Introduction In his book Banal Nationalism, Michael Billig demonstrates that nationalism is by no means a peripheral phenomenon, present in ethnic separatist movements but removed from common states. (1) Instead, citizens are perpetually reminded of their national identities by symbols such as flags, coins, national anthems, and political discourse. are constantly bombarded with competing political discourse regarding whether Quebec is a nation or a distinct society and whether form a people, but such explicitly political discourse is not really nationalism. Billig writes: The metonymic image of banal nationalism is not a flag which is consciously waved with fervent passion; it is the flag hanging unnoticed on the public building. (2) Perhaps the most visible arena of symbolic conflict occurs in the battles over flags in Quebec, but popular culture is another arena where differences between Quebecers and Canadians manifest themselves. Others have noted the importance of popular culture in reinforcing a Quebecois identity. In particular, the development of language television has led to the emergence of a class of Quebecois celebrities and television shows that appeal almost exclusively to Quebecers. Louis Balthazar writes that television has enabled to see a new image of themselves transmitted--an image that serves to reinforce a common identity, one that excludes Francophones outside of Quebec. (3) Furthermore, most of these shows probably have little audience among Anglophones within Quebec, who have a far greater choice of television options in their own language. Thus, television may serve to reinforce linguistic differences. This article will consider how popular music also influences perceptions of national identity in Quebec. Francophone have increasingly identified themselves as rather than as French or simply as Canadian. (4) Self-identification as Quebecois(e) has been linked to support for sovereignty. For example, in one survey of college students, 82 percent of those students who considered themselves to be more Quebecois(e) than Canadian supported sovereignty, whereas only 4 percent of those considering themselves to be more Canadian than Quebecois(e) and only 12 percent of those sharing both identities equally supported sovereignty. (5) At the societal level, the constant reinforcement of a Quebec-centered identity is undoubtedly crucial for sustaining an environment where sovereignty is viewed as a reasonable alternative. In Quebec, where two identities are in competition, the ever-present markers of Quebecois, rather than Canadian, identity are an important asset for those who argue that Quebec should be sovereign, and the question of how a Quebec-centered identity has become ascendant within Quebec deserves study. Music and National Identity Benedict Anderson famously describes nations as and emphasizes the importance of newspapers in defining such communities by providing their readers with a shared stock of common national referents. (6) More recently, Tim Edensor has argued that radio and television are critical in situating individuals within a national imagined community. (7) Popular songs tell about social groups--stories that form part of a narrative that helps individuals find their place in the world and develop a political identity, creating what Bruno Roy describes as the collective imagination of a group. (8) Maureen Whitebrook writes that persons understand their own lives as stories and that without the structure of life would be unintelligible. (9) A song that tells a compelling story about one's group may have more impact than would an account in a history book. For example, the (sometimes) fictional individuals whose are told in songs often serve as role models for how real individuals should act. …
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