Reciprocal Understanding: IndigenousColonial Cultural Resonance as A New Legacy in Canadian Music

RECIPROCAL UNDERSTANDING: INDIGENOUS-COLONIAL CULTURAL RESONANCE AS A NEW LEGACY IN CANADIAN MUSIC

By J. Alex. Young

When asked to write this article and to consider the subject of new legacies, I felt this was largely tied to acknowledging pre-existing yet ignored legacies; I am referring to the lack of Indigenous knowledge, expression and incorporation in contemporary music. There are working Indigenous composers and musicians contributing to the body of Canadian music; however, in comparison these numbers are quite small compared to their colonial counterparts. Therefore, the question ‘what does the incorporation of Indigenous knowledge and its expression mean?’ requires some examination. For me this means giving Indigenous people the opportunities and voice to share and express their culture on their own terms and in their own language.

Acknowledgement is a powerful concept when it comes to Indigenous knowledge. Today this concept has been reduced to a demonstration of recognition. However, we need to further our definition of ‘acknowledge’ to go beyond empty sentiments to indicate that we truly understand, and that consideration informs our actions manifesting what we truly know. In terms of colonial approach to reconciliation, this requires an acceptance that Western-European approaches are not definitive and that there are other systems of knowing that are valid and equally important.

Understanding specific Indigenous cultural practices is only one step towards truly understanding the people. To understand a culture, you must understand their preservations; this is often tied to the words they use for objects and concepts through enculturation. Learning the language of people provides a window to understanding who they are wholly; through words what has and remains to be historically significant and important to their culture is defined. The manner in which a cultural group both creates and views music is an extension of their language and their enculturation. Therefore, understanding the music based cultural practices of a group provides another means of truly hearing their voice. If learning the language of a group grants us the knowledge of what they find culturally meaningful, then listening to the music of a group of people grants a window to their spirituality and brings understanding of what drives them and for what their inner fire burns.

Through this thought I found the answer to my initial consideration to be analogous with the moniker of this magazine and how this strongly reflects the concept and definition of resonance. Each cultural and artistic voice within Canada evokes a response in others. When one cultural group is silenced by another, the action deafens the sympathetic resonations of our humanitybased similarities. Thus, the only way for us to understand who we are as Canadian music creators is to task ourselves to recognize all music created by the people living in Canada. With the vastness of our multiculturalism this undertaking is often viewed as impossible. However, it is only inaccessible as many cultural voices have been hindered or silenced. As a Cree-Métis person, for me this is subjectively those of Indigenous cultural leaders, musicians and composers.

The sharing of Indigenous cultural knowledge requires unshackling of Indigenous voice. There is strength that forms within people from the act of listening and hearing. Hearkening these two voices, we can observe that colonial thought is to integrate while Indigenous thought is to share. The discernible difference is integration requires the concept of taking ownership where sharing is contributive and developmental. However, the Indigenous voice is bolstered by our own view as musical creations as pieces; we acknowledge that our creative works are only a thread in the larger musical tapestry. To remain with the analogy of resonance, this substantiates that Indigenous thought and approaches to music are essential to Canada’s national sound and promote richness in our musical output.

The art of a nation is a resonation of all who create, and with music each composer in Canada contributes from the vibrating chambers of artistic expression to create the national musical voice; for Canadians, this is a synergetic reflection of life in northern Turtle Island. Making room for Indigenous voices to contribute to the supplementary vibration of Canadian musical expression provides a truer perspective of life in Canada. Indigenous expression enriches our national artistic identity through their lived experiences and generational historic associations with our landscape and its narrative. Indigenous people have existed on, cared for and loved this land for countless generations before colonization. Without freedom and support of cultural and personal expression for Indigenous people, the artistic reflection of life and music in Canada pales.

J. Alex. Young is a Cree-Métis Composer from Northern Ontario and a University of Calgary Ph.D. Candidate specializing in Composition. He holds a Bachelor of Music (Honours) from Carleton University and a Masters in Composition from the University of Ottawa. He is currently operating as an Indigenous student advisor for the University of Calgary