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.
Materials and Method
This section describes the data collection process and gives an explanation of the problems that arose while collecting the data, as well as changes that were made during the collection process. An overview of the data used in this study is as follows: 150 magazine volumes of Now Magazine, four years of playlists from CBC radio show
Global Village, and the 2006 Toronto CM A census tracts.
Now Magazine Data
Now Magazine is a free local paper that is issued in Toronto once a week and has been in circulation since 1981. The magazine focuses on current events in the city of
Toronto. It documents local politics, city issues, hot topics, and the arts. The arts section within the magazine is composed of theatre, film, music, dance and visual arts. Now
Magazine was chosen for this study because it was the most comprehensive when discussing Toronto's art culture.
The data acquired from the paper consists of world music concert listings from
1999 to 2006. To access this data I went to the Now Magazine headquarters in Toronto and went through the newspapers manually. The archives online were incomplete which required me to retrieve this information through these means. This timeline was chosen
5 because the most current Toronto census data at the time of this study was from the year
2006, so I chose these years in order to have a similar year comparison. The listing information was found in the music section of the magazine under concert calendar or live music. The concert listings include information such as the band and performers' names, dates of shows, the venue, time and price, and occasionally the music genre or explanation of the performance, i.e., "Traditional Japanese drummers," "Samba
Percussion Band" and "Gamelan music of Indonesia."
Approach
In order to identify world music performances when no genre was stated, I used the following criteria:
• The spelling of the performer's name (Did the spellings contain diacritics? Or a different language?)
• The venue (Is the venue known for having world music performances? Is the venue reoccurring within the rest of the data?)
• Festivals (Did the band/performer perform in a festival that was genre specific, ie., Afrofest)
• Other performers (Did the band/performer perform with other world musicians recognizable within the world music scene?)
Through the use of these criteria, educated guesses were made as to whether to document the performers as performing world music or not. After labeling the performers, internet sources such as Google or YouTube helped to clarify whether the performers could be classified under world music. This clarification occurred during the inputting of data into tables.
6 Discrepancies within the collection of Now Magazine's Data
The collection method used for the Now Magazine data was altered throughout the collecting period for a few reasons. When collecting the data there was missing archive data at the Now Magazine headquarters which resulted in some of the months not being documented in this study. After collecting all of the data from the year 1999,1 found that there was a lot of repetition in the music events listed within the month, which resulted in me selecting one magazine from each month instead of looking at every week within the month. In summary, all volumes during the year 1999 were collected. In the year 2001 the data collected excluded months after March. And during the years 2002-
2006, volumes were selected at random, one magazine from each month. This collection process was chosen because the concert listings in the magazine volumes overlapped and included upcoming performances for the following weeks/months. Other discrepancies found from 2002-2006 were found during the months of July and August, two volumes within the month were selected because large increases occurred in the live world music scene.
The CBC's Global Village data
Global Village aired once a week from 1994 to 2007. The program featured world music musicians from across Canada and around the world. The program provided a place for Canadian world music artists to be heard on Canadian airwaves. Many
Canadian world music performers were featured within the "Canadian Profile" section of the show. This section of the show included "15 - minute profiles that were packaged with CD music"12 and allowed for national exposure of the bands/performers. Along with
7 "Canadian Profiles" the show included correspondents from around the world " that
[were] talking about what's going on, what's significant, or what's the music that is making a difference in a particular region in a particular place, in a particular time about a particular story."13 These stories, along with the numerous Canadian music showcases featured on the show, made Global Village a prime candidate for hearing how world music was represented within a Canadian medium.
Approach
The Global Village data was collected from a CBC online database located at the
CBC Archives headquarters in Toronto. The retrieved data covered all shows from 1999,
2001, 2004 and 2006 and all were represented as the world music genre. These years were chosen in order to correspond with the 2006 Toronto census data. Descriptive categories used by the CBC are as follows: Visible Minority (labeled as "v.m." within the logs), Female (labeled as "fem." within the logs), Disabled, Aboriginal and Canadian.
These categories were used until 2005 by the CBC in order to describe the performers who aired on the Global Village program. Some of the music featured on the Global
Village included live recordings of world music events from different locations across
Canada.
Discrepancies within the CBC Global Village archives
While the majority of the music that was featured on Global Village was world music, there were some performers who did not fit within this genre. An example of this would be American R&B singer Lauryn Hill, whose song "Everything is Everything" frequently appeared on the Global Village playlists. An R&B song featured within a
8 world music program seemed out of place because the program's primary goal was to feature world music artists and performers. This type of data was included within the study and was listed under the genre Other North American because the music is North
American.
While the incentive of Now Magazine and Global Village are different, these two media sources were chosen because of their history and importance within Toronto's media, as well as, a lack of other media sources that provide the specific programming and promotion of world music that was needed for this study.
Inputting Data
In order to analyze the data for this study a master spreadsheet was created
(Appendix B) which included both the Now Magazine and Global Village data, allowing the information to be categorized based on month and year. The spreadsheet was used to help examine the predominant music origins that occurred within both the Now Magazine data and the Global Village data. The term music origin will be used within this study in order to describe the geographical region that the music originates from. To understand the term thoroughly a musical example from the collected data will be observed.
"Jane Bunnett and the Spirits of Havana" was featured within a "Canadian
Profile" on the Global Village radio show and features Jane Bunnett, who is Canadian.
Although the headliner is considered Canadian, the 'music origin' of the band is not categorized as Canadian or North American because the predominant music featured within the band is derived from Cuba.
9 Another example from the data set is Suba Sankaran & Autorickshaw. This band was formed in Toronto, Canada but the music featured in the band is of South Asian origins.
Origins are generalized into larger geographical/linguistic categories based on the
2006 Toronto census. The geographical origins are as follows: British Isles, French,
Aboriginal, Other North American, Caribbean, Latin, Central and South American,
European, Western European, Northern European, Southern European, African, Arab,
West Asian, South Asian, East and Southeast Asian and Oceania.
By using general geographical origins, a comparison can be drawn between the music origin and Toronto's demographic. In the case of "Jane Bunnett and the Spirits of
Havana" they would be placed into the "Caribbean" music origin.
There were challenges that I encountered when collecting and classifying the data for this study.
There was restrictive access when collecting the data sets from the CBC archives.
I needed to get special permission from the archivist in order to view this data, as well as, tell them exactly what I would be viewing in my time there. This proved to be challenging when collecting the data from the CBC.
Some of the challenges that occurred when classifying the data steamed out of the categories given by the 2006 Toronto census. The music that was being categorized sometimes fit into one or more of these geographical origins which made it difficult to choose what the performer(s) would be classified under. When encountered with this problem I would choose the most predominant music origin that the performer(s)
10 identified themselves with. This challenge occurred regularly when categorizing music that was made in Canada but featured a different music origin which is discussed within the examples provided above.
The following chapters are used as introductory sections to give background to the study in Chapter 5. Chapter 2 discusses the ethnic changes found in the city of
Toronto's history with a focus on the shift from a British culture to a multicultural culture. This movement suggests that the region of Toronto, which was once influenced only by British culture, has now become heavily influenced by immigrant culture and their traditions. Chapter 3 defines the two major terms that are found in this study, multiculturalism and world music. Through an examination of these term's flaws and controversies, multiculturalism and world music are thoroughly understood. Chapter 4 discusses the several reinventions of the Canadian Broadcasting Company in order to reflect Canada's changing demographic which explains the existence of the Global
Village program and its musical endeavors. Chapter 5 investigates the correlation of
Toronto's population in the 2006 census data, Toronto's world music scene as represented in Now Magazine listings and the Canadian national world music radio show
Global Village in order to see how world music is represented in Toronto.
Results
After analyzing the data, I conclude that the music represented in Global Village and Now Magazine is not reflective of the 2006 census data in Toronto but is reflective of the 'popular'14 genres found in the world music events promoted in Toronto. Cultural origins such as African and Caribbean are over-represented within Toronto's world music
11 scene in relation to their cultural demographic of Toronto. The under-representation and over-representation of certain music origins led to me using the term "popular world music," which refers to the world music that is favoured because of popularity rather than representation of the demographic.
12 CHAPTER 2: CHANGING DEMOGRAPHICS: FROM BRITISH RULE TO MULTICULTURAL!SM
First Nations such as the Hurons, the Seneca, Iroquois and Ojibways (alternate name "Mississaugas") had settled Toronto region and called it home during the 17th and
18th centuries.15 The region that became Toronto was fought over by the French and the
British during the Seven Years' war between 1754- 63. Their need to occupy the land was driven solely by money, and their desire to expand trading opportunities by establishing and maintaining trading posts in the most opportune areas because of its passage to the North and its well protected bay that was ideal for settlement and defensive purposes.16 The struggle between the French and the British ceased after the
British forced the French to retreat to Montreal which marked the end of the Seven
Years' war and the ratification of the Treaty of Paris in 1763, leaving the region of
Toronto under British rule.17
After the American Revolution 1775-83 which brought attention to the importance of the Toronto area, the British government bought the region from the
Mississaugas in 1787 for "£1700 in cash and goods."18 Once the British purchased the region, the area changed from a fur trade economy to an agricultural community.19 This change was the beginning of Toronto's metamorphosis into a settled British colony.
Toronto: The British Colony
The expansion of Toronto area was led by the Lieutenant Governor of Upper
Canada, John Graves Simcoe. His vision was to create a naval base in Toronto to enable protection from American invasions. The construction of Fort York geographically
13 marked the urban region of Toronto which led to the development of urban structures,
beginning with the construction of Yonge Street. Its purpose was to "improve the capacity of the Toronto Passage [and] move troops and supplies"20 to other destinations
within the region. In 1851, the colony of Toronto was still strongly connected to Britain,
with ninety-seven percent of the population identifying themselves as having United
Kingdom origins, and in actuality one third of the population was born in Canada.21
In 1871 the predominant religion in Toronto was Protestant, professed by seventy
three percent of the population, including two religious sectors: Evangelical Baptists and
High Anglicans.22 The next largest religious group that lived in the Toronto area were the
Roman Catholics which made up twenty five per cent in 1851 and fifteen per cent in
1901.23 The remainder of the population was made up of a number of different ethnic
groups. By the 1901 census, about 8 per cent of Toronto's 208,000 citizens were of non-
British origin, including individuals whose ancestral or personal past lay in Asia (219),
France (3,015), Germany (6,886), Italy (1,054), the Netherlands (737), Russia (142), and
Scandinavia (253), along with 3,090 people of Jewish heritage and 2,714 people recorded
as "other."24 The population recorded as "other" would have likely been made up of
"Blacks.. .and the descendants of the original native population"25 Many of these ethnic
groups would serve as an asset to Toronto's labour force which helped further the
economy and commercialism of Toronto, but would also create large divisions of class
within the population.
After the confederation of Canada in 1867, Toronto became an official city within a country. With this change, the city became a mecca of industry and commerce. The
14 class divisions became more defined, with certain families such as the Gooderhams,
Masseys, and Eatons on the top of the social hierarchy and below them a large middle class, working class and underclass.28 Through the industrialization of the city, distinct neighborhood divisions were created. The citizens of similar "religious institutions, clubs, and organizations" ended up moving to the neighborhoods which had these institutions and shared the same values and ideals as them.29 The neighborhood divisions that emerged within the mid 1800's are not exactly the same but share common boundaries with the modern day Toronto.
Demographic change: 1951 to present
It was not until after 1951 that the multicultural city of Toronto started to emerge.
In the 1951 census of Toronto, citizens identifying themselves as British were still dominant within the city's demographic, making up seventy three percent of the population. The predominant religion was still Protestant, making up seventy two percent, and sixty nine percent of the Toronto population was Canadian born.30 The percentage of Torontonians who did not identify themselves as British was twenty seven percent, which was ninety percent higher than the percentage found within the 1901 census. The proportional change in ethnic makeup between 1901 and 1951 is an indication of how the minority population would continue to grow within the city.
From 1951 onwards, immigrants from many different countries began to migrate into Toronto and make the city their home. Some of the immigrants who had already migrated to Toronto were excited for the opportunity to help fellow immigrants from their homeland. Ethnic associations based in Toronto "assisted the displaced persons,
15 refugees, and economic migrants in making their way into Canadian society, and in the process provided an important foundational element for building today's cosmopolitan city."31
In the mid to late 1960's there were many changes that occurred within the immigration process, one being the "elimination of race, ethnicity and country of origin as information criteria for entry."32 These changes resulted in an increase in the numbers of immigrants from developing countries particularly from Asia and the Caribbean.33
Before these changes were made to the immigration process there were many restrictions in place for immigrants of visible minorities and developing countries, but once these were abolished many immigrants from these countries started to migrate to the region.34
In the 1991 Toronto Census, non - British immigrants accounted for 38 percent of the population.35 Chart 1 documents the place of origin from which immigrants have migrated beginning with the period before 1961, followed by each decade through to
1991.
16 CHART 1 Source: Statistics Canada, 1996 Census
171 Before 1961
O 1961-1970
•I 1971-1980 ise 5 ESS 1981-1990 .5? E • 1991-1996 6 •5 §o a.
United Kingdom Other Europe Caribbean Other and Guyana Scwre Stefefis fawrfa JWrf fisnss
Before 1961, 92 percent of immigrants came from Europe, with 22 percent coming from the United Kingdom.36 As indicated on the chart above, there was a steady
decline of immigrants from the United Kingdom and Europe after 1961. Asia became the
next highest percentage of settling immigrants within Toronto, accounting for 60 percent
of those who arrived in Toronto between 1991-1996.37 The immigrants from the
Caribbean and Guyana comprised of about 20 percent of the immigrant population
between the 1970's and 1980's and then declined between 1980 -1996.
The top ten places of birth for Toronto immigrants before 1961 are all located
within Europe, except for the United States, which was ninth on the list. In the 1990's,
nine of the top ten countries are located in three distinct regions:
17 • East Asia (Hong Kong, China, Philippines,Vietnam), with 129,000
immigrants
• South Asia (Sri Lanka, India), with 70,000
• West Indies (Jamaica, Guyana, Trinidad and Tobago), with 41,000
The 2006 census states that "Almost 70 percent of recent immigrants to Canada settled in the census Metropolitan areas ... of Toronto (447,930), Montreal (163,345) or
Vancouver (151,690). Toronto continues to be the prime immigrant reception center in
Canada."39 Within the 2006 census the top regions of origin for recent immigrants settling in the Toronto area were documented as follows:
• South Asia (26 percent - predominantly India at 12 percent)
• East Asia (22 percent - predominantly China at 18 percent)
• Europe (14 percent - primarily Eastern European countries)
• Middle East and West Central Asia (11 percent)
• Caribbean, Central and South America (10 percent)
• South East Asia (10 percent - predominantly Philippines at 8
percent)
• Africa (6 percent)
• United States (2 percent)
• Oceania (less than 1 percent )40
Another way of identifying the diversity in a city is through the languages found within the region. From the 2006 census it was documented that forty seven percent of the population had a mother tongue in a language other than English or French,4'which is
18 14 percent higher than reported in 1991.42 Chart 2 shows the top ten languages spoken in homes throughout Toronto, from the 2006 census.
CHART 2 Source: Statistics Canada - 2006
HOME LANGUAGE
2006 Top Ten Home Lanauaoes Rank Lanauaae Persons % Chinese 1 lamuaoes 197.370 8.3% 2 Tamil 50.660 2.1% 3 Italian 44,445 1.9% 4 Spanish 43,910 1.9% . .A P^uguese 37,820 1.6% 6 Tagalog 33,920 1.4% 7 Urdu 30,820 1.3% 8 Russian 28,145 1.2% 8 Persian (Farei) 27,570 1.2% 10 Korean 23,785 1.0%
The immigration statistics above demonstrate the immense change that Toronto has experienced since its beginning as a British colony. When an influx of immigrants started to arrive in Toronto in the 1920's they were viewed by residents as potentially tainting the quality of the "pure" British culture.43 But, over the years cultural diversity has become the standard within Toronto. In 2011 the city's immigration webpage welcomes potential newcomers with these words: "Toronto is the city of unlimited possibilities! That's why Toronto is the chosen city for generations of immigrants who come here to live, work and raise families. It's a city where more than 150 languages are
19 spoken daily and where 50 per cent of residents are born outside of Canada. Above all, it's a city where diversity is a sign of strength and success. Welcome!"44
Influence of Ethnic Diversity on Music
In the 1996 census of Toronto, the Canadian Government discusses the important influence that immigrants have on the economic and cultural renewal of the city:
Immigrants add to the city's vitality and make it a more interesting place to live. They bring new ideas and new ways of doing things. They bring entrepreneurial energy, restaurants, shops, and cultural events. They also bring links to, and knowledge of, new markets in their homelands. The widespread distribution of immigrants throughout Toronto also means that these benefits are spread across the city.45
These strengths help sustain and add to the city, creating a place that grows stronger through diversity. It is clear that the presence of a large and strong immigrant community can change a society, but how does it affect the culture, and specifically the
music?
Sara Cohen, author of Decline, Renewal and the City in Popular Music Culture:
Beyond the Beatles, discusses how the arrival of immigrants created musical diaspora in
the studied region of Liverpool: "The immigrants brought to the city new musical sounds, and through intermarriage and alternative forms of social mixing they and other social groups exchanged musical influences and combined them to form new hybrid local sounds and styles."46 Cohen mentions several ways that the immigrants can alter the musical sound of the city. When immigrants migrate to a new place they bring the essentials: family and cultural traditions. Their cultural traditions can be represented
20 through local dress, religion, food or music and through migration these cultural traditions then find a place within the new home.
When groups of different cultures intermingle within a cultural metropolis, such as Liverpool, intermarriage and social mixing often occurs. Intermarriage is the marriage of two cultural traditions uniting to create a hybrid of cultures. The hybrid of cultures may result in the sharing of cultural traditions, as well as producing a changed cultural tradition. Cohen marks these components as being key within the emergence of "new hybrid local sounds and styles." Cohen's analysis focuses on the mixing of specific cultural traditions and how these intermingled traditions create a unique sound within a region. While this is relevant to the situation in Toronto, this thesis will examine how the music of all cultural traditions within the city is represented in the media. This representation could manifest as musical hybrids, as Cohen mentions, or through culture- specific events that represent traditional forms of music from certain cultures.
21 CHAPTER 3: MULTICULTURALISM AND WORLD MUSIC DEFINED
The term multiculturalism was first coined by a Canadian Royal Commission in
1965.47 It was used in the 1970's in Canada and Australia as the "name for a key plank of government policy to assist in the management of ethnic pluralism within the national polity,"48 in the hope of addressing the changing demographic and demonstrating
"equality, tolerance and inclusiveness toward migrants of ethnically different backgrounds."49 Other terms that coincide with multiculturalism are "multiethnic" and
"multiracial," which through these terms suggests that the meaning is primarily concerned with the "presence of non-white migrant communities in white, Western societies,"50 focusing on the ethnic changes that are found within a demographic and the heightened awareness of ethnicity, race and their effects on national identities.51
An emphasis has been placed on the different political positions (Ley 2007) that the term multiculturalism has been addressed from. The term has been discussed from the
"political right" where multiculturalism is viewed as the "reproduction and proliferation" of the problems that are faced when discussing diversity, as well as, contributing to a state policy that fragments minorities identities (Day 2000).53 It has also been discussed from a perspective that argues that multiculturalism reinforces cultural differences through marginalization and containment (Bissoondath 1994),54 which forces immigrants to characterize and identify themselves as a different culture.
Others have argued that multiculturalism has been set in place as a "social ideology" which has stemmed out of the "trans-national citizenship and globalization"
22 (Qadeer 2004)55 of today's society. Thus, creating cities that provide two types of multicultural communities that are not politically influenced, but are influenced by the preference of immigrants. The first community is reminiscent of immigrants previous homeland, where the community is private and segregated based on their culture. The second community shares their lifestyle and culture (food, dress, music, art) resulting in a less homogenous city life.56 The first community described has been discussed as "self- segregating" (Gregg 2006)57 because of immigrants increasing difficulty to integrate into societies. While these issues have been addressed by the receiving countries (such as
Canada) by becoming more inclusive through social mandates such as hiring quotas, and more aggressive multicultural integration plans,58 these methods have often failed and have led to the opposite of what the term was put in place to accomplish.
In New Keywords, Ien Ang discusses the skepticisms about the term:
As the name [Multiculturalism] for a consensual idea it seems to have become unworkable, but it is still necessary as an heuristic concept that points to the uneasy and contested space between exclusionary and homogenizing modes of nationalism, on the one hand, and on the other, the unrealistic Utopia of a rootless cosmopolitanism where everyone is supposedly a "world citizen" in a borderless world.59
23 Ang defines multiculturalism as existing between two points, the "exclusionary and homogenizing modes of nationalism," where many cultures exist but each culture is exclusive to their own and a "utopia of a rootless cosmopolitanism," where citizens do not exist within a bordered country but co-exist as "world citizens." It is between these two points where Ang places the term and thus drawing attention to the problem in defining multiculturalism.
Aubrey Kobayshi puts multiculturalism into perspective when she addresses the three stages that occur within an institutional multicultural society in "Multiculturalism:
Representing a Canadian Institution. In Place/Culture/Representation."60 Firstly, the demographic stage, which refers to the period that diversity in a region, has not been politically addressed by a state policy. Secondly, the symbolic stage, where an official policy is put in place to "recognize and promote" multiculturalism, but in an elusive way that glazes over the main issues and objectives. And third, the structural stage, when
"legislative reform" is put in place in order to protect and ensure rights of immigrants in a multicultural nation. These steps were used by Kobayshi to outline the stages that have occurred in Canada when striving for a multicultural society and shows that multiculturalism is an institution that is structured to preform specific goals in order to accomplish strategic task.
24 Multicultural Broadcasting in Canada
Within the history of Canadian broadcasting many steps were taken to create and incorporate multicultural and multilingual programing. These historical steps demonstrate the institutional steps that Kobayshi has mentioned above.
Private radio stations played a major role in the emergence of multicultural
broadcasting in Canada. After the Second World War, private broadcasting stations
became more recognized on Canadian airwaves and were no longer viewed as "secondary
expansions of a public system" because their presence "served to diminish the normative centrality of the CBC among Canadian listeners."61 Thus, invoking a discussion as to
why private stations did not have the same status or recognition as the CBC. Diminishing
CBC's "normative centrality" for Canadian listeners, enabled private broadcasters to
expose Canadian listeners to a wider spectrum of programming, including multicultural
programs.
In 1957, Casimir Stanszykowski of Montreal became one of the first broadcasters
A") to try to establish a station that would serve minority language groups. Stanszykowski's
application was denied by the CBC because there was no formal policy designed for the
inclusion of ethnic stations. On May 12, 1959, Stanszykowski applied for an AM license
from the newly established Board of Broadcast Governors (BBG).63 Approximately five
years later he received a license for CFMB in Montreal.64 Stanszykoski's pursuit of the
inclusion of minority language stations brought awareness to the importance of
acknowledging minority groups within broadcasting. On January 22, 1962, BBG made a
25 public announcement about foreign language programming within Canadian broadcasting.65 BBG announced that their purpose for supporting the foreign language broadcasting was "to integrate the newcomer" into Canadian culture.66 In 1963 the Royal
Commission on Bilingualism and Biculturalism produced a report entitled, The Cultural
Contribution of the Ethnic Groups. This report was given to the CRTC67 to formally show the importance of ethnic minorities and their needs within broadcasting services.68
Throughout this period few private radio broadcasters applied for ethnic licenses which are licenses that mandated broadcasters to devote "a minimum amount of time to ethnic and third language programming."69 In 1967, CHIN radio station became the second station to apply for an ethnic license in Canadian broadcasting. CHIN-AM radio, a Toronto station established by the Lombardi group,70 broadcasted "15 percent air time in languages other than English and French" before applying for an ethnic license. •7 * By
1968, CHIN-AM and CHIN-FM held ethnic licenses and were able to air 20 percent to 40 percent of foreign language programming on both stations.72
In the period to follow, suggestions were be made to public broadcasters such as the CBC, from the CRTC, to further establish multicultural broadcasting within their programming.
It is now more than two years since the federal government announced support for the concept of multiculturalism in a bilingual context. The Corporation has made efforts to portray Canada's multicultural diversity, most notable on its English language network radio service...
26 What seems clearer is that the Corporation [CBC] has taken insufficient advantage of the variety of Canadian cultures to enrich the programming content of the broadcasting system as a whole. As some intervenors said, a better use of these domestic multicultural resources could be a healthy corrective to the continuing imbalance of foreign influences in Canadian life. It was suggested that such resources could flow naturally from the locally and regionally based character of Canada's cultural minorities73
Through these initiatives multicultural broadcasting became accessible within both
private and public sectors. The CRTC established five categories of ethnic programming
within their multicultural mandate (Spiller, Smiley 1987, p. 51):
• TYPE A is programming in languages other than English, French or native Canadian
• TYPE B is programming in French or English for groups whose common bond language is English or French but who are racially or culturally distinct, for example, Caribbean Blacks
• TYPE C is programming in French or English directed to groups whose heritage language is included in Type A but who have not retained that language
• TYPE D is mixed-language programming in English or French plus a third language from Type A, directed to a culturally or racially distinct group
• TYPE E is programming in French or English that depicts Canada's cultural diversity, directed to any ethnic group or a mainstream audience74
These categories enabled the CRTC to classify what multicultural programming should
encompass.
In summary, the private broadcasting sector from the late 1940s to the 1980s had
a significant role in the creation and acceptance of multilingual and multicultural
broadcasting in Canada. These pivotal steps taken by the broadcasting industry ensured
the integration of ethnic programming in Canadian media.
27 The birth of world music
Both multiculturalism and world music share complex definitions. Both terms
were socially constructed in order to assist in the management of diversity and the simplification and categorization of culture. This section will elaborate the difficulties that can arise when attempting to classify culture.
The term world music was coined in 1987 in North London by "25 representatives of independent record companies, concert promoters, broadcasters and other individuals active in the propagation in Britain of music from around the world."75
This group of individuals came together to solve a classification problem found in music stores. Music retail stores were having difficulties labeling and categorizing "ethnic" and
"international" music. This issue ignited when "ethnic" music, particularly African music, increased in popularity in Britain and other parts of the world. Prior to this
meeting there had been no suitable names suggested to encompass this category of music.
Names such as "Tropical Music" were suggested and then declined because of its narrow
musical margins. Finally, the term world music was approved and was used to encompass a vast amount of musical repertoire that derived from all around the world.
Unfortunately, what made the term useful in the beginning ended up discrediting its definition in the future. To identify some key issues found with the term we will examine
Louise Gray's book The No-Nonsense Guide to World Music.
28 World music
In her book, Louise Gray examines the many manifestations of how the term
world music has been discussed over the years. She introduces new insight and questions into the multifaceted term through questioning the inherent broadness of the term and the
"western" ideals that are often associated with it. When world music started to be
discussed by academics comparative methods (Hornbostel 1905)76 (Sachs 1962)77 were
used in order to understand the music within a "western" context. These comparative
studies lead to problematic issues such as the typology of music culture (Nettl 1978),*78 thus creating "othering" qualities of the term. Nettl identifies two major concepts that
frame comparative music literature, relative complexity and degree of complexity. Both of
these comparative measures use "western music" to compare and contrast musical systems against the western music system. The issue of typology in comparative music
literature has also raised questions of inclusion, such as "which world" the term
represents. Gray explains that the term carries an automatic assumption that there is an
"other" world that does not fit within the parameters of "this" world, "The implicit
assumption inherent in the phrase is that it refers to music not of'this' world - by which I mean the first or rich/North world that invented the term in the first place - but of 'other'
worlds."79 This method of classification creates a distinct separation between the
"categorizer" and the "categorized" which places an unequal amount of power into the hands of the "categorizer."
29 Gray includes quotes from prominent world music musicians who have spoken out against the term. Manu Chao80 is quoted as saying, "Don't call me world music - that's a neo-colonial label you British and Americans like to use for music not sung in
English."81 His deconstruction of the term identifies neo-colonialism as a key factor in how the term can be construed as "othering" through classification. Within the music industry the English language has been recognized as the "super power" of languages.
Many of the influential music markets are being run by "British and Americans," thus creating a market that is anglo-centric, and musicians performing in other languages are labeled as world music solely based on the language difference. In a section of her book entitled "English rules the world," Gray explains how performers who crossover into the
English language have a better chance at being successful in the global market because the system was built to accommodate the "first worlds" language, "The writing,
production, making and diffusion of their music [referring to international performers such as Michael Jackson, Rolling Stones and Madonna] is supported by a well-developed industrial apparatus that is based in the first or rich world and honed to a lithe reflexivity
[bending of the rules] by decades in the business."82
30 Too Extensive?
Another issue that arises when discussing the term world music is the extensive
range of music that is found in the category. In Gray's book there are many examples of
bands that are classified under the world music category. These musicians differ
dramatically in style and content but are all placed within the same category as "world
music." This system of categorization can be viewed as meaningless because of the vast amount of music that is classified under one title.
Gray includes a passage written by David Byrne, the founding member of the
Talking Heads and founder of world music label Luaka Bop, which is from an article
entitled "Why I Hate World Music":
It's a marketing as well as a pseudomusical term - and a name for a bin in the record store signifying stuff that doesn't belong anywhere else in the store. What's in that bin ranges from the most blatantly commercial music produced by a country, like Hindi film music (the singer Asha Bhosle being the best known example), to the ultra- sophisticated, super-cosmopolitan art-pop of Brazil (Caetano Veloso, Tom Ze, Carlinhos Brown); from the somewhat bizarre and surreal concept of a former Bulgarian state-run folkloric choir being arranged by classically trained, Soviet-era composers (Le Mystere des Voix Bulgares) to Norteilo songs from texas and northern Mexico glorifying the exploits of drug dealers (Los Tigers del Norte). Albums by Selena, Ricky Martin and Los Del Rio (the Macarena Kings), artists who sell millions of records in the United States alone, are racked next to field recordings of Thai hill tribes. Equating apples and oranges indeed. So, from a purely democratic standpoint, one in which all music is equal, regardless of sales and slickness of production, this is a musical Utopia.83
31 Bryne describes the materialistic worth behind the term world music, he deems the term as catering to the marketing of music rather than the representation of music. But as Gray explains, the term was not formed out of a quest for "world domination" nor was it invented in order to "belittle" musicians, it was a way for representatives and sellers to create a space within the music industry to promote their artists.
The criteria for labeling world music
After identifying which music can be classified as world music it becomes clear that the term can act as an umbrella for numerous musical styles or genres. These are a list of specific criteria that I have introduced in order to classify music into the world music category.
• Language - is the language featured within the band/performance English?
• Race - Are the performers from a non-western country? Is there ethnic diversity found within the band?
• Music - is the music traditional to a certain country? Does the music borrow musical nuances from another country non-native to their own such as rhythm, melody, language or instruments?
The criteria above may help to classify whether music can be considered as world music, but like any classification system certain problems can surround the system. While language is a way to classify whether a band/performer would be considered world music, it does not guarantee that the performer is not world music if they sing in English, an example of this would be the music of Bob Marley. Whether the race of the performers are from a non-western country, or have ethnic diversity found within the
32 band can be viewed as categorizing based on the "othering" qualities, which can be problematic.
In the next two sections I will use the criteria above in order to determine whether the system can be be helpful when categorizing music in to world music.
The multifaceted world music
Graceland, by Paul Simon, was one of the first albums to be labeled as world music by record companies. This album featured the South African group Lady Smith
Black Mambazo and traditional South African music such as "township jive and Zulu- originated mbaqanga" which sounded good "alongside Simon's soft rock."84 The classification of the album as world music can be analysed based on the criteria provided above. Graceland may have been classified under world music because of the following factors:
• The music: featured traditional South African sounds, which then became a hybrid of sound when infused with Paul Simon's American "soft rock." If the two sounds stood alone, Lady Smith Black Mambazo would be classified as world music because of its African origins whereas Paul Simon would not. Paul Simon's presence within the project created a musical hybrid or mixing of musical elements: American meets African, which embodied a sharing of global sounds.
• The race: primarily South African the members of Lady Smith Black Mambazo would be classified as originating from a "non-western" region. The presence of Paul Simon within the band created an ethnically diverse group which represents two worlds, the western world (United States) and the African world, creating a sense of world music.
• The language: the album showcases both English and Zulu, which also creates a hybrid of linguistic sounds.
The album Graceland is an interesting album to analyze within the world music genre because it is, as demonstrated above, a hybrid album. The album includes musical
33 elements from African and North American origins that adds complexity when categorizing the music. Questions of influence arise when analyzing hybrid sounds. In the instance of Graceland, the question is whether the African sound is the primary influence within the music, and if so, did this factor largely influence how the music was classified.
Bob Marley: internationally renowned
There are an abundance of discrepancies in discussing world music. The term can be both restrictive and vague. Gray makes note of this within her book: she discusses the
Jamaican reggae artist Bob Marley to demonstrate how some musicians/artists can no longer be tagged as a world music performer. In order to view the world music elements found within the music of Bob Marley, the world music criteria from above will be used.
• The music: The musical elements found in Bob Marley's music stem from the Jamaican tradition; his music includes "roots reggae, Rastafarian iconography and pop sensibility."85 His lyrics include messages of rebellion, peace, Jamaican pride and returning to "mother Africa."
• The race: Bob Marley is of Jamaican descent/Caribbean origins.
• The language: The language spoken in his music is English and Jamaican dialect.
By analyzing his music through these criteria Bob Marley would be categorized as a world music artist. But, as Gray mentions in her book "it is nonsense to think of
Marley in any category other than as a musical colossus whose music straddles the world."86 Gray argues that Bob Marley's international success defines him as an artist who cannot be classified, and should not be classified as world music. While these statements are true, one could argue that because his music is "colossus" and "straddles
34 the world" it should not be defined by anything other than world music because of these qualities.
Gray's exception for Bob Marley exemplifies that the term world music has exceptions. It does however serve a purpose for marketers when marketing global sounds and provides a place for these sounds to be heard by consumers.
The term world music can have both positive and negative repercussions for the musician. The use of the term can allow musicians to cater to a targeted audience, which can produce sales for the musician, but can also musically hinder the musician in terms of being labeled under a category that does not clearly describe the attributes of the music.
In summary, the terms multiculturalism and world music have been discussed in this chapter to show the complexity that can be found behind both terms. This chapter identifies and problematizes the social construction that is used to manage diversity within western societies.
35 CHAPTER 4: THE CBC'S REPRESENTATION OF CANADIANS
CBC/Radio-Canada serves the second largest and one of the most diverse countries in the world. Our new five-year strategy, Everyone, Every way, recognizes that the public broadcaster can't be ail things to all people. But, in its scope, it stakes the claim that we can be something for, and mean something to, every Canadian. Whether it's connecting them to this country, to their communities, or to each other as individuals with their own realities and interests, CBC/Radio-Canada will be there — for everyone, every way}1
This message was taken from CBC's 2011 strategic plan for the next five years of public broadcasting. The plan highlights the CBC's goals to further cater to the Canadian people in terms of technology, geography and demography.88 These strategic changes are in light of the many technological, geographical, political and demographic developments that have occurred in Canada within the last few years and that will, as the CBC predicts, further develop within the next five years. Their plan is broken into three segments: network programming strategies, regional programming strategies and digital programming strategies.89 Within the network programming strategies the CBC commits to such ideas as: continuing to produce programming that promotes a shared national identity, providing programming that highlights more stories about Canadian's and their culture, building more music services dedicated to promoting Canadian talent which will be help expose musicians to the Canadian public. 90
The regional programming strategy's main focus is to reconnect with Canadian regions by introducing new local services and programming that will reflect not only news but
36 the local communities.91 And lastly, the CBC's digital programming strategy recognizes the presence of changing technology within Canadians' daily lives. The CBC is initiating a way to introduce Canadians to programming that can be tailored to their specific interests, as well as, providing Canadians with multiple media resources that will help represent more Canadian entertainment and art. This strategic plan was introduced by the
CBC in order to show the Canadian public that their national broadcasting services are current and ready to represent the new "Canadian" in all its futuristic facets.
Coming up on their 75th anniversary in broadcasting, the CBC has been constantly changing in order to represent the Canadian people. This task has proven to be a difficult one because of the drastic changes within the Canadian demographic as well as the broadcasting environment over the 75 years of the CBC's broadcasting. The CBC has had to reevaluate what Canadians want and who they are and, through this reevaluation, they have come to a realization that the CBC "can't be all things to all people," but "can be something for, and mean something to, every Canadian." This cleverly worded statement by the CBC, reflects their historical struggles with the representation of Canadians.
Canada's large and ethnically diverse demographic has been cause for concern amongst the CBC's management.
Ann Mackeigan, the producer of a radio show entitled Global Village, which aired on CBC radio from 1994 to 2007, also mentions the regional difficulties that can be faced when representing a region such as Toronto, Ontario, Canada: "Toronto's got 104 languages spoken in this city... there's so many different kinds of cultural reflection,
[that it becomes] a challenge trying to figure out who you're talking to and how."92
37 As demonstrated by the CBC's five year strategic plan, strategies of a national public broadcaster are constantly changing in order to represent the public accurately.
The birth of the CBC
The Canadian Broadcast Corporation was developed out of the Broadcasting Act of 1936 and its purpose was to enable a public radio broadcast that would serve a national audience, Canada.93 Before the arrival of CBC, Canadian airwaves were mostly dominated by "public stations operated by provincial governments" as well as "American mass-produced entertainment, which was both cheaper and better produced than what
Canadian broadcasters could produce themselves."94 The Canadian market was being bombarded by broadcasting from the United States "and it was widely perceived that unless Canada acted to establish a Canadian broadcasting service, [Canadians] would be smothered in American culture."95 Out of this fear emerged a public service that broadcast across the country and created a service that would exist solely to serve the
Canadian public.
Within the radio medium there are a number of genres including: music, talk, documentary, stories, comedy, etc. The CBC radio uses these genres in order to distribute and represent the message of "Canadian-ism." For the purpose of this thesis there will be an emphasis on radio music.
In her thesis, Jody Berland discusses how radio, and more specifically radio music is viewed within the CBC as a way of creating "an auditory means for circumscribing
Canada as a nation."96 Within this chapter I will specifically examine how the CBC circumscribes Canada as a nation and what changes were made to their broadcasting
38 policies for the appropriate cultural production of Canada. This chapter will expand on
Berland's 1986 thesis by further exploring current data that investigates "the Canadian state, the public broadcasting system, and the process of representation."07
CBC's process of representation within radio has changed over the years.
Berland included a chapter entitled "The CBC, The Music, and The Public" where she discusses the changes within music broadcasting in the CBC. She argues that "Music programming came to articulate a narrowed interpretation of the officially sanctioned
(and bureaucratically mediated) "public sphere" insofar as this was represented musically in broadcasting content."98 Through this chapter, I will consider the changes in music programming at the CBC and provide examples of the constantly changing programming of the CBC in order to properly represent the Canadian public.
During "the Golden Age of radio,"99 the CBC established their own opera company which regularly broadcasted from 1948 to 1955, and then moved to more irregular broadcasting after 1955. Within the same period the CBC established a "Light
Opera Company" as well as other musical offerings, which included "weekly broadcasts of children's music, big band music, variety and review programs"100
CBC also looked for ways to incorporate homegrown Canadian talent on their airwaves which sparked the broadcasting of Canadian talent shows. Singing Stars of
Tomorrow, 1943-1956, was the first broadcasted talent show to air on the CBC.
Contestants of the show were judged by a panel on "art songs and operatic or oratorio arias."101 Opportunity Knocks was the second radio talent competition to be broadcast and sponsored by the CBC. It aired after the war, from July 2,1947 to September 29,
39 1957.102 The winners of this competition were, in the early beginnings of the show, chosen by studio audiences and listeners' mail, then later by a panel of judges.
Opportunity Knocks produced many winners that performed in the "light musical"103 tradition which refers to a British musical style of "light" orchestral music. Berland states that out "of the twenty-eight Grand Awards given in the program's tenure, five went on to become "pop singers" and two "accordion players."104 During the CBC's programming they reflected musical styles that ranged from "variety" music, showcasing different musical acts, to "light" orchestral music, to classical music. These programs culturally represented a Canadian public that had a strong focus on British and European culture which would change considerably over the next 60 years.
The representation of Canada
"The CBC was originally endowed with the task of 'representing' a musical tradition which it simultaneously had to create from the composite fragments of diverse musical communities."105 In this statement Berland establishes that when the CBC was first mandated to represent the Canadian public there was no previous example of
Canada's musical "soundscape." In order to begin this task, certain decisions had to be made about the "soundscape" of Canada and how and who would represent it. During the 1920's, before the CBC was established, many "concert performances in Toronto,
Montreal, and to a lesser extent other cities, had already begun to specialize
[broadcasters] programs and to standardize their genre categorizations."106 When the
CBC started broadcasting in 1936, they introduced new aspects that became "specialized" specifically to the CBC such as a larger amount of contemporary classical works, the
40 introduction of twentieth century composers such as Stravinsky, more commissions for
Canadian compositions and performers and concert resources.107 These specialized forms enabled the CBC to fully establish the genre which became specific to the broadcast company.
CBC Radio 1 and Radio 2
It was during the late 90's that the CBC made major changes to the formatting of their radio programming. In 1997 the CBC moved many of their AM stations, resulting in the creation of CBC Radio 1 and CBC Radio 2.108 These changes were the same to the previous stations that had existed since 1975: CBC stereo, the FM service, became Radio
2 and CBC radio, the AM service, became Radio 1.109 Since this shift, the CBC revised its programming schedule numerous times in order to reflect changes within Canada. In
2007, the CBC broadened Radio 2's programming: "CBC introduced on Wednesday a slate of arts and culture programming changes to its two main radio services, largely driven by the decision to expand CBC Radio 2 as a flag-waving Canadian music service and broaden the musical genres featured on air."110 These changes were based on three years of examining CBC's radio arts programming as well as polling "the public and the country's cultural stakeholders about what they wanted to see."111 As a result most of the music on CBC Radio 1 migrated to Radio 2, which left Radio 1 's programming focusing on news, current affairs, comedy, drama and other arts and entertainment.112 Radio 2's programming was then re-established as an "adult-oriented music service, targeting an audience over age 35."113 This audience target was a significantly younger audience than that of Radio 2's 2007 audience bracket which was over 65. CBC's plan to establish
41 programming that would target an over-35 music audience led them to make changes that were largely music related. Below are some of the changes that were expected to be made in order to broaden musical aspects for CBC Radio 2 audiences:
• Retain classical music at the core of Radio Two while adding more jazz and contemporary music for younger listeners • Adding 20 percent more Canadian Content • Themed programming which features "jazz from 6 p.m. to 8 p.m., live performances following for two hours, and contemporary music showcased from 10 p.m. to 1 a.m." • Three minute news headlines and highlights which happen on the hour during the morning and afternoon segments, thus keeping the emphasis of Radio Two on the music• 114
Audience members below the 35-and-up age target were able to tune into CBC via Radio 3, which serves as an online broadcast that showcases "youth oriented music."115 During an interview, Jennifer McGuire, executive director of programming for
CBC English Radio, mentioned the importance of change within a broadcasting service,
"It is our job to respond to the environment out there," McGuire said. "This idea of continually growing, and pushing and moving forward what we do is not a bad idea."116
In this statement, McGuire views these representational changes as a key component of the CBC. The CBC is mandated by the government to represent Canadians who, as a demographic, are constantly changing and growing. The process of representation when revamping Radio 1 and Radio 2 largely consisted of reaching a larger age range. This resulted in rearrangements and expansion of musical genres and styles that appeared on the CBC stations.
42 During my interview with Ann MacKeigan, producer of program Global Village, she explains the reasons behind the musical differences between Radio 1 and Radio 2 programming. She first classifies the stations: "Radio 1 is talk radio and Radio 2 is only music."117 She then discusses how music is used within different programming. She uses
Toronto programming to further her example: "the music that is used in Radio 1, particularly on the high profile shows which are the local drive shows - Metro Morning and Here and Now - [are] used to echo what's going on in the city, so it's a very good vehicle [for artists],... it's very powerful but not very much. So within, Metro morning there are maybe three tracks a day that are played, but if yours happens to be one of those tracks then you get huge exposure."118 Radio 2, is strictly music with "24 hours worth of music played on the radio 2 network."119 The difference with the music that appears on
Radio 1 and music that appears on Radio 2 is that Radio 2 music has to be able to cater to a national audience because it is a national programming network. The music that appears on Radio 2 has to be representative of Canada and its musical make up; thus the music that appears on this network cannot be regionally specific and "generally has to be of a higher level."120
Here MacKeigan sums up the programming structure of the CBC and hints at the future of the CBC: "You have to think of CBC as the two services, one as information - based with a bit of music in it, the other as music - based with a bit of information. So it really is the two sides of the coin. Do we answer everything with the two sides of the coin? Probably not, and that's why this whole online world, I think, is going to be hugely important."121 MacKeigan's prediction of the online world becoming important is also
43 represented within the Digital Programming section of the CBC's Five Year Strategic
Plan for 2015.
Radio 3: Online and Unsigned
Radio 3 is the CBC's online radio portal. Its target demographic "is primarily 0 up to 25-30."122 This demographic group is significantly younger than the target demographic for CBC Radio 1 and CBC Radio 2. Radio 3 offers a unique opportunity for unsigned musicians (as well as signed musicians) to have a space to promote their music. Musicians are able to upload songs, pictures and biographies to the site so that their music can be found online. On rare occasions music that is found on Radio 3 has the ability to crossover into mainstream radio stations, such as CBC Radio 1 and CBC Radio
2. MacKeigan states that the music found on Radio 3 "might be seen by some as more edgy then Radio 2"123 which could explain the lack of crossover between the two stations. Radio 3 is an example of a resource that was introduced by the CBC in order to enable an outlet for the promotion of musical "Canadian stories" for the Canadian public.
Multicultural Broadcasting in the CBC
CBC's programming has changed drastically since Opportunity Knocks, as the programming repertoire does not just reflect the classical genre anymore but has broadened to encompass genres that are more musically representative of the ethnically diverse country that Canada has become. Global Village (1994-2007) is a good example of a CBC program that showcased ethnic diversity. This show was groundbreaking for the CBC because it dedicated its entire program time to world music. The program was a way to specifically focus on the multicultural diversity found within Canada.
44 In a government study published in 1987, entitled "Multicultural Broadcasting in
Canada," the CBC was heavily criticized for their neglect of multiculturalism within their
broadcasting. The study states that the CBC felt that its main responsibility as a public sector was to "serve Canada's two official languages,"124 resulting in the neglect of multiculturalism within their broadcasting. This neglect was also reported in a yearly study that the CBC commissioned to monitor their performance in "respect to multicultural programming."125 The results of this study in 1987 were as follows: "the
CBC is not doing enough either in respect of subject areas for programming or in relation to the recruitment and training of ethnic peoples. Futhermore, there is evidence that its regional centers could do much more to improve the participation and reflection of cultural minorities in their ongoing activities."126 The study further explains that after this
particular performance evaluation the CBC made new plans in order to incorporate
multicultural programming within their broadcasts. Their plan was to encourage journalists to report on multicultural issues within the metropolitan areas. These journalists would be responsible for "ensuring the integration of multicultural items into
all mainstream programming."127
Global Village and Ann MacKeigan
The show Global Village was one example of the CBC's approach to enhance multicultural broadcasting. In this section I discuss data that arose from an interview conducted with Ann MacKeigan, the producer and creator of Global Village. This data
will help to further analyze the CBC's process of representation in radio programming.
45 Global Village was created and produced by Ann MacKeigan beginning in 1994.
It went off the air in 2007. When I asked why she started a show that focused primarily on world music, she answered that she had been inspired after attending a conference of public broadcasters from the European Broadcast Union. Her conference was comprised of broadcast representatives who dealt primarily with world music. There were many representatives reporting on world music in their countries and MacKeigan felt that it would be a great opportunity to "have correspondents around the world that [were] talking about what's going on, what's significant, or what's the music that's making a difference, in a particular region in a particular place, in a particular time about a particular story."128
The birth of this show proved to be quite an asset to Canadian world music artists.
Mackeigan not only had correspondents from around the world documenting musical happenings, but she also developed "half hour documentaries, on Canadian world music 170 artists, who had come from another place, and had made their home now in Canada."
Many of these musical profiles had been recorded at Canadian concerts, which showcased the ethnic diversity found across Canada. Ann MacKeigan attests to the benefit of national programming for world music artists; world music artists "aren't picked up anywhere else and therefore [the CBC] can provide an outlet or an exposure to a world music artist on the CBC. [The CBC] can make [artists] go national or can help them when they travel across the country, for example. It can introduce [the artist], [and allow them to] make that introduction in different locations."130
46 The representation of world music artists on the CBC is important because of the lack of representation on other broadcasting stations. MacKeigan states that the CBC has helped many world music artists through Global Village and that these artists were receiving little representation within other broadcasting communities. Other broadcasting stations that are supporting these artists are usually local community radio stations, such as CKLN,131 CHRY and CIUT (Toronto community radio stations). Unfortunately, these radio stations do not have the broadcasting coverage that the CBC has, which makes the
CBC one of the only broadcasters to reach a national audience.
The Democratization of Music
During the interview with MacKeigan about whether more multicultural music should be played on Radio 2, she explained the formatting changes that had been made since Global Village aired on the CBC. The CBC had moved away from target - specific programs, otherwise known as "appointment listening programs,"132 such as Global
Village, and had moved to a "service - based" programming structure 133 which covered many genres and subjects over the program schedule. The switch from "appointment listening programs" to "service - based" programs was based on "audience listening patterns." MacKeigan states that "people's listening patterns are quite varied now, and it's very, very difficult for appointment listening."134 MacKeigan explains that these changes were to enable a "democratized" musical experience: "Our theory is to
'democratize' music. It is not putting world music in one little niche; it is trying to spread it out. It can get lost that way, but it is found in many, many different places all over the schedule."135
47 The democratization of music is an interesting ideal that the CBC used in order to please everyone in every way. As Mackeigan states, specific genres of music, such as world music, can become lost within a radio program structure but the music that is being represented somewhere in the CBC's programming. Mackeigan states that musical audiences who are looking to listen to more targeted programming would have more luck tuning into community radio stations that would probably offer "what they want, when they want." She also mentions that in fall 2011 the CBC introduced a new "music portal"136 that has "digital channels online" and will focus their musical audience through genre specific channels.137 These online channels will help fill in the musical gaps found on the radio and give CBC listeners a place to go in order to access the music that they want, when they want it.
It becomes very clear, when reading through the history of the CBC, that the mandated task that was given to the CBC becomes harder and harder to fulfill because of the technological, geographical and demographic changes that are occurring within the
Canadian public.
Although the task is large, it should be manageable; after all the CBC has only one goal as a public broadcasting service to "celebrate Canada, to celebrate Canadians, to celebrate the understanding of Canadians, to celebrate each other."138 Mackeigan describes this task as lucky because, unlike commercial broadcasters the CBC does not have to "get a certain amount of ad sponsorship [in order to]., play [certain] kind[s] of music," nor does the CBC have to get people to buy "mattresses."139 The CBC is only
48 mandated to connect with the Canadian public and properly represent Canadian culture.
Everyone, Every way.
49 CHAPTER 5: MUSICAL REPRESENTATION
In the early 1950's, Toronto's present diversity began to emerge; immigrants migrated to Toronto bringing with them their culture and, over time, created one of the most diverse cities in the world. In this section of the thesis I will discuss representation of music in Toronto by comparing and contrasting the world music found in Now
Magazine and CBC's Global Village to Toronto's 2006 census. In the Toronto census there is a field termed origins, used to categorize immigrants according to the region of origin, for example Latin, Central, South America and Oceania. To enable direct comparison between my data and the census data, I categorized the music I collected into the regions specified in the Toronto census, and from now on will refer to these as music origins. First I will present the Toronto 2006 census data and the different datasets that I collected from Global Village and Now Magazine. Then I will compare and discuss the data and the meaning behind its representation.
2006 Toronto census data
This data was extracted from Statistics Canada and is comprised of the population of Toronto from the 2006 Toronto census. Chart 3, below, shows the distribution of
Toronto's population and represents 16 cultural origins. The chart indicates that the highest proportion of the population originates from British Isles origins. The second highest origin is the Other European origins at 14 percent which represents all European origins, excluding Western, Northern and Eastern origins. The third highest origin is East and Southeast Asian origins at 13 percent.
50 Population origins in Toronto (census 2006) Percentage of citizens % 0 3 6 9 12 15 18 21
Oceania origins
Aboriginal ongira
Northern European origins
Arab origins
Latin. Central and South American origins
West Allan origins
African origins.
French origins
Caribbean origins
Western European origins
Eastern European origins
Other North American origins
Sooth Asian origins
East and Southeast Asian origins
Other European origins
British Isles origins
200000 400000 600000 *00000 1000000 1200000 1400000 Number of citizens
Chart 3. Overview of the origin distribution of Toronto's population.
The data used for this study on the representation of Toronto's music scene, was drawn from two media sources: a CBC radio show, entitled Global Village and a local newspaper, Now Magazine. The content found within the Now Magazine concert listings represents music events that were performed in public venues across Toronto. These areas included venues such as: concert halls, clubs, churches, temples and educational institutions. Music also occurred within events such as festivals and cultural events.
51 Global Village data
Chart 4 represents the average representation of music origins, extracted from the playlists of Global Village over the years 1999 - 2006. The three most represented music origins on the show were African at 20 percent, and Other North American and European at 14 percent.
Music Origins represented in CBC's Global Village
African European Other North American Latin, Central and South American Caribbean East and Southeast Asian South Asian West Asian Arab Northern European British Isles Aboriginal French Oceania Eastern European Western European
0 2 4 6 8 10 12 14 16 18 20 Percentage representation of music origins (%)
Chart 4. CBC's Global Village music origin average representation for 1999-2006
Now Magazine data
Chart 5 represents the average representation of music origins of the data that was collected from Now Magazine listings over the years 1999 - 2006. The three most
52 represented music origins were Caribbean at 29 percent, Latin, Central, South American at 25 percent and South Asian at 10 percent. Music Origins represented in Now Magazine
Caribbean Latin. Central and South American South Asian Wert Asian European African Other North American British Isles East and Southeast Asian Arab Eastern European French Oceania I Northern European Aboriginal Western European -4 5 10 15 20 25 30
Percentage representation of music origins (%)
Chart 5. Now Magazine music origin average representation for 1999-2006
Total Music data
Chart 6 is an overview of the data from charts 4 and 5, namely it shows the overall percentages of music origins found from both Now Magazine and Global Village. The three overall most represented music origins were Latin, Central, South American at 17 percent, Caribbean origins at 15 percent and African 15 percent.
53 Total music origins representation %
Western European origins Eastern European origins Oceania origins French origins Aboriginal origins Northern European origins British Isles ongms Arab origins East and Southeast Asian origms West Asian origins South Asian origins Other North American origins Other European origins African origins Caribbean origins latin. Centra) and South American origins
0 2 4 6 8 10 12 14 16 18 Percentage of representation (%) Chart 6. Total music representation in both the Global Village and Now Magazine datasets
Festival and Cultural Events
Music can be featured within events in different ways. It can be the main attraction, such as a music festival or it can play a supporting role within an event. The festivals and cultural events listed below were found in the concert listings in Now
Magazine within the period studied in this thesis.
List of Festivals and Cultural Events within Toronto December 1999 - December 2006:
Small World Music Festival Ashkenaz Festival Ritmo y Colour Island Soul Festival Reggaebana Masala! Mehindi! Masti! Hot and Spicy Food Festival
54 • Hispanic Fiesta Festival • Taste of the Danforth • Global Divas Gala Concert • One World Beat Music Festival • Afrofest • Irie Music Festival • Bana ya'Afrique • Muhtadi International Drumming festival • South Asian Heritage Festival • Toronto Summer Splash Reggae Festival • Havana Jazz Festival • Jamaica to Toronto Festival
By examining the festivals and cultural events listed within this period, an overview of the music origins that were predominant within the Toronto festival scene emerges. What follows is a summary of some of the main festivals and cultural events that took place within the studied period.
Small World Music Festival. "The beat of the Globe in the Heart of the City": this slogan comes from the Small World Music Society, which was founded in Toronto in
199? 140 chaj-jtable organization presents world music concerts all across the city. As an organization their mission is "based on a vision of sharing cultural experience and ultimately, building bridges between cultures through this experience."141 The Small
World Music Festival is an annual event held in venues across Toronto, featuring international artists as well as Canadian world music artists.
Ashkenaz Festival The Ashkenaz Festival is organized by the Ashkenaz Foundation which is a "community-based non-profit organization."142 Their goal as an organization is to increase the awareness of the "Yiddish and Jewish culture through the arts."143 The
Ashkenaz Festival occurs every two years and is "the largest Jewish cultural event in
55 Canada, and among the largest events of its kind internationally."144 The festival features
"music, theatre, dance, film, literature, craft, and visual arts."
Ritmo Y Colour. The Ritmo Y Colour festival is a "Latin American Arts Festival,"145 that is held at the Harbourfront Centre in downtown Toronto. The cultural festival celebrates Latin American traditions in the forms of music, dance, film, literature, theatre and visual arts.
Island Soul Festival. The Island Soul Festival is also held at the Harbourfront Centre.
The festival features music derived from Caribbean origins such as "calypso, soca, rumba, guaguanco, reggae, rapso and reggae-rap fusions."146
Reggaebana. Reggaebana is one part of Toronto's Scotiabank Caribbean Festival which takes place at the beginning of August in Toronto. Reggaebana features music and bands of Caribbean Origins.
Masala! Mehindi! Masti! Masala! Mehindi! Masti! Festival emerged in 2000 and was first held at the Harbourfront Centre but later moved to the Canadian Exhibition
Grounds.147 This cultural festival celebrates South Asian culture through many art forms.
Hispanic Fiesta Festival. The Hispanic Fiesta festival has been running for 30 years.
The festival, which is held in Toronto's Mel Lastman Square, celebrates the Hispanic culture. The festival features "the best known local & International Hispanic performers covering 20 different countries, that speak Spanish."148 The festival also features dance and music from traditional Andean music.149
56 Taste of the Danforth. This festival is held in "Greek Town" in Toronto. While Taste of the Danforth's main focus is Greek food, the festival also features Greek musical performers, which represent European music traditions.
Global Divas Gala Concert. This event features Canadian world music women performers. The Gala showcases Toronto's diverse sounds by having many musical styles represented within the Gala. At the 2008 Gala, some of the musical styles that were featured were Punjabi folk, Turkish Folk, Cuban Jazz, Brazilian Jazz, and traditional
Zimbabwe music.150
One World Beat Music Festival. This festival happens not only in Canada but all over the world. One World Beats strives to "unit[e] musicians, bands and people in a network of concerts around the world to make a difference through music."151 The festival aims to address issues happening around the world and introduce these issues through music.
Afrofest. Afrofest is sponsored by Music Africa which is a non-profit community- based organization. Its purpose is to "promote African music in Toronto."152 Afrofest is the primary event that showcases African music and African culture found in Toronto.
Irie Music Festival. The music featured in the Irie music festival ranges from "Reggae to
Salsa, Soul to African."153 The festival also includes African dance, spoken word, literature, film and food from the tropics.154 The origins represented in this festival are
Caribbean and African origins.
Bana ya'Afrique. Bana ya'Afrique is a festival that represents African culture and music. Performing artists included within this event are international African artists as well as local African artists.155
57 Muhtadi International Drumming festival. This festival is a non-profit organization that "celebrates the drum, its universality as an art form, and its presence in all cultures around the world."156 This festival represents many different musical cultures that are based around different drum traditions found over the world.
South Asian Heritage Festival. This festival celebrates South Asian heritage through music, food and film. The festival is organized by Canadian Community Arts Initiative, which is a non-profit organization157.
Toronto Summer Splash Reggae Festival. This festival represents reggae music within
Toronto which derives from Caribbean origins.
Havana Jazz Festival. This festival represents a fusion of musical traditions, Cuban and
American Jazz which represents the musical origins of the Caribbean.
Jamaica to Toronto Festival - This festival is part of the Scotiabank Caribbean Festival which in 2011 celebrates its 44th year sharing Caribbean culture with Toronto.158
After identifying the music origins represented within these festivals and cultural events, I will now categorize them based on the origins found in the 2006 Toronto census data.
The top music origin represented within the festival and cultural events is
Caribbean, representing six out of nineteen of the festivals within the study. The second highest music origin represented is North American, representing five out of nineteen of the festivals. African, South Asian and Latin, Central and South American origins each represent two out of nineteen festivals. Lastly, European and West Asian represent one out of nineteen festivals.
58 When compared with the top three music origins found in Now Magazine and
Global Village data six out of seven were represented. These statistics suggest that the top music origins represented within Global Village and Now Magazine represented the popularity of the music in the city.
Comparison of music origins to population distribution
In order to compare the represented music origins in the Global Village dataset and Now Magazine to the population from the 2006 census data of Toronto, I calculated a score (see Materials and Methods pg.5). Positive values represent over-represented music origins compared to the population and negative values represent under-represented music origins. Values of zero, represent music origins that are represented in a similar percentage as that of the population for that origin. Chart 7 shows an overview of the comparison between the music origins data and the population origins data.
59 Comparison of music origins (Global Village and Now Magazine) with Toronto's population distribution (census 2006)
East and Southeast South Asian o Other European ori, Other North American origins Aboriginal origins Northern European origins Arab origins West Asian origins Caribbean origins
Ajfiri can origins Oceania origins I and South American origins
.1 -1.5 -1 -0.5 0 0.5 I 1.5 log(representation of music origin in datasets/representation of origin in population)
Chart 7. Over-represented and under-represented music origins
Origins that were musically under-represented were: British Isles, French,
Western European, Eastern European, East and Southeast Asian, South Asian and Other
European. Of these the top four origins that were under-represented were Western
European, Eastern European, British Isles and French origins. Of the Toronto population,
Western European represented 6 percent, Eastern European represented 8 percent, British
60 Isles represented 20 percent, and French Origins represented 4 percent. Also in the under-represented category were East and Southeast Asian, South Asian, and Other
European Origins. Within the census data, East and Southeast Asian represented 13 percent, South Asian represented 11 percent and Other European Origins represented 14 percent.
Origins that were musically over-represented were: Latin, Central and South
American, Oceania, African, Caribbean, West Asian, Arab, Northern European, and
Aboriginal cultures. While within the census data Latin, Central and South American represented 2 percent, Oceania reflected less than 1 percent, African 2 percent, Caribbean
5 percent, West Asian 2 percent, Arab 1 percent, Northern European 1 percent and
Aboriginal 1 percent.
Out of the 16 origins that were represented within the music demographic only one was represented fairly within the population; this origin was Other North American origin.
Reasons for under-representation
The under-representation of these origins could be a result of many factors. For example, while there were some listings of music occurring in community centers in Now
Magazine, this was the least predominant type of venue. The lack of community center listings may be the attributing factor to the lack of representation within specific origins.
These origins may have been represented outside of the studied scope of this thesis. The communities that made up these origins may also have been private communities whose
61 music may have been performed in places without public access. Other reasons for under- representation of certain music origins may stem from their lack of "popularity."
When analyzing the under-represented music origins, new immigrants are important to take into consideration. The top three recent immigrants as stated in the
2006 census are:
• South Asia (26 percent - predominantly India at 12 percent) • East Asia (22 percent - predominantly China at 18 percent) • Europe (14 percent - primarily Eastern European countries)159
These three recent immigrant origins fell within the under-represented region of
Chart 7. Newly arriving immigrants found in the under-represented portion of the chart may explain the lack of music representation in the city.
Reasons for over-representation
Observing the top three music origins represented in the CBC's Global Village and Now Magazine listings determines the music origins that made up the majority within the two mediums as well as accounts for the over-representation found within Chart 7.
The top three over-represented music origins were: Latin, Central and South
America, Oceania and African. Out of these three music origins Latin, Central and South
American origins and African origins were accounted for within Now Magazine and
Global Village's top three, but Oceania origins was not represented. The Oceania origin was over-represented within Chart 5 because of its minimal representation within
Toronto's 2006 census data. Moreover, four out of the nine over-represented music origins were also found among the top music origins in Now Magazine and Global
Village (see Charts 4 and 5). These were: Other North American, African, Latin, Central
62 and South American, and Caribbean origins. Both the concert listings found within Now
Magazine and the Global Village playlists equally accounted for the over-representation of these four music origins.
There are three hypotheses that might explain the over-representation of these
music origins.
Firstly, the over-representation of particular music origins could be a result of a
larger musical community playing this music. This would result in more available venues
for performances as well as more venues allowing this music to be performed. In Chart 7
and Chart 5, Latin, Central and South American origins were within the top three music
origins, which could suggest that a larger community performs this type of music.
Another reason that may have resulted in over-representation is the
multidisciplinary aspects of these music origins. Music origins such as Latin, Central
South America are often performed with an element of dance, which can produce an
audience that wants to hear music, as well as an audience that wants to dance to music.
These disciplinary couplings could contribute to the music's over-representation within a
Western context.
Finally, when viewing the total music data (Chart 6) the top three music origins
represented were: Latin, Central, South American at 17 percent, Caribbean origins at 15
percent and African 15 percent. When examining the data these three origins were
predominant in fusion160 projects, which resulted in more exposure of the music origin.
These music origins were represented in both fusion projects, as well as traditional music
settings. While fusion was found in other music origins Latin, Central and South
63 American, Caribbean and African origins were the top three predominant fusion choices.
This versatility may suggest why these music origins were over-represented within Chart
4, 5 and 7.
CBC Global Village and Now Magazine compared
The comparison between the CBC radio show Global Village and Now Magazine offers insight into the similarities and differences found within the musical representation between two mediums, radio and newspaper.
Comparison of the over-represented music origins across data sets
African music origins compared
The African music origin represented within the CBC radio show Global Village represented 20 percent of the music being played (Chart 4). African origins within Now
Magazine represented 6 percent of the music events promoted in the city of Toronto
(Chart 5). The music of African origin represented 15 percent of the total music data
(Chart 6) but only 2 percent of the population in 2006 was of African origin (Chart 3). In comparison to Now Magazine's 6 percent representation, Global Village over-represented the African music origin by 14 percent. When comparing Global Village's representation of the African music origin to Toronto's African population, Global Village over- represented the population by 18 percent. These findings suggest that there was a low correlation between Global Village's representation of Toronto's music origins and
Toronto's population.
A hypothesis as to why Global Village over-represented music of African origin may be that larger music trends took place in radio in regards to African originated
64 music. A show such as Global Village, which was used to represent world music, could have been influenced by the role that African music had within the construction of the world music genre. The genre label world music emerged in 1987 when British music representatives had to deal with the "boom in interest in African music [which] continued and extended to other parts of the world."161 Thus, by playing a high percentage of
African music the Global Village program legitimized its connection with the world music scene.
Chart 8 plots the representation of the music origins over the four year study period in Global Village and Chart 9 plots the representation of the music origins in Now
Magazine. In Chart 8, the African music origin peaked at 22 percent and was represented the least in 2001 at 16 percent, compared to the Now Magazine data, where representation of African origins peaked in 1999 at 8 percent. In 2004, when the representation of the
African music origin peaked in the Global Village data, Now Magazine had represented the music origin the least, with the origin reflecting only 4 percent of the music events being promoted in Toronto. When comparing the 2006 Now Magazine and Global
Village data against the 2006 Toronto census data, Now Magazine is the closest to representing the population, reflecting 4 percent more than the total population of African origins.
Caribbean music origins compared
Now Magazine's highest represented music origin was the Caribbean, which reflected 29 percent of the documented music events, promoted in Toronto (Chart 5). The
Caribbean origins reflected 8 percent of the music played on Global Village (Chart 4),
65 and was the fourth largest music origin represented overall (Chart 6). In Chart 6 the overall Caribbean music origin however represents 15 percent of all music origins found in this study. Within the population, however, the Caribbean origins represented 5 percent of the Toronto population (Chart 3).
Music Origins represented in CBC's Global Village during the years 1999-2006
5 20 -•-2001
60U 1(1,U
/v/v y//s/////'/ if jT -f f cT c4 J?
Chart 8 CBC - Global Village Music Data 1999-2006
66 Vlusif Origins rt presented iri NOW naua/.intr during liie years 1999-2006
& 40
**•"2001
v ^ J- zf N> f J? J? > & J> ^ <
n>
Chart 9 Now Magazine Music Data 1999-2006
Chart 9 indicates the music origins represented in Now Magazine over the studied period. In 1999, the Caribbean origin represented 23 percent of the music documented in
Now Magazine, which was the lowest out of the four years. The music of Caribbean origins peaked in 2001 when it represented 35 percent of the music events advertised in
Toronto. And in the years 2004 and 2006, the music originating from the Caribbean stayed stagnate, each year reflecting 30 percent of the music represented. In Global
Village the peak of representation for Caribbean music origin also occurred in the year
2001, as shown in Chart 8, representing 10 percent of the music being played. This similarity in representation could indicate CBC's awareness of Toronto's local music scene. When comparing the 2006 data of Now Magazine and Global Village against the
2006 population in Toronto, Global Village offered 2 percent more of Caribbean music
67 while Now Magazine offered 25 percent more than the population. Therefore, Caribbean origins was represented more accurately within Global Village in 2006.
This skewing of results may be attributed to the fact that Caribbean origins were significantly represented in Now Magazine through festivals and cultural events. As mentioned earlier in the chapter, festivals such as Island Soul Festival, Reggaebana,
Jamaica to Toronto Festival, Toronto Summer Splash Reggae Festival, Irie Music
Festival and the Havana Jazz Festival all represented music of Caribbean origins. The large volume of festivals dedicated to music from Caribbean origins demonstrates its popularity in Toronto.
North American music origins compared
Global Village's second highest music origin was the music of North America.
When analyzing this origin's make up in Global Village programming it made up 14 percent of the music represented. In Now Magazine listings, North American origins represented 4 percent of the music events promoted in Toronto. The average percentage of North American music in both data sets was 10 percent, which was the same percentage as North America music origin within the census data. In Chart 6, the North
American music origin peaked in 2006 at 21 percent and was least represented in 2001, reflecting 11 percent of the music being played on Global Village. In comparison to
Global Village's highest and lowest years of representation, Now Magazine had significantly lower percentages. The lowest year of representation was 1999 at 2 percent and the highest representation was found in both 2004 and 2006 at 4 percent (Chart 9). In comparison with the 2006 census data, Global Village over-represents the origin by 11
68 percent in 2006, while Now Magazine under-represents the music origin by 6 percent in
2006.
Latin, Central and South American music origins compared
The second highest music origin represented in the Now Magazine listings was
Latin, Central and South American origins, which represented 25 percent as opposed to
13 percent of the music on Global Village. The average music representation of Latin music in the study was 17 percent. Out of the total population, the Latin, Central and
South American music origin made up 2 percent of Toronto's demographic. In Charts 8 and 9 we can observe that both Now Magazine and the Global Village data are represented similarly in the years studied. In Now Magazine, the highest representation of the Latin, Central and South American music origin is found in 2006 at 33 percent, the second highest representation of the origin is found in 2004, at 28 percent, third is in the year 1999 at 17 percent, and the lowest representation of Latin, Central and South
American origins was in 2001 at 15 percent. This progression is also found in the representation of Latin, Central and South American origins in Global Village. In 2006, the highest representation was 18 percent, 15 percent in 2004,11 percent in 1999 and 10 percent in 2001. This increasing pattern could similar a popularity trend in the city and the CBC. When comparing Now Magazine and Global Village's 2006 data against the
2006 census data, Now Magazine is furthest from representing the 2006 Toronto population.
69 European music origins compared
The next highest music origin represented in Global Village was the European
Origins. From 1999-2006, the average representation of European Origins on the Global
Village reflected 14 percent. Now Magazine documented European Origins reflecting 7 percent of the music played in Toronto. The average percentage of European Origins in
Toronto represented 12 percent (Chart 6) which compared to the census data of European ethnicity was slightly higher at 14 percent. In Chart 8, the musical representation of
European Origins in 1999 represented 13 percent and peaked in 2001 at 21 percent. In
2004, 11 percent represented the origin and in 2006, 10 percent represented the origin.
When comparing the 2006 population of Toronto against Global Village and Now
Magazine's representation of the origin, Global Village was nearest in representing the origin.
South Asian music origins compared
The third highest music origin in Now Magazine was South Asian, representing 10 percent of the music events advertised in Toronto, while in comparison, Global Village represented 5percent of the South Asian within its program. The average representation of the South Asian music origin found in Toronto represented 7 percent, where as, the population which reflected the South Asian origin was 11 percent as represented within the 2006 census data. In Now Magazine, the South Asian origin reflected 12 percent of the music events promoted in 1999, the origin peaked in 2001 at 14 percent, and in 2004 and 2006 the music origin was the least represented at 7 percent. In Global Village, the
South Asian music origin was highly represented in 2004 at 7 percent, in 1999 and 2001
70 it represented 5 percent and in 2006 the origin was least represented, at 4 percent. In comparison to the 2006 census data, Now Magazine represents the origin most accurately at 4 percent below the South Asian population in 2006. While all of the South Asian representations were low, it is interesting to note that two major festivals within the period studied were devoted to South Asian culture in Toronto. In the Now Magazine concert listings, two South Asian festivals were predominant within the years studied, the
South Asian Heritage Festival and Masala! Mehindi! Masti! These festivals may have contributed to a larger percentage of South Asian music origins found in the Now
Magazine listings, but was not represented in the South Asian percentile found in Global
Village programming.
Comparison of the under-represented music origins across data sets
After observing the top three music origins found in the data, an observation can be made that in some instances Global Village and Now Magazine's listings correspond or similarly represent a musical trend in the music found in Toronto. In order to see whether these trends are found throughout the study the least represented origins will also be analyzed.
The following music origins represent 0 or less than 1 percent in Now Magazine's listings: Aboriginal, Oceania, North European and Western European. These music origins, however, were being represented in the Global Village playlists. Northern
European origins represented 1 percent of the Toronto population in 2006. Its representation within Global Village's playlists was 3 percent and in Now Magazine the origin represented 0.1 percent. The year that Northern European Origins peaked within
71 Global Village play lists was 2001, where it represented 6 percent of the music being played in the show. In 2004 and 2006 the music origin was represented the least at 1 percent.
Aboriginal music origins compared
Aboriginal origins represented 1 percent of the Toronto population in 2006. In
Global Village the music origin represented 2 percent of the music played. In Now
Magazine, Aboriginal music represented 0.1 percent of the music events promoted in
Toronto. During 2004 and 2006 peaks in Aboriginal music occurred, representing 2 percent of the music played.
Oceania music origin compared
Oceania origins represented less than 1 percent of the Toronto population in
2006. In Global Village this origin represented 1 percent of the music played within the years studied and in Now Magazine Oceania occupied 0.2 percent of the music documented. In 1999, Oceania 'music origins' was the most represented at 2 percent and least represented in 1999 at 0.7 percent. The Western European origins was the least represented origin in both data studies. The population of Western European origins within 2006 was 6 percent. The origin represented 0.1 percent within Now Magazine and
.07 percent within Global Village playlists.
After observing the least represented music origins we can conclude that these origins are heavily marked by the lack of representation within Toronto's population. The only potential reason for lack of representation would be the lack of interest and musicians within the city itself.
72 CHAPTER 6: CONCLUSION
This thesis addresses how, and to what extent, music promoted and broadcasted in
Toronto compares to the city's multicultural and ethnically diverse demographic. The topics discussed in the earlier chapters introduced key elements of this study. Chapter 2 discussed the ethnic changes found in the city of Toronto's history with a focus on the shift from a British culture to a multicultural culture. This movement suggests that the region of Toronto, which was once predominately influenced by British culture, has now become heavily influenced by immigrant culture and their traditions. Chapter 3 defines the two major terms that are found in this study, multiculturalism and world music.
Through an examination of these terms' flaws and controversies, multiculturalism and world music are examined. Chapter 4 discusses several reinventions of the Canadian
Broadcasting Company in order to reflect Canada's changing demographic which explains the existence of the Global Village program and its musical endeavors. Chapter
5 investigates the correlation of Toronto's population in the 2006 census data, Toronto's world music scene as represented in Now Magazine listings and the Canadian national world music radio show Global Village in order to see how world music is represented in
Toronto. The 'popular' within world music
This study draws an important conclusion about world music performed and promoted in the city of Toronto. It suggests that the world music being performed, as represented in Now Magazine, and as nationally broadcasted on CBC's show Global
Village, is not determined by Toronto's ethnic make-up, but is representative of the popular music origins in the world music genre. The festival and cultural section of
Chapter 4 notes that six out of seven music cultures represented in festivals and cultural events across the city were also represented in the top three music origins of Now
Magazine and Global Village but, in comparison to the 2006 census, some represented a small percentage of the demographic. Caribbean, represented 5 percent, Other North
American 10 percent, Latin, Central and South American represented 2 percent, South
Asian represented 11 percent, African represented 2 percent and European represented 14 percent. Of these origins, three out of six were within the top five origins represented in the census data. While this represents half of the music origins, the three predominant origins within my study, Caribbean, Latin Central and South American and African, were found in the bottom eight within the census data, this can suggest that the cultural groups represented in the 2006 census and the music that is performed and promoted in Toronto are independent of each other.
Popularity of music origins also emerged from the Global Village and Now
Magazine data. Latin, Central and South American origins, as well as Caribbean origins appeared as heavily promoted world music origins in Now Magazine. In 2006, Latin,
Central and South American origins represented 33 percent of the music events promoted
74 in Toronto. The percentage of representation in Now Magazine did not fall below 17 percent over the four years that were analyzed. In 2001, Caribbean origins represented 35 percent of the music events promoted in Toronto while the percentage represented in
Now Magazine and Global Village was 23 percent over the four years studied. In Global
Village, the popular 'music origin' that stayed consistently above 16 percent four years was African origins, which stayed above 16 percent within its representation on Global
Village.
These music origins were highly represented in Global Village and Now
Magazine's data, but did not represent a large portion of the 2006 census data. Three hypotheses as to why these three music origins were predominantly represented in the city of Toronto could stem from a larger musical community within the region of study, the multidisciplinary aspects of these music origins; the coupling of music and dance, as well as the broadened audience of musical fusion. These popular trends suggest that world music represented in the city does not represent the cultural make-up of Toronto's population.
This however, was not the case with the under-represented music origins and their relationship with the 2006 Toronto census data. The lack of representation of these music origins was reflective of the population. The least represented music origins in this study:
Oceania origins representing less than 1 percent, Aboriginal representing 1 percent,
French origins representing 1 percent and Northern European representing 2 percent.
When compared to the total population in 2006, all of them represented less than 5 percent of the population. Oceania represented less than 1 percent, Aboriginal
75 represented 1 percent, French origins represented 4 percent and Northern European represented 1 percent. These origins were both under-represented in the population and in the music scene which could suggest that there was a lack of musical performances and promotion of these cultural groups.
Global Village and Now Magazine's correlation: Radio versus the local music scene
The correlation between the data collected from Now Magazine and Global
Village is weak. Overall, Global Village represented a broader scope of music origins within its programming in comparison to the local music scene in Toronto. An example of this can be found in Now Magazine's representation of Aboriginal, Oceania, Northern
European and Western European origins, which were all represented below 1 percent over the four years studied. In the Global Village data this under - representation occurred only once when representing Northern European Origins. There were, however, similar high and low peaks within the data which could suggest similar representation of some music origins such as Caribbean origins. The Caribbean origins peaked in Now
Magazine in 2001 at 35 percent as compared to Global Village's representation of
Caribbean origins which also peaked in 2001 at 10 percent, 25 percent lower than Now
Magazine's representation. The percentage difference between the Caribbean music origins in Now Magazine and Global Village is large, suggesting that the correlation between the two is quite weak.
The differences found between the musical representation of Global Village and
Now Magazine could be a result of these sources having different incentives when representing world music. As a local paper, Now Magazine's purpose is to represent
76 events taking place within the city. The concert listings found in Now Magazine represent the popular events that occur in Toronto. While Now Magazine was a great resource for music listings in Toronto there are other resources for finding music performances in the city. These sources include reviews and featured stories of performers and performances within other local newspapers; university or college magazines, flyers found in coffee shops, music stores, music schools which showcase local music groups, and community radio or T.V. These are all places which promote local music happening within a city.
As a national broadcast program, Global Village's purpose stems from a purely world music ideology. The purpose of the program was to represent many different music origins within the context of a world music radio show, and this prompted a representation of a variety of music origins on the program which created a vast amount of world music repertoire.
While these incentives are different, these two media sources were used because of their longevity as media sources, as well as a lack of other media sources that provide the specific programming and promotion of world music that was needed for this study.
Under-representation of British Culture
The largest origin represented within Toronto's 2006 census data was the British
Isles, which represented 20 percent of the population. Within the music data from this study, the British Isles represented only 3 percent of the music events being performed and promoted in Toronto. The lack of representation of the British music heritage within this study can offer some insight into how British culture is represented within the present day city. Chapter 2 discusses how British culture formed the building blocks of Toronto
77 |£>S and as a result of this cultural hegemony in the past, some elements of this culture can still be found in Toronto's music scene in such companies as the Canadian Opera
Company and the Toronto Symphony Orchestra. In the world music setting British Isles music was represented through Celtic or Fiddle music, but there was a definite lack in the performance and promotion of this music when examining the traditional music of the genre in this study. One could argue that the majority of this culture's music is found in the non-world music genres such as classical or contemporary, which therefore resulted in the under-representation of the origin in the study. Another suggestion as to why
British Isles music is under-represented in this study could be result of the marketability of other world music genres in comparison to British Isles music. The promotion of world music in a western society may benefit from using more 'exotic' sounds in order to
please a western market.
Further Suggestions
The next step for the analysis of cities and the representation of their music may
be to broaden the scope of study through analyzing a larger quantity of community-based sources such as community schools, groups, and community radio. By broadening this scope a more thorough analysis may occur. In this study Now Magazine and Global
Village only reflected public sources of music events promoted in the city; however, if
the study included more music set in private locations across the city this could result in a
more elaborate look at how music origins are represented within the city. Broadening the
scope of the study through the music represented within communities across the city
78 would enable more representation of local music and the communities which represent these music origins.
CHAPTER 1 ENDNOTES
1 "Non traditional" source countries refers to countries that have not traditionally been represented within Toronto's immigrant history 2 Lo, Lucia Wang, and Lu, Wang, Shuguang. July 2007. Immigrant Settlement Services in the Toronto CMA: A GIS-Assisted analysis of supply and demand. Toronto, Ontario: CER1S - The Ontario Metropolis Centre: p. 1. 3 Ibid. 4 http://www.toronto.ca/toronto_facts/diversity.htm (accessed May 28, 2011) 5 Ibid. 6 Ibid. 7 From this point on I will use the term world music without quotations with the assumption that the reader understands that the author is aware of the misconceptions and controversy that revolves around the term. The term will be further discussed in Chapter 2. 8 Sweeney, Philip, 1991. The Virgin Directory of World Music: A Guide to Performers and Their music. Great Britain , Virgin Publishing Ltd. 9Broughton, S., Ellingham, M., Muddyman, D., and Trillo, R. ed. 1994. World Music: The Rough Guide. London: Rough Guides Ltd. 10 Broughton, S., Ellingham, M., Muddyman, D. and Trillo, R. ed. 1994. Index. 11 Nettl B., Stone R.M., Porter J. and Rice T. ed. 1998. The Garland Encyclopedia of World Music. New York: Garland. 12 Ann MacKeigan interview, February 8, 2011 p. 2. 13 Ann MacKeigan Interview, February 8, 2011 p. 2.
CHAPTER 2 ENDNOTES
14 When used in this thesis the term "popular" will refer to this definition from the Oxford English Dictionary: "Liked or admired by many people, or by a particular person or group." "Oxford English Dictionary," accessed October 21, 2011 www.oed.com 15 http://www.toronto.ca/culture/history/history-natives-newcomers.htm (accessed May 25,2011) 16 Ibid. 17 Ibid. 18 Ibid. 19 Ibid. 20 http://www.toronto.ca/culture/history/history-provincial-centre.htm (accessed May 28, 2011) 21 http://www.toronto.ca/culture/history/history-industrializing-city.htm (accessed May 28, 2011) 22 Ibid. 23 Ibid. 24 Ibid. 25 Ibid. 26 Ibid. 27 Ibid. 28 Ibid. 29 Ibid. 30 http://www.toronto.ca/cuiture/history/history-1951 -onward.htm (accessed May 31, 2011)
79 31 Ibid. 32 Croucher, Shelia L. 1997. "Constructing the Image of Ethnic Harmony in Toronto, Canada: The Politics of Problem Definition and Nondefinition" in Urban Affairs Review Vol. 32 No. 3 Sage Publications, Inc. p. 324. "Croucher, Shelia L. p. 324-325. 34 http://www.toronto.ca/culture/history/history-1951-onward.htm (accessed May 31, 2011) 35 Croucher, Shelia L. p. 325. 36 Statistics Canada 1996 Census. 37 Ibid. 38 Ibid. 39http://www.toronto.ca/demographics/pdf/2006Jang_imm_citizenship_mobility_backgrounder.p df (accessed June 10, 2011). 40http://www.toronto.ca/demographics/pdf/2006_lang_imm_citizenship_mobility_backgrounder.p df (accessed June 10, 2011). 41 Ibid. 42 Croucher, Shelia L.. p. 325. 43 Croucher, Shelia L. p. 324. 44 http://www.toronto.ca/immigration/ (accessed June 11, 2011) 45 Statistics Canada 1996 Census. 46 Croucher, Shelia L. p. 325.
CHAPTER 3 ENDNOTES
47 Ang, Ien 2005. "Multiculturalism." In New Keywords; A Revised Vocabulary of Culture and Society edited by Bennett T., Grossberg L. and Morris M., p.226 USA: Blackwell Publishing Ltd. 48 Ibid. 49 Ibid. 50 Ibid. 51 Ang, Ien 2005, p. 227. 52 Ley, David 2007. Multiculturalism: A Canadian Defense. Vancouver, Canada: Metropolis British Colombia p. 7. 53 Day, Richard 2000. Multiculturalism and the History of Canadian Diversity. Toronto, Canada: University of Toronto Press, p. 4. 54 Bissoondath, Neil 1994. Selling Illusions: The Cult of Multiculturalism in Canada. Toronto: Penguin Books. 55 Qadeer, Mohammad A. 2004. Ethnic Segregation in a Multicultural City: The Case of Toronto, Canada. CERIS Working Paper No. 6: 7. 56 Ibid. 57 Gregg, A. 2006. Identity crisis: A twentieth-century dream becomes a twenty-first century Conundrum. The Walrus March issue, http://www.walrusmagazine.com/archives/2006.03 Visited January 7,2012. 58 Gregg, A. 2006, p. 3. 59 Ang, Ien 2005, p. 229. 60 Kobayashi, A. 1993. Multiculturalism: Representing a Canadian institution. In Place/Culture/Representation, edited by J. Duncan, and D. Ley, London: Routledge p. 205-31. 61 Berland, Jody 1986. "Cultural Re/Percussions: The Social Production of Music Broadcasting in Canada." PhD diss.,York University, p. 84. 62 Spiller, Smiley 198, p.l. 63 BBG. The Board of Broadcast Governors was established after the 1957 Fowler Commission
80 Report proposed a "separation of broadcast regulation from CBC administration" the responsibility of the board was to maintain "general supervision of the whole Canadian broadcasting system, the preparation and enforcement of general broadcasting regulations, the determination of broadcasting policy for the CBC and supervision of its financial affairs, and relations with Parliament and the public on broadcasting matters generally" (Berland 1986, p. 102). 64 Ibid. 65 Ibid. 66 Spider, Smiley 1987, p. 2. ^Canadian Radio-television and Telecommunications Commission 68 Spiller, Smiley 1987, p. 3. 69 http://www.crtc.gc.ca/eng/info_sht/b308.htm (accessed January 7,2012) 63 For further information on the Lombardi group and Johnny Lombardi visit chinradio.com 71 Spiller, Smiley 1987, p. 2. 72 Ibid. 73 Spiller, Smiley 1987, p. 5. 74 Spiller, Smiley 1987, p. 51. 75 Sweeney 1991, Introduction. 76 Hornbostel, Erich M. von 1905. Die Probleme der Vergeichenden Musikwissenschaft, Zeitschrift der Interna - tionalen Musikgesellshaft 7: p.85 - 97. 77 Sachs, Curt 1962. The Wellsprings of Music. The Hague: M. Nijhoff. 78 Nettl, Bruno 1978. Some Aspects of the History of World Music in the Twentieth Century: uestions, Problems, and Concepts in Ethnomusicology 22:1 p. 124. Gray, Louise 2009. The No-Nonsense Guide to World Music. UK, New Internationalist Publications Ltd. p. 11. 80 www.manuchao.net (accessed May 28,2011) 81 Gray 2009, p. 13. 82 Gray 2009, p. 28. 83 Gray 2009, p. 30. 84 Gray 2009, p. 22. 85 Gray 2009, p. 20-21. 86 T. Bennett, L. Grossberg and M. Morris, 2005. New Keywords; A Revised Vocabulary of Culture and Society.USA, Blackwell Publishing p. 226.
CHAPTER 4 ENDNOTES
87 http://www.cbc.radio-canada.ca/about/ (visited April 19, 2011) 2015: Everyone, Every way, CBC/Radio Canada's Five Year Strategic Plan 88 http://www.cbc.radio-canada.ca/strategy2015/document2015_e.pdf (visited April 25,2011) 89 Ibid. 90 Ibid. 91 Ibid. 92 Ann MacKeigan Interview p. 5 Februray 8, 2011 93Berland, Jody 1986. "Cultural Re/Percussions: The Social Production of Music Broadcasting in Canada." PhD diss.,York University, p. 75. 94 Berland 1986, 9. 95 CBC/ Radio-Canada: Who we are and what we do http://www.cbc.radio- canada.ca/about/pdf/who.pdf 96 Berland 1986, p. 10. 97 Berland 1986, p. 10. 98 Berland 1986, p. 137.
81 99 Stewart, Sandy 1985. From Coast to Coast: A Personal History of Radio in Canada. Toronto: CBC Enterprises, p. 79. 100 Berland 1986, p. 146. ,m Ibid. 102 'Opportunity Knocks' http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=UlARTU0002647 (visited April 20,2011) 103 "Light music" style refers to a British musical style that features "light" orchestral music http://www.thecanadianencyclopedia.com/articles/emc/opportunity-knocks (accessed April 20, 2011) 104 Berland 1986, p. 146. 105 Berland 1986, p. 143. 106 Berland 1986, p. 158. 107 Ibid. 108 http://www.answers.com/topic/cbc-radio-one (accessed April 19,2011) 109 Radio One also broadcasts on AM stations 110 http://www.cbc.ca/news/arts/media/story/2007/01/17/cbc-radio-changes.html (accessed April 19,2011) 111 Ibid. 1,2 Ibid. 113 Ibid. 114 Ibid. 1.5 Ibid. 1.6 Ibid 1.7 Ibid. 118 Ibid. 119 Ann MacKeigan Interview p. 7 Feb 8,2011. 120 Ann MacKeigan Interview p. 5 Feb 8, 2011. 121 Ann MacKeigan Interview p. 7-8 Feb 8,2011. 122 Ann MacKeigan interview p. 8 Feb 8, 2011. 123 Ibid. 124 Spiller and Smiley 1987. Multicultural Broadcasting in Canada. Ottawa: Francis Spiller Associates, p. 32. 125 Ibid. 126 Ibid. 127 Ibid. 128 Ann MacKeigan Interview pg. 2. Feb 8,2011 129 Ibid. 130 Ann MacKeigan Interview p. 3 Feb. 8,2011. 131 CKLN, which is Ryerson University community-based campus radio station, was stripped of its broadcasting license on February 12,2011. For more information visit http://www.ckln.fm/. 132 Ann MacKeigan Interview p. 4 Feb 8, 2011. 133 Ibid. 134 Ibid. ;35Ibid. 136 The CBC "music portal" has been on line prior to the thesis publishing date. 137 Ibid. 138 Ann MacKeigan Interview p. 7 Feb 8, 2011. 139 Ibid
82 CHAPTER 5 ENDNOTES
l40http://www.smallworldmusic.com/index.php?option=com_content&view=article&id=47&Itemi d=55 (accessed June 21,2011) Ml Ibid 142 http://www.ashke"nazfestival.com/foundation/mandate-history/ (accessed June 21, 2011) 143 Ibid. 144 Ibid. 145 http://media.harbourfrontcentre.com/mediaDisplay.php?id=81 (accessed June 21,2011) 146 http://www.harbourfrontcentre.com/summer/islandsoul/ (accessed June 21, 2011) 147 http://www.masalamehndimasti.com/2010/mmm-2010/ (accessed June 21, 2011) 148 http://www.hispanicfiesta.com/ (accessed June 21,2011) 149 Ibid. 150 http://www.ststephenshouse.com/globaldivas.html (accessed June 21, 2011) 151 http://www.oneworldbeat.org/owb2005/index.htm (accessed June 21, 2011) 152 http://www.musicafrica.org/about-music-africa.html (accessed June 21, 2011) 153 http://iriemusicfestival.com/ (accessed June 21, 2011) 154 Ibid. 155 http://www.sierraexpressmedia.com/archives/10444 (accessed June 21,2011) 156 http://feeds.feedbumer.com/MuhtadiInternationalDrummingFestival (accessed June 21,2011) 157 www.mosaicfest.com (accessed June 21, 2011) 158 http://www.caribana.com/ (accessed June 21,2011) l39http://www.toronto.ca/demographics/pdf72006_lang_imm_citizenship_mobility_backgrounder. pdf (accessed June 10, 2011). The coupling of two or more musical genres or styles. 161 Sweeney, Philip, 1991. Directory of World Music; A Guide to Performers and Their Music. Introduction. 162 The term cultural hegemony in this context refers to the predominant British culture that Toronto's history was once dominated by.
83 Works Cited
Adorno, T. and Horkheimer, M. 1979. "The Culture Industry: Enlightenment as Mass Deception," in Dialectic of Enlightenment 120-167. New York: Continuum.
"Afrofest," About Music Africa, accessed June 21, 2011 http://www.musicafrica.org/about-music-africa.html
Ang, I. 2005. "Multiculturalism." In New Keywords; A Revised Vocabulary of Culture and Society edited by Bennett T., Grossberg L. and Morris M., 226 - 229. USA: Blackwell Publishing Ltd.
Ann MacKeigan interview February 8, 2011.
"Ashkenaz Festival information," accessed June 21, 2011 http://www.ashke"nazfestival.com/foundation/mandate-history/
Berland, J. 1986. "Cultural Re/Percussions: The Social Production of Music Broadcasting in Canada." PhD diss.,York University.
Berland, J. 1990. "Radio Space and Industrial Time: The Case of Music Formats." Popular Music 9 (2): 179-192.
Bissoondath, N. 1994. Selling Illusions: The Cult of Multiculturalism in Canada. Toronto: Penguin Books.
Broughton, S., Ellingham, M., Muddyman, D. and Trillo, R. ed. 1994. World Music: The Rough Guide. London: Rough Guides Ltd.
"Caribana Information," accessed June 21, 2011 http://www.caribana.com/
"CBC Radio One," accessed April 19, 2011 http://www.answers.com/topic/cbc-radio-one
"CBC - Radio Canada," accessed April 19, 2011. http://www.cbc.radio-canada.ca/about/
"CBC Radio to Broaden Radio Two, Add Arts Magazine," CBC News; Arts & Entertainment, accessed April 19,2011 http://www.cbc.ca/news/arts/media/story/2007/01/17/cbc-radio-changes.html
"CBC/ Radio-Canada: Who We Are and What We Do," accessed April 25, 2011 http://www.cbc.radio-canada.ca/about/pdfwho.pdf
84 "City of Toronto Immigration & Settlement Portal," City of Toronto, accessed June 11,2011 http://www.toronto.ca/immigration/
Cohen, S. 2007. Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles. England: Ashgate publishing Ltd.
Croucher, S. L. January 1997."Constructing the Image of Ethnic Harmony in Toronto, Canada; The Politics of Problem Definition and Nondefinition." Urban Affairs Review Vol. 32 No. 3: 324 - 325.
"Cultural Diversity on TV and Radio," Canadian Radio -television and Telecommunication Commission, accessed January 7, 2012 http: //www.crtc. gc. ca/eng/info_sht/b308. htm
Day, R. 2000. Multiculturalism and the History of Canadian Diversity. Toronto, Canada: University of Toronto Press.
"Festival Bana Ya' Afrique," accessed June 21, 2011 http://www. sierraexpressmedia.com/archives/10444
Gitelman, L. 2006. Always Already New; Media, History and the Data of Culture. Cambridge, Massachusetts: The MIT Press.
"Global Divas" St. Stephen House, accessed June 21, 2011 http://www.ststephenshouse.com/globaldivas.html
Gray, L. 2009. The No-Nonsense Guide to World Music. UK: New Internationalist Publications Ltd.
Gregg, A. 2006. Identity crisis: A twentieth-century dream becomes a twenty-first century Conundrum. The Walrus March issue. http://www.walrusmagazine.com/archives/2006.03 Accessed January 7, 2010.
Hornbostel, E. M. von 1905. Die Probleme der Vergeichenden Musikwissenschaft, Zeitschrift der Interna - tionalen Musikgesellshaft 7: p.85 - 97.
"Hispanic Fiesta Festival," accessed June 21, 2011 http://www.hispanicfiesta.com/
'Trie Music Festival Information," accessed June 21,2011 http://iriemusicfestival .com/
"Island Soul Festival," Harbourfront Centre, accessed June 21,2011 http://www.harbourfrontcentre.com/summer/islandsoul/
85 Kobayashi, A. 1993. Multiculturalism: Representing a Canadian institution. In Place/Culture/Representation, edited by J. Duncan, and D. Ley, London: Routledge.
Ley, D. 2007. Multiculturalism: A Canadian Defense. Vancouver, Canada: Metropolis British Colombia.
Lo, L. W., and Lu, W., Shuguang. July 2007. Immigrant Settlement Services in the Toronto CMA: A GIS-Assisted Analysis of Supply and Demand. Toronto, Ontario: CERIS - The Ontario Metropolis Centre: p. 1.
"Masala, Mehndi, Masti Festival," accessed June 21,2011 http://www.masalamehndimasti.com/2010/mmm-2010/
McLuhan, M. 1964. Understanding Media; The Extensions of Man. New York: New American Library.
"Muhtadi International Drumming Festival," accessed June 21,2011 http://feeds.feedburner.com/MuhtadiInternationalDrummingFestival
Nettl B., Stone R.M., Porter J. and Rice T. ed. 1998. The Garland Encyclopedia of World Music. New York: Garland Pub.
"One World Beat Festival," accessed June 21,2011 http://www.oneworldbeat.org/owb2005/index.htm
"Oxford English Dictionary," accessed October 21, 2011 www.oed.com
Qadeer, M. A. 2004. Ethnic Segregation in a Multicultural City: The Case of Toronto, Canada. CERIS Working Paper No. 6, Toronto: The Joint Centre of Excellence for Research on Immigration and Settlement.
"Release of the 2006 Census on Language, Immigration, Citizenship, Mobility/Migration," Toronto City Planning, Research & Information, accessed June 10, 2011 http://www.toronto.ca/demographics/pdf/2006_lang_imm_citizenship_mobility_b ackgrounder.pdf
"Ritmo Y Colour: A Latin American Arts Festival," Harbourfront Centre, accessed June 21, 2011 http://media.harbourfrontcentre.com/mediaDisplay .php?id=81
Sachs, C. 1962 The wellsprings of music. The Hague: M. Nijhoff.
86 Sadie, S. and Tyrrell, J. 2001. The New Grove Dictionary of Music and Musicians. New York: Grove's Dictionaries.
Shepherd, J. 2003. Continuum Encyclopedia of Popular Music of The World. London ; New York : Continuum.
"Singing Stars of Toronto," The Canadian Encyclopedia/ The Encyclopedia of Music in Canada, accessed April 20,2011 http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=UlA RTU0003223.
"Small world music festival information," accessed June 21, 2011 http://www.smallworldmusic.com/index.php?option=com_content&view=article &id=47&Itemid=5 5
Statistics Canada 1996 Census.
Stewart, S. 1985. From Coast to Coast: A Personal History of Radio in Canada. Toronto: CBC Enterprises.
"South Asian Heritage Festival," Canadian community Arts Initiative, accessed June 21, 2011 www.mosaicfest.com
Spiller F., and Smiley K. 1987. Multicultural Broadcasting in Canada. Ottawa: Francis Spiller Associates.
Sweeney, P. 1991. The Virgin Directory of World Music; A Guide to Performers and Their Music. Great Britain: Virgin Publishing Ltd.
"Toronto's Racial Diversity," City of Toronto, accessed May 25,2011, http://www.toronto .ca/toronto_facts/diversity .htm
"Toronto Culture - Exploring Toronto's past - Natives and Newcomers, 1600 - 1793," City of Toronto, accessed May 25,2011, http://www.toronto.ca/culture/history/history-natives-newcomers.htm
"Toronto Culture - Exploring Toronto's past - An Industrializing City, 1851- 1901," City of Toronto, accessed May 28, 2011 http://www.toronto.ca/culture/history/history-industrializing-city.htm
"Toronto Culture - Exploring Toronto's past - The Modern Metropolis, From 1951," City of Toronto, accessed May 31,2011 http://www.toronto.ca/culture/history/history-l 951 -onward.htm
87 Toynbee, J. 2000. Making Popular Music. London: Arnold Publishers.
"2015: Everyone, Every way," CBC/ Radio-Canada's Five Year Strategic Plan, accessed April 25,2011 http://www.cbc.radiocanada.ca/strategy2015/document2015_e.pdf
88 APPENDIX A
INTERVIEW WITH ANN MACKEIGAN FEBRUARY 8,2011
89 Lauren Barnett: When did Global village start?
Ann MacKeigan: 1994
LB: Why did you decide to start a program like that?
AM: Because we've been doing World Music here before that, we had been recording concerts since 1988. We started recording World Music concerts since 1988, primarily doing a lot of them during the summer and I was in Europe at a meeting of a public broadcasting around the world, called the European Broadcast Union the're the equivalent of CBC's all over Europe primarily and I was at a meeting with people who all dealt with World Music in their various broadcast companies and then I realized if that's the case, there are so many people here that could talk about World Music, so therefore, I kind of came up with this idea, of why don't we have correspondents around the world that are talking about what's going on, what's significant, or what's the music that's making a difference in a particular region in a particular place, in a particular time about a particular story so it started from that meeting. That's why I created that idea of Global
Village, which was a radio program.
I was always the producer.
LB: Did that reflect back in to Toronto (the show Global Village)
AM: It did, in carnation it was a half an hour program and the other half of the program I built documentaries, half hour documentaries, on Canadian World Music artists, who had come from another place, and had made their home now in Canada. So we recorded them in concert and built a profile around them. And these profiles continued on for many
90 years. It was originally a half hour recorded concert, but that moved to being 15 minute profiles that were packaged with CD music. And 15 minutes was a more transportable amount of time because it was also double exposed elsewhere as out front. I think I probably did about 50 or 60 of them, of Canadian World Music artists.
LB: Do you think the CBC creates hit artists through their broadcasting?
AM: What CBC can do because of its reach [is] it can present music that isn't presented elsewhere, so can it produce stars. Not in the same way that French CBC does, they're huge at making stars, and they're very successful at it. In English Canada there seems to be more competition for radio airwaves. We have certainly made it possible for artists to have a voice that wouldn't normally... I mean, the first place that K.D. Lang was ever recorded, was a festival stage in Calgary. We recorded the first concert recording. Same with Ron Sexsmith, early recording of Sarah McLachlan was a CBC recording. We would pick up artists early on when they were at the very beginning, and when it comes to World Music artists, that's probably., possibly even more important, because they aren't picked up anywhere else and so therefore we can provide an outlet or an exposure to a world music artist. CBC can make it go national or can help them when they travel across the country for example, it can introduce, make that introduction in different locations.
LB: Are there any world music artists that you have helped out in the World music scene?
91 AM: Probably many. Many over the years, at the time, when I was first chair of the
Juno's world community, and partly that was.. it was a different kind of category, and we pushed heavily for making a world category..
But yeah, a lot of artists probably did get their first big help from CBC and in different cases they would have coverage on CKLN, and CIUT locally and maybe CHRY but that would be it. So to get a play on CBC Radio 1, you're suddenly hitting about a million people so that's massive for any artist. And that's a huge priority here at Radio 1 is to actually represent the diversity of Toronto, it's massively important, so that's a really good tool for any World music musician to figure out how to gain access here to particularly CBC Radio 1 which has a bigger and deeper Toronto reach Radio 2. Radio 2 has a national reach. So they both serve different functions.
LB: Musically, what does CBC offer that is different from other radio stations in
Toronto?
AM: Canadian. The big thing that CBC does is it's more than 50percent Canadian and most, with the exception of the College radio stations, now CIUT and CHRY. All of the other stations, the amount of Canadian music that they play... we monitored all this before we made changes a few years ago and over the course of three months there was something like eight Canadian tracks, eight Canadian artists. So, we have a massively
Canadian presence.
LB: Do you or CBC consider the other radio stations which you mentioned to be competition in Toronto broadcasting?
92 AM: No, well., they're complements, but their reach and their audience is probably not as big as CBC's within Toronto.
I think what I know of the campus and college radio stations, is it's far more genre specific, far more audience target specific, whereas CBC is a broadcaster so it has to try to encourage as wide a listening as possible, as wide a demographic as possible... it's not so much niche programming, it's not so much specialty programming it's much wider than that... they have complementary markets and complementary goals, I would say.
LB: Is CBC formatted broadcasting?
AM: Radio 2.. it's so wide it would be hard to say. I think we are struggling to try and figure out a type of format, but right now Radio 1 and Radio 2 are quite different. Even with Radio 2 it's quite different because there's the "Drive" program which is kind of like "triple A"( American) like sort of roots music, Canadian roots music with some blues and world music inside of that. But, that's the predominant focus. But then there's classical music and then there's jazz, that sort of jazz where it meets into jazz and world.
And then there's new music that has a lot of world music on the signal, so it's all over the place. So no it's not formatted. It's a little hard to, probably, for CBC, because it's not formatted, so it's hard for audiences to know what to expect, I guess that's part of the problem.
Radio 1 is different, because Radio 1 is talked based... the music that is used in
Radio 1 particularly on the high profile shows which are the local drive shows, "Metro
Morning" and "Here and Now," the music there is used to echo what's going on in the city, so it's a very good vehicle, but there's not, it's very powerful but not very much-
SB within "Metro Morning" there's maybe three tracks a day that are played, but if yours happens to be one of those tracks then you get huge exposure. And loads and loads of artists have told us that people come to their shows because they heard them on the radio.
Radio 1 is 99.1 (talk radio)
Radio 2 is only music
LB: For the purposes of Toronto, because we are so multicultural, do you think that world music should be more of a focus within Radio 2?
AM: Well it's an interesting thing because we've moved away from targeting specific, they call it "appointment listening programs," which was what Global Village was, it was
"appointment listening" because we have discovered that people's listening patterns are quite varied now, and it's very, very difficult for appointment listening. So we're more serviced based. So, is there enough world music in it? It's spread all over the place, so for someone that only wants "world music," that's where the community radio stations probably offer them what they want when they want.
Our theory is that quote un quote "democratize" music, it's not putting world music in one little niche it's trying to spread it out. It can get lost that way, but it is found in many, many different places all over the schedule.
What is happening, and this is kind of nice news and it's good for your thesis... is that we're heading towards, probably next fall, the beginning of a big music portal which will be probably have many, many channels, that will be digital channels online of dedicated world music channel, world music page, like there will be a focus. And that's because we understand that people's listening is much more they want it when they want
94 it, they don't want to have to pick and choose and find, they want to be able to turn something on and hear it. So there will be a curated repository of world music, mostly probably all Canadian on that.
The other thing that we do is we record. Currently we've been recording about
400 concerts per year and of that about 70 or 80 of them have been world music concerts and this is significant because many artists don't have recordings so that's an outlet there.
And the other thing that I would say about Radio 2, that's different from Radio 1 is it has to be national, so it has a different take, it has to be something that is a way of understanding Canada and understanding the musical make up but it's not the same thing as such and such is playing at the Lula Lounge tonight. ..that doesn't make it when you're listening in Regina or you're listening in Kamloops, the relevance across the country becomes different, so therefore the artists whether its world music or anything else that gets on Radio 2, generally has to be of a higher level. The local city stations are the ones that can take chances because it's all about fostering talent in there city, so when it goes national it has to go up a bit of a notch, quality wise, because it has... regardless of the genre, because it's going national, so therefore the tolerance of somebody in Lunenberg or Kapuskasing to tolerate something, name your music, that's not quite of a standard, it drops if it's not from their own place. So there is a different paradigm at world between national and local radio.
LB: What would you describe as the soundscape of the CBC?
AM: The Toronto musical soundscape on Radio 1, their push are things that are happening now in the city, to reflect the city around us and the intent is to look for the
95 diversity of expression both in the talk stuff and the music stuff, that's their primary focus, is to speak to one of the world's most diverse cities.
LB: And do you think that that is done well?
AM: Across the day, across the week, I mean it comes and goes. There's certain places, like the local Toronto stuff...see the other thing that you listen to, when you listen to CBC
Radio 1, is you're listening to a combination of shows that are specifically local and then things that are national. So when you hear a show called, "The Current", that's got nothing to do with music and that's national, so any music that it has would probably be international because it's national news for example. The only shows that are specifically reflective of Toronto are "Metro Morning," "Here and Now" and "Big City, Small
World" those are the only ones specifically of and for Toronto and I would say that they do represent a soundscape of Toronto... or a pretty wide soundscape... But Toronto's hard, Toronto's got 104 languages spoken in this city so I mean you know there's how many different kinds of cultural reflection there are, it's a challenge trying to figure out who you're talking to and how.
Toronto has designated some priority areas based on the population makeup of the city, so they have a big priority push on anything South Asian, because of the massive
South Asian population in the city, Latin that's a big wide word - and African Canadian communities. So they have a couple of big key targets. I think they also have Chinese language groups too, but I don't think they do that very well, musically, but they try to address different communities because they are trying to target those communities for potential listenership. But even things like in Vancouver, based on the city they have
96 different targets there, they have a huge Asian and a huge South Asian emphasis in
Vancouver based on that city's population, they have a big Chinese language website
built in Vancouver specifically for it. In the west, we have Aboriginal focuses in some of
the cities that are highly Aboriginal, so it changes across the country on the local
programs which is different from national... it's a complicated structure.
LB: Do you feel that CBC plays "popular music"?
AM: Depends how you define "popular music." Do we play music that sells millions, no.
It's interesting though because I think some people would say that we are playing way
too much "popular music," but we're not playing like the Nickelback's, and the Celine
Dion's and all that. I say we're playing alternative to "popular music."
When we changed to Radio 2, we discovered that the places that played the most
Canadian music in North America were in the United States.
The "Triple A" stations in New York and other places were playing Canadian
singer/song writers and Canadian artists and we weren't in Canada.
LB: Do you think CBC assumes that their audience wants to hear nationally exportable
hits?
AM: I think that we assume CBC audiences want to hear context around music, not so
much hits. I think CBC audiences are curious they want to know and get a grasp on
what's going on in their cities and in their country, and so if there happens to be hits
made, like you know, people get all excited about "Leslie Fiest," well sure she's got some great music, so they're thrilled to know that she's Canadian. Same thing with Neil Young
- so if they have hits then great, but I think the goal of CBC when it comes to music is to
97 inform and enlighten and entertain, it's all those things, I know it sounds like message speak, but that's really what it is.
LB: Do you think that music is looked at as a commodity within the CBC?
AM: No, I don't. I think we believe in the artists, in a big way.
LB: How much control does the host have when selecting songs on a show?
AM: Again, it depends on the different types of shows, on Radio 2 they have the opportunity to influence, but the program is all produced by other people. Radio 1, yeah, well even Matt Galloway he might chose a song, but there's somebody else choosing material for him. He might say things, but the way that it works at CBC is people have ideas and then they create the ideas. When I produced Global Village, I chose all the music, the host didn't, it varies show by show.
LB: For the Toronto based musicians, do you remember any of the names that stood out, any bands that you personally liked or that you were interested to find out about?
AM: We did the first interviews with K'Naann ever done on radio. I'm sure we were important in Kiran Ahluwalia's development. We did a whole lot of work with a band way back, first pan- African band called the Afro Nubians. In more recent times, we're quite involved with Lula Lounge, so we've done a whole lot of Latin Music that comes out of the Lula Lounge.
The equivalent to Lula lounge back then, when we first started, was the Old
Bamboo, which used to be on Queen Street, they were the same kind of place, but that ended. It's wonderful Lula is filling the gap there, I think they're struggling, but they fill in the gap. In terms of specific artists there's many, we're still looking constantly to
98 record. We probably record a couple artists a month that are world music artists here in
Toronto, and that's one of our goals here in Toronto, because in Toronto there's many more high quality musicians than there are in many other cities because Toronto just seems to be quite a center of music excellence and music collaborations... there's a lot of people that have come and settled here... back when I was saying, in terms of the national audience how things have to be of a higher level, we do a lot of recording here in
Toronto specifically because there's a really good quality, the musical quality is really high here, I mean the standards.
LB: What do you think makes CBC distinctly Canadian? What are its themes, what does it stand for as a media source in Canada or Toronto?
AM: The whole goal of CBC is to celebrate Canada, to celebrate Canadians, to celebrate the understanding of Canadians, to celebrate each other. So everything that is done... we're mandated by the government we're mandated by the broadcast act to inform enlighten, entertain the multicultural diversity of the country, in all its facets. We don't have to sell ads, we don't have to sell anything, we just have to sell Canadians, we just have to be able to communicate about the cities that we have and we are. And the cultural make-up in these cities. We are lucky because that's what our goal is, our goal isn't that we have to sort of get a certain amount of ad sponsorship for this, so therefore we have to play this kind of music, because that's where most kind of people listen to this type of music, and then they'll buy these mattresses! We don't do that, so we are very lucky that the goal is about connecting the county. That's huge, and that's very different from anywhere else.
99 LB: Do you think there should be more music played on CBC radio?
AM: Well, we have 24 hours worth of music played on the Radio 2 network. So we have a whole network devoted to it, and then we're going to have, probably up to 20 streams... should there be more on Radio 1, well that's an interesting challenge, because they are not going to put music programs there because they've created a whole music service... when you're thinking of CBC you got to think about it as the two services, there's actually many more than two because we have two French and the Northern one too, but you have to think of CBC as the two services, one as information based with a bit of music in it, the other as music based with a bit of information... it really is the two sides of the coin. Do we answer everything with the two sides of the coin, probably not, and that's why this whole online world, I think, is going to be hugely important.
LB: Also there is Radio 3?
AM: There's the terrestrial radio, which is the information, the music and then the online which is the Radio 3, and Radio 2 is sort of going to become this big portal.
LB: Do they integrate audiences from Radio 3 into Radio 2?
AM: Different audience demo target, Radio 3 is primarily 0 up to 25-30, Radio 2 and radio 1 is 35 - 55, that's the target. There is a place where stuff from Radio 2 and Radio 3 cross, there is that point that there is stuff that's kind of... Radio 3 might be seen by some as more edgy then Radio 2, it definitely is, it's more indie more edgy. There is a point where, for example Joel Plasket or Buck 65 or K'Naann or whoever, where some of their stuff once it becomes something more, more known, more accessible, maybe they grow a little bit, I don't know what it is, but there is a point where it becomes a little bit more
100 accessible and somehow Radio 3 doesn't want it anymore because it's not edgy enough and then it moves into Radio 2.
LB: So it's almost like Radio 3 is an underground vibe?
AM: Because basically everything that's on Radio 3 is unsigned, so the artists submit it... the artists have to own their own rights, this is pre-record label, generally. It's a good way to get in, it's a good way to get exposure because it gets a lot of exposure, it's a fabulous opportunity and eventually when that band gets signed or something they might
not have the rights to their materials...
101 APPENDIX B
DATA SPREADSHEET
102 January 1999 Gtobd Village PtaytisU Jan-99 Now Ma|ttlnt Volumes Now Ma|nln« Concert Listing* VMU Generalized Origins -CBC Radio Generalised Origins Klave Y bongo Kancho ftelaxo Latin. Central and South American Uricins Stockholm hoik Bit Band Northern European Origins Robbie D-Lkious and Dub Jonex, Singa >4, Ntttlk Newell. Bunny Kittah and S 3 guess Bamboo Caribbean Origins Brenna MacCrimoa j Black Kan, Panic, Tuku and Dwayne Morgan Comfort Zone African Ori tint BirolTooaloihi European Origins VW. 18 No. 19 Jan 7,1999 Adam Solomon and TUdsa Bamboo African Origins Karsiiama (Can) European Origins Lei GiangiCan) (v.m.) Other North American Origins DaaRoseberg^ Caribbean Origins Dedeit Prixfvjn.) Caribbean Origins Nord-Sud French Origins Nigel Glass British Isied Origins Cesaria Evora (VJB.) African Origins Diego Marulanda and Pacande (vm.) African Origins Casa da Mae Joaaa Latin, Central and South American Origins Flyma Bulpr Kkzmer Band West Alia Origins Deniae Jones (v.m.) (fem.) African Origins Steel Pulse v.m. Caribbean Origins Mel Theodore vjn. African Oriains Nana Mac Lean fem. Vjn. Caribbean Origins NU Tetter tettefc and the Kusun Ensemble (V.m.) African Origins Celso Machado (v.m.) Latin. Central and South American Origins Asa (fem) (vm.) Other North American Origins Eralio 31 (v.m.) Latin, Central and South American Origins Nidn Sawfacev (v.m.) British Isles Origins TUvin Singh (vjn.) South Asian Origins Oumou Sangare (fem.) (v.m.) African Origins o Muzsikas European Origins u> Yan Kuba Sato (v.m.) African Origins Dusminguet European Origins Madiedeui European Origins Shango Ashe. Jack Duncan -Percussion Caribbean Origins Lady smith Blade Mambaxo (v.m.) African Origins PMB Young Fighters (v.m.) African Origins Victor Jara Latin. Central and Sooth American Origins Silvio Rodriguez Caribbean Origins Joe VwconceUos Central and South American Origins Solv Lkivia Latin. Central and South American Origins Tarig Aboubaker and the Afronubians (v.m.) African Origins Casshra African Origins AFilieta European Origins Tarika (v.m.) African Origins Kiran Ahtuwalia (vm.) (fem.) South Asian Origins Alter Ego Other North American Origins Cuba LA. Caribbean Origins Duaminguet European Oriains El Gran Sikacio Other North American Origin Trian British Isles Origins Levitabon (v.m.) Caribbean Origins Heminia (fem.) (Vm.) Caribbean Origins Amampondo (v.m.) African Origins OrquestaAragta Caribbean Origins HugoTbrres Latin. Centre! and South American Origins Oliver Schroer and Stewed Tomatoes Other North American Origins Nano s. (v.m.) African Origins
Feb-99 Now Mi|nioi Volumes Now Magazine Concert Lbtiap Venue Generalized Origins Generalised Origin* VfeL It No. U. Feb 11 m lFMu Bob* Uemer hud Sutton's West Asian 6ngms Other North American Oriains Iteuhisa Faknda Music GalJenr East and Southeast Origins Dorma Ralph Other North American Origins U of Ts Aits and Science Student \tol. 18 No. 23 Feb IS. 1999 Kedusha Union Centre Caribbean Oricins Jem Cook European Origins Sweat Smsrion, Sri—w L. Power. Kid Rista and the Peace maken and guests W. IS No. 23 Fob 4 1999 ia tribute to Bob Mariev Opera House Caribbean Orii ins Unakunian Seni Decunt Junla East and Southeast Asian Oitnu Feb-99 Now Maaaziae Volume* Now Maiatinc Concert Union Venue Generalized Origins Global Vlllaf e Playlittt - CBC Radio Generalized Origins Sierra Maestro MUKV Hall Caribbean Origin* Vlrttinl Northern European Orizins \W. IS No. 22. Jaa 28 1999 Musk Africa concert Karibu African Origins Marimba • Tun Tun Latin, Central and South American Origin* NW. IB No. 20 Jan 14.1999 SalifKeha Maaaey Hall African Origins Mario Mooatenegro Latin, Central Mid South American Origins Ouaidabananco Latin. Central and South American Origins Habib Kocte and Bamada VJH. African Oriiint Guillomar Campbell and Parabolica (fern.) (Vm.) Latin. Central and South American Orizins Sola* British Isles Origins Silk Road (fern.) (VJL) East and Southeast Asian Orizins Lucius Banda and Zembani Band (v.m.) Caribbean Origins Gametan Sekan Ttmjun East and Southeast Asian Orizins K*rt>tana and Brenne MacCrinunon (fern) European Origins Sierra Maettra Caribbean Orizins Dsio Dominguez Latin. Central and South American Origins Cyril Pzhinai and Bob Brozman Other North American Origins Haripnsad Channsie W.m.) South Asian Orizins Shivkumar Shama and Harinrasad Chaunuit South Asian Origina Te Wka (Aboriginal) (vjn.) Aboriginal Origins The Henry's Other North American Origins James Reyne Oceania Origin Silk Road Music (y.m.) (fern.) East and Southeast Asian Origins Busi Mhlonfo (fan.) (v.m.) African Oriiint Nairn Diabale African Origins Fatou Guewtl and Oroupe Sope Noreyni (rem ) (v.m.) African Origins Grace Noao (rem.) (v.m.) East and Southeast Asian Oritint Bill White ft 330 Project Caribbean Origins Eddie Buiien Other North American Oriiias M AfturoTappin Caribbean On tint § Marista Monie (fem.) (v.m.) Latin. Central and South American Origins Joaouin Diaz (vjn.) Latin. Central and South American Origins Tony del la Roaa Eoropean Origins Uftad Zakir Hussain (v.tn.) South Asian Origins
Mar-99 Now Magnsint Void BIN Now Mainint Concert Listings Venue Generalized Orisini Global Village Playtlsts - CBC Radio Generalized Origins Ladyinuth Black Mambaw with Vol. It No. 30 Mar 23.1999 AbduBah Ibrahim Masscv Hall African Origins Deito Marlunda ft Pucanda (v.m.) African Origina VW. It No. 28 Mar 11.1999 Flamenco De Aver Y Hev Du Maurier Theatre Centre European Oriziiu K/eyoJ Smdikal (v.m.) French Origins MazaMeai Easminister Untied Church European Oritint Sally Nyoto (fan.) (vjn.) African Origins VW ltNo.26Feb25 1999 Israel Vibration Opera House We* Asian Oriiins Tooti ft the Maytals (vjn.) Caribbean origins Vibrasoo n/a Latin. Central and South American Oriiint Martyn Bennett British Isles Origins IdaKelarovt European Origina Djivan Oasparyan ft Michael Brook West Asian origins Madasaacar Slim (vjn.) African Oriams Old Blind Doat British Isles Origins Pepe\fcquez(v.m.) Latin. Central and South American Orizins GuaitJt Latin. Central and South Americaa Origins
Singing Sandra (fan.) (vjn.^ Caribbean origins Lillian Allen (fan.) (v.m.) Sivan Perwer (vjn.) West Asian origins The monks of Keur Moussa African Origins The Plastic People of the Universe European Origins Tatvin Singh South Asian Origins kacph Ashlonf (vjn.) Other North American Origins LoiHermanot Farias Other North American Origins Frifot North American Origins Ttu Moe ft Family with Bob Bremen Other North American Origins Bob Martey ft the Waiters Caribbean origins
Astoo "Family Man" Banett ft the Letendarv Wuler Caribbean oriiint Mzwakhe Mbulj African Origins Maria Kalankml ft AIIIVM Northern European Origins Las Hcnnanac Faez de Camanguey Latin, Central and South Americaa Origins Eliseo Parra European Origins AJpha Yava Dialk) (vjn.) African Origins Mar-99 Now Mttnim Volumes Now Muttia* Concert Lit tines Venue Generalized Oricins Global Vitiate Playlists - CBC Radio Generalized Oricins Silk Road Music fern (yjn.) East and Southeast Origins Yuncchen Lhamo fern (v.m.) Oceania Origin* The drummers of Burundi (vjn.) African Oritins Hum Hour Tu (VJBL) East and Southeast Oricini Anatoli Kutaar East and Southeast Oricins Coba (v.m.) African Oriains Kinc Sunnv Ada (v.m.) African Oricins Misia (fan.) East and Southeast Oricins El KaUi (v.m.) African Oricins Taraf de Haidouks European Oricini Eagle Readier (aboriginal) Aboricinai Origins jazz Jamaica (v.m.) Caribbean oricini L x Maiati Ida A Ida Widawati (v.m.) East and Southeast Origins
Apr-99 Now MIKKUK Volumes Now Magazine Conccrt Lis tints Venue Generalized Oricins Global Village Playliits CBC- Radio Generaliced Origins PandrtJesrqf, Rate Kaminatfi, Kumar NW.II No.33 April 13, 1999 Boee Convocation Hall. U of T South Asian Oricins IV Molly's Other North american Alpha Yaya Diallo Bamboo African Oricins Patrick Street British Uies Oricini Toranie Tabta Eaaesble and Chaealocos Ou Maurier Theatre South Asian Oricins TP Audiarama (v.m.) African Oritini
Battlefield Band Bricantine Room, Harbourfront Centre British isles Oricins Nebs Solo (v.m.) African Origini Ravi &aakar Ray Thopsom Hall South Asian Oricins Anne - Marie N'zie (fem) (vjn.) African Oricins
\«. 18 No. 31, April 1.1999 iCubaaismo! Whh Jesus Akmanv Masse) Hall Caribbean Oricini Cha - Locos (fem) (vjn.) Latin. Central and South American Origins W. 18 No. 30 Mar 23,1999 Com pay Secimdo Muik Hall Caribbean Oricins Mercedes Sosa Latin. Central and South American Origins o DanieleSepe European Origini l/l Timbaiada (v.m.) West Asian Origins Saajukta Sea (v.m.) South Asian Origini Adam sdomn k Tiltisa (vjn.) African Origins Cvril Pahinui A Bob Broanan Other North american MagU Latin. Central and South American Origins LotNocberoi Latin, Central and South American Oricini LosTtes Latin. Central and South American Origins David Bryne Other North american Gonzaguinha Latin, Central and South American Origins GilbenoOil Latin, Central and South American Origins Lauri Mac Donald (fen J Other North american Sergi Ifchepouroov ttfett Asian Oricins Musafair (vjn.) South Asian Oricins Salif Ktita (v.m.) African Oricins El-Founon (v.tn.) Arab Origins Joey Armando (v.m.) Other North american Rajerr (v.m.) African Origins Kalyac West Asian Oricins KolpakovTrio West Asian Origins Thrafde Haidouks European Oricins Y«i Yaaakov European Origins Bust Mhkmco African Orig his Sabri Brothers (v.m.) South Asian Origini Tirana French Origins Binai Gala' a (aboriginal) Other North american Kanuca Little flsh Aboriginal Origins Pointing Father Aboricinai Oricins Hie (ire this time Aborcmal Origins Hednincarna Northern European Oricins El Kadv (vjn.) Other Nonh american Eileen Iven British Isles Ori cms GraobhRna British Isles Oricins
Mar» Now Volumes Now Mainlac Concert Lbliap Vcnne Gtacrslbd Origins Global Village Playlists - CBC Radio Generalized Origins 1 1 1 VcL II No. 39. Mar 27.1999 Yat-Kha and ICiva Reverb Garaaraa Northern European Oricini Gamelan Toronto Consulate Qenertl of Indonesia East end Southeast Oricfos Triakel Northern Evoeean Oricins Mav-99 Now Muuiu Volumea Now Mat viae Concert Lhtincs Venue Generalized Orlcine Global Village Playliiti - CBC Radio Generalized Origins Vol.II No JI May 20.1999 Fatima Miranda Music Oallery European Origins Hoven Droven Northern European Origins Beetria Marques Top o* die Senator Caribbean Onsm* (Jzume Taiko vjn. African Origins Balkan Connection York Quay Centre European Origins Diego Mamlanda & Pacande vjn. African Origins ShiykumarSharma(aantoor) Zakir Hurain (table) Soudt Asian Origins The Bitaerov Sisters European Origins Sargento Garcia French Oricma Menu Chao (v.m.) European Origina Pl8(vjn.) French Origina Baeba Maal (v.m.) African Origina Soreya(fem.)(v.m.) Latin, Central and South American Origina Maria Kalaniemi Northern European Origins Mr. Z European Oricma Kiec Northern European Origina Flymg Bulger Klesmer Bend North American Origins Youaaou N'Dour African Origins Bruce Cockbum and Toumeni Diabato {vjn.) African Origins Anchiskhati Choir Weetont Asia and Eastern European YatKha Eaat and Southeast Asian Origins Andy Pelacio Latin. Central and South American Origina Taj Mahal Other North American Origin Njacko Backo (v.m.) African Origina Leena Joutsenlahti Northern European Oritini Eliseo Panra European Origins My Boys are Good Boys (vjn.) Aboriginal Origins Keith Laplung & the Wtrrinyga Band (vjn.) Oceania Origins DanCompton British Isles Origins Noirin Ni Riain British Isies Origins Micheal 0 Suilleabham British Isles Origina o Natache Atlas (vjn.) Arab Origina cn Ravi Shanker and Zakir Hussein (v.m.) South Asian Origina Leilia European Origina Pan African Orchestra (vjn.) African Origins Ruby Hunter (fern) (vjn.) Aboriginal Origina Liiiaon da Kinero (vjn.) Other North American Origins Rumba Catada Latin. Central and South American Origina KepaJunkera European Origins Carlos Nunc* European Origins Udit Naryan wn. Sou Eh Asian Origins Alka Yegnik (vjn.) fem) South Asian Origins Caearia evora (v.m. i tfem.i African Origins (Wnama Northern European Origins Hamxa El - Dm (v.m.) African Origins Buena Vista Social Club Latin, Central end South American Origins Ibrahim Ferrer (vjn.) Latin, Central and South American Origins Daddy Lumbe (vjn.) African Origina Oeorte Qeo (v.m.) Eeat and Southeeet Alien Origina Liuo Nebbia Latin, Central and South American Origins Silk Road Music East and Southeast Asian Origins Khac Chi ensemble recorded et the harborfront centre (fem) (vjn.) East and Southeast Asian Origina
JUB-W Now Magazine Volumes Now Magazine Concert Listings Venue Generalised Origins Global Vlllace Playlleti - CBC Radio Generalised Origins
VW. It No. 41 June 24.1999 Krotfyih Howard Johnson Ballroom Caribbean Origins Mecuaa recorded A the Luta Lounce, Toronto, On. Caribbean Origins vol.ltNo.42Juml7.l999 Culture with Joseph Hid Island Club Caribbean Origins Compey Sec undo y au Orupo (v.m.) Caribbean Origina Samba Squad Tatte of Little Italy Latin, Central and aouth American oritini Mate Mexe European Origins Rick Shadrach Law and Muntuno Vol. IB No. 41 June 10,1999 Police Du Mtuner Theatre Other North American Origins Diego Marlunda & Pacande Latin, Central and South American Origins Daniel Hueto Taate of Little Italy Latin, Central and aouth American origins VU.lJNo.46June3.IW iJsmiapkarei with Triqhy Sankaran Du Maurier Theatre Sou lit Aaian Origins
Vol. It No. 39. May 27.1999 Pedro Ketri Com fbrt Zone Latin. Central and aouth American origina
Pucho and hit Latin Soul Brother* Com tart Zone Latin, Central and aouth American origins Jul-99 Now Mt|nia« Volumes Now Magazine Concert List int> Venue Generalized Origins Global Village Ptayllsts - CBC Radio Generalized Orlgini VW, 11 No. 47 July 29.1999 Rettaebana, Toronto, Oa Caribbean Oritini Jos* Merc* European Origins Iboden Rettaebana. Toronto. On Caribbean Oritins Rachid Ifcha. Cheb Khaled. Faudel (v.m.) Arab Origins KiddRasta Reatarbana. Toronto. On Caribbean Oritini Zebda(vjn.) French Oritins EekAMouse Rettaebana. Toronto. On Caribbean Oritins Soirit of the Youth Other North American Oritins Csiol Brown Reggaebana. Toronto. Oa Caribbean Origins Dookhobor Ladies Choir (fem.) Other North American Origins AWMII Rettaebana, Toronto, On Caribbean Oritins Kootenav Men's Choir Other North American Origina Beads Man and the Shocking Vibei Crow Rettaebana. Toronto. On Caribbean Oritins Papo ROM ft Orouesta Pambiche (v.m.) Latin. Cenml and South American Origins Nano McLean Rettaebana. Toronto. On Caribbean Oritins Virginia Rodritues (v.m.) Latin. Central and South American Oritini Bit Youth Reaaaehana. Toronto. On Caribbean Oritins WbnmeSaari Northern Euroucau Oritins Island Club Rettaebana. Toronto. On Caribbean Oritini Nu Vfbes (vjn.) Caribbean Oritins Beenie Man Jv.m.) Caribbean Oritini Vol. M No. 46 July 15.1999 Van Li* Convocation Hall Fiench Oritins OtheUo Motineaux (vjn.) Caribbean Origins Toronto Fiesta, St Clair West and East Vol.18No.45. July 1,1999 Os Pattens Court Park Caribbean Oritins Thomas Mapfumo ft Btacks Unlimited (v.m.) African Origins Toronto Fiesta, St Clair West and East Patria Court Park Other North American Oritins 11»*« Other North American Oritins Toronto Fiesta. St Clair West and East La Banda Bella CounPark Latin. Central and South American Oritins Lhasa deSela (fem.) Other North American Oritini Toronto Fiesta, St Clair West and East Mexe*Mex< Court Pak European Oritins Toumani Diabats with Ballake Sissoko (v.m.) African Origins Toronto Fiesta, St Clair West and East Dotnintcanada Court Park Latin. Central and South American Oritini Cordet en Folie Eastern European Oritins W. 18N0.44. July 1.1999 Mut Meri Mute Gallery European Origins Dennis Brown (v.m.) Caribbean Oritins Remember Shakti with John McLauthiia and Zakir Hussain Motion Palace South Aiian Origins Sekat Oamelan Selonding Swhnala (v.m.) East and Southeast Asian Origins VW.18 No.41 Jtme 10,1999 Alpha Yaya Diaiio and mcsti Downsview Park, Canada Day African Origins Remember Shakti Iht <9 T.O. South Asian Oritins Wsidemsr Banos (v.m.) European Origins Kepa Junker* Lui Pui Ming (fan.) (vjn.) East and Southeast Asian Oritins Petxunkt Oceania Origins Madagascar Slim (v.m.) African Origms Laurel Mac Donald Other North American Oriaias i i Chucho VWdes e Iralaere (vjn.) Latin, Centrali and South American Origins i 1 Oacar Lopes (v.m.) j Njacko Backo (v.mj African Origms Ekmo AH (v.m.) Aftkan Origms Thomas Mapfano ft Blacks Unlimited (v.m.) African Origins Carpati \Mect Asian Origins Sephardic Tinge West Asian Origins Kkanstici West Asian Origins Lhi tag (fem.) (v.m.) East and Southeast Asian Ori^ns Kamkart (vjn.) Arab Origins Okj(vjn-) East and Southeast Asian Oritint Krosfayah (vjn.) Caribbean Orinins Cheza A/Wean Oriains Mad Pudding Other North American Oritins |
Cvril Pahinui ft Bob Brozmanl Other North American Origins 1 1 Z Other North American Origins Bruce Molsky Other North American Origins Chiwontso (fem.) (v.m.) African Origins Amadou ft Marian (fem.) (v.m.) African Origins Bust Mhiongo (fcm.) (v.m.) African Origins Cascabufiio (v.m.) African Origms Susana Baca (VA.) Latin. Central and South American Oritini Roger Gibbs Other North American Origins Sabah Fakhri (v.m.) Arab Origins Noa(fem.)(y.m.)
1 1 1 1 Vfcst Asian Origins 1 Other North American Origmi Oliver Mtnkuda (v.m.) African Origins ICiyoghi Nsgata East and Southeast Asian Orient Tbromo TabU Ensemble (vjn.) Sooth Arfan Oritins Oraoo el ww (Vm.) Caribbean Ori|jM Aug-99 Now Magazine VUumci Now Mngactae Concert Lis Huts Venue Generalized Origins Global VUInge Playtists - CBC Radio Generalized Origins
VW. IS No. 52. Am 26.1999 Steel Pulae Molson amphbeatre Caribbean Origins RokiaTraore(vjn.) African Origins TliodttWd Molaon ampitheatre Caribbean Origins LesColocs Other North Americaa Oigini Maxi Priest Molson ampitheatre Caribbean Origins Liliaon di Kmara (v.m.) Other North American Origins (Cleaner Conservatory Band Molson Place West Asian Origins Jackie Daly British Isles Origins
Fiymg Bulger KJezmer Band Briguitine Room, Harbouftont Centre West Asian Origins Fmtan Wlely Other North American Origins
Paradox Trio BrtKantme Room, Harbourfront Centre West Asian Origins EstreUas de Areito (v.m.) Caribbean Origins KJezmer in Buenas Aires Lakeside Terrace, Harbourfrant Centre West Asian Origins Sivsn Perwer (vjn.) Arab Origins Dave Douglas and charms of the night *> Bri gintine Room, Harbourfront Centre West Asian Origins La Barberia del Sur European Origins Caschat with Jorge Lopez Yortc Quay Centre Latin. Central and South American Origins Ketama. Diavan ft Banda Feminina Dida (v.m.) Latin, Central and South American Origins NfeJ.lSNo.51 Aug 19.1999
Yousaou N'Dour Metro Square Kulanian floumam diabate ft tai Mahal) (v.m.) African Origins 1 1 1
African Origins i 1 Alliance Ethink Metre Sauare French Origins Celso machado i Aiuwind Lakeside Terranoe CMfif Wsat Asian Origins Tfcrducd Eurooean Origins Chen Dnfang. Chen Peixan, Chen Quigo, Chen Yin, Flying Bui gar KJezmer Band Lakeside Terrace, Harbourfront Centre West Asian Origins Luo Daothong (vjn.) East and Southeast Asian Origins
Paradox Trio Brigantine Room. Harbourfront Centre West Asian Origins Mahlathini ft the Mahotella Queens (v.m.) African Origins Vol, UNo. 30 Ana 12.1999 Jane Buanett md the Seiriu of Havana TD Jazz Festival Caribbean Origins Michael Franti (v.m.) Other North American Origins Adriano Rodriguez and Edeiw Alejandro CNE,7orooto, On. Caribbean Origins JoanBaez Other North American Origins Vol. 11 No. 49. am 3.1999 Baaba Maai Band Roy Thooasoa Hall African Origins Ani Difranco ft Utah Phillips Other North American Origins Oliver Mtulaidzi and Kulanjan - Africa Ftie ROY Thooson HaH African Origins Danietla Residu (v.m.) African Origins \feLlSNo.46 July 15,1999 Los Lobos Lee Palace Other North amcrican Origins Jocehm LevailUmt (v.m.) Other North American Origins
Alain Dommgue (vjn.) 1 African Origins 1 f i M
o E 00 African Origms Grace Nono (v.m.) East and Southeast Asian Origins I wayan Kiler Aryasa (v.m.) East and Southeast Asian Oriains Jotiie Rov. Mario Gendrom. Looisc Naubert Other North American Origins KJezmer Conservatory West Asian Origins Oacariopez Latin, Central and South American Origins Jazz Jamaica (v.m.) Caribbean Origins Koo Nimo live $ Toronto, On. Afrofest (vjn.J African Origins Thomas Mapfumo ft blacks unlimited live @ Toronto, On. Afrofest African Origins
Seo-99 Now Maiatiac Voloraes Now Magazine concert listings Venue Generalized Origins Global Village Ptaylists - CBC radio Generalised Origins Jfncky Y«lcana and katalkuch Vbl. 19No.3SeiH.30.1999 Subramamam Music Gallery South Asian Origins MiUadoiro rec. live Q the museum of civilization British Isles Origins LoavanVfcn Government Caribbean Origins Radio Tarifa (v.m.) European Origins Amr Diah and Stevie B: Arabian \fal. 19 No. 3 Sept 16.1999 Canada's Vfonderiand Arab Origins Marvam Mursal (v.m.) African Origins Vbl. l9No.2SepL9.t999 CbadwVUttt Quintet MasseyHall Latin, Central and South American Origins Drummers of Burundi (v.m.) African Origins Vbl 19 No. 1 Sept 2,1999 Khevrisa Ijdccside Terrace. Harbourfront Centre West Asian Origins Natacha Alias (v.m.) Arab Origins Ashkenai QiclnWia Project and Dave dougias aad Charms of the Niiht Sky Britantiae Room. Hartourflront Centre West Asian Origins Natalie MacMaster Other North American Origins WUIY Schwari Lakeside Terrace, Harbourftont Centre West Asian Origins Musaftr (vjn.) South Asian Origins Lakeside Terrace, Harbourfront Centre Yuri Yanakov Ensemble and Brigantine Room European Origins Wimmie Aboriginal Origins Pwette Del Diablo and Orupe Mora @ Hispanic Fiesta Mel Lastman Square Latin. Central and South American Orients BmeCockbum Other North American Origins UBanda Bella Mei Lastman Square Latin, Central and South Americaa Origins Kassav(jn.) Caribbean Origin Esmeralda Enrique Mel Lasbnan Square Latin, Central and South American Origins ICdlang Other North American Origins Meaner in Buenos Aires l akeside Terrace and Briiantine Room West Asian Origins UZUBC taiko East and Southeast Asian Origins Saa Frandaeo Meaner Experience Moboa Palace Wast Asian Origins BareBiao European Oriains David Knkmrt Khsmer Madness Lakeside Tbnace and molson Place Vfast Asian Origins Edrwiison do pcfano (vjn.) European Origins Donndcanada Mel Lastman Sauare Latin. Central and South Americsn Origins Haaidic New %ve (vjn.) West Asian Origins FWfat Balnr Kkver Band Molaon Place West Asian Origins New YiddiA Chorale West Asian Origins Lenka Lkhtenberg Group Quean's Quay West Asian Origins EaflZrihaet Wsst Asian Origins 11-tiasKDc .1 Jl.. New««. Mlwave . Bricantine Room, Harbourfront Centre Wsst Asian Origins Jatin Lalit (Vjn.) South Asian Origins Sen-99 Now Mausinc Volumes Now Mitnint concert Ustinn Venue Generalized Origins Global Vttlace Playiists - CBC radio Generalized Origins New Yiddish Chorale Molaon Place Vfest Asian Orifins Tbraato Jewish Folk Choir Prim krt Dance Theatre West Asian Origins David Rudder (vjn.) Caribbean Origini
EmilZribsn Brisantine Room. Harbourfront Centre West Asian Orifins Franco & OK Jazz (v.m.) African Origins
Ashkenex Festival All- Sur Dance Party Brigantine Room, Harbourfront Centra West Asian Origins Duan Mao (v.m.) East nd Southeast Asian Origins Anne Katmerin|Trio Biiantine Room West Asian Origins Chucho VWdes (vjrn.) Latin. Central and South American Origins Alberto y la super Banda @ Hispanic Pierre Michel menard and gilles vigneauh Fiesta Mel Lastman Square Latin. Central and South American Origins (composer) (v.m.) Other North American Origins HuTsa-TSa Queen's Quayjg Newcount Centre West Asian Oriains Sonny Chillmgworth Other North American Origins Artirfwt Fidl Kapeiye Pram iete Dance Theatre Wsst Asian Origins PacoPeoa European Origins VU. iSNo.52Aui.26,1999 pgotdnlo cww Mel Lastman Sauare Latin, Central and South American Origins Shlomo Bar and Habreta Htiveet Wsst Asian Origins The Wjrld life crew Mel Lastman Square Latin, Central and South American Origins liana Eliva (vjn.) Arab Origins Vol l8No.5i Aui 19,2999 Loner and Wall Lakeside Terrace Caft Vfest Asian Origins East west ensemble West Asian Origins Mosafir part of the Small World nunc festival Du Maurier Theatre South Asian Origins The Dlwan Quartet (v.m.) West Asian Origins Vol. ltNo.S0Avtl2.1999 EtiadesOehoe Music Hall Caribbean Origins Arab Music Orchestra (v.m.) West Asian Origins Yair Dala and Tarab Ensemble (v.m.) West Asian Origins Sheva West Asian Origins
Oet-99 Now Magazine Volumes Now Mataxtae concert listings Venue Generalized Origins Global Village Playiists - CBC Radio Generalised Origins Vol. 19 No* (let U. 1919 Raben Gonzalez Massev Hall Caribbean Origins Sachiko Kanenobo (rem.) (v.m.) East and Southeast Asian Origins Kiyoshi Ne§atu TSiko Ensemble U ofT Scarborough East and Southeast Asian Origins Tapis eta Leturia European Origini Marcelo Poente Blackford Centre Latin, Central and South American Origins Pieortek Lemou at Patrick Lefebvre British Isles Origins Ian Itomas and Frank!ia Telle Han House Latin. Central and South American Origins Domin Other Nonh1 American Origins1 i i 3 J u 8 o Paris Kvir Du Maurier Theartre Centre Eastern European Oriziiu Inti lllimani S 10 RaviShankar Rov Thompson Hall South Asian Origins Sam Mangwana (v.m.) African Origins Vol. 19 No.? Oct. 14.1999 Reecae Cowboys Bamboo Caribbean Origins Michael Brook and Djtvan Qasparyan (v.m.) Vfcst Asian Origins snd Eastern European Origins Doula York Qua^Cente Arab origins Orchestic National de Barbes (vm) Arab Origins ZanMama Phoenix African Origini Cesaria Evora (vjn.) African Origins Uzismedoma Kathedml European Origins Lache cercei European Oriains VW. 19 No. 6 Oct. 7,1999 1-akshml Ranganathan Convocation Hall South Asian Origins Benoguetto European Origins Ann Kalte Convocation Hall South Asian Origins MxZ Eastern Euopean Origms Ottmar Liebert Convocation Hall Sooth Asian Origini Brenda Faasie (v.m.) African Origins LunaNegra Convocation Hail South Asian Origins Fetni Kuti (v.m.) African Origins Trichy Sankaran and Karalkudi Musk Gallery South Asian Origins Mirosiav Minks European Origins Nfel.19No.4Sepv.23.1999 MehrandSherAli Roy Thompson Hall South Asian Origins Hana a Petr Ubvchovi European Origins Buena Viita Social club Massev Hall Latin, Central and South American Origins Orkiestra St. Mikoiaia European Origins
Nov-99 Now Magazine Volumes Now Magazine concert Listings Venue Generalized Origins Global VPlage Ptaylists - CBC Radio Generalized Origins Nov. 23 vLl.i^No. 13 Nov. 23. 1999 Arture Sandoval Ford Centre Caribbean OHfin* KmfVah (v.m.) Caribbean Origins East and Southeast Asian Origins and World Music Ensemble Edward Johnson Buildini African Origins Kamkars (vm.) Arab Origins VW 19 No. 12 Nov. IS. 1999 lid Latvian Latvian Canadian Cultural Centre Mercedes Sosa (von.) Latin. Central and South American Orifins Paco de Lucia Sextet Massey Hall European Origins Dissidenten (v.m.) European Origini Vtt. 19 oa 11 Nov. 11,1999 Singh Hart House South Asian Origins Manickam Yogeswaran (vjn.) South Asian Origins Annan Eariauez Convocation Hall Caribbean Origins George Dalaras European Origins Thsa Downward Dot Yoga Centre South Asian Origins Sao African Origins Mefaivcnan Ensemble Whiter Hall, University of Toronto West Asian Origins Rakoto Frah (v.m.) African Origins Raviabankar Roy Thompson Hall South Asian Origins Cordei en Fobe Other North American Origins \W. 19 No. 9 Oct 2S. 1999 Toronto Tabia Enseabk Du Maurier Theatre Centre South Asian Origms Gang Chenpa (VJB.) East and Southeast Asian Origins
Dee-99 Now Magntbse Volumes Now Magazine coaccrt Listings Venue Generalised Origins Global Village Playiists - CBC Radio Generalised Origins Vol, 19 NO. 11 UK. 30 1599 Wave Y Kongo Lee's Pafce Lain. Central and South Amcncsn Orients Joelie Rov (fen.) Other North Amcricaa Origins Alberto albcrto Lee's Palace Latin. Central and South American Orients ErieDubeeu Other North American Origins Evaristo Machado Lee's Palace Latin. Central and Sooth American Origins Zao Mama (vm.) African Origins YuPkachen York Quay CenQ-e Eaat and Soohean Asian Origins HansTbeestnk Northern European Origins Tito Poems and Ivaaa SantUli Massev Hall Latin. Central and South American Origins Attn British Isles Origins Kmmba York Quay Centre Africa Origins Carios Nunez Eiaopean Origins Aire Cuban Ail Stan Massev Hall Caribbean Oriems Arab Origins Dee-99 New Miiuiac Volumes Now Magazine concert Uatinci Venue Generalized Oricins Global VUlace Playllsts - CBC Radio Generalised Oricins
VW. 19 No. 17 Dec. 23.1999 The Teinyuk linen n/a Eastern European Online Mxal Samplini Caribbean Oricins
MJL 19 No. 16 Dec. 16,1999 Bulgarian children's Opera Du Maurier Tbeaot Centre European Orixini lid Dunya Ouanet European Oricins Rocer Scannuni and Ritmo Flamenco York Quay Centre Eaopean Origins Jams European Oricins VW, 19 No. 13 Dec. 9,1999 Yartiza Martinez Du Maurier Theatre Centre Caribbean Origins Poeia Macica European Oricins HilarioDuran Du Maurier Theatre Centre Caribbean Orifins BiUy Picc British Isles Oricins Vbi. 19 No. 14 Dec. 2.1999 Klezmer Conservatory Band Ford Centre West Asian Oritina Mahoud Fadi (v.m.) African Oricins Medina York Quay Centre West Asian Ori fins END OF 1999 GLOBAL VILLAGE Playllsts Man bo Urban© Orchestra The Rivoli Latin, Central and South American Orifins
Jan-01 Now Magazine Volumes Now Maiulai Concert Listings Venue Generalised Origins Global Vitiate Playllsts - CBC Radio Generalized 0rights vbl.il No 17 Dcc 17.1601 Jan 2. 2001 The Flyina Bulaar Kfczmer Band Royal Ontario Museum West Asia Ori ens Archie Roach (v.m.) Aboriginal Orifinj Vrflhai Rao (v.m.) South Asian Origin* Basfcraf (v.m.) Arab Oricins Sahah Habaa Mustapha and Jugala All start (vm ) East and Southeast asia orifini Asian Oricins Siboncile Nene (Fem.) (Vm) African Oricins Dupain French Orifins The Boyz from Brazil (vm) Latin, Central and South American Orifini Tatdarians (v.m.) African Origins Gilberto Gil (vm.) Latin. Central and South American Oricins Komoi British Isles Orifins Roter Cibbs Other North American Oricins Rukanas (Vm.) Latin, Central and South American Origins Kapela Ze Wsi Wnzawa European Oricins Maria Tanase (fem.) European Oricins Comper Segundo (v.m.) Caribbean Origins EUades Ochoa (vm.) Caribbean Origins Funk *n lata (v.m.) Latin, Central and South American Origins The bollywood Bran Band South Asian Orifins Jienat Northern Eurooean Oricins Marcio Faraco (v.m.) Latin, Cennl and South American Origins Rokia Traore (fem.) (V.m.) African Oricins Mithtv Fopo African Orifins Salsa CeiUca Caribbean Orifins Finian West Asian Origins Zoioiotfem.) (Vm.) Caribbean Origins Tidal Wives (v.m.) Africa Oricins CUIQIICJVJB.) Caribbean Oricins Bumini Spear (v.m.) Caribbean Oricins Sawtcl Alias (v.m.) African Oricins Dulce Pomes (fem.) European Orittns Spaecamapoti European Orifins Conzalo Auhiialpi (v.m.) Other North American Oricins
! Marcio Faraco Latin. Central and South American Orifins Roaella Fnwer (fem.) (Vm.) Other North American Origins i Anne Ledetman (Fem.) I Tipia ft Leturia (v.m) European Origins Oad Echeverria (v.m.) and Ronv Hemendez (vm.) Latin. Cennl and South American Oricins Unicornio Caribbean Oricins El Urram (vm.) Aboricinal Oricins Lalat Kin(v.m.) Latin. Central and South American Oricins Ocnien 1 Priiatelii European Orifins Lailco Felix Eastern European Origins San Villacen (vm.) East and Southeast asia oricins Asian Oricins Carlos Nunez European Oricins Celia Cruz (feat) (V.m.) Caribbean Oricins Amadou ft Miriam (Tern.) (Vm.) African Orifins Kayhan Kalhor (v.m.) and Mohammad Una Shaiarian (v.m.) Arab Orifins JlD'Ot Now Magazine Volumes Now Conctrt Listings Venue Generalized Origins Global Village Playllsts - CBC Radio Generalized Origins 1 1 i I J 2 i I Other Noith American Oritins Sonnv Chillmiworth Other North American Oriiins Kkzseraato West Asian Orifini David Jadsoa Diieridu (v.m.) Oceania Origins
Ftb-OI Now Miiuist Volumes Now Magazine Conetrl Listings Venue Generalized Origins Global Wage Flaylitts - CBC Radio Generalized Origins
Jan. 2.2002 Senmtion Band • Bob Mariey Tribute Opera House Caribbean Oritins Jane Bunaett (Canadian) and Spirits of Havana (v.m.) Caribbean Oritins
Majestic Wwriors - Bob Martey Tribute Opera House Caribbean Origins Gnaw *toca! Desandana (fan.) (V.m) Caribbean Oriains Leejahn • Bob Marky Tribute Opera House Caribbean Origins Shafts Shannon (fem) British Isles Ori|ins Kluled and Hftkim Massey Hall African Origini Chieftains ei si British Isles Oritins VW. 20 No. 23 Feb. 22-24, 2001 Gypsy Jive Band Free Times of Caft West Asia Origins Giallariions Northern European Origins Vfel. 20 No. 23 Feb. 22-21, 2001 Jane Burnett and Frieadi Gkna Gould Studio Caribbean Origins Rocky Dawani (v.m.) African OriiiM Paolo Cwtte Massey Hall Eureoean Oricins Nutfrmt Fateh Ala Khan (vjn.) South Asian Oritini Sattatites Bamboo Caribbean Origins Chaka Khan (fern.) (Vjn.) Other Nonh American Oriiins Nomads 309 Pub A Wine Bar Caribbean Orisins Ousnentote (vjn.) Caribbean Oriiins Oiu Xia He -Silk Road Musk (v.m.) (fern.) East and Southeast asia oritini Asian Oriiins Led Kaapana (v.m.) and Bob Bfozman Other Nonh American Oriiini Onipo Mxal Duandann (v.m.) recorded @ the Haibourftoot centre Caribbean Origins Orishasrecrded live at harbourftoni centre, to Caribbean Oritini The realOnes live 01 the Clutch. tawouver Northern Euroocan Oritins 1 1
FUliaoo Gambetta European Orifini1 1 s I
Sandra WNU (ton.) (vjn.) 1 i i 8 • Cordesen Foties Amir Koushkani A Ruhafza Ensemble (V.m.) Arab Oritins George Kahumoks Jr. (vjn.) and Led Ka'apana (v.m.) and Keoki Kahumoku (vjn.) and Owana 1 (fern) (vjn.) Other Nonh American Oritini Joaquin Diaz (v.m.) Latin, Central and South American Origins Giallathom (fem.) Northern European Oritins Sharon Shannon (fan.) British Isles Oritins Kathrvn Tickell (tan.) British Isles Oritins Salsa Celtics Latin. Central and South American Oritins Kiraa Ahhiwalia (Fem.) (V.m.) South Asian Oriiins Anakhi (VJQ.) South Asian Oriiins Alaap(vja.) South Asian Oritins Bombay Talkk (vjn.) South Asian Oritins Jazzy B. (V.m.) South Asian Oritins Bruce Cockbura (Vat.) tee. Uve % Massey Hall. Toronto Other North American Oriims SalifKeha(vjn.) Aftica Oritins Paolo Corte European Oritini IWBBO Gondim (v.m.) Latin. Central and South American Oritias Uakti (v.m.) Latin, Central and South American Oricias Kau (vjn.) Latin, Central and South American Oritins Mawaca (feat.) (vjn.) Latin, Central and South American Oritins Kjai Posse fvjn.) Caribbeaa Origins Vladimir sidorov Northern European Oritini
March 2001 Global Village PUylisti - CBC Mar-OI Now Magazine Vohtmc* Now Matniat Concert Listings Venue Generalized Orpins Radio Generalized Origins VW. 20, No. 30 Mack 29 - Trichy SazJcaren and La Lgudi Grj St George - 4s Uartjrr Ao|lka Puis to Kytv m Concert rec. (g duMaurier Theatre, Aprfl4,2001 Krishnan Qtttreh SotahAsiaa OriiiM Toronto Eamm Earopeaa Origins Son Ache Cereveiaria Caribbean Oricias Mazs&as rec. live d LulosJtwiki Theatre. Wmaw European Oricias TWde Haidouks (VA.) European Oritias Plo Siena Plena (vja.) East and Southeast asia oritins Asian Oritins Thai Ekahant Orchestra (vja.) Eait and Southeast asia oritini Asian Oritias Giomtr Campbell (Feat.) fvja.) and Farabolica Latin. Central and South Americaa Oritins Allan British Isles Oritins March 2001 Global Village Haylats - CBC MaHIl Now Matacioa Volumes Now Mimifli Concert Lis tines Venue Generalized Oricins Radio The Maroforo Jan Band (VJB.) leader: Mbarica Mwinahebe (vn.) African Oricias Creole (v.m.) Other North American Oricias Vamma ittm.) Noitheni Eoreoeaa Oricine Saced Ferou|U fv m Ptomsio Bolivar (v.m.) Lana. CeassJ and South Americaa Oricins FiUiooo Gambctta European Oricias Johnny Ckaa and Jahika (VJB.) amt ftavnln (VJB.) African Oricins Taiwan Labour Exchanae Band (VJB.) East and Sootbeaat asian cristas Jane Bimaett (Fem.) and spirits of Havna (VJB.) Latin. Central and South American Oricma Tbnv C (VJB.) Own Kva (VJB.) and Hum Htua (v.m.) East and Southeast aaia oriciaa Asian Oricins Bic city Bmid (v.m.) Other North American Oricins Saatav Fernandez ft Grotm (VJB.) South Asian Oricina Chava Alberstein (fern.) and Wut Asian Oriatna Sift Choir (v.m.) (Am.) Afhcaa Oricms Henry Castro (vjn.) Latin. Central sad South American Oricins Sharon Shannon (fea.) British Isles Oricins Fisncii Be bey (v.m.) Afttean Oricins Marco Tuiio Pinelo (v.m.) Latin. Central and South American Oricina Kavala (VJB.)
Grace Nono (fem.) (Vm.) East and Southeast asian oricins Dona Rosa (disabled) (fem.) European Oricins Reiaa da la Teia (VJB.) Latin. Central and South American Oricins Araca La Csna (VJB.) Latin. Central and South American Oricias Soaccanapoli European Oricins Takadia (fem.) (V.m.) Afhcaa Oricins Moatcorbier Other North American Oricins Yockaao AH stars Other North American Oricins Salem Tradition Aftieso Oricins Mihoro (VJB.) recorded live in Pan St. Louis East snd South east asian Oricins Kocani Orkeatar (v.m.) leader Naat V%hov (v.m.) European Oricins Diivan Gasoerran Arab Origins Gennadi Tumat (vmj Ea« and Southea* tsiaa oricins Tank ft Juki Bans (vjn.) European Oricins Eliades Ochoa (VJB.) Caribbean Oricms Can. Profile Sam shalabi (VJB.) Other North Americaa Oricias Bruce Cockbuni Other North American Oricins
Anr-01 Now Magazine Voiunti Now Magazine Coaccrt Ultkp Venue Generalized Orients April 2001 Global Vitiate - CBC Radio Generalised Orifins MM.'M No, 34 April 26 - May 12001 Shahrin Nami Dastaa Ensemble Minider Auditorium Arab Oricins BeshODrom European Oricins Panha Boee and Esha BOM: sitar and voice MDO studios South Asian Oricins Dusmtnauet
Tua with Baaeshree vaae Bricantiae Room. Harbomfront Centre South Asian Oricins Kiimn Ahluwalia (Fem.) (v.m.) South Asian Oricins Toronto Jewish Folk Choir Temole Sinai West Asia Oricins Sam Mancwana (v.m.) African Qriains Rick Shadrach Laarand Mootuno Police Du Maurier Theatre Centre Other North American Origins Kinc Chanco (vjn.) Caribbean Oricms SoaAcbe Cerveiaria Caribbean Oricina Vibrasea Bamboo Latin. Central and South American Oricins Orishas (vjn.) Caribbean Oricins VbL 20 No. 33 April 19-23, 2001 Am Bricantine Room. Harbourfhmt Centre Other North Americas Oripns Sabo Martinet ivjn.) Toronto Tsbla Ensemble M-Do Studios South Asian Oriens Omar Soaa (VJB.) Caribbean Oricins Moreno VWoso (vm.) Lada. Central and South American Oricias Radio Nomad and Maaa Neshma Pilot Tavern African Oricms Gary Kiyoahi Nacata (vjn.) East and Southeast aaaaa oricina Vbl 20 No J2 April 12-14, 2001 be Ono and lUa \Mva Hart House. U of T Caribbean Oricins Jpp Northern Eurooean Oricins The Real Ones rec. live § Vancouver East Cabanl Celtic Cross McVeigh's British Isles Oricins Centre Caribbean On cine QjaBarhoni rec. live® Christ Chareh Cathedral. Black Rood Radio Bamboo Caribbean OriciBS Ntacoover Vbl20NoJlApril5.ll. 2001 EttadeaOchoasndCunarTetoPatria Capitol Events Theatre Caribbean Oricins La Bottine's Sonriants Other Nonh American Oricms Aor»01 No* Mat nine Votuaaci Now Magazine Concert Lot lots Venue Generalized Origins April 2001 Global Village - CBC Radio GeneraUaod Origins Orioestra KsvJ VorfcUuav Centre KmtSelah Bamboo Yves Lambert 1 I I J Arab Origins ; .
Vbl 20. No. 30 March 29- 1 1 1 1 1 1 1 1 1 8 3 April4,2001 Mystical Am of Tibet Roy tbommoo Hall Carioi Placercs 8 Paco De Lucia Rov thorn peon Hall European Origin Trakv (v.m.) Flying BoJgar Klezmer Band and Medina fUroli VfcstAsiaOritini Maria Marquez (fem.) (v.m.) Euraesan Orictm Stwsa Perwer (vjn.) Etoooeaa Oritim Aftieaa Oritms Pedro Luis Ferrer (v.m.) Caribbean Oritim
Filltooo Oambetta
Carlos Nwez European Oritim Nortec Collective Kanehi: io Aboritinai Oritim
Mav-01 Now Miioiot Volumes Now Magazine Coacert Lis dags Venue Generalized Origins May 2001 Global Village - CBC Radio Generalized Origins
VW. 20 No. 33 Mav 3*9.2001 SDtrirwiod - Baanfees and ^feeall Eslintoo St. Ceontc's Church Britub lalea Oritias Sinbo "Hotsdx* Mabuae Aftieaa Orieias Barbados on the water, Harbourftont Andy Earie and Saokev Burke Centre Caribbean Oriains Paul Simon Odtar North American Origim Miriam Makeba{fem.) (V.m.) African Oritim SoaAcbe Cervciaria Caribbean Oriains Carlos aunez Filo Maehado Una Mai Latin. Central and South American Oriains Boatich (v.m.) Other North American Oritim u> VW.2UNo.36 May 10-16. 2001 Giovanni Hidalto and THchv Sankaran Earl Hait Hith School South Asian Origins Jim Psvnc Other North American Oritim !
Celso Maehado ud Romero 1 1 i i 5 Lumbambo laabel Bader Theatre Fertui CQvnte Other North American Oriaim Carta Manhall Bamboo Caribbean Oriaina Ibrahim Ferrer (v.m.) Caribbean britim Laser Curreat Bamboo Caribbean On aim Kaaenhi: io Sinters aboritinai (Fem.) (v.m.) Aboritinai Ori tint Maxi MiQian Bamboo Caribbean Oritim Bau (v.m.) East and Southeast mm origim Mz. Cooper | Bamboo Caribbean Oritias Battlefield Band Britiah IalesOritau Soo Ache Ccreveiaria Caribbean Oritias Ibronio Samba School Latin, Ceotral and South Amcricaa Oritim Can tor Yaafcor Mown Shaarei Shemavim Contrcsxtion Vfcst Asia Orisini 1taperatrii leopoidineme (v.m.) Latin. Central and South American Oritim VU. 20 noJ7 May 17-23, Kooyate sory lranriia et son trio de musique 2001 Winnie Czutimki: Lady of the Dulcimer Church of the Holy TVmitv East and Southeast Asian Ori tins tradhxjoelic (v.m.) African Oritim 1 J Vibrasoe Bamboo Latin. Central and South American Oritim Aftieaa Oritim
Brian Blain and Mad^mcar Slim Tianzac ! African Orient Ballake Stssoko (v.m.) African Oritim African Liberation Bamboo African Oritim Salif Ketta (v.m.)
i African Oriaina s i i & Samba Squad Reverb I CoulibetjJbos. (vjn.J African Oritim Buttah Bamboo Gvmv Jazz Jam Ttauac Snniltfte (v.m.) Moatuno Pobcc Reverb Other North America Origins David Bvrae Paouito OlUvcra Khac chi ensemble Bau Ean snd Southeast asia oritim Ansa Oritim Rico African Oritim Femi Kim live & the Phoenix in Toronto (v.m.) African Otitms Bultariaa \toiees Ante the (fem.) Eurooean Oritim Orfcestra kevif live ft Harbourfront Centra European Oritim
Jun-01 Now Magazine Volumes Now Magazine Coacert Listings Venue Generalized Origins June 2001 Global Village * CBC Radio Generalized Origins VbL 20 No. 42 June 21-27, 2001 Maze Men MasarykPark European Origins Cebo Machado k Oii xia me in concert Ladn, Csnnl and South Amnritaa Origim Jane Bonnes and Stnhi Hvldcaid Nociaen State • Harbourfhmt Centre Caribbean Oritim Oeoree Qao in concert Eaat aad Southerns aaian «ipi RathidTkha and Suneraeaarous Norton State. Harbomftuat Centre AzabOnnn Oanien I Priiatelii Tbronto Tibia Ensemble Oise Auditorium South Asian Oritim Lnko Felix Sou Ache Cereveiaria Bart and VUb Latin Jazz Nfeiuvio Latm, Central and South American Oritim BobrnMarirevkOrksstv Latmo Jazz Project Carve Jaria Latin. Central and South American Oritim Ladaaba Orchesti CuhantBnn Phoenix Now Micnim Volume* Now Mtcada* Concert Lktincs Venn# Generalized Origins June 2001 Global Villain - CBC Radio Generalized Oricins VW. 20, No. 41 June 14-20. 2001 Tasawith Dburvn Ghosh Bitantine Room. Harbouxfront Centre South Aaiaa Orients Darfcwood dub Bunny Miutrel Bamboo Diordk Baksevk Vibraeon ad Evaristo Muchedo and VW.20 No. 41.2001 Orchestra Revival Latin, Central and South American Origins Otnien 1 Priiatelii Gypsy Jazz Jam Tttnzac European Oritins Laiko Felix Bobby MMO> ad hit Afto Latin Jazz ensemble Una Mas Cubaaitao Phoenix M&20 No. 40 June 7-13. 2001 PediasDaRua Ann Tindai State, Harbourfront Centre Latin, Central and South American Origins Darfcwooddub Kanda Kodza I Neboisa Gypey Jive Band Free Times Caft Eufooean Oricins Jartwli School of Riono Fksncaco aumaer concert limit Town Hall Teo Filovici Jan Rekha GUbtiltar Point Centre, Toronto Island European Origins Drinaffem.) European 0«|4IM NW. 20 No. 39 May31-June 6.2001 Afto - Cuban AS Sun MasaevHall Caribbean Oritins Eurooean Orients Toronto Tabta Eaaenble with Donald Quaa, Iaa Dedousza. Joanna Dat Do Marnier Theatre Centre South Asian Oricins Vroom Eurooesn Origins Hu-Ta-Tta Free Tones Cafe West Asian Oritins Monks ofthe monastery (2) Kovili Douli Ted's Wreckini Yard Arab Oritins Musical monk of Canada Mel M'Aarabet Band Ted's Wrcdcint Yard Lamas of the Hvingmaoa Monastery of Dehra Dun \U. 20 No. 43 June 2S-July 4, 2001 Bebel Gtfbeno Nathan Phillips Sou** Latin. Central and Sooth American Oricms East and Southeast asian origins Vidovdan conceit livmi Aits Centre European Oritins BigSkv and sieve sklar East and Soutbeag atttn origins Eduardo Lit Latin Entembk The Rex Lacbeta (v.m.) Buiu Benton Opera House Caribbean Origins Maria Kstanicmi k Aldariag (fern.') Northern European Ori|ins Doula: Rhythm of the World concert Harbourfront Centre Arab Oritins European Oritins Quo Mm Qing: Rhythm of the Vforid Concert Harbourfront Centre East and Southeast Asian Oricms Roes Daly European Oritins OB go Trofode: Rhythm of the Vfcrtd Concert Harbourfront Centre African Orient Baaba Maal (v.m.) Aftican Origins Balbfes Stsaoko: Rhythm of the World Concert Harbouifront Centre African Oricms Marv Jane Lamoad Other North American Oritins Niava: RJivthm of the World Concert Harbourfront Centre African Oricms Jim k Jesae and the Vbimk Boys Other North American Oricins Cubaaismo (v.m.) Gnmo Trinchero (vjn.)
Dkti Mouaea Diawaia (v.m.) Aftican Orifins Afto Cuban alkttri (VJB.) Caribbean to|tn* Juan de Marcos Gonzalez (v.m.) Bayube Cante (fan.) (Vm.) European Oritine Bab Marley & the \Wulm (VJB.) Caribbean Oritins Shank! Shack (vjn J Caribbean The Skatalhes (v.m.) Kief Tubbv/Aotustus Pablo Peru Netro (v.m.) Retcae Cowboys Toups Bebev African Oritins
July 2001 Global Villatc PUylisti - CB
Wrmmk: Rhtvhm of the Warid Concert Hmbourfront Centre East and Southeast Asian Ori«"« JUMH Now Mtinlat VOIUBIM Now Macazine Coaccrt Lktinrs Venue G«a«rslistd Origins July 2001 Global VflUcc - CBC Radio Generalised Oritioi Asere: Ritmo y colow festival Karbourfroat Centre Caribbean Origini Ex-centric sound system (vjn.) African Origins !
Orqucsta sensation: Ritmo y colour j s i i festival Harbouifi out Centre I AQessawha BeUotti (v.m.) Eioopeaa Origma Luis Mario Ochoe and Canmarron: Ritmo y colour festival Harbourfront Centre Caribbean Oricins Vfcraiaa(fen.) Northern European Origins KanatanAski: Ritmo y colour Harbourfroat Centre East «d Southean Asian Origins Peayi Drummers (VJB.) Africa Oricins Cha-Locot: Ritmo v colour festival Harbourfroat Ceane Latin, Central and Somh American Oricins Los Csmperos de \fc0e (vjn.) Latin. Central and Sowh American Origins Joaoum Diaz: Ritmo r colour restival Harbouffront Centre latin. Central and South American Origin The Eureka Braa Band Other North American Oricins Fems Mustafov Eurooean Origins Zakir Hussam (VJB.) South Asian Oricins KiranAhuh*aUa(Vm.) South Asisa Oricins Ravi Naimpallv (V.M.) South Asisfl Oricins Imbiao lived WOMAD 2000 Cbemiraau Zart> trio live <9 WOMAD 2000 (v.m.) Arab Oricins Vera Bib live WOMAD Euroueaa Oricins Pusntei Bros, live Q bhw mountain park Coqtiidam (Vm.) Caribbean Origins
AufOl Now Mataziae Votnnes Now Mai»nc Coaccrt Listinci Venae Generalized Oricins August 2001 Qobal Vllace Playiists Goacralizod Orittaa W 20 No, jane 2s-Juiy 4, 2001 Jane Bennett snd Larry Comer Nathan Phillips Square Caribbean Origins AFitena European Oricins Emetim Michel 0) Island Soul festn-al Harbourfront Centre Caribbean Origins Vieia Trova Santiacuera (v.m.) Caribbean Origins Women Ah Run Trnft @ Island Soul festival Harboutfront Centre Caribbean Orients Susana Setvane Ptoer (vjn.) British UksOritms Culture 0 Rcccaebana Opera House Caribbean Origins Doola (FOB.) (VM.) Arab Oricins Third Vfarid d Rcccaebana Opera House Caribbean Origins PooFolse Other North American Origins Junior Kallv A Reeeaebena Open House Caribbean Origins Kh-'IMFMO West Asian Origins U1 Nana McLean & Reggaebana Opera House Caribbean Origins Jaswiader Brar (fan.) (Vjn.) South Asisa Oricins
Cape and Kaiso All Sun $ Island Soul Harbourfront Centre Caribbean Origins Manindcr Ded (fern.) (Vat.) South Asian Origins Hummingbird Tassa Dnmtmeri % 1
Island Soul 1 1 Harbourfroat Centre Caribbean Origin Saurinder Kaur(fem.) (Vm.) 1 South Asian Origins 4 U Pan Pmcn <3k Island Soul Harbotufroat Centre Caribbean Oricins Caribbean Oricins Caribbean Dram Ensemble Harbourfroat Centre CariUmn Origins TVUaae et les Dieuf Dieul (vm.) African Origins Hvqjrasad Ovorasii Convocation HaH South Asian Oricins Boban Marioovic European Origins Toronto Tkbla Ensemble @ Masalal Mehindil Mastil Harbourfroat Centre South Asian Origins Kristi Stuiinopoolou (fem.) European Origins
Jacalbaadi <21 Masalal Mehiadi! Masti! Harbourfroat Centre South Asian Origins SongHne (v.m.) Aboriginal Oricins Aims for Shanti % Masalal Mehindil Mastil Harbourfront Centre South Asian Origins \Wha Guards da Mancueira (VJB.) Latia. Central and South American Oricins
Rashtiivani 0 Masalal Mehindil Mastil Harbourfront Centre South Asian Origins Alex A Minella drums (VJB.) Other North American Oricins Vineeta Dayafs School of Music ^ Masalal Mehindil Mastil Harbourfront Centre South Asian Origins Locus ft The Lurabeva Dnmunerx African Origins Usra larrihan @ Masalal Mehindil Jane Bonnet and The Sanosfo jazz saxophone Masti! Harbourfroet Centre South Asian Orion* OuartBt(vjn.) Caribbean Origins Thsa with Bafeshree vase (§ Masalal !
Mehiadi! Mastil Harbourfront Centre South Asian Orisins 1 Ed Matawana ft Afiomusica & African Oricins George Cao Ensemble Traditional Toronto Music Garden i i SoaakvFlac 1
Swtmperella § Hot and Spicy Food 1 1 i Festival Harbourfront Centre § Selfish Gomez East and Southeast asian origins Raste Udet @ Hot and Spicy Food Festival Harbourfront Centre Other North American Origins Peter Gabriel Pat Fantasy % Hot sad Spicy Food Festival Harbourfront Centre Caribbean Oricins Lolo African Oricins Bahamian Junkaroo Bud % Hot and Soicv Food Festival Harbourfront Centre Caribbean Oricins AfroCeh Soondsvstem (v.m.) Thsta of Madness 9 Hot sad Spicy «« • • • ^ Food Festival nasOBimu ventre Caribbean Oricins IVUok Gmtu (vja.) South Asian Oricms Eacobde Samba % Hot sod Spicy S I Food Festival I ! Harbourfroat Cense I ariw| Central nd Sooth American Orictm i Panbolka 3 Hot and Spicy Food Festival Harbourfront Centre Laca. Central and South American Origins Pan Noel (v.m.) Other North American Oris*"* 1 1 f AttS-01 Now MuuiBi Volume* Now MwdM Concert Lktian ^BttC Generalized Origin* Augnat 2001 Global Village Plarllita s Talk Tfcm ® Hot and Spicy Food Ftativtl Herboirfront Centre Caribbean Origins Boiana Zinc (fan.) Other North American Origins Dastai (vjn.) Arab Origins Mamar Kasaev (VJR.1 African Orient AMnftrt moNsferoiocto tabmo Other North Americar Origmt Antonallo Palfexti Trio European Oriftna Baeba Meal (vjn.) African Origins Rieeardo Ten Band italiane Europeen Origins
September 2001 Global Village PlayUits- S*p-Ot Now Maculae Volamea Now Maculae Coaccrt Lktinci Venae Generalized Origins CBC Radio Geaeraltzed Orlgini No LiaCmgs Marco ruito Paialo (v.m.) Latin, Central and South American Ongma Kavela (v.m.) Anders Nils Uiri Man Boms aboriginal (fan.) Aboriginal Origina Whwme San Aboriginal Ongma OgnjeniPriiatelH European Origins Laiko Felix Eiaooeen Orients Muaikae European Origins Yan Kuba Saho (VJB.) African Origins Duaminguet European Oricms Manu Chao (vjn.) European Oriiina Baaba Maat fan.) African Orient Lauryn Hill (fan.) (Vjn.) Other North America* Origins Tain lam 2000 (VJB.) Latin, Central and South Amaricen Origins Ali Farita Toure fan.) African Origma Abdoulave Diabata fan.) African Origma CT1 Super Manden (vjn.) African Origina SaieaCeitice Caribbean Ongint La Booma Sourianta Other North American Origma Burach Britiah Isles Origina Lee Bucherona can. Other North American Origina Natalia MacMaatorCFenU Other North American Origma Yet Kha (v.m.) East and Southeast aaien origina Boban Markovw Orfceatar (van.) European Origma Dolly R*thebe(vjn.) African Origina The Skylark* (vjn.) end Miriam Makaba African Origma Hugh Maaeketa (vjti.) African Origma The Manhattan Brothers (v.m.) Joeoum Dial (vjn.) Latm, Central and South American Origma TVoka Northern European Origma Vivim Xia East and Southeast asian origina Many Gotao fan.) African Origmi Dr J.B. at let Jafuar IT da Noay - Ba (vjn.) African Origma Gannama Northern Europeen Origma Ttomaa MupfUoo A B ticks Unlimited (vjn.) African Origins Fiva BNnd Boys of Alabama (vjn.) W John Hammond and David Lindlay Other North American Origins Diamel Allam (v.m.) French Origins Vivian xia (fan.) (v.m.) East and Southeast asian origiu Puentea Brothers (Alexia and Adonis) Caribbean Origins Youcef African Origins Kouyate Sory Kandia at aon Trio de Mustque TradittOMda fan.) African Origins Tbumani Dibaia African Origins Salif Keita (vjn.) African Origins Yar Dale Teofilovic Twma European Origins Tha Mahotelia Quaem (fem.) (Vjn.) African Origma Sal Farraraa LajkoFetw Vwan fcttUrWl global CKT Oct-Ol Now Magazine Volumes Now Matnfaii Concert LMap Venue Generalised Origins Radio Generalised Origins
2001 GVDCV Jive Bead Free Times Cafe Etoooeaa Orittu Otnien I Priiatelii Eurooean Oriains
MnaMeae I ike tide Terrace • Harbourfioni Centre European Oricins Laiko Felix Eastern European OriEini Shankar, Zakir Hassain, VBdcu Vmavaknm aod Caawer Geone Weston Recital Hall South Asian Oricins Svettana Soaiic (fist.) European Oris im Gypsy C*av» 2 with Maharaja, Eima redzeoova aod enaembfe Manev Hal! Eurooean Oricins Boban Markovic Orfcestar European Oriains Fan£«re Ciocartia and Antonio HI Pip* Flamenco Ensemble Masaev Hall European Oricins Ladaaba Oicbesta Zcneekara European Oricins Goran Brecovic Ewopean Oricins Darkwood Dub European Oriiins DtowKe Balairvir
Laiko Felix European Oil ins Rambo Amadou European Oriains Boban Maricovk Orkestar European Oricins Caiko Macura European Oriains Goran Brecovic European Oriains Darkwood Dub Eurooean Oriains Kanda Kodia 1 Neboisa Jarboli Tec Filovid Drina Viltece orchestra of Lukavk»*Lazmcvac (Vjn.) Northern European Oricini Vroom European Oricins Monks of die monastery £| Kovilj Eurooean Oncias Emmviou Harris (fem.) Other North America Oriiins Mercedes Sou (tan.) Latin. Central Md South American Oricins Los Fromeraos Latin, Central and South American Oricins Sabah Habas Mustache Latin. Cetujal and South American Oricins i > i i I Sonen Maid Northern European Oricins Ttbls beat Science South Asian Oriiins Zakir Hussam (vjn.) South Asian Oricins
Youssoa N'Doar i (v.m.) i African Oricins i I Other North American Origins Daoud Sarihosh Aloha Yava Diallo (v.m.)
Puentes Brotbea
November 2001 Global Village Plcyiiiti - Nov-01 Now Magazine Volumes Now Miftnat Concert Listings Venue Generalized Oricins CBC Radio Generalized Origins >foL21 No. 12 November li- 212001 Monica Freire Trio Una Mas Latin. Central and South American Oriiins Darva Ensemble Sortide Cubano Sereno Lounac Dieco Mantlanda ad Pacande Bamboo Amanda Martinez Alkvcaa Latin, Central and Sooth American Oricins Manu Chao (v.m.) Eurooean Oricias Ssnduno Rex Latin, Central and South American Origins Show Do Man Toronto TabU Ensemble Du Maurier Theatre Centre South Asian Ori ens Geone Kahumoku Jr. Other North American Oriiins Nusrat Patch Ali Khan A Party (VJH.) Sooth Ann Oricins Enonvloa Harris (fem.) Other North American Oricins Daniel Lanots AlanGatnr Femi Kuti (v.m.) Kavkasia Chief Stephen Osita Osadcbe k his Nifsrian
The Rembedka Hipsters (Fem.) Emavloo Harris me. Uva A Maasv Hall November 2001 Global VSligc Playlifts - Nov-01 Now Marasme Vthina Now Mataarbie Concert Lbtfats Venue Gairtbcd Orieins CBC Radio Gcotrtlbtd Ori|int James hooker Other North Aaiericaa Oricias Peter Coles (v.m.) Other North American Oritins Esaa Redzeoova (fen.) Evooeau Orieins Fanfare Cioearlia Euroaim Oriciaa Maharaia (fonaer name nuaaftr) Emopaaa Oriaina Pne Habtehuela (v.m.) Eureoem Oriaiaa Bollvwood stiacs (v.n) South Asian Oricaa Otuaou Sancare (v.n.) Aftkaa Oricias Lea Eaaocs (v.m.) Aftkao Oricias East West EasenMe West Asian Oricias Aloha Ysva Dtallo Aftkaa Oririaa Sonva Benitez Other North Aaarkaa Oricias Orchestra Andaiou t Lsael Wfeat Aaian Oriaiaa Ukrainian Bandurist Cbona Eastern Eareoeaa Orients Shincia rec . live in noatreal Other North Aawricaa Oriaias Grouoa (v.m.) Northern EarooeaaOritiM FeniKuti Aftkaa Origins Haraaa Ishola A his Apala Group (VJB.) AfticnOricas Igtoo: Ekiti vilkgen (v.ra.) tnwtinoml rnfir| md drammiat Aftkaa Orieins TempJc of Sound: Rizwaa • Muazzan Qawwali Sooth Asian Oricias Radio Nomad (Vjn.) Aftkaa Origins Johiutv B. Coaaoitv British Isles Origins Raicrv (v.m.) Aftkaa Oricias
December 2001 Global Villas* Pbyfeti - Dec-01 Now Ma mine VUnum Now Matazine Concert Listint* Venue Generalized Orient CBC Radio Generalized Oritins Mo Lsuacs Srwaa ^crww (v.m.) European Orifins Mzwafche Mbuli (vjn.) African Oricias Mercedes Saaa (fen.) (V.n.) Latin. Ceaml aad South American Oritins Manu Chao (VJBI.) European OriciRS Kay ah (fern.) Eareoeaa Oricias Maza Meze (fem.l(V.m.) Eareoeaa Oricias OpaCupa Eastern Europe aa Oricias Domiaioue Vh-am (v.m.) Preach Oriaiaa Kassav (v.m.) Preach Oricias Roderiaue Mlllieu (v.m.) Freach Oricias Dessi 0" Hallona British laies Oricias Abdelli (v.m.) Aftkaa Oricias Miooi Tiwari (v.m.) Soodi Asia* Loa de Abajo (vjn.) Other North Ammc an Oritins Tepache Jam (Nortec Collective) (v.m.) Northern Euraeeaa Origins AterciooeUdos (v.m.) Latin, Central and South Aaiericaa Oriains Thomas Mapftimo (vjn.) Aftkaa Oricias VMidi Leo Smith (v.m.) Othar North AiwrieHi Oriiina Eiteea Kate of Loud East aad Southeast aaian oriciiu Spirit lUk Mbtra (v.m.) Aftkaa Ori cins GancCheapa (vm.) East and Southeast aska origins Zewditoa Yohannes (VJB.) Aftkaa Ori cms Mahmood Ahmed (v.m.) Aftkaa Origns Giti (v.m.) (feat) Aftkaa Oricias Kiss Erzsi Music European Oricias Yat Kha (vn.) East and Southeast asiaa oricias Wu 100% (v.m.) Aboriciaal Oricias Mahatoud Fadl (v.m.) Afttcan Oricias Kanehiio aboriginal (Fen) (Vat) Ahorinaal Oricias Slevan r. knezevich EaaSitru Eatogeaa Origins Pueates brothers. Live (3 blue wooatata park (Via.) Cerib been Oricias CordeseaFotie Other North Afnericaa Oricios g*—1•»*«*» Polaris live % rivema centre, Gutipt. Otttario Other North American Origins KareUaafoOcnuakenaenbte live Q CBC Mmcowveg Northera European Oricias GUUariioni frveflOiriBt church. Vancouver I Northern Barman Oricias Jan 44 Now Mamlai Voloneee Now Mtfubii Concert Darings Yantte Generalized Orif tea Jaattsiry 2004 global VQIace Playtteta Generalized Origiat
No.2t SembeSqued Lule Lotaige Latin, Central and South American Origins Ree. jtat 14/03 HFC Ouimiee Parteta vjn. Latin. Central and South American Origina SOB ache Cervejana Ceribbeat Origmi Ito. jim 1*03 David RuddK. HFC Caribbean Orient Droedbcot hait Club Holy Joe's Ceribbeen Origins Fkme y tamboraa Am. wn. Caribbean Origins Huun-Huur-Tu Lula Lounte East tnd Southeast Asian Origins Kiran Ah hi weKa can. Fam. vjn. Souih Asian Origins DTkttt Red Violin Daatan Cnemibla fam. vjn. Arab Origina wave Rex Latin, Central end South American Origina Other North American Origina Sambecane Yummy YVattmrt Martyn Bennet British Wee Origina Mahc Piye Foeev Dew British Was Origma Marat ten. Eurooean Origins Cache LulaLotetge Canbbean Origins Subt Shenksran & Autorickahaw ten. vjn. South Asian Origina Bleaaftnaer OaaiaPubaaat Oceania Origins Boben Merkovic Eurooean Origins Footprints with Stuart Li, Oenarel Eclectic Rivoli Latin, Central and South American Origins KopaJiaikora Euiopstn Origins David Silve Sereno Lounge Latin, Central and South American Origins Toires Arab Origina Sol-Am! TBDM Bar Latin, Central and South American Origma Les Yeux Noirs Wast Asian Origma Balla Did ya Eat? Free tinea eafk Wast Asian Origins Vusi Mahlesela African Origins 1 1 1 i Hitarto Duran and Beteria 9 Luia Lounte Latin, Central and South American Origins Urna Chahar-Tugchi tan. Vjn. V Daatan Eneemble vjn. Arab Origin Buena Vista Socitl Club Ry coodff and Alt Ftrkt Toure can. Ree. Edmonton, can. African Origins Dolly Rathsb, fam. V*. African Origins TTte skyltrica vjn. end Miriam Makabe ten. Vjn. African Origins Hugh Masaketa vjn. African Origins Let Jatvaa v.m. Latin, Central and South American Origins Ahmad Zaher vjn. ArabOrictm Alim Oaeimov v.m. Weal Asian Origins Allieon Brown ten. Other North America* Origin ID Marty Stuart Other North American Origtn Tbn O'Brien Other North American Origin Janialtnten. Other North American Origina Blaekftra vjn. Aboriginal Origins Mercedes Soee ten. Vjn. Latin, Central and South American Origins
Pcb-04 Now Mantlao Volamet Now MuuiBt Concert Liettna Venae Geacraliztd Origins Fcbraarv 2004 Global Village Plavllttx Gcaanlhcd Origins Feh.19-25j664.VWi3. No.25 Ledyimith Black Mambaxo Maaaey Hall African Origma Jena Bunnett (Fam.) Caribbean Origins 9
Ethnic heritage EneamMe ! i Trane Studio Other North American Origins Unknown to no one vjn. I Waat Asian Origins . 1 3 Otbnar Liabsn tnd Luna Nacra Herchey Centre European Origins I Other North American Origins Son Acha Cerveierie Caribbean Origins Shabbi Effect can. South Aaien Origins Pura Renktna Holy Joe's Caribbean Origins Senava cen. Fem. Vjn. African Oritins Proyecto ChanutmaTo Lula Lounte Caribbean Origins Kahnumty vjn. Other North American Origina Peter Mathers Duo Meline't grille Eurooean Origma Ladyamjth Beick Membaao African Origins Evarwo Medtedo RedVMm Latin, Central and South American Origins Yair Date A Asaama Waat Aaien Orients Sembeene Yummy Yixnmy'a Latin, Central and South American Origina Beny More Box Set Other North American Origine Cache Lule Lounge Caribbean Origins Ramon Cabrera v.m. European Origins So^Axul Tapes Ber Eurooean Origins Pedro Florae vjn. Latin. Central and South American Origina Sandy Maclntyre and Steeped m tradition Bow and Arrow British Isles Origina Aator Piazzolla Latin. Central and South American Origma Bella did yam? Free timet cafft Weal Asian Origins Wilted Abdulbamid African Origma Bataria Lula Lounte Latin, Central and South American Origins Kiran Ahluweiia can. Fam. Vjn. Sou* Asian Origins Lhaaa Huch'i Room Other North Americat Origina JeateCook Other North America) Origins Beloved Chorda Muaa Latin, Central and South American Origins Flying Bulgsr Kleanar Band Waat Asian Origins Toronto Mandolin Oreheetra Leah Poalunt Theatre European Origina tniaklo Other North American Origins Lhaat De Sela can. Fem. Vjn. Hutttm Aliztdeh vjn. Waat Asian Origins Band ad Bavtt vjn. W«st Asian Orients
Quilkmtr Ctmpbel 4 P« boKct Latin. Central and South American Origins Latin. Central and South Amerioan Origins Mocidtde ComisaVsrtt e Braneo vjn. Latin, Central tnd South Amartota Origins Latin, Central and South Amaricen Origina Rama de la Tata vjn. Latin. dWral and South American Origins Area la cane v.m. Latin, Central and South American Origina Curate pacriaAnanu dibengo von. 120 AN^W Now Macaaine Volumes Now Mataaisa Coo cert LMbb Venue Generalised Oricins April 2004 Global VUlate Plaviitts Son Ache Cerveiaria Caribbean Origins Gypsy conceit Earaeeae Oriaias Quacruvre Duke of Arcvle British Isles Origms Di Dolores Other Nonh American Oriaias Jthntilm Groeaman's Caribbean Oriqjaa Kiran Ahhtwalia can. Fern. V.m. Sooth Asian Oricins Cache and Di Radanea Lala Lounge Latin, Central and Sooth Americaa Orients Yuri Mahlaaeia V.BL African Oriabu Peter Mathers Duo Meliaa's trille European Orifins Hameed Shaoa West Asian Oriains Cache Red Violin Latin. Central and South American Oriaias Mxwakhe Mbuli African Orients Sambacaaa Tftimmv Ybaunvfc Lada. Central and South American Orients Letts Mbulu vjn. Exotica: A middle Eastern Soiree @ Las Syiphidcs de L'Aiabie Zemra A/vb Origins Ladvmuth Bakk Mambaao AftiamOri|n*
Oehoa Y Ciatmaroa Lula louace Caribbean Origins Tibetan kids Eaat and Southeast Astan Origma Sot-Azul TapasBar Latin. Cenmi aad South American Orients Ftancoue AUaa fea. Vjn. Ranch Oriaiaa Bella Did ya eat? Free tines caft West Asian Origins Women ofTkroudant fem. Vjn. African Oricins Bateria Lola Lounge Latin. Central and South American Orirats The anointed Jackson Sisters (an. Vjn. Other Nonh American Origins ZuleauClas Chicaio'i Caribbean Origins Gnawa Diffusion v.m. African On •"<« Live ftom the musk gallery j«nes Kippcaa VA aad Medina Lular ""T Arab Orients Rob Simats vjn. Sooth Asian Oricins The Bucbbtnder Btass bund Lula Loonce West Asian Oricins Tseriac Wncmo v.m. El aad Southeast Asian Oricins Gnawa Diffusion v.m. African Oricins Live from the music gallery Janes Kippcaa VJ&. aad Rob Simms v.m. South Asian Oricias Tserinc Wfaeno v.m. Eaet and Southeaat Asian Oriaias Ginger ale vs. Z'Africa Braail v.m.
Mav-04 Now Miftzioi Volumes Now Mataxiae Com cart Lis Hafa Venae Generalized Origins May 2004 Global VBUte PUyllsts GMcraUccd Orifini ! May 13-19,2^04 \W .23 South Asian heritage festhii <$ Glenn I s
NJ I NoJ7 Subhra Oaha aad Subhaa Kar Banneriee Gould Studio Maria Mootaivo fem. Vjn. latin. Central and South American Oricins l 1 1 1
Latin Fesmal fundnuser for university 1 1 5 Lain street cabaa nerowion settlement Latin, Central and South Americaa Origins Shothakea Ensembie v.m. Latin Festival fundraiser for university Club Mikxtta settlement Latin. Central and South American Origins Otquesta Tipica v.m. compoeer Astor Piaxaola van. Latin. Central sad South Americaa Origins Latin Festival fiadraiaer for university Hip Action settkmeat Latin, Central aad South American Origins Luis Angel Castro fem. Vjn. L stiii. Central aad South American Origins Latin Festivil fttndriiser for university Mambotribe settfetneat Latin, Central and Sooth America Origins Lui Fns East and Sootheast Asiaa Oricins Latin Festival fundraiser for university City Dance corps settlement Latin, Central aad South American Origins JaJi Ktmda v.m. Afticaa Oricins The Jubilate siegers aad taaurieo Latin Fesfivd fimdniMcr Far university montecinoa settlement Latin. Central and South America Oricins White Cockatoo Perfonninc Group vjn. Aboriginal Orients NiackoBacko Church * Berkeley African Origins Ttnariwva African Oricins Afro Connexion and am hiphop Church at Berkeley African Origins South Asiaa Oriaias Madagascar Slim Church at Berkeley African Origma Inan Carranza Europeaa Origins Fqjeba and Senegalese Traditional ICiyohi Nagata Ensemble •Rec'd Gkna Gould Troupe Church at Berkeley African Origins Studio East and Southeast Asian Oricins Toronto Jewish Folk Choir with beyond the pale Kkzmer Baad Lawrence Park Colleeiate West Asian Origins Umanii VJXL \fceac Sahastabuddhe Medical Sciences auditorium, U of T South Asian Origins Group Vfecal Sampling vjn. Caribbean Oricins ryh? Cottage street bar Latin, Central aad South Americaa Orirm Gostosmho Baad Other North American Oricins /on Ton East aad Southeast Astaa Orients Flymg Bui car kleaier baad Lula Lounge West Asian Origins Latin, Central and South American Orifias Son Ache Cerveiaria Caribbean Oricins Asha Bhosle- Bollywood Legends disc. African Guitar Summit - Rec'd % Glenn Gould Samba toroato Festa Lala Lounge Latin. Central and South American Oricins Studio Mistura Fiaa "Wo Lala Lounge Latin. Central and South American Origms Aditya \Anaa - Gktm Gould Studio. Oct 23/03 South Asian Oricins Sambacaaa LulaLoante Latin. Central and South American Origins State of Bengal - Live ft WOMAD East aad Southeaat Asiaa Origins Eaeola de Samba Lala Lounee Latin, CanBal and South American Origins Ruben \4nuez Red Violin Latin. Central and South American fri*nt* Sembacane Yianmv ttnmnv's Latin. Central sod South American Oricins Cuban Percussion school Lala Lounge Caribbean Oricins Una Msrio ochoa Cimmaraa Lala Lounae Cntzao Qrapo Moastmeeo DtateillarY Historic District Latin. Central and South Americaa Origina Cassava Red Violin Latin. Central sod Sooth American Orifim Sol-Aznl Ttapas Bar Burooeaa Origins Sandy Madntyn aad Steeped in tradition Bow aad Arrow British Isles Oricins Mar-04 Now Mtmint Volumes Now Macszin* CmmH TJrtingc Vtttac Generalized Origins Mav 2004 Global VHlace Playibts Generalised Oricins Bella did va cat ret? With L'Chaim Free tones caft Mfeat Asian Origins Bateria. Bevoad the Bindi Lola Lounge Latin. Central and Sooth American Oricins Dhnibu Gboah and Anin do Chanenee Sooth Asian heritate festival South Asian Origins Luis Mario Oehoa Cimarron LolaLounce Caribbean Oricins Zakir Hussein's Masters of Parcnssioo South Astan Heritate Festival South Asian Oricins
Subtua Guha and Subtalar Bannariea Glenn Gould Studio South Asian Oriiins Shakar and Ginger with siva Mani aad Swaean Chaudhuri Witter Garden Theatre South Asian Origins
Jua-04 Now Magaaiac Volumes Now Magaciae Coaccrt Uftiagi Veaoe Generalized Origins June 2004 Global Village Playlists Canralbd Ori^ns
No.41 MauMexi Cecil Comrn maty centre European Oriiins AnaeUaoe Kidio African Oricins Samba Squad Vibe Nation Q Dram Am Studio Latin. Central and Sooth American Orients Blue Eved Luk Thane
Levon Ichkhaaiaa and Shadrach Laar 1 Vfce Nation A Dram Am Studio Other North American Origins Jonas Anderson East1 aad1 Southeast Asian Oricins 1 s Christy Gibson fcm. I Colin Cam obeli Vibe Notion A Drum Am Studio British Isles Oricins Braiaeh Guiom* Campbell Vibe Nation A Drum Am Studio Latin. Central and Sooth American Oricins Misiafon. East sad Sandiea* Asian Ori*«"* Lost Brazilians Vibe Nation di Dnan Am Studio MaaaMeae European Oricins Muhtadi Vibe Nation A Dram Am Studio El Kadv v.m. Laura Mae Undo aad Julie Cfoebetaere Vibe Nation ft Dnan Am Studio Other North American Origins The Spanish Stepdance Company British Islas Oricins Maracatu Nuaca antes Vibe Nation & Dram Am Studio Latin. Central and South American Oricins CBMWvjn East sad Southeast Asian Oricins
Jaoe Bunoen and the SoiriitsofHavwi* Inter Continental Toronto Centre Carfebean Origins Abvssmis Infinte feat Gici va. fcm. Arab Oricins Autorickshaw Kucb'sRoom South Asian Origin Utando Koioaov v.m. African Origins N> Cache College street bar Caribbean Origins Potokwaae Choral Society v.m. African Oricins M Skneliat Dukeof Argyk British Isles Origins TWanftfiMi V™ Ricky Franco Lula Lounge Caribbean Origins Yousaou n'dour African Origms Evaristo Macfcado Red Violin Latin. Central and South American Origins i Mira Ughieaberg fem. Eonpean Origins Jahmalama S earth's Caribbean Origins West Asian Oricias Sambacana Yummy Yummy's Latin. Central and South American Oricins Rita VAabma and Gul Zaman live in conceit Arab Origins Edward Tevesoue Kitchen Club dianco sextet West Asian Origins Farhad Darva fan. Axab Oricins David Siva Screao Lotmge Latin. Central and <*»>»•» American Origins Edith Butler fem. Sol-Awl Tapes Bar Latin. Central and South American Origins Ladysmith Bakk Mambazo
Sandy Maclatvre and steeped in tradboc Bow aad Arrow British Isles Oricins W«"» f.lm rec. live African Ori tins Bella did va eat? With Bevood the pale Free Tones Caffi West Asian Oricins Kassavvjn. FronchOricms Edmilson and Amttos Ywnmv YtarunVs Latin. Central and South America rvi|in« Mea Soulier* Sent reoaes Anglioue Kidjo Harbourftont Centre African Origins RokiaTraore Zova Sabet ree. live in Vancouver
Warsaw willace Band European1 Oricins 1 l s Sruiairfnnnc v.m. and Junho Lee composer van. 1
JuMM New Minzki Votenci Now Macasiac Coaccrt Ustlaci Veaac Generalized Origins July 2004 Global Village Playtistt Generalized Origins July 29-Au|4,iwU \U 13 No. 23 Marilyn Lerner and Adrieane Cooper Toronto music Garden West Asian Origins Suba Shankaran A Ed Hanky South Asian Origins Sherwayne Winchester Bamboo Cabana Caribbean Origins Monica Friere/Dan Gigon African Origins Scan Canith Bamboo Cabana Caribbean Oricins CardadCroz Latin, Central sad South American Origins Candy Hone Bunboo rrifrims OumooSoumare Maximus Dim aad ATwaha Bamboo Cabana Niacin Backo Duane Andrews Drake Hotel West Asian Origins Catarina Cardeal and Mike Siiacusa Soa Ache Cerveiaria Caribbean Origins Emetine Michel Jaae Burnett @ the ^irits of Havana, alberto Salon* Bey Hugh's room Caribbean Oricins Alberto R_LUJI X_I A I ni-.— Evaristo Machado LalaLounce Buena Vista Social Club Holcoia Cubanoa Tkane Studio Poouito Grande Red Violin Nldia Mova mi Anael Lois Marques bdVMb Caribbci Oricins Pfrtirl Tbednke Inuj aad co, Ghetto ftex. Militant and Afirinha Bamboo Cabana TuQaCeflidh*! Traditional IriA Sound 1 1 1 0 J Jul-04 Now Macni«« Votanwa Now Ma rain* Concert List ints Venue Generalized Oritins July 2004 Global Vitiate PlayUets X Aditya Vtraa —red and subhqyoo July lS-2U004\fal23No,46 nht-JiHi Toronto mask Gardes South Asian Oricins Los Jatvas v.a. Latin. Central and Sooth American Oritini !
Youay Barbara and Los Anugos Ritmo y Colour Latin American arts 1 i invisibles festival QHarbourfroot Centre i i Ahmad Zabervm. Ritmo y Colour Lads American am Aires de Nostra berra festival @ Harbourftoctf Centre Latin. Central and South American On tins Alba Oaaimov vjn. Vtest Asian Oritias Maracatu wmca an»es Harbouriroot Centre Latin. Central and South American Oritms Martv Stoat Other Nonh Americas Orisas Cuban Percussion school Harbourfrcnt Centre Caribbean Oritins Tim O'Brien LosMoacaeoi Lula Lounte Lalia, Central and South American Origins Jams Ian Brarilian &aah with Maracatu Nuaca Lula Lounte Latin. Centra] and South American Oritins Bladdlre VJB. Aboritiaal Oritias Peter Mtthers Duo Melina'strifle European Oritins Mercedes Sosa Latin. Ceatral and SoMh Aauricaa Oritms Son Ache Bamboo Cahma Caribbean Oritms Mana Dibanao VJB. AfricaaQritnu Ruben Vnoaez Lola Lounce Mirimn Makaba fem. V.m. David Silva Serene Lome Latin. Central and South American Oritms WhUvBandouvjn. French Oriaias
Sol-Azul Tapas Bar ! Eurooean Oritins JiaunvGifF Rick Waehbrook ! Gate 403 1 1 Sexteto Mayor i 3 Hannah Parks lain ensemble rex Frances Bcbey African Oritms School of Roots LavaLouage Caribbean Oritins Beay More Box SET Caribbean Origiaa The Blokfc Trane Studio Caribbean Origins Ramon Camera (vjn.) Other North American Oritias Youssou WDour and the Super Eoik De Dakar Harbourfroot Centra African Origins Gertnidis Cm vjn. Latin, Ceatral aid South Ameriam Origins Soi-Azul Tapas Bar European Oritms Pedro Floras v.m. RkkVfaahbrook Gate 403 European Oritins The Plastic People of the Universe European Oritias Hannah Ma latin ensemble rex Latin. Central end South American Origins Inti tlttmani YBI Latin. Central md South Americas Oritins School of Roots LtvaLounge Caribbean Oritins Isabel A Tita tail fem. v.m. Latiii. Central tad Sooth American Oritms N) The Blokk Trane Studio Caribbean Origins Blind Boys of Alabama v.m. Other North Aawricaa Origins UJ YoutXia East and Southeast Asian Origins Dona Rosa: Histories da Raa (disabled) fem. European Oritias Paul Peaa (disabled) (v.m.) East aad Southeast Asian Origins Show Do Man African Oritias
Auc-04 Now Macula* VUM« Now Magazine Concert Listings Venae Generalized Origins August 2004 Global Vilage Ptaylists Generalised Orifins Aug. 12-18,2004VbL23, No. 50 Toronto Tabla Ensemble Toronto music tardea Sooth Asian Oritins Iho Rtvao and Tsny Manta live 0 HFC VJB. Cubanoi Potato Bhies Caribbean Oritms Robert Dome ad Madataaear Slim live A HFC African Oritms Son Ache Cerveiaria Caribbean Oritins The Vfakoka Pioiect Other Netth Aawricsa Oritias Conceit Orchestra Baobab Production date: wig 20 - Proyecto Charanguero LalaLounge Caribbean Oritins 04. \fcaue -Massey HaU Kttsh POUUD Blues Caribbean Oritins Luis Mario Oehoa Md Cimarron Red Violin Ctfibben Oritins Souad Masai iuiv S. 2004 d HFC African Oritms African Guitar Summit @ Glean Gould studio members Adam Solomon (Kenya). Pa Joe (Ghana), Madagascar Slim ( Madagascar), Mighty Popo ( Burundi), Alpha Ya Ya Diallo (Guinea, West Africa), Donne Robot (Madagascar), Nady Camera (Guinea, Vfcst Africa), Kofi Ackah (Oiaae). Theo Boakye Cache Lula Lounce (Qttna) Cassava Bithand with AJbeno Alberto Red Violin Caribbean Origins David Sllva Sereno Lounte Latin, Central and South American Oritins Bella did ya ear? With Beyond the pale Free Tunes Caft Ufcst Asian Origins School of Roots LavaLounce Caribbean Origins Toronto summer splash reggae festival Maxi Priest (3 the acc Caribbean Origins Toronto summer splash reggae festival Bene Kmc Caribbean Oritins Toronto summer splash reggae festival Ths Mithlv Sparrow flteiec Caribbean Oritms Toronto stimmrr splash reggae festival John Hok and Fafaa Otheacc Caribbean OP r— Ilia Blokk Thme Studio Jab Jab Harbooftent Centre Caribbean Oritins Daode Harbourfrcnt Centre Latin. Central and Sooth American Origins Afrodizz and Amp fiddler Htrbourftvnt Centre African Oritins Controller. controller Harbocrftont Centre South A«M Oritms Auc-04 Now Mantini Volumes Now MafolM Concert Listints Venue Generalized Oricina August 2004 Global Vfllace Plavlists Generalized Oricina Anhttis and Keank Harboutftont Centre South Asian Oricws MaaabtMchindilMaid Festival @ LaL Xixhi Risfa proiect Harboorfrant Centre South Asian Oigms Ami. Dya Sini. Beceshcree \fee Harboarftant Centre South Asian Origins Yoahi Devis and Dives Harbourfront Centre South Asian Origins Juojoby Harbourfroai Centre African Origins Cabana - Explosive and Ache Bamboo Caribbean On tins
SCD-04 Now Maciut Volants Now Mifniat Concert Venue Generalized Origins Septemer 2004 Global Villain Playliats Generalised Oricina
Scot 16-212004 \bU4! NoJ San Ache
Cerveiaria 1 1 1 Caribbean Oriiins EQa Jeakxna fern. Otheri North American Oriiins I Vfclentm T kx del can be Lula Loance Caribbean Origins Sooth American Soirit S Kuril Potato Blues Caribbean Oriiins Aiwak and Rolando Rkaana R asm in European Origins QOMMBW Canmbell Red Violin Latin, Central and South American Origin Ravi Shankar and Zakir Huaaaia v.m. Sooth Asian Oriiins
Parabolka Boeaaaov*. samba band Seif Salim Saleh vjn. and Abdulla Musa Ahmed vjn. Jcnf Yl KIMBSU Drum Mid Dance Ensemble laabd Bader Theatre Eaat and Southeast asian Oriiins VusiMahlaadavjn. Sage Yoga Studio for Small World Amorickahew Festival Think of One African Origins 1 1 1 s T
Ptovecai Chanacuero Lola Lounae I Shuuran Bnram Res West Asian Origins Isa Banvon vjn. Bella did veat? Free Tunes Caft West Asian Oriiins Abdel GAdir Saltan vjn. The Blokk sextet Trane Studio Arab Origins Farhad Dam vm. Arab Oriains VWga Northern European Origins N> Yooaaou N'Doorree. on July 6.2004 (S|hFC African Origins Boben Markovie Orkestar vjn. Eoropean Orients Dianto Remhartfc vjn. Juan da Marcos Ootralci vm. Afro Cuban All-atan VJB. Caribbean Oriains Maham Matoasian fern. West Asian Oriiins and Eastern Etvooesn Oriiins Man Dibanao VJB. African Oriains EhanaCoeves Latin. Centra] and South American Origins
Oct-04 Now Mittzint Volumes Now Moraine Concert Listmts Venue Generalised Oricina October 2004 Global VtUate PtayUsts Generalised Oriains 5
fcscola de Samba and Cuban music 1 1 0ct.21-27.2004 Vbi.24 No.1 ensemble York University Caribbean Oriiins < Fo Goang Shan Buddhist Monastk Cham Rov Thompson Hail East and Southeast Asian Origins Chilean Cantata Latin. Central and South American Origins Lhaaadesela Winter Garden Theatre Other North American Origins Quilcpeyan can. Vm. Rodrigo Nunez. Fernando Yanet, Jorge Cespedes. Balkan mask enmnbte York University European Origins Leooei Caatro Rick Las* and Montuno Police York University Other Nonh American Oritins Nuno Criato can. European Oriains Son Ache Cerveiaria Caribbean Oriiins Talrir fTiwein vm South Asian Origins Fed it in the one drao Gypay Co-op Caribbean Origins Ustad All Rakha v.m. South Asian Oripns Cardoeo's Vbau Red Violin Caribbean Origins OIM South Asian Oriains Mirtya Eacalanteand Latin SL Band Zemra Caribbean Origins Joanna Moon Band Ber Italia Jahmalama Grossman's Caribbean Origins LosDeAbaeo Cache Lula Lounge Latin. Central and South American Origins SIBMKI AAKM v.m. Arab Oriiins Sadija Sadikovic vjn., Junto Mahi vjn. and Himzo Stylo Brastkro Dance Band Red Violin Latin, Central and South American Origins Tulic v.m. Earooean David SUva Sereno Lounae Latin. Central and Sooth American Ori*>"« Pipeline and Dennot Hyde. Ton Hake British Isles Oricms Sol-Azul TaoasBar African Oriaas AAo Cohan Ail atari Maasey Hail Caribbean Origins Carlo Faiello vjn. Nidi d'arae VJB. Eiaooaaa Oritbs Kocani Otkatfarvja. Eianpaaa Oriains H'Soavjn. AAicanOr^fa" BUT LUKILII Daatan Ensemble VJB. Arab Oriiias
Sa£i ensemble 0ct-04 Now Macazfae Volumes Now MasasiM Concert Listings Venue Genaraliaed Oriiiai Ani Cboviat Dolma fem. Vm. Sakala Brothers Aftkaa Oritins Ml Do ion Lafitte fern. Yair Dalai vja. West Asian Oritim
Nev-04 Now Magazine Playtists Now Magazine Concert Listings Venae Generalized Origins November 2004 Global VHlage Playlbti Generalized Origins
No. 12 Monbao Pofice Lull Lounge Other North American Origma Sandy Scofkkl Tea. Vm. Aboritiaal Oritias Boot Gonzales sad Billy Bryans Maw Latin. Ccanal and South AmerkaB Oritias Son Ache Cervejarii Caribbean Oritias Gurian Trio VJB. Fed it ia the one droo Qrmrv Co-op Caribbean Oritms MisturaFtoaBoesaoova Trio and \frve Red Violin Aids Nadeem fern. VJB. West Asian OritiBS Swaauwwfla Gtadesooe Other North Americaa Oritias Kluvej'i Bis Band Northern European Oritns EvariaoMadwdo Red Violin Latin. Central and South Americaa Oritias Aioba Yi Yi Dtallo Sol-Azal Upas Bar European Origins Bom be COL Vm. Lati*. Cctml and South American Oritins Belli did vi cat? Free Times Ciff West Asian Orictas Padres Pistoki v.m. Other north American Oritins RiekMMtbrook Gate 403 European Origin LosDe Afaaio Other aortb Americaa Oritias The Blokk sextet TianeStwdic AnbOrini Earaoesa Oritias Lin Patterson Rivoli Other North American Oritias ACranricauda Sima Bin* and Desna Emsembte Small world mane festival Wast Asian Oritias Jorae Miauel VOL Eurcptan Oriatas Gun Roval Conservatory of Mask East and Southest Asian Oritins Mini Mariachi Autorkkshaw Roval Conservatory of Music Lils Downs ree. <31 chib soda July 5/04
K) RoktaThnre Aftkaa Oritmi tf! Genboa Sirota v.m. West Asian Oritins Zawel Kwartm v.m. West Asian Oritins Shmuel Barziiii vjn. and So tenon sulxer composer West Asian Oritins Rukanas MahsiCho Aboritiaal Oritias Wai 100% \Mi Ripia composer and Gaynor Rikihaai Fern. Aboritiaal Oritias
Jan-06 Now Mifiofaii Volumes Now Magazine COB cert Lbtinp Venae Generalized Origins January 2006 Global Village Pfiyfists Generalized Origins January 5-U. 2006 Vol2J Nol9 ArfcvloUnia Marlowe Cambeaa Oritins Dirty Doaea Brass Band Other Nonh Americaa Origins David Sttvi Sereno Lounge Cambeaa Oritias Cadenza collective African Oritins
Belli did n Eat? With Yiddish Swinctet Free Times Caff West Asia Oritins Cift cabino with AageJ Luis, AJbeno NkktU, Marcus Ali, Luis Ortegoeo, Divide di Alberto nd BiUy Brymi Gladstone Canibam Oritins Renza, Willy iarvis latin. Central and South Amcricia Oritias Luis Mario Ochoa Moch Qub Carribeaa Oriamt OmarSecada t JILN r Thomas Maefano Aftkaa Origins NkemOwoh Aftkaa Oritins PhflStantoa European Origins DiDobes East West Ensemble AC/DC Oceank Oritms KtraaAUnwalia Fefe-06 Now Mamiac Volumes Now Magazfae Concert listings Venae Generalized Origins February 2006 Global Village Playlkts Generalized Origins Mdo Btoes with Catanaa Cardeal art No. 23 Mike Sizacun Ruth's room P Ssmulaori Adham Shaikh 1 I i a Celso Machado Latin, Central snd South American Origins Alex cube band Caribbean Origins Mocidade camiss verie e branco Imoerador do ipaanta Latin. Ceatral sad South American Oritins Reina de la teia Araca la cans Putnnayo Carnival Latin. Central sad South American Oricins M Cusnetopatria Latin. Central sad South American Oritins Pet* Vnquez Lata, Central and Sotoh American Origins Guaiais Bit Daw Schal sick Brass Band Mar-06 Now Mamiac Vohimea Now Macaxine Coaccrt Ladip Venue Generalized Orients March 2006 Global Village Playflsts Generalized Origins March 9-13.2006 Vbl.25 No.2t Indian Folk Music Glenn Gould Studio South Asian Oritins Cbalco chilAwi't choir Other North American Origins African Dram Ensemble Recital Hall York University Mana Sebastevn A fits Idas PiosQub Mosdef SwemperaHa Southern Accent Other Northern American Oricias Jaswinder Brir Fred* Suarcz Havana Feelings Latin, Central and South American Orisini Kiraa Aktawxii* South Asian Origins CaftCubano LulaLoumte Caribbean Origins MaainderDeoi South Asiaa Origins Les Stages Bleuai Press dob French Origins Surinder Kaur South Asian Ori tint Bill McBimie and Pnyclo Charniiuaio Lula Lounce Caribbean Oricins GraeeNono East and Southeast Asian Orient David Silva Sereao Lounge Latin, Central and South American Oricins Susans Baca Purim Cabaret aad Jewish Madi Gn> Masquerade with David Buchbinder Lola Lounie West Asia Origins Miriam Makeba African Ori cms Frank Bischun Allevcatz Latin, Central and South American Oritins Mercedes Sosa Latin, Central sad South Americsa Origins Pro cm Necus Cerveiaria Csmbean Origins Lavaman and the Irie Band 1 Cerveiaria Canibeaa Origins 1 i Oumou sancare s s l I Evaristo Machado Havana Feelints J NdkB Onukwuhi with Madaiascar Slim •ad Ditfinc Roota Hash's Room African Origins MosdeT Other North American Origins Ali Farka toure African Orients 1 Dueto America 1 1 1 1 i s CalvCaliano l MamtChao K'Naaa Catkbe MarM Now Magazine Volumes Now Macaslae Cos cert Listings ¥na« Generalized Origins March 2006 Global VtBage Playliets Jon Anderson Oanhen I Priietelii European Origme Felix Laiko Europeen Origina Frank London's klearner Brass Ensemble Anr-06 Now MafudM Volumes Now Magazine Concert Lletlngi Venae Generalised Origins April 2006 Global Village Playilita Generalized Origins No.33 SubeSenkaren Arbor Room, Han House South Asian Origins Alex Cuba Band Waited Abdulhemid Arbor Room, Hert Houae African Origins Amadou A Miriam African Origina Aline Mora tee Artwr Room. Han Howe Latin, Central end South American Origins Oumou sangare African Origina Aloe Bordokse and Luis Mario Ochoe Attar Room, Hart House Latin, Central and South American Origins Demien Msrtov Caribbean Origins icy 0 outtea and donutt Huth'i Room Caribeen Origins LuLuwih Satellites Originel Mortoreyde CaA Caribbean Origins Oudaden African Origins Ktya and th. MfcbMi Qmick Bind Origmel Mortoreyde Ceft Ceribbean Origins Lo cor da la plana French Origins Swamperelle Southern Acceia Other Northern American Origina LeedeAbaio Son Ache Cervejerie Caribbean Origins Nortec collective Julio JmiMt Latmade Latin, Central and South American Origina Boetich Other North America* Origina Eliene Cuevee La tirade Latin, Centre! end South American Origins 'Nbrttme Northern European Origina Salif Kiita HsbouHVunt Cent African Origina African Qui tar Stemnit African Origina David Silve SarenoLounte Latin. Central and South American Origins Sintisa music African Origina Toote and the Meytai* and the Southland Phoenix Caribbean Origins OieikhLo African Origins Progrees Negus Cerveieria Caribbean Origins Abdulkhamit rayimbergenov Eaat and Southeast Asian Origins Motion aid the HUE bend Cerveierie Cerribeen Origins Alfred Brands! Europeen Origins Evaristo Mechedo Havana Feelings Latin, Central and South American Origins Osomadi Other North Amsrican Origme N> TN satanitee WindeorAtma Carribeen Origins Yiaiasi African Origins vj Ysr Dalai West Asia Origme Kal European Origina Prehai oicheetra East and Southeeat Asian Origina Ma*46 Now Macula* Volnmee Now Magazine Concert Listings Venae Generalized Origins April 2006 Global Village PlaylUta Generalized Origina May lM7.iuu6Vbt.25, 1 antra and Catherme Pooafi Dumya Harbourtront Centre • South Aatan NoJ7 Project Miaic Festival South Asian Origins Toronto Ukrainian Male Chamber Choir Eaatem European Origins Harbouritont Centre - South Asian Autoriekshew Mueie Feetivel South Asian Origina Luetle eampoe afro Latin, Central end South American Origina Neerai Pram end Karthik Ramajtngam Zen Buddiet Temple South Asian Origina Novel ima Lee Pui Ming end Di mene Featival Acc6 aeie East and Southeast Origins Ule Downs Toronto Swedish Smaers Angiicola Finnish Lutheran Qiixch Northern Europeen Origme Pong Lang EiaamMo MaaaMeae Heibowfiunt Eastern European Origina Deiim East and Southeeat Asian Origina Meryam Toiler Herbourfront Arab Origina Nuiebes Route Said and Kathleen Kajioka Herboirfront Arab Origina Mas ia one Other North American Origina J on* Miguel Hush's room Europeen Origins Kellviee evens Other North American Origina Kave ena the Micfcee} Oarrick beiwi Original Mortoreyde Caft Cambeen Origins Balken Beet BOK Europeen Origins A fig for e kiss Preaadub British Isles Origins Swemperetle Southern Accent Other Northern American Origins Anouihka Shmksr Son Ache Cerveiaria Caribbean Origina Warsaw Villace Band European Origina Julio Jim mat Letmeda Caribbean Origins Matiaavahu Millar Areenel OribitRoom Caribbean Origins Amadou A Mariam French Origme Sonido Cubeno Lu la Lounge Caribbean Origins Cui Jian East snd Southeast Asian Origina David Silva SerenoLounte Latin, Central and South American Origina Fiamma Fumana European Origins Precraea Notua Cerveiaria Caribbean Origina Tamboo Bamboo bend Caribbean Origins Zkm King and the IRIE Band Cerveieria Caribeen Origins Lara Brothers Caribbean Origins Evariaio Mechedo Havana Feelings Latin, Central and South American Origins San Jose Serenaded Xevier Rudd Phoenix Oceania Origins Tmeriwen A frieen Orients Sateilitea Original Mortoreyde CaA Caribbean Origina Afrobeet and Ikunga Wonodi African Origina Orauaautipioa Latin, Cenmi end South American Origins Heme El dm African Oritins Teram Ouertet QntkhLo Desmond Dekker Ceribbeen Origins 1 Jua-66 N«w MagttiM Votuntt Now MainiM Concert Lifting* Venae Generalised origin June 2006 Global Village PUytists Generalized Oricin haw 1-14.2006 VW JS No.41 Roberto Rooewman Gypsy ha Duo Gale 403 Eastern Eurooeaa Origins Wacko Stc£ux>vsiti and miroelav tadk Other North American Origins Evaristo Machado [.armada Latin. Ceatral and South Amehcaa Origins Gilberto Gil in Germany latin. Central and South American Origins SOB Ache Cerveiaria Carihbeaa Oricins Gootoah in Germnv Wfest A«an Orient Mapak Havana Fedinp Caribbean Origins KadAchouri British bies Origins Cubanismo's Pabloaky Resales f mtinmAm Caribbean Oricins Gigi Sonido Cubano Havana Feelings Caribbean Origins K'aaan Other North American Oricins Fid Cor 9 Km Hugh's room Old Blade East and Sootheatf Asian OriciM Rolitas LuiaLotmae Samba juada Cache LolaLoance Latin, Central and South American Oricins Didier kaiow&i Caribbean Oricins Eliaaa Cuevas duet r Latin. Central and South Aaiericaa Origins Think of one African Oricma Rkkv Monks Moovoa Eurooeaa Orients Sak» victoria Other Nonh American Origins David Silva SereaoLouase Latia. Ceatrai and South American Origins DaaraJ African Oricins Progress Negus and Irie band Cerveiaria Bonn Evaristo Machado Havana Feelings Latin. Central and South American Oricins Cabmen Latin. Central and South American Oricins Nuao Cristo, Larry Lews, tony Camara and Tony Gouveia Lula Lounae MaximusDan Caribbean Origins Ghana Black stars African Ori cms Amoco Zimba African Origins Xuman Wivne mcihie Monsieur R French Origins Ade Bantu African Oricins Public Enemv Other North Americaa Origias nJnin Wfcst Asian Oriains svncooe ANoushka Shankar. Bikram Ghosh. Tanmov Boae Sooth Asian Origins Juana Molina Latin, Central and Sooth American Origins Plaster Jni-06 Now Matttinc Vbfemec Now Magazine Conccrt Lifting! Venue Generalized oricin July 2006 Global Village Playlbts Generalised Origin July 13-19.2006 \bL29 No. 1 Jamaica to Toronto Fesfcval 1 1 1 46 Jiv Douglas Harbomftcnt Centre Caribbean Origins Paula Toledo rec <9 On the Map Vancouver 8 Jamaica toTonxdo Festival. the Michtv Popo Harbourftont Centre Caribbean Origins Young and sexy Other North American Origins Jamaica to Toronto Festival. Jo Jo Bennett Harbourfnnt Centre Shane Kovcan Jamaica to Toronto Festival, Bob and Wisdom Harbourftont Coare Caribbean Origins Sigma South Asian Origins Jamaica to Toronto Festival, Uovd Delimit Harbourftont Centre Caribbean Oricins Plan c rec: on the mao Toronto Latin. Central and South American Origins Jamaica to Toronto Festival Noel EUis Harbosftont Centre Caribbean Origins Justin Rudedge Other North American Origins Jamaica to Toronto Festival. val Beat Harbourftont Centre Caasava Global Grooves. Yonge*Duadai Asani Aboriginal Oricins Jamaica to Toronto Featical. 1 1 Seckou Keita Quartet Harbourfrant Centre Boaba Latin. Ceatrai and Sooth American Origias Awetio Martinez and Kekele Harbourftont Centre Latin. Central and South American Origias Widowroaker Other North Americaa Origias Vivian Xia and XiaooitJ Lin. Yancia Harbourftont Centre Blair Harvey rec 0) on the map sl Join's Other North American Origias Evaristo Machado I a**-aila 1 Caribbean Origim Duane Antkews1 Quartet1 Other North American Origins Soa Adie Ceveiaria i I Other North American Origias KabaHoro and Balkan Tales Lola Louafe European Oricins Ricky Morales Modvot David SUva Seteao Louace Latin, Central and South Americaa Origias . PjrouaYimiwflan and Farsad Vouaeftaa Harbourftont Centre Arab Oricins Eocodek and KnA Lab Louace Ricky Francs Harbourftont Centre P Crew Orchtsov and Siena Maestn Harbourftont Cento July 6-112006 VbL29 No.43 Aflaflwo and Salif Keita Harbourftont Centre Sooth Asian Oricins Anma Narayan and Shoahivoci Guha Harbouiftont Centre Jul-06 New Micniat \Wbbwi Now Matttint Coocert Listines Venae Generalized oricin July 2006 Global VUlace Playlbts Kobo Tbwn tad Marroa Maazado Yence and Dimdaa Square Latin. Central and South American Origins Evaristo 1 Miimh [jiiii, Central and South American Origins Son Ache Cerveiaria Caribbean Orient Cbeb 1 Shabbsfc Gypsy Co-op South Asian Origins Maxi Priest KooiHm Caribbean Origins David Siiva Sereao Lounge [~aim Central and South Aaterican Origins Global Catt with VUleSon Lula Lounge Latin. Central and South American Ori tins Progress etna and trie band Cerveiaria Caribbean Origins Him Luia Lounge West Asian Origins Anr-06 Now Matazine Volumes Now Magazine Concert Uxtincs Venue Generalized oricin August 2006 Global VBIaee Plavlbts Generalised Orient August 10-IS2Q06 Vb.23 Yonge and Dundas- Global Grooves No. 50 Concert Caribeaa Origins Oztara rec Q on the map moatral Hot and Spicy Food Festival- Nino MoecheUa and Nemo harbourfiont Centre African Origins RrmhnlMfe Hot and Spicy Food Festival Ngoma Drum and Dance Ensemble hayfaouiftuiit Centre African Origins Mandhka African Origan Hot and Spicy Food Feativai- Amanda Martinez harbourftoat Ceatre Latin. Central and South American Origins Jerome Miaiere Hot aad Spicy Food Festival- Stale of Beatal harbourfront Centre South Asiaa Origins Plaster Other North American Origins Hot and Spicy Food Festival- Deaharam harbourfroat Centre South Asian Oriains SisuD Hot aad Spicy Food Festival- Muna Mmgoie and No jazz haibourfioot Centre Latin. Central and South American Oriains NebeSolo NJ African Ongtns UD Orlando Cardoeo Latiaada t.atm Central and South American Origins Femi Kofi Robeno Roeenman Gate 403 West Asian Origins Kim Beggs rec. £| on the map Whitefcone Other North American Origins Son Ache Cerveiaria Cambean Origins Vfevne Lavalee Aboriginal Origins Winnipeg MadoUn orchestra rec. ^ on the map Michael Kkak Club Caya Coco Latin. Central and South American Origins Winnepeg Julio Jimenez Latinada Lah. Central and South American Origins Dinks Traditional dancers Amanda Martinez Lula Lounge Latin. Central and South American Origins Pin Skid Other North American Origins Alberto Atoerto Lola Louage Latin. Central and South American Origins David Bdanger St Bora Protect 1 Other North American Origins Mk, need foroufi and Mehdi houshesh rec. Q on the Parachute Ckib Lula Louage Other Northern American Origins map HaHikx Arab Origins Samba Sound Lula Louate 1 jam, Central and South American Origins Koio VfclkSol Haah's room Ijim, Central and South American Origins El Vtertto flamenco Carlos Del Junco Hugh's room Other Northern American Origins Leanie Gallant Other North America Origins Mark Stoic and Hearr Heillig Hugh's room Latin. Central and South American Origins Natacha Atlas Small World Festival Fiarama Fumana Small World Festival Sotn de la Frantera Small World Festival Eurooom Origins Dabashidi Dattacharva Small World Festival South Asian Oriains African Guitar Sumnutt Small Wfartd Festival Michael Kienic Club Caya Coco Latin, Central and South American Origins Luia Mario Ochoa Latinada ! Latin. Central and South American Origins j Evariaio Mam bo Lounge Latin. Central and South American Origins1 i i 5 • David Sihra Sereao Lounge i Freddv Suarez Latinada Latin. Central and Sotah American Origins Kivoahi Nagata Ensemble Harbourfroat Centre East and Southeast Origins Aug. 3*9,2006 M>1.25 No. 49 KoboTown Global Grooves. Yonge Dundas Caribbean Origins Harbourfroot Centre, Island Soul The Miihtv Soarrow Festival Caribbean Origins Abba Shaka aad the Ark of the Covanant sotmd Harbourfroat Cease Cvibbean Origins Trinity Drummers Harbourfroat centre Caribbean Origins Humble. TVeaon, Kiwana, horace Madia. Rkky Husbands aad Charter Miller Harbourfront Centre St James Towa Youth Steel Orchestra Hatbuuifiont Centre Caribbean Origins Supr Minott and EraeA Ranglin Irie Musk Festival Ontario Place Steel Pulse Caribbean Origins A.t«L Now Matniat Volumes Now Marazine Concert Lis tines Venue Gutrtlfatd oricin Aucutt 2006 Global VUnee Plavlists Generalized Oricin Aft© Pan Sted Orchestra ad U [aland Soul Festival @ Harbourfront Rhythm Canadian Lesion Centre Caribbean Origins ROY Caee and the Laiao All stars Harbourfront Centre Caribbean On tins Chriatint'lkrand Evaristo 1 Latin. Central and South American Oriiins Samba Squad Kivoll Lain. Central and South American Oritina Son Ache Cervejaria Caribbean Origins i 1 8 I f «r Caribeaon Havana Feelings I I Irie Proem netus and the Irieband Cervejaha Caribbean Oritina Madataacar Slim Lula Lounte African Origins SCD-06 Now Mafnine Volumes Now Mazarine Coactrt Ustints Venue Generalized oricin September 2006 Global VUace Playlifta Generalized Oricin Sept. 14-20. 2006 VW.26 No.2 DOOM Robot) Gate 403 Aftican Orients Concert: Horn of Africa African Oritine Evaristo Machado 1 Latin, Central and South American Oritins Whleed Abdolhamid African Oritms Bryan Vfcras and va Estal Lula Lounte Latin. Central and South American Orients Omar AbduUe tholli African Oritins Amanda Maninaz A Jane Bones rec. % Global Son Ashe Cerveiaria latin. Central and South American Oritins Divas Conceit Latin. Central and South American Oritina Kevin Lalibene Laonada Latin, Central and South American Oritina Taava Tataa Gitiis Aboriginal Oritins David Silva Sereno Lounte Latin, Central and South American Orif ins fwti Illtmani Latin. Central and South American Oritina Bella did YL EM? With Otvid Buchbinder Free Tunes Caft West Asian Orients Joae de Molina CaribeSon Havana Fee Unas Latin. Central and South American Orient Maestro chc luis Irie with Propeas Negus tad the Iriebaod Cerveiaria Caribbean Oricint Lot amitos invisibles Latin. Central and South American Oritina Yiddish Swinflet Meneta West Asian Origins Dueto America Other North American Oriiins UJ Samba aquad Mod Club Latin. Central and South American Oritins GBJY talitno Latin. Central and South American Oripaa O Probir Kumar MiHia waiter hall, Edward Johnson Building^ South Asian Origns Lot Aleves de lertn Other North American Oritina Ravi IW> ^H«NTR Rov Thompson Hail Sooth Asian Oritina Jean • Paul Samoutu The treen amwt African Oritina Yothida Brothers Eaat and Southeaat oritina Les Yeux Notn West Asian Oritina Lubo Alcxandrov European Oritins 0ct-06 Now Mafaifco VOIURMS Now Matazfoe Concert Listings Venue Generalized origin October 2006 Global VBlate Playlists Generalized Oricin Oct 12-18.2006 \blJ26No.6 Khroahi Natata Enaemble Miles Nadal Jewish Community Centra East and Southeast Oritins Kohei Yamada Eaat and Southaaat Asian Oritina S uteri of ShevoviUe Oladcstonc West Asian Oritins So-called Evaristo 1 «liii«A Latin. Central and South American Oritins Ciano MacGillivTav - Coaan Ensemble British Isks Origins CaribeSon Red Violin Latin, Central and Sooh American Origina John Denver Other North American Oritins BadiAaaad Lula Lounte Latin, Central and South American Origan Patsvclinc Maracatu Nunca Lula Lounte Latin. Central aad South American Oritins !wan Falls Eaat and Southean Asian Origins Luanda Jones Lula Lounte Latin. Central aad South American Oritina Moboo Trio European Origina Rotttaa and the Turn two Band Fled Violin Latin. Central and South Aauxican Oritms Pete teo Eaat and Southeast Asian Orzins M*s*h Lula Lounte Latin, Central and South American Oritins All FaifcaToure Bella did ya Eat? With Yiddish Swinttet Free Tunes Caft West Asian Oritins DJ Samfcinho n/a LoavanVtaand Caft Cabano KoolHaus Latin, Central nd South American Oriiins Carotin Latin, Central and South American Origins Ladvnuth Black Mambezo Rov Thomoson Hail African Origins Carmen Conaoii European (Mum Fiank LoodonOO* Kleaner Bran Albtan Mfcat Asian Orient Klegnabci Weak Asian Oritina Balkan Beat Box Eorooean Orifias Mahala tai Banda Tiken Jah Falooiy Caribbean Origins Baco Other North American Origins Eliane Wintrn European Oritini Joaquin Diaz Latin, Central and South American Origini Shabech Gospel sound Other North American Oritina Refttaee aU son Afrfaan ftriffaf Qaomaili "Mala mam African Origins Carioa Xteiia Oodov Latin, Central and South American Oritina Ruben Blades Latin, Central and South American Origins Oct-06 Now Macasint Volumes Now Macaslno Concert Listian Venae Generalized oricin October 2006 Global VHtace Plaviists Generalized Oricin SamheSouad Latin. Ceanal and South Americaa Oriciaa Nov-06 Now Vtlam«i Now Matazme Conccrt Listings Veane Generalized oricin November 2006 Global VDlate FUylittt \ 1 1 1 i II Yrirwdo Traditianel 1—tic Drammen Glenn Could Studio Mars Bonfire Amorkkriww ARC theaae Uof T @ Scarborouch South Ann Orieins FaihadDarva Arab Oricins EvansSo Latin, Coaxal and Sooth American Orizini Plan c 6k the supermarket (CBC oa the map) ME. somethiaf Somethmc g aupermarimt (CBC On Shadid Ali Khan Lull Lounce Sooth Asian Oricins the Map) Belli did n EK7 WUh hM Rnniek Free Times Caft West Asian Oricus Proves* Hem and the Iriebod Cerveiaria Caribbean Ori fiat Ricardo aronia Proper ciwion Dwtfly Latin. Cenml and South Americas Oricms SercentGercia Ricky Moraka Moovos Lena. Comal and South American Oricina Braieria Caillenno Anderson Caribbean Oricins Manu Cheoand Robbie Williams Ferhat Tunc European Oricins Tanya Tagaq Dork Philosophy 1 1 Helvetnaen 5 Siti ravfesliza Second combat East md Southeast Asiaa Oricins K'naaa Other North American Oricins 1 1 1 Los Lobos 5 u> Dec-06 Now Mafniat Volumes Now Mafoioe Concert Latin cs Venae Generalized Orifias December 2006 Global VQlace Ptaylists Generalized Oricins December No. 15 Theresa Sofcvrkc Hirbourftod centre Eastern European Oricins Tuoac Evaristo t Ijria. Central and South Americaa Oriiins Eminem Other North American Oricins Craoue Monsieur Pros dub Esrnera European Oricins K'MM Other North American Oricms CaribeSoo Red Violin Lata. CestraJ and South American Origins Pocket Dwellers Evmisto Mambo Lounce Latin. Central and Sotfh American Oricins Iranian Sisters Hiian> Dmn trio and Mambo Q Orchestra Lula Loance Latin, Cenual and South Americaa Oriaioa Pablo MUanes Rojitas with Ttmbeo Bead Red Violin Latin. Cenfrml aad South American Oricina Silvio rodriiuez Latin. Central and South American Oriiins I neBead and Shad K Reverb Caribbean Orifiia Los Vn Mu Latin. Central and South American Oricins Cuban Connection Hivu Feelinst Latin. Centra! and South American Orittss WendoKoloeov African Oricins The Yiddish Swinctet Free Times Caft Vfest Asian Oricins Mfcnce Musics Mere Band Prooercimmn Draaonfiv Latin, Central and South American Oricins 30 seconds to Mars African Guitar Summit LuiaLouaae African Oricms Cm Jian No Luck Club