and First Nations parentage. The term was historically a catch-all describing the offspring of any such union, but within generations the culture coalesced into what is today a distinct Indigenous group with formal recognition equal to that of the Inuit and First Nations. Mothers were often Cree, Ojibwa, Denesuline or Saulteaux . At one time, distinctions were made between French Métis (born of francophone voyageur fathers) and Anglo Métis (or "Countryborn"), descended from Scottish fathers. Today these two cultures form a single Métis culture. The fiddle has become a key feature of Metis identity through the cultural prominence of jigging and social fiddling. Originating from the Red River Region, the Metis fiddle has a similar ethnogenesis as the culture of peoples itself. According to Canadian Geographic, Metis fiddlers are “cultural ambassadors”, but the music's role in legal, political, and cultural considerations is often overlooked. The metis have a notion of Miziksharing, or understanding music as sharing, which informs the social aspects of this community. 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. In this way, Metis fiddle performance allows for the connection of two kinds of sociability that might initially appear to be quite distinct, “musical closeness and interactions between strangers.” Fiddle music is often performed at cultural folk festivals outside of their more intimate community role, where the music draws people together through a “collective identification with Metis heritage.” These public performances outside of the sphere of the community are not without controversy, though. 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. In addition, the Metis-style competitions are offered significantly less prize money; at the Manitoba Open, competitors sought $100 compared to the $400 offered for the top prize in other old-time styles. These competitions are furthermore problematic for allowing individuals to interact with the Metis culture in one specific way, thus avoiding interacting with the indigenous community of Metis people native to Canada. Forms The styles documented are European: polka, waltz, twostep, schottische, jig and square dance; however, the steps intermingle with First Nations dances. The chord progressions use complex harmonic structures, abandoning the I-IV-V-I progression of European-derived tunes.