Camryn Dewar, voice
Fulbright Scholar Camryn Dewar’s lecture-recital, titled “The Evolution of Female Indigenous Representation in Canadian Opera from 1879 to Present” is a bold initiative dedicated to reshaping the Canadian opera landscape by centering and amplifying Indigenous voices. Through an innovative lecture-recital and public discussion/Q&A, the presentation uses opera as a vehicle for truth, reconciliation, and education. Through analysis and performances of excerpts from Canadian operas Canada’s Welcome (1879) by Arthur Clappé and Frederick Dixon, Missing (2017) by Marie Clements and Brian Current, Shanawdithit (2019) by Yvette Nolan and Dean Burry, and the soon-to-be-premiered Empire of Wild by Ian Cusson and Cherie Dimaline, Camryn will illustrate in detail how the heritage of creative teams and creative inspiration of Indigenous operas impact Indigenous female representation for the better. The presentations incorporate live operatic and piano performances that exemplify the evolution of female Indigenous operatic characters through the ages, as well as a visual presentation with lyrics and background historical information. She will be joined by Empire of Wild composer Ian Cusson on piano.
Over the course of an hour program, by showcasing the positive evolution of Indigenous representation in classical music from the 19th century to today, the presentation discusses authentic storytelling, challenges stereotypes, and inspires new standards and best practices for artistic collaboration and cultural respect. Topics covered include historical context, creator and cast backgrounds, Indigenous languages, source material, creative collaboration, performance practice, the shift from fetishization of Indigenous women to fair and authentic representation, impact of these operatic works on Indigenous artists and audiences, and best practices in representation moving forward. Through this lecture-recital, Camryn will show in more detail how this evolution in Canadian opera seeks to empower, rather than silence, Indigenous people of past, present and future. This lecture-recital aims not only to educate audiences, contributing to a more comprehensive understanding of Indigenous culture and music, but also to spread awareness of the wealth of incredible Indigenous opera that exists but is rarely performed.
Camryn toured this presentation in a successful and highly-acclaimed 3-date tour across the state of New Jersey in early 2025. Her Canadian tour spanned January-March 2026 and includes 5 dates across the provinces of Alberta, Manitoba, and Quebec, with venues including the University of Calgary, University of Manitoba, Brandon University, Canadian Mennonite University, and McGill University. Her 2026 tour includes Canadian Opera Company, University of British Columbia, and a Yukon tour in partnership with the Gwaandak Theatre.
This lecture-recital is not just a performance- it is a catalyst for change. Bringing this content to Canadian audiences means not only deeply educating, but also challenging long-standing traditions of racism in opera, and demonstrating the transformative power of authentic, Indigenous-led storytelling. This work directly addresses the urgent need for truthful representation in the arts, ensuring that Indigenous performers are not only seen and heard, but are shown that diverse stories belong on every stage, and that opera can be a space for genuine cultural dialogue and healing. This knowledge is essential not only to ensure fulfilling roles and works for diverse performers, but to inspire and empower others to follow in the footsteps of creating music with authentic representation going forward.
“The first time I sang an Indigenous opera, I felt my entire soul pouring out of my body. I could feel my ancestors behind me as I figuratively cried out for justice, truth, and understanding. It is a feeling I will never forget. That experience showed me that my true purpose is serving as an educator about Indigenous people and music, and using the power of music to encourage understanding and reconciliation. I look forward to audiences hearing operas that are real, raw, and that fully show the Indigenous female, and really, the human, experience.” – Camryn Dewar
Program
The Evolution of Indigenous Female Representation 1879-Present
Canada’s Welcome (1879) Arthur Clappé and Frederick Dixon
Indian Maiden’s aria (1850-1920), (1843-1919)
Missing (2017) Marie Clements and Brian Current
Scene 8 Duet (b. 1962), (b. 1972)
Shanawdithit (2019) Yvette Nolan and Dean Burry
You Men of the World (b. 1961), (b. 1972)
Out of This World
How can I sing?
We Will Not Be Disappeared
Tickets (also available at the door)
We are unable to accept cash at the door.
