1920s
– 1950s
From the beginning of the 1920s to the end of the 1950s, a unique arts and music culture begins to develop in Little Burgundy.
During this time, the community begins to form its identity through music and arts. The establishment of the local
branch of the UNIA in 1919, marked the beginning for a greater push towards
inclusivity and the desire for a safe space in a predominantly Whiteurban
fabric.
In 1927, in the living room of Reverend Charles Este, eleven
members of the Union United Church met to discuss the need and formation of the
NCC.
As the community grew, the NCC grew with it. It wasn’t until 1930 that the NCC had a permanent “place” to house its services: the basement of the Union United Church. It would proceed to remain located here for another 25 years, until it took its final residence in the West End Methodist Church, merged with the Iverley Community Centre. The NCC offered ‘cradle-to-grave services’, there was something for everyone; it didn’t just provide necessary services, it also aimed to educate the children and allow them a space to foster creativity.
At the same time, the West Indian Domestic Scheme (1955) was enacted in Canada. Prior to this, entry of non-White immigrants was heavily restricted. Approximately 3,000 women from the Caribbean immigrated to Canada as domestic servants. Black women would eventually become the leading organizers within their communities and this also contributed to the growth of Caribbean culture in Montreal.
As the community grew, the NCC grew with it. It wasn’t until 1930 that the NCC had a permanent “place” to house its services: the basement of the Union United Church. It would proceed to remain located here for another 25 years, until it took its final residence in the West End Methodist Church, merged with the Iverley Community Centre. The NCC offered ‘cradle-to-grave services’, there was something for everyone; it didn’t just provide necessary services, it also aimed to educate the children and allow them a space to foster creativity.
At the same time, the West Indian Domestic Scheme (1955) was enacted in Canada. Prior to this, entry of non-White immigrants was heavily restricted. Approximately 3,000 women from the Caribbean immigrated to Canada as domestic servants. Black women would eventually become the leading organizers within their communities and this also contributed to the growth of Caribbean culture in Montreal.
There exists an inherent connection between the establishment
of the NCC and the thriving jazz scene in Little Burgundy. Jazz originated in Black communities, having roots in both blues and ragtime. As the Black community
continued to grow in Little Burgundy, it’s of no surprise that this is where
jazz thrived in the 20th century. With prohibition enacted and
then repealed only a few months later in 1919, Montreal became known as ‘Sin
City’ – particularly during the Great Depression where a desire for escapism
from the harsh consequences of the economic crash swept the public.
Majority of the jazz clubs were located in Little Burgundy, and most were established between 1930-40, just a few years after the NCC was establishmented. All within walking distance of one another, they formed a tight web which if followed, traces the story of the jazz culture in Montreal beginning at the heart of Little Burgundy. These jazz clubs served for many years, most notably, Rockhead’s Paradise having shut down in 1977 (more than 40 years after it opened). It is evident that there is a multigenerational embrace of music and dance as a result. Kids learn from their parents who in turn, learn from their parents before them.
The NCC would continue this wave of creativity by providing music and dance lessons. Daisy Sweeney, the infamous piano teacher to many jazz pianists (Oscar Peterson, Oliver Jones, etc.), taught piano and music theory at the NCC for as little as $0.25 a lesson.
The 1940s and 50s marked a steady uphill climb for both the NCC and the jazz scene in Little Burgundy and eventually reaching a height of influence in the 1960s.
Majority of the jazz clubs were located in Little Burgundy, and most were established between 1930-40, just a few years after the NCC was establishmented. All within walking distance of one another, they formed a tight web which if followed, traces the story of the jazz culture in Montreal beginning at the heart of Little Burgundy. These jazz clubs served for many years, most notably, Rockhead’s Paradise having shut down in 1977 (more than 40 years after it opened). It is evident that there is a multigenerational embrace of music and dance as a result. Kids learn from their parents who in turn, learn from their parents before them.
The NCC would continue this wave of creativity by providing music and dance lessons. Daisy Sweeney, the infamous piano teacher to many jazz pianists (Oscar Peterson, Oliver Jones, etc.), taught piano and music theory at the NCC for as little as $0.25 a lesson.
The 1940s and 50s marked a steady uphill climb for both the NCC and the jazz scene in Little Burgundy and eventually reaching a height of influence in the 1960s.