Aboriginal Music in Contemporary Canada: Echoes and by Anna Hoefnagels

By Anna Hoefnagels

First international locations, Inuit, and Métis song in Canada is dynamic and numerous, reflecting continuities with past traditions and cutting edge ways to making new musical sounds. Aboriginal song in modern Canada narrates a narrative of resistance and renewal, fight and luck, as indigenous musicians in Canada negotiate who they're and who they need to be. made out of essays, interviews, and private reflections by way of Aboriginal and non-Aboriginal musicians and students alike, the gathering highlights issues of innovation, educating and transmission, and cultural interplay. person chapters talk about musical genres starting from well known kinds together with nation and dad to nation-specific and intertribal practices similar to powwows, in addition to hybrid performances that contain track with theatre and dance. As a complete, this assortment demonstrates how tune is a strong software for articulating the social demanding situations confronted via Aboriginal groups and a good way to confirm indigenous power and delight. Juxtaposing scholarly research with inventive perform, Aboriginal song in modern Canada celebrates and seriously engages Canada's vivid Aboriginal track scene. members comprise Véronique Audet (Université de Montreal), Columpa C. Bobb (Tsleil Waututh and Nlaka'pamux, Manitoba Theatre for younger People), Sadie greenback (Haudenosaunee), Annette Chrétien (Métis), Marie Clements (Métis/Dene), Walter Denny Jr. (Mi'kmaw), Gabriel Desrosiers (Ojibwa, collage of Minnesota, Morris), Beverley Diamond (Memorial University), Jimmy Dick (Cree), Byron Dueck (Royal Northern university of Music), Klisala Harrison (University of Helsinki), Donna Lariviere (Algonquin), Charity Marsh (University of Regina), Sophie Merasty (Dene and Cree), Garry Oker (Dane-zaa), Marcia Ostashewski (Cape Breton University), Mary Piercey (Memorial University), Amber Ridington (Memorial University), Dylan Robinson (Stó:lo, college of Toronto), Christopher Scales (Michigan kingdom University), Gilles Sioui (Wendat), Gordon E. Smith (Queen's University), Beverly Souliere (Algonquin), Janice Esther Tulk (Memorial University), Florent Vollant (Innu) and Russell Wallace (Lil'wat).

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Finally, I discuss implications of recording and new media technologies in facilitating preservation, revitalization, and innovation of the dreamers’ song tradition; I also address emerging intellectual property concerns and protocols that have arisen in response to this new electronically mediated era affecting the global transmission of Dane-zaa dreamers’ songs. 5 A Brief Introduction to the Dane-zaa The Dane-zaa, also known as Beaver Indians, are an Athapaskan group indigenous to the Peace River area of north-eastern British Columbia and north-western Alberta.

Especially influential as a comparative theorist of narrative styles is anthropologist Julie Cruikshank. Her groundbreaking work with elders of the Tagish community in the Yukon, published in Life Lived Like a Story (1990), acknowledges the agency of powerful women and also demonstrates that life and expressive culture are inseparable. She reveals how Angela Sidney, Kitty Smith, and Annie Ned moved fluidly between “narrative” and reportage in a way that defies the genres of folklore and the boundaries between song, speech, politics, and dream worlds.

22 A colloquium on this topic in Toronto in 2008, sponsored by the International Council for Traditional Music, attracted widespread attention from Indigenous musicians and (Indigenous and non-Indigenous) scholars in eight countries. ca/indigenousIP (accessed 22 July 2011). 26 beverley diamond Part One Innovating Tradition Anna Hoefnagels and Beverley Diamond The concept of tradition has variable meanings, associations, and uses in different contexts, but although scholars have unpacked its complexity, frequent ambiguity, and randomness, it remains a designation that is widely used in most communities, especially Aboriginal communities.

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