
Toronto Rappers Maestro (left), Michie Mee (right)
By Francesca D’Amico
In 1991, Toronto rapper Maestro reminded Canadians that, “we live in this place with racism called C-A-N-A-D-A. I’m watching it decay everyday. We got to hurdle the system, cause hate penetrates multiculturalism.”[1] Referencing the 1990 Oka Crisis, Maestro’s lyrics suggested that Canada’s language of tolerance of diversity was hypocritical and reflected an unequal treatment of racialized people. Over the course of Hip Hop’s history in Canada, practitioners like Maestro have used the culture to re-imagine Canadian history, confront their own sense of exclusion, create a narrative of belonging to the Canadian state, and problematize the state project of multiculturalism. On June 1st 2013, Performing Diaspora, a flagship project of the Harriet Tubman Institute for Research on the Global Migrations of African Peoples, explored Canadian Hip Hop’s engagement with the Canadian narrative in a one-day public history conference at York University.
Performing Diaspora 2013: The History of Urban Music in Toronto, a landmark academic conference and act of community engagement, brought together the work of budding Canadian Hip Hop scholars, legendary African Canadian Hip Hop artists (Maestro, Michie Mee, Dan-e-o, Motion & Minbender), music producers (Chris Jackson), radio and television personalities (DJ Mel Boogie, DJ X, Master T), journalists (Dalton Higgins & Del Cowie) and fans. The conference was intended to highlight the histories and developments of Hip Hop in Canada, problematize the term ‘Urban Music’ as a discourse that homogenizes and ghettoizes black Canadian music, and discuss the challenges posed by the Canadian Music industry and how it has envisioned, and at times problematically failed to imagine and incorporate Hip Hop as part of its broader popular culture. Continue reading