numbers of Canadians to say that they would welcome union with the United States. In short, Americans have always been prone to discount colonial loyalty, both French and English, to the Empire and the reality of Canadian national sentiment.
Edmonton would play host to our Sesqui-Centennial's largest, ongoing, most global celebrations if it wins its bid for the 2017 World Expo. But as Peter MacLeod emphasizes, a Centennial is by and for citizens. It is not Edmonton nor Ottawa that will make it a great year. It will depend on the efforts and public initiative displayed by individuals and groups across the country.
W. L. Morton uses a framework for discussing Canadian Identity. As of 1972, it was:
Canada in America
