Indigenous Music

International Indigenous Composer and Cellist Cris Derksen braids the contemporary with the traditional

Cris Derksen, International Indigenous Composer and Cellist, is a Juno-nominated artist from Northern Alberta who has been playing the cello since she was about ten years old. She started with the Edmonton String Program, which was accessible and affordable. “Everything really influences my music,” Cris shares. “My perspective of being Indigenous –part Indigenous and part settler – definitely influences my perception of the world around me.” When composing, she takes little bits of things she likes; braiding the contemporary with the traditional. After attending the University of British Columbia, she was determined to leave with her own music and style.

At the age of 5, Cris was playing the piano, but even then, she was more inspired to create her own music than play the music on the page. Attending University to obtain her Cello Performance Degree allowed her to play and perform her music well. She also knew that she “wanted to make the cello more street level and relevant and cool …but classical music can be a place that is stuffy.” She has literally brought the music from street level into the concert hall.

Besides the Juno nomination, some of the highlights of her career include travelling with Inuit throat singer, Tan- ya Tagaq, on a world tour. In 2010, Cris started doing her own albums ranging from electric cello to Orchestral Powwow, leading her back from the Folk Fest stage to the concert stage. She has toured Hong Kong, Mongolia, and Norway exclusively. “Collaborations are enjoyable for me,” Cris indicates. She says it is more about creating music and collaboration than the actual awards.

When she “pushes the boundaries of music,” Cris reiterates that all art takes something from the past and puts it into the present. The key pedal and effective instruments allow her a bigger pallet to work with, even though most orchestras are not used to doing that. David Robertson is an author she enjoys.

Cris reflects on the fact that there is a resurgence in Indigenous music. “I really want to open the doors for other BIPOC folks to come into the symphony hall;” a place that is welcoming and where the music is understandable and relevant. One of her goals is for people to understand the importance of being inclusive.

In most of Cris’ work, there is an underlying message that she tries to get across. One example of a beautiful metaphor is “Round Dance,” one of her favourite pieces. Indigenous and nonindigenous people hold hands and dance together in a circle. Some of her songs deal with environmental issues, such as water. “I’m always using this platform to talk about Indigenous issues and journeys.”

Learning new skills and pushing herself forward were specific to her time during the pandemic. Now a new album is coming out in the fall, and she has a commission with Orchestra Metropolitan out of Montreal with a visit to Carnegie Hall in the United States. “Everyone has a story.” Spirituality is an everyday event, not just a holiday experience. “My best pieces are when I take my ego out of the room and just let the music come and let Creator speak through me.” We are listening.

Cris Derksen recently curated a show spotlighting all Indigenous works for the Winspear Centre.