Music as a Political Act

Cree singer Sandy Scofield sees her music as a pathway for raising awareness and celebrating culture.
 

It's a long way from playing Cajun party music to acapella vocal arrangements of First Nations songs to composing music and sound design for theatre, including Vancouver Opera's "Missing" about the ongoing tragedy of Canada's missing and murdered Indigenous women. Sandy Scofield is a multi-award winning composer, musician, musical director, singer, songwriter and performer. She has studied classical, jazz, African, Indonesian gamelan and electro-acoustic music. She hails from four generations of fiddlers, singers and musicians. Among her five recordings to date, she has won five Canadian Aboriginal Music Awards, a Canadian Folk Music Award, an Indian Summer Music Award (U.S.A.), a Western Canadian Music Award and received three consecutive Juno nominations.

Leader of the all female Cree band of singers, Iskwew, Sandy started making music before she can even remember and has played and sung in many bands over the years. From Cajun to rock, classical and folk, the foundation she had before coming into Cree Aboriginal music incorporated a wide variety of sounds and instruments. She plays piano and guitar in addition to being a singer.

Scofield came to Aboriginal music later in life, embracing her heritage through song. She says, "I went to the Banff Centre for the Arts in 1995 and did a ten-week intensive with Sadie Buck from Six Nations in Canada -- she had this residency for urban women who grew up without oral tradition and she brought in women elders from all around Turtle Island (North America) to teach them their traditions, songs, and song traditions."
 

When asked whether she feels that what Iskwew does is political, Sandy said, "We have many educated people holding their PhDs and working as doctors and this and that who are changing how society views First Nations people, but largely people still think of them as the drunks down on Skid Road, and that's all part of… So, in answer to your question -- Yeah."
 

What we're doing is politically showing people the pride in our culture. The fact that we come out and wear regalia, just to show very basic cultural teachings, we're trying to present through the songs. I have a floating group of women based on who's available that comes with me, but some of the other women who've gigged with me are just as vocal as I am onstage. It isn't like I'm leading every song and I'm talking all the time. Some of the other women get in there and talk and talk about teachings and talk about what we're wearing and talk about our role as women in our culture and how we're esteemed.
 

So that's what we do, and when we get to go play international festivals it's really important because, you know, one of the girls that sings with me, she went to Italy and some guy said to her, 'Where are you from?' and she said, 'Well, I'm Cree Indian from Canada,' and he was just aghast, he was saying, 'No. They were all extinct. They don't exist,' and she's going 'You're crazy!' You know?
 

But there's crazy ideas out there, so especially if we're on the international stage, we're trying to show the very best of who we are. And in Canada, half of our work is in what we call Indian Country, which is all of the country except dominant society doesn't see us. So we perform for other native people or we perform for dominant society, and so when we perform for dominant society, it's the same thing again. We're trying to show the really fantastic things about our cultures, our collective culture which really concerns community, egalitarianism to a certain extent, just pride, culture, the interconnectedness of all life and that we're interconnected with one another -- things like that."