SAVOK | A Canadian opera company is launching a commissioning program for new land

“Where Water Meets Earth” at the Four Seasons Performing Arts Center (photo: COC staff)

The Canadian Opera Company (COC) has announced a new joint approach to land recognition. Metz soprano Metis Rebecca Cady is named as the inaugural collaborator.

The new program invites indigenous artists to work with a COC staff member to create visual land recognition and artist statement. This gives artistic and personal meaning to the practice, which has been criticized in various ways.

“We hope that when people are involved in our programming, whether in person or online, they will also be able to experience the recognition of the earth in a new way – something that engages their feelings, allows them to think about their own learning and knowledge. , and leave, wanting to know more, ”he says COC CEO Perrin Leach in a press release. “Creating creative ways of communication underpins what we do as an performing arts organization; we hope that further creative collaboration like this will help raise the voices of indigenous peoples so that these stories and realities spread widely in the future. ”

Rebecca Cady and “Where Water Meets Earth”

Mezzo-soprano and visual artist Rebecca Cady created a three-dimensional installation called where water meets the earth. It features beadwork and a bright orange color that reflects the tragedy of mass graves found in residential schools.

Jan Kusan‘s composition Fire sits on the pulpit, along with the poet’s text Joy Harjo, with the line: “I am a continuation of the blue sky, I am the throat of the mountains.” Around the installation, the sound of Jan Kusan’s composition follows the spectator, and Kusan on the piano and Maple Sugaron on the violin along with the sounds of water, the cries of birds, crickets and the crackling of fire.

The work will be on display at the Four Seasons Performing Arts Center, and the filmed version will precede all of the COC’s digital gigs by the end of this season.

“The concept of the work is that no one works alone, no one does anything alone,” he says. Rebecca Kadi in the issue. “That’s why we emphasize joy Fire composer Jan Kusan with a beautiful text by American poet Joy Harjo of the Nation of Muscovy (Scream). Composer Troy Slocum helped us develop the sound landscape, and I was especially grateful for Carrie Newman’s mentorship during the process; Kerry is an incredible multidisciplinary artist and speaker on the spirit of reconciliation, whose work I have admired for many years – it was an honor for me to collaborate on this project. “

Kadi is a member of the Circle of Artists, an advisory body made up of indigenous artists from across Canada who advise the COC. Director and playwright Julie Makisaak, who will oversee Fantasma’s future production, was the inaugural employee.

“It was an unprecedented and informative experience,” says McIsaac. “After months of emails, phone calls and walks by the water among birds and trees, Rebecca shared with me her way of seeing, creating and staying in the world. Listening and inviting many voices has been a priority throughout this process; For COC it was important not only to find and allocate resources that would allow Rebecca to realize her vision of this work of art, it was also a great opportunity to welcome many artists and individuals to work with us, whether by making seen and heard elements of the work or witness creation ”.

For more information see here.


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