In a press release, the Canadian Opera Company have announced a closed meeting on April 19th –the eve of the premiere of their new co-production of Louis Riel—to discuss “First Nations song protocol and the use of Indigenous songs in Canadian compositions, such as Harry Somers’ Louis Riel.”
The meeting has been organized by Dr Dylan Robinson of Queen’s University.
The press release goes on to say the following:
Those who have been invited to the April 19 gathering are members of the Nisg̱a’a, Métis and other First Nations arts and music communities, members of the 2017 Louis Riel production, representatives from the Canadian Opera Company, National Arts Centre, Canadian Music Centre, and Canada Council for the Arts, as well as advisors and executors to the estates of Louis Riel’s composer Harry Somers and librettist Mavor Moore.
“One intention of the gathering is to begin the process of developing policy related to Indigenous protocol for new music involving Indigenous participants, and music that misuses Indigenous song,” says Dr. Dylan Robinson, Assistant Professor and Canada Research Chair in Indigenous Arts. “This work of creative repatriation is essential in the ongoing process of reconciliation.”
There is a small but essential part of Louis Riel that underlies this dialogue, as mentioned in the press release:
The score of Somers’ Louis Riel includes the “Kuyas” aria, which opens Act III and is sung in Cree by the artist in the role of Marguerite Riel, Louis Riel’s wife. The music for the “Kuyas” aria was based on a Nisg̱a’a mourning song called “Song of Skateen” that was recorded by Marius Barbeau and transcribed by Sir Ernest MacMillan on the Nass River in 1927.
Fast forward to Harry Somers’ composition in the 1960s.
The “Song of Skateen”, a Nisg̱a’a mourning song, was used by Harry Somers without knowledge of Nisg̱a’a protocol that dictates that such songs must only be sung at the appropriate times, and only by those who hold the hereditary rights to sing such songs. To sing mourning songs in other contexts is a legal offence for Nisg̱a’a people and can also have negative spiritual impacts upon the lives of singers and listeners.
The press release makes the following important announcement:
With respect to both the Nisg̱a’a and Métis peoples and in recognition of how the songs of one nation are not the same as another’s, the COC and NAC co-production of Louis Riel acknowledges the current holder of the hereditary rights to this song: Sim’oogit Sg̱at’iin, hereditary chief Isaac Gonu, Gisḵ’ansnaat (Grizzly Bear Clan), Gitlax̱t’aamiks, B.C.
In recognition of the Nisg̱a’a people and to correct the attribution of “Song of Skateen,” the COC’s opening night performance of Louis Riel on April 20 will begin with an oratory and musical address from G̱oothl Ts’imilx Mike Dangeli and Wal’aks Keane Tait of the Nisg̱a’a First Nation with the Git Hayetsk and Kwhlii Gibaygum Nisg̱a’a Dancers, two internationally renowned dance groups from Vancouver, B.C.
The use of the key word reconciliation can’t help but remind us of the Truth & Reconciliation Commission, and its goals. For a composer seeking to create, the protocols that might be generated in such conversations are very important, in order to avoid the mistakes of the past, however inadvertent they might be. In 2017 there is no excuse for composers to simply appropriate music, even if this might be more in keeping with the European colonial tradition. It is to be hoped that the ambitions of the TRC lead to a genuine conversation on this occasion, including some directions for composers and producers.
The concluding statement of the press release says the following:
The purpose of the April 19 consultation event is not to reach a conclusive decision, but to open a dialogue between relevant parties and organizations that will clarify these issues in the future.
The press release concludes with the following:
About Dylan Robinson
Professor Dylan Robinson is a scholar of Stó:lō descent who holds the Canada Research Chair in Indigenous Arts at Queen’s University, located on the traditional lands of the Haudenosaunee and Anishinaabe peoples. His research has been supported by national and international fellowships at the Faculty of Music at the University of Toronto, in the Canadian Studies Program at the University of California Berkeley, the Indigeneity in the Contemporary World project at Royal Holloway University of London, and a Banting Postdoctoral fellowship in the First Nations Studies Program at the University of British Columbia. His most recent book, the edited collection Arts of Engagement (Wilfrid Laurier University Press, 2016) examines the role that the arts and Indigenous cultural practices played in the Truth and Reconciliation Commission on the Indian Residential Schools. His forthcoming book, Hungry Listening, focuses on collaboration between Indigenous performers, composers and artists and classical music ensembles.
About the Canadian Opera Company
Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and one of the largest in North America. The COC enjoys a loyal audience support-base and one of the highest attendance and subscription rates in North America. Under its leadership team of General Director Alexander Neef and Music Director Johannes Debus, the COC is increasingly capturing the opera world’s attention. The COC maintains its international reputation for artistic excellence and creative innovation by creating new productions within its diverse repertoire, collaborating with leading opera companies and festivals, and attracting the world’s foremost Canadian and international artists. The COC performs in its own opera house, the Four Seasons Centre for the Performing Arts, hailed internationally as one of the finest in the world. Designed by Diamond Schmitt Architects, the Four Seasons Centre opened in 2006. For more information on the Canadian Opera Company, please visit coc.ca.