Foreword

Anthologizing traditional song repertoires in communities in Canada and the U.S. arguably enjoyed its greatest flourishing in the decades after audio recording technology came into wide use, especially from the late 1940s to the early 1980s.At the very least, the laborious task of transcribing texts and tunes-a task that had been shared by collectors and performers in the pre-recording era-now became more of an armchair enterprise for scholars.Anthologies of lumbering songs from the U.S. and some Canadian provinces were among the important collections that emerged during this flourishing.But none of them recognized woods work in Newfoundland and Labrador.By the 1980s, the discipline of ethnomusicology in which I was enmeshed fought the colonialist leanings of "capturing" songs in favour of addressing new questions about the ways musical practices (creating, listening, performing) embedded the deep social structures of specific times and places-gender, class, ethnicity, and race, among others.We (or maybe I should say "I") wanted music scholarship to catch up with the work done on urgent matters of social justice as they were being unpacked in anthropology, sociology, literary studies, and media studies.I found it embarrassing that the very first music conference panel on gender, for instance, did not take place until the late 1980s, a decade or so after feminist and post-colonial scholarship was making a substantive impact in other disciplines, such as those Ursula Kelly was studying at the time.Perhaps it is not surprising that it would take a scholar without all these musicological hang-ups to put together an "anthology" that takes the genre to a new level of social significance.Such an effort would take personal passion and experience combined with keen textual analysis, well-grounded history, and gender/class awareness.Ursula Kelly-a logger's daughter, teacher, and scholar of English literature, cultural studies, and critical education theory with an interest in issues of equity and justice-has done that.She has created a beautiful book that expands the parameters of occupational folklore and history by privileging the narratives of participants while also changing the picture of labour and lives in Newfoundland and Labrador.When one considers the seasonal crossovers, this

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