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SINCE 2002
CONTENTS ISSUE 103
8
Parkour, a Sport Made for the Urban Landscape
SUMMER 2020
12
SAY MAGAZINE Volume 19, Issue 3 SAY Magazine publishes eight times a year: Winter, Spring, Summer and Fall, as well as Health and Fitness, Back2School, Economic Development and Education Guide issues. SAY Magazine is published by Spirit of Aboriginal Youth Inc. Mailing Address: Kildonan Place, RPO Box 43084 Winnipeg, MB Canada R2C 5G7 E: info@saymag.com www.saymag.com Publishers Dominick Blais and Kent Brown Editor-in-Chief Danielle Vienneau editor@saymag.com Managing Editor Sarah Ritchie
SAY Magazine assumes no responsibility for submitted material. SAY Magazine assumes no responsibility for statements made by advertisers or in submitted material. Graphics, photographs, editorial content and other printed material are the property of SAY Magazine and may not be used without the written permission of SAY Magazine. ISSN: 1707-3049 All copy copyright 2018 by SAY Magazine GST: 856627534RT0001
Cover Story: Explore the National Film Board’s Indigenous Film Collection this Summer
6 The Sundance Ceremony 10 Keeping Tobacco Sacred Shore Culture 15 North Compass
20 Music 24 Indigenous Song Keepers 26 Throat Singing
Art Director Orli Gelfat - Orli G. Design Ad Sales Megan Henry advertising@saymag.com Printed in Canada Website and Social Media Sphere Media Agency info@spheremediaagency.com Submissions are welcome. Articles, letters, queries, etc. should be sent by email to the editor at editor@saymag.com. Connect with us: www.facebook.com/saymagazine www.twitter.com/SAYMagazine www.instagram.com/say_magazine www.pinterest.ca/SAYMagazine
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First Nation Community Celebrates Pride with a RainbowPainted Crosswalk
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Jennifer Harper, Founder of Cheekbone Beauty, Wants Indigenous Peoples to See Themselves in a Beauty Brand SUMMER SOLSTICE | 3
EDITOR’S MESSAGE
"I see a time of Seven Generations when all the colours of mankind will gather under the Sacred Tree of Life and the whole Earth will become one circle again." - Crazy Horse
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une was National Indigenous History Month in Canada, a time to honour the history, heritage and strength of our First Nations, Métis and Inuit Peoples. While the significance of this celebration remained unchanged, the common ceremonies and gatherings that usually occur at this time certainly had to. Many events were cancelled due to COVID-19 precautions; however, many events adapted and went virtual, like the Summer Solstice Concert 2020 hosted by APTN in celebration of National Indigenous Peoples Day on June 21. The two-hour special event featured at-home musical performances from well-known Indigenous artists across the Nation—symbolizing unity in a time of uncertainty.
that is our land. If you’re a risk taker looking for a physical challenge, you might want to try parkour—check out page 8 for some fun facts and suggestions on how to get started. This issue of SAY is filled with fascinating information about traditions that we hope
will inspire you to further explore your spirituality. In last year’s summer issue of SAY, I touched on my personal experience attending a Sundance and receiving my spirit name, Turtle Woman. In this year’s publication, we are pleased to share more about the time-honoured ceremony of the sacred Sundance from the perspective of a Sundancer and a seasoned Sundance Chief. Flip to page 6 to read more. Other stories in this issue that speak to the diverse traditions amongst the world’s Indigenous Peoples delve into the importance of song and music as a source of ecological knowledge (page 24) and in the recognition and renewal of vocal tradition in modern times (page 26). The cover story, starting on page 12, brings attention to masterful film creations by Indigenous filmmakers, all available to be streamed for free, and on page 17, we celebrate Indigenous entrepreneur Jennifer Harper for her innovative and eco-friendly cosmetics company Cheekbone Beauty.
In this ever-changing world, it’s so comforting to know that some things remain the same, like the rising of the sun and the changing of the seasons. Summer is here, and although we might not be able to take the trips we planned, we can still make the most of the beautiful landscape
Danielle Vienneau, Editor-in-Chief
Next Issue: Back2School
Issue Name
Issue Theme #
Space Material Reservation Deadline
Publication Dates Aug. 17, 2020
Back2School
104
Back to School
July 17, 2020
July 24, 2020
Fall 2020
105
Business
Sept. 14, 2020 Sept. 25, 2020
Oct. 19, 2020
Special Edition
106
Art and Entertainment
Oct. 9, 2020
Oct. 26, 2020
Nov. 9, 2020
Winter 2021
107
Health and Fitness
Nov. 13, 2020
Nov. 30, 2020
Dec. 21, 2020
Ed. Guide 2021
108
Education
Jan. 8, 2021
Jan. 15, 2021
Feb. 8, 2021
Dates subject to change. Advertising inquiries contact: info@saymag.com 1.204.977.2805 Order your subscription from the webstore at: www.saymag.com 4 | SUMMER SOLSTICE
CALENDAR OF EVENTS 2020/21 NOW until JUL 31
AUG 28-30
Pow Wow Pitch 2020 National Pitch Competition for Canadian Indigenous Entrepreneurs Deadline to submit your 60 second video and application is July 31. powwowpitch.org/program
sākihiwē festival Treaty One Territory Winnipeg, Manitoba, Canada sakihiwe.ca
JUL 12-18
Vision Maker’s Indigenous Online Film Festival Online Event visionmakermedia.org
Manito Ahbee Virtual Pow Wow Online Event manitoahbee.com/manito-ahbee-pow-wow
JUL 19
2021 Indspire Awards Nominations Deadline Submit by 11:59 p.m. PT indspire.ca/events/indspire-awards/2021-nominations
JUL 21-23
Diversity Procurement Fair 2020 (Virtual Conference) Canadian Aboriginal and Minority Supplier Council’s Annual Conference camsc.ca/events
JUL 22-26
Gimli Film Festival (Online) Free GFF Live Stream gimlifilm.com/gff-online
AUG 5-9
Asinabka Festival Algonquin Territory, Ottawa, Ontario, Canada asinabkafestival.org/Home.html
AUG 31-OCT 5
OCT 20-25
imagineNATIVE Film + Media Arts Festival Online Event imaginenative.org
NOV 9-12
21st Annual TribalNet Conference & Tradeshow Grapevine (Dallas), Texas, USA tribalnetconference.com
MAY 18-20
24th Annual Vision Quest Conference and Trade Show Winnipeg, Manitoba, Canada vqconference.com
MAY 22-23
1st Annual International Indigenous Hip Hop Awards Winnipeg, Manitoba, Canada indigenoushiphopawards.com
SAY has made every effort to ensure our calendar of events is up to date; however, we encourage you to check event websites regularly for updates due to interruptions caused by the COVID-19 pandemic. SUMMER SOLSTICE | 5
CEREMONY
The Sacred Sundance By D. Vienneau
Sundance is one the most time-honoured ceremonies of First Peoples across Turtle Island. It is where people gather to pray to the Great Spirit for healing, though not all Sundance ceremonies are the same. Each is diverse, rich in tradition and varies in protocol depending on the nation or territory.
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undance Chief Shane Patterson, who is Dakota from the Yankton Sioux Tribe in South Dakota, USA, explained, “People dance to the sun, praying for a vision, and historically the way someone does this is by sacrifice—to go into that lodge to give of yourself without food, without water, for four days. During this time, dancers are expected to fast, and to validate your sacrifice is for the Creator to help you see that your prayer is worthy.” In contemporary times and in consideration
the American Indian Religious Freedom Act when Indigenous Peoples in the United States could openly practice Sundance and other sacred ceremonies. Today, Sundance takes place on sacred ground. The circular structure where the ceremony occurs is commonly known as the Sundance Lodge, and in the centre is the tree of life, symbolic of creation. It is important to remember every lodge is unique and may be called something different. Among Lakota people, the arbour
People dance to the sun, praying for a vision, and historically the way someone does this is by sacrifice—to go into that lodge to give of yourself without food, without water, for four days. -Sundance Chief Patterson of people’s health conditions, Patterson clarified there is often leniency on some of these protocols, depending on where the Sundance takes place. As the Sundance is a sacred ceremony, it is important to respect and acknowledge the history and the impact of colonization on the practice of this rite. Post-European contact, the United States and Canadian governments passed laws that banned Indigenous Peoples in North America from practicing traditional ceremonies, from speaking their languages and, in many cases, from visiting sacred sites outside of their communities. Despite these laws, a lot of Sundances continued to take place in secret, allowing this and other important spiritual practices to be passed down. Canada lifted its ban in 1951 with the amendment of the Indian Act, but it wasn’t until the 1970s and the passing of 6 | SUMMER SOLSTICE
itself is constructed of 28 trees, with 14 on each side, branches reaching across from left to right—the trees symbolic of the ribs of the buffalo. The 28 ribs of the buffalo speaks to the teaching of the White Buffalo Calf Woman, acknowledging the female life giver and the 28 days of a woman’s menstrual cycle, signifying fertility, procreation and birth. Those allowed in the lodge are the Sundance Chief, Sundance Elders, special guests, healers, drummers/singers, helpers and, of course, the dancers. In many cases, men and women can dance among each other, sometimes separated on each side of the lodge; in some instances, only men can dance. “You really get to know yourself over those four days outside in the elements, dancing in front of that tree of life, pray-
CEREMONY
ing for yourself, your family and for direction in life,” said Kent Brown, co-publisher of SAY Magazine. Kent Brown of Fisher River Cree Nation recounted his experience Sundancing on the sacred grounds of Sagkeeng First Nation, Treaty 1 Territory in Manitoba, Canada. “My Sundance experience was life-changing,” said Brown. There were dancers from all over Canada and the world—the support and the acceptance of our people was overwhelming.” In 2010, it was a very specific dream that set Brown on his Sundance journey. After consulting with his Elder and a Sundance Chief, it became clear that it was the right time for him to partake in this sacred ceremony. After a year of preparation, Brown participated in his first Sundance, the first of a four-year commitment. The decision to participate in Sundance is very personal. You must have a reason to dance. People attend Sundance for a variety of reasons; for their own healing, for help with addiction, for the healing of a loved one who is sick and cannot dance themselves, for family, for one’s community, or for the healing of Mother Earth and all beings in nature. “It is a self-sacrifice for the greater good. I sacrificed for my family, my mother, my wife and my children,” said Brown. “As soon as the sun comes up and you hear that drum, you start dancing, and you don’t stop dancing until the sun goes down.” “What really stood out for me is when we—me and other dancers—sacrificed ourselves to the tree of life by getting pierced. Piercing is a personal sacrifice, for you and for Creator.” While not all Sundance ceremonies include piercing, the object of Sundance is to give something to Creator to have your prayers heard and answered. In his fourth year, on the fourth day, with his family by his side, Brown dragged five
buffalo skulls, all strung from two piercings on his back, around the perimeter of the Sundance Lodge. The scars left on his chest (from piercing) and back are a standing reminder of why he chose to Sundance. “It gives you perspective on life, a deeper connection with Creator and with Mother Earth, a better sense of self and clarity about what’s most important—family.” The Sundance ceremony is both physically and mentally taxing. “You’re dancing so hard every day, while blowing your eagle whistle to connect with your grandmothers and grandfathers, to connect with the spirit world, asking them to be with you.” Breaks in between songs and ceremonies allow dancers a short repose. “You are exposed to all the elements, and you don’t eat or drink (other than a little bit of medicine) for four days and three nights,” explained Brown. “The hardest part for me was being thirsty.” Sleeping at night can also be very challenging, especially for unprepared first-time dancers. “In my first year, I didn’t bring the proper tarp, and on the first night it poured rain. It was awful, but I learned my lesson.” Sundance, like many traditional ceremonies, typically ends with a feast, where everyone, including the families of the dancers, bring food to share in celebration and as an offering to Creator. “I can tell you that at the end of the four days when they have the feast and the giveaways, that first piece of watermelon is the best thing you’ve ever had in your life,” said Brown. “My biggest take-away from the whole experience was utmost spiritual connection.” The four-day ceremony is an act of spiritual expression and intention towards Creator that should extend beyond the four days into a person’s everyday life. “It’s important to continue to incorporate those values for the other 361 days of the year,” said Sundance Chief Patterson. “As a Sundancer, continue to live your life with those intentions towards the Creator—be a helper, help others in need, align your values to your teachings received in that lodge.” SUMMER SOLSTICE | 7
PHYSICAL ACTIVITY
Practicing the Physical Art of Parkour
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By Janice Tober
veryone gets that we need to stay healthy and exercise, but joining a gym and taking up most sports costs cash, sometimes a lot of cash. And getting in 10,000 steps a day? Boring. This is where parkour, literally, leaps onto the scene. With its focus on climbing, jumping and rolling over obstacles, parkour seems to be a sport made for the urban landscape, although that is not how it started.
Parkour tests your problem solving and creative capabilities as well as your ability to be steadfastly calm. Evolution of Parkour
Many people believe that parkour started in the late 80s with a man named Raymond Belle. While Belle, a fireman and former member of the French Special Forces, helped create the modern form of parkour—along with his sons and their friends—its origins are actually much earlier than that. According to the World Freerunning Parkour Federation (WFPF), in 1902, the Caribbean island of Martinique was hit by a devastating volcanic eruption that wiped out the town of Saint-Pierre, killing almost 30,000 people. Georges Hébert, a young French naval officer, lived through it and coordinated the evacuation of over 700 Indigenous and European peoples. As the survivors began to move out of the area, he noticed that the
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Indigenous Peoples were seemingly able to do so much more easily than the Europeans, gracefully and creatively making their way over obstacles, while the Europeans seemed to be looking for familiar pathways which were gone. In Hébert’s view, “modern man” had lost the ability to move effectively and efficiently except in routine, easy surroundings. And, because of the bravery and loss he saw that day, he believed that to be of any real value, athletic skill and courage must be paired together and lived. Hébert’s life-changing epiphany gave rise to the original motto of parkour: “Être fort pour être utile,” or “Be strong to be useful.” Hébert began to travel throughout Africa and elsewhere, noting the physical agility of the Indigenous Peoples he saw. Based on his observations, he developed a physical training system he called The Natural Method. It consisted of climbing, swimming, running and completing man-made obstacle courses built to simulate the natural outdoor environment. The Natural Method soon became the training method of choice for all French military forces. With a little bit of refinement by the Special Forces, it became known as “parcours du combattant,” or “the path of the warrior.” This is where we come back to Raymond Belle. He took his military training and taught his sons what he had learned. This became the modern evolution of parkour.
Getting Started
Today, most parkour practitioners do a bit of parkour, all physicality and efficiency, and a bit of freerunning—a more creative style that incorporates breakdancing and martial arts moves. Serious aficionados of the sport know, though, that the practice is not just physical. To be really good at parkour you need to be mentally agile too. The sport tests your problem-solving and
creative capabilities as well as your ability to be steadfastly calm. The WFPF and the International Parkour Federation both offer certifications, training and competitions for seriously experienced athletes, and are also good places to get information. Less formal groups exist throughout Canada as well. In Winnipeg, Manitoba, for instance, there’s a Facebook group with over 800 members. Experienced and newbie parkour athletes get together at different spots to practice the sport together, at no charge, and offer encouragement and tips to each other. If you want to go solo, though, all you need is an obstacle course or just a few park benches. You'll develop a strong body, strong mind, and you definitely won’t be bored.
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HEALTH
Keep Tobacco Sacred and Protect Your Health
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By Cynthia Carr, Epidemiologist
ummer is here, but it’s not the season we are used to. In stressful times, we all want to feel normal, and for many that may include smoking cigarettes or vaping. However, setting goals can also make us feel better. Maybe now is the time to focus on getting more exercise, eating healthier, and reducing smoking and vaping.
Traditional Tobacco
Natural tobacco has been an important part of many Indigenous cultures. It is used in ceremony and prayer, and considered a sacred plant with immense healing and spiritual benefits. For these reasons, the tobacco plant is treated with great respect. Let’s continue to celebrate the cultural use of traditional tobacco while working together to remind youth of the dangers of commercial tobacco.
Commercial Tobacco
Commercial tobacco use is the leading cause of premature death in the world, killing more than 8 million people every year. More than 7 million of these deaths are from direct tobacco use with the remaining due to second-hand smoke exposure.
Commercial Tobacco Use in First Nations Communities1
49% 47% of smokers have tried to quit in the past year
of women smoke during pregnancy
What We Are Learning from the World Health Organization2 Smokers are more likely to develop severe disease with COVID-19 than non-smokers.
Smoking impairs lung function making it harder for the body to fight off coronaviruses and other diseases.
Available research suggests that smokers are at a higher risk of developing severe diseases and dying.
Tobacco is a major risk factor for noncommunicable diseases like cardiovascular disease, cancer, respiratory disease and diabetes which put people with these conditions at higher risk for developing severe illness when affected by COVID-19.
40% smoke DAILY
smoke daily or occasionally
Commercial Tobacco Use and COVID-19 COVID-19 is an infectious disease that primarily attacks the lungs. Tobacco smoking is a known risk factor for many respiratory infections and increases the severity of respiratory diseases. Remember, your immune system is the best defender against a virus without a vaccine or cure. In fact, a vaccine is only the “coach” training your immune system to recognize a threat and fight against it. If your immune system is older or less healthy, the vaccine will not work as well. Every small step you take adds up, and you will be taking control of what you can, as well as becoming a role model for friends and family. It might seem odd, but during an admittedly scary time, you might find yourself in the best health you have been in and developing habits you will continue for a lifetime!
First Nations Information Government Centre, National Report of The First Nations Health Survey, Phase 3: Volume 1. fnigc.ca/sites/default/files/docs/fnigc_rhs_phase_3_national_report_vol_1_en_final_web.pdf Current as of June 4, 2020 – for more information, visit the World Health Organization at: who.int/news-room/detail/11-05-2020-who-statement-tobacco-use-and-covid-19
1 2
53.5%
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HEALTH
Better Health Starts in as Little as 20 Minutes 20 minutes Higher heart rate and blood pressure drop!
12 hours Carbon monoxide level in blood returns to normal!!
2 to 12 weeks
1 to 9 months
Circulation improves and lung function increases!
Coughing and shortness of breath decrease!
9 out of 10 people try to quit “cold turkey” – that almost never works… If you need a little extra support, check out THE QUIT CROWD on Facebook. Cynthia Carr is an epidemiologist and health planning consultant with EPI Research Inc. (www.epiresearch.ca). She is also the vice-chair of The Manitoba Tobacco Reduction Alliance Inc. (www.mantrainc.ca).
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COVER STORY
Indigenous-Made Films Where to Stream Free Docs and Flicks this Summer Have you watched all the Netflix or TV reruns that you can handle these past few months? Then how about heading to nfb.ca to explore its Indigenous Film Collection! The National Film Board showcases films that take a stand on issues of global importance, stories about the environment, human rights, the arts and so much more. The majority of films can all be streamed free of charge, including documentaries, animations, experimental films, fiction and interactive works. Check out the gallery of 200+ Indigenous works at www.nfb.ca/indigenous-cinema.
Photo credit: Emily Cooper
Here we share some recent releases and the talented filmmakers who created them.
Marie Clements
Marie Clements (Métis/Dene) is an award-winning writer, director and producer of film, television, radio, new media and live performance. Her work as a filmmaker includes the award-winning 2015 docudrama Number 14 and the 2013 short drama Pilgrims, which screened at TIFF and Telefilm Canada’s Not Short on Talent program at the Cannes Market. Her short documentary The Language of Love was an official selection at Hot Docs in 2012. The film production of Clements’ screenplay Unnatural and Accidental premiered at the MoMA Film Festival in New York and also screened at TIFF. Her latest documentary The Road Forward has screened at more than 200 venues in North America and received the Best Director Award at the American Indian Film Festival in San Francisco, in addition to being nominated for the Writers Guild of Canada’s Documentary Screenwriting Award in 2018. Clements also owns and operates MCM, an independent media production company specializing in the development, creation and production of innovative works of media that explore an Indigenous and intercultural reality. 12 | SUMMER SOLSTICE
The Road Forward
This musical documentary by Marie Clements connects a pivotal moment in Canada’s civil rights history—the beginnings of Indian Nationalism in the 1930s—with the powerful momentum of First Nations activism today. Clements paints an electrifying picture of how a tiny movement, the Native Brotherhood and Native Sisterhood, became a powerful voice for social, political and legal advocacy, eventually affecting profound change at the national level. The Road Forward’s stunningly shot musical sequences, performed by an ensemble of some of Canada’s finest vocalists and musicians, seamlessly connect past and present with soaring vocals, blues, rock and traditional beats. The Road Forward is a rousing tribute to the fighters for First Nations rights, a soulresounding historical experience, and a visceral call to action. Watch it: nfb.ca/film/road_forward
Photo credit: Anita Alberto
COVER STORY
The Mountain of SGaana This animated short film spins a magical tale of a young man who is stolen away to the spirit world, and the young woman who rescues him. Haida filmmaker Christopher Auchter’s dream-like gem brilliantly entwines traditional animation with formal elements of Haida art, which are brought to life by a rich, evocative palette and stylized effects. As a young fisherman cruises along a rugged shoreline, a tiny mouse in Haida regalia appears and starts to knit a blanket. A story unfolds on the blanket as it grows longer, illustrating the ancient tale of Haida master sea hunter Naa-Naa-Simgat and his beloved, Kuuga Kuns. When a SGaana (the Haida word for “killer whale”) captures the hunter and drags him down into a supernatural world, the courageous Kuuga Kuns sets off to save him. Will the lovers manage to escape the undersea Mountain of SGaana, or will they, too, become part of the Haida spirit world forever? Watch it: nfb.ca/film/mountain_of_sgaana
Now Is the Time When internationally renowned Haida carver Robert Davidson was only 22 years old, he was instrumental in changing the history of his people forever. With help from his grandparents, his father and his younger brother Reg, Davidson committed to carving the first new totem pole in Old Massett in almost a century. On the 50th anniversary of the pole’s raising, Haida filmmaker Christopher Auchter steps easily through history to revisit that day in August 1969, when the entire village gathered to celebrate the event that would signal the rebirth of the Haida spirit.
C h r is t o p h e r A u ch te r Christopher Auchter grew up roaming the beaches and forests of the Haida Gwaii archipelago off Canada’s West Coast, and his art is rooted in the land and stories of the Haida people. From early on, he recorded his feelings and impressions as images, and today his filmmaking serves the same function. His goal is to create films that are as engaging and entertaining as the many people and environments that have inspired him, to help facilitate genuine contact between the Haida people and the global community. His previous projects include Daniel Janke’s How People Got Fire, Electronic Arts’ NHL Games and Nintendo’s Punch Out! He has illustrated three children’s books, including Jordan Wheeler’s Just a Walk, a comic by Richard Van Camp called Kiss Me Deadly, and a graphic novel by W.L. Liberman entitled The Ruptured Sky: The War of 1812.
Resplendent with animation, emotional interviews and original footage shot by what was then known as the NFB’s Indian Film Crew, Now Is the Time captures three generations of Eagle and Raven clan working together to raise the pole in the old way, inching it higher and higher, until it stands proud and strong against the clear blue sky. Watch it: nfb.ca/film/now-is-the-time SUMMER SOLSTICE | 13
Photo credit: Nadya Kwandibens
COVER STORY
Birth of a Family
Tasha Hubbard Tasha Hubbard (Cree) is an award-winning filmmaker and an assistant professor in the University of Saskatchewan’s Department of English. Her solo writing/directing project Two Worlds Colliding won a Gemini and a Golden Sheaf Award in 2005. Her animated short film Buffalo Calling screened as part of the Ga Ni Tha exhibit held on the occasion of the 2015 Venice Biennale, and her short hybrid documentary 7 Minutes won a Golden Sheaf Award in 2016. Tasha also does research and creative projects on Indigenous media, the representation of the buffalo, and Indigenous women and children’s experiences. She speaks and writes widely on Indigenous media and racism both in Canada and abroad, and is a blog contributor to the Broadbent Institute’s website.
Three sisters and a brother, adopted as infants into separate families across North America, meet together for the first time in this deeply moving documentary by director Tasha Hubbard. Removed from their young Dene mother’s care as part of Canada’s infamous Sixties Scoop, Betty Ann, Esther, Rosalie and Ben were four of the 20,000 Indigenous children taken from their families between 1955 and 1985, to be either adopted into white families or to live in foster care. Now all in middle age, each has grown up in different circumstances, with different family cultures, different values and no shared memories. Birth of a Family follows them through the challenges, trepidations and joys of their first steps towards forming their family. Meeting all together for the first time, they spend a week in Banff, Alberta, sharing what they know about their mother, and stories about their lives and the struggles they went through as foster kids and adoptees. As the four siblings piece together their shared history, their connection deepens, bringing laughter with it, and their family begins to take shape.
Sam Vint
The Tournament The great Canadian tradition of hockey comes with its own sacraments and rituals, whether that’s trash talking your opponents, digging deep and giving 110 per cent, or partying hard with pizza and pop after the game. The Manitoba Sledgehammers do it all.
A life-long Winnipegger and a proud Métis, Sam Vint has performed various roles in the film and television industry, including research, sound and camera. Sam’s work is deeply immersed in the issues facing Indigenous Canadians. He researched the NFB docudrama We Were Children, the APTN show The Medicine Line, and Going Native, a new production airing soon on APTN.
Over the course of a weekend tournament, youth sledge hockey teams from the US and Canada meet in Blaine, Minnesota, to battle for supremacy. An adaptation of ice hockey, sledge hockey is designed for players who have physical challenges. But that’s about the only difference. All the fundamentals of the sport—passing, shooting, checking, teamwork—are the same.
Sam is currently focusing his attention on writing and directing documentaries, including Alice & Kevin, the story of a mother fighting for services for her disabled son on a remote reserve; and The Ken Ploen Way, about the life and career of one of the greatest players in CFL history.
Director Sam Vint captures the end-to-end action, as well as quieter moments with parents, coaches and fellow players, providing a glimpse into this little-seen world. On this weekend, people with challenges outnumber the able-bodied, and the kids finally get their chance to just be athletes.
Sam’s new documentary short The Tournament represents the intersection of his greatest passions—his children, the life-affirming power of sports and telling a great story with an incredible team.
Watch it: nfb.ca/film/tournament-the 14 | SUMMER SOLSTICE
Photo credit: Thomas Fricke
Watch it: nfb.ca/film/birth_of_a_family
SHORT TAKE
North Shore Culture Compass Interactive Map Showcases Region’s Cultural Richness
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his past spring, North Van Arts launched the North Shore Culture Compass, a digital catalogue of the cultural, artistic and historic institutions, and destinations found in North Vancouver, West Vancouver, and the region’s Squamish and Tsleil-Waututh Nations. Just in time for summer exploration, this free online platform encourages local residents and tourists alike to discover and connect with the arts, heritages and stories of the North Shore (British Columbia, Canada). From museums to natural places, annual festivals to art galleries, the map encompasses the cultural diversity of the region. “The North Shore Culture Compass will help define what North Shore culture is
today by making culture more visible and convenient to access, fostering collaborations and encouraging a better understanding of our shared home,” said Nancy Cottingham Powell, Executive Director of North Van Arts.
Discover and connect with the arts, heritages and stories of the North Shore. This form of cultural mapping is recognized globally as playing an important role in sustainable development, connecting us with our pasts, our homes and each other
through stories, events, and opportunities for self-exploration and expression. By building awareness of local culture, we can take steps to preserve what is important to us and share it with future generations. With the support of the North Shore community, the Culture Compass currently features more than 400 listings of regional points of cultural and historic significance. Listings are searchable by keyword and organized into 10 distinct categories. The app includes a First Nations category, which pinpoints places, stories, events, customs and traditions that represent the culture of local First Nations. Start exploring: northshoreculturecompass.ca
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SUBMISSION
Rainbow Crosswalk Symbolizes Pride in Community SAY would like to thank all our readers who took the time to complete a short survey on the types of stories they would like to see more of in the magazine. Your feedback is invaluable to us, and we are working on implementing many of your ideas.
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ne such submission urged us to look into the great work being done in the Indigenous LGBTQ+ community. As you may or may not know, June is not only National Indigenous History Month, but it also happens to be Pride Month, when
the freedom to love whoever you want is celebrated with awareness events across the globe. Parades are a common occurrence, as are street parties, educational sessions and peaceful protests. Maskwacis, a Cree Community in Alberta, Canada, celebrated its third pride this year with a large rainbow-painted crosswalk and flag-raising on June 10th. Chevi Rabbit, LGBTQ+ advocate and chair of Maskwacis’s two-spirit society, explained, “We kept it small, not too extravagant due to COVID-19, but we wanted to send a message of love and inclusiveness to the community, to know that even in the time where Alberta legislature doesn’t keep a pride flag up for more than 24 hours, they are loved, supported and welcomed in Maskwacis.” Samson Cree Nation began the celebration in 2018, and now all four Nations of 16 | SUMMER SOLSTICE
Maskwacis are included: Samson Cree Nation, Louis Bull First Nation, Ermineskin Cree Nation and Montana First Nation. More than 15 volunteers participated in painting the colourful crosswalk in front of the Samson Cree Nation administration building, including Samson Cree Nation’s band councillor Katherine Swampy and Chief Vernon Saddleback. Prior to colonization, two-spirited people were loved, respected and celebrated as unique individuals in Indigenous culture. “They were said to have two spirits—to be able to see through a male lens and a female lens,” Swampy explained in an interview with The Star. “They had a spirit guiding them through life or watching over them.”
tation. And it may very well be the first rainbow crosswalk ever painted in a First Nation community.
Rabbit knows of many people who are LGBTQ+ or two-spirited in Maskwacis and believes there may be more living a closeted life. The crosswalk represents a milestone for the community—a symbol of inclusivity regardless of sexual orien-
For Rabbit, the rainbow crosswalk signifies a path forward, reminding us that two-spirit culture is being reclaimed in Indigenous communities, and it’s time for those who identify as two-spirit or LGBTQ+ to make their voices heard.
ENTREPRENEUR
A Cosmetics Company with a Purpose
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By D. Vienneau
amed a 2019 Chatelaine Woman of the Year, Jennifer Harper is the proud founder and owner of Cheekbone Beauty, an Indigenous-owned cosmetics company that is making a difference—not just in the way we look but in how we view ourselves and our communities. Established in 2016 and based out of St. Catharines, Ontario, Canada, Cheekbone Beauty is known for high-quality, cruelty-free, and sustainable products and packaging that make a positive impact in more ways than one.
Harper, who is Anishinaabe, is the driving force behind the success of Cheekbone Beauty, and, like many entrepreneurs, she thrives on challenge. The saying “third time’s a charm” holds true for Harper, because after two unsuccessful auditions for the hit CBC show Dragons’ Den, she was called into the den on her third attempt. Her appearance on the show solidified her place in the industry, and two stakeholders outside of the Den stepped up to the plate with funding to propel the business forward. Harper has received several awards in addition to Chatelaine’s, including the
Social Enterprise Award at the 17th Annual Women in Business Awards and the Social Enterprise of the Year - Ontario Award through Startup Canada. It has not been an easy process building this company. In the early stages of Cheekbone Beauty, Harper suffered the loss of her brother B.J. His suicide, although extremely difficult, has continued to motivate her, to push the boundaries of her brand while giving back and empowering Indigenous youth. Keep reading to learn more about Harper’s journey and how Cheekbone Beauty is making its mark as a social enterprise in the cosmetics industry.
Photos courtesy of Cheekbone Beauty
What sets them apart from other cosmetic companies is that they exist to empower Indigenous youth. It is at the core of everything Cheekbone Beauty does, from creating products like the incredible
Warrior Women lipstick collection to supporting Indigenous education through humanitarian causes.
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ENTREPRENEUR
My parents split soon after moving to Toronto. Growing up, my relationship with my father was very dysfunctional, partly because he struggled with alcohol. When I got older, I decided to end the relationship because I couldn’t be around him when he was like that anymore. I was about 19 years old when I made that decision, and it wasn’t until I was 36 years old that I started speaking to him on the phone. I was 40 when I finally saw him for the first time in 20 years. A lot of things started to change when I studied the Truth and Reconciliation (TRC) final report in 2015. SAY: What changed and how has it impacted you? Harper: When I was younger, so much of how I felt stemmed from shame, and what shame does to people is it creates barriers between family members and barriers for yourself, which doesn’t allow you to learn about who you are and where you come from. When I started studying the TRC, it was the most eye-opening experience because I really had no idea what my family went through. When I was younger, I wish I would have known why it felt like my family was so dysfunctional—now I know there was an underlying reason for it. Not that it justifies people’s behaviour, but one thing I know for sure is we have to end the blaming and the shaming of the families we come from. Understanding all these things—including the dysfunction on my mother’s side of the family—has helped me come to terms with who I am. Today,
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Photos courtesy of Cheekbone Beauty
SAY: Can you tell us a little bit about your childhood? Harper: My parents met while my mother was going to school at Lakehead University in Thunder Bay, Ontario. My mother is non-Indigenous, and my father is Ojibway, Anishinaabe from Northwest Angle 33 First Nation (also known as Dog Paw) located in Northwestern Ontario. I was about 3 years old when we moved to Southern Ontario, and I have lived in the Niagara region ever since.
Jennifer Harper, founder and owner of Cheekbone Beauty I am grateful for a good relationship with my father. I accept both my parents and love them for who they are and the amazing people they have become despite their circumstances. I am thankful for my entire life, all the highs and all the lows, because I wouldn’t be who I am today, and I wouldn’t be doing what I am doing today without those experiences. SAY: What advice do you have for others who may be in the same position? Harper: What I really want to share with Indigenous youth is that we can flip the script in our minds. We can decide to look at it from the perspective that is going to make us proud of who we are. Knowing my grandmother and everything she went through—in residential schools for 10 years—she comes out of there after being regularly physically punished for speaking Anishinaabemowin, and today my entire family speaks our language fluently. She basically said, “Regardless of how you’ve treated me, I am going to go back to my reservation now that I am done here, I am going to teach all my children our language, and then my children will teach
their children our language, and it’s going to live on, and you’re not going to kill our language.” I am so honoured to come from this kind of woman. SAY: What inspired you to support Indigenous youth through Cheekbone Beauty? Harper: I was once an Indigenous youth, so I feel like I understand their situation, their feelings. It is really important that we help one another. Our business model is based on community and the idea of sharing. All youth need is the support of a loving community, and that’s why we donate to and partner with causes like the First Nations Child and Family Caring Society’s “Shannen’s Dream” program and the Navajo Water Project. We also recently launched the seasonal GIVE Box from which a portion of the proceeds are donated to an Indigenous not-for-profit organization. In the near future, we hope to be able to launch our planned Indigenous Youth Scholarship Fund. SAY: We read that all your life you have been made to feel ashamed of your cheekbones. This, no doubt, played a role in developing the company name. Can you expand? Harper: My experience is part of why we exist, and it certainly influenced the name. I don’t ever want an Indigenous person to feel ashamed of who they are. My husband is Irish-Italian and my daughter has acquired all of the dark features from both of our cultures, and when I look at her, I
ENTREPRENEUR
don’t ever want her to not see herself or find somewhere where she fits in and feels comfortable—this is part of my hope for Cheekbone Beauty, to be relatable to all youth and to help them see their value. SAY: What is the driving force behind Cheekbone Beauty? Harper: My brother’s suicide. That is the constant companion that is painful, but it really drives me to keep going when I feel like giving up. SAY: What were you doing professionally before launching Cheekbone Beauty? Harper: I’ve been in the food industry pretty much my entire life. I spent the first half of my adult career in hotel and restaurant management in boutique-style hotels where I loved creating amazing customer experiences, which is something that has easily translated into Cheekbone Beauty. I eventually transferred over into food service sales, and in 2011 I started with a large seafood company where I focused on providing fresh seafood to hotels, restaurants, casinos and resorts, and I really built an amazing career doing that job. The last eight years was focused on encouraging my customers to buy and think about sustainability issues when it comes to food. My career has always had this thread of doing things better and using
sustainability as a model, which I find interesting when I look back. I worked there full-time for three years while building Cheekbone Beauty on the side—I was essentially working two fulltime jobs, which I don’t recommend because I was really burnt out. It was pure passion. I only left there in August 2019 when I was finally able to start paying myself through Cheekbone Beauty. SAY: How do you source and manufacture your products? Harper: I am very hands-on when it comes to creating new products. I source all the raw ingredients, which come from around the world depending on what we are looking for. They are then shipped to our headquarters (my home office) before going to one of the two manufacturing facilities we use in the greater Toronto area. The products then come back to our office where we package the products (in biodegradable packaging). Our goal will always be to be the last people to touch the products before they go out to the world. We don’t use a fulfillment centre because I don’t want to lose that personal touch. I want to continue to provide the most beautiful customer experience, which includes adding a pink feather to every order, a unique symbol of thanks and a reminder to pass on kindness.
anything like it in the market! It is based on the idea of a circular economy, so taking plant and agricultural waste (that would otherwise go into a landfill) and converting it into the main raw ingredient in this new foundation. I think what we’re doing is pretty innovative. We’re not the mastermind behind the conversion of the waste into the raw ingredient, another organization is, but I’m extremely excited to be partnering with them on this project. SAY: What are you most proud of? Harper: I’m really grateful that I’ve been able to do this work, and I am proud of how far we’ve come. When you start this journey with an idea, you don’t know if anyone else is going to care about this thing that you care about so much. I’m proud that we’ve been able to get other people to care about Indigenous youth, maybe as much as we do. I want Indigenous youth to remember that if you don’t give up, you cannot fail.
SAY: What’s next for Cheekbone Beauty? Harper: Right now, we have a new foundation/contour stick in the works that we’ve been able to develop with funding through the National Research Council of Canada. This funding is so important because research and development (R&D) projects are a very expensive and important part of operating a business. I am so excited about this R&D project because I have not seen SUMMER SOLSTICE | 19
MUSIC
The Johnnys Known for their rowdy, high-energy live performances, rock’n’roll band The Johnnys delivers meaningful, thought-provoking messages through song. The Ontario-based group was founded in 2003 by Métis-Cree Veronica Johnny (guitar/vocals) and her spouse Dave Johnny (drums), who were later joined by Valentina Morelli, Britney Jones, Jackie Moore and Oriana Barbato. This diverse group of talented individuals represents various generations, backgrounds, genders and sexual orientations—all contributing to a unique sound that speaks to a wider audience.
Veronica, who identifies as a two-spirited cisgender woman, is passionate about social justice and Indigenous language revitalization. Her Cree heritage is increasingly reflected in lyrics. Their new, and fourth, album Leathers and Feathers features “Nisakihtan Kiya Kisoskatowin”, an original single sung entirely in Nēhiyawēwin (Plains Cree language). This highly anticipated album dropped in early June and includes eight songs, each exploring critical topics—such as political resistance and change, and environmental issues—through an Indigenous lens. One of the most noteworthy songs off the record is “Your Girl,” which was created in partnership with Convoy 4 Action. “Your Girl” raises awareness of, and demands action on, the tragedy of Missing and
Murdered Indigenous Women and Girls (MMIWG) in Canada and elsewhere. The lyrics of the song are directed at those who do not recognize MMIWG as a national crisis. “We don’t claim to represent or speak for the women or their families, but wanted to add our voice to those challenging the priorities of those in positions of power, and average citizens alike, to effect change,” explained Veronica. The Johnnys are passionate about empowering people through music, and, as such, 50% of all revenue generated by “Your Girl” will be distributed to Indigenous-led, grassroots efforts to help improve the lives of Indigenous women, girls and two-spirits. We anticipate their fourth album will garner as much success as The Johnnys’ first three independently-released, full-length albums. To date, their accolades include being nominated for Best Rock CD and Best Group or Duo at the 2013 Indigenous Music Awards, and in 2008 they were nominated for three Aboriginal Peoples’ Choice Music Awards. Their songs “Time to Shine” and “Have a Good Time, All the Time” both climbed the charts, making their way up to #2 on the National Aboriginal Music Countdown. Most recently, The Johnnys won Best Indigenous Music Video in a contest held by Canadian publishing company Dropout Entertainment.
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MUSIC
Thana Redhawk
2018 NAMA Winner, Spoken Word Recording of the Year Thana Redhawk is an influential speaker, published poet and award-winning contemporary spoken word artist. Self-described as a “heARTivist”, she focuses on evolving the human consciousness by connecting to the natural healing frequency of the universe. It is only through honouring the sacred purpose in each being that we will be able to decolonize hearts and heal the world. This talented artist from Taos, New Mexico, USA, has received numerous nominations, including Best New Artist at the 2016 Native American Music Awards and Best Female Artist of the Year at the 2018 Native American Music Awards. The same year, she took home Spoken Word Recording of the Year for her album Fires of Thunder.
Her leadership in the music industry extends far beyond her personal artistry. A voting member of the Grammy’s and a former radio show host, Redhawk recently helped co-found Ntv Native Music TeleVision, a new channel committed to healing and inspiring generations through Indigenous music of all genres. Redhawk is Ndeh’ (Apache) Lipan and an enrolled member of the Sovereign Chiricahua Apache Nation, as well as Azteca and Purepecha of Mexico. As a public speaker, she addresses prevalent topics, such as Indigenous media rights, sovereignty, sacred sites, land, water and air. She engages communities, youth, elders, educators and policy makers, facilitating change for this generation and beyond.
Through her poetry, music and activism, she aims to empower and inspire. Redhawk believes that we are here to leave an impression by keeping prayer strong, remembering everything is sacred and that we are all connected.
“We are the prayers of thousands of seeds the 'anceStars' planted while singing the songs of creation.” - Thana Redhawk
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MUSIC
The Jerry Cans A Band from and for the North
JUNO Award-nominated group The Jerry Cans released their fourth full-length record in May. A departure from their earlier albums, Echoes is intense and heavy, allowing the band to step into the dark in hopes of carving out a better, more positive world. A recent press release described the LP as a “wash of glassy, slashing electric guitars, thundering drums, effects-warped throat singing and darkened violin work. These are sounds of love, anxiety, desperation and grief, and the tangled relationships between these things.” Their sound infuses indie folk-rock with traditional Inuit throat singing, inspired by their hometown of Iqaluit, Nunavut, Canada, and life in the high Arctic. From the
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very beginning, The Jerry Cans have been committed to making music that honours and dialogues with their communities. Their passion for helping to preserve the Inuktitut language and commitment to challenging common misconceptions about life in the Arctic is reaffirmed in this new album. The talented individuals that make up this folk-rock group are Andrew Morrison (guitar/vocals), Nancy Mike and Avery Keenainak (vocals/throat singing/accordion), Gina Burgess (violin), Brendan Doherty (bass) and Steve Rigby (drums). From buzzing indie-rock to towering shoegazing, from cavernous post-rock to moonlit country and Arctic post-punk,
their songs are both danceable and anthemic. Marching in lockstep, The Jerry Cans continue a tradition of celebration and resistance through music, acknowledging the vital, fortifying importance of both.
MUSIC
JC Campbell “Do what you love and let nothing hold you back.” These are the words that JC Campbell lives by. With more than three decades of experience as a singer/songwriter, this country/blues artist infuses his life into his music, hoping to inspire his listeners.
“Do what you love and let nothing hold you back .”
Campbell is of Indigenous and European descent, born and raised by music-loving parents in Winnipeg, Manitoba, Canada. From his three albums released to date, Campbell has earned nominations at the Canadian Aboriginal Music Awards (two nominations in 2005), the Aboriginal Peoples’ Choice Music Awards (winning Best Blues Album in 2008), the Indigenous Music Awards (three nominations in 2017) and the Manitoba Country Music Awards in 2019. His latest single “Tell All the People” is a warm and heartfelt song that will enlighten fans. This song is deeply personal for
Campbell and was initially born out of anger over the amount of uneducated opinions that has fuelled racism towards Indigenous Peoples. Campbell hopes that if more people learn about the impact of colonialism and what was done to Indigenous Peoples, they will replace racism with empathy and understanding. Campbell has achieved much success with his music, appearing on the National Indigenous Music Countdown (twice in the #1 spot), receiving airplay on several radio stations, including Sirius XM, and performing live on several world
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Thana Redhawk The Johnnys The Jerry Cans JC Campbell
stages, such as the 2010 Vancouver Winter Olympics and a showcase at Folk Alliance International 2020. As he continues to reach new heights, music will always be the path followed, and he hopes his songs about life will become his legacy. With a team of professionals from Merilainen Music Inc. behind him, Campbell hopes to take his music to the next level, expanding his fan base and profile world-wide. Fans can look forward to the release of a new album, set to drop later this year.
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2019 Indigenous Music Awards Nominee for Best Radio Station Program
Indigenous Song Keepers Reveal Traditional Ecological Knowledge in Music By Dana Lepofsky, Simon Fraser University; Álvaro Fernández-Llamazares, University of Helsinki; and Oqwilowgwa Kim Recalma-Clutesi
Since the beginning of time, music has been a way of communicating observations of and experiences about the world. For Indigenous Peoples who have lived within their traditional territories for generations, music is a repository of ecological knowledge, with songs embedding ancestors’ knowledge, teachings and wisdom.
T
he music carries the word of the ancestors across time, transmitting key knowledge from deep in our sacred memory. Academics are just beginning to see the deep significance of these songs and the knowledge they carry and some are working with Indigenous collaborators to unlock their teachings. At the same time, non-Indigenous researchers and the general public are becoming aware of the historic and current loss of songs. Indigenous communities are also grappling with what this means.
The loss of songs was brought on by colonization, forced enrollment in residential schools and the passing of the last of the traditionally trained knowledge holders and song keepers.
Time-Honoured Global Traditions
A recent special issue of the Journal of Ethnobiology celebrates the power of traditional songs as storehouses of traditional ecological knowledge. Nine articles are rich accounts of Indigenous Peoples’ time-honoured music-making
Photo credit: Randy Bouchard
RESOURCE
Kwaxsistalla Wathl’thla singing the starfish song. traditions. These range from women’s songs relating to wild seeds in Australia, to improvisational singing traditions in Siberia, to the use of turtle shell rattles across the United States and the hunting songs of Amazonian hunter-gatherers. Although traditional music is threatened by past government-sanctioned actions and laws, with much already lost, Indigenous Peoples globally continue to use music in sacred and ritual contexts and celebrate their traditional songs. The lyrics in traditional songs are themselves imbued with meaning and history. Traditional songs often encode and model the proper, respectful way for humans, nonhumans, and the natural and supernatural realms to interact and intersect. For instance, among the Temiar singers of the Malaysian rainforest—who often receive their songs in dreams from deceased people and who believe all living beings are capable of having “personhood” —dream-songs help mediate peoples’ relationships with these other beings.
Photo credit: Álvaro Fernández-Llamazares
In many Indigenous cultures, songs recount detailed biocultural knowledge that sits in specific places and thus can also document rights to, and responsibilities for, traditional territories.
Inspired by Potlatch Speaker
A Tsimane’ woman in Bolivian Amazonia playing a handmade wooden violin. 24 | SUMMER SOLSTICE
The special issue was inspired by Kwaxsistalla Wathl’thla Clan Chief Adam Dick. Kwaxsistalla Wathl’thla was a trained Clan Chief, held four pa’sa chieftain seats, and among many other roles, was the keeper of hundreds of songs about the Kwakwaka’wakw people, their traditional territory in coastal British Columbia, and all aspects of their lives and their ritual world.
RESOURCE
In his role as ninogaad (culturally trained specialist), Kwaxsistalla Wathl’thla was the last culturally trained potlatch speaker. The cultural practice of potlatching is a central organizing structure of northern Northwest Coast peoples. Photo credit: Margaret Carew
Potlatching was banned until 1951. As a result, singing potlatch songs was a source of punishment and fear for many generations. The interruption of the transmission of traditional songs in every day and ritual life has been profound.
Revealed Songs
For instance, in 2002, he revealed an ancient ya’a (Dog Children song) that unlocked the mystery of lokiwey (clam gardens) on the Pacific Northwest Coast. Cultivating clams in clam gardens — rock walled terraces in the lower intertidal — is a widespread practice among Coastal First Nations. We now know this practice is at least 3,500 years old. Kwaxsistalla Wathl’thla’s sharing of this clam garden song unleashed a wave of research on traditional management practices and helped not only awaken people’s understanding of the extent to which Indigenous Peoples tended their landscapes, but also provided the foundation for research on how to improve clam management.
Photo credit: Bert Crowfoot
Kwaxsistalla Wathl’thla went on to mentor and be the primary source on traditional ecological knowledge for over a dozen graduate students in ethnobiology and linguistics until his passing last year. Each graduate thesis had songs from Kwaxsistalla Wathl’thla’s repertoire as its foundation.
Coral Napangardi Gallagher and Tess Napalajarri Ross, two Warlpiri women, from Yuendumu, central Australia, perform a mimetic dance on their knees.
Song and Reconciliation
Despite the immense global value of traditional songs as libraries of ecological and other cultural knowledge, researchers and the general public have been slow to recognize their social and cultural importance. For instance, the findings of Canada’s Truth and Reconciliation Commission (TRC) highlight the importance of protecting and honouring Indigenous languages, but songs are not explicitly mentioned. The TRC called on the federal government, with Aboriginal peoples, to: draft new legislation to commit to sufficient funding to protect Aboriginal peoples’ rights to their languages (Call to Action 10); to acknowledge that Aboriginal rights include Aboriginal language rights, and to seek with urgency to protect Aboriginal languages through an Aboriginal Languages Act and an Aboriginal Languages Commissioner (Calls to Action 13 – 15). In many Indigenous cultures, certain dialects, words and expressions are found only in certain songs, not in spoken conversations. Thus, protecting traditional songs is a critical aspect of protecting Indigenous languages.
Protecting Rights and Privileges Today
Kwaksistalla Wathl’thla (Clan Chief Adam Dick), chanting at a feast with Mayanilh (Dr. Daisy Sewid-Smith).
taught how to access those stories of our Elders, not only stories but songs, practices that give us those rights and privileges to access those stories … ”
Photo credit: Diane Woods
As one born to nobility and chosen since birth to be a conduit of key cultural knowledge, Kwaxsistalla Wathl’thla let us hear the words of his ancestors through the many songs he remembered.
Recognizing the importance of traditional songs and creating a context to promote this knowledge is fundamental to Canada’s reconciliation process. Speaking at the Truth and Reconciliation Commission’s Traditional Knowledge Keepers Forum, Blackfoot Elder Reg Crowshoe said: “…So we are looking at finding those true meanings of reconciliation and forgiveness. We need to be aware or re-
Author Oqwilowgwa listening to Clan Chief Kwaxsistalla Wathl’thla singing at the ‘lokiwey’ (clam garden). Indigenous songs, as detailed bio-cultural archives, are avenues for gaining a more nuanced and complex appreciation of ecosystems, including humans’ place within them. There is not only a moral imperative for protecting traditional songs, but also a practical one. Such knowledge, as in the case of clam gardens, may provide important lessons about how people today can more respectfully and sustainably interact with our non-human neighbours. In these times of dramatic ecological and social change, honouring and safeguarding traditional songs has never been more important. This article is republished from The Conversation under a Creative Commons license. Find the original article here: theconversation.com/indigenous-songkeepers-reveal-traditional-ecologicalknowledge-in-music-123573.
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TRADITION
Throat Singing A Vocal Tradition Revitalized
T
he ancestral custom of throat singing was almost lost (in Canada) over 100 years ago when it was banned by Christian missionaries. Thankfully, Elders were able to pass on the ancient oral technique to younger generations, who are now bringing it to the forefront of the North American music scene. But from where does throat singing originate? And how does one create those deep unique harmonies? The human voice is an incredible instrument capable of producing multiple notes at a time. Through throat resonance (vibrations that create tone through and within your mouth, throat and nasal passages) and good breath coordination, tone can be further amplified, using the mouth to create precise shapes and vowel sounds. In Canada, the Inuit form of throat singing, or katajjaq in Inuktitut, is practiced almost exclusively by women. It can be performed solo; however, the traditional form is most commonly performed in pairs—a duet of sorts where women stand face-to-face, often holding each other’s arms, with no instrumental accompaniment. Traditionally,
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katajjaq was a game women and girls would play as a form of entertainment, a competition; the first to laugh, stop or run out of breath lost the game. The technique used is called circular breathing, which includes short, sharp rhythmic inhalations and exhalations. One singer leads while the other
The human voice is an incredible instrument capable of producing multiple notes at a time. fills in the gaps during silent intervals. This blend of vocal abilities (often described as husky chanting and low growling) is nothing short of impressive. But the origin of throat singing goes far beyond Northern Canada, to Central Asia and South Africa, where meanings, techniques and styles differ. Overtone singing, known as eefing, is a deep style of throat singing unique to the Xhosa people of Bantu in southeastern
South Africa. With a technique similar to beatboxing, eefing is a low rhythmic calland-response type of vocalization, and an integral part of party songs and dances. In Tuva, Russia (northwest of Mongolia), khöömei is a form of throat singing traditionally practiced by men, most of whom have been learning the art since childhood. The Tuvan vocal tradition also uses circular breathing and imitates the sounds of the environment, from animals to streams, to wind and everything in between. Once a folk tradition, throat singing is now an integral part of Tuvan identity. Today, when you hear the words “throat singing”, the name that may very likely come to mind is Canadian icon and Inuit throat singer Tanya Tagaq. Tagaq, who mixes traditional Inuit throat singing with modern pop and alternative sounds, is widely known for her intensity, political views and collaborations with Icelandic singer-songwriter Björk back in 2004. Beyond giving voices to Indigenous artists everywhere, she has also helped highlight one of the most unique and oldest forms of Indigenous music, all while paving the way for the next generation of throat singers.
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