CAML Review / Revue de l'ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux)
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Stories and Lessons from the World's Leading Opera, Orchestra Librarians, and Music Archivists, vols. 1-2 by Patrick Lo, Robert Sutherland, Wei-En Hsu, and Russ Girsberger: Volume 1: North and South America; Volume 2: Europe and Asia
No full textSpotlight on Music Collections: Interview with Marion Newman, (Ne'ega,) Mezzo-Soprano
Get PDFWhile previous Spotlight columns have focused on music collections and archives in Canada through the voices of those who work with them, this interview takes a slightly different angle by focusing on the career of Mezzo Soprano Marion Newman (Nege’ga), an internationally recognized opera singer who will be joining the University of Victoria School of Music as Assistant Professor on July 1, 2024. Newman is known across Canada and worldwide for her performances of the works of living Indigenous composers. In this interview, Marion discusses navigating - and stretching the limits of - the modern world of opera while proudly bearing her identity as Kwagiulth and Sto:lo. She also reflects on the complexities of balancing Indigenous traditions with modern Western music practices, her experiences working with written, recorded, and published Indigenous-composed music when, traditionally, and the role that library collections may play in her work as a faculty member at the University of Victoria. The interviewer, Kyra Folk-Farber, is honoured to be good friends with Marion as well as former singing colleagues while they both lived in Toronto, and collaborating with Marion on this interview was, unsurprisingly, a total delight. 
The Secret Path to Reconciliation: Impact and Legacy of Gord Downie’s Musical Activism
Get PDFIn 2016, Canadian musician Gord Downie released a solo concept album titled Secret Path, which dealt with the death of Chanie Wenjack, an Anishinaabe boy who passed away after escaping an Ontario residential school in the 1960s. This album came just one year after the Final Report of the Truth and Reconciliation Commission (TRC) was published, marking a major national step in the reconciliation process. This, in combination with Downie’s terminal brain cancer diagnosis that same year, gave the album a particularly heightened prominence within Canada. This paper examines Downie’s album through the musicological framework of secondary musical witnessing, where Downie acts as a witness in defining the story of Chanie Wenjack. Through analyzing Downie’s role as a musical witness, broader questions of Indigenous allyship are explored through the colonial lens of settler witnessing. This paper aims to explore the nuances and circumstances around Secret Path to understand its historical and cultural significance in the reconciliation movement upon its release, as well as the problems with its legacy related to Indigenous allyship when judged by modern standards as a way of demonstrating how far the reconciliation movement has progressed since 2016
