Ethno-racial Minorities and the Juno Awards

Abstract

Abstract: This article examines ethno-racial minorities (especially Francopbones, Blacks and Aboriginal peoples) in relation to the Juno Awards ceremony for the Canadian recording industry. After documenting how such minorities have often not been seen at the Junos, three arguments are made. First, the frequent absence of ethno-racial minorities can partially be attributed to the promotional strategy adopted by the Canadian Academy of Recording Arts and Sciences (CARAS). Second, ethno-racial minorities have challenged their general lack of representation through several forms of promotional opposition. Third, CARAS' response to promotional opposition has included efforts to secure an Anglo cultural hegemony. Resume: Ce document examine la ceremonie des Prix Juno de l'industrie canadienne du disque et son rapport avec les minorites ethnoraciales (tout particulierement les Francophones, les Noirs et les peuples autochtones). L'absence frequente de ces minorites a la ceremonie des Prix Juno est d'abord demontree, puis trois arguments sont developpes. Le premier argument est que l'absence frequente des minorites ethnoraciales peut etre en partie attribuee a la strategie promotionnelle adoptee par l'Academie canadienne des arts et des sciences du disque (CARAS). Le deuxieme argument est que les minorites ethnoraciales ont conteste leur faible representation par differentes formes d'opposition promotionnelle. Le troisieme argument est que la reponse de CARAS a l'opposition promotionnelle des minorites ethnoraciales montre des efforts pour obtenir une hegemonie culturelle anglaise. Introduction Three key questions can be posed about ethno-racial minorities and the media. First, to what degree have these minorities been seen in the media, and what explains any lack of representation? Along with mis-representation, under-representation is an issue that has received a great deal of attention from researchers (Mahtani, 2001). Second, to what extent have ethno-racial minorities challenged their lack of representation, and what forms of resistance have been involved? Third, where resistance has existed, how have media or cultural institutions responded to the opposition of ethno-racial minorities? With few exceptions (especially Tator et al., 1998), the last two questions have not been addressed by scholars. Indeed, it has been suggested that future research needs to focus on issues associated with resistance (Mahtani, 2001:118). All three of the questions noted above are answered in this study of ethno-racial minorities and the annual Juno Awards ceremony for the Canadian music industry. The analysis considers the experiences of Francophones, Blacks and Aboriginal peoples in relation to the Junos and the organization that administers the ceremony, the Canadian Academy of Recording Arts and Sciences (CARAS). In answer to the three questions that have been raised, three inter-linked arguments are made. First, ethno-racial minorities have been seen infrequently at the Junos, and this can partially be attributed to the institutional practices and promotional strategy adopted by CARAS. Second, in the context of CARAS' promotional success, some ethno-racial minorities have engaged in various forms of promotional opposition to contest their general lack of representation. Third, CARAS' response to the resistance of ethno-racial minorities has included efforts to secure an Anglo cultural hegemony. Analytical Framework Along with other aspects of Gramsci's formulations, the concept of hegemony is employed in this article to interpret the struggles of ethno-racial minorities at the Juno Awards. There are two key reasons for drawing upon Gramsci. First, as Hall (1986: 26) notes, the analysis of politics in racially-structured contexts can be enhanced through concepts such as hegemony and passive revolution. Second, the present article attempts to build on two other Canadian studies that have utilized the concept of cultural hegemony to investigate minorities in relation to the arts. …