Canadian Identity in Music
Written October 26, 2003

I love Canada, I really do. When we ruined the USA in that Olympic gold medal hockey game a few years ago, I was unabashedly waving a giant red foam finger around and screaming incoherent obscenities at the American montage of stars and stripes. I’ve flaunted my Canadian nationality overseas, confident in our positive and respected status on the world stage. However, every once in a while I can’t help but be a little embarrassed of Canada, similar to the boy who’s girlfriend has somehow puked into the tape slot of a VCR at a party.

You see, even centuries after our nation’s conception we are still engaged in an active struggle for national identity. Trapped between waves of media from south of the border that portray us as polite pushovers with funny pronunciation and our own beer commercials that build our identity from hockey sticks and making fun of stupid Americans, Canadians are very much an uncertain people. European and Asian countries rely on their rich historical cultures and established history, the United States takes the overly-forceful role of distributing democracy across the globe and Canada shuffles its feet behind the curtains of the world stage, quietly muttering the word “peacekeeper” to itself for reassurance.

Sadly enough, this ongoing grasp for a definitive identity appears to be manifesting itself in Canada ’s music, or at least the acts that American and international labels choose to hype outside the confines of our borders. Formulaic alt-rockers Nickelback and pop-punk grrrl icon Avril Lavigne top the list of popular Canadian exports, but what do they offer? Certainly not musical innovation – Nickelback walks the tired footsteps of Pearl Jam, and Avril is a pretty image constructed to cash-in on decimated punk culture accompanied by some catchy pop tunes. Neither reflects anything positive about Canadian culture either: I’m sure many envisage Nickelback’s status as unflashy clones of American rockers as an indication of our universal blandness and Avril as a symbolic representation of Canada ’s childlike stupidity and naiveté. These are both stereotyped attributes that we need to lose as soon as possible.

Now I’m not proposing that all Canadian artists be required to imbue their works with some sort of Heritage Moment crap (like I said, our lack of solid identity would make this near-impossible). Nor am I suggesting that the Canadian music scenes be reformed or chastised – there’s plenty of really great, groundbreaking stuff out there. The Tragically Hip have even managed to establish themselves as an iconic symbol of Canadian pride amidst our identity turmoil – an admirable feat.

I just find it unfortunate and ironic that the music which is generally chosen to represent us and our culture to the world so blatantly showcases, and occasionally contributes to, Canada’s shakily-projected national image and identity weakness. I’m not asking for a history-altering band or even someone with an excess of talent, but rather a chance to throw some musical figures with strength and confidence out into the world. We need to start building a solid Canadian identity through our media and I don’t think Avril is up for the job.

Canadian identity was an important topic for me during the year this was written (I even took a whole class on it!) so this was my attempt to force this concept into the realm of Entertainment so I could cram it in my section. I also needed to include my hatred of Nickelback, of course. Take this as you will.