The soundtrack for the reality television show Flying wild Alaska uses audioreelism—sound-design components that express the lived realities of indigenous peoples—to portray the daily life of an Alaska Native family in the airline business. It also uses sound worlding—bringing the world into being through sound—and audible indigeneity—the stereotypical ways in which listeners determine whether or not music sounds Native.
This soundtrack is unprecedented in its use of music by indigenous musicians from Alaska and the circumpolar Arctic. Featured artists set lyrics in indigenous languages to popular musical styles such as hip hop, rap, funk, and R&B. The overall sound combines local musical styles, licensed third-party music by indigenous artists, synthesized distortion effects, and sounds such as propeller engines, aircraft alarms, and bird strikes.
This range of sounds unsettles conventional musical representations of The North. Audioreelism and Native sound worlding therefore challenge settler-colonial representations of the indigenous Arctic.
This according to “Inuit sound wording and audioreelism in Flying wild Alaska” by Jessica Bissett Perea, an essay included in Music and modernity among First Peoples of North America (Middletown: Wesleyan University Press, 2019, pp. 174–97).
Above and below, Pamyua, one of the groups whose music is used in the series.