Music has long served as powerful tool for voicing protest, speaking out against injustice, and inspiring action. On the National Day for Truth and Reconciliation, which honours the painful legacy of the residential school system in Canada, we take a moment to reflect on the music that has amplified Indigenous resistance, demanding accountability and urging us toward reconciliation and meaningful progress.
Willie Dunn’s “I Pity the Country” remains a timeless protest anthem, resonating as powerfully today as it did upon its release. As both a singer-songwriter and filmmaker, Dunn was a voice for Indigenous communities during a period when Indigenous political activism was gaining momentum.
In “I Pity the Country,” Dunn critiques colonial exploitation, systemic racism, environmental destruction, and all those who perpetuate hatred and violence. The lyrics, stark and direct, call out the hypocrisy of settler governments while expressing empathy for those caught in the cycle of oppression.
I pity the country / I pity the state
And the mind of a man / Who thrives on hate
Small are the lives / Of cheats and of buyers
Of bigoted news press / Fascist town criers
Deception annoys me / Deception destroys me
The Bill of Rights throws me / In jails they all know me
Also among Dunn’s impactful works is the groundbreaking 1968 National Film Board short The Ballad of Crowfoot, widely regarded as Canada’s first music video. Using archival images and his own music as the soundtrack, the award winning film explores Indigenous struggles—stolen lands, the eradication of prairie buffalo, disease, religious conversion, and cultural appropriation.
A staunch advocate for Indigenous rights, Bruce Cockburn has been writing songs about conflicts in the lives of Canada’s Indigenous people for decades. In his song, “Red Brother, Red Sister” he addresses the oppression of Indigenous peoples from the perspective of a non-Indigenous ally.
Went to a pow-wow, red brother
Felt the people’s love-joy flow around
It left me crying just thinking about it
How they used my Savior’s name to keep you down
Drezus’ “Red Winter” marked a watershed moment in contemporary Indigenous resistance music. Released at the height of the Idle No More movement, which protests governmental policies threatening Indigenous sovereignty and environmental protections, the song quickly became an anthem for Indigenous activism.
In “Red Winter” Drezus, a Plains Cree artist, confronts the government’s mistreatment of Indigenous communities, addressing issues like environmental degradation and the violation of treaty rights. His rapid-fire delivery and powerful lyrics channel both the anger and frustration many Indigenous people feel, while also embodying the fierce determination to resist a system that has long sought to silence and marginalize Indigenous voices.
Basically, we’re getting taken hostage for our land
‘Til we sell it out for profit now they got the upper hand
But trust me we can stop it, I’m thanking the four sisters
Dear Mr. Harper we all coming to get ya
Tanya Tagaq’s album Retribution is an unapologetic, visceral work of art that fuses Inuit throat singing with powerful messages of resistance. Known for pushing musical boundaries, Tagaq uses her platform to challenge the violence committed against Indigenous women, culture, and land.
The title track of the album’s intense sound evokes both fury and resilience. Shifting between guttural throat singing and Tagaq’s haunting vocals, the song reflects the tumultuous history of her people and the natural world’s retaliation against human greed. “Retribution” demands accountability, not only from settlers but from systems that perpetuate violence and exploitation. It stands as a raw, powerful expression of Indigenous defiance.
Money has spent us
Left us in small boxes, dark rooms, bright screens, empty tombs
Left investing our time in hollow philosophies
To placate the fear of our bodies returning back into our mother
Demand awakening
Survival and resilience are at the heart of Aysanabee’s album Watin, which features the deeply personal track “We Were Here.” Exploring themes of identity, intergenerational trauma, and cultural survival, “We Were Here” reflects the lived experiences of Aysanabee’s grandfather, a residential school survivor.
Born as Watin, his grandfather was forced to change his name to Walter, but later sought to reclaim his true name. After hearing so many of his grandfather’s stories, Aysanabee was ready to do the same. The song’s title is a declaration of existence, resilience, and the refusal to be forgotten. In a time of Truth and Reconciliation, it stands as a modern anthem for those reclaiming their history and culture.
They say that we can reconcile this
Put it in the past
They say that we can reconcile this
What if I can’t?
National Day for Truth and Reconciliation observed on September 30th encourages Canadians to reflect on the history of the residential school system and to commit to understanding, empathy, and positive change. It serves as a reminder to engage in meaningful dialogue and support Indigenous communities in their healing journeys, committing to a future founded on respect, justice, and reconciliation.
Here are three resources for learning more about the National Day for Truth and Reconciliation:
National Centre for Truth and Reconciliation (NCTR)
The NCTR is a hub for research, education, and reconciliation activities. It holds the records and history of the Truth and Reconciliation Commission of Canada, offering access to resources and educational materials.
Instagram: @nctr_um
This organization is focused on raising awareness about the impacts of residential schools and promoting the annual Orange Shirt Day on September 30th. They provide resources for educators and communities to support reconciliation.
Instagram: @orangeshirtdayeverychildmatters
Indigenous Canada (Free Course, University of Alberta)
This is a free online course offered by the University of Alberta that explores Indigenous histories and contemporary issues in Canada. It’s a comprehensive resource for anyone wanting to deepen their understanding of Indigenous perspectives.
Instagram: @ualberta
Feature image: Aysanabee performers “We Were Here (It’s In My Blood)” with Northern Cree at The 2023 JUNO Awards. Rogers Place, Edmonton. March 13 2023. Photo by CARAS/Ryan Bolton
