Get Aboriginal Music in Contemporary Canada: Echoes and PDF

By Anna Hoefnagels

ISBN-10: 0773539514

ISBN-13: 9780773539518

First countries, Inuit, and Métis track in Canada is dynamic and numerous, reflecting continuities with past traditions and cutting edge techniques to making new musical sounds. Aboriginal tune 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 wish to be. made from essays, interviews, and private reflections by way of Aboriginal and non-Aboriginal musicians and students alike, the gathering highlights topics of innovation, instructing and transmission, and cultural interplay. person chapters talk about musical genres starting from renowned kinds together with nation and pa to nation-specific and intertribal practices similar to powwows, in addition to hybrid performances that contain song with theatre and dance. As a complete, this assortment demonstrates how song is a strong device for articulating the social demanding situations confronted through Aboriginal groups and a great way to confirm indigenous power and delight. Juxtaposing scholarly learn with creative perform, Aboriginal tune in modern Canada celebrates and seriously engages Canada's shiny Aboriginal track scene. participants contain 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, college of Minnesota, Morris), Beverley Diamond (Memorial University), Jimmy Dick (Cree), Byron Dueck (Royal Northern collage 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 country 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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Additional info for Aboriginal Music in Contemporary Canada: Echoes and Exchanges

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He is also one of the few scholars of his generation to write about changing soundscapes in Aboriginal communities (Ridington 1988b). 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.

Karl Neuenfeldt (1996, 2002a), whose work is usefully informed by his knowledge of both Canadian and Australian Indigenous scenes, has written about the ways that song texts articulate social issues. K. Caldwell (1999) further explore this theme. The success of the Innu duo Kashtin has been studied most intensively by Line Grenier and Val Morrison (1995a, 1995b), who have explored how the mediation of Kashtin’s music articulates with the rise of Quebec nationalism. Both Scales and I have examined debates about the definition of “Aboriginal music” that accompanied the inauguration of the Aboriginal Music Award within the Junos.

Has received an American Indian Film Festival award. , Antane Kapesh 1976) and shorter biographies of Native women in the arts (Brant and Laronde 1996). See also Anderson (2000), Anderson and Lawrence (2003), Caldwell (1999), Perdue (2001), and Kulchyski et al. (1999). 18 Margaret Paul has also presented a part of her life story in Kulchyski et al. (1999). 19 It should be noted that some studies of the potlatch focus on dimensions other than the music and dance performance. See, for example, Cole and Chaikin (1990) on the legal history relating to the bans initiated in the 1880s or Kan (1989) on the mortuary customs and beliefs.

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Aboriginal Music in Contemporary Canada: Echoes and Exchanges by Anna Hoefnagels

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