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Deciphering Toronto's "World Music"

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Deciphering Toronto's MULTICULTURAL REPRESENTATION: DECIPHERING TORONTO'S "WORLD MUSIC" SCENE LAUREN ALLISON BARNETT A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FUFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90102-1 Our file Notre reference ISBN: 978-0-494-90102-1 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, distrbute 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. Canada Abstract This thesis explores the 'world music' found Toronto between 1999 and 2006. Using original data from CBC's Global Village "world music" program and Toronto's Now Magazine music listings, I will draw comparisons between Toronto's multicultural demographic, its live "world music" scene, and the Canadian Broadcasting Company's "world music" program. In examining these facets, this study will demonstrate that the "world music" found in Toronto is not reflective of the city's demographic, but instead is reflective of the popular genres within "world music." iv TABLE OF CONTENTS Abstract iv Table of Contents List of Tables vii 1. Introduction 1 2. Changing Demographics: From British Rule to Immigrant Rule 13 3. Multiculturalism and World Music Defined 22 4. The CBC's Representation of Canadians 36 5. Cultural Representation 50 6. Conclusion 73 7. Endnotes 79 8. Works Cited 84 9. Appendix A: Interview with Ann Mackeigan, February 8,2011 89 10. Appendix B: Data Spreadsheets 102 v LIST OF TABLES Chart 1: Source: Statistics Canada 1996 Census Percentage of Immigrants Before 1961- 1996 17 Chart 2: Source: Statistics Canada 2006 Top Ten Home Languages 19 Chart 3: Overview of the origin distribution of Toronto's population 51 Chart 4: CBC's Global Village music origin average representation for 1999-2006 52 Chart 5: Now Magazine music origin average representation for 1999-2006 53 Chart 6: Total music representation in both Global Village and Now Magazine datasets 54 Chart 7: Over-represented and under-represented music origins 60 Chart 8: CBC - Global Village Music Data 1999-2006 66 Chart 9: Now Magazine Music Data 1999-2006 67 vi CHAPTER 1: INTRODUCTION Canada is one of the most ethnically and culturally diverse countries in the world; it is a top ranking immigrant-receiving country whose population is predominantly from "non-traditional"1 source areas such as Africa, Asia and Latin America.2 The large numbers of diverse ethnic groups have created cities within Canada that strive for ethnic diversity; one of these metropolises is the city of Toronto which receives 44 percent of all arrivals to Canada.3 In the 2006 census data, 50 percent (1,237,720) of Toronto's population was born outside of Canada, up from 48 percent in 1996.4 Within the 50 percent of Torontonians born outside of Canada, 200 distinct ethnic origins5 can be found. Of those origins, 28 percent identified themselves as being of continental European descent, 19 percent identified themselves as descending from the British Isles (which includes England, Scotland, and Ireland), 16 per cent as East (which includes China, Japan, North Korea, South Korea, Mongolia) or Southeast Asian (which includes Philippines, Thailand, Malaysia) and 10 per cent as South Asian (which includes Afghanistan, Sri Lanka, Iran, India) in origin.6 Toronto's diverse demographic and variety of ethnic origins result in a city of numerous ethnic neighbourhoods, rich culture (food, language, art, music), and media (radio, television). This diversity of ethnicities and cultural traditions should presumably be represented in the media and the distribution of the city's culture in the form of "world 1 music"7 This thesis will investigate how world music is represented through a public radio station (the CBC) and a newspaper covering the city's local music scene (Now Magazine). This information will then be compared to Toronto's demographic in order to examine the relationship between the music, the media and the people. Aim of Study The aim of this study is to investigate how, and to what extent, world music promoted and broadcasted in Toronto compare to the city's ethnically diverse city and its. Throughout this study key terms such as multiculturalism and world music will be used. These terms will be explored through various definitions, misconceptions and controversial origins. This study will also look at how a national broadcast medium such as CBC radio discusses and represents an ethnically diverse city and country. Background In this thesis two terms are introduced and discussed: multiculturalism and world music. Both these terms share complex definitions because their socially constructed origins in order to 'manage' diversity. Located in chapter 2 there is a discussion which outlines scholars that have discussed both terms. Here I will give a brief summary of these scholars and their impact on these terms. When discussing multiculturalism there have been a number of problems that have surrounded the term and its use. The term has been discussed from political positions (Ley 2007) where arguments of whether multiculturalism does more harm than good because of its reemphasis and reproduction of the problems that surround diversity 2 (Day 2000). The term has also been discussed as becoming countries, such as Canada's, "social ideology" (Qadeer 2004) and whether this ideology helps or hinders the segregation of immigrants. Others have discussed multiculturalism as an "institution," outlining the stages that occur when incorporating multiculturalism into a society (Kobayshi 1993). The main issue that surrounds the term world music is the colonial views that the term stems from. Since the beginning of world music studies comparative methods (Hornbostel 1905) (Sachs 1962) have been used against non-western music. Comparative studies have been vastly used for different reasons such as, to gage the musical and cultural complexity of non-western countries. As a result of this method of analysis problematic issues such as the "othering" of cultures arises when discussing world music (Gray 2009). World music Publications World music is accessible not only through scholarly publications but also through popular world music guides. These guides generally contain chapters dedicated to a country or region and the musical traditions that derive from that area. The discussions within the guides are usually broad and are used mainly to provide an overview of regions and their music. Two well-known world music guides are The Directory of World Music: A Guide to Performers and Their Music,8 by Philip Sweeney and the World Music: The Rough Guide?from the Rough Guide series. These guides are structured around different regions 3 of the world (usually based around the world continents) and their music. For example, in World Music: The Rough Guide, the chapter entitled "The Baltic to the Balkans" lists the regions that are represented as follows: Scandinavia-Swedes, Finns and Sami Folk, Punk in the Alps Polish highlands Hungary Romania and Transylvania Bulgaria Former Yugoslavia Albania Russia and the New Republics10 Within these chapters musical traditions, genres, performers and customs are discussed in order to aid in the musical understanding of the region. Other world music resources include music encyclopedias such as The Garland Encyclopedia of World Music.'1The Garland Encyclopedia of World Music shares a similar structure to the world music guides but provides extensive detail about the region and its music. There are ten volumes within the encyclopedia, each volume focusing on a geographical area of the world. Included within this encyclopedia is a volume focused on the United States and Canada which differs from more conventional encyclopedias and dictionaries because the music of these regions are not conventionally labeled as world music. Contribution Past contributors have discussed world music by outlining geographical regions around the world and discussing the music that derives from each area. Examples of this approach are found in the world music guides, encyclopedias, and dictionaries when 4 examining musical traditions and heritage within a country, region, or continent. Within this study the discussion of world music will be juxtaposed to a country from which the music does not historically derive. The discussion will focus on how and to what extent, 'world music' promoted and broadcasted in Toronto compares to the city's multicultural and ethnically diverse demographic.
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