The band from left to right: Camille Henderson, Jodi Proznik, Claire Lawrence, Terri-Lynn Williams-Davidson, Bill Henderson, Saffron Henderson, Geoff Hicks. Photo by Farah Nosh

Haida Solstice album

“Haida Solstice” celebrates and honours the sacredness of Haida music expressed during the shortest days of the year. It also celebrates the Christmas and Supernatural themed music in the Haida language. Join us to uplift and unite our spirits as we collectively move toward the light.

We invite you to join us in a unique experience – come listen, share and experience the songs that celebrate the sacredness of the Winter Solstice. At once familiar and yet altogether new, these songs have been carefully translated into the endangered Haida language, honouring Haida values, concepts, and teachings. As part of the powerful process of indigenizing practices that once oppressed Indigenous Peoples, this album respectfully brings a distinct Haida worldview into music and festivity practiced by many cultures around the world — that of Christmas.

We hope that you will sing along and, through the celebration of this ancient language, transition with us from the dark and cold of winter into the warmth and light in this exploration of healing and reconciliation.

This album decolonizes the experience of Christmas in a way that celebrates Xaayda Kil, the Haida language. UNESCO declared 2022-2032 to be the decade of Indigenous languages, emphasizing the need for Indigenous Peoples’ “freedom of expression …. and to participation in public life using their Indigenous languages, as prerequisites for the survival of Indigenous languages many of which are currently on the verge of extinction.” Songs are an integral part of learning the Haida language, and language preservation programs encourage songs as a form of learning (Hinton, 2002 at 51; FPCC, 2012 at 26). The Master-Apprentice Program supports learning through everyday activities, recognizing that “language and culture are interconnected” and must be “used in all day-to-day activities which make up a culture”, such as songs (FPCC, 2012 at 8). Every word learned is important! (Hinton, 2002 at xvii).

Elders from both Skidegate and Old Massett suggested the concept for a Christmas album in the Haida language in 2017 when we released our last album. It was their enthusiasm and initiative that underscored the importance of Indigenous inclusion in holiday festivities. We want to share their vision with others and provide a new context to holiday celebrations, respecting the sacredness of the Winter Solstice and the ceremonies that honour traditional Haida teachings as gifts and strengths.

Singing in the Haida language is important work to be done now as Canada seeks to collectively address the injustices and harms resulting from previous assimilationist and colonizing policies. The Truth and Reconciliation Commission of Canada has issued Calls to Action to guide this process. Calls 13-17 are aimed at furthering Indigenous languages and cultures. There is power in indigenizing those practices that once suppressed Indigenous cultures: indigenization and decolonization are collaborative processes of privileging and including Indigenous perspectives and approaches. There are two calls to action in the translation of decolonization into Xaayda Kil that we want to respect in this project: Gam yen asing k’aa.ngasgiidaay han hll guudang Gas ga (I will never again feel that I am less than) and Huuy.yad Ga XaaydaGas t’alang kuuyada (Now we all value Haida). Seen in this light, indigenization and decolonization are not undertaken solely for Haida or Indigenous peoples but are part of a shared journey towards reconciliation.

The translation of Christian and Christmas carols on the album into the Haida language inherently incorporated Haida values, concepts, and teachings. For example, the Xaayda Kil translation of sacred is “supernatural”, and “saints” is “peaceful one”. Xaayda Kil and English are very different languages with very different phrasing, requiring a careful approach to the songs and translations. From Terri-Lynn’s work with Haida music since 1978, we learned that there is a separate “language” for songs, which differs from daily language and the formal language spoke in Potlatch. We were fortunate to work with the Skidegate Haida Immersion Program to translate these songs.

As an advocate for Haida culture, Terri-Lynn initially resisted a Christmas album because foreign and Christian worldviews are reflected in Christmas songs. For many people Christmas feeds into consumerism that underlies colonialism and the exploitation of Indigenous lands. Yet, like other Indigenous Peoples, the Haida outwardly adopted Christianity as one way to practice Haida ceremonies “underground” and keep them alive (Edenshaw-Davidson & Blackman, 1982). For example, Christmas dinners allowed Haida families to maintain aspects of traditional Haida discourses and potlatches. Terri-Lynn’s late father, Godfrey (Collinson) Williams (1919-1994) provides a further example of embracing Christmas carols. He attended residential school, and Christmas was a time to share food and gifts that he didn’t have as a youth. Christmas carols were a medium for his spirit to sing in a time when traditional songs, music, and Xaayda Kil were suppressed.

At a spiritual level, this album is a way to foster a connection with previous generations of Haida, and Indigenous Peoples everywhere, who sang Christian hymns and carols but yearned to be able to express themselves in their language. The members of sGaanaGwa are blessed with safe and loving homes, where we celebrate Christmas and sing carols together. We treasure those memories and want to covey the feelings that can be found at Solstice, on the land and waters, and in Potlatch.

We hope that this music will bring joy and healing to the Elders. We hope that it will help free the spirits of Haida and Indigenous Ancestors who yearned to sing our traditional music but could not in the face of the cultural suppression and the Potlatch prohibition. We also hope that it will help affirm for youth that the Haida language is living and part of the society of Canada.

We greatly appreciate the support of the First Peoples’ Heritage, Language and Culture Council and their partners in the Indigenous Arts Program, Creative BC and the Province of British Columbia to make this album.

BIOgraphies

Terri-Lynn Williams-Davidson was born and raised in Haida Gwaii off the west coast of Canada, Terri-Lynn has been a promoter of Haida music since the age of 13 and has performed throughout the world. For her work over the last 45 years, which has helped bring renewal to Haida songs, she received a ‘Keeper of Traditions’ Canadian Aboriginal Music Award in 2008. Her first traditional album: ‘Lalaxaaygans: Beautiful Sound’, and her second album, ‘New Journeys’ received multiple awards and nominations, including winning Best Female Traditional/Cultural Roots at the 2009 Canadian Aboriginal Music Awards (CAMA), a ‘Best Female Artist’ at the 2011 CAMA, and was cited as one of the top 10 Most Influential Indigenous Albums of 2011 by RPM Indigenous Music Culture. In 2012, ‘Have a Light Heart on Your New Journey’ reached No 2 on the National Aboriginal Music Countdown and was on this chart for almost 40 weeks. Terri-Lynn is also a well-known lawyer representing the Haida Nation in Indigenous law, is the Principal lawyer at White Raven Law Corporation, an author and legal scholar.

Bill Henderson is a singer/songwriter, lead vocalist and guitarist with the legendary Canadian rock band Chilliwack which produced such hits as "Lonesome Mary", "California Girl", and "My Girl (Gone, Gone, Gone)". He has also produced numerous recordings, winning a Juno Award for "Producer of the Year" and a Genie Award for best original song in a movie. He was the sound engineer for the Haida Gwaii Singers contemporary box set and was a musical director for the Canadian edition of Sesame Street. Bill has also advocated for musicians and songwriters on the industry side, as Director of the Canadian Association of Recording Arts and Sciences (CARAS), and as Director and President of the Songwriters Association of Canada (SAC) and of SOCAN. Bill is part of the folk music supergroup “UHF.” In 2015 Bill was honoured with an Order of Canada, one of the country’s highest civilian honours. In 2019, Chilliwack was inducted into the Canadian Music Hall of Fame.

Claire Lawrence is a Canadian musician who was a founding member of the Canadian band The Collectors and Chilliwack. A talented multi-instrumentalist, he plays saxophone, flutes and keyboards. He left Chilliwack in 1971 to produce a number of prominent Canadian artists and groups including Susan Jacks, Valdy, Shari Ulrich, Roy Forbes, UHF and Connie Kaldor. In 1977 he formed the “Hometown Band” which was awarded the Juno for best new group in 1978. He has scored music for television including Northwood, Cold Squad and the long running Canadian TV series, The Beachcombers. He produced Jazz Beat for CBC Radio, along with jazz recordings for artists including Cam Ryga and Rene Rosnes, Laila Biali and Don Thompson, the latter winning a Juno for best jazz album.

Jodi Proznick a distinguished Canadian jazz bassist, composer, and educator, was honoured as the 2019 Jazz Artist of the Year at the Western Canadian Music Awards, boasting three Juno Award nominations. Recognized for her impactful contributions to music education, she received the 2022 Lieutenant Governor's Arts and Music Award in British Columbia. Proznick has collaborated with jazz luminaries like David “Fathead” Newman, Ed Thigpen, Sheila Jordan and Peter Bernstein, and has performed as a jazz soloist with the Vancouver Symphony Orchestra. Currently serving as Director of Jazz Studies at the Vancouver Symphony Orchestra School of Music and with a history at esteemed institutions like the Banff Center for the Arts, Capilano University, and Kwantlen Polytechnic University, she remains a influential force in shaping the future of jazz. In 2022, she co-founded the Ostara Project, earning a Juno nomination for their impactful debut album.

Saffron Henderson is a singer, voice actor and narrator with hundreds of rock’n’roll, musical theater, film, tv, animation and video game credits to her name. She has sung in numerous live bands and on TV, film and animation themes, corporate and special events including the Olympic, Invictus and Commonwealth Games, and the Calgary Stampede. She has appeared as a background vocalist for David Foster, Lionel Ritchie, Ray Charles, Olivia Newton John, Chilliwack, Jann Arden, 54-40, Tom Cochrane, Paul Rogers, Mariana’s Trench, Rita MacNeil, Annette Ducharme, The Irish Rovers, Shari Ulrich, Allan Dobb, Raffi, Paul Rodgers (Bad Company), Richie Sambora, The Wild, and Cole Haan. Daughter of Canadian musical legend, Bill Henderson, Saffron enjoys singing and collaborating with her large musical family and is honoured to be a part of the beautiful musical, linguistic and cultural bridge called sGaanaGwa.

Camille Henderson is most well known for her many years of touring as Sarah McLachlan’s back-up singer. By the age of 10, she was a working actor in film, TV and on stage, a session singer for multinational corporations and a signed recording artist with RCA Records. While in her teens, she toured as a member of the A&M recording group West End Girls, charting No. 1 on The Record’s top 40 chart, earning a Juno nomination and winning a Western Canadian Music award. Following this, Camille joined Sarah McLachlan’s band, touring the world with appearances on the Grammy’s, Junos, Saturday Night Live and a string of late-night talk shows. She feels blessed to continue working with world renowned producers, honing her craft as a back-up singer to leading recording artists and occasionally performing live with those most near and dear to her heart. Camille brings her rich history to a gratifying career as a vocal coach, supporting both industry legends and the rising stars of the future.

Geoff Hicks is an earthy, organic drummer whose style falls in line with the likes of Levon Helm, Steve Jordan and Steve Ferrone. Driven by the music, Geoff humbly and consistently strives to provide exactly what is called for on every song, in any given moment. Since 1995, Geoff has been a busy freelance drummer, touring and recording with Colin James, Barney Bentall, Jim Byrnes, Chad Brownlee, Aaron Pritchett, Jim Cuddy, Alan Doyle, Steven Page, Danny Michel, Harry Manx, Steve Dawson, Bill Henderson, Chilliwack, Ridley Bent, Craig Northey, Dustin Bentall & Kendel Carson, The Sojourners, Coco Love Alcorn, Odds, Neil Osborne, Bocephus King, Ox (Mark Browning), Ben Rogers, Ndidi Onukwulu, Bob Kemmis, Wayne Lavalee, Cameron Latimer, Wendy Bird, Steven Drake, Jesse Valenzuela (Gin Blossoms), Teddy Thompson, and the list goes on.

Chris Hockey was born into a family of drummers. He had sticks in his hand since the age of 4 and landed his first paying gig at age 16. Since then, he’s played a broad range of styles within a multitude of bands eventually landing a recording deal in Los Angeles and sharing the stage with artists such as Peter Frampton, Radiohead, Soul Decision, Sarah McLachlan and more.  Playing drums is both challenging and rewarding and Chris feels very fortunate to make his livelihood doing what he loves: playing live, in studio and mentoring up and coming drummers as a teacher.