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Anishnaabe-Nagamon: Decolonizing Historical Ruptures and Healing Dissonant Sounds in the Opera Giiwedin

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Anishnaabe-Nagamon: Decolonizing Historical Ruptures and Healing Dissonant Sounds in the Opera Giiwedin ANISHNAABE-NAGAMON: DECOLONIZING HISTORICAL RUPTURES AND HEALING DISSONANT SOUNDS IN THE OPERA GIIWEDIN SPY DENOMME-WELCH A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO. ONTARIO MAY 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-80519-0 Our file Notre reference ISBN: 978-0-494-80519-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1*1 Canada ABSTRACT This dissertation is an exploration of Indigenous opera creation and applies decolonizing and auto-ethnographic methodologies to examine the process of creating and development of the opera, Giiwedin. As the librettist and co-composer of Giiwedin, I specifically reflect on my own artistic process while asking the following questions: How is Aboriginal storytelling affected by opera when it is transmitted through the practices of oral tradition? What opportunities or limitations do cross- musical genres and cross-cultural collaborations present to the development and telling of an Aboriginal story through opera? I use decolonizing and auto-ethnographic strategies in the examination of Giiwedin, asking if it is possible to decolonize opera and rectify distorted representations of Indigenous peoples from within this art form. I explore these questions by applying interdisciplinary perspectives and epistemologies, including: The Seven Anishnaabe teachings, decolonizing methodologies and auto-ethnography. By developing relevant research around my artistic process and collaborative methodologies, I hope to generate a deeper understanding of and perspective on the role of Aboriginal storytelling in the creation of new opera works. Finally, this work uses a combination of traditional oral storytelling methods and Western research practices to explore notions of dissonance and contradiction as iv a method for decolonization. As a result this work asks if and how decolonizing strategies can be achieved through forms of musical hybridity and dissonance (textual and musical), which are aesthetics that permeate the opera Giiwedin. v DEDICATION I dedicate this work to Ni-shiime J. L. A. Welch "Naeamo'inini" I would like to also dedicate this work to Ni-maamaa, nookum, ni-mishoomis idash nin-giiisimag VI ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr. Didi Khayatt, and committee members, Dr. Chloe Brushwood-Rose and Dr. Rishma Dunlop for all the support, wisdom, patience and advice they provided me throughout my doctoral work. I would like to thank Dr. Celia Haig-Brown for taking the time to read early drafts of my writing, and providing helpful feedback. I would like to thank my mother for her support and faith in my work, and for offering wisdom and encouragement all through the years. Chi-meegwetch. I wish to thank Leslie Magowan for taking time to read early drafts of my work, and providing me with helpful feedback. I wish to thank Catherine Magowan, who is not only an amazing and gifted artist, but also a tremendous collaborator. I would like to thank my family, the Magowan family, Hepzebah, Jeremy, Robert Mizzi, Patricia Boutin, and the many wonderful artists and academics that I have been privileged to work with over the years. I would like to thank the Social Sciences and Humanities Research Council of Canada, Ontario Graduate Scholarship, and the President Susan Mann Dissertation Scholarship for generously funding this research. I wish to also thank the National Aboriginal Achievement Foundation scholarship for generously supporting my studies. vii TABLE OF CONTENTS Abstract iv Dedication vi Acknowledgements vii Table of Contents viii List of Illustrations x CHAPTER 1 - Introduction 1 Turning the Tide 6 Central Research Questions 9 Brief Description of Giiwedin's Starting Point 16 Storytelling as a Form of Resistance 22 Theoretical Framework 28 Brief Chapter Summary 34 CHAPTER II - Performing Methodology and Living Theory 36 Theorizing the Musical Rupture 42 Decolonizing Performance and Practice 44 The Seven Teachings 46 Developing an Artistic Process 50 Chronology of Events that Informed the Methodological Process 58 Purpose and Benefits of the Workshops 64 Summary 67 CHAPTER III - Symphonic Contradictions Within Historical and Political Research, Music and Opera 69 Legislative Acts to "Vanquish" the Indian 91 Summary 107 CHAPTER IV - A Rupturing Dissonance in Northern Ontario's History 109 Summary 121 CHAPTER V - Four Directions: Mapping the Creation of Story Between and Beyond Four Spaces 123 Wawiyezi / La Pleine Lune 128 Aawechige/ Je Raconte Une Histoire / Auto-Ethnographic Narratives 134 Giiwedinong / Au Nord 13 5 Waabanong / A. V est 137 Vlll Zhaawanong / Au Sud 139 Ningabii'anong / A L'ouest 143 Gagige-bimahdiziwin / Une Vie Etemelle / The Land Remembers 144 Madwewetchigewin 154 Aadizookaanag 156 TeweiaaA&U n 160 CHAPTER VI - Whispers on the Shore: Experiencing Consonant and Dissonant Sounds 163 The Musical Punctum as a Decolonizing Affect 175 Bawahjige 181 Nookum Speaks 185 Conclusion 187 REFERENCES 191 APPENDIX A 211 APPENDIX B 213 IX LIST OF ILLUSTRATIONS Figure 1. The Chieftain 's Daughter (1841) [Sheet music cover] 11 Figure 2. The Indian Hunter (1843) [Sheet music cover] 11 Figure 3. Indian Hunter Quick Step (1844) [Sheet music cover] 12 Figure 4. The Blue Juniata (1844) [Sheet music cover] 12 Figure 5. Miss Pocahontas (1906) [Sheet music cover] 13 Figure 6. Hiawatha's Ballet (1911) [Sheet music cover] 13 Figure 7. Pocahontas: A comic operetta (1916) [Sheet music cover] 14 Figure 8. The Sunset Trail: An operatic cantata (1925) [Sheet music cover] 14 Figure 9. 1881 New Atlas of the Dominion of Canada [Railway map] 20 Figure 10. 1944 and 1931 TNO railway timetables [Brochures] 21 Figure 11. 1913 Director of Colonization advertisement [Poster clipping] 31 Figure 12. Valse de Concert: Off to Paris (1900) [Sheet music cover] 77 Figure 13. HaskellMarch (1906) [Sheet music cover] 77 Figure 14. Anishinabe Enamiad (1899) [Journal cover] 78 Figure 15. Miller Brothers 101-Ranch Wild West Show (1910) [Song album and souvenir programme cover] 82 Figure 16. Golden Potlatch (1911) and BigPow Wow (1911) [Sheet music covers] 93 Figure 17. Spring Song of the Robin Woman (1918) [Sheet music cover] 100 Figure 18. The Gospel Set to Grand Opera and composer signed (n.d.) [Sheet music cover] 101 Figure 19. The Song of Hiawatha (1931) [Production souvenir programme] 102 Figure 20. The Song of Hiawatha (1936) [Production souvenir programme] 102 Figure 21. The Tand of my Prairie Dreams (1926) [Sheet music cover] 103 Figure 22. SonsofManitou (1925) [Sheet music cover] 103 Figure 23. Lushanya ("Tessie Mobley" - soprano) (approx. 1941) [Publicity photos] 104 Figure 24. Temiskaming heritage plaque [Photo] 118 Figure 25. Endaaian [Photo] 137 Figure 26. Lake Temiskaming [Photo] 139 Figure 27. Clear-cut forest and Uno Park railroad tracks [Photos] 142 Figure 28. Wabi Creek [Photo] 143 Figure 29. Memory space [Photo] 147 Figure 30. Giiwedin scene sketch 2007 [Sample of author's notes] 148 Figure 31. Giiwedin scene sketch 2008 [Sample of author's notes] 149 Figure 32. "Mahigan's Death" [Sheet music excerpt from Giiwedin] 167 Figure 33. "The Lobotomy" [Sheet music excerpt from Giiwedin] 170 Figure 34. "Mahigan's Death" [Sheet music excerpt from Giiwedin] 172 Figure 35. "The Murder" [Sheet music excerpt from Giiwedin] 173 CHAPTER I INTRODUCTION I can honestly say that twenty-three years ago I had no idea this was where I would be today. In fact, when I was about 9 years old and a little greener behind the ears, I knew exactly what I was going to be when I grew up: I was going to be a rock star! I grew up loving everything from the blues, jazz, punk music, opera and classical music, and Woodstock. I mean, my world completely revolved around artists like Jimmy Hendrix, Led Zeppelin, Mozart, Beethoven, Huddie William Ledbetter (a.k.a. Lead Belly), Nina Simone, Edith Piaf, Vivaldi, Patti Smith, Bob Marley, Buffy Ste. Marie, Johnny Cash, Diamanda Galas, Janis Joplin and Jim Morrison, and the list goes on. I enjoyed listening to a wide range of music as I strolled the streets and dirt roads of my working class mining town, only to realize many years later that music was a tool that provided me with a form of cultural subsistence.
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