Showing 80 results

Reflecting her academic training as a musicologist, the series consists primarily of Ida Halpern’s musical research into the traditional arts and culture of the aboriginal peoples of the Pacific Northwest of Canada. Beginning in 1947 Halpern made a concerted effort to record original hereditary songs and ceremonies of various aboriginal communities across the West Coast. Her method focused on opportunity rather than strategic selection of aboriginal communities. The result is a scattered selection of recordings primarily from Kwakwaka’wakw (European literature: Kwakiutl) communities, but also including Nu-cha-nulth (European Literature: Nootka), Haida, Tsimshian, and Nuxalk (European literature: Bella Coola). Halpern recorded both in the setting of local communities and, when opportunity arose, in Vancouver. She began her work on a disc cutting Meissner recorder but as technology progressed she moved to audio reels and finally cassette tapes. Her magpie approach may have lacked coordination but she succeeded in capturing a significant sampling of performances from the last generation of Aboriginal leaders fluent in the arts, languages, and ceremonies of their peoples. The recordings are of unique value for three reasons in particular. First Halpern used her musical background to make unprecedented sophisticated musical analysis of the First Nations musical works she recorded. Second, Halpern arrived on the Northwest Coast at the cusp of a popular appreciation for art and culture of local First Nations societies. Her work helped to bring uncommon public attention to the artistic and social identities of these indigenous communities. Third, many of the Elders Halpern recorded were willing to offer a selection of songs, naming ceremonies and other traditional creations because they recognized the generational decline in the common usage of their indigenous culture and the corresponding need for its preservation. Halpern arranged the recordings by performer and usually by date. Not conversant in any of the languages she was recording, Halpern wrote phonetic renderings of the titles of recorded songs on the covers of the discs, reels, and cassettes. Halpern occasionally made additional annotations to the covers of the recordings to explain the meaning of songs. Most of the cases, and often the discs and cassettes, are dated in her hand. During her studies of the music, Halpern also analyzed the pitch, time signature, melody, lyrics and other elements of many of the songs. For research see the “Research records” series.

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "He would dance with his own mask. Fifty people would accompany him. Sea gull flying around and fish swimming in the trap. Very colourful. Chief Assu made the song for himself. From Prince Rupert some married in and got the mask from further south. Assu got it from Fort Rupert through marriage.

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "He would dance with his own mask. Fifty people would accompany him. Sea gull flying around and fish swimming in the trap. Very colourful. Chief Assu made the song for himself. From Prince Rupert some married in and got the mask from further south. Assu got it from Fort Rupert through marriage.

The sub-series consists of 41 sound disks recording Billy Assu’s performances of 86 songs and ceremonies of the Wiweḵa̕yi (Cape Mudge) peoples and other local First Nations communities. The Wiweḵa̕yi were one of four tribes known as the Cape Mudge Tribes or La̕a̱lg̱wiłda̕x̱w, the United Tribes of the Lig̱wiłda̕x̱w: ̕Walidza̱m (Salmon River), Wiweḵa̕yi (Cape Mudge), Wiweḵ̕a̱m (Campbell River), Kwix̱a (“Murderers,” Phillip’s Arm). Halpern recorded the performances at Assu’s home in Cape Mudge over a period of three days. Also included in the recording sessions at Assu’s home were two songs by Mary Wamis, a medicine woman from Cape Mudge. As leader of the Wiweḵa̕yi peoples Billy Assu was responsible to preserve and represent his people’s culture and tradition. In an oral society this is captured profoundly in song. Assu was the first Aboriginal Chief to commit to allowing Halpern record performances of indigenous songs and ceremonies. For several years Dr. Halpern campaigned diligently for the need to preserve the oral culture of the Kwakwa̱ka̱̕wakw and other local indigenous peoples. The intimacy and secrecy of many traditional songs made aboriginal leaders reluctant to perform them for public academic study. In a CBC interview with Philip Lamarche [Halpern fonds, CBC Radio Interview, T-4339-143], Halpern explained that Assu’s three sons were not interested in learning the complex songs and ceremonies of their father. Halpern convinced Chief Assu in order to preserve the songs, they should be recorded. Eventually, in 1947 Chief Billy Assu and his wife Mary invited Dr. Halpern to their Cape Mudge home for the purpose of recording some traditional songs. Dr. Halpen recorded 88 unique songs over two recording sessions held in January and June of 1947. The recordings were made onto 26 1x6.5 in., 1x7in., and 1x8 in. laminated discs. Halpern annotated the label of each disc with a song title transcribed from Chief Assu’s description and her own alpha numeric code. Most are also dated on the label of the original recording disk. Comparison can fix an approximate date for those recordings not labeled. The songs’ titles have been phonetically rendered from the original non-textual source. There have been several versions of each song reproduced over time. Single songs have been taken from recording sessions to create compilations. The recording sessions were informal with Billy Assu deciding on songs he wished to perform. Many of the recordings also include informal conversations between Assu and Halpern concerning the songs’ meanings, their performance and the Kwak̕wala language. The recordings are in roughly chronological order based on their creation. Halpern revisited the recordings for study and publication. She made transcriptions of the lyrics and wrote out the music in musical notation. She ordered and categorized the songs several times in her studies. In the published version of Assu’s songs she used four categories: totem poles and crests, potlatch songs, ceremonial songs, songs of everyday life. She explained in the Larmarche interview that most of the songs could be performed in the setting of a potlatch; most concerned the assignment of rights and identity in significant moments in a lifetime. Halpern noted that not only would she need to be an invited guest to hear the potlatches, they were banned under provincial law at the time she recorded Assu’s performances. Halpern noted that Assu was not always comfortable performing certain Hamatsa, Potlach and other songs because of their sacred and personal nature. However, he was convinced they were in danger of being lost and worth recording.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Assu described the song as "a very old potlatch song." The song's message is "Don't look back go forward." Assu estimated the song was over 200 years and originally made for the Campbell River people (Wiweḵ̕am).

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Assu notes this song is well known. Song makes reference to T̓sił̕walag̱a, or "famous woman." It speaks of "T̓sił̕wa̱aga̱lisa̱la - doing great things all over the world."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Assu notes this song is well known. Song makes reference to T̓sił̕walag̱a, or "famous woman." It speaks of "T̓sił̕wa̱aga̱lisa̱la - doing great things all over the world."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. This song forms part of the Winter Ceremonies also known as the "Red Cedar Bark Ceremonies." Kwix̱a̕lakw means winter song but it is used mainly to categorize woman's dance songs. T̓seḵa - Cedar Bark Ceremonies.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Song is attributed to KOE JA KUSCH. According to Chief Assu the central message is: "I am giving lots of canoes. Let us make a party for that. Somebody else should hold a big party in response."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. This Hamatsa Song is more than 60 years old. It was made for JIM CHIKAI, Chief La̕stulsa. Chickite is the English version of T̓sa̱x̱̕id (trans. 'throw your money away'). It belongs to the second cycle of the Hamat̕sa ceremony, Ha̱mat̕sa Na̱ḵax̱a̱la.

Ida Halpern recorded Bily Assu performing this Christian Church song at his home in Cape Mudge - Weḵa'yi.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu described this as a song for big dance at potlatch. It goes way back several century, maybe 1000 years old. From the song: 'I am grandfather of all- You all have my name, I come down and dance for you.'

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge (Weḵa'yi). Chief Assu commented on the song: "Love Song is 100 years ago. G̱uła̱las, from Campbell River (Wiweḵ̕a̱m). The widow sings and asks the seal how soon will she be married and the seal immediately disappeared which means she will be married very quickly. If not the head would be still over water to be seen. Chief Assu called it "One of the first Cape Mudge songs."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu's translation of the song: "Whiskey Song: Why do you drink your whiskey. To get proud. If you drink much you feel good and you think highly of yourself."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu commented on the song: "Party Song, Belonged to Chief Assu." He made it himself. The last time he had a party he made that song. He gave many many things."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu observed, "This is Wallace's Potlatch Song. He made the song himself. Little bit different song. Suppose he received guest he make quickly a potlatch for them. Chief's father was in Cape Mudge generations. One woman dances for them. Bella Bella, Song of Walish Chief, Pepaquinsa Dance: Means a visitor is coming. Assu sings "Himas" Chief which is in Bella Bella dialect. Translation: We are going to welcome our visitor. Every Potlach Song has similar line "Wi a oh yi ha a wo ye a ha". Translated (partially) by Tom Willie, 1977.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Content of song includes phrase, Ya̱wilinux̱w (Good Woman Dancer). Part of the Winter Ceremonial or T̕seḵa. Different tribes have unique dances and songs performed as an expressions of their hereditary traditions. This song was fully translated by Tom Willie in September 1977.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's comments: "Old Woman Song. Kau Minuoko (name of the dance). Belonged to the Doctor Woman. Made up by Chief's Father Kimcho (trans. Ka̱mḵo) 65 years old. Jackoo Melliwamiss, Chief Wamiss daughter, the old medicine woman."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge. Tła̕sa̱lag̱a̱mł (Peace Dance Mask), or T̕łisa̱lag̱a̱mł (Sun Mask).

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chife Assu's commentary: "Cedar Bark Dance. Woman Dancer. Song is over 30 years years old and belongs to Paddy Grey" Translated by Tom Willie September 1977.

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "TAKATLIS owns that song. Chief Assu was 9 years old when he died. He was Assu's relative, a grand cousin. Lyrics include: 'You see my smoke. Big smoke. I own it. He sells 10 canoes. Do not eat too much. If you eat too much you vomit another man. And if you eat too much you vomit 4 men. The song is exclusively about the potlatch. WOHOO- that show the potlatch song. (noise that a chief makes)." Tom Willie added his translation of the song in 1977: "Smoke right through this country he made he said he is the big chief who make this country full of smoke. The Big chief is called Walas gikami. People can't see the village (or country) because of the smoke this big chief makes. The old chief and his brother (who is also a chief) go. For a little small Chief give a little feast." This is is part of the Winter Ceremonials or T’seka.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "Blanket called KASELA (note Assu's phonetic spelling) Blanket of Chief Assu i agreen and yellow. A man of Manko made the song for Chief Assu forty years ago. "

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "Calling together. People come together. We never see it before. The first big potlatch. We do it the same way my grandfather did it. We give canoe for the chief. (The chief walks around the beach without canoe) T̓saḵalał (Potlatch Dancer), I do the same way my grandfather did it (1882) I remember how he did it. This was still sung in the last war involving the La̕a̱lag̱wiłda̕x̱w.

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "This was a song for Uncle Wamiss. It was made way up north." Tła̕sa̱la - Peace Dance. Also called Dłu̕wa̱lax̱a, or "Returned from Heaven Ceremonies." The Kwakwa̱ka̱̕wakw have two sacred ceremonies: the T̕seka or "Winter Ceremonies," and the Tła̕sala or "Peace Dances."

Notes: Words do not match Halpern's title. First lyric of song: " ̕Nulag̱a̱ma̕y "

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary, lyrics include: "Cape Mudge, 60 years ago, My name is known everywhere." Halpern recorded copies of same song.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "Party Song: Belongs to Chief Assu. Made by himself. The last time he had a party he made that song. Song describes how he gives away many things." Reproduction of song noted above.

Notes: Words do not match Halpern's title. First lyric of song: " ̕Nulag̱a̱ma̕y "

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary: "Old Woman Song. Kau Minuoko (name of the dance). Belonged to the Doctor Woman. Made up by Chief's Father Kimcho who was 65 years old. Jackoo Melliwamiss, Chief Wamiss daughter, the old medicine woman."