Abstract

Contents: Introduction, Pamela Karantonis and Dylan Robinson Part I Critical and Comparative Contexts: Opera's Colonizing Force and Decolonizing Potential: Orpheus conquistador, Nicholas Till Decentering opera: early 21st-century indigenous production, Beverley Diamond 'Singing from the margins': postcolonial themes in Voss and Waiting for the Barbarians, Michael Halliwell Performativity mimesis, and indigenous opera, Pamela Karantonis. Part II Australian Perspectives: 'To didj or not to didj': exploring indigenous representation in Australian music theater works by Margaret Sutherland and Andrew Schultz, Anne Boyd Giving voice to the un-voiced 'witch' and the 'heart of nothingness': Moya Henderson's Lindy, Linda Kouvaras The Eighth Wonder: explorations of place and voice, Anne Power. Part III Indianism in the Americas: Indianismo in Brazilian romantic opera: shifting ideologies of national foundation, Maria Alice Volpe Native songs, Indianist styles and the process of music idealization, Tara Browner Composed and produced in the American West, 1912-1913: two operatic portrayals of First Nations cultures, Catherine Parsons Smith. Part IV Canadian Perspectives: Assimilation, integration, and individuation: the evolution of First Nations musical citizenship in Canadian opera, Mary I. Ingraham 'Too much white man in it': aesthetic colonization in Tzinquaw, Alison Greene Peaceful surface and monstrous depths: Barbara Pentland and Dorothy Livesay's The Lake, Dylan Robinson The politics of genre: exposing historical tensions in Harry Somers's Louis Riel, Coleen L. Renihan. Part V New Creation and Collaborative Processes: Creating Pimooteewin, Robin Elliott After McPhee: Evan Ziporyn's A House in Bali, Victoria Vaughan West coast First Peoples and The Magic Flute: Tracing the journey of a cross-cultural collaboration, Robert McQueen interviewed by Dylan Robinson, with responses by Cathi Charles Wherry and Tracey Herbert, Lorna Williams, and Marion Newman P

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