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Fonds consists of mulitmedia records documenting Ida Halpern's professional work and private affairs of her life in Canada. The records document predominantly Halpern's study of the art and culture of First Nation's communities on the West Coast of British Columbia. In particular, Halpern's studies focus on the musical traditions and cultures of First Nations communities. Halpern's recordings include music from the Kwakwaka'wakw peoples, Nuu-chah-nulth peoples, Haida peoples, and the Coast Salish peoples. There is also a considerable amount of textual material concerning Halpern's study of her recordings and publication of her conclusions on her work. Material from her writings as a music critic and supporter of local arts comprises a smaller portion of the fonds. There are also records of Halpern's private affairs in the form of correspondence, photographs and various ephemera.

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.

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 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 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. From Chief Assu's comments: "Cape Mudge side grandfather time of MAOLI-Campbell River relation - your father side-wolf eagle side." Translation. "

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu commented on the song: "Love Song 100 years ago. G̱uła̱las. 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 1st Cape Mudge songs."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's comments: "AHOMOO'KH (Sister's name)/Dancing song. Sister sing "AOMOR." Chief Assu narrates the events of the dance. "He passed some people. Doctor comes in the canoe./ People might not look at him but he still dances./ He then tells the story on the totem pole." Translated by Tom Willie 1977. Tuxww̕id Na̱ḵax̱a̱la - Warrior Dance Song. Note: The start of the recording is the Medicine Man song (Pax̱a̱lalał). Mentioned at the start of the song: Nawalakw - Supernatural being. Also mentioned: "A̕u̕muł" meaning "a noble dancer."

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 Halpern Notes: "His Own Party Song" / I don't think you go into my houses. You never go into my father's house. You better look out. I am going to look for a slave. I don't like to get other people to eat sweet. They use their hands for tea and coffee. / KIM KO made this song for himself, father of Chief Assu, over 40 years ago." Billy Assu's performance comments: "You should have sticks and beat them/ One way of beating the way the song is sung." Halpern' s performance comment: "Regular even beats, Syllables: Wo a Wo a Ho Wo Ji Ya Ma. There is no connection between these syllables and any word in the song. The syllables are those for any Potlach Song or Feast song." Translation by Tom Willie: "We are going to go into the big house of that chief the princess of the chief. (Chief Assu speaks about his father). Nakokomlis = three together; gigakamis = chief; omp = grandfather. Song forms part of Winter Ceremonials, or T̕seka.

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: "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."

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."

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu's commentary

"Sister of Chief Assu's song, Kim-Ko. Chief's father made it for her. "We call you people come together."

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu's commmentary: "Potlatch Song from two generations past. La̱ko̕sa owned it.

Ida Halpern recorded Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Halpern Notes: "The girl is too high and think the man is too low for her. People tell that he is too low. He answers long time ago he was big people too."

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 Bily Assu performing this song at his home in Cape Mudge - Weḵa'yi. Chief Assu commented the lyrics include: "I am scared to come to your house. Maybe I eat too much. Then I vomit. Jimmy Nachnekem (Nax̕naga̱n - Daylight face") it belonged Assu's wife's father. A Woman song. The song is fifty years old. Chief Assu's father made it for Jimmy Nach-nekem, father of first wife of chief Assu.

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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 commentary: "Image is also on the crest of the totem pole. He made this song. When allied families stay together other groups will never harm them. This Whale is a head man. Another recognized person all under supreme command. There are six families all with their own crest in Cape Mudge. The other families tried many times to defeat them but didn't."

Ida Halpern recorded Billy Assu performing this song at his home in Cape Mudge - Weḵa'yi. From Chief Assu commentary: "Image is also on the crest of the totem pole. He made this song. When allied families stay together other groups will never harm them. This Whale is a head man. Another recognized person all under supreme command. There are six families all with their own crest in Cape Mudge. The other families tried many times to defeat them but didn't."

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 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 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.