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Aboriginal Music Summit Delegates Were: from Across Canada Revisited Common Goals Marty Ballentyne, Artist and Reestablished Working Relationships

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Aboriginal Music Summit Delegates Were: from Across Canada Revisited Common Goals Marty Ballentyne, Artist and Reestablished Working Relationships Cover photo: Shakti Hayes (British Columbia) Shot by Scott Stephens The Aboriginal Music Summit was made possible by the fi nancial support of Manitoba Culture, Heritage and Tourism along with a contribution from the Manitoba Audio Recording Industry Association (MARIA) through the Manitoba Music and Motion Pictures Development Project. The Aboriginal Music Program would also like to acknowledge the Canada Council for the Arts and the Foundation Assisting Canadian Talent on Recordings for their support of the Aborigi- nal Music Summit. Manitoba Audio Recording Industry Association 1-376 Donald Street Winnipeg, Manitoba R3B 2J2 Tel: 204.942.8650 Fax: 204.942.6083 E: [email protected] www.manitobamusic.com Introduction The Aboriginal Music Summit was held at the The principal goal of the Summit was to create Circle of Life Thunderbird House in Winnipeg, a beginning – to acknowledge the important Manitoba, on September 14, 2007. The Sum- work that has already been done and to begin mit was an opportunity for stakeholders from a process of collaboration that will inform across Canada to spend a full day focusing on and support the further development of the the future of music development within the Aboriginal music community. It is our hope that Aboriginal community. It was a day away from the Summit and this report will provide a sound email, away from phone calls, and away from foundation on which the development of exist- funding deadlines. It was a day to learn, to ing and future resources and programs specifi c speak, to listen, and to discuss. to the Aboriginal music community will be well informed, well placed, and well received. The Aboriginal Music Summit brought together over 500 years of experience, as 24 delegates The Aboriginal Music Summit delegates were: from across Canada revisited common goals Marty Ballentyne, Artist and reestablished working relationships. The Ray St. Germain, Artist delegates shared success stories and chal- ShoShona Kish, Artist (DiggingRoots) lenges, and envisioned a future with even more Stevie Salas, Artist opportunities for Aboriginal people working in Wayne Lavallee, Artist the music industry. Heather Ostertag, Foundation Assisting Canadian Talent on Recordings The day began with an introduction and Gerri Trimble, Canada Council for the Arts The Honourable Eric Robinson, Minister of Manitoba welcome from Alan Greyeyes, the Manitoba Culture, Heritage and Tourism Audio Recording Industry Association’s (MARIA) Mike Benson, Manitoba Culture, Heritage and Tourism Aboriginal Music Program Coordinator, and an David Dandeneau, Manitoba Film and Sound opening blessing by Rob Apetegan, Spiritual Lisa Meeches, Eagle Vision Productions Advisor at the Thunderbird House. Brian Wright- Vince Fontaine, Rising Sun Productions Table of Contents McLeod gave an address which described the Brandon Friesen, Arbor Records broad history of recorded Aboriginal music and Jesse Green, Strongfront Records 1 Introduction provided a cultural context for the impending Curtis Jonnie, National Aboriginal Recording Industry 3 Themes Arising from the music business discussion. In the fi rst group Association Discussions session each delegate provided a brief introduc- Sam Baardman, Manitoba Audio Recording Industry 4 Main Points Under Each Theme tion, focussing on their work and describing Association 6 Appendix A: Aboriginal Music Alan Greyeyes, Manitoba Audio Recording Industry what they felt was their most signifi cant suc- Association Summit Delegate Booklet cess and biggest challenge. The Honourable Eric Harmony Rice, Association for Native Development in Robinson, Minister of Manitoba Culture, Heritage the Performing and Visual Arts and Tourism, addressed the group midday, em- Cate Friesen, CBC Radio phasizing the important work that the delegates David McLeod, Native Communications Inc. are doing, and celebrating Manitoba’s proud Catherine Cornelius, Canadian Aboriginal Music Awards place as a leader in Aboriginal music develop- Ron Robert, Canadian Aboriginal Music Awards ment. In the afternoon, delegates met in small Errol Ranville, Aboriginal Peoples Choice Music Awards breakout groups to share ideas and discuss Derek McCorrister, Aboriginal Peoples Choice Music The Aboriginal Music Summit was strategies for future action. There were four Awards hosted by the Manitoba Audio Recording groups which represented the areas of: funding Industry Association’s Aboriginal Music agencies; festivals and music awards; artists; Note: Progam at the Circle of Life Thunderbird and record labels and media. A representative This report makes reference to a couple of a House in Winnipeg, Manitoba on Friday, from each group presented the top strategies to terms that will require further discussion and September 14, 2007. the rest of the delegates and there was a wide- proper defi nition. For the purposes of establish- ranging discussion of the strategies. In the fi nal ing a foundation and simplifying the narrative session of the day, delegates had the opportuni- of this report, the term “Aboriginal music ty to provide fi nal thoughts and refl ections, and community” will be used throughout to describe provided suggestions and encouragement for Aboriginal artists, industry professionals and capitalizing on the momentum of the Summit stakeholders along with supporters from in moving forward with the development and outside of the Aboriginal community. The term support of Aboriginal music in Canada. “Aboriginal music” will be used to describe the music produced by this community. Don Amero Manitoba Themes Arising from the Discussions Summit participants discussed the challenges and opportunities that face the future develop- ment of Aboriginal music in Canada and met in groups of common interest to identify areas of priority for future development. While it was not the goal of the Summit to create a set of defi ned, prioritized recommendations, there were several themes that arose as the discus- Stevie Salas (Artist) speaking, with Dave McLeod (NCI FM) and Brian Wright-McLeod (The Encylopedia of Native sion unfolded. Music) to his right. A consistent and overarching theme of the attempt to best represent the variety of view- These themes refl ect a desire among the Summit discussion was that Aboriginal music points, and the generosity and wide ranging stakeholders to work towards success in the support programs have a signifi cant effect on breadth of the participants input. music industry and also provide support and the amount and quality of Aboriginal people’s development in the Aboriginal community itself. activity in the music industry, but that there is a The following fi ve discussion themes are each Community development, creating employment capacity for considerably more development in expressed in the form of a need for the success for Aboriginal people, and the support of the the Aboriginal music community. Future success of future support and development of the telling of Aboriginal stories through the devel- of support and development programs will be Aboriginal music community in Canada. opment of music are all important background measured in the creation of sustainable careers issues to this discussion, but were not the focus for Aboriginal people in the music industry. In order to secure the success of of the Summit and are therefor not addressed The visibility of particular Aboriginal artists, of current and future initiatives in directly in this report. The important relation- Aboriginal music celebrations, and of Aboriginal ship between the support and development music support programs cannot be seen as the development of the Aboriginal of Aboriginal music and the development of successes or end goals in themselves. Programs music community in Canada, there Aboriginal people should be taken as implicit to and initiatives need to remain focused on the is a need for: the underlying motives for the Summit and to ultimate goal of creating more sustainable the desire for further support and development careers for Aboriginal people in the music in- 1. Increased awareness and of Aboriginal music in Canada. dustry and for people producing and supporting communication among artists, industry, Aboriginal music. funders, and support organizations. The discussion revolved around issues of com- 2. Market research on how to munication and awareness, market research successfully market Aboriginal music to and marketing initiatives, development of a Aboriginal, mainstream domestic, and service industry infrastructure, professional international audiences. development for artists and artist managers, and the creation of meaningful and relevant 3. Developing excellent and culturally support programs. This report will identify fi ve sensitive music industry service providers. thematic areas as a method of summarizing and organizing the discussion. Identifying the 4. Professional development for Aboriginal main themes of the Summit discussion creates artists and artist managers. an opportunity for a purposeful report that will Curtis Jonnie (National Aboriginal Recording Industry serve to give direction and guidance for future 5. Flexible support programs, with interac- Association) speaking, with Cate Friesen (CBC Radio) support and development of Aboriginal music. and David Dandeneault (Manitoba Film & Sound) to his tion among support agencies and between left. These fi ve themes do not provide an exhaustive these agencies and the private sector. reading of the Summit discussion, but are an Lastly, is the importance
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