When the Truth and Reconciliation Commission issued its 94 Calls to Action in 2015, I immediately began pondering what my role should be in Reconciliation. At the time, I was just starting as a volunteer host at CJTR (discussed in a post earlier this year). It was immediately obvious that I had a platform I could use to amplify Indigenous voices and share some kick-ass music from some kick-ass people. So I declared then and there that I'd work hard to include an Indigenous performer in every playlist. I can't say I was successful, but I did try hard, I learned about a ton of great music and I think I managed to spotlight some great music.
It's been nearly 4 years since The Cockpit came in for its final landing but the pipelines I'd built to find new music and expand my horizons are still there. I still hear about amazing stuff all the time - I just haven't had that big platform to share them on anymore.
Last week, I had a great hit from one of those pipelines in the form of a cool article from CBC Indigenous about Indigenous punk music and the scene that's existed for decades. While the article (and accompanying podcast) is more tailored to groups from the United States, there is still a Canadian connection there. As I chased down all the new paths this article (and the Instagram account it discusses) opened up for me, the BC scene really seemed to blossom.
Of course, this isn't my first foray into Indigenous punk. I've been a fan of Dead Pioneers for a long time and there are a few bands from around Turtle Island that I've listened to, gone to shows and talked to. Always great people, and always have important things to say.
But punk music, rock music or in general the music I listen to isn't the only way I've connected with Indigenous people through music. I went to the Roughrider/Redblacks football game this weekend with Jonas. The game celebrated the National Day for Truth and Reconciliation and I was really taken by how good the drum performance was before the game. The Wooden Face Singers filled Mosaic Stadium with a moving tribute to those who have passed on and I realized how much my appreciation for Indigenous drumming has grown. I'm getting good at telling the difference between a good group and one that needs some practice!
There was a time, early in my music career, when I really wanted to integrate drumming into a song (or many songs). I felt (as I often still do) that I didn't have a strong cultural background to identify with and wanted to find a place in the culture of the people who are native to Canada. I've grown a lot since that time and I understand that those desires amount to cultural appropriation - in a very real way. I wanted to use their culture to define mine. And that's not right.
But there's part of me that still hasn't given up on the idea. I DO appreciate drumming, it's strong, emotional and connected to the land. It's closer to me and the life I live than any French or Swiss traditions that might actually make up my DNA. But I would approach it from a completely different angle. I hope someday that I make a strong connection with an Indigenous artist and they want me to contribute some of my culture while they contribute their own. In the spirit of reconciliation, I hope someday to make music TOGETHER instead of TAKING and make something great that everyone can enjoy.
But until then, have a good Truth and Reconciliation Day. I hope you find a way to walk along the path with people in your community.
1 comment:
I think the key part with adding some of their drumming is letting them do it. Kinda like how Tool had the short tribal song on 10,000 Days. You know that wasn't the four of them singing it (I probably should read up who did it before I say too much but too late now!). I think having a guest artist come in to help, and even discussing with them how to make it sound and collaborating with them is the way to go! I guess, another way to say it is allow them to participate, not force them to participate.
But that's pretty much what you said near the end.
Post a Comment