SHERRYL SEWEPAGAHAM
Sherryl Sewepagaham (Cree-Dene), a proud member of the Little Red River Cree Nation in northern Alberta, Canada, is an accomplished composer, educator, and singer deeply committed to Indigenous song practices and language revitalization. She is currently pursuing Doctoral studies in Ethnomusicology at the University of British Columbia, of which she holds a 2024 Vanier Scholar title, and was awarded a SSHRC Doctoral Award and a UBC Indigenous Graduate Fellowship award in all the same academic year. Sherryl holds degrees in Education, Music Therapy, as well as a Master of Education focused on Indigenous curriculum and pedagogy. Her research examines how Cree song practices impact language reclamation, and she advocates for the resurgence of nêhiyawêwin (Cree language) songs sung by women–work that contributes to her ongoing efforts in music education, research, the choral arts, and community song revitalization. Sherryl’s work also centres nêhiyawêwin through Standard Roman Orthography (SRO) to establish linguistic sovereignty within her choral compositions and infusing Indigenous epistemologies of sound and voice creating a distinct Indigenous sonic presence that disrupts Eurocentric choral aesthetics.
Sherryl’s impact on Canadian music spans national choirs, creating documentary film scores, and her 2014 album Splashing the Water Loudly, which earned an Indigenous Music Award nomination. Her Cree-language choral works have been performed and recorded by renowned choirs such as the Canadian Chamber Choir, Pro Coro Canada, Luminous Voices, Vancouver Youth Choir, Toronto Children’s Chorus, Amadeus Choir of Greater Toronto, and the 2025 Iowa All-State Chorus. Bridging Indigenous knowledge, artistic expression, and scholarship, Sherryl continues to shape the future of Indigenous music education and the choral arts. Her composition mitêh (Heart) is featured in the spring 2026 CBC Music Class Challenge, powered by MusiCounts. Additionally, her collaborative album with the Canadian Chamber Choir, Where Waters Meet, has been nominated for a 2026 Juno Award for Classical Album of the Year–Large Ensemble category.
For 22-years, Sherryl was a member of the now retired, multi award-winning trio Asani, which performed at prestigious venues like Carnegie Hall, the Kennedy Center, and the 2010 Winter Olympics. She returned to the Carnegie Hall stage on May 25, 2026 to sing Cree songs with her moosehide hand drum and rattle, accompanied by the participating choirs and an orchestra performing her Cree-language compositions.
Through her work, Sherryl elevates Indigenous voice and presence on concert stages, in classrooms, and within the choral arts, blending tradition with innovation in all her vibrant artistic expressions. (Sherryl’s photo credit – Milana Ward)
waniskâ (Wake Up)
by Sherryl Sewepagaham
cello part by Chris Andrew
SATB with piano and cello – CP 2584 – duration 4:00
waniskâ (Wake Up) is a drum song that reflects the beauty of waking up to a warm, sunny morning in gratitude with someone you love. It is an invitation to go out and enjoy the day together. This song was inspired by the mood and emotion I felt when hearing George Gershwin’s Summertime for the very first time. waniskâ (Wake Up) is on Sherryl Sewepagham’s album Splashing the Water Loudly released in 2014, which features a soprano descant sung by Cree vocalist, Akina Shirt. Jazz pianist Chris Andrew created the piano and cello arrangement for waniskâ (Wake Up) and also co- produced Sherryl’s album.
sîkwahki (In the Spring)
by Sherryl Sewepagaham
SSATB a cappella – CP 2585 – duration 4:15
After enduring the harsh and challenging winter of Northern Alberta, Canada, the arrival of spring was a time of joyous renewal and celebration. As the earth thawed and the ice on the rivers and lakes receded, the melting snow nourished the once-dry ground, giving life to new growth. During the long winter months, food and essential supplies would dwindle, but with the warmth of spring came the opportunity to harvest the bounty of the land and waters. Moose, buffalo, rabbits, ducks, chickens, beavers, bears, otters, and muskrats were hunted and trapped, while nets were set out for fish. The return of migratory birds heralded a season of abundance, and the birth of young animals added to the sense of renewal.
askîy kitotîminaw (The Land is Our Relative)
by Sherryl Sewepagaham
SATB a cappella – CP 2586 – duration 3:30
This song brings all of us together as relations with each other and the land. wâhkôhtowin is an important Cree word that acknowledges us all as relatives and loosely means “we are related” or “relations” and kîyânaw means “all of us together” or “you and I” strengthening our connection. These words embody connection for everyone, related by blood or not. Cree teachings connect people, the land (rocks, plants, trees, animals) and all living things, which is why we must listen to what the land tells us and teaches us. We notice when the land reacts to activity and destruction such as floods, fires, famine, and other environmental disasters and how these disasters affect the living beings that live and thrive on the land. If we truly believe we are all related as humans in wâhkôhtowin, we can work together as relations to take better care of the earth as co-stewards or caretakers, not only for our generation but for future generations to come.
