Music out of context loses impact, meaning

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Turning in to CBC radio on my way home from work one day, I heard an interview with Ted Whitecalf, one of the Canadian Juno Award nominees for best music of Aboriginal Canada. During the course of the interview, I had the pleasure of listening to the actual musical talent - the Stoney Park Powwow Group, from Alberta.

Hearing powwow music on the radio outside its cultural or ceremonial context, I had many concerns and mixed emotions. At first, I thought 'That's great - it's about time powwow groups are recognized and honored'. And, of course, Ted Whitecalf (Of Sweetgrass Records) and Lyndon Smith (of Right Track Recordings) - two innovative pathfinders in the music industry - deserve the nomination.

However, thinking about the way CBC just patched the Stoney Park Group's powwow music into their program, I realized that when powwow songs are taken out of their cultural context, few can appreciate the drums, the songs or the singers.

Then I thought about the Juno Awards' governing committee and its method of choosing a winner. How can the awards committee (a group of individuals with little or no knowledge of Native cultures) ascertain who is best? Or, how do powwow singers feel about being grouped in the same category as contemporary pop, country of blues singers?

After doing some digging, I learned that the "best music of Aboriginal Canada" will be judged by a panel of Native experts from across Canada. Having made up that list in consultation with her (all-Native) advisory group, Elaine Bomberry, the Chair of the best music of Aboriginal Canada category, assured me that they were in complete control of their category.

Bomberry also explained that the Aboriginal music category incorporates al kinds of music. And while some people may have concerns about all Native musicians together, she said the advisory group carefully screens the music for context, fusion of traditional and contemporary, and reflections of unique Aboriginal experience.

While I still have reservations about segregating Native music or lumping all kinds of Native musicians together, I am pleased that the music industry, and Canadians in general, finally recognize the strength and beauty that is inherently part of our many cultures.