By Anna Hoefnagels
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Additional info for Aboriginal Music in Contemporary Canada: Echoes and Exchanges
The Dane-zaa have two types of songs. Personal medicine songs, received during vision quests, are called mayinéʔ (my song) and are almost never sung in public or shared with others. They are used only when a person is in dire need of help. 8 Songs shared with the community and sung both by individuals on their own and during dreamers’ dance gatherings are referred to as nááchęyinéʔ (dreamers’ songs), Nahhatááʔyinéʔ (God songs), or prayer songs. These songs are given to a dreamer in Heaven9 by the Creator/God to help the dreamer guide Dane-zaa people through life and death and for use during their prayer and dance ceremonies (Mills 1982; Ridington 2006a, 172).
1992), Richard Keeling’s North American Indian Music (1997), and Brian Wright-McLeod’s Encyclopedia of Native Music (2005), all of which have extensive coverage of communities, individuals, or practices in Canada. Several reference sources compiled by Native Americans have included significant material on music-related topics and individuals; see, for instance, Rayna Green’s The British Museum Encyclopedia of Native North America (1999) or Duane Champagne’s Native America: Portrait of the Peoples (1994).
Antane Kapesh 1976) and shorter biographies of Native women in the arts (Brant and Laronde 1996). See also Anderson (2000), Anderson and Lawrence (2003), Caldwell (1999), Perdue (2001), and Kulchyski et al. (1999). 18 Margaret Paul has also presented a part of her life story in Kulchyski et al. (1999). 19 It should be noted that some studies of the potlatch focus on dimensions other than the music and dance performance. See, for example, Cole and Chaikin (1990) on the legal history relating to the bans initiated in the 1880s or Kan (1989) on the mortuary customs and beliefs.
Aboriginal Music in Contemporary Canada: Echoes and Exchanges by Anna Hoefnagels