The Canadian Independent Recording Artists' Association (CIRAA) has a new mentorship program for up-and-coming artists. Check out the details below and apply by December 16th.
The Canadian Independent Recording Artists' Association (CIRAA) is Canada's only national not-for-profit organization dedicated exclusively to Canadian independent recording artists. The organization has just announced a new mentorship program and is currently accepting applications.
The program includes 15 hours (over a three month period) of in-depth, personalized, one on one advice from an established working musician. The mentors include Austra, Jeremy Fisher, Peter Katz, and The Good Lovelies and what topics will be covered is open to the mentor and mentee, based on the needs of mentee. A tailored fit!
The deadline for the first mentorship with Austra is December 16th, 2012. The instructions on how to apply, from ciraa.ca/mentorship.php:
1) The basic requirementsto apply for a mentorship are:
-Be a member of CIRAA (Not a member? Join Here )
-Have performed 10 shows in the last year
-Have released at least one album or EP
Please detail your evidence of the basic requirements in the clearest and easiest way possible on one page.
2) Send a 1 page letter making your pitch.
CIRAA will be selecting the top 3 to 5 applications and forwarding them to the mentor for the final decision. So make your argument about where your career is, why you need this mentorship and why you believe this mentor is a good match for you as a mentee.
3) E-mail your application to mentorship@ciraa.ca with the following info:
-Subject: Application for Mentorship with “name of the mentor”
-Include links to your social media/online presence
-Attach your 1 page Basic Requirements and 1 page Pitch. Failure to follow these instructions will likely disqualify your application.
If you have any questions, feel free to email gaby@ciraa.ca with your questions.
When you're ready to apply, send it all in to mentorship@ciraa.ca. Good luck!
Secret headliners, multi-disciplinary traditional contemporary media arts mashups, Native models, directors, producers, actors comedians, and some serious bass music; VIMAF, Skookum Sound System and RPM's one year celebration boasted all of this and more. Check out the recap.
Indigenous Afterdark: Around the Sun turned out to be an excellent celebration of Indigenous media arts and music culture on the West Coast. Starting off the evening was the RPM Indigenous Music Video Program, hosted by RPM's own Ostwelve, which showcased some of the year's latest releases from artists like Joey Stylez to Ill Citizens, Hellnback to World Hood. Peep the playlist below.
What ensued after the music video program can be described as an eccentric evening of energizing entertainment. Beginning with West Coast homies Mob Bounce who laid down a warm welcome to the audience in the form of a tight hip-hop set, the lineup rolled on to favorites Skookum Sound System, blending new school and golden styles, and ended with DJ Krisp up on the decks with the boys from A Tribe Called Red being tagged out by DJ Annashay to cap it all off.
DJ Krisp and Shub from ATCR got into it a bit on stage, wowing the crowd with a friendly battle, and Amphibian 14 aka Bracken Hanuse Corlett was stunning the audience with the completely immersive visual experience both inside the venue on on the walls facing into the street. De Nort, the ITWE Collective's interactive new media installation, lent another layer to the evening, with guests wearing the headphones provided at the touch screen to leave the party for a brief moment to be taken to God's Lake Narrows. Numerous artists, producers, directors and various other forms of Native (and non-Native) talent in the house made the evening one to remember. Until next year. Boom.
Choctaw singer-songwriter Samantha Crain chatted recently with Indian Country Today about her path as a musician, life on the road and her upcoming new album Kid Face. This week, Samantha's getting more press but for the sad news that her guitars have been stolen!
On November 16th, Samantha posted a plea on Craigslist that her two workhorse guitars, the ones she uses for touring, writing and recording, were stolen from her home in Shawnee, Oklahoma. For a musician, losing the tools of one's trade is heartbreaking much less a huge expense and threat to their livliehood.
"These are my life and blood" Samantha wrote in her post and her community was quick to respond with ways to support her. A donation campaign is now online to help raise funds to replace Samantha's Martin acoustic and Jagstang electric - check it out at donatesamanthacrain.blogspot.ca.
I started playing music as a means to travel, actually. I started this as an afterthought that I grew to love tremendously and found an identity. I started touring and writing when I was about 18 or 19. I didn’t take any time to hone it, I wasn’t one of those people who started playing really young and then it eventually turned into this. I naïvely jumped into it all at once.
I wrote six or seven songs and then I said I can go play these in a coffee shop wherever I want to go. that’s kind of how I started, I just started booking shows for myself all over the place or wherever I thought I might want to go spend some time and then I realized, “Well I should probably make a record so I have something to sell to the people while I’m playing there.” I said, “Well I guess you should probably write some more songs…” I learned about it as I was in the business.
I grew to love and appreciate the art of songwriting—that has become my main focus of it now. I still do a ton of touring, but songwriting is something that is super special to me and I love meeting other songwriters and hearing about the other ways they write songs.
When I was in college, I was a creative writing major. I studied poets and how there were all of these different movements and poetry. I feel like there is that same sort of thing and songwriting, it’s just not so cut and dry and talked about as much. I find the same thing in studying different songwriters in different areas of songwriting. I think there can be the same thing said about the movements there were for poetry and art.
Samantha goes on to reveal the poets she's been most influenced by, how her new album Kid Face represents a shift in her songwriting style, and why she just wants to be Neil Young. Read the complete interview here and be sure to check out the fundraiser to replace her instruments too.
Aboriginal Music Week is one of the largest gatherings and celebrations of Indigenous music and musicians. In 2013 they're moving up the annual event from early November (brr!) to late August (yay!). Applications are now open - send yours in now!
It will be the fifth annual Aboriginal Music Week in 2013 and the festival will span August 16-21, taking place on outdoor stages and nightclubs in Winnipeg, Manitoba. The fest is currently accepting applications from Indigenous artists for performance spots.
To be considered for a performance spot, you must:
• Have a current or upcoming professional release (EP / full-length)
• Have at least two professional print resolution photographs
• Have a professional website
• Have a music video on YouTube or a quality video of yourself performing on YouTube
• Be willing to collaborate with other artists on stage during the festival
• Be willing to provide at least one song for the free download page on the festival website
• Accept the festival's radius clause for the city of Winnipeg (six months before the festival and three months after the festival)
• Have the ability to book your own flights (the festival may be able to pay a flight buyout, but we won't be handling any of the bookings)
• Be a nice person
NOTE: The radius clause does not apply to artists or bands that live in Winnipeg
Please submit the following in person or by mail:
• One-page biography in Microsoft Word format (.doc) on CD
• A stage plot and tech rider for the performance that you would like us to book (complete our template and send us a list of the backline models you need if you don't already have a stage plot and tech rider)
• Two print resolution digital photos on CD
• A performance history with dates, venues, city/community and venue capacity for the last 12 months in Microsoft Word format (.doc) on CD
• One copy of your current professional release on CD
• Your website address
• Links to your video(s) on YouTube
• Your contact information (full name, mailing address, phone number, email, website)
• Contact information for your booking agent or the band member that handles booking (full name, mailing address, phone number, email, website)
Please send submissions to:
Aboriginal Music Manitoba Inc.
C/O AMW2013 Programming Committee
1-376 Donald Street
Winnipeg, Manitoba, Canada
R3B 2J2
Please feel free to contact alan@ammb.ca for more information about our Call for Submissions.
The submission deadline is Wednesday, December 19, 2012 (in office – not post marked). For more info visit aboriginalmusicweek.ca.
Since its inception in 1998, Toronto’s imagineNATIVE Film & Media Arts Festival has grown to be the largest festival of Indigenous film and media arts in the world. The annual celebration was held October 17-21, 2012. Melody McKiver was the grateful recipient of a delegate pass for Indigenous musicians sponsored by Slaight Music. Here’s her exclusive festival recap for RPM.
DAY ONE: Wednesday October 17th
I last attended the festival when I lived in Toronto in 2009. Returning home to see that most imagineNATIVE screenings and workshops are now held in the TIFF Lightbox (Toronto International Film Festival) is a welcome development, and a testament to the major impact this festival has made on the international film, media, and Indigenous arts communities.
OPENING GALA: THE PEOPLE OF KATTAWAPISKAK RIVER
The sole film screening held off-site was Wednesday’s opening gala and world premiere of The People of the Kattawapiskak River. Acclaimed Indigenous filmmaker Alanis Obomsawin, along with many community members from Attawapiskat First Nation including Chief Theresa Spence, were present, and received standing ovations following the film. Preceding the main feature was Christmas at Moose Factory, Alanis Obomsawin’s 1971 debut film. Despite the 41-year gap between the two films, both share a gentle portrayal of the realities of life in remote Northeastern Ontario and a focus on Omushkego (Swampy Cree) youth. Obomsawin was on the ground in Attawapiskat as news of the community’s state of emergency went viral in late-2011. As mainstream media coverage quickly devolved into factually inaccurate stereotypical reporting, Obomsawin masterfully took vitriolic commentary from Sun Media conservative ideologue Ezra Levant, and presented community members’ responses to his unfounded accusations.
The film began with the community at the peak of the housing crisis, then showed community members celebrating newly-built housing six months later, and concluded with the court case that absolved Attawapiskat First Nation of any financial misdoings—and illustrating the callousness of the federal government’s response to the crisis.
AFTER-PARTY ROCKIN’ WITH DJ BEAR WITNESS
Following the film, imagineNATIVE provided buses to an after-party that offered a happy reunion for many members of the Indigenous arts community. RPM and festival favourite, DJ Bear Witness (of A Tribe Called Red), spun a wide range of reggaeton, Latin, reggae, hip-hop, and his own powwowstep. At 80 years young, Alanis Obomsawin showed off her spirit and vitality by owning the dance floor late into the night.
Alanis Obomsawin on her reception @ #iNfest2012 : "you make me feel like I'm coming home"
The party was also an appropriate send-off for DJ Bear Witness, who was set to meet his ATCR brothers at the Toronto airport less than 12 hours later to fly out to perform at the WOMEX Festival in Thessalakoni, Greece.
DAY TWO: Thursday, October 18th
PANELS & WORKSHOPS
I began my day at the Music in Film & TV: A Guide for Filmmakers and Musicians industry panel, where a diverse and accomplished roster of panelists were invited: Brent Bain of FACTOR; Elizabeth Klinck of E Klinck Research; Paul Stillo of SOCAN; Jeremy von Hollen of Instinct Entertainment, and RPM favourite cellist/composer, Cris Derksen. The audience was filled with film, music, and dance professionals, culminating in a lively question period. For my own soundtrack work, the workshop was more than worthwhile, answering some long outstanding questions I’ve had regarding the nuances of licensing new recordings of existing songs.
UNSETTLING SEX
With a slight overlap between the end of the industry panel and the beginning of the Unsettling Sex screenings assembled by Chickasaw artist and curator John G. Hampton, I snuck into the movie theater. Although I missed the screening of Dance to Miss Chief by Cree Two-Spirited iconoclast Kent Monkman, I recently saw the piece in a gallery and can testify that his mash-up of disco and powwow music is well worth a listen for powwowstep fans.
Dear Diary and Target Girls by Cree/Ojibway/Roma/Jewish filmmaker and video artist Ariel Smith lacked dialogue, but paired score and sound design by Ottawa band Crush Buildings with vivid black and white imagery. ‘Unsettling’ was an apt description for Target Girls especially: the cinematography was reminiscent of German expressionism, while the soundtrack was reminiscent of 1950’s bubblegum American pop with decidedly un-bubblegum lyrics.
Also featured in Unsettling Sex was Mars-Womb-Man and I am the art scene starring Woman Polanski by Cree/Métis artist James Diamond and About Town by Métis filmmaker, writer, and artist Marnie Parrell. The screenings were shorter than usual in order to give curator John G. Hampton time to read his paper on the series. His written work draws heavily on recent developments in Queer Indigenous studies, while also emphasizing that the films screened should not be essentialized to any single descriptor of queer, Indigenous, sexuality, or feminism.
CONCEALED GEOGRAPHIES
When not at the TIFF Lightbox, many imagineNATIVE attendees could be found nearby at the 401 Richmond artist complex, which houses a number of small galleries, while others found their way to exhibitions and artist talks including: Concealed Geographies: New Media Exhibition featuring the works of KC Adams, Jason Baerg, Merritt Johnson, Cheryl L’Hirondelle, Justine McGrath and Nigit’stil Norbert, De Nort: New Media Exhibition by the ITWÉ Collective of Kevin Lee Burton, Caroline Monnet, and Sébastien Aubin, and Wbomsawinno: Les estampes de/ The Prints of Alanis Obomsawin.
RESONATE: YOUTH MULTIMEDIA EXHIBITION
I made my way to RESONATE - Indigenous Youth Showcase, where a variety of print media and video art was on display by youth artists Nishka Turner, Leslie McCue (Ojibway), Asivak Koostachin (Cree), Cecily Jacko (Ojibway), Kyle Burton, Jared Robilliard (Dene), Damien Bouchard, Cheyenne Scott (Coast Salish), Nigel Irwin-Brochmann, Emily Jones, Alice Thompson and Alana Mcleod. A reception complete with frybread followed that emphasized the tight-knit nature of the community and everyone from newborns to kookums were in attendance.
INDIGENOUS WRITERS’ GATHERING & MUSKRAT MAGAZINE
That evening, I made the difficult choice to break from imagineNATIVE to catch the wrap party of the 5th annual Indigenous Writers’ Gathering and launch of MUSKRAT Magazine, where I caught up with Cree cellist Cris Derksen, who wowed the crowd with recent material not heard on her album or 8th Fire soundtrack, along with some older favourites. An all-star lineup of Indigenous writers, including Lee Maracle, Richard Wagamese, and Marilyn Dumont read from their work. Daniel Heath Justice’s (Cherokee) new poem, which dealt with lies told about Indigenous people, was a personal stand-out, as its unflinching honesty and emotional intensity were reminiscent of Ryan Redcorn’s acclaimed poem Bad Indians. And, of course, event hosts Sid Bobb and Wab Kinew kept the crowd entertained throughout the night.
DAY THREE: Friday, October 19th
SPOTLIGHT ON THE MAPUCHE NATION
On Friday I caught two documentaries that were part of an International Spotlight on the Mapuche Nation I. Each year at imagineNATIVE an Indigenous nation from around the globe is featured, and this year’s invited guests were representatives of the Mapuche Nation from what is also known as Chile. Indigenous resistance to colonialism, capitalism, dispossession of land, and loss of language were recurring themes in the two documentaries screened, En El Nombre del Progresso (In the Name of Progress), and Wallmapu - but also a profound resilience and fierce pride in their culture and nation. I would revisit these themes later in the evening, when I performed as part of the afterparty for the Mapuche delegation.
SHORT FILMS: TURNING POINTS
Immediately after the International Spotlight screening I saw the Turning Points: Shorts Program I. Showcasing a wide variety of creative projects, shorts programs are my favourite parts of film festival programming, but they often force you to make difficult viewing choices. Plus, I knew I would have to run to soundcheck midway through the program. But the opening film, Throat Song, directed by Miranda de Pencier, was a standout. Set in Iqaluit, the 18-minute film follows a young Inuk woman as she seeks an escape from an abusive relationship. The acting and the technical production were superb and throat singing, as the title suggests, played a major part in the film’s soundtrack and sound design. This incredible form of singing propelled the action through dreamy sequences of running and hunting across the tundra that owed much to Zacharias Kunnuk’s groundbreaking work in Antanajuarat: The Fast Runner.
SPOTLIGHT ON THE MAPUCHE NATION
As I ran out early to set up my drums for soundcheck at The Central, I was honoured to participate in the celebration of the Mapuche Nation and perform under their flag. The evening began with a selection of hip-hop and heavy metal music videos curated by director Danko Mariman, whose En El Nombre del Progress (In the Name of Progress) screened earlier in the day. The feature of the screenings was the 2008 film Cortometraje “Che Üñum, Genta Pájaro”, a 22 minute short by Mapuche video artist Francisco Huichaqueo (huichaqueo.cl). The dreamy film opened with a quote which, in English translation, read “When somebody has to move, he has to start all over again and open his eyes and look another way”. Movement was an ongoing theme, with a number of the performers, wearing helmets that suggest the mandibles of ants, engaging in near-impossible displays of parkour throughout the urban landscape of Santiago, Chile. The third movement was particularly mesmerizing, with the introduction of the song Anarky Plastic by Mario Z propelling the action forward and building the sound design from the first two movements to incorporate traditional Mapuche horns. The shift to electronic music in the final movement suggests that this contemporary mix of electronic and Indigenous sonic aesthetics is truly an emerging global sound (as we explored in RPM’s Electric Pow Wow podcast - which included artists Cris Derksen and Bear Witness, who also performed during this year’s imagineNATIVE).
AMAZONICA SOUND FORCE & RED SLAM COLLECTIVE
Following the film screenings, live music took the stage. Toronto-based Mapuche MC La Bomba opened things up with her reggae-influenced band, Amazonica Sound Force. All of the band’s members are veterans of the hip-hop en espanol and reggae communities, and performed a tightly polished set. ASF were a tough act to follow, but my band Red Slam Collective took the stage. Red Slam represents a diverse number of Indigenous nations from across Northeastern Turtle Island and our brand of live hip-hop draws from a diverse set of influences including reggae, hand drum songs, spoken word, and funk. It was a true pleasure to play in front of such an inspiring Indigenous audience.
DAY FOUR: Saturday, October 20th
SPOTLIGHT ON MAPUCHE NATION - PT II
On Saturday the International Spotlight on the Mapuche Nation continued with more documentaries. First up was the North American premiere of Francisco Huichaqueo’s 2012 film Kalül (Reuniôn de Cuerpo / Reunion of the Body) which brought his dreamy cinematographic style, as seen in the previous night’s Cortometraje “Che Üñum, Genta Pájaro”, to document a Mapuche performance art intervention in a shopping mall in Santiago. This was followed by the international premiere of Diez Veces Venceremos (We Shall Overcome Ten Times) by director Cristian Jure. Diez follows the political exile Pascual Pichún, as he attempts to return from his journalism studies in Argentina to his Mapuche homelands in occupied Chile. The title of the film is drawn from a protest song often sung by Pascual and his supporters. Protest songs are an integral part of the narrative of the film, sung by Pascual in exile in Argentina, and by his supporters in his home community.
THE BEAT
The Beat is a hotly anticipated part of imagineNATIVE that shifts the festival’s focus from film to music for a Saturday night celebration. Demonstrating the strong connection between film and music, each year The Beat opens with a collection of the past year’s best Indigenous music videos.
This year’s line-up represented Indigenous nations from around the globe, including: This Is My Time Everyday directed by Michelle Latimer, Leivänmuruseni (Breadcrumbs) directed by Oskari Sipola, Ghost House directed by Zoe Hopkins, Mr. Milkman directed by Laura Milliken, DirtyGames directed by James Kinistino, My Blood My People directed by Martin Leroy Adams, and Waardeur directed by Eugene Hendriks. I was proud to contribute drum tracks to this year’s Best Music Video, Sides directed by Mosha Folger, an Ottawa-based Inuk writer, performer, playwright, and member of the Counterfeit Nobles.
Nick Sherman (Ojibway) opened up the evening’s live music component with a commanding solo set. The Sioux Lookout-based singer-songwriter performed seated on his suitcase, which doubled as a bass drum. For the final portion of Nick’s set, he invited up the visual artist and musician Arthur Renwick (Haisla). The two men had only recently began playing together at the Ontario Council of Folk Festivals a few weeks ago, but impart a familiarity that I hope will lead to many future collaborations.
George Leach (Sta’atl’imx) was the evening’s headliner, performing a mix of old favourites and new tracks from his eagerly anticipated new release, Surrender. Audiences at The Beat got a chance to purchase copies of the new album prior to the official release, and I can confirm that it sounds as great as his live set. George Leach and his band pumped up the mood in the room, switching gears from the quiet reverence of Nick Sherman’s set to a full-on Saturday night rock’n’roll party.
They played a high-energy set, proving that nobody in Indian Country rocks a double-necked Gibson SG quite like George Leach.
DAY FIVE: Sunday, October 21st
CLOSING GALA: THE LESSER BLESSED
On Sunday, I made my way to the closing night gala screening of The Lesser Blessed directed by Anita Doron and based on the Richard Van Camp (Dogrib) novel of the same name. Shot in Sudbury but based in the Northwest Territories, the film was gorgeously rendered and scored. The film’s protagonist Larry Sole, a Tlicho youth played by Joel Evans in a stellar acting debut, comes to terms with his traumatic past as he deals with high school bullies. The film premiered earlier this year at the Toronto International Film Festival, and is well worth seeing as it screens more widely.
The 13th annual imagineNATIVE Indigenous Film & Media Arts Festival wrapped up with an awards gala at The Mod Club hosted by actor Billy Merasty, who donned this year’s circus theme and put on his top hat as the ringmaster. The crowd was tired but happy after a week jam-packed with festival events and networking that always ran well into the night.
To take part in the festival as a musician truly demonstrated to me how interconnected Indigenous arts practices are: what’s a film without a soundtrack, or a musician’s single without a music video?
At the end of the festival, my only regret is that I can’t go back and catch everything I missed the first time around. Aho!
Melody McKiver is an Anishinaabe musician, media artist and researcher who splits her time between Ottawa and Toronto. She is currently completing an MA in Ethnomusicology at Memorial University where her research interests include Indigenous electronic music, artistic processes of decolonization, urban Indigeneity, and Two-Spirited studies. For more on Melody's work, follow her on Twitter @m_melody or visit melodymckiver.com
As the firestorm of controversy over No Doubt's new native appropriating and flagrantly racist video "Looking Hot" (or perhaps, better, "Lookin' Racist") began raging to a boil across social media on Saturday, Gwen Stefani and her "multi-racial" band quickly took to their website to issue an apology and remove the video from YouTube.
Updated: November 4, 2012
In Regards to Our "Looking Hot" Music Video - bit.ly/YBwGOF
As a multi-racial band our foundation is built upon both diversity and consideration for other cultures. Our intention with our new video was never to offend, hurt or trivialize Native American people, their culture or their history. Although we consulted with Native American friends and Native American studies experts at the University of California, we realize now that we have offended people. This is of great concern to us and we are removing the video immediately. The music that inspired us when we started the band, and the community of friends, family, and fans that surrounds us was built upon respect, unity and inclusiveness. We sincerely apologize to the Native American community and anyone else offended by this video. Being hurtful to anyone is simply not who we are.
Although the video was only published on November 2nd, in less than 24 hours, the clip had already been viewed 400,000 times (at the time of this writing), before being removed from the popular video sharing site.
Vincent Shilling previously reported on the Indigenous backlash against the video for Indian Country Media Today:
On November 2, the second day of Native American Heritage Month, Gwen Stefani of No Doubt released her latest music video for “Lookin Hot” on YouTube. In the video Stefani wears a series of American Indian styled outfits while appearing in a series of situations such as being handcuffed and tied to a wall, dancing in and around teepees and fighting cowboys.
Soon after the video was released, a backlash on Twitter erupted and dislikes jumped from 60 to over 700 in a few hours. Several YouTube viewers made comments in frustration and support of the video.
One comment on YouTube stated: “This video is very insensitive and very discourteous. Stefani, you have disrespected and slighted the entire Native American people with your counterfeit portrayal of our heritage. The way you pranced and frolic around, dressed in so called Native American attire, is a mockery of our way of life and culture. You have also debased all Native American women. The word squaw is very insulting and demeaning to me and all Native American women.” [...]
Twitter was especially active after the video was posted and continues to generate comments as to how disrespectful the video is. Lorie Lee, Sac and Fox, (@lleetewa) tweeted, “@gwenstefani disappointed n ur portrayal attempt of beautiful strong warrior woman Natives. Invited to Hopi find out who u will nevr be NOW!”While Colby Tootoosis (@colby22sis) referred to an article written by UK publication, Mail Online, that calls Stefani a “Native American Squaw” she says, “our women were never squaws.”
The controversial video was directed by Melina Matsoukas, who posted on Twitter that the video is "taking it back to the wild west". Matsoukas has yet to issue an official statement on the controversy. As TheDeadBolt reports:
The “Looking Hot” video was filmed over two days in October at the Valuzat Movie Ranch in Santa Clarita, California with Melina Matsoukas in the director’s chair. This was Melina’s first time working with No Doubt. Her extensive directing resume includes Rihanna’s “We Found Love,” video which recently won Video of the Year at the 2012 MTV Video Music Awards.
Despite No Doubt's stated claim to have "consulted with Native American friends and Native American studies experts at the University of California", some substantial questions remain.
As many of our readers asked, who are the band's "Native American friends" and who did they "consult" at the University of California? But, more importantly, how did this video concept and its offensive imagery get approved?
@rpmfm dying to know who @nodoubt consulted and about what ...how did this video even get made in the first place?
In an response posted to LastRealIndians.com, writer Linda Tioleu attributes No Doubt's misguided act of appropriation to the popularization of Indigenous iconography in contemporary fashion and pop culture, however, she also draws attention to the important ways in which the video contributes to the hypersexualization of Indigenous women as targets of colonial violence that "perpetuates and reinforces the misconception that Native women are the sexual property of mainstream media and the general populace":
There can be little doubt that No Doubt (hehehe) was responding to the current “hipster” trend popularized by companies like Urban Outfitters, who created great controversy with their line of “Navajo” clothing, inspired by Native American cultures. There can be no other explanation for their actions than a simple, misguided attempt at caving in to the mainstream. The song has absolutely nothing to do with Indigenous peoples (the primary lyrics being the masterfully written “Do you think I’m looking hot? Do you think this hits the spot? How is this looking on me, looking on me?”). But, I’m being overly sensitive, right? I shouldn’t have a problem with the fact that Gwen and her bandmates are connecting those lyrics to Native American women, to me. Right?
I won’t repeat all of the statistics on Amnesty International’s recent student of the sexual exploitation of Native women, but I will repeat the fact that Native American and Alaska Native women are 2.5 times more likely to be raped or sexually assaulted than the average American woman, and that 86% of these violent acts are committed by non-Native men. Additionally, a U.S. DOJ study found that over 34% of American Indian and Alaska Native women will be raped in their lifetime.
These statistics frighten me – not just for my own safety, but for the safety of our mothers, aunties, sisters, and daughters. No Doubt’s hypersexualization of a woman dressed as an American Indian further perpetuates and reinforces the misconception that Native women are the sexual property of mainstream media and the general populace. We absolutely cannot sit idly by and see Native women – who are the foundation of our people, culture, spirituality, and community – thrown out to slaughter by anyone – let alone by Hollywood’s greed machine.
I won’t go on and on about the fact that there are approximately 15 different Indigenous cultures very poorly (mis)represented through this video. I will, however, say that I am so tired…so exhausted…practically incredulous, at having to explain why it is wrong to exploit and misappropriate another person’s sacred culture and imagery for a music video, movie, clothing line, Halloween costume, sports team mascot, or military operation. It is 2012. Really, folks? Can I just list some books for you to read? Can I just direct you to the nearest tribal college? How about just emailing me so that we can talk? I promise not to scalp you or ride up to your house on a wild steed dressed in a black buckskin bikini top. Me, that is. Not the horse. Because…why would I dress a horse like that?
Although the official video has been removed from YouTube, a lower resolution version has since been uploaded to DailyMotion. Here it is for your feedback and consideration:
What are your thoughts on the video and the controvery? Should the band have removed the video? Is their apology satisfactory?
The 2012 APCMAs—the 7th annual Aboriginal People's Choice Music Awards—took place November 1st and 2nd in Winnipeg, Manitoba. Two nights of celebrating Indigenous music, one long list of winners! Here is a complete list of the 2012 APCMA award winners.
The Aboriginal People's Choice Music Awards were handed out over the course of two nights this week in Winnipeg, and pop-country singer Shy-Anne Hovorka took home the most trophies, winning in all six categories in which she was nominated, including the prestigious Aboriginal Female Entertainer of the Year award:
Northwestern Ontario’s Shy-Anne Hovorka was the winner of six awards including Aboriginal Female Entertainer of the Year. Shy-Anne was nominated for six awards, and won all six. Three of the awards that Shy-Anne won were on Thursday night and three on Friday night.
Hometown success, Winnipeg's own Don Amero also won big, taking home Male Aboriginal Entertainer of the Year as his first APCMA award, while Six Nations rocker Derek Miller took home the award for Best Blues CD for his work with the late Stevie Ray Vaughan's band Double Trouble.
Check out the complete list of 2012 winners below.
Complete List of 2012 APCMA Award Winners
Best blues CD
Derek Miller, Derek Miller with Double Trouble
It's hard to believe that it's already been a year since we launched RPM - and we've got nothing but love for everyone who has supported us and helped us grow. Now it's time to celebrate!
This month marks our first full revolution around the sun here at RPM, and all of our fans—and the incredible Indigenous artists across Turtle Island (and beyond!)—have been keeping us moving and inspired since day one. In anticipation of our anniversary (for the record, an anniversary is a colonial thing), we've teamed up with the 2012 Vancouver Indigenous Media Arts Festival to bring you Indigenous Afterdark: Around the Sun!
Indigenous Afterdark: Around the Sun also marks the one year celebration of Westcoast Indian Country faves Skookum Sound System, who are on the evening's entertainment bill alongside 2008 Vancouver DMC Champion DJ Krisp, Mob Bounce, and DJ Annashay, plus some very special, surprise guests that we're extremely happy to have out! Come and celebrate with us!
Vancouver, Unceded Coast Salish Territories is playing host to amazing Indigenous talent, and we're proud to be a partner in delivering this next level programming with the VIMAFIA.
The RPM/Skookum One Year Celebration will be held Saturday, November 10th at the VIMAF Festival Lounge and Cinema (W2 Media Cafe) at 111 West Hastings Street in Vancouver. Doors open at 9pm for VIMAF's Indigenous Music Video Program, presented by RPM. For more information on their program of events, please visit VIMAF.com.
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The Skookum Sound System and RPM.fm One Year Celebration
Saturday, November 10, 2012
Vancouver, Unceded Coast Salish Territories
FEATURING: Skookum Sound | DJ Krisp | Mob Bounce | DJ Annashay | ++Very Special Surprise Guests
Also, when you buy a VIMAF Festival Pass ($49 early bird, $59 advance, $69 at door) you receive:
Opening Gala tickets
6 additional Features Program screening events
1 VIMAF Conference Pass
1 Ticket to A Tribe Called Red at Fortune Sound Club1 Ticket to Indigenous Afterdark: Around the Sun
20% off all VIMAF Festival merchandise
Total Value: $135+
Here it is - the Aboriginal People's Choice Music Awards Nominees for Best New Artist in an RPM Youtube Playlist.
This RPM Youtube Playlist showcases the nominees for the 2012 APCMA nominees for the Best New Artist category. This five video playlist illuminates some fresh new talent and doubles as a list of who to watch out for in the coming years on the Indigenous music culture tip. Consider yourselves informed!
Here's another downloadable track from Mushkegowuk Cree rocker Michael Archibald for this week's #RPMDownload.
With winter approaching Turtle Islanders from all angles, this song is a fairly obvious reminder that it's always been about togetherness getting peoples through the cold, hard and lonely times, even though it's about patience and romance. This rocking track is an easy listen, and one that'll be playing during some cold nights as the season changes. Cozy up with it.
An RPM YouTube Playlist of the APMCA 2012 nominees for Aboriginal Female Entertainer Of The Year. Hoka.
Here's another RPM YouTube Playlist focusing on the nominees for the 2012 Aboriginal People's Choice Awards category of Aboriginal Female Entertainer Of The Year. This list includes some of our most powerful female forces in today's Indigenous music culture. Enjoy.
The APCMAs will be held in Winnipeg, Manitoba on November 1st and 2nd, 2012. For the seventh year in a row, the awards will be hosted by actor and director Lorne Cardinal.
Online voting for this year's awards closed earlier in September, but here is the full list of this year's nominees: APCMA Nominees 2012.
"This year's lineup truly brings to life what we're trying to showcase with the festival," said Gloria Spence in a news release. Spence is the general manager of Manito Ahbee, the festival that produces the awards.
Tune in to APTN for the live broadcast of the music on November 2, 2012—and keep it locked to RPM for a full report on this year's award winners.
RPM Records
Revolutions Per Minute is a global new music platform, record label, and boutique agency for Indigenous music culture. RPM’s mission is to build a visionary community of Indigenous artists and to introduce Indigenous music to new audiences across Turtle Island and around the world. Our main site, RPM.fm, has featured the work of more than 500 Indigenous artists and shared their music across our social networks of more than 275,000 followers.
RPM Records is the first of its kind: a label for contemporary, cross-genre Indigenous music, run by Indigenous people. Selected by The FADER as one of “5 New Canadian Record Labels The Entire World Should Know”, RPM Records artists include Ziibiwan, Leanne Betasamosake Simpson, Exquisite Ghost, and Mob Bounce.
