Tanya Tagaq is a groundbreaking Inuit throat singer, who made her debut in 2000, after self-teaching herself the art of throat singing. In Module 11, we discuss the challenge of educating people regarding all the different types of popular music, as it is a large and diverse world. Even further, to delve deeply into a genre requires far more time than allotted in this course. As a result, many people are unaware of the genres and artists that surround them. In addition, Tagaq makes use of modern electronic sound to complement the traditional throat singing, and she ranges in genre from punk, to electronica, and even some rock and roll. She fits many of the genres we have been discussing, and brings them together in a unique way, and so, is an important part of our study of the history of popular music.

Throat singing is a genre of music, but more than that, it is a tradition, and an important part of many Inuit cultures. Throat singing developed originally as a game between two women, and evolved from there as a lullaby to babies, and communal singing. It features cyclical harmonies and rhythmic inhalations and exhalations. In Inuit cultures, throat singing is practiced only by the women, and most commonly, by a pair of women. Tanya Tagaq was first introduced to throat singing when her mother gave her a cassette featuring two women performing. Tagaq was intrigued, and began practicing on her own. Soon, she had developed her own unique style, due to her lack of a partner and method of teaching. Tagaq had learned to sing with equal force on inhale and exhale, to provide the traditional  cyclical sound usually provided by two singers.

Tagaq initially practiced her talent only around friends, but was encouraged to enter a music festival where she was discovered by friends of the singer Bjork. She received an invitation from Bjork to tour alongside the popular singer. Soon after joining the tour, however, Tagaq was forced to leave, due to health issues. But she had had her first taste of performing her art, and it was the beginning of her career.

Tagaq went on to create a collaboration with Bjork, featured in Tagaq’s first album, Sinaa. It was nominated for Aboriginal Recording of the Year at the 2006 Juno Awards, and Tagaq won Best Female Artist in 2005 at the Canadian Aboriginal Music Awards. Her second album, Auk/Blood featured a number of diverse collaborations, including Mike Patton of Faith No More, the rapper Buck 65 , and Jesse Zubot, a violinist. This album was nominated for Instrumental Album and Aboriginal Recording of the Year at the Juno Awards in 2009, and won Best Album Design at the Canadian Aboriginal Music Awards in 2008. Following this success, Tagaq created a short film to accompany a track on this album, “Tungijuq.” It won Best Short Drama at the ImagineNATIVE Film + Media Arts Festival, and Best Multi Media at the Western Canadian Music Awards in 2010. Her third album, Aminism, was released in 2014 and is commonly regarded as her most successful. It was nominated for Alternative Album of the Year and won Aboriginal Album of the Year at the 2015 Juno Awards. In addition, it was nominated for Aboriginal Recording of the Year, Independent Album of the Year, and World Recording of the Year at the 2015 Western Canadian Music Awards. The album also won the 2014 Polaris Music Prize, and Tagaq’s performance at these awards was another success. Her emotional performance featured a backdrop of a scrolling screen of 1200 names of missing and murdered Indigenous women. Her performance sparked a standing ovation of the audience. Her latest album, Retribution, was released in 2015, and also featured collaborations, both with the rapper Shad, as well as Inuit artist Laakuluk Williamson Bathory. The album was longlisted as a nominee for the 2017 Polaris Music Prize.

Tanya Tagaq has an incredibly unique style, owing to her lack of partner and interpretation of a traditional genre. She refers to herself as a “sculptor of sound”  and listening to her music, it’s easy to see why. Her sharp inhales and exhales produce syncopation that gives many songs a fast-paced, dramatic rhythm. The cyclical harmonious sound is iconic of throat singing has a haunting quality. Tagaq’s true claim to fame, however, is the emotion and passion that she pours into her songs and performances. She comes from a past of sexual abuse, resulting in substance abuse and attempted suicide. She overcame these, and other struggles, to complete high school via correspondence, as well as a degree in Fine Arts from the Nova Scotia College of Art. These experiences provided her with strong emotion to draw from, and a desire to improve the lives of others. Her songs, and albums, have very clear themes, which she emulates using different techniques. Many of her songs make use of this dynamic as well, a stark contrast between the sounds she makes vocally, and the background accompaniment, which is integral to communicating the theme.

The song “Fracking” reflects Tagaq’s desire to end fracking practices in vulnerable environments, especially Inuit land. This song has a darker, broken sound, so as to emulate a broken world. She accomplishes this using grunts, and pained noises, and an overall sad feeling using drums and synth. While listening to it, make note of the different sounds, and the feelings they convey. I find the gasping to be of particular importance to the interpretation she intends, a gasping, choking world.  Make note also, of the transition from pure throat singing, to the use of background electronic accompaniment, and then the absence of all vocals. This serves to give the song a linear progression, the earth’s journey towards death. In addition, the electronic music is soft and dull, contrasting the sharpness of the vocals, unlike many uses of synth in the electronic genre.

Tanya Tagaq is very important in our study of the history of popular music. We discuss the progression of music in this course, and often how one genre leads to another, and the blending created as music becomes more widely available. Tagaq is the perfect example of the where this history has led us. She has taken a traditional genre, and mixed it with so many other aspects, to create something entirely unique and wonderful. Her interpretation of electronica, punk, rock and roll, and other genres is different than any other, and she serves to expand the minds of others in this regard with her music. She is an example of how tradition is still important in the modern day, and of the evolution that it can undergo while still retaining its primary significance. I think that artists such as Tanya Tagaq should be included in this curriculum, particularly at its conclusion, because while learning about history is important, so too is looking toward the future.

“I’ve always been this way. The difference is that now people are listening.” – Tanya Tagaq

References

Author Unknown. “About Tanya Tagaq.” Tanya Tagaq.                  http://tanyatagaq.com/about/

Author Unknown. “Throat Singing: A unique vocalization from three cultures.” Soundscapes. https://folkways.si.edu/throat-singing-unique-vocalization-three-cultures/world/music/article/smithsonian

Everett-Green, Robert. “Primal scream: Inuk throat singer Tanya Tagaq is like no one you’ve ever heard, anywhere.” The Globe and Mail. June 19, 2017. https://www.theglobeandmail.com/arts/music/primal-scream-inuk-throat-singer-tanya-tagaq-is-like-no-one-youve-ever-heard-anywhere/article18923190/

Filipenko, Cindy. “Tanya Tagaq Takes Flight.” Herizons. 2015.http://www.herizons.ca/node/561

Presley, Katie. “Review: Tanya Tagaq, ‘Retribution’.” National Public Radio. October 13, 2016. https://www.npr.org/2016/10/13/497569725/first-listen-tanya-tagaq-retribution

Stanley, Laura. “Tanya Tagaq.” The Canadian Encyclopedia. May 8, 2015. https://www.thecanadianencyclopedia.ca/en/article/tanya-tagaq/

Image Sources

https://www.austinchronicle.com/daily/sxsw/2015-03-20/sxsw-live-shot-tanya-tagaq/

https://pitchfork.com/reviews/albums/22324-retribution/

The article “Whitewashing Blackface Minstrelsy in American College Textbooks” by Joseph Byrd examines the history of blackface through minstrelsy, and its consequential pervasiveness through history. The article makes particular note of the lyrics of many “classic” American songs and their continued popularity today.  It also analyzes the lack of education regarding this topic in many college textbooks, and a seeming unwillingness for educators to include this topic sufficiently, or even accurately, in their curriculum.

Reading this article, I was astonished by the reluctance so many authors, who write works for educational purposes, have to including an accurate history of blackface and its residual effects in our world today. I was aware of this problem prior to reading this article, however, the examples provided really highlighted the complete inadequacy, and even the incorrectness, of many texts. I also was unaware that so many songs common today have been changed from incredibly racist lyrics, and stunned that these words were even written in the first place. For example, in “Oh Susanna,” the lyrics “De ’lectric fluid magnified, and killed five hundred nigger” are some that I’d never heard, despite knowing the song modern version of the song well.

The term “lumpenproletariat” was initially coined by Karl Marx in the “Communist Manifesto” in reference to the those lowest on the social and economic ladders. For example, it includes criminals and other “undesirables” (The Editors of Encyclopaedia Britannica, 2014).  In this article, lumpenproletariat is used in reference to a growing population in New York consisting of young, first-generation white immigrants who were paid little and often worked in unskilled labour, considered to be very low-class. They shared their economic status with first-generation free black people, but served as the primary audience for blackface shows. This shared economic status, but differing social status, resulted in increased racial tensions, which eventually led to the 1863 Draft Riots. Those on the same economic level were able to find mockery in the black community, lessening their social status even further. Blackface shows served to cement the black community’s status as the absolute lowest of the low, and the lack of education in its primary audience explains the crudeness of these shows. Many minstrel lyrics included harsh physical “slapstick” humour against the black community, a type of humour enjoyed by uneducated. They employ the slang common among the lumpenproletariat group, and use catchy, easy to remember melodies (Byrd, 2009). This is partially why many of these songs are common in the modern day, albeit with altered lyrics.

Jim Crow was a character in minstrelsy created by Thomas Dartmouth Rice and George Washington Dixon and which persisted for over a century. As anti-black sentiments continued, laws which segregated them from the white community and limited their rights arose. These, as a genre, became known as Jim Crow laws (Urofsky, 2017). These included segregation in schools and public transportation, and later in parks, cemeteries, restaurants and theatres (Urofsky, 2017). It also included “etiquette” rules, such as blacks and whites being forbidden to eat together, white people had the right of way at intersections, and black males being prohibited from shaking hands with white males or females (What was Jim Crow”). They served to further the degradation of the black community and enforce their low state of socio-economic status.

Byrd goes about his analysis in a matter-of-fact way that is both refreshing and educational. He presents the facts, and allows them to speak for themselves. The facts simply, are this. Minstrel shows, were incredibly racist, both at the time of their creation, and in how they have persisted throughout history. Much of this racism has been eliminated from history, and educators are reluctant, or incapable, of teaching this important part of history sufficiently. Minstrel shows provided and reinforced a great deal of racial stereotypes, and were an important component of the racist system that was set in place during their time. What is most important about these shows in history, however, is how they have impacted our present. It is incredibly important for people in the modern world to be keenly aware of exactly what has happened in the past, and how it affects us, or our neighbours, today. Without knowledge, there can be no change. And while society has come a long way, the racist system is still in place, and people of colour still suffer as a result. Despite the cliché, I find the quote “Those who do not learn history are doomed to repeat it” particularly potent here.

I believe that there are many reasons that textbooks skirt around this material, but none of which are acceptable excuses. For one, I think that a lot of people today are unaware of the intense racism that occurred in minstrel shows. As a result, I think that the authors of textbooks are either unaware, or feel ill-prepared, to discuss such a topic in their work. I also believe that there are many who are aware of the importance of this branch of history, but do not feel they can adequately discuss it, and so avoid the topic completely. The lack of education on this topic only serves to sustain this cycle. Finally, I would posit that many authors, particularly white authors, feel uncomfortable, or even embarrassed, to discuss this topic. There is no way to sugarcoat the racism in history, and avoidance is easier than confrontation. Especially when you consider that everyone in society continues to take part in a racist system. This is a problem we have yet to solve, and for many, it is simply easier to ignore than to learn, understand, and educate.

#M2Q1

Works Cited

Joseph Byrd (2009) Whitewashing Blackface Minstrelsy in American College Textbooks, Popular Music and Society, 32:1, 77-86, DOI: 10.1080/03007760802207882

The Editors of Encyclopaedia Britannica. “Lumenproletariat.” Encyclopaedia Britannica. December 3, 2014. https://www.britannica.com/topic/Lumpenproletariat

Urofsky, Melvin I. “Jim Crow Laws.” Encyclopaedia Britannica. July 19, 2017. https://www.britannica.com/event/Jim-Crow-law

“What Was Jim Crow.” Jim Crow Museum of Racist Memorabilia. https://ferris.edu/jimcrow/what.htm

The 1920s saw a shift both in music, and in the way it was performed. In New York, there was a shift towards the acceptance of black performers, and one musical particularly stands out. “Shuffle Along” was written by Noble Sissie and Eubie Blake and debuted in 1921. It featured not only an all-black cast, but black writers and producers as well. It was an incredibly influential pieces of work, and there are many components that I would like to discuss, as based upon the article “”Shuffle Along”” and the Lost History of Black Performance in America”, written by John Jeremiah Sullivan and published March 24, 2016 by The New York Times Magazine.

Despite dispelling some minstrelsy tropes, for example, by having the characters show their emotions through romance, “Shuffle Along” also reinforced some of these ideas. Many of the actors darkened their faces artificially, using burned cork, greasepaint, etc. This was done to assuage the uncomfortable feelings of the white people attending these musicals. At the time, for black people to perform on a stage, as themselves, would be considered too high a power over the white community. However, the painting of blackface on white performers was still commonplace, so the black performers used this as a kind of façade. They hid their race and individuality behind their make-up, so as to succeed in entertaining their largely white audience. In addition, the musical served primarily as a comedy, which relied heavily on the minstrel tropes used to degrade black culture. However, while the use of blackface in this production may have reinforced its use at the time, the success garnered played a major role in the acceptance of black performers. As a result, in present-day, blackface is considered unacceptable and racist, and while racial prejudice still exists in the musical world, significant progress has been made towards equality.

In addition to an unease around the individuality and power a black performer holds, there was also a taboo surrounding black romance and sexuality. “Shuffle Along” features not only a romance between two black characters, but an affair at that. Pair that with songs exclaiming love, and the, albeit tame, on-stage touching of two romantically involved black characters (Green, 2016), and it’s clear to see that the show truly pushed the envelope in this regard.

Another way that “Shuffle Along” was innovative in its time was through the music itself. Typical musical scores generally consisted of song-and dance style songs and ballads. “Shuffle Along” featured a score of jazzy, ragtime music. This went well with the 16-girl chorus line featured, and these two are largely responsible for the show’s success. The chorus line helped to foster an acceptance of black performers in “burlesque” roles (Tanner) and to provide syncopation.

While many of the show’s songs became quickly popular, one stands out. “I’m Just Wild About Harry” grew to such popularity that during his campaign, Harry S. Truman used it as promotional material. The song is catchy, with close rhymes and short melodic phrases, which led to its success. I have heard this song before, but I believe I have only heard the Judy Garland and plain instrumental versions before, never a true performance as intended in the score.

As mentioned previously, many minstrel tropes were utilized by the writers to help ensure the success of their show. However, in my opinion, the use of “patting juba” does not fall into this category. Patting juba refers to dancing in which the performs slap their body, particularly hands and feet, to provide rhythm as they dance. It is largely considered to be a minstrel trope, as it was common practice in those performances in the late 1800s. However, patting juba began years earlier, when a black boy known as Juba performed the dance in a minstrel show. It harkens back to the days of African slavery, where slaves were not permitted instruments, and so used their bodies for rhythm instead (The Editors of Encyclopaedia Britannica, 2014). Its use in “Shuffle Along” strikes me not as reaffirmation of a trope, but rather, reclamation of an important cultural symbol. Patting juba eventually evolved into modern day tap dancing, through the incorporation of some Celtic elements.

“Shuffle Along”, while an incredibly important point in history, does not live up to much of the credit allotted to it. Many dub this show as the first all-black musical, but this is untrue. That title belongs to the show “In Dahomey”, written by George Walker and Bert William, and performed in 1903 (Rylatt). The show began on Broadway, but due to its success toured the United States and parts of Britain. “Shuffle Along” has also been referred to as the beginning of the Harlem Renaissance. While the show helped to further this movement, it was by no means its start.

In 2016, a kind of revival of “Shuffle Along” was born. Rather than perform simply an updated version of the original show, director George Wolfe wanted to take the new show in a different direction. He wanted to tell the story of “Shuffle Along”, calling the new show ““Shuffle Along”, or the Making of the Musical Sensation of 1921 and All That Followed.” Because “Shuffle Along” was such an influential and groundbreaking show, it deserves a true tribute, and for those who worked to make it so great, to be remembered and appreciated.

This clip features the cast of the 2016 revival performing at the Tony Awards. The clip features the jazzy rhythm and syncopation the musical is known for, as well as tap dance and a take on the signature chorus line.

Reading this article made me really aware of the constant struggle that black performers faced, and the lengths they were forced to go to simply to be judged as would their white counterparts, let alone to succeed and be accepted. I was aware of “Shuffle Along” before taking this course, but I had no idea how important it was toward the equality movement, nor did I realize that so many important black performers got their start here (e.g. Josephine Baker, Florence Mills, etc.). I think it’s incredibly important that this particular musical be discussed in depth in this course when learning about the history of black music, and the role that blackface played in it. Personally, I had no idea that black performers were forced to darken themselves to hide their individuality, and it really brings a new light to modern blackface and the connotations that it has. I think that while the textbook is not inaccurate in its depiction of blackface, I don’t think it goes into enough detail regarding its history, and the effect it would have on the future, nor the reasons behind its “requirement” in minstrelsy.

#M3Q2

Works Cited

Green, Jesse. “Theatre Review: Shuffle Along Is a Gorgeously Staged, LifeChanging Show.” Vulture. April 28, 2016. http://www.vulture.com/2016/04/theater-review-shuffle-along.html

Rylatt, Eleanor. “In Dahomey at the Theatre Royal, Hull.” African Stories in Hull & East Yorkshire. https://www.africansinyorkshireproject.com/in-dahomey.html

Sullivan, John J. “Shuffle Along and the Lost Story of Black Performance in America.” The New York Times Magazine. March 24, 2016. https://www.nytimes.com/2016/03/27/magazine/shuffle-along-and-the-painful-history-of-black-performance-in-america.html

Tanner, Jo. “Shuffle Along: The Musical at the Center of the Harlem Renaissance.” Faces of the Harlem Renaissance. http://artsedge.kennedy-center.org/interactives/harlem/themes/shuffle_along.html

The Editors of Encyclopaedia Britannica. “Juba.” Encyclopaedia Brittanica. November 27, 2014. https://www.britannica.com/art/juba-dance