Twin Flames Study Guide

Website: www.twinflamesmusic.com

Socials: Facebook: https://www.facebook.com/twinflamesmusic YouTube: https://www.youtube.com/twinflamesmusic Instagram: https://www.instagram.com/twinflamesband/ Twitter: https://twitter.com/twinflamesband Spotify: https://open.spotify.com/artist/5rd4DwuxvrxyZoG0rC9YHi

About us Band Name: Twin Flames Lead Members: Jaaji (pronounced Yaa Yee), (Inuk and Mohawk) From Nunavik and Kahnawake Chelsey June, métis (Algonquin Cree) From Ottawa - The Traditional unceded territory of the Algonquin Anishnaabeg people.

Background: Multi-Award-Winning chart topping Canadian Indigenous Duo Twin Flames are a husband wife duo made up of Jaaji, (Inuk and Mohawk) from Nunavik and Chelsey June, métis (Algonquin Cree). Building bridges across cultures, continents, and styles, Twin Flames, brings together a richness of personal history and musical experience. Their songs tell stories of courage and survival written in English, Inuttitut, and French. Honouring their ancestor's history and representing their Indigenous backgrounds Twin Flames have become a beloved powerhouse couple. Since joining together, both professionally and as spouses, Twin Flames have released three full length albums and have been nominated for 25 Music awards both Nationally and abroad — including two Canadian Award wins, and Three Native American Music Award wins — They have had Two number 1 Hits on the Indigenous Music Countdown’s Top 40. They have played more than 1000+ shows throughout Canada, Greenland, the United States, Australia and France.

Fun Facts: The duo was selected as artist-in-residence for the 2019 Folk Alliance International conference and partnered with UNESCO to write “Human” the official song to celebrate 2019 International Year of Indigenous Languages. You can watch it here: https://www.youtube.com/watch?v=gMLLz8MIKGI “Human” was also a part of CBC’s music Class Challenge in 2020 and reached #1 on the Indigenous music countdown.

They have written songs for musicals which include the theme song Dreamer used for The Dream Catchers musical with the TD Confederation Centre Young Company; most recently Twin Flames wrote a full musical for Sheridan college titled “In Darkness Show me the Stars” performed by the fourth-year students.

 Their music video for Broke Down Ski’tuuq was the first Inuttitut music video to be featured on MuchMusic  Their songs have been featured in movies and television series  CBC’s Tallboyz featured the bands cover of the tragically hips iconic song Grace Too  Trouble in the Garden Plane Song  David Suzuki’s Nature of things; Trapped in a Human Zoo Isuma  Okpik’s Dream Nunaga  Their music videos Taanisi and Porchlight were chosen among the films screened at the INDIANER : DAS NORDAMERIKA FILMFESTIVAL, in Stuttgart, Germany January 2018.  They performed in Paris France for the Launch of UNESCO’s 2019 International year of Indigenous languages  They were invited on board Students on ice expedition 2018 to offer songwriting workshops and concerts. Mini Documentary of Students on Ice Only available to teachers to show to students (Please do not share the link as it is not yet released): https://youtu.be/pDc05-buWU0

Why we work with schools: Jaaji and Chelsey are the founders of Twin Flames - Sharing Stories of Unbreakable Spirits presentations which take them across the country and the Arctic sharing music and cultural awareness workshops and songwriting workshops in schools all catered to the age group they are presenting to. Twin Flames are advocates for mental health, suicide prevention and healthy lifestyles.

Jaaji and Chelsey's passions include working with youth and inspiring them to dream without limitations. Their goal is to give back to communities and encourage youth to pursue their dreams. They share knowledge with non-indigenous youth to help them discover Indigenous and Inuit cultures through music. Their hope is to further the conversations around reconciliation and bring a greater understanding of Indigenous cultures in Canada. Chelsey and Jaaji make their concerts fun, interactive and focus on making tough subjects approachable. With uplifting songs and stories students leave the presentation informed about Indigenous history and what it means to be an Ally they will even learn a few words in Inuttitut and Algonquin. Twin Flames offer an inside view of what it’s like to be a full-time musicians.

Regions mentioned during the presentation:  Nunavik (Inuttitut: ᓄᓇᕕᒃ) comprises the northern third of the province of Quebec, Canada in Kativik, part of the Nord-du-Québec region. Covering a land area of 443,684.71 km2 (171,307.62 sq mi) north of the 55th parallel, it is the homeland of the Inuit of Quebec. Almost all of the 13,181 inhabitants (2016 census) of the region, of whom 90% are Inuit, live in fourteen northern villages on the coast of Nunavik and in the Cree reserved land (TC) of Whapmagoostui, near the northern village of Kuujjuarapik. Nunavik means "great land" in the local dialect of Inuttitut and the Inuit inhabitants of the region call themselves Nunavimmiut. Until 1912, the region was part of the District of Ungava of the . Negotiations for regional autonomy and resolution of outstanding land claims took place in the 2000s. The seat of government would be Kuujjuaq. Negotiations on better empowering Inuit political rights in their land are still ongoing.

 Kahnawake Mohawk Territory (French: Territoire Mohawk de Kahnawake, pronounced [ɡahnaˈwaːɡe] in the Mohawk language, Kahnawáˀkye in Tuscarora) is a First Nations reserve of the Mohawks of Kahnawá:ke on the south shore of the Saint Lawrence River in Quebec, Canada, across from Montreal.

 Ottawa – The Traditional unceded territory of the Algonquin Anishnaabeg people. This territory is covered by the Upper Canada Treaties. Ottawa is built on un-ceded Algonquin Anishinabe territory. The peoples of the Algonquin Anishinabe Nation have lived on this territory for millennia. Their culture and presence have nurtured and continue to nurture this land. The City of Ottawa honours the peoples and land of the Algonquin Anishinabe Nation. Crown land is unceded land meaning that Indigenous title neither been surrendered nor acquired by the Crown.

Indigenous Groups represented:

Inuit: Inuit (/ˈɪnjuɪt/; : ᐃᓄᐃᑦ 'the people', singular: Inuk, ᐃᓄᒃ, dual: Inuuk, ᐃᓅᒃ) are a group of culturally similar indigenous peoples inhabiting the Arctic regions of Greenland, Canada and Alaska (United States). The Inuit languages are part of the Inuit-Yupik- Unangan family.

Inuit live throughout most of Northern Canada in the territory of , Nunavik in the northern third of Quebec, Nunatsiavut and NunatuKavut in Labrador and in various parts of the Northwest Territories, particularly around the Arctic Ocean, in the Inuvialuit Settlement Region. In Canada, sections 25 and 35 of the Constitution Act of 1982 classify Inuit as a distinctive group of Aboriginal Canadians who are not included under either the First Nations or the Métis.

First Nations: In Canada, the First Nations (French: Premières Nations) are the predominant indigenous peoples in Canada south of the Arctic Circle. Those in the Arctic area are distinct and known as Inuit. The Métis, another distinct ethnicity, developed after European contact and relations primarily between First Nations people and Europeans. There are 634 recognized First Nations governments or bands spread across Canada.

Métis are people of mixed European and Indigenous ancestry, and one of the three recognized Aboriginal peoples in Canada. The use of the term métis is complex and contentious, and has different historical and contemporary meaning.

Instruments used in presentation:

Figure 1 Indigenous Spirit Flutes

Chelsey Plays a variety of Native American flutes also know as (Indigenous Spirit Flute):

As with most things that rely on oral history and folklore to explain, the history of the Native American flute is uncertain and diverse. After all, even the best told tale changes over time, and the woodwind instruments enjoyed by indigenous people in North America have existed for an extremely long time. It is also important to note that flutes have been used in a wide variety of different tribes and regions. Therefore, their origin stories do not all match and can have widely varying details one from another.

The Flute that is held in front of the player, has open finger holes, and has two chambers: one for collecting the breath of the player and a second chamber which creates sound. The player breathes into one end of the flute without the need for an embouchure. A block on the outside of the instrument directs the player's breath from the first chamber—called the slow air chamber—into the second chamber—called the sound chamber. The design of a sound hole at the proximal end of the sound chamber causes air from the player's breath to vibrate. This vibration causes a steady resonance of air pressure in the sound chamber that creates sound.

Native American flutes comprise a wide range of designs, sizes, and variations—far more varied than most other classes of woodwind instruments.

Figure 2-Traditional Hand Drum

The Drum (Reference http://www.northernc.on.ca/indigenous/the-drum/)

The beating of the drum helps us listen to our soul so we can understand our purpose and our connection to each other in the Circle of Life. The drum is female and human. The big drum was a gift from the women to the men a very long time ago, so that men could experience a resonant connection to the Earth Mother that naturally occurs with women. This is why it has been a tribal custom (in most tribes) that women not sit at the drum or play it.

For First Nations Peoples, the drum represents the universal heartbeat of Mother Earth, the Universal goddess and mother to us all. The first sound that was heard in the world was the heartbeat of Mother Earth. First Nations Peoples manifest this heartbeat through playing a special rhythm on the drum. This Rhythm facilitates healing and realignment of the four realms of human existence (Mental, Spiritual, Emotional and Physical) because the Creator revolves around the rhythm. The drum, when combined with the voice, creates a hum that rests between the voice and the drum and is thought to be the spirits of the Ancestors. Therefore, First Nations drums are not percussion instruments per se or a toy, they are considered female and human because of their tie to the earth. When playing a drum, it should never be hammered in an aggressive way as this suggests it’s a ‘beating’, and one may never hit a woman. One of the reasons that the earth is being destroyed at such an alarming rate is the disconnect that humans have with her. We no longer hear her heartbeat. We lose ourselves in our quest for security through the acquisition of material possessions, paying little heed to the devastating cost to the environment in our zeal to have ‘stuff’ and look ‘good’. The drum is a constant reminder of our responsibility towards the preservation and health of Mother Earth.

The Voice of the Drum Just like humans, each drum has its own very unique voice and vibration. Each animal from which the drum is made has its own unique medicine: its spirit is part of the drum. IN order to give a drum its voice it needs to be ‘birthed’ in a sacred ceremony. Until the Drum Birthing Ceremony takes place the drum should not be played. During ceremony, the drum is first dedicated to the Creator. The drum is a sacred object and when not in use it should be shrouded in its own bag made of natural materials such as 100% cotton or animal hide. Hanging the drum on a wall as an art piece diminishes its voice. You wouldn’t hang a human on the wall to be admired, and as the drum is human it should not be put there either. The drum should always be placed skin side up as a sign of respect. Prayers are said each time the drum is used. The prayers are to ask the Creator for the ability to sing in a good way; to thank the Creator for the animal that gave its life to become the hide for the drum; for the people who hear, that they be blessed and feel good when they hear the songs played. In other words, the drum is prayed for before it comes to the person, dedicated in prayer before it is used and prayed for before each use.

Ownership of the Drum & Drum Etiquette The drum is the exclusive property of the person who made it, purchased it, traded for it, had it given to them as a gift or prayed for it. It is not community property unless that is its purpose. If the drum belongs to an individual, then permission must be given by that individual for anyone else to even touch it, much less play it. Keep reminding yourself that the drum is human and one does not touch other humans without permission.

The Magic of Drumming Circles People from many different backgrounds are getting together to create connections through the sheer joy of drum rhythms. Drumming circles are the ultimate stress reducer. It is a time for everyone to get together and just be. Natural bio-chemicals in the body are released which help boost the immune system, among other things. Inner chatter is instantly quieted and a peaceful meditative state is often the result as the drum connects with your own heartbeat. Adults re-learn how to play and have fun. The drum is the ear of the Great Mystery and peace on earth becomes a reality.

Messages From the Drum I am Mother Earth’s heartbeat and the sacred gift of Creation. I am the universal heartbeat of the seen and unseen worlds. I put the drummer in touch with creation itself. I speak to all people equally and peacefully. I fulfill and create spiritual, mental, emotional and physical balance. I am a powerful non-verbal form of peaceful communication. I am the practice of peace. I am renewal, re-growth and fulfillment. I am the pulse of the universe. I am alert, alive and ready to move the drummer to another state of consciousness. My top represents the sky. My bottom represents the earth. My stitching represents the warriors for peace who play me. I am the ancient wisdom of the Ancestors. The hand of the drummer is never raised in anger. The hand of the drummer should not be raised above the heart, for I am peace. I release tension, emotional stress and mental fatigue. I reconnect with the natural rhythms of the drummer. I remind you that Creation is alive and sacred. I take you to the dream world to let your unconscious speak with your conscious in safety and harmony. When you play with me there is a synchronization of energy, a unity and a common purpose. When you hear the rhythm of the group drumming and contribute your beat, you are listening and playing receptive and creative at the same time. All My Relations.

For more Teaching Please visit: http://www.northernc.on.ca/indigenous/cultural-information/

Other Western Instruments played: Guitar and Harmonica

Key Historical Events:  The Dog Slaughter – Song that references this event Broke Down Ski’tuuq (Note this story is only told Grade 5-6 and up) For Younger groups we still sing the song Broke Down Ski’tuuq and speak about snowmobiles being an unreliable source of transportation in the North According to approximately 200 reports made by Nunavik Inuit, a series of dog slaughters were undertaken or ordered to be undertaken by Canada and Quebec government officials or their representatives in several Nunavik communities from the mid-1950s until the late 1960s. Government officials and their representatives did not hold effective consultation with Nunavik Inuit, nor seek nor obtain their consent to the slaughters. Makivik has been seeking, on behalf of Nunavik Inuit, an acknowledgement of these events and remedial measures. Two years ago, Makivik submitted a brief on the dog slaughters issue to the federal and Quebec governments. Makivik reiterated its demand that governments undertake an independent inquiry into the dog slaughters that occurred in Nunavik during the 1950s and 1960s.

Learning Links: For more info: https://www.makivik.org/dog-slaughter/ Documentaries: Okpik’s Dream https://vimeo.com/ondemand/okpiksdream Music Video Broke Down Ski’Tuuq with historical footage: https://www.youtube.com/watch?v=- 5ulZr9It78

 MMIWG – Song that refences this Porchlight (Note this story is only told Grade 5-6 and up) For Younger groups we still sing the song without going into the story) The missing and murdered Indigenous women and girls (MMIW) human-rights crisis disproportionately affects Indigenous peoples in Canada and the United States, notably those in the FNIM (First Nations, Inuit, Métis) and Native American communities. A corresponding mass movement in the US and Canada works to raise awareness of missing and murdered Indigenous women and girls (MMIWG) through organized marches; the building of databases; local community, city council, and tribal council meetings; and domestic violence trainings for police.

MMIW has been described as a Canadian national crisis and a Canadian genocide. In response to repeated calls from Indigenous groups, activists, and non-governmental organizations, the Government of Canada under Prime Minister Justin Trudeau established a national public inquiry, the National Inquiry into Missing and Murdered Indigenous Women and Girls, in September 2016. According to the inquiry's backgrounder, between the years 1980 and 2012, Indigenous women and girls represented 16% of all female homicides in Canada, while constituting only 4% of the female population in Canada. The inquiry was completed and presented to the public on June 3, 2019.

Learning Links: Porchlight Music Video: https://www.youtube.com/watch?v=t6Pp5eJ0X7Q National Inquiry: https://www.mmiwg-ffada.ca/final-report/

 Residential Schools and The Secret Path – Song Reference Grace Too Cover by Gord Downie began Secret Path as ten poems incited by the story of Chanie Wenjack, a twelve year-old boy who died fifty years ago on October 22, 1966, in flight from the Cecilia Jeffrey Indian Residential School near Kenora, Ontario, walking home to the family he was taken from over 400 miles away. Gord was introduced to Chanie Wenjack (miscalled “Charlie” by his teachers) by Mike Downie, his brother, who shared with him Ian Adams’ Maclean’s story from February 6, 1967, “The Lonely Death of Charlie Wenjack.” Learning Links: Grace Too Video Full Band: https://www.youtube.com/watch?v=jAVQNbYp3jQ Secret Path Website: https://secretpath.ca/

(Nate Jaaji does not throat sing but does a form of throat boxing to speak to the importance of throat singing an Inuit Woman Tradition) Inuit throat singing, or katajjaq, is a form of musical performance uniquely found among the Inuit. The traditional form consists of two women who sing duets in a close face-to-face formation with no instrumental accompaniment, in an entertaining contest to see who can outlast the other; however, one of the genre's most famous practitioners, , performs as a solo artist. Several groups, including Tudjaat, , Quantum Tangle and Silla + Rise, also now blend traditional throat singing with mainstream musical genres such as pop, folk, rock and dance music. Informative Video: https://www.youtube.com/watch?v=DLMlkjnYe0U

Other key Subjects: Hunting Fishing Sustainability Food Costs in the Arctic Protecting Mother Earth What it’s like growing up on the land Animals in the Artic (This includes Puppets for younger students and Mother earths creation Story and song Raven Song) Language and facial expressions used by Inuit Self Esteem Pushing Past Fears What it means to be an Ally

Additional Informative Links: Taanisi Music Video includes Visuals of Nunavik: https://www.youtube.com/watch?v=bh5XSgozfTA