The event featured a panel of renowned Canadian Aboriginal musicians, as well as Canadian director , brother of the Tragically Hip’s . Experimental vocalist, Inuk throat singer, and JUNO award and Polaris Prize winner was the event’s keynote speaker. Alongside Taqaq and Downie, the panel featured Inuk singer/songwriter and multiple JUNO award winner , as well as , one-third of the JUNO award winning electronic group , whose unique sound blends modern hip-hop, traditional pow wow drums and vocals, and electronic dance music. The panel was moderated by , a musician, conductor, and officer of the Order of Canada and the Order of Ontario.

The event began with a performance by Manitoban singer-songwriter , whose alternative RnB draws influence from her Cree/Dene and Irish roots. ��������é’s performance was lively, powerful, and an invigorating start to the morning’s agenda. The performance was proceeded by an introduction by Graham Henderson, the president of Music Canada. Significantly, Henderson’s introduction included an Aboriginal Land Acknowledgement; a practice that is becoming increasingly common at public events in Canada. This is an important development because Aboriginal Land Acknowledgements show recognition of and respect for Aboriginal people and their traditional territories. While it is common practice at music events and concerts to thank sponsors, volunteers, and organizers, Aboriginal Land Acknowledgements are only now gaining traction. Henderson’s inclusion of an Aboriginal Land Acknowledgement in his speech was a positive step forward and one I hope to see taken by other event organizers in the future. Henderson’s introduction was followed by a brief speech by , MP for Parkdale-High Park and Parliamentary Secretary for Multiculturalism. Virani’s speech highlighted the essential role diversity plays in Canada’s cultural output and indicated the importance of multiculturalism and the arts in Canada.

Taqaq began her keynote speech with one of her recent writings, a poem entitled “Sternum”, which juxtaposed the sternum’s biological function with the haunting image of a young girl immobilized by a man lying on top of her, his weight pressing down onto her through his sternum – as creaking bed springs resonate through the air. “Sternum” clearly alluded to the physical, mental, and sexual abuse experienced by Canada’s Aboriginal children under the residential school system, and the poem set the stage for an inspiring panel discussion that was as hopeful as it was critical. Taqaq’s keynote speech also addressed Inuit life and culture, the ongoing vilification of Aboriginal cultural practices in Canada, and the fight for justice for Canada’s . Taqaq’s speech was fiery and confrontational while simultaneously captivating and deeply moving; ultimately laying the foundation for the panel’s conversation on music, healing, reconciliation, identity, and artistic freedom.

One of the most interesting conversations, initiated by moderator Bell, was about the role Indigenous artists play as representatives of Canada’s Aboriginal people. Both Aglukark and Bear Witness commented that they felt conflicted about this role because Canada’s Aboriginal peoples are incredibly diverse and therefore it is problematic to view individual artists as representative of the whole of Canada’s Aboriginal peoples. Taqaq echoed Aglukark and Bear Witness’ comments, saying she feels the public expects her to speak for all Indigenous Canadians, simply because she is an Indigenous woman visible in the spotlight. Taqaq explained that this kind of external pressure can be burdensome because some artists just want the opportunity to speak for themselves; to express their truth, their reality, and their ideas on their own terms. Canada’s Indigenous artists are entitled to their artistic freedom: to create and express themselves as they see fit, regardless of whether their work is keeping with expectations of what it means to be Aboriginal. This was a powerful reminder to all in attendance not to reduce Aboriginal peoples or their arts and cultures to a singular vision – for as Downie was quick to note during the panel discussion, there are over 600 distinct Aboriginal groups in Canada and approximately 65 different dialects spread across 11 languages families. Thus, there is no singular Indigenous voice but rather a vast multiplicity of voices that struggle daily to be heard.

If I could distill the panel’s discussion down to one takeaway, it would be this: it is time to start listening to Aboriginal peoples’ voices – to their stories, their experiences, and their arts. It is time to accept, acknowledge, and trust Aboriginal people when they speak about the harm done to their families and communities and it is time to reject pejorative visions of Indigenous arts and artists based in restrictive traditionalism. Music has the power to heal, unite, educate, and empower, but only if we listen truly and deeply. And thus, as Downie noted during the panel discussion, the responsibility lies with all Canadians, and not simply the government, to listen and strive towards reconciliation.

The author would like to thank Canadian Music Week and Music Canada for organizing this important and thought-provoking panel discussion as well as Tanya Taqaq, Susan Aglukark, Bear Witness, Mike Downie, and John Kim Bell for their words and art.

Stephen Cooley is an IPilogue Editor and a JD Candidate at Osgoode Hall Law School.

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The event brought together delegates from not only across Canada but also the United States, South Africa, and the United Kingdom, highlighting Canada’s importance in the international music community and its significance in the global dialogue around the power of music to heal and bring people together.

The morning began with a powerful keynote address by Laura Hassler, Founder and Director of , a Netherlands-based nonprofit organization that uses music education to assist communities recovering from war and conflict. Ms. Hassler told the story of the , a music school co-founded by her organization in the “most divided city in Europe,” Mitrovica, in Northern Kosovo, a region that had been divided since the Kosovo War in the late 1990s. Delegates listened as Ms. Hassler recounted sneaking students across the Ibar river in order to unite young musicians from the northern Serbian-majority region and the southern Albanian-majority region of the city. According to Ms. Hassler, the joy of playing music began to form the common denominator in these students’ lives, allowing their apparent differences to fade away. She ended the keynote with a clip from , one of the Rock School’s breakout successes—featuring three members from the north and three from the south—and evidence that music has been able to bridge Mitrovica’s cultural and political divide.

After the keynote, Ms. Hassler was joined on stage by Andre Le Roux, Managing Director of South Africa-based Foundation, Andrew Mosker, President and CEO of in Calgary, and Lee Whitmore, VP, Education Outreach and Social Entrepreneurship at in Boston for a panel session moderated by former CBC anchor Nancy Wilson. The Panelists spoke about their own experiences using music as a tool for social good, as well as the potential and the challenges of their work. Mr. Le Roux, in particular, connected the dots between the cultural division in Mitrovica after the Kosovo War and his own experience in South Africa, where the effects of social exclusion and economic division have persisted long after the abolition of apartheid.

The discussion largely revolved around reaching younger generations through music and using it to overcome historical divides, economic disadvantages, and other challenges faced by youth in a given country. Questions from the audience helped to broaden the discussion to the role of music for people with disabilities, the elderly, and those who might benefit from music therapy. Another theme that was emphasized throughout the day was that music allows peoples’ identities to transcend those assigned to them by a given conflict. In Mitrovica, then, a Serbian guitarist and an Albanian vocalist are not just a Serb and an Albanian as they are on the city streets: they are musicians and, often, bandmates.

Unsurprisingly, panelists agreed that funding for arts-based initiatives remains a major challenge, but also that technology offers new, affordable mechanisms for spreading the power of music. Moreover, events such as the Global Forum, and Canadian Music Week more generally, allow for new ideas, new avenues, and new partnerships to be formed.

The panel was followed by a question period and then by a working session, where delegates had an opportunity to discuss the issues with the members of their table. This was a wonderful chance to brainstorm with industry professionals from around the world, and reminded delegates that their own voices and perspectives are a critical part of the dialogue on music education.

We want to thank Music Canada and Canadian Music Week for putting on an important and thought-provoking event, and for giving us the opportunity to attend and participate.

Brendan Monahan is the IPilogue's Multmedia Editor and a JD Candidate at Osgoode Hall Law School.  Sebastian Beck-Watt is the IPilogue's Content Editor and a JD Candidate at Osgoode Hall Law School.

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