For Don Patrick Martin, Assistant Professor in Indigenous and Community Music, music-making is a political act.
He spent many years as a political advisor to First Nation communities, including the Mohawk Nation in Kahnawake, just south of Montreal. He has also been a cultural attaché on diplomatic missions abroad. And, parallel to all this, he composed and released music against the legacy of European colonialism in North America.
Don will be teaching his first undergraduate course at Schulich in the Winter semester of 2024, titled Indigenous Music in Cosmologies. He will introduce students to Indigenous philosophical perspectives and approaches to music from pre-colonial contact (1492) to modern times (1960s and newer).
In this Q&A, he tells us about his previous political work, how his experiences connect to music and his current research, and where music fits within McGill’s wider push towards recognition and reconciliation.
Tell us a bit about your career before joining Schulich. What did you do, and what are some of your proudest moments?
My career? Too funny (LOL). I don’t know if I would call it a career in the conventional sense, but I was born and raised to be actively involved in re-establishing the Mohawk Nation, specifically at Kahnawake, as a reliant State like that of Liechtenstein, San Marino, or Vatican. My 30+ years in this endeavour/quest was in strategic communications and policy matters specific to the Mohawk Warrior Society and/or the Mohawk Council of Kahnawake. So yes, one part of this so-called “career” was purely political as an active participant. The other was in music as a composer and singer/songwriter. Yep, music and politics go together like toast and jam, prison and freedom, or lies and truth (wink).
As a composer and songwriter, my musical expressions are a direct result of working towards these political objectives. For example, my CD titled So This Is America (1492-1992) was a voice to protest the 500-year British and French invasions of my homeland. My other CD titled Iroquois Impressions Opus 4 for solo piano, was dedicated to the memory of Kateri Tekakwitha. With that, Opus 4 was a musical experiment to see if my ancient Iroquoian music could be expressed in a modern context. Both works I feel are positive examples of my political and musical adventures. (FYI, Iroquois and Mohawk are the same race of people thus I use both terms interchangeably).
In terms of proudest moments, I’m not sure, to be honest. But I would say all moments, both good and not-so-good, form my perspectives and actions as a father, friend, political activist, freedom fighter, lover, musician, songwriter, and teacher.
You’ve done a lot of work with governments and even accompanied diplomats to the Hague. How do you think these experiences will help you in your role at Schulich?
Separate from my role as a professor of Indigenous Music, part of my role at Schulich is in Community Engagement. So, depending on what Community Engagement may mean in a given context, along with exploring its possible outcomes, my experience as a cultural attaché can help in forming long-lasting and mutually beneficial relationships between Schulich and with both Native and non-Native Communities.
Considering your already impressive career, some people might be surprised to learn you’re currently completing your master’s. What are you studying, and what has your experience been like so far?
HA…another fun question. Honestly, if it was not for a debilitating heart attack at 53 years young, I would have never entered colonial institutions like the British/Canadian university system. So, after some years of recovering beside a tidal river, I decided on a whim to explore this colonial enterprise at 59. Just to see what all the fuss was about. So, like a video game, I’m munching on credits like Pacman. I started with a BA in philosophy, then moved to a B.Ed, and now finishing my final touches on a master's thesis. After that, I’ll probably do a Ph.D. for fun.
What am I studying? The funest (it’s a real word) question of all. First, I’m studying the colonial enterprise called university, from the inside. I want to really know how and why the British/Canadian mind is formed the way it is, and how university systems construct and direct that human form. Second, because I study Indigenous Cosmologies, I am looking into our dying and death rituals and how music (as a liminal space) is used to transform the human spirit from this reality to the next. Directly connected to that, I am forwarding a hypothesis as to why a Mohawk from the 17th century named Kateri Tekakwitha, North America’s first Indigenous Catholic saint, did the things she did. In short, Tekakwitha was not on the side of French colonizers and Christianity but was directly involved in the Iroquois/Mohawk war effort against the French Army and its Jesuits as a spy. So, its Roman system canonized a person who despised Christianity, Jesuits, and the French invasion of her homeland. Exciting stuff right?
Music has always been a big part of your life. How did your relationship with music begin, and how does it continue to move you?
For me, music is a part of everyone's life. From cradle to grave, music is an ongoing soundtrack to our living experience. It is only the specific context of each life that gives words to express musical feelings. So for me, music represents a flow of living. Like the Om in Buddhist Cosmology or the tone of an Iroquoian flute. Both represent the primordial vibrations of life's very existence. My relationship with that word (music) comes from the Oms and flute tones of that presence. It moves and channels my feelings, thoughts, and actions.
What excites you the most about working with Schulich’s music research department?
First is to be back in the Montreal area and back in my Iroquoian culture. I’ve been away from the area for a dozen years and have become homesick for family, friends, and my Mohawk community. Second, what’s exciting about working with Schulich research dept is reconnecting with like-minded people and being creative with music, students, culture, and adventure.
In 2017, McGill set out 52 Calls to Action for recognition and reconciliation with Indigenous peoples. Where do you see music fitting within that project?
Because music is a universal language and activity, what better place to implement these Calls to Action than at Schulich. So, I am here to help McGill deliver on these objectives. With that, I am currently developing courses in and around Indigenous music that will fit with the Calls to Action and hopefully, begin to position Schulich as a world leader in Indigenous music and Indigenous content for its students and staff.
What advice do you have for musicians looking to deepen their connection with local Indigenous cultures?
As a musician and songwriter, I see every player and/or singer and composer as being Indigenous. Because I have this view, I encourage non-Natives to reconnect with their own original culture. For example, if you’re a white British/Canadian or American, there is a huge well of content in your pre-Roman/pre-British culture. Remember, white Europeans had their colonial experience far earlier than us Natives. Because of that, I encourage white people to look into their own ancient Germanic, Celtic, or Norse cultures, language, music, Cosmologies, and societal structures. If you look closely enough and are patient, you will discover your original Indigenous connections to life, spirit, land, water, and sky.
What music do you consider “essential listening” for music lovers, across any genre? And who are some Indigenous musicians everyone should check out?
HA…is there even an answer to this question? Essential listening for me is being beside a tidal river and watching her move in and out over long periods of time. You get to hear and witness the music/songs of birds and geese migrating north and south. You get to hear the rhythms created by crickets, Water and Wind passing through brooks, trees, bushes, and grass. And you get to hear winter ice crack in 3/4 time. If persistent, you can hear the song of Loon and Eagle. They are messengers of creation and remind us of our place on Mother. And if that doesn’t work, old-time Country & Western music can do the trick.
In terms of Indigenous musicians, when it comes to making and doing music, unless a person is from another planet or galaxy, all musicians are Indigenous. So, explore ALL musicians from All regions of our world. Don’t forget, the Earth or what word you want to use to label this place, is and will always be our universal Mother. Specifically, I encourage people to check out the works of Willy Dunn, John Trudell, and Emma Stevens just to name a few.
