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 development 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 of communication and artists must recognize the different artistic and awareness among artists and Aboriginal people economic realties of these two markets, and be working in the music industry. Doing business able to reconcile the differences internally. in the music industry relies substantially upon personal relationships. It is invaluable for art- Artists marketing their music within the main- ists and industry personnel to share knowledge stream music industry are faced with the chal- Main Points Under Each and build networks of communication among lenge of knowing how to best capitalize on the themselves. positive aspects of an Aboriginal music brand Theme while maintaining a strong individual identity. 2. Market research on how All businesses and organizations involved in the marketing of Aboriginal music are working to successfully market to create a strong Aboriginal music brand that Aboriginal music to supports the work of Aboriginal artists while not turning away mainstream music consumers 1. Increased awareness and Aboriginal, mainstream or obscuring the particularities of individual communication among domestic, and international music projects. artists, industry, funders, audiences. Artists marketing their music to international and support organizations. audiences are in need of market research that The marketing of Aboriginal music to local, helps defi ne how those international audiences Communication is a key component for the national, and international audiences is a will best recognize and be receptive to Canadian development of the Aboriginal music com- major concern for artists and record labels and Aboriginal music. The use of language and munity. Communication among organizations, market research is a fundamental step in this symbols that may denote Aboriginal music in artists, and industry will be vital to the success process. There are many facets to this challenge Canada, may evoke something else outside of of future development initiatives. Awareness including fi nding the audience for Aboriginal Canada. In Europe, for example, the use of the among artists and industry of development and music, learning how to reach that audience, term Aboriginal may be taken as referring to support opportunities, and awareness among and learning how to best present the Aboriginal Indigenous Australians more so than Canadians. the agents producing development strategies aspects of an artist, or an artist’s music, to the and programs of the activities and needs of art- market. Exporting Aboriginal music to international, ists and industry, is critical to success. niche, and non-mainstream markets is a growth Support for the music industry is focused area for the Aboriginal music community. There currently exist programs and organiza- considerably on the creation and distribution of Adapting other niche-market marketing models tions that support Aboriginal people in the mu- recordings. A marketing plan for the distribu- and further developing the ability for the sic industry, of which many Aboriginal people tion and sales of a recording is an essential part Aboriginal music community to thrive without are unaware. In addition, there are programs of any successful application for support in the relying on the North American major label of which people are aware, but which are still music industry. Marketing plans are also at the system are priorities. under-subscribed. centre of a successful business plan for artists and record labels. However, little baseline data There is also an opportunity for the work that is In order to best serve the Aboriginal music com- exists for the marketing and sales of recordings being done by the Aboriginal music community munity, support programs and organizations by Aboriginal artists. in marketing a cadre of related but not always recognize the importance of input from Aborigi- similar music to mainstream and niche markets nal artists and industry leaders. Communica- to be shared with or applied to other music tion from industry leaders is vital to building industry communities in Canada and abroad. support programs with impact, but is not always easy to obtain. 3. Developing excellent and It is a challenge to offer support to a constitu- culturally sensitive music ency that can be, understandably, sceptical industry service providers. of support from government agencies. It is necessary that support programs and organiza- Parallel to the need for culturally sensitive mar- tions are increasingly persistent in reaching Ab- ket research and marketing plan development, original people and successfully portraying the is the need for artist managers, booking agents, Errol Ranville (Manito Ahbee Festival). nature and intent of their support. In addition, record labels, distributors, and other music programs with juried access have the diffi culty industry service providers who understand of wanting to appear accessible while having to Successful Aboriginal artists are operating the commercial music industry and also have turn some applicants away. Communication with within a ‘third’ stream where they are not sim- knowledge of Aboriginal culture and community. unsuccessful applicants is necessary in order to ply marketing their music exclusively to either Simply supporting artists and the creation of keep them engaged in the program and willing Aboriginal or so-called mainstream audiences, recordings is not enough; Aboriginal and able to address defi ciencies and reapply. but to both. A marketing plan for these Professional development serves to embolden music community. Strength will come from proj- and empower artists to make the best deci- ects that draw on the expertise and investment sions for their careers and themselves. Building of multiple agencies and the private sector. sustainable careers is the chief concern among artists, and professional development is the Patience is necessary when looking for success keystone to that process. and results in these development programs. Sustainability and program penetration cannot Aboriginal music development and support be measured immediately. Programs need to programs such as MARIA’s Aboriginal Music be given time to grow, to gain participants, and Program would be invaluable if established in show results over time. each jurisdiction across Canada. Gerri Trimbble (Canada Council for the Arts), Wayne While the need for support programs targeted Lavallee (Artist) and ShoShona Kish (DiggingRoots). 5. Flexible support pro- specifi cally at the Aboriginal music community may seem self-evident to the participants in the people in the music industry need the sup- grams, with interaction Summit, there is a continual, if latent, need to port of infrastructure for producing records, among the support agen- convincingly articulate the importance of these marketing, and distribution that will implement initiatives to others. the culturally aware marketing plan discussed cies and between these above and is equipped to succeed simultane- agencies and the private ously in Aboriginal, mainstream domestic, and Closing Plenary Themes international niche markets. sector. In a round of fi nal thoughts and closing com- Artists are often working with different levels of Aboriginal music support programs have to be ments, there were two main themes that arose. management. While many independent artists ﬂ exible enough to meet the specifi c needs and These were, quite simply, that 1. there is much are self-managed, others are managed by com- circumstances of the community. The Aboriginal work to be done, and 2. cooperation and committed friends or family members who share a music community is faced with business oppor- munication such as was initiated in the Summit passion for the music of the artist but are not tunities and barriers that are unique – differing will be necessary in accomplishing future experienced or connected in the music industry. from the mainstream music industry as a result development goals. The participants were Others are managed by professional managers of the specifi c cultural and socio-economic re- encouraged and energized by the confi rmation with experience in a mainstream music market, alities of many Aboriginal people in Canada, and of common interests and the passion and coop- but without an understanding of developing a differing from the development of Aboriginal eration that were exhibited throughout the day. career that includes Aboriginal-specifi c oppor- art because of the market-driven aspects of the The importance of including artists’ voices in tunities. Development programs aimed at artist music industry. future discussions of the support and develop- managers should have the ﬂ exibility to be able ment of Aboriginal music was also reiterated as to reach and support all of these varied artist Both industry and government acknowledge being extremely valuable to the development advocates. that there is a need and a desire to work closely process. together on the development of the Aboriginal There is a strong desire that Aboriginal people in the music industry be working from the most current business model and with the most current technology. In an industry where the model for success is changing rapidly, it is impera- tive that the Aboriginal music community stay absolutely up-to-date with advances in music production, marketing and distribution. 4. Professional development for Aboriginal artists and artist managers.

The pressing need for excellent and culturally sensitive music industry service providers cannot eclipse the importance of professional development for artists themselves and for artist managers. Artists and artist managers will always be the heart and soul of the industry and they must be equipped to negotiate their way The delegates of the Aboriginal Music Summit at the Cirlce of Life Thunderbird House in Winnipeg, Manitoba on September 14, 2007. through the complexities of the music business. APPENDIX A

Aboriginal Music Summit Delegate Booklet To provide a context for the discussions at the Aboriginal Music Summit, MARIA’s Aboriginal Music Program developed a Delegate Booklet with information about the event, a snapshot of the Aboriginal music scene in Canada, information about music industry support for english speaking Canada, information about AMP Camp and delegate profi les. The contents of the delegate booklet follow.

The Aboriginal Music Summit was made possible by the financial 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.

Manitoba Audio Recording Industry Association 1-376 Donald Street Winnipeg, Manitoba R3B 2J2 Tel: 204.942.8650 Fax: 204.942.6083 E: [email protected] Cover photo: DJ Madeskimo (Quebec) www.manitobamusic.com Shot by Scott Stephens introduction

The time has come to Thanks to the hard work and dedication Table of Contents of people like you, Aboriginal music reafﬁ rm our working industry professionals in Canada have 1 Introduction 3 Greetings from Minister relationships, revisit our a number of opportunities available to Robinson them. There are music award shows 4 Agenda shared goals, and most to honor their accomplishments and 5 Snapshot of the Aboriginal importantly, ask our- elevate them into the national spotlight; Music Scene in Canada broadcasters and media outlets to help 6 Snapshot Details 11 Music Industry Support in selves a number of key them reach the hearts and homes of Canada questions. Aboriginal people; funding programs 12 AMP Camp to help them record, market and tour 14 Aboriginal Music Summit broadcast quality albums; and, devel- Delegates opmental programs to help them build 15 Delegate Profi les upon the quality of their craft and their Aboriginal Music Summit understanding of the industry. But Friday, September 14, 2007 something seems to be missing and the Circle of Life Thunderbird House time has come to reaffi rm our working Winnipeg, Manitoba relationships, revisit our shared goals, and most importantly, ask ourselves a number of key questions. JC Campbell Manitoba Greetings, As Minister of Culture, Heritage and Tourism, I am pleased to welcome you to the fi rst-ever Aboriginal Music Summit.

Manitobans deserve to be proud of our province’s contributions to the wealth of Aboriginal music talent in Canada. This conference will bring many of the industry’s key players together in a forum that is bound to further build on the success of this burgeoning sector. Your valued input will provide essential feedback for identifying the next steps in the development and evolution of Canada’s Aboriginal music scene.

I wish you well as you meet to share your ideas, your wisdom and your collective experiences as we chart a course for what promises to be an exciting future.

Eric Robinson, Minister Manitoba Culture, Heritage and Tourism DiggingRoots Ontario agenda 8:00 am Coffee, dainties and fruit 1:00 pm Second Discussion: FUTURE served CONTEXT

9:00 am Opening Ceremony by Elder 2:30 pm Lifestyle Break

9:15 am Opening Remarks 2:45 pm Third Discussion: WRAP-UP

9:30 am First Discussion: CURRENT 4:00 pm Meeting Adjourned CONTEXT

12:00 pm Lunch served (Entertainment at 12:35 pm) Eagle & Hawk Manitoba

Yukon Territory Manitoba snapshot of the 6 Artists/Bands 89 Artists/Bands 2 Aboriginal Radio Stations 4 Aboriginal Radio Stations Aboriginal music scene 1 Funder 4 Aboriginal Music Labels 1 Music Industry Association 5 Funders in Canada 1 Music Industry Association Northwest Territories 9 Artists/Bands Ontario 1 Aboriginal Radio Station 54 Artists/Bands 1 Funder 13 Aboriginal Radio Stations No Music Industry Association 3 Funders British Columbia No Music Industry Association 50 Artists/Bands Nunavut 3 Aboriginal Radio Stations 5 Artists/Bands Quebec 3 Funders 2 Aboriginal Radio Stations 12 Artists/Bands 1 Music Industry Association 1 Funder 15 Aboriginal Radio Stations No Music Industry Association 3 Funders Alberta 2 Music Industry Associations 25 Artists/Bands Saskatchewan 3 Aboriginal Radio Stations 25 Artists/Bands Atlantic 1 Aboriginal Music Labels 7 Aboriginal Radio Stations 9 Artists/Bands 1 Festival/Award Show 2 Aboriginal Music Labels 10 Aboriginal Radio Stations 1 Funder 2 Funders 4 Funders 1 Music Industry Association 1 Music Industry Association 3 Music Industry Associations snapshot details

BRITISH COLUMBIA Wayne Lavallee Alberta Aboriginal Music Awards Artists/Bands Radio Funding 7th Generation Kispiox First Nations Community Radio, Hazelton Alberta Foundation for the Arts Arlette Alcock Northern Native Broadcasting, Terrace Music Industry Association Art Napoleon Think NDN on CFRO, Vancouver Alberta Recording Industry Association BCBoyz Funding Cherryl Bear British Columbia Arts Council YUKON TERRITORY Curtis Clearsky First Peoples Heritage Language and Culture Artists/Bands Daybi Council Bob Charlie Donovan Bruyere Music BC’s Music Assistance Program Diyet van Lieshout Doris Munger Music Industry Association Elaine Jakesta Ed Peekeekoot Music BC Jerry Alfred Fara Matthew Lien Genetics ALBERTA Sundog George Leach Artists/Bands Radio Gold Anasaz Carcross Radio Society, Carcross Helene Duguay Asani Northern Native Broadcasting – CHON fm, Janet Panic Carl Quinn Whitehorse Jason Burnstick Chinook Wind Music Funding Jeanette DeFauw Curtis Cardinal Yukon Film & Sound Commission Kaajuu Gaaya Donna Kay Music Industry Association Kinnie Starr Epiphany Music Yukon Kristi Lane Sinclair Feenix Larry Hanson Jared Sowan NORTHWEST TERRITORIES Manik1derful Kray-Z-Kree Artists/Bands Marcel Gagnon Laura Vinson Diga Marty Ballentyne MEB Band Kiera Kolson M’Girl Non-Status Kim Shaughnessy Mike Gouchie Plex Laura Langstaff Ostwelve Reddnation Leanne Goose Paganmachine Leela Gilday Pat Gambler Malcolm Camsell Richard Gauthier Priscilla’s Revenge Rick Stavely Stephen Kakfwi Road Engine Dreams Radio Ry Moran Native Communications Society, Yellowknife Sandy Scofi eld Funding NWT Arts Council

NUNAVUT Shane Yellowbird Artists/Bands Team Rezoffi cial The Brothaz Grimm The Crow Girls Troy Kokol William Belcourt W.T. Goodspirit Shakti Hayes Radio Sister Says Care Radio Broadcasting Association, Fort Skeena Reece Vermillion Susan Cormier CFWE – AMMSA, Edmonton Tumivut COKI 103.1, Siksika Madeleine Allakariallak Versus Project Aboriginal Music Labels Paulusie Saviadjuk Warparty Redd Rock Records Stammering Lips Aboriginal Festival/Award Show Sylvia Cloutier Radio Don Amero Buffalo Narrows Broadcasting Corporation, Buf- Don Freed falo Narrows Eagle & Hawk FDB Broadcasting Inc., Flying Dust First Nation Edward Gamblin Missinipi Broadcasting Corporation, La Ronge Ernest Monias Natitawin Broadcasting Inc., Lac La Ronge Fred Mitchell Pinehouse Communications Society Inc. CFNK Fred Moose 89.9fm, Pinehouse Freedom Road Sipisishk Communications Inc. CIPI 96.5 fm, Gabby Taylor Beauval Hank Horton Tagaq The Jans Bay Broadcasting Inc., Canoe Narrows Harv Settee Jr. Radio Aboriginal Music Labels Hector Menow CKQN 99.3 - Qamanittup Naaluataa, Baker Lake Sweetgrass Records Hellnback Radio Iqaluit, Iqaluit Turtle Island Music Heritage Funding Funding Highway 373 Nunavut Department of Culture, Language, Saskatchewan Arts Board JC Campbell Elders and Youth SaskMusic’s Grant Program Jerry Sereda Music Industry Association SASKATCHEWAN SaskMusic Artists/Bands Andrea Menard MANITOBA Black Rain Artists/Bands Buffy Sainte-Marie Aaron Peters Chester Knight and the Wind Barry Choken Conrad Bigknife Big Henny Dean Powder Billy Joe Green Donny Parenteau Blaze Edmond Bull Breaking the Silence JJ Lavallee Burnt- Project 1 Jodie Borle B.O.D.M Kimberley Dawn Krista Rey Les Shannacappo Littlehawk Longhouse Lucien Spence Norbert Ducharme O.C.D. Percy Tuessday Eekwol Prodiggy Feedback Ray “Ko Ko” Stevenson Leonard Adam C-Weed Rayne Jay Ross Cal Richard Ray St. Germain Joey Cappo Charlie McIvor Red Shadow Singers John Arcand Chris Barker Band Richard McKay Joseph Naytowhow Chris Beach Rude Mood Music Looney Tunz Cliff Maytwayashing Ryan D’Aoust Mils Clint Dutiaume Segweh Mitch Daignealt Darellyne Bickel Shingoose Mykal Gambull Darren Lavallee Sierra Noble Raine Morin Dead Indians Slidin’ Clyde Roulette Red Blaze Band Desiree Dorion SloMoJo Soundmyne DJ Endless Slowhand Theressa Bishop DJ St. Germain South Thunderbird Violet Naytowhow DLO Spirit Sands Singers Yvonne St. Germaine Dominique Reynolds Ted Longbottom The Black Water Project Digging Roots Radio The Freebird Band Dwayne Pamajewon 92.3 FM - Couchiching Radio, Fort Frances Thru The Pine Eric Voice 101.1 FM - Jessica Nadjiwon, Wiarton The Mosquitoes Eye of Charm AVR-Aboriginal Voices Radio Network, Toronto Tracy Bone Fargo and Company Ayamowin Communications Society, Big Trout Venus Mantrap Graeme Jonez Lake Wanda Wilson Infighter CFGI 102.7, Georgia Island Wees Jaguar In Good Company CHFN 100.1 fm, Wallaceburg White Horse Singers Jacques and the Shakey Boys Chimnissing Communications, Beausoleil First Wild Illusions Jani Lauzon Nation X-Status Jesus Murphy CKON 97.3FM, Cornwall Radio Kevin Schofield & The Legends of Country CKRZ-100.3 fm, Oshweken CFPX 98.3 fm, Pukatawagan Krakatoa Oneida Radio, Southwold Native Communications Inc. (NCI FM), Winnipeg Lakota Jonez Point Eagle Radio Inc., Forest Norway House Communications Inc.-CJNC, Renegade Radio on CKLN 88.1 FM, Toronto Norway House Wahta Communications Society, Bala OBCI - Russell Cook, The Pas Wawatay Native Communications Society, Sioux Aboriginal Music Labels Lookout Arbor Records Aboriginal Festival/Award Show Strongfront Records Canadian Aboriginal Festival Sunshine Records Canadian Aboriginal Music Awards War Pony Records Funding Aboriginal Festival/Award Shows Ontario Arts Council Aboriginal Peoples Choice Music Awards Ontario Media Development Corporation Music Manito Ahbee Festival Lucie Idlout Fund Funding Meghan Meisters Toronto Arts Council Manitoba Arts Council Nadjiwan Manitoba Culture, Heritage and Tourism Nancy Johnson QUEBEC Manitoba Film and Sound Nathan Cheechoo Artists/Bands MARIA’s Market Access Program Niiwing Wendaanamak Ngamjik Angava Winnipeg Arts Council Nishina Esquega Beatrice Deer Music Industry Association Noel Habel Chucky Manitoba Audio Recording Industry Association Peter Howlett Florent Vollant Rene Meshake Jef Tremblay et les Elements ONTARIO Robbie Robertson Madeskimo Artists/Bands Sakoieta Widrick Northern Haze Alex S. Lekawski Sarah Decarlo Robert Sevencrows Amanda Rheaume Shannon Thunderbird Sakay Ottawa Bear Creek Snake Island Singers Sinuupa Bezhig Susan Aglukark Big Dro Brenda MacIntyre Brock Stonefish Cheri Maracle Darrin Jamieson David Arbeau David Maracle

Taima Tamara Podemski Taqralik Partridge The Breeze Band Radio The Johnnys CFIC 105.1, Listuguj The Pappy Johns Band CHRG FM-101.7, Gesgapegiag The Wolfpack CKWE 103.9, Maniwaki Wabs Whitebird Comite de la Radio Communautaire Huronne Weaselhead Wyandot Inc., Wendake Derek Miller Whitefish Bay Singers Corporation de Radio Kushapetsheken Apetu- amiss Uashat, Sept-Iles Corporation Mediatique Teuehikan, Mash- teuiatsh Gespegewag Communications Society, Resti- gouche James Bay Cree Communications Society, Via Chibougamau Kanehsatake Communications Society Inc., Kenehsatake Mohawk Radio, Kahnawake Radio Communautaire MF Lac Simon Inc., Lac- Simon Radio Ntetemuk Inc., Betsiamites Societe De Communication Atikamekw-Montag- nais, Wendake Societe de Communication Ikito Pikogran Ltee, Pikogan Taqramiut Nipingat Incorporated, Dorval Funding Conseil des Arts et des Lettres du Quebec MusicAction La Société de développement des entreprises culturelles du Québec (SODEC) Music Industry Associations Association des professionnels de l’édition musicale Madeleine Allakariallak and Sylvia Cloutier Association québécoise de l’industrie du disque, du spectacle et de la vidéo CHLR 89.9 fm, Rigolet, NF Funding ATLANTIC PROVINCES CICU 94.1 fm, Eskasoni Indian Reserve, NS Canada Council for the Arts Artists/Bands CIML 99.5 fm, Makkovik, NF CMT Canada Video Advantage Program &Company CJIJ, Membertou First Nation, NS Department of Canadian Heritage’s Canada Angela Hovak-Johnston Okalakatiget Society, Nain, NF Music Fund Beatz Postville Radio Society Inc., Postville, NF Department of Canadian Heritage’s Trade Sheshatshit Radio Society-CJIK fm, Northwest Routes Program River, NF Department of Foreign Affairs and International Funding Trade’s Arts and Cultural Industries Promotion New Brunswick Arts Board Division Newfoundland and Labrador Arts Council Foundation Assisting Canadian Talent on Nova Scotia Department of Tourism, Culture and Recordings Heritage National Aboriginal Achievement Foundation Prince Edward Island Council of the Arts Radio Starmaker Fund Music Industry Associations SOCAN Foundation Music Nova Scotia VideoFact and PromoFact Forever Music Newfoundland and Labrador Music Industry Associations Flummies Music New Brunswick Canadian Academy of Recording Arts and Garry Sapier Sciences Harry Martin NATIONAL Canadian Country Music Association MO3 Award Shows Canadian Independent Record Production Red Suga Aboriginal Peoples Choice Music Awards Association Rez Villain Canadian Aboriginal Music Awards Canadian Music Publishers Association Richard M. Gloade Canada Country Music Awards Canadian Recording Industry Association Shirley Montague Canadian Folk Music Awards National Aboriginal Recording Industry Radio Canadian Urban Music Awards Association CFNT 104.5, Perth, NB The Junos Songwriters Association of Canada CFTI 101.1, Big Cove, NB East Coast Music Awards (regional) Urban Music Association of Canada Western Canadian Music Awards (regional) Tracy Bone Manitoba music industry support for English speaking Canada

There are a number of organizations, agencies, music award shows, festivals, copyright collectives and government departments in Canada that support artists along with other parts of the music industry.

The diagram identifi es the following layers: -Artists and Industry -Regional Music Industry Associations -Regional Funding Agencies -Music Award Shows and Festivals -National Music Industry Associations -National Funders

In Canada, there are also copyright associations and organizations, broadcasters and the Cana- dian Radio-television and Telecommunications Commission.

SOCAN The Society of Composers, Authors and Music Publishers of Canada SOCAN is a Performing Rights Organization that represents songwriters and publishers. SOCAN The member collectives include AFM-MNRR, renewing an existing license, or when transfer- licenses the public performance of its reper- ACTRA-PRS, and AVLA. ring control or ownership of a radio licence. toire for broadcast, background music, and live From 1998 - 2004: performance, collects the associated tariffs, and -American Federation of Musicians, Musicians’ • New radio licensees committed to contributing distributes that money directly to the copyright Neighbouring Rights Royalties over $41 million to CTD initiatives holders. -Alliance of Canadian Cinema, Television and • CTD benefi ts from control and/or ownership Radio Artists, Performers’ Rights Society transactions have totaled over $93 million CMRRA -Audio-Video Licensing Agenc • Over $15 million was contributed to CTD initia- Canadian Musical Reproduction Rights Agency -Canadian Private Copying Collective tives in the context of licence renewals The CMRRA is a licensing agency that represents -SoundExchange music publishers in Canada. CMRRA licenses the Canadian Radio-television and Tele- reproduction of music on CD’s and cassettes Broadcasters (mechanical licensing) and in fi lms, television communications Commission (CRTC) Canadian Talent Development The CRTC is an independent agency respon- programs and other audio-visual productions In 1995 the Canadian Association of Broadcast- (synchronization licensing). They collect royal- sible for regulating Canada’s broadcasting and ers introduced a streamlined Canadian Talent telecommunications systems. ties and distribute them to publishers, who in Development (CTD) regime that served to turn distribute the songwriter’s portion to the ensure that private radio stations collectively songwriter. The CRTC’s mandate is to ensure that program- allocated a minimum of $1.8 million each year ming in the Canadian broadcasting system to eligible third parties associated with CTD. NRCC reﬂ ects Canadian creativity and talent, our These eligible organizations include FACTOR, linguistic duality, our multicultural diversity, Neighbouring Rights Copyright Collective MusicAction, national and provincial music The NRCC is an umbrella collective that admin- the special place of aboriginal people within organizations, performing arts groups, schools our society and our social values. At the same isters the rights of performers and makers of and scholarship recipients. sound recordings (neighbouring rights). The time, the CRTC must ensure that Canadians have access to reasonably priced, high-quality, varied NRCC collects royalty payments generated by In addition to its yearly contributions, private the public performance of sound recordings and and innovative communications services that radio licensees make direct contributions to CTD are competitive nationally as well as interna- ﬂ ows them through to fi ve member collectives initiatives when awarded a new licence, for distribution to performers and makers tionally. (record labels). AMP Camp is a one-week professional and artistic development project that gives emerging to mid-career Aboriginal recording artists a chance to develop their understanding of the music industry along with their ability to succeed in it.

The project is made possible by a working partnership between MARIA’s Aboriginal Music Program and the Music Section of the Canada Council for the Arts. AMP Camp is the only week-long artistic and professional development opportunity for Aboriginal recording artists in Canada. The residency has been held at a resort in Manitoba’s Whiteshell region for the last two years and has provided participants with access to over 400 years of experience in the music biz.

Each day of the week begins with workshops on business topics in the morning, followed by artistic development sessions in the afternoon and evenings.

The morning discussions cover touring, music publishing, registering with SOCAN, marketing, managing suppliers, contract- ing, and taxes, among others. The artistic sessions focus on songwriting, vocals, musicianship, and performance skills.

Instructors for the project have included Juno nominated recording artist Kinnie Starr, Order of Canada recipient Heather Bishop, Canadian Aboriginal Music Award winner Sherryl Sewepagaham (Asani), world class dobro player Doug Cox, Breach of Trust front man Marty Ballentyne along with Aboriginal music legends Errol Ran- ville, Billy Joe Green, Curtis Jonnie, Ray St. Germain and Vince Fontaine, to name a few.

AMP Camp is open to Aboriginal artists from across Canada. Participants are selected by a jury of Aboriginal people working in the music industry and the process begins with a Call for Submissions in September of each year. above: DJ Madeskimo and Kinnie Starr below: Raine Morin

The project is delivered by MARIA’s Aboriginal Music Program and the Aborigi- nal Peoples Music Program of the Canada Council for the Arts.

AMP Camp has been made possible by the financial support of the Canada Council for the Arts, the National Aboriginal Achievement Foundation, Manitoba Culture, Heritage & Tourism, Manitoba Film and Sound, the Manitoba Arts Council and a contribution by MARIA through the Manitoba Music and Motion Pictures Development Project. Marty Ballentyne Artist Vince Fontaine Rising Sun Productions Ray St. Germain Artist Brandon Friesen Arbor Records Aboriginal music summit Shoshona Kish Artist (DiggingRoots) Shane Ward Sunshine Records delegates Stevie Salas Artist Jesse Green Strongfront Records Wayne Lavallee Artist Curtis Jonnie National Aboriginal Recording Heather Ostertag Foundation Assisting Industry Association Canadian Talent on Recordings Sam Baardman MARIA Gerri Trimble Canada Council for the Arts Alan Greyeyes MARIA Minister Robinson Manitoba Culture, Heritage Harmony Rice Association for Native Develop- and Tourism ment in the Performing and Visual Arts / SPIRIT Mike Benson Manitoba Culture, Heritage and Magazine Tourism Cate Friesen CBC Radio Terry Welsh Manitoba Culture, Heritage and Dave McLeod NCI FM Tourism Catherine Cornelius Canadian Aboriginal Carole Vivier Manitoba Film and Sound Music Awards Brian Wright-McLeod Encyclopedia of Native Ron Robert Canadian Aboriginal Music Awards Music Errol Ranville Aboriginal Peoples Choice Music Lisa Meeches Eagle Vision Productions Awards Micki Free Seminole Tribe of Florida Derek McCorrister Aboriginal Peoples Choice Music Awards Ray St. Germain blues and reggae to create their own sound. www.raystgermainmusic.com They are quickly emerging as new leaders of the old school rebel music. The songs are Born in 1940, Ray St. Germain started about generational truths, raising a voice playing music and singing while grow- for empowerment, identity, and culture. It is ing up in St. Vital, a suburb in Winnipeg, these same elements that have won them Manitoba. He started out on accordion a CBC Galaxie Rising Star Award, an Indian but switched over to guitar as a teenager Summer Music Award, and a slew of nomi- because it looked a little silly jumping nations including the APC Music Awards, the all over the stage with an accordion. He Canadian Folk Music Awards and the Maple began performing all over Canada when he Blues Awards, the Native American Music was still a teenager, earning the nickname Awards and the perhaps most notably the “Winnipeg’s Elvis”, traveling with Hal Lone Junos. delegate proﬁ les Pine, Betty Cody and their son Jazz Legend Lenny Breau. His career hasn’t really let In addition to recording and touring with up since. During that time, he’s performed DiggingRoots ShoShona stays involved in on the bill with such greats as Johnny Cash, community arts and activism as well as Porter Wagoner, and Johnny Horton. His running her arts and multimedia companies music has taken him around the world, Aki Productions and Mitig Studios. letting him travel to places like Germany, Israel and Cyprus, and across Canada. He The new DiggingRoots album tentatively clearly loves the performer’s life and hasn’t titled ‘Song Lines’ is due to drop in spring slowed down a bit. Ray has been seen 2008. nationally on CBC, Global, APTN and CKY as a performer, television producer/singer/ host. Ray was also the radio host/program Marty Ballentyne manager at NCI-fm. [email protected] Ray St. Germain is an award winning Re- www.myspace.com/martyballentyne cording artist, and Stage show performer/ producer. Ray recently added author to his Marty Ballentyne is the lead singer, guitar- repertoire as he wrote his autobiography “I ist and co songwriter of the band Breach of Wanted to be Elvis, so What was I doing in Trust, who have released 3 albums of hard Moose Jaw?”. Ray is currently releasing his hitting music inspired in equal measure latest album entitled “We All Make Mistakes by punk, metal and rock’n’roll. In addition Sometimes” and enjoys performing stage to working on songs for a new Breach of shows across Canada. Trust album, Marty has recently established Stevie Salas himself on the Vancouver scene, perform- www.steviesalas.com ing with artists as diverse as Marq DeSouza, ShoShona Kish DiggingRoots Clancy’s Angels and July Fourth Toilet. As He was hand-picked by George Clinton as www.diggingrootsmusic.com a composer, Marty was recently tapped to the guitarist for Clinton’s albums. He’s www.sonicbids.com/diggingroots write and record the theme song to the skipped cities in a private jet with Rod www.myspace.com/diggingroots new TV series Tears and Triumphs. Marty is Stewart, playing sold-out stadiums. He also working on new solo music (which will signed the largest deal Island Records has ShoShona Kish is a multidisciplinary artist be available for sampling at his MySpace ever forked over for a new artist. His sec- of Anishinabe and mixed heritage. ShoSho- site), a new band featuring Manitoba expat ond solo album ousted the Rolling Stones na is best known for her work as co-creator Donovan Bruyere (also a new member of and Aerosmith for “Best Album” in Japan. and front woman for the Juno nominated Breach of Trust), and a band called The Holy Most book name him as one of the Top 50 group DiggingRoots. ShoShona and partner Licks, whose music is best described as Guitarists of All Time. Just months ago Raven (whose seismic guitar playing has ‘the soundtrack to f*#@ing or fi ghting on a Mick Jagger tapped him to be his guitarist... Saturday night up north - whichever comes gotten him votes as one Canada hottest fi rst’. new talents) blend groove-laden roots, Gerri Trimble Canada Council for the Arts [email protected] www.canadacouncil.ca

Gerri Trimble is a Program Offi cer with the Music Section of the Canada Council for the Arts. Her current program responsibilities include sound recording, distribution, other community arts and Aboriginal music initiatives. She has been involved in grants administration for over fi fteen years for a number of government departments and other organizations in the realms of arts training, community economic development and anti-racism.

Wayne Lavallee community. She is the current chair of [email protected] the Canadian Country Music Association www.waynelavallee.com (CCMA), and is a life-time director on the www.myspace.com/waynelavallee1 Board of Directors for the East Coast Music Awards. Carole Vivier Wayne Lavallee is from the Métis Nation Manitoba Film & Sound born in Vancouver, B.C. His recent Album Ms. Ostertag has been well recognized by www.mbfi lmsound.ca Green Dress is 2006 winner for Best the music industry. She has been twice Aboriginal Songwriter at the Canadian Folk voted one of Canada’s 30 Top Most Inﬂ uen- Carole Vivier is the Chief Executive Offi cer Music Awards, he is also 2005 Juno nomi- tial Music Executives. The East Coast Music of the MANITOBA FILM AND SOUND RECORD- nated, Wayne’s music both defi nes and Association appointed her an “Honorary ING DEVELOPMENT CORPORATION (MANITOBA transcends his genre at the same time, his Lifetime Director” in 1995, and the Canadian FILM & SOUND) and the Provincial Film music walks a path between Led Zeppelin Association of Broadcasters honoured Commissioner. MANITOBA FILM & SOUND is and Robbie Robertson and rides a musical her with the Ruth Hancock “Friend of the a statutory corporation of the Province of trail from rock anthems to country/folk Industry” award in 1996. She has since been Manitoba mandated to assist in the growth storytelling. All of this is delivered with inducted into the Canadian Music Industry and development of the Manitoba fi lm, Wayne’s haunting melodic stylized chants Hall of Fame and awarded the Harris Alumni television and sound recording industries. to create a contemporary take on old world Award for Excellence in Music Industry Native mysticism. Wayne Lavallee is also Education. In February 2002, the FACTOR Carole is currently a member of the Board owner of Intertribal Sound, he has pro- Board of Directors presented her with an of Directors for the Burton Cummings duced/engineered debut albums for artists award for Integrity and in 2003 she was ap- Theatre of Performing Arts Group Inc., such as Violet Naytowhow & Shakti Hayes, pointed a Member of the Order of Canada. Film Training Manitoba and NSI Canada. Wayne Lavallee will be releasing new album Most recently, Heather was awarded the While working closely with Manitoba’s Film, spring of 2008. Brian Chater Industry Builder Award during Television and Sound Recording Industries Canadian Music Week in 2006. Carole has helped build awareness in the Heather Ostertag national and international arena which Foundation Assisting Canadian Talent on has resulted in unprecedented growth in Recordings both of these sectors. Also along with the www.factor.ca Manitoba Motion Picture Industry Associa- tion, MANITOBA FILM & SOUND successfully As the President and CEO of FACTOR, Heath- secured the Manitoba Film & Video Produc- er is required to liaise with government, tion Tax Credit Program which is the most broadcasters and the Industry, but even competitive tax credit in the country. outside her FACTOR duties, Ms. Ostertag is an active member in the Canadian music Brian Wright-McLeod www.encyclopediaofnativemusic.com

Author of The Encyclopedia of Native Music and executive producer of the 3-CD com- panion The Soundtrack of a People Brian Wright-McLeod began working in media since 1979. In 1985, he began his foray into radio at CKLN 88.1 FM in Toronto where he hosts Renegade Radio, an open format Native music and spoken word show. In 2005 he created Electric Powwow on Sirius Satellite Radio’s Canadian music channel Iceberg 95.

A regular contributor to News From Indian Country and Native Peoples Magazine, Brian was also the music consultant for the National Library and Archives, CBC and BBC Radio Native music programs. He is the vice-chair for the Native Juno Award category for the Canadian Academy of Re- corded Arts & Sciences. He hosts the Native music program.

Micki Free Recording Artist, Three Time Grammy www.mickifree.com Nominee, Five Time Native American Music www.myspace.com/mickifreeexperience Award Winner, Nominated for Governor on Lisa Meeches the National Academy of Recording Arts & Eagle Vision Inc. Micki Free, a mixed blood Comanche / Sciences, The Los Angeles Chapter Board www.eaglevision.ca Cherokee Indian was discovered by Gene of Governors 2004-2006 Term, and in 2006 Simmons of the legendary “super group”: Micki was “put up on the wall”(Micki’s origi- As one of the most dynamic and respected KISS. nal Grammy, custom made guitar, vest worn Aboriginal producers in Canada, Lisa in the videos, and his eagle honor ﬂ ute) at Meeches is an Executive Producer and the What do Diana Ross, Gene Simmons (KISS), the Seminole Hard Rock Hotel & Casino in President of Eagle Vision Inc. and Meeches Steven Van Zandt (Bruce Springsteen Band), Hollywood Florida. Video Productions, two Winnipeg-based Shalamar and Prince…all have in com- production companies. She is the Co-Presi- mon?...the answer is; MICKI FREE! Besides still being a recording and touring dent of Century Street Distribution. She is Per Micki’s label; Cargo / Live Wire Records, musician (Micki opened for Aerosmith in also the Executive Producer, Producer, and England, “Micki’s “inimitable” sound and London England for Hard Rocks 2007 Am- Co-Host of The Sharing Circle, currently in style, in the blues rock vain of Jimi Hendrix bassadors of Rock Tour at Hyde Park Calling production of its Fourteenth season. She and Stevie Ray Vaughn is unmistakable”. to the tune of 70,000 people), Micki is the is an Executive Producer of Tipi Tales, cur- Micki was brought to LA for a career that Director of Promotions & Special events rently in prep for Season Three. As well Lisa would rival many in entertainment business for the Seminole Tribe of Florida / Florida has Executive Produced two, one-hour, one- history; Grammy Winner, Multi-Platinum Seminole Tourism. of, documentaries, in the past two years. Vince Fontaine company “Arbor Records Ltd. (EMI Canada, Jesse Green [email protected] Allegro USA)” – nominated “Independent Strongfront Records www.risingsunproductions.ca Record Label of the Year” (P.M.A.2000 & [email protected] WCMA 2004) as well as President/founder of www.strongfront.tv Vince Fontaine is from Winnipeg and has 441 Studios Ltd. and Race Day Promotions www.myspace.com/xxstatusxx been a professional musician for over 20 Ltd. years. He is often recognized for his music Now in 2007, Winnipeg-based hard-core group Eagle & Hawk. When Vince began his Author of the book “Musician’s Manual to rockers X-Status have been roaming the career in the music industry, he recognized the Music Industry” and founder of the musical wastelands since 2000, Their that music was a powerful medium for ex- International Entertainment Magazine repertoire is a collective compilation of pressing himself and the world around him. “Neechee Culture” Brandon’s more recent years of lost songs and forgotten riffs that In the mid-1990’s, Vince strengthened his accomplishments include Producing, lingered in the back of their heads for writing abilities and developed the sound Engineering and Mixing the 2005 Juno over a decade. Re-created for today’s ears of the award winning music group Eagle & Nominated album “Longhouse – A Warriors X- STATUS will rock you with their soulful Hawk. At that time he also cultivated work- Journey”, 2004 Grammy® Nominated Al- aggression and techno heaviness. Futuris- ing relationships with other artists in the bum “Tom Bee – Reveal His Glory”, the 2003 tic and inspirational sounds in an EFFORT to Aboriginal and non-Aboriginal communities. Juno® Award Winning” Album Derek Miller FREE ALL MINDS. – Music is the Medicine, 1998 “Juno® Award Vince is the founder and President of Rising Winning” Album “Mishi Donovan - The Spirit After 5 years and 4 studios X-Status has fi - Productions Inc (RSP). RSP specializes in Within”; and over 30 nominated and/or win- nally slated a released date for their debut Canadian Aboriginal and Native American ning Juno, PMA, WCMA, CAMA, First Ameri- CD/DVD, with a pre release of the album music and performance culture. RSP has cans in the Arts and NAMA awards portion in June 2007 the all out CD and DVD earned a solid reputation for leading the package are to be re-released on Septem- way in this growing genre. Vince has also Shane Ward ber 1, 2007, the new package will contain 8 excelled in the area of live production and Sunshine Records of the bands most Hard Rocking tunes, and festival management. He has been involved [email protected] a DVD with 2 full sets of multi camera live in the 1999 Pan Am Games, the 2002 North www.worldwidesunshine.com stage action along with 2 music videos. American Indigenous Games and most recently the Manito Ahbee Festival as Music Shane has been working as a professional Curtis Jonnie Festival Manager. Vince also sits on the engineer for the past six years. He has National Aboriginal Recording Industry board of the Manitoba Audio Recording been involved in the recording of albums Association Industry Association (MARIA). He is com- for Sunshine Records, Canada’s larg- [email protected] mitted to contributing to Manitoba’s music est Aboriginal labels. He has also spent www.naria.ca industry as well as to ensuring the growth time working on fi lm/video and television and promoting the voice of North American projects. Shane’s client list includes the Curtis Jonnie or “Shingoose” is the Execu- Indigenous culture. following: tive Director of the National Aboriginal Recording Industry Association (NARIA), a Brandon Friesen Clint Dutiaume (CCMA Mulit instrumentalist membership-based music industry associa- Arbor Records of the Year) Cliff Maytaywashing (Canab tion dedicated to the development of a [email protected] Winner) Rayne Delaronde (Canab Nominee) national Aboriginal music recording indus- www.arborrecords.com Jared Sowan (2 Time Canab Winner), Burnt try. NARIAs members include professional Project 1 (Canab Winner, Juno Nominee) Aboriginal music artists, associated music A professional producer, recording/mix- Romi Mayes, and many more. business people, and service providers. ing engineer, musician and writer since The organization receives direction from 1991, Brandon Friesen has worked on and Shane’s experience in the aboriginal music a board of seasoned professionals from produced hundreds of albums to date. He fi eld is extensive, covering all types of both the creative and business sides of the was President and co-founder of recording genres from blues to pow wow. Shane music industry. studio/artist development company “Studio also does A&R for Sunshine Records, and is 11 Inc.” – voted “Recording Studio of the responsible for new talent submissions. On top of leading NARIA, Jonnie is known as Year” (P.M.A.2000), and currently President/ one of the “grandfathers” of contemporary founder of record label/distribution Aboriginal music and has performed in Canada, the US and internationally for 40 years. In the early 70s, Shingoose was Harmony Rice Cate Friesen joined by his contemporaries, Floyd ‘Red Association for Native Development in CBC Radio Crow’ Westerman, Buffy Sainte-Marie, Willie the Performing and Visual Arts / SPIRIT www.cbc.ca Dunn, Tom Jackson, and others in taking Magazine music from Aboriginal country to main- [email protected] Cate Friesen is executive producer of the stream audiences. www.myspace.com/spiritmagazine Winnipeg Radio Performance department at CBC as well as the executive producer Sam Baardman Pottawatomi from Wasauksing First Nation, of CBC Radio Two’s ﬂ agship national live Manitoba Audio Recording Industry Harmony Rice is the Creative Director and performance program “Canada Live”. She Association Publisher of SPIRIT Magazine. SPIRIT Maga- also worked for many years as a touring [email protected] zine is an identity, arts and culture-based musician and songwriter and brings that www.manitobamusic.com magazine distributed across Canada. knowledge to her present position.

Sam has served as Executive Director of While co-producing an annual CD compilation for SPIRIT Magazine, Harmony’s other David McLeod the Manitoba Audio Recording Industry Native Communications Incorporated production credits include: The Aboriginal Association (MARIA) since June of 2000. He www.ncifm.com is Chair of the National Advisory Board of Voices Reel Aboriginal Film Festival at Harbourfront Centre (Toronto), the Associa- FACTOR, President of the Board of the West- David McLeod is the CEO of Native Com- tion for Native Development in the Perform- ern Canadian Music Alliance (WCMA), Chair munications Incorporated (NCI-FM), which ing and Visual Arts Raise Your Voice Music of the Canadian Council of Music Industry operates a Manitoba wide radio network, Fest 2006 (Toronto), SPIRIT Magazine’s Associations, and serves on numerous com- heard from Winnipeg to Churchill via 57 NOURISH Magazine Launch & Multi-arts mittees and advisory boards at the regional transmitters. and national level. He is the 2002 recipient exhibit in 2002, SPIRIT Magazine’s COURAGE BABY COURAGE event in 2003, A Tribute to of the Prairie Music Award for Industry David believes that music within the Native Revolutionaries in 2005, West Coast Launch Builder of the Year. community has a special connection to 2006 and numerous other SPIRIT Magazine the people, to the land and to time period, showcases, launch parties, panel discus- As an artist, Sam is a veteran of the Cana- which it is recorded. For many years he sions and workshops. Her most recent pro- dian prairie music scene. He is described has had a keen interest in several genres duction was the Sweet Water Music Festival, by the Winnipeg Free Press as “one of the of Native music. In early 2006, David was an Indigenous music and arts festival held city’s strongest and most literate song- instrumental in establishing the “National in Midland, Ontario in 2007. H writers,” and his second CD, The Rookery, Aboriginal Top Thirty Countdown” which was nominated for Outstanding Roots & is currently heard on six provincial radio Harmony sits on the board for the Har- Traditional Album at the 2000 Prairie Music networks across Western Canada including mony Movement, a national race relations Awards. the Yukon and the North West Territories. In organization, and is the President of the 2002 David was honoured with an “In- Association for Native Development in the dustry” award at the Canadian Aboriginal Alan Greyeyes Performing and Visual Arts. Manitoba Audio Recording Industry Music Awards for his contributions towards Association promoting Aboriginal music. [email protected] www.aboriginalmusic.ca David has been a board member with the Broadcasters Association of Manitoba (BAM) Alan Greyeyes is the Aboriginal Music Pro- the Manitoba Audio Recoding Industry As- gram Coordinator for the Manitoba Audio sociation (MARIA). David currently sits as a Recording Industry Association and a mem- board member with the Aboriginal Peoples ber of the Manitoba Aboriginal Music Host Television Network and the Manito Ahbee Committee. Over the last three years he Festival. has work on the development and delivery of Aboriginal music showcases, compilation CDs and training initiatives, including a week long residency entitled AMP Camp. Catherine Cornelius Ron Robert Errol Ranville Canadian Aboriginal Music Awards Canadian Aboriginal Music Awards Aboriginal Peoples Choice Music Awards www.canab.com www.canab.com [email protected] www.aboriginalpeopleschoice.com Catherine Cornelius, Executive Director, a Program Director, Ron Robert, a metis of status member of the Oneida of the Thames Mohawk and French descent, has been with Errol Ranville, also know as “C-Weed” is community, has been with Indian Art-I- Indian Art-I-Crafts of Ontario since the the Executive Producer of the Manito Crafts since it’s inception over twenty years beginning. He is a former broadcaster, a Ahbee Festival and the Aboriginal Peoples ago. Ms. Cornelius previously worked with former assistant to former Prime Minister Choice Music Awards (APCMA), which were the Chiefs of Ontario, the Canadian Govern- Trudeau, and a senior government media launched in November of 2006 to celebrate ment and owns and operates Oneida of the relation’s offi cer. Aboriginal music and culture from all parts Thames Marketing. of North America. Indian Art-I-Crafts of Ontario’s mandate is Indian Art-I-Crafts of Ontario’s mandate is to assist the Aboriginal arts community in An accomplished entertainer, Ranville to assist the Aboriginal arts community in audience development and appreciation of has operated the C-Weed band for over audience development and appreciation of Aboriginal arts, development of programs 25 years; a lifetime commitment that has Aboriginal arts, development of programs that provide economic development oppor- garnered him 4 Juno award nominations, a that provide economic development opportunities, share the diversity and quality of lifetime achievement award at the Canadian tunities, share the diversity and quality of Aboriginal art with the rest of Canada and Aboriginal Music Awards and induction into Aboriginal art with the rest of Canada and to assist in the development of Aboriginal the Manitoba Aboriginal Music Hall of Fame. to assist in the development of Aboriginal Arts in the performing and visual arts. Arts in the performing and visual arts. The Canadian Aboriginal Festival, which The Canadian Aboriginal Festival, which includes Education Day, Lacrosse Competi- includes Education Day, Lacrosse Competi- tion, Confi dence Fashion Show, Competition tion, Confi dence Fashion Show, Competition Pow Wow, and Music Awards is organized Pow Wow, and Music Awards is organized and coordinated by Indian Art-I-Crafts of and coordinated by Indian Art-I-Crafts of Ontario, a non-profi t, Aboriginal organiza- Ontario, a non-profi t, Aboriginal organization located in Brantford. A board of Direc- tion located in Brantford. A board of Direc- tors governs the organization. tors governs the organization.