By Anna Hoefnagels
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Additional info for Aboriginal Music in Contemporary Canada: Echoes and Exchanges
Me, that’s who I am. (Skookum 1966, trans. Madeline Oker 2003) Although I have noted that the melody is recreated quite closely with each performance, the actual vocables used by each lead singer do have variation. 13 In practice, dreamers’ songs can be sung once through, or they can be sung many times in a row, creating a continuous structural sequence. In the case of a two-line song, for example, this can be represented as AB AB AB and so on. The number of times a song is sung depends on the social context of the performance and the singer’s preference.
Patricia Albers and Beatrice Medicine (2005) offer a personal account of changing magnitudes and structures of powwow performance on the northern Plains, suggesting that different issues emerge at events of different scale and substance. Media emanating from powwows in the form of CDs or DVDs,16 as well as the mediation of powwow culture in the press, have been studied by Scales (forthcoming, 2007, 2004, 2002), Mark Ruml (2000), Kathleen Buddle (2004), and Whidden (1992). Dance is described in many of the aforementioned studies as well as by Nina De Shane (1991).
20 This site won the Jean Rouch Prize, awarded by the American Anthropological Association. 21 A symposium on “Indigenous People and Digital Technologies” in 2010, organized by Royal Holloway University in Egham, United Kingdom, was one such event. 22 A colloquium on this topic in Toronto in 2008, sponsored by the International Council for Traditional Music, attracted widespread attention from Indigenous musicians and (Indigenous and non-Indigenous) scholars in eight countries. ca/indigenousIP (accessed 22 July 2011).