Post written by Michelle MacQueen

Today was our final day of the Colloquium. We drove back to the Centre for Sound Communities from Chéticamp for our last presentation. Our final Keynote presenter was Dr. Christina Leza. She is a cultural and linguistic anthropologist whose research interests include indigenous peoples of the Americas, discourse and identity, racial and ethnic discourses, grassroots activism, and cognitive anthropology. Her most recent research has focused on border indigenous activist responses to U.S.-Mexico border policy in collaboration with grassroots indigenous organizers on the U.S. southern border. She has also examined broader discourse patterns among indigenous grassroots activists in the U.S. and Latin America. She is the author of the book Divided Peoples: Policy, Activism and Indigenous Identities on the U.S.-Mexico Border, and a chapter on activism, identity, and hip-hop at U.S.-Mexico border for a volume on Indigenous music and modernity. Her presentation was titled Articulating Indigenous Soul in Search of Healing. She talked about how distinct (and often contested) Indigenous identities in the U.S.-Mexico border region are experienced. She also discussed how these identities are expressed through engagement with sonic articulations of Indigenous roots and colonial oppressions. She told us how this work emerged from field research with Native and Mexica activists in the Tucson/Phoenix, Arizona region. Drawing from field observations, interviews, analysis of song tracks and videos by selected conscious hip hop artists, she examined how individuals and groups in the U.S.-Mexico borderlands perform indigeneities in the context of historical conflicts between Native Americans and Chicanos over claims of indigeneity.   She introduced us to two Indigenous hip hop groups: Shining Soul, a group composed of emcee Liaizon of the Tohono O’odham Nation, Chicano emcee Bronze Candidate, and DJ Reflekshin of the Navajo Nation; and Mexica hip hop/punk/electronic band Aztlan Underground.   Her presentation built on Alejandro Nava’s exploration of hip hop as a search for the soul. Her presentation considered how Indigenous artists of distinct cultural ancestries sonically articulate Indigenous soul through the select use of ancestral musical traditions and Indigenous protest references. She described how both Shining Soul and Aztlan Underground emphasize healing as a central goal of their sounds. They embrace music as ceremony, medicine, and a source of healing. Yet, she explained that through their musical sound production, both bands communicate their positions as oppressed and “conflicted moderns.”   She played us the songs “Get Up,” “No Mercy,” by Shining Soul and “Decolonize,” “My Blood is Red,” and “Indigenous” by Aztlan Underground. She explained how in these examples, they are simultaneously producing “frequencies of healing” and frequencies of violence in protest against historical and contemporary forms of colonial oppression. Ultimately, both bands communicate the predicament of Indigenous peoples who must constantly work to heal under the onslaught of settler colonial violence. She concluded by showing us how the search for healing may be particularly challenging for Indigenous peoples with a migration lineage shaped by the imposition of international borders and forced relocation.   We ended the 26th ICTM Colloquium with a publication workshop. This workshop was filled with productive brainstorms of how to turn the discussions we heard over the past few days into published material. Our conversations were guided by Christina Leza’s final presentation slide with a quote from Shining Soul, noted below. This message resonated with our experiences at this Colloquium and we hope that it will reverberate throughout our publication.

Stay tuned!

 

Post written by Michelle MacQueen

Today, we started our own migrations across Cape Breton Island.

 

 

First, we stopped at the Highland Village in Iona. We were able to learn about some of the history and cultural practices of Gaels on the Island. We learned a few Gaelic songs and sang them together while we had a Milling Frolic – a process to shrink and soften cloth where people (usually women) would accompany their work with songs to make the process more enjoyable. Though milling cloth is no longer very common, people still gather for milling frolics to beat the cloth back and forth and share songs and stories.

 

 

 

 

 

Then we moved to the Iona Heights Inn to hear from our second Keynote presenter, Alex Chávez.

Alex gave us an introduction to his work in a public presentation on Wednesday, but today his presentation was titled Sound, Citizenship, and Aural Ecologies of Place.

He spoke about his decade of research among Mexican migrant musicians in the United States. He emphasized the social and political mandates shaping their art within the context of intensified attacks on their communities.

The presentation focused on a new research project listening to the city of Chicago and specifically Latinos in Chicago. He talked about the importance of listening: how might listening animate memory and be a vehicle for collective witness? How does sound figure into creative cultural citizenship?

Looking at Chicago (and as is the case elsewhere in the United States), Alex spoke of how Latino migrants have moved from a kind of mobility to emplacement; they have settled and there is a general realization by dominant groups that “they’re staying here.” He used this example to talk about the social feelings of what it means to feel at home, and what roles sound and music can play in activating those feelings.

What might you hear – or not hear – when entering a community? What distinguishes music from sound? He explored these questions by looking at youth-based radio, podcast, and soundscape projects in Chicago. From these projects, he told us about how sounds have the ability to claim public space. Sound is significant for how people exist and sound gives merit to what can exist.

 

 

 

 

 

 

He talked about the “official discourse” about the neighbourhoods of Chicago. Often, these stories talk about the segregation of space: every neighbourhood is divided into its own separate, discrete place. He described how art can be a creative engagement to move beyond these “official” stories: we can push the boundaries of who is allowed to create a semblance of home, how we hear it, and how we experience it. Through these artistic engagements, we can amplify the intent of whose voices are heard.

To illustrate these points, Alex shared his experiences working as a producer for Olmeca and showed us the music video for “Define.” 

He ended his presentation by emphasizing how we need to take seriously the capacity of sound as an aesthetic site of citizenship.

 

Next, we drove to Chéticamp. The following two groups of presentations were hosted at École NDA.

First, we had a group of presentations under the theme Mobilizing Memories.