As artists, it is our responsibility to recognize the history of this land, and to explore and challenge our relationship to that history.

We are in Tkarón:to, which in Kanien’kéha means 'the place in the water where the trees are standing.' We recognize, support, and celebrate the enduring presence of Indigenous Peoples on this land. It is a privilege for us to be here, on the traditional lands of the confederacies of the Wendat ‘People of the Island,’ the Anishinaabe ‘Original People,’ and the Haudenosaunee ‘People of the Longhouse.’ We acknowledge this land as the home of the Mississaugas of the Credit, ‘River of the north, of many mouths.’

As a national company, we extend our gratitude to the First Nations, Inuit, and Métis people across Turtle Island. In consideration of our international impact, we commit to demonstrating leadership through bravery, humility, and self-awareness in ongoing dialogue and respectful co-existence on this land.

There cannot be reconciliation before there is truth. We recognize the historical and continued oppression of lands and cultures. We witness the ongoing confirmation of mass and unmarked graves of Indigenous children at the sites of Residential Schools across Canada. We acknowledge the national crisis of Missing and Murdered Indigenous Women, Two-Spirit, and Girls. We commit to doing our part to protect the land and to uphold the values and voices of the Indigenous people of Turtle Island. 

We respect the strength of Indigenous Nations in Canada. We commit to listening to Indigenous voices and to focus on learning and healing together through music and stories. We believe in the power of the arts to move us forward in a good way.

The above statement was created by Rebecca Cuddy and Julie McIsaac, as inaugural participants in the COC’s Land Acknowledgement Commissioning Program. We encourage members of our community to experience the installation where the water meets the land below, or at the Four Seasons Centre for the Performing Arts ahead of all our in-person programming at the venue.

Learn more about the creation of where the water meets the land and the COC’s Land Acknowledgement Commissioning Program.


A sculpture stands in the windows of the Four Seasons Centre for the Performing Arts at the corner of Richmond Street West and University Avenue. It is a music stand wrapped in black velveteen with red velvet borders and tied together with white organza ribbon. The velveteen has colourful beadwork which transforms the music stand into a living structure. The beadwork runs up the ‘stem’ of the stand and blooms across the back.

At the centre of the beadwork is a bright orange blossom, a gesture to the confirmation of mass graves at Residential Schools. At the bottom of the stand is vibrant, sheer blue-green fabric that stretches out in a circle around the stand. Roots made from deer hide protrude from the ‘stem’ and spread out over the water. As the viewer walks around the sculpture, they witness the water sparkle and shimmer; there are beads nestled into the fabric to mimic the glint of the sun on the water. Perched on the stand is Ian Cusson’s composition Fire with text by Joy Harjo. The exposed text reads "I am the continuance of blue sky, I am the throat of the mountains."

In the spirit of renewal and ongoing contemplation, below the sheet music are new artwork elements added for the 2023/2024 season. A beaded trillium provides a welcome perch to a ruby-throated hummingbird. Connecting the beadwork is salmon skin tanned together by Julie and Rebecca. At the base of the sculpture, the rippling water expands outward, nourishing the maturing roots.

As the viewer circles the sculpture, sounds travel with them: Ian Cusson playing Fire on the piano, Maple Sugar on the fiddle, various bird calls, water, crickets, and a crackling fire.

We offer this as testament to community and collaboration; we don’t do anything alone.

Walk with us.

We invite you to contemplate the water - source of all life - and to journey along the roots stretching out wide across the earth, and sending life up the base of the sculpture. These pathways connect us; to you, and to all the artists, mentors, administrators and supporters who have contributed to the creation of this piece.

We invite you to spend time with us, to sit in the truth. To join in the magnificence of where we are, and all the memory it holds.

In the early morning and under night sky, we walked the land that made us, where our families have lived and been hosted for generations. Land that made us, land that sustains us. We offer this artwork in gratitude, in respect, in relationship with our ancestors.

Over many months, we drove down concrete-laid highways that cut through the land.

We found our way to the water, to hear what the waves had to say. We strove for stillness as we waited for the birds to start singing again, welcoming us in their space. We hushed our family and sat together quietly listening to the crackling of the fire.

We talked. We shared stories. Music. Love. Privilege. Assimilation.

Stitching one bead at a time... Sitting on the land, in the city. Tired eyes and sunburned skin. Singing back to the birds. The hours are counted by books sewn into the fabric, only good medicine - Braiding Sweetgrass, Unreconciled, The Break, Permanent Astonishment... titles that simultaneously describe our journey to here and now.

We invite you to spend time with us. To listen.

To our friend Ian, who sits at the piano conversing with nature, pulling from the past, and bringing new musical worlds into being. To Joy, whose words invite our voices to soar. To the fiddle, playing one of Pépère’s favourite tunes. To our friend Troy, who weaves all the sounds together. To the influence of Jani, Yvette, Marion and Carey, sharing strength and inspiration over many years. To our parents and grandparents who made us, and hold us still.

We offer this as reflection, sharing with you what we hear, what we see and feel, what we remember.

We ask you to remember.

We ask you to open your heart as the orange flower blossoms.

We witness and acknowledge the efforts of the Canadian Opera Company. We see the growing understanding, how space is being made for Indigenous perspectives and stories, how relationships are being built with Indigenous creatives and their communities. We see settlers taking action and making commitments. We are walking the path of this change that is happening.

We hope it will continue.


Métis multi-disciplinary artist and mezzo-soprano Rebecca Cuddy is acknowledged as ‘the next generation who are going to do incredible things’ (Perlman, WholeNote, 2019). Rebecca is one of the recipients of the Dora Mavor Moore Award—Outstanding Performance by an Ensemble in Soundstreams’ Two Odysseys; Pimootewin and Gállábártnit and the inaugural winner of the Rose-Ellen Nichols Award in the Performing Arts.

This season, Rebecca returned to Pacific Opera Victoria for Braunfels’ Die Vögel and makes her Manitoba Opera debut in Li keur; Riel’s Heart of the North. In concert, she made several appearances including with Soundstreams (premiere—Frehner’s L.E.X.), the New Orford String Quartet, the Toronto Consort, as well as a performance with members of the Toronto Symphony Orchestra, Jeremy Dutcher, and Yo-Yo Ma in support of Toronto’s CAMH Centre.

Rebecca has begun the journey of direction and theatre creation, incorporating visual arts and musicianship into her work. Rebecca is the inaugural artist for the Canadian Opera Company’s Land Acknowledgement Commissioning Program, and created and premiered The Maydee Box at the Festival of Live Digital Art, 2022. She was part of the Stratford Festival 2022 Langham Directors’ workshop and Assistant Directed under Alisa Palmer on Hamlet-911 by Ann-Marie MacDonald.

Rebecca sits in council with the Canadian Opera Company Circle of Artists, the National Theatre School of Canada Indigenous Circle, Soundstreams, and The Indigenous Performing Arts Alliance. She is the 2022 graduate of the Indigenous Artist Residency at the National Theatre School of Canada.

Canadian stage director Julie McIsaac was named the COC’s first Director/Dramaturg-in-Residence in 2019 and subsequently Lead Curator of Opera Everywhere, the company's reimagined 2020/2021 season. While at the COC she served as Assistant Director on Joel Ivany's production of Hansel and Gretel (COC), co-hosted Key Change: A COC Podcast alongside Circle of Artists member Robyn Grant-Moran, and she is the Dramaturg and Director of the COC’s Fantasma, by composer Ian Cusson and librettist Colleen Murphy. 

Of French, Scots-Irish, and Scandinavian ancestry, Julie lives and creates on the traditional territories of the W̱SÁNEĆ and lək̓ʷəŋən Peoples. With credits ranging from stage direction to sound design to performance to playwriting, she is a versatile opera and theatre artist whose projects work towards reshaping and revitalizing the stories told on stage. 

A Jessie, Ovation, and BroadwayWorld award winner, she is a frequent collaborator with Corey Payette and Urban Ink Productions in Vancouver, including the world premiere of Children of God and her starring role in the trilingual feature film musical Les Filles du Roi, to which she also contributed as Executive Producer and Co-Screenwriter. Directing highlights include the world premieres of Beauty’s Beast (East Van Opera) and The Nightingale of A Thousand Songs (CCOC), Le nozze di Figaro (Opera Studio), and the multiple award-winning Poly Queer Love Ballad, most recently at Theatre Passe Muraille.

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Through ongoing consultation with the Circle of Artists, we are developing a practice around land acknowledgment that is more reflective of our commitment to moving forward together in the spirit of creativity, respect, and reciprocity.

This collaboration between an artist(s) and COC staff member is not intended to replace the practice in which we speak the names of the local Nations past and present who inhabit and care for this land. Rather, it is an exercise in engaging with the land and with each other, as we share our mutual admiration, take time in contemplation, and creatively activate the practice of land acknowledgement.

The goal of this commissioning program is to activate artists, staff and audiences around land acknowledgement in a way that requires participation, reflection, and constant renewal. With this, we commit to ongoing co-creation and collaboration with Indigenous artists and communities.

In addition to providing resources and support to our staff in developing their own personal practice of land acknowledgement, the COC is committed to embedding a collaborative, art-based approach.

In commissioning Indigenous artists to co-create a land acknowledgment artwork and artist statement together with a COC staff member, the program invites each participant to bring their own personal perspectives and relationships to the work, as well as reflections on the cultural moment and the COC’s artistic programming.

The land acknowledgement artwork will be displayed at the Four Seasons Centre for the Performing Arts ahead of all in-person programming. In addition, a filmed version and accompanying text can be viewed on the COC website, social media channels and before COC digital offerings.

The COC is committed to fostering and deepening our relationships with local Indigenous artists and communities. Understanding that this can take time, where the water meets the land and accompanying text will be displayed from the 2021/2022 season to the end of the 2024/2025 season. In the intervening years Rebecca and Julie will have the opportunity to revisit and reflect on the piece and make any updates they feel necessary. 

A new commission will be installed for the 2025/2026 season.
"It was important to me, as the inaugural artist for this project, that I have access to a mentor with experience and interest in similar fields. Carey Newman is an incredible multi-disciplinary artist and speaker on the spirit of reconciliation, and I have admired his work for years. We have our love of visual arts and opera in common and I felt it would be a privilege to talk through the ideas of this project with him and receive his feedback. To me, especially as an emerging visual artist, this mentorship was integral to this process." -Rebecca Cuddy  

The vision of each artist is unique, and the COC is committed to supporting commissioned creators with bespoke resources, as befits their goals and artistic practice. We understand this requested and necessary support can come in many forms, and we are engaged in ongoing learning around reciprocity and knowledge exchange.

To support inaugural artist collaborator Rebecca Cuddy, the COC was delighted to facilitate mentorship with Carey Newman, whose traditional name is Hayalthkin'geme, a multi-disciplinary Indigenous artist, master carver, filmmaker, author, and public speaker. Moving forward, future artists will be provided the same opportunity to engage with a mentor of their choosing, if they feel this is a good way to proceed.

As their Artist Statement affirms, “we don’t do anything alone.” In creating where the water meets the land, inaugural participants Rebecca Cuddy and Julie McIsaac engaged in consultation with the COC’s Circle of Artists, including ongoing dialogue around land acknowledgement and reconciliation. This conversation expanded on the occasion of the COC’s first annual staff learning event on September 30, 2021, the National Day for Truth and Reconciliation, when Rebecca and Julie met with staff and artists company-wide to share information about the Land Acknowledgement Commissioning Program, and their vision for the artwork installation. 

A month later, an intimate gathering was held in the lobby of the Four Seasons Centre for the Performing Arts to introduce the completed artwork to the Circle of Artists and special guests, with the guidance of Elder Pauline Shirt, and members of COC’s Executive Management in attendance, including General Director Perryn Leech. 

Honouring the heart of COC’s artistic output—music—the completed artwork includes an immersive soundscape featuring piano excerpts from Fire, a COC commission by Ian Cusson with text by poet Joy Harjo. Sheet music of this new duet—which premiered in the 2021/2022 season as the exciting centrepiece of the digital recital Voices of Mountains—is a key visual component of the installation, and serves as reminder of the interconnectedness of the land acknowledgement and the company’s artistic programming. The installation soundscape, which also includes voices from the land—water, birdsong, and crackling fire—was developed by Rebecca and Julie in collaboration with Canadian sound designer and electronic music composer Troy Slocum. 

For the 2023/2024 season, Julie and Rebecca reconnected to revisit and renew the spirit of where the water meets the land. They learned to bead together by the ebbing waters of Lake Ontario and tanned fish skins. Sharing new perspectives gained in the time passed since their initial collaboration, they revised their land acknowledgement statement and created additions to the sculpture, reflecting their ongoing commitment to remain present with land acknowledgment as a living artistic practice.

Maarsi and thank you to everyone who has contributed and borne witness to where the water meets the land.


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