Résumés
Résumé
Cris Derksen est violoncelliste, vocaliste, créatrice de rythmes et compositrice, travaillant à la croisée des genres et en opposition à leurs limites. Cet essai examine son premier grand projet orchestral, Orchestral Powwow (2015), ainsi que son plus récent, Controlled Burn (2023). Ces deux oeuvres orchestrales éclairent les identités créatives et culturelles de Derksen en tant que violoncelliste autochtone formée à la musique classique, avec une longue expérience de l’improvisation, du looping et de la collaboration. Elles reflètent également trois qualités fondamentales de ses identités et de son approche compositionnelle : l’adaptation, la flexibilité et la transformation.
Ces qualités ne se contentent pas d’éclairer l’écriture orchestrale de Derksen au cours de la dernière décennie : elles rappellent également des vérités cruciales sur l’autochtoneité en général. Comme l’expliquent Deloria (2004) et d’autres, notamment Senungetuk (2019), l’adaptation, la flexibilité et la transformation sont au coeur des visions du monde et des traditions autochtones. Ces deux oeuvres de Derksen démontrent la puissance des territoires sonores souverains autochtones et offrent aux auditeurs non autochtones une invitation à écouter, apprendre et agir en solidarité anticoloniale.
Mots-clés :
- orchestre,
- Cris Derksen,
- autochtone,
- anti-colonial,
- souveraineté
Abstract
Cris Derksen is a cellist, vocalist, beat-maker, and composer working across and against genre boundaries. This essay examines Derksen’s first large-scale orchestral project, Orchestral Powwow (2015), and her most recent, Controlled Burn (2023). These two orchestral projects illuminate Derksen’s creative and cultural identities as a classically trained Indigenous cellist with a long performance history of improvisation, looping, and collaboration. They also reflect three important qualities of Derksen’s identity(ies) and compositional approach: adaptation, flexibility, and transformation. These qualities not only clarify Derksen’s orchestral writing in the last almost decade. They also offer crucial reminders about Indigeneity more broadly: that Indigenous individuals, communities, nations, and their worldviews and cultural practices are not fixed. Rather, as Deloria (2004) and others (Senungetuk 2019) explain, adaptation, flexibility, and transformation are central to Indigenous worldviews and traditions. These two works by Derksen demonstrate the power of Indigenous sovereign sonic territories, and they offer non-Indigenous listeners an invitation to listen, learn, and act in anti-colonial solidarity.
Keywords:
- orchestra,
- Cris Derksen,
- Indigenous,
- anti-colonial,
- sovereignty
Parties annexes
Bibliographie
- Andersen, Chris (2013), « Urban Aboriginality as a Distinctive Identity, in Twelve Parts », in Evelyn Peters et Chris Andersen (ed.), Indigenous in the City : Contemporary Identities and Cultural Innovations, Vancouver, UBC Press, p. 46-68.
- Avery, Dawn Ieriho :Kwats (2012), « Tekeni-Two Worlds, Many Borders : A Look at Classical Native Music through Indigenous Eyes », MUSICultures, vol. 39, no 1, p. 129-168.
- Avery, Dawn Ieriho :Kwats (2019), « Native Classical Music : Non :wa (Now) », in Victoria Levine et Dylan Robinson (eds.), Music and Modernity Among First Peoples of North America, Middletown, Wesleyan University Press, p. 198-219.
- Bisset Perea, Jessica (2019), « Inuit Sound Worlding and Audiorealism in Flying Wild Alaska », in Victoria Levine et Dylan Robinson (eds.), Music and Modernity Among First Peoples of North America, Middletown, Wesleyan University Press, p. 174-197.
- Born, Georgina (2011), « Music and the Materialization of Identities », Journal of Material Culture, vol. 16, no 4, p. 376-388.
- Browner, Tara (2009), Music of the First Nations : Tradition and Innovation in Native North America, Urbana ; Chicago, University of Chicago Press.
- Bryne, Brendan, Liu, Junjie, Bowman, Kevin W. et al. (2024), « Carbon Emissions from the 2023 Canadian Wildfires », Nature, https://doi.org/10.1038/s41586-024-07878-z (consulté le 28 août, 2024).
- Byrd, Jodi (2011), The Transit of Empire : Indigenous Critiques of Colonialism, Minneapolis, University of Minnesota Press.
- Deerchild, Roxanne (2015), « Cellist Cris Derksen creates new genre with Orchestral Powwow », Unreserved, CBC Radio, http://www.cbc.ca/radio/unreserved/remembering-mmiw-iceis-rain-on-two-spirited-success-and-cellist-cris-derksen-s-unique-musical-genre-1.3254088/cellist-cris-derksen-creates-new-genre-with-orchestral-powwow-1.3254566 (consulté le 4 octobre 2015).
- Derksen, Cris, et al. (2019), « Indigenous Musical Sovereignty », Alliance autochtone des arts du spectacle, https://ipaa.ca/indigenous-musical-sovereignty/ (consulté le 21 janvier 2025).
- Christianson, Amy Cardinal, Caverley, Natasha et al. (2020), Blazing the Trail : Celebrating Indigenous Fire Stewardship, FireSmart Canada.
- Garneau, David (2012), « Imaginary Spaces of Conciliation and Reconciliation », West Coast Line : Reconcile This !, vol. 74, p. 28-38.
- Garneau, David (2016), « Imaginary Spaces of Conciliation and Reconciliation : Art, Curation and Healing », in Dylan Robinson et Keavy Martin (eds.), Arts of Engagement : Taking Aesthetic Action In and Beyond the Truth and Reconciliation Commission of Canada, Waterloo, Wilfrid Laurier University Press.
- Johnson, Jay T (2013), « Dancing into Place : The Role of the Powwow within Urban Indigenous Communities », in Evelyn Peters et Chris Andersen (eds.), Indigenous in the City : Contemporary Identities and Cultural Innovations, Vancouver, UBC Press, p. 216-230.
- Kajikawa, Loren (2019), « The Possessive Instrument in Classical Music : Confronting Legacies of White Supremacy in U.S. Schools and Department of Music », in Kimberlé Williams Crenshaw, et al. (eds.), Seeing Race Again : Countering Colorblindness Across the Disciplines, Oakland, University of California Press, p. 155-174.
- Little Bear, Leroy (2000), « Jagged Worldviews Colliding », in Marie Battiste (ed.), Reclaiming Indigenous Voice and Vision, Vancouver, University of British Columbia Press, p. 77-85.
- Perea, John-Carlo (2013), Intertribal Native American Music in the United States : Experiencing Music, Expressing Culture, New York/Oxford, Oxford University Press.
- Perea, John-Carlo (2019), « Native Noise : The Politics of Powwow Drum Performance in a University Setting », in Victoria Levine et Dylan Robinson (eds.), Music and Modernity Among First Peoples of North America, Middletown, Wesleyan University Press, p. 142-157.
- Peters, Evelyn et Andersen, Chris (eds. 2013), Indigenous in the City : Contemporary Identities and Cultural Innovations, Vancouver, UBC Press.
- Robinson, Dylan (2020), Hungry Listening : Resonant Theory for Indigenous Sound Studies, Minneapolis, University of Minnesota Press.
- Scales, Christopher (2012), Recording Culture : Powwow Music and the Aboriginal Recording Industry on the Northern Plains, Durham and London, Duke University Press.
- Senungetuk, Heidi Aklaseaq (2019), « Pagmapak : In Modern Times », in Victoria Levine and Dylan Robinson (eds.), Music and Modernity Among First Peoples of North America, Middletown, Wesleyan University Press, p. xiii-xviii.
- Sheppard, Denise (2005), « Riding the Periphery : Cris Derksen et l’amour de sa vie âgé de 100 ans », Xtra https://www.dailyxtra.com/riding-the-periphery-23854 (consulté le 21 janvier 2025).
- Simpson, Leanne (2011), Danser sur le dos de notre tortue, Winnipeg, Arbeiter Ring Publishing.
- Small, Christopher (1998), Musicking : The Meanings of Performing and Listening, Middletown (CT), Wesleyan University Press.
- Tuck, Eve, et Wayne Yang K. (2012), « Decolonization is Not a Metaphor », Décolonisation : Indigeneity, Education & Society, vol. 1, no 1, p. 1-40.
- Woloshyn, Alexa (2015), « Hearing Urban Indigeneity in Canada : Self-Determination, Community Formation, and Kinaesthetic Listening with A Tribe Called Red », American Indian Culture and Research Journal, vol. 39, no 3, p. 1-23.
- Woloshyn, Alexa (2016), « Halluci Nation de A Tribe Called Red : Sonifying Embodied Global Allegiances, Decolonization, And Indigenous Activism », Intersections, vol. 36, no 2, p. 101-109.
- Woloshyn, Alexa (2020), « Reclaiming the ‘Contemporary’ in Indigeneity : The Musical Practices of Cris Derksen and Jeremy Dutcher », Contemporary Music Review, vol. 39, no 2, p. 206-230, https://doi.org/10.1080/07494467.2020.1806627.
- Xtra (2017), « Listen to the Aboriginal beat, says Orchestral Powwow composer », YouTube, https://www.youtube.com/watch?v=pHq6-Gygl94 (consulté le 21 janvier 2025).
10.7202/1051602ar