By Anna Hoefnagels
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Additional resources for Aboriginal Music in Contemporary Canada: Echoes and Exchanges
Dynamic and conservative elements of the tradition are detailed in later sections of this chapter as examples of resistance and renewal in the face of changing social contexts. Cultural Context of Dane-zaa Song and Dance Like the worldview of most Indigenous northern hunting cultures worldwide, the Dane-zaa worldview has a cyclical perspective that reflects the natural cycles of the world and the natural cycles of life, death, and rebirth. The Dane-zaa worldview is also based upon a belief that there is an interdependence between people, animals, and forces of nature and that people gain power by learning how to communicate with human and animal spirits and forces of nature (Ridington 2006a, 171; Ridington 1968, 91).
Language in the context of song and vocal style has been the focus of several other studies as well (Diamond 1998, Surmont 2004, TremblayMatte and Rivard 2001). The northern Dene have also collaborated with a number of ethnomusicologists in recent years in the study of traditional repertoires. Lucy Lafferty and Keillor (2009) have written about the Dogrib love and land songs, complementing Ogg’s work on Cree love songs; Beaudry’s (1992a) more anthropologically informed approach has focused on the prophecy tradition of Dene dream songs.
The group included Michael Sam Cronk, Franziska von Rosen, and myself. 9 Here, I use the term that Bruce Trigger coined for non-Indigenous populations in his groundbreaking book Natives and Newcomers (1985). 10 Curiously, several studies of residential schools have only passing reference to music. 11 In the United States Judith Gray and Charlotte Heth have also worked on hymnody. ” 13 Lederman has also contributed to the definition of “Métis” by writing numerous encyclopedia articles and through her one-woman show describing her fieldwork in Métis communities in Manitoba.
Aboriginal Music in Contemporary Canada: Echoes and Exchanges by Anna Hoefnagels