ArtsBridge Fall 2017

FALL 2017 A P U B L I C AT I O N O F THE ALLIED ARTS COUNCIL OF LETHBRIDGE

artsBridge

THE NEXT ACT

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Interview with Fran Rude

MIND OF AN ARTIST Interview with Amy Dodic

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IMPROVISATION IN THE MELODY

allied arts cou ncil

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Interview with Herb Hicks and Ernie Block

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W W W . A R T S D AY S L E T H B R I D G E . O R G

SEPTEMBER 23 - OCTOBER 1 Lethbridge

days

2017 Artisan Market Family Activities

RTSDiscover

Workshops Theatre

Word On The Street

Buskers

Guided Tours

Film Screenings Affair on the Square

Experience

Artwalk Music

Celebrate allied arts co u n cil ����������

Publisher Allied Arts Council of Lethbridge 318 7 Street South Lethbridge, AB T1J 2G2 T: 403.320.0555 F: 403.320.2450 info@artslethbridge.org www.artslethbridge.org

director’s message The Cambridge dictionary defines mature as being in a very advanced or developed form or state.

Publication date August 2017

Administration Suzanne Lint Executive Director Dawn Leite Executive Assistant Pamela Vera Finance Kelaine Devine Communications Muffy McKay Projects

Programming Brenna Lowrie Facility Programs Brad Goruk Facility Operations Darcy Logan Gallery Diana Zasadny Education

Fall 2017 Board of Directors PRESIDENT Amanda Berg VICE PRESIDENT Greg Norman SECRETARY Paul Butler TREASURER Scott Rowland DIRECTORS Margaret (Peggy) Mezei Louise Drysdale Jessica Robinson Don Reeves Mercedes Fawns For additional copies contact the AAC office.

Based on the above definition, one could argue that Lethbridge boasts a mature arts community.

The early residents of Lethbridge brought their cultural traditions with them from Eastern Canada. Artistic events were locally produced and engaged friends and neighbours in songs, skits, plays and readings. The arts provided an opportunity for people to gather as community. Arts organizations and artists were also actively working in the area by the late 1800s. A dance school, Scientific and Historical Society, Reading Room and Library Society, Literary Society, the Lethbridge Musical Society and a drama club were all operating in Lethbridge pre-1900. Eight different theatrical companies travelled to Lethbridge between 1889 and 1900.

The arts community continued to grow and thrive in the first part of the 19th century.

In 1916, an Englishwoman, Edith Fanny Kirk, became our first visual arts teacher providing instruction in drawing and the use of watercolor and oils. Her students eventually formed the Lethbridge Sketch Club in 1936. Around the same time another Englishwoman, Gladys Attree, who had trained with the Russian Ballet, began to teach dance to Lethbridge students. In 1917, a Lethbridge lawyer, S. Dunham and 29 other businessmen, brought a Chautauqua to Lethbridge. In 1921, Mr and Mrs Ernest Sterndale-Bennett arrived in Lethbridge bringing with them a passion and knowledge of theatre. The Playgoers Club, one of the oldest amateur theatre companies in Canada, was formed in 1923 because of their influence.

The maturity of the Lethbridge arts scene has always been the result of passionate people and their desire to build a better community. We have chosen to explore the notion of artistic maturity in this edition of ArtsBridge by pairing three arts aficionados with four passionate artists who have been actively contributing to the health of our arts community for many years. Fran Rude, Amy Dodic, Ernie Block and Herb Hicks have each demonstrated tremendous commitment to their respective art disciplines. We are delighted to share the experiences and insights of these remarkable individuals who exhibit a very advanced artistic state.

The Allied Arts Council, like the arts community, is continually maturing as an organization. Established by passionate people, the AAC has provided a steady presence in the Lethbridge art landscape since 1958. The organization has a stellar reputation for providing support to artists and arts organizations while providing opportunities for the citizens of Lethbridge to engage with the arts. The AAC membership has grown from 16 founding members to a current membership of 230 and has developed from a small advocacy and presenting organization to an arts leadership organization working in cooperation with the City of Lethbridge to ensure the continued health and growth of the arts environment in Lethbridge. As the AAC prepares for our 60th anniversary, we call on the local population to celebrate and reflect on the importance of the arts on the well being of our community – past, present and future.

Suzanne Lint Executive Director

No part of this publication may be reproduced without the written consent of the publisher.

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Amanda Berg, President

board blog The beauty of the arts is that anyone can participate and be creative at every stage of life. Not only do the arts engage the mind, but they also contribute to better overall health as well. Studies have linked reduced stress, blood pressure and inflammation to those who maintain a creative lifestyle.

We are never too young or too old to pick up a pencil, paintbrush or musical instrument and learn to make art. Our art tells our stories and shares our interpretation of the world around us. Done alone or with a group, the art we create can be shared far beyond our years on this planet. It’s a legacy we leave and no one will care if we coloured outside the lines.

This is the year to be inspired. Develop skills or learn some new ones. Expand the mind and the soul through any medium you choose. Remember to share and celebrate the art you make with an audience.

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The Allied Arts Council of Lethbridge will be preparing to celebrate our 60th anniversary in 2018. We are busy planning a year full of activities and opportunities for the community to share this milestone with us. The AAC is so proud to have supported and advocated for the arts in Lethbridge since 1958.

We can’t wait to invite the entire community to join us for the next sixty years, because like most things, we just get better with age!

allied arts cou n cil Who’s 5th anniversary will be celebrated on Saturday, May 12, 2018?

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Casa

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Lethbridge has a long tradition of

Derek Stevenson, General

supporting the arts from early musicals in

Manager of New West

the RCMP barracks to an internationally

Theatre, interviewed the

recognized Fine Arts faculty at the

indomitable Fran Rude who

Visual artist and graphic designer, Michelle

University of Lethbridge. Throughout this

has been directing and

Côté conversed with the prolific Amy Dodic

history, Lethbridgians have produced

producing live theatre in

about her extensive and varied career

music, hosted theatrical productions and

Lethbridge since 1978.

creating beauty and making art. Both have

created art with a passion and tenacity that

Their conversation rambles

served on the Allied Arts Council board,

is unrivalled. These still practicing artists

through Fran’s extensive production

showing that artists do not work alone

lead by example and serve as inspiration

history and offers insight into the

in the studio but are part of the larger

to younger members of our community.

interconnectedness of the arts

community.

We asked artists to sit down and have a

community in our city.

conversation with long-time members of the

Dawn Leite, of the Allied Arts Council, sat

local art scene. These conversations provide

down with legends Herb Hicks and Ernie

insight into what it means to be a working artist, as well as historical perspective and ideas for the future.

ar�sts We �ked �d have to �t d�n �� �th a c�vрsamembрs of l�g-�me art scнe. the local

Block, for a lively discussion of the history of the jazz scene in Lethbridge. Collaboration, improvisation and a long-term friendship have allowed this musical art form to flourish in the city.

These still practicing artists serve as inspiration to younger members of our community.

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The Next Act: AN INTERVIEW WITH FRAN RUDE

Derek Stevenson, author

Photo credit: Leslie Ohene-Adjei

Fran Rude, has performed, directed and produced over sixty productions in our community since 1978. Fran has a truly impressive resume of productions and continues to produce successful theatre to this day. Fran is well known in the Lethbridge theatre community for having having worked with Playgoers, Lethbridge Musical Theatre, as well as, starting her own company Centre Stage Productions, that has produced over fifteen musicals with the Lethbridge Symphony. Most recently, she directed the successful 30th anniversary production of Jesus Christ Superstar for the Lethbridge Senior Citizens Organization (LSCO).

DS: It is so challenging to grab people’s attention to come to the theatre these days, what do you think the difference is with your shows that continues to attract audiences?

FR: It’s the brand. I think that we have developed a certain audience for our shows. They trust us and they know that when they come they will get a good product, but not just a good product but also a different product. They know there is not a sameness to my projects, but I think the other thing too, is the quality of performance. I think some of it has to do with the technological age we are in. People stay at home and

DS: You have such an impressive theatre resume and you have been directing and producing theatre non-stop since 1978, what keeps you motivated to continue producing theatre?

FR: I have a philosophy, I am getting close to the finish line and I am not going to spend my remaining years being old. I will be the first one to know when to quit and I will also be the first one to know when not to. It keeps me active and involved in my community, and I don’t get paid for what I do and I never have, and it is the best way I know how to give back to my community.

DS: You have an ability to bring together many talented individuals to work with you on your projects. What do you think it is about your directing style that has made your productions so successful?

FR: I approach directing a musical exactly the same way I approach directing a play. Any actor that has worked for me can tell you that one of the first things I tell them [is], “read the music like a script, don’t think about the notes.” The way the shows were directed in the old days with LMT was if there was a note of music in the scene the director didn’t direct the scene, the vocal director or the choreographer worked on it and I don’t like working that way. When we are doing a show together, I attend every single rehearsal because I give a frame of reference for the show

watch Netflix. It is difficult to get people out to the theatre, unless it really strikes their imagination or interest. But also, it has happened because of pandering to the audience, I was thrilled to see Playgoers do A Doll’s House last year.

They didn’t make money, but they have only done comedies for so long that a drama hadn’t been seen in community theatre in Lethbridge for years. It’s like watching reality TV. They put [on] so many reality television shows it makes producers think that is what people want to watch. To me the best example of this is Shakespeare in the Park. They are absolute proof that you can have success by doing something exciting and different to attract audiences in Lethbridge.

and I want to make sure everything fits. I don’t tell my vocal director how to teach someone to sing, but I do say things like, “I would like a little faster tempo here.” I can comfortably say that when you see a production I direct that I hope it’s seamless. I can go into a show where they have so many different directors and I can tell that the director was not at the rehearsal when that particular scene was put together.

-Fran R

4 arts bridge

ude

We offered them one show and they turned it down because they didn’t think it would sell. Then we offered them Superstar and they didn’t think anyone would want to see a bunch of “old guys” run around on stage. I said I wasn’t going to do it without the original Judas and Jesus, because that would be an insult. So I went home and I was playing around on YouTube and pulled up a clip [of ] Ted Neeley singing “Gethsemane” at 66 years old and he just drew me right in, and I knew, I just knew, that age wouldn’t be a factor when those guys were on stage, and it wasn’t. So I said to Ken, “the one way this can work is if we do it as a 30th anniversary production and we try to get as many of the original cast members as possible,” and out of the ten original cast members we had eight.

We had a wonderful time on that show, the company was so tight, it was great.

DS: Superstar was also a fundraiser for the LSCO, how did that partnership come about?

FR: LSCO had been bugging me for years to do a fundraising concert for them. I was really busy doing DS: You have had a strong working partnership with Ken Rogers for quite some time, what

other things and finally I said to Ken, “We have to do

has made your partnership so successful?

something for these people!” So I started getting more and more involved with them and so we started doing

FR: I have been directing since ‘78. He and I started working together in 1987. We have

the Starlight Lounge (2015) and personally I just loved it

learned so much from each other and its like we are connected at the hip. We can read each

and it had a really great response.

others minds. The big thing is that we respect one another, we really do! When you do have a difference of opinion, and we do, you can resolve it. Here it is thirty years later, and Ken and I are

LSCO told us after that project, “You know you are going

not only close colleagues, we are very close friends. Working in that capacity in theatre is truly

to have to do another show, you realize that,” and I said

an accomplishment.

jokingly, “We will do Jesus Christ Superstar.” They then took it to the Executive Director and their board and

DS: Last year’s revival of Jesus Christ Superstar was such a success. Particularly in an age

it was a go and we were doing Jesus Christ Superstar!

where companies struggle to bring in audiences, what was it about that production that

It made a ton of money for them and now they want

made it so successful and why did you want to revive it?

us to do another show in 2018 with the (re)opening of the Yates.

FR: I find it very difficult to pick a favorite show because we have had so many we have really loved, but Superstar does have a special place in my heart. When I first did it thirty years ago, my

DS: Are you still actively searching for new productions

husband said I was nuts, but then he came and saw it six times because he loved it so much.

to produce and are their any projects you haven’t done that you would like to do?

Ken and I were asked by the Symphony to do another blockbuster musical after Les Misérables (2014), but Ken and I are at a point in our working relationship and in our creative lives, that

FR: I go to New York once a year and when I come

we have done everything we want to do, unless it’s a project we are really interested in... So we

home the bottom of the suitcase is filled with scripts

told them that as much as we loved working for them for thirteen years and appreciated the

and playbills. There are many things I want to do that

opportunity, it had to be something that challenged us.

I can’t do in Lethbridge because of limitations in the ethnic population. Miss Saigon is number one on my list; Ragtime is my second one. We still would love to do Into

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the Woods, Assassins and of course there are other plays still on Broadway, that I would kill to do like Come From Away.

DS: Have there been any shows that have had a profound effect on you?

FR: The show Falsettos affected me more than any show I have ever seen. I saw the original production twenty years ago and after the performance, I went back to my hotel room and cried for two hours. That production showed me that there are many different forms of love that are quite wonderful. The basis of the story is a married couple with a son approaching his bar mitzvah. The man finally admits to his wife that he has met another man that he has fallen in love with and that he had always been pulled in that direction. The story is about what happens to this family after he has come out and how they all manage to put their lives back together and become far more accepting. It explores both male and female homosexuality and how loving those relationships

“

can be. It is just such a beautiful story that I want to do before I die.

”

I have a philosophy, I am getting close to the finish line and I am not going to spend my remaining years being old.

DS: Everyone in theatre has one story about a major screw up or miscue that happened during a production, are their any that stand out in your mind?

FR: The Lethbridge Herald used to have an incredible critic named Sara Stanley and she was coming to a performance of a show called Da. Sara had seen the show in New York and she was thrilled that I was producing it. This show was constructed so the first act and the second act are very similar in structure and I had a newbie named Jon playing one of the lead roles, as Ed Bayley’s son. He was extremely talented, had a great accent and everything, but I said to him that all he needed to do was pick up the cues, if you do that you will be fine, if not, you can make something up until you get on your feet.

So, on the night Sara was reviewing the production, Jon and Ed are having a very, very intense scene and Ed Bayley gives him the wrong line, a line from a similar scene from the second act. Jon did exactly what I told him to, he picked up the cue. Before I know it, we are half way through act one, we are in act two. Our stage manager was having a bird and I said well what we will do is finish what we started and start the next half with act one. Sara had no idea this had happened and she wrote a wonderful review of the play.

DS: What are your hopes and dreams for the future of Lethbridge’s arts community?

FR: My dream for the future of the arts in Lethbridge looks far beyond that of just the arts community. I dream of a central home for the arts, out of which the arts will flourish and benefit our community as a whole, helping to determine the fabric of who we are, how we live and how the arts contribute to our economy. To anyone who doubts this, I say turn off and separate yourself from your radios, TVs, computers and all other electronics; never look at any visual art; never go to concerts, dance, theatre, movies; never attend any venues, large or small where the arts are present; then try to visualise what life would be like. Pretty miserable, I’m sure, with many, many job losses affecting our economy.

Given my advanced years, I know I never shall see a Performing Arts Centre in Lethbridge, but I do believe that eventually it has to happen and will happen. My dream is that when it does happen, it will be done right, so that 50 years from now, people will not be having this same conversation!

6 arts bridge

ude -Fran R

Michelle Côté recently met with Amy Dodic to talk about art, community and creating in Lethbridge. Both women share an interest in design and art; exploring diverse mediums as part of their practice. Coté is a local freelance graphic designer and folk artist that recently completed a mural at Mocha Cabana. She has also served as a member of the Allied Arts Council Board from 2014 to 2017. Dodic is a painter, crafter, artisan, quilter and seamstress: a creator in various mediums. Dodic also has sat on the Allied Art Council Board in the early to mid 2000s.

“ ” M�d of � Ar�st: As artists, when we engage with the world, we want to share it: alter, draw attention to or enhance it.

AN INTERVIEW WITH AMY DODIC

Michelle Côté, author

Photo credit: Kian Gardin-Robinson

MC: Tell me a little about yourself – when and why did you become involved in art? What is your favourite medium?

AD: I don’t have a favourite medium - I just like making stuff.

I was the one sibling of five that got in trouble for drawing on

I’m interested in all things - I just love the world of creativity. I

the walls and in student housing I carved my initials into the

especially love making things.

window sill.

In about grade two they started to notice I had a certain

I did a lot of my learning on my own. I earned a Fine Arts degree

aptitude and was standing out artistically among my peers. I

at University of Lethbridge, followed by two years at Ontario

had a certain stick-to-itiveness... I remember I was trying to

College of Art and Design for advertising. I wanted to be back

draw Heidi and couldn’t figure out why she looked like a soldier.

home, so next I earned my Education degree, and went on to

I spent days on that drawing. I was determined to figure it out.

intern in the school system. I subbed for eight years and taught

This has been my approach to creating.

at the Bowman off and on.

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“

I want us to continue being a wonderful place to live. A place where people strive to learn about the people in their community and be open to them.

MC: Who were your influences?

”

MC: What have been the highlights of your

MC: What words of advice do you have for

career as an artist?

emerging/young artists in Lethbridge today?

didn’t get to study art, (she was encouraged to

AD:

AD: Make art and look at art as much as you

do an Education Degree instead), but she had

Covenant Health to make historical quilts

lots of skills. My grandmother (paternal) also

about the sisters [nuns] that came and built

got into crafts late in her life.

hospitals. They came out before trains even

AD: My Mom. She wanted to be an artist. She Being hired on two commissions for

can. (And copious donations to the AAC!)

came out here! They would come, manage the

MC: What are your thoughts / hopes and

MC: What has been your perspective of the

buildings, grow gardens to feed the patients. It

dreams on the future of Lethbridge?

evolution of the arts in Lethbridge?

was an enjoyable and memorable project on many levels.

AD: I was on the Allied Art Council (AAC) Board

AD: I want us to continue being a wonderful place to live. A place where people strive to

of Directors at a time when they made great

Years ago I put together a show with thirteen

learn about the people in their community and

moves to push things locally. Laura Kenwood

other artists—I built the mannequins out of

be open to them. I want us to be open minded

(the chair at the time) really redefined what the

porcelain and the other artists dressed them.

to our differences, (for example, the sports and

AAC was (2004/05).

The show was titled ‘All dressed up with no

arts communities). We need to have room for

place to go’. We showed it at the Bowman. The

each other. A lot of the world is closing borders

City administration at that time became much

work was beautiful and certainly a highlight

and shutting ‘others’ out ... I want us to not get

more cognizant of arts place in a community.

for me.

that way. To be open.

public arts policy, for example. There was a

MC: What, in your opinion, makes one

MC: How do you think a performing arts

great relationship between the city and the

‘an artist’?

centre will enhance our community?

AD: An artist is somebody who sees the world,

AD: I know if we had a bigger theatre, we could

The AAC has been wonderful at publicizing

observes it, maybe makes generalizations and

get bigger performing artists. People don’t

arts opportunities. Back at the Bowman

wants to translate it in some way. They want

remember what an impact it made when the

people would call all the time looking for local

to point out to others the things that they’ve

Yates was new. Every new building provides

artists and to buy local art. Now they have the

noticed. As artists, when we engage with the

new opportunities for more people. Each space

directory, and they show local art that can be

world, we want to share it: alter, draw attention

opens up a new phase of theatre that wasn’t

purchased at Casa. They have solved two of the

to or enhance it.

possible previously in the city.

I am a searcher of beauty. I definitely got this

MC: If you could do it over again, would you

In my own life, doing the odd commission work

from my Mom. I appreciate hard messages that

do it the same? Different?

and constantly being asked to voluntarily put

are ugly, mean and tough—but I like beauty,

in hours and hours ... it’s been a lot easier to say

and I’m always searching for it. I think there is a

AD: I’d be born 20 years later for better dental

no to ‘creating for free’, largely because of the

lot of humour in my art. I do a lot of design kind

care and computers earlier in my life. Then I

work of the AAC. They have raised our standing

of work. The skills you develop with practice are

wouldn’t have spent so much time learning

as artists, presenting us as professionals and

different than having the mind of an artist. The

all of those useless things—things that were

craftspeople who create valuable work, worthy

artists shown in galleries are often conceptual

obsolete so fast!

of compensation. There are many local artists

artists, which doesn’t mean the rest of us aren’t

who may not know how much this has changed

artists, just maybe a different kind.

MC: What lessons have you learned?

MC: What inspires you?

AD: I’ve learned to not do my art voluntarily

That’s when things started happening—the

AAC formed.

major problems we had back in the old days.

in the past twenty years. (unless my heart is truly in the cause). It does

-Amy Dodic

8

arts bridge

AD: Other art, the natural world. Funny jokes

not bring paying work and people tend not

(laughter), or a good question that needs a

to appreciate it or see its value. It’s good for

creative answer.

everyone and for the arts to see our value and ask to be paid for our work.

Ernie and Herb were recognized in 2013 by their peers with the Lethbridge Jazz Society’s High Note Award for their significant contributions to Lethbridge’s jazz community.

icks -Herb H

Improvisa�� � the Mлody:

IN CONVERSATION WITH HERB HICKS AND ERNIE BLOCK Dawn Leite, author

Photo credit: Anonymous

When one thinks of mature musicians in the jazz scene in Lethbridge, the names Herb Hicks and Ernie Block come immediately to mind.

Originally from communities other than Lethbridge, brought here with prospects of new jobs, their paths crossed in the late 1960s and have come to be known and recognized in our community has prominent musicians and artists. Herb is a multi-disciplinary artist – a

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9

musician, a visual artist and recently, an author. Ernie is a well-respected arranger

Herb and Ernie witnessed a dramatic change in Lethbridge

and musician, accomplished on all instruments.

over the past fifty years. Ernie’s experience with growth in the arts community revolve primarily around the Lethbridge Big

Ernie, originally from Medicine Hat, came from a family of musicians. His mother

Band, a group with beginnings in 1964. Ernie recalls the group

was a pianist/organist and Hawaiian (now known as slide) guitarist. His father

was composed of musicians who had previous education

played brass and stringed instruments. It was a natural for Ernie to begin

on their instruments, but had perhaps not played in nearly

learning and playing music at a young age. Herb was raised in Minnesota and

twenty years or so. Ernie described this group to be very much

had a similar early introduction to music and art. His mother was a painter and

a beginning band. He quickly became the arranger for the

his father played violin. Herb’s brother was both a visual artist and musician.

Big Band, transcribing music into a full score, which included

Herb picked up the clarinet and piano as a teenager. Both Ernie and Herb credit

separate parts for five saxophones, four trumpets, four

recorded music and the radio as major influences in their musical development,

trombones, bass, piano and drums, and each of the individual

particularly jazz and big band music.

parts for the musicians. And, with Ernie’s background in playing almost every instrument, he was able to skillfully transcribe the music according to instrument. Ernie doesn’t like to talk about his accomplishments, but it is evident he is proud of the work he had done with the Lethbridge Big Band, in its evolution and growth. “The Big Band today – look out!

They’re doing some tough stuff and their doing very well.”

Herb credits the University of Lethbridge for the growth and change in Lethbridge. “When the University came, it opened lock -Ernie B

up a whole new way of culture in Lethbridge.” Herb recalls a very limited art scene in Lethbridge at that time. Very few music venues were in existence and the Genevieve E. Yates Memorial Centre had just opened, providing opportunities

Herb recalls being influenced by many of the community musicians back in

for theatre, but there wasn’t the exposure to international and

Minnesota. A visiting musician from California opened the world of jazz music

world class art and music. The University changed that; they

to Herb; the reading and understanding of chord symbols (for the left hand)

brought in diverse ideas from people all over the world.

in sheet music provides the base for improvisation in the melody (right) hand.

Herb went to every concert in the region – Regina to Minnesota – to hear bands

Herb reached out to the musicians who were interested in

perform. Herb had a friend in high school with similar interests in big band music.

jazz and came across Dale Ketcheson (guitar). Herb formed a

They started a band together and began performing all over western North

group, Jazz Scene Quartet, that consisted of Dale Ketcheson,

Dakota, eastern Montana and into Canada. After graduating high school, Herb

Billy McCarrol and Ron Yoshida who performed a weekly gig

joined a territory band and travelled from Saskatchewan to Kansas, Minnesota

at the Town Chef, in the lower level of the Professional Building

to Montana. Herb states: “Being on the road taught me a lot about the music

in downtown Lethbridge. The gigs were on Sunday nights,

business, not about playing the music, but about the business of music.”

something that was unusual in Lethbridge as all businesses were closed on Sundays at that time. “We would pack that place!” exclaimed Herb.

Ernie’s path into music is similar to Herb’s. Ernie got hooked on jazz in high school, played in a band and “the rest is history,” Ernie says. “Of course, you had

Thinking back to their shared history, “Somehow our paths

to become proficient on all the instruments; you couldn’t stand still.”

crossed,” states Ernie, “and they’ve hung on.” Herb and Ernie have performed together in multiple groups over the last

The draw to big band music for both Ernie and Herb was the freedom associated

five decades and still play together today. “Herb does the

with improvisation that is not attainable in traditional, classical music.

arrangements – provides the melody, the chord symbols and any different rhythms that might happen. ‘Give me the chart,

In the late 1960s, Lethbridge was beginning to experience growth and was

Herb, away we go.’ And, we’ll read it and we’ve read hundreds

seen as an economically and socially vibrant city. Ernie and Herb were brought

and thousands of charts over the years. You can almost smell

to Lethbridge with job offers. Ernie was hired by the public school board as

it before you play it. People don’t understand that to be able

a teacher and Herb was hired by the University of Lethbridge as one of the

to create music there is a different development up here,”

founding faculty in the Fine Arts Department.

tapping his temple, “than opposed to reading and writing,”

10 arts bridge

says Ernie. Ernie plays in a traditional New Orleans Dixieland band at the Rocky Mountain Turf Club among other ensembles. Herb and Ernie play together in a small ensemble at Mocha Cabana on a regular basis.

Ernie reflects on his life’s highlights, “All the musical experiences we’ve had come in to play for something like that (horseraces), or the big band or Herb’s medium sized group that we play here (at Mocha Cabana). If you have the musical experience it will help you. If you don’t have those musical experiences, you’re going to have troubles.”

“Every gig I’ve played is a highlight or a lowlight,” Herb chuckles. “Some gigs naturally seem to flow and everything works and the musicians are on and the audiences are with us and other gigs...” Herb starts, and Ernie finishes without missing a heartbeat “sometimes it’s not the case, but we work through it. We’re professionals in that regard.”

Ernie plays in a

As we discuss the past, we can’t help but think about the future of arts in Lethbridge. The City’s commitment

traditional New

to the Performing Arts Centre parallels the development of the University for our community. “This (the

Orleans Dixieland

Performing Arts Centre) is an example of looking to the future, planning for the future and that development, and future generations are going to appreciate what we did. This is similar to when the University was

band at the Rocky

beginning... this will be one of the best things for Lethbridge,” Herb states and Ernie nods in agreement.

Mountain Turf Club.

Both musicians have had the opportunity to work with hundreds, if not thousands, of emerging artists throughout their career. Ernie’s advice to artists today is to,“keep advancing and don’t sit still.” Herb encourages

Herb and Ernie play in an ensemble at

emerging artists to, “search out better teachers.” He recalls teachers who have hindered his progress, until he

Mocha Cabana on a

finally found teachers in college that changed his life. Herb reflects, “I’m so glad I found music and that music

regular basis.

found me. It is such an experience to release your inner self and that in jazz, the idea of improvisation, you can speak your own voice through music and you are not imitating somebody else.”

“We made quite a change in the music scene here,” states Herb. Many jazz musicians in and from Lethbridge have worked with Ernie and Herb at some point in their careers. Ernie and Herb were recognized in 2013 by their peers with the Lethbridge Jazz Society’s High Note Award for their significant contributions to Lethbridge’s jazz community. It is evident in speaking with them that they are humble and appreciative of the recognition.

Ernie sums it up the best: “Life’s a gig!”

(For more on Herb’s life, check out “To and From Gigs, Challenges, Choices, Chances, Changes.” The memoir is available to purchase from the University of Lethbridge Bookstore and online at Chapters and Amazon. Herb is publishing his second book in December 2017.)

-Ernie Blo ck

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“There is no compelling reason why I should limit myself to any particular genre�

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V I S U A L E S S AY :

RICK GILLIS Local artist Rick Gillis takes a holistic approach to his art practice, which has allowed him to stretch his creativity in diverse directions. Though he freely admits that his first real love is painting, his practice has reached into assemblage work, sculpture, digital art, photography and performance.

“There is no compelling reason why I should limit myself to any particular genre,” he says.

Earlier this year he launched his most ambitious literary undertaking, a novel entitled The Boy Who Couldn’t Die. Loosely based upon childhood reminiscences,

the

novel

deals

with love, loss, pain and how we as humans deal with the tragedies that often befall us. Gillis has injected his trademark humor into a never-ending litany of childhood peccadillos as told by an older sister. In mid-May the book was selected as a Finalist in the National Indie Excellence Awards. “Frankly,” says Gillis, “I was stunned.”

“At the core of it, though, is my compulsion to impart clear, uncomplicated messaging. In my mind, communication is almost a mandate for artists. Maybe it’s my journalism background” If painting and writing isn’t enough, the local artist is also actively involved in performance art, much of it through the local performance group known as M.E.D.I.U.M. “I was more than happy when the group invited me to join them, in the person of my alter-ego, Dr. I.M. Auftenhauzie, the pseudoscience guru and head of ZencoCorp. “We’ve had a great time with M.E.D.I.U.M.,” says Gillis. The group has performed locally and was selected to perform at the Works Festival in Edmonton, Nuit Blanche in Calgary, and most recently had a body of its work displayed at the University of Lethbridge

RICK GILLIS

and at Latitude 53 Gallery in Edmonton.

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Bridges Director/Producer Gianna Isabella

How long have you been working in film?

I have been working in film since graduating from the University of Lethbridge in 2010, seven years now.

What styles of films have you worked on before?

I have worked on big budget Hollywood films as an assistant and I have worked on low budget films as either a producer or director. These films vary in genre but each experience has been unique and I’ve learned quite a bit each one!

Could you describe the relationship between the director and film crew on set?

The relationship between the director and the crew is very important. It works as a hierarchy and so the director is like the leader of the pack, the commander of the ship. The director consistently makes creative decisions all day long and therefore the crew is constantly in need of answers for each individual department as to what the director wants visually or otherwise. The director needs to be approachable in that sense but also needs to be able to give the crew answers so they can carry out their duties. When the director and the crew get along the film operates like a well oiled machine.

What excites you about working on set?

What excites me the most is the creative collaboration that occurs on set.

Making a film takes a lot of people and a lot of work. The most exciting thing is seeing someone in their element on set. Seeing them contribute creatively to the film and how excited they get making that contribution, to me that’s always incredible. It is incredible when everyone looks at each other and we all just know that something magical has happened, “yeah, we got it!.”

What are the challenges of working with a crew?

The challenges are mostly personalities. If certain people don’t get along with others, mixed in with the long working hours that can be quite difficult.

Choosing the right crew becomes very important in that sense.

Future film goals?

My future goals are to start up my company, GATE 67 and begin producing a slate of feature films. I would also like to direct my first narrative feature in the next year!

14 arts bridge

Bridges is our on-going feature that explores relationships in the arts. Lethbridge has a vigorous film community with many members that wear multiple hats. To create a film, crew members must come together to work towards the greater vision of the director.

How long have you been directing / working in film?

I’ve been working professionally for about twelve years now. I’ve divided my time between working on my own personal projects - features and shorts - working on independent features as a key makeup artist and/or makeup effects artist, and working on commercials and independents as a storyboard or concept artist.

What styles of films do you direct?

I never really decided to focus on one style of film, or one genre of film, but thus far my produced works are in the suspense/thriller and horror/adventure genres. I’m mostly drawn to stories that reflect a style of filmmaking that I grew up with and offer me the opportunity to tell those types of stories with long sequences that don’t rely on dialogue. The more I find my voice as a director, the more I realize I really respond to visually driven, dialoguefree narratives or sequences, which I find is closer to pure cinema. That’s probably the main reason I’ve fallen into those aforementioned genres up till now, because there’s a rich history of directors working within that visual style.

Could you describe the relationship between the director and film crew on set?

Director/Writer/Editor/Special Makeup FX Artist/Concept Artist/Storyboard Artist

Blake Evernden What are the challenges of working with a crew?

The relationship is different for each director, but for myself I needed to build up a confidence in communication between the different departments in order to feel I was making an effective directorial contribution to a project. The only way I could see to do that was to work within those departments to understand them from the inside out, or to take courses to experience the stresses and creative opportunities more clearly. I’ve worked in the camera department and as a cinematographer, art direction, acting, helped out with sound where I could. I learned as much as I could from producers on my own films about what difficulties and stresses they deal with in a tightly budgeted independent production. I feel that’s the only fair way I can effectively work with a crew. Speaking to them, knowing what a creative decision is going to ask of them, and how it will affect other departments down the line.

Like a lot of directors say when speaking about actors, 70% of the work is in casting the part right. I feel that’s true for all crew, you want to work with those individuals that want to be there and have the drive to better themselves and figure out creative solutions to unforeseen problems. You never want to work with someone that only tells you what you can’t do. Nothing kills momentum and creativity faster than that. The projects are already filled to the brim with what you can’t do from the get go, that’s the nature of independent or low-budget cinema.

You want to surround yourself with those that only have ideas, ways of making things better, ways of saying more with the story, and those that listen and still understand the hierarchy of the production team.

What excites you about working on set?

I’m finishing up an edit for a difficult little short film I photographed last August 2016 called Spider that I’m hoping to have that completed within the next few months. I’m in development on a western-adventure script entitled Black Falls that would be shooting in the mountains, forests and prairies of Southern Alberta, and then I have another feature, a romanticcomedy entitled Tonight Only! that I’m developing as well – with some rewrites to freshen it up – to photograph after Black Falls. I have dozens of scripts, both short and feature length. I just wait for the next opportunity to present itself and to feel which story speaks to me at a given stage in my life.

On a well-planned shoot, even an independent with a tightly controlled schedule, the juice is in working with others at their creative heights. There’s a real energy and camaraderie that comes with watching others do their best work and continue to push themselves to solve creative difficulties, all within the framework of one narrative production. That’s what I miss so much when the shoot is over – whether it’s two days or nineteen, the feeling of loss afterwards is still the same. I chase the next opportunity in order to feel this way on each subsequent shoot.

Future directing goals?

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for business and the arts

A Celebration of Arts in Our Community Every year, the Allied Arts Council recognizes members of our

is a place for individuals to build friendships, explore interests and

community who have made contributions to the arts in Lethbridge

talents, develop skills and gain confidence. Artists from Ability are

– these artists and arts supporters show us that together we can

provided the opportunity to design and create in various mediums

advance and enhance the arts in Lethbridge.

as part of their services with Ability Resource Centre. Artists display their individual and collaborative work during Art Walk and at their

THE AACE INDIVIDUAL AWARD recognizes an individual who

own Spring Show and Sale. They participate in other community

has contributed to an organization and through that contribution

events with demonstrations and exhibitions. The Ability Resource

enhances the entire arts community. This year’s recipient is Rose

Centre continues to support its artists and their contributions to the

Primachuck, nominated by the Lethbridge and District Music and

community.

Speech Arts Festival, for her more than 60 years commitment to the music community in Lethbridge. Rose has performed with the

THE JOAN WATERFIELD MEMORIAL AWARD is presented

Lethbridge Symphony for 53 years and was an integral member of the

each year to a deserving recipient who is recognized by their peers

Symphony Women’s League during its tenure. She has volunteered

for advancing and enhancing the arts in Lethbridge. This years

for the Kiwanis Music and Speech Arts Festival for nearly four decades

recipient is Alex Bakk, nominated by Linda Richards for his dedication

as well. Rose has also been a long-standing member and supporter

to the Lethbridge Artist Club and contributions to visual arts in our

of the Allied Arts Council, St. Augustine’s Church Choir and Southern

community and all of southwestern Alberta. Alex’s participation

Alberta Art Gallery. Rose’s lifelong dedication to music, volunteerism

in every aspect of club activities, from installing work, giving

and sharing her talents has helped make Lethbridge the vibrant arts

demonstrations, creating posters, website admin and contributing

community it is.

to every committee, exemplifies the spirit of Joan Waterfield and her unswerving commitment to creating a vibrant arts community in

THE AACE BUSINESS AWARD recognizes a business in the

Lethbridge.

community that has made an outstanding contribution to the arts community. This year’s recipient is Drunken Sailor, nominated by

THE AAC YOUNG ARTIST AWARD is awarded to a young

Kristin Krein. Loralee Sand Edwards opened Drunken Sailor in 2012

artist in the Lethbridge region who is working to advance and

after years of developing her own art practice through performance

enhance the arts in Lethbridge. The award has a value of $1000 and

and installation work and the founding of the (

)ette collective.

supports and encourages artistic work. This year’s AAC Young Artist

Loralee promotes daily pieces of activism, by participating in and

Award recipient is Courtney Faulkner. Courtney is an emerging artist

creating spaces for the intersection of art, activism and community.

actively contributing to the community through artistic projects and

Drunken Sailor personifies this vision as an activist project in itself.

feels that Lethbridge is supportive and welcoming to the arts. As a

In the shop, Drunken Sailor is a strong supporter of Arts Days, hosts

Studio Art Major at the University of Lethbridge, Courtney’s practice

arts exhibits in the Tipsy Mermaid Gallery, produces workshops and

is deepened through the exploration of intimacy, investigating the

educational opportunities in costuming and makeup and supports

differing relationships between public and private spaces through

several community groups that promote diversity and inclusivity.

photography, video and performance work. Courtney is passionate

Drunken Sailor has shown that fashion can change lives and through

about art and believes that a creative community is vital to the

art, feminism and creativity.

health and happiness of individuals and community as a whole.

THE AACE SERVICE ORGANIZATION AWARD recognizes

Thank you to all our sponsors and supporters.

a club, service organization or not-for-profit group that has

Sponsorship opportunities are still available, please contact

contributed to the Lethbridge community through the arts. This

Muffy at projects@artslethbridge.org

year’s recipient is the Ability Resource Centre of the Rehabilitation Society, nominated by Deborah Williams. Ability Resource Centre

16 arts bridge

IN MEMORIAM:

Morris ‘Morry’ Katz 1933 – 2017

Morry and Jammer on location. Photo supplied by Rhonda Kupsch.

Recognizing the achievements of individuals, organizations and businesses who have contributed to the arts vibrancy of our city.

Mayor’s Luncheon for business and the arts

THE ALLIED ARTS COUNCIL AWARD FOR EXCELLENCE (AACE) presented to an individual, service organization and business who have significantly supported the arts in our community.

THE JOAN WATERFIELD MEMORIAL AWARD presented to a member of the arts community, respected by their peers for advancing and enhancing the arts.

THE ALLIED ARTS COUNCIL YOUNG ARTIST AWARD presented to an outstanding Lethbridge based artist in the early phases of their career.

Book your seats at the Allied Arts Council

318 – 7 St S

THURSDAY, SEPTEMBER 21 11:30 AM - 1:30 PM (12:00 LUNCH) LETHBRIDGE LODGE HOTEL Tickets go on sale Tuesday, August 15, 2017.

Individual AAC Artist Members Table of 8

403.320.0555

$50 $40 $400

projects@artslethbridge.org

A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBR I D G E

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M&M The Allied Arts Council invites you to join us for a

CANDIDATES MIX & MINGLE Co-hosted by the Downtown BRZ

THURSDAY, OCTOBER 12, 2017

ATB Financial Community Room, Casa

5pm - 7pm

COME MEET CANDIDATES FOR THE 2017 LETHBRIDGE MUNICIPAL ELECTION

For more information, please call 403.320.0555 or email info@artslethbridge.org

Christmas at Casa november 17 & 18

FREE ADMISSION Work by over 100 local artists!

Friday

Art

5pm to 9pm

Craft

& Saturday

Cafe

10am to 5pm

Music

For more information visit artslethbridge.org or call 403.320.0555

Who’s 60th anniversary will be celebrated Saturday, Feburary 10th, 2018?

Allied Arts Council 18 arts bridge

allied arts co un cil ����������

allied arts co u n cil

allied arts co u ncil Allied Arts Council of Lethbridge (AAC) Advancing and enhancing the arts in Lethbridge since 1958

����������

• Promoting the arts to the community

����������

MABNEYTTEVROTHICAENSONE ARE

Become an AAC

• Working to improve arts facilities in Lethbridge • Providing collaborative opportunities for artists

member

Organizations, individuals and businesses can demonstrate support for the arts in Lethbridge with an AAC membership!

• Advocating for the arts Core funding support is gratefully received from:

For a full listing of member benefits, visit www.artslethbridge.org NEW MEMBER

New members

RENEWAL

Allied Artist Associate Individual Friend Family Friend Business/Corporate Friend

January - July 2017

WELCOME NEW MEMBERS:

$75 $25 $75 $15 $25 $75

Allied Members: Lethbridge and District Music & Speech Arts Festival Society Lethbridge Modern Quilt Guild SOS Film Collective Friend Members:

Associate Members: LA Beat Hillcrest Naturals

Name Organization/Business

Lorraine Lee and Gerry Dunne Tahirih Rempel Scott Rowland Mocha Cabana

Address City Postal Code

Artist Members: Belinda Crowson Tanya Doody Donna Hanson Paul Henrie Jeff Hinman Violet Knox Vincent Luykenaar Glen MacKinnon Leomar Manaban Jonathan Miquel Liz Moradel

Kay Morrison Julie Vanessa Muñoz Ab Neufeld Karen Patching Thomas Andrew Porter Gayle Russell Ken Sears Jason Trotter Alexandria Vervloet Brandon Wynnychuk Laura Youngren

Province Telephone

Email

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Signature:

THANK YOU FOR YOUR SUPPORT

In accordance with the Government of Alberta’s Freedom of Information and Protection Privacy Act (FOIP)

Make a Donation $25 $50 $100 Other A charitable tax receipt will be issued upon donation

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Fax 403.320.2450

A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBR I D G E

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calendar of events August august

New West Theatre Barndance August 8 - 26, Tuesday to Saturday, 7:30pm, Saturdays also 1:00pm Genevieve E. Yates Memorial Centre September september Allied Arts Council Arts Days Lethbridge 2017 September 23 - 30 Throughout Lethbridge Casa Mimosas, Muffins & Movies September 24, 10:30am - 12:30am ATB Financial Community Room, Casa Artist Talk: Tracey-Mae Chambers September 27, 7:00pm ATB Financial Community Room, Casa Lethbridge Artists Club Annual Meet and Mingle September 23, 1:00 - 4:00pm Casa Mountain View Artists Retreat September 29 - October 2 Mountain View, AB Lethbridge & District Music & Speech Arts Festival Society Annual General Meeting September 19, 7:00pm ATB Financial Community Room, Casa Lethbridge Folk Club Howlin’ Wolf Open Stage September 8, 7:00pm Meeting Room, Casa Garnet Rodgers September 17, 8:00pm The Cave at Lethbridge College Lethbridge Public Library Friday Night Film Fridays, 7:00pm - 10:00pm Theatre Gallery, Main Branch, Lethbridge Public Library

Southern Accord Chorus Your Voice has a Place in our Chorus: Auditions Wednesdays, September 13, 20 and 27 McNally Community Center

Lethbridge Community Band Society Lethbridge Community Silver Band Halloween Concert October 28 Location TBD

University of Lethbridge Art Gallery Up in the Air (You Are Here series) September 14 - October 20 Helen Christou Gallery, Centre for the Arts, University of Lethbridge

Lethbridge Community Taiko Association Japanese Cultural Day October 1 City Hall

University of Lethbridge Conservatory of Music Lunch & Listen: Keys in Rhythm, with Joe Porter and Joel Goodfellow September 1, 12:15pm ATB Financial Community Room, Casa

New Media Film Series: Belle de jour, Free Screening October 25, 6:00pm Lethbridge Public Library, Main Branch, Theatre Gallery Crossing Boundaries: Art, Technology and Identity Symposium October 27 - 28 University Recital Hall, Centre for the Arts, University of Lethbridge

Connie Kaldor October 15, 8:00pm The Cave at Lethbridge College

November

50 Years of Music and Music-Making Symposium September 28 - 30 ATB Financial Community Room, Casa

Lethbridge Public Library Friday Night Film Fridays, 7:00 - 9:00pm Lethbridge Public Library, Main Branch, Theatre Gallery

Allied Arts Council Christmas at Casa November 17, 5:00pm - 9:00pm, November 18, 10:00am - 5:00pm Casa

50 Years of Music and Music-Making Gala Concert September 30, 7:30pm Southminster United Church

Foreign Film Festival October 16 - 20, 7:00pm - 9:30pm Lethbridge Public Library, Main Branch, Theatre Gallery

University of Lethbridge Faculty of Fine Arts New Media Film Series: Don’t look Back Free, Free Screening September 13, 6:00pm Lethbridge Public Library, Main Branch, Theatre Gallery

Lethbridge Symphony Airdire Robinson, Violin Series The Lark Ascending October 16, 7:30pm Southminster United Church

Lethbridge Community Band Society Lethbridge Community Gold Band with guests Lethbridge Community Brass Choir November 4, 7:00pm College Drive Community Church

Rolof Beny Retrospective Exhibition September 15 - 29, Opening 7:00 – 9:00pm Dr. Foster James Penny Building New Media Film Series: Two for the Road, Free Screening September 28, 6:00pm Lethbridge Public Library, Main Branch, Theatre Gallery

october

October

Word on the Street September 23, 11:00am – 5pm Lethbridge Public Library Main Branch, Parking Lot

Allied Arts Council / Downtown BRZ 2017 Municipal Election Candidates Meet and Greet October 12, 5:00pm – 7:00pm ATB Financial Community Room, Casa

Royal Class Piano Service Piano & Pie: Jill Heninger September 22, 6:30pm Galt Museum & Archives Viewing Gallery

Casa Monster Mash: The Terror Painting October 28, 7:00pm ATB Financial Community Room, Casa

20 arts bridge

Lethbridge Folk Club Howlin’ Wolf Open Stage October 13, 7:00pm Meeting Room, Casa

University of Lethbridge Faculty of Fine Arts Art Department at 50 Exhibition October 20 - November 3 Dr. Foster James Penny Building

Musaeus String Quartet: Graeme Roset, piano, Extra A - Canada’s 150th October 27, 7:30pm La Cite Des Prairies Playgoers of Lethbridge Dinner Theatre ‘Who’s on First?’

October 17 - 21, 6:00pm Country Kitchen Catering University of Lethbridge Art Gallery Stories in Formline Design October 27 - December 22 Helen Christou Gallery, Centre for Fine Arts, University of Lethbridge University of Lethbridge Conservatory of Music Lunch & Listen: U of L Sweet Breath Choir October 6, 12:15pm ATB Financial Community Room, Casa

november

Lethbridge Folk Club Howlin’ Wolf Open Stage November 10, 7:00pm Meeting Room, Casa Lethbridge Public Library Friday Night Film Fridays, 7:00 - 9:00pm Lethbridge Public Library, Main Branch, Theatre Gallery Dennis Shigematsu Travel Presentation November 6 & 8, 7:00pm - 9:30pm Lethbridge Public Library, Main Branch, Theatre Gallery World Town Planning Day November 9, 7:00pm - 9:00pm Lethbridge Public Library, Main Branch Lethbridge Registered Music Teachers Association Student Recital, featuring the music of Canadian composers November 25, 2:30pm Lethbridge Public Library, Main Branch, Theatre Gallery

A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBR I D G E

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arts bridge

Lethbridge Symphony Adventures on Film November 20, 7:30pm Southminster United Church Kids Choir November 29 & 30, 5:30pm & 7:30pm (Both Days) Southminster United Church New West Theatre Vigil by Morris Panych November 15 - 25, Tuesdays to Saturdays, 7:30pm, also Saturdays at 1:00pm Trianon Art Gallery University of Lethbridge Fine Arts Department New Media Film Series: Terra em transe, Free Screening November 1, 6:00pm Lethbridge Public Library, Main Branch, Theatre Gallery

New Media Film Series: Planet of the Apes, Free Screening November 15, 6:00pm Theatre Gallery, Main Branch, Lethbridge Public Library

Lethbridge Public Library Friday Night Film Fridays, 7:00pm - 9:00pm Lethbridge Public Library, Main Branch, Theatre Gallery

U of L Wind Orchestra Concert November 28, 7:30 pm University Theatre, Centre for the Arts, University of Lethbridge

Lethbridge Folk Club Howlin’ Wolf Open Stage December 8, 7:00pm Meeting Room, Casa

University of Lethbridge Art Gallery Faces and Facades, Northwest / Southwest November 4 - December 27 U of L Main Gallery, Centre for the Arts, University of Lethbridge

Lethbridge Symphony The Nutcracker, Community Ballet Dancers & U of L Conservatory Dancers December 15 & 16, 7:30pm, December 16 & 17, 3:00pm University Theatre, Center for the Arts, University of Lethbridge

To Dwell in Pitch Black Pearls (You Are Here series) November 9 - January 4 U of L Main Gallery, Centre for the Arts, University of Lethbridge University of Lethbridge Conservatory of Music Lunch & Listen Concert Series: Rock/ Pop/Funk ft. Nick Sullivan and the SATbC November 3, 12:15pm ATB Financial Community Room, Casa

Opera Workshop November 3 & 4, 7:30pm University Recital Hall, Centre for the Arts, University of Lethbridge When There’s Nothing Left to Burn

by Sean Devine November 7 - 11, 7:30pm University Theatre, Centre for the Arts, University of Lethbridge

U of L Collaborative Ensemble Concert November 25, 7:30 pm University Recital Hall, Centre for the Arts, University of Lethbridge

December december

U of L Jazz Ensemble Concert November 24, 7:30pm University Theatre, Centre for the Arts, University of Lethbridge

Lethbridge Community Band Society Annual Mayor’s Christmas Concert Featuring the Lethbridge Community Gold & Silver Bands December 9, 7:00pm Southminster United Church

New West Theatre Christmas Memories with Lethbridge Big Band November 30 - December 2, 7:30pm Multicultural Centre Starlight December 19 - January 6, Tuesday - Saturday, 7:30pm Saturdays & Boxing Day at 1:00pm Chinook High School Media Center Hansel & Gretel December 26 - 30 & January 6, 1:00pm, January 5, 3:30pm ATB Financial Community Room, Casa University of Lethbridge Art Gallery En Plein Air Exhibition December 2- 23, Opening Reception December 2, 3:00pm - 5:00pm Dr. Foster James Penny Building

University of Lethbridge Conservatory of Music Lunch & Listen Concert Series: Celtic Tunes, Airdrie Robinson (guest: Adult Fiddlers) December 1, 12:15pm ATB Financial Community Room, Casa Conservatory Choirs Winter Recital December 8, 6:00pm Southminster United Church Suzuki Violin Winter Recital December 9, 1:00 pm ATB Financial Community Room, Casa Stringendo & Sinfonia Allegro Winter Recital December 9, 3:00pm ATB Financial Community Room, Casa University of Lethbridge Faculty of Fine Arts Global Drums Concert December 1, 7:30pm University Theatre, Center for the Arts, University of Lethbridge New Media Film Series: Playtime, Free Screening December 6, 6:00pm Lethbridge Public Library, Main Branch, Theatre Gallery New Media Film Series: The Graduate, Free Screening December 13, 6:00pm Lethbridge Public Library, Main Branch, Theatre Gallery

Tuba Christmas December 16 ATB Financial Community Room, Casa

Contact information for each event/organization: Allied Arts Council artslethbridge.org 403.320.0555

Lethbridge Public Library lethlib.ca 403.380.7311

Casa casalethbridge.ca 403.327.2272

Lethbridge Registered Music Teachers Association lrmta.com 403.327.2073

Lethbridge & District Music & Speech Arts Festival Society lethmsf.org Lethbridge Artists Club lethbridgeartistsclub.wordpress.com 403.317.9373 Lethbridge Community Band Society lcbs.ca Lethbridge Folk Club lethbridgefolkclub.com 403.381.4449

Lethbridge Symphony lethbridgesymphony.org 403.328.6808

Royal Class Piano Service 403.380.4775 Southern Accord Chorus southernaccord.org 403.738.4569 or 403.320.2263 University of Lethbridge Art Gallery uleth.ca/artgallery 403.329.2690

Lethbridge Community Taiko Association lethbridgetaiko.com

University of Lethbridge Conservatory of Music uleth.ca/music-conservatory 403.329.2304

New West Theatre newwesttheatre.com 403.329.2616

University of Lethbridge Faculty of Fine Arts uleth.ca/finearts 403.329.2227

Playgoers of Lethbridge playgoers.ca

Back cover photo by Henriette Plas