This research essay will be situated within the throat singing traditions of the Inuit First Nations people of Canada. As both Paula Conlon’s entry in the Grove Music Refernce and Elaine Keillor’s book describe, Inuit throat singing began as a tradition for women and children to play as a game for when the men are away hunting. This tradition has evolved into quite a complex art form as Claude Charron describes in “Toward Transcription and Analysis of Inuit Throat-Games: Microstructure”. In 2005, Inuk throat singer Tanya Tagaq released her first album which began her career of a solo throat singer with immense success. This research aims to explore and unpack the Canadian First Nations relations through Tagaq’s music. Stephanie Stèvance discusses how Tagaq’s virtuosic solo technique has advanced Inuit throat singing into higher regard in the art spheres of popular Canadian culture. Using recent album reviews and newspaper articles, this essay will explore the first nations relations in Canada through the Inuk “superstar” Tanya Tagaq
