A publication of the Allied Arts Council of Lethbridge (AAC)
advancing the arts in Lethbridge
Annual General Meeting March 23, 2010
Bowman Arts Centre
m t h acc
heritage
7pm
music
theatre
v d pas
community culture
architecture
visual arts
dance
advancing the photography
arts
art services
gf
galleries
m e m b e r s h i p h a s i t ’s b e n e f i t s
festival
l
literary arts
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
message
Congratulations to our City Coun-
greater scale. Interviews with danc-
cil for stepping outside of the com-
er Tara-Jean Popowich (page 8) and
fort zone and moving forward on an
visual artist David Hoffos (page 10)
exciting project to rejuvenate the
demonstrate just that. We are also
Jana MacKenzie Office Services & Finance
downtown core. Plans are underway
a community that attracts perform-
to expand Galt Gardens to create an
ers like Leeroy Stagger and Dave
Lindsay Meli Communications
Arts Co-Campus that will house the
McCann read “The Evolution of an
approved Community Arts Centre
Artist” (page 15).
Administration Suzanne Lint Executive Director
Vanessa Eagle Bear Reception
and the potential Performing Arts
Programming
Centre. This exciting development
Art is not meant to be exclusive,
Claire Hatton Education & Facility Services
could not come at a better time.
there is always something for every-
Darcy Logan Gallery Services
one, be it an evening out at a live It is a new year and an opportunity
music venue, read “Two Households”
for all of us to step out of our com-
(page 12), or attending the sympho-
Board of Directors
fort zones and enjoy Lethbridge’s arts
ny, a play, or a gallery opening.
PRESIDENT Barb Cunningham
scene. You may be surprised by what you find, and if the Event Calendar
The hidden gems and endless poten-
VICE PRESIDENT Ron Brown
at the back of this publication is any
tial of our community is inspiring. I
indication, you certainly will not run
encourage you to explore.
TREASURER Mike Thiel SECRETARY Elizabeth Songer
S p r i n g / S u m m e r 2 010
director’s
DIRECTORS Christopher Babits Carolla Christie Shirley DeBow Rick Gillis Tyler Gschaid Les Ostrowski Ian Randell David Renter Kim Siever Gloria Torrance
out of options. A diverse and talented pool of artist are flourishing right here in our own backyard. It is important to nurture
Suzanne Lint
and support these emerging artists.
Executive Director
Lethbridge has a long history of generating talent we can be proud of. It
For additional copies contact the AAC office.
is often the case that artists will get
No part of this publication may be reproduced without the written consent of the publisher.
their start here and then move on to larger communities and success on a ARTSBRIDGE
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stage
The Allied Arts Council would like to thank the following for making ArtStage Act II on January 16, 2010 a tremendous success!
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Artistic Director: David Mikuliak
Thank you to our sponsors Platinum:
Stage Manager: Nancy Grahm Sound Production: Rob Warburton Media Production: Jim McNally, George Gallant, Fergus Raphael
Host: Jeff Carlson, Erica Hunt
Val & Flora Matteotti
House Band: Sludge
Gold:
Sheldon Arvay, Guitar; Rod Kornelsen, Drums; John Malcolm, Guitar; Dave Mikuliak, Keyboards; Don Ponech, Bass; Kevin Wood, Guitar/Lead Vocals
Deltec, Ferrari Westwood Babits, Lori G. Andreachuck, Q.C., Precon
Drama Nutz: Improvisational Theatre
Silver:
David Gabert, Stefan Rumpel, Nathan McCowan, Mark Spracklin
Advance Glass & Aluminum, Douglas R. Lint, From the Grapevine, Kubik & Company, Lethbridge Musical Theatre
Flamenco: “Alegrias”
Bronze: D.A. Building Systems, Barrie & Marion Broughton, The DeBow Family, Amy Dodic, Rod & Martha Draffin, C. Dunford Consulting Inc., John & Barbara Fisher, Godlonton Reality Co., HanTech Engineering Ltd., Tracy Hembroff, Integrity Dental, Lethbridge College, George Lomas, KPMG, McIntyre Ranch Co., Peggy Mezei & Robert Moffat, Chet & Sharon Mook, Peak Productions, Playgoers of Lethbridge, Dan Shapiro, Southern Alberta Art Gallery, Studio Celeste, YPM (Chartered Accountants)
Student Ticket: Classique Dancewear, Express Coffee, From the Grapevine, Gary W. Fong Prof. Corp., Claire Lint, Val & Flora Matteotti, Naturistas, Nicholai, Sous Chef, The Studio, Ultraviolet Eye Wear Our thanks to these partners for making it possible for youth, with an interest in the arts, to attend tonight’s performance.
Special Thank You: Joy Ackerman, Marion Broughton, The Commercial Factory, Laurie Cottingham, Deborah Duncan, Adam Elder, Terri Fortunaso, Laurie Gregory, Impact Sound Systems, Lethbridge Audio/Visual, Lethbridge College Communication Arts, Claire Lint, Jill McNally, Megan McNally, Ian Randell, Gloria Torrance, Yates Staff, Maria Zappone
Pirouz Ebady-Pour - Singer Ali Golbabai - Guitar Annette Marcos - Dance
Marni Benavides - Singer Tosh Hayashi - Guitar
Sonis McAllister & the Barracuda Orchestre: Instrumental & Spoken Word Art Sonis McAllister: writer, composer, vocals, percussion Klåd: Accordion, musical saw Jane D’eau: percussion Francesco Franco Rossellini: Alto sax Benny Popper: drums, guitar, Trombone Ludamir Semakovic: Herdy Gerdy, Theremin Dai Lan (Dan) McAllister: percussion Johnny Q: cello Karl Garwin: drums
Static: Contemporary Indigenous Dance Troy Emery Twigg: Choreographer Tannis Nielson: Visual/Sound Design Corey Makoloski: Dancer
University of Lethbridge Opera Workshop Dr. Blaine Hendsbee: Director Gregory Knight: Piano César Auguilar, Kristina Alexander, Katherine Archibald, Aaron Bartholomew, Michelle Johnson, Acacia Doktorchik, Tyler Fitzgerald, Ian Fundytus, Jana Holesworth Jaimee Jarvie, Stephanie Johansson, Graeme McFarlane, Jasmine McMorran, Gloria Medeiros, Krysta Mellon Kathleen Milliken, Shannon Mills, Lisa Mulgrew, Andrew Neild, Katie-Anne Papizzo, Jason Ragan, Brendan Rosenow, Jocelyn Schulz, Charissa Seutter, James Skierka, Rachel Sinnott, Carmen Specht, Natalie Stronks, Megan Wittig
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tpr eonsdss i
bilities
The Allied Arts Council is working to improve arts facilities in Lethbridge. The Arts Re:Building Together Campaign, a grass roots initiative to raise awareness and support was developed to address the inadequacies of: the Yates Memorial Centre, the Bowman Arts Centre and the Southern Alberta Art Gallery (SAAG). In 2007 the Finance Committee of City Council approved several arts capital projects for inclusion in the City’s Ten Year Capital Plan. These initiatives are successfully moving forward. In the spring of 2009, the City of Lethbridge assembled a Performing Arts Centre Steering Committee to oversee a needs assessment and master planning process for a possible Performing Arts Centre.
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A consulting team with an international reputation comprised of Theatre Projects Consultants (TPC), Webb Management Services, Inc. and Threshold Acoustics LLC. have been tasked with outlining the needs of a new Performing Arts Centre. Their recommendations will be presented to Council, who will use the comprehensive data to make an informed decision on how to proceed with a Performing Arts Centre. Duncan Webb of Webb Management Services, a management consulting practice for the development and operation of cultural facilities whose clients include local governments, colleges and universities, non-profit arts organizations, development agencies and other entities exploring cultural development, provides insight into the needs assessment for Lethbridge. Webb says there are four sets of issues that must be considered when assessing the needs of a new Performing Arts Facility in a community. “Number one, is there a potential audience for new facilities? We often ask if there is a propensity in capacity in the market to support additional programs and new facilities.” The second issue according to Webb is what is the level and nature of demand on the part of the facility user, “what is it that artists and arts organizations want, that educational programs need and what’s the potential associated with touring programs. Are there promoters and impresarios wanting to bring in touring programs to the market and if so what kind of space does that need?” The third concern is the existing supply of facilities; Webb says they try to identify what is missing. And the final issue is from a broader prospective, Webb asks “what are Lethbridge’s goals around things like economic development, cultural tourism, creating new educational opportunities, recruiting businesses to come to the community and how do those issues shape our recommendations?” Webb indicates that in Lethbridge, “there are significant demands for facilities that are not being
Audience trends and
realized.” He goes on to say that all of the recommendations may not be affordable at first so new
expectations
facilities could be developed incrementally over time.
play an
Audience trends and expectations play an important role in determining the choices communities
important role
make and the way they develop facilities, says Webb “old boundaries between the high art and the
in determining
popular are disappearing. Buildings now respond to a great range of programs and tend to attract
the choices
audiences and stay busy because the size of the traditional performing arts audience is not growing but in order to make these buildings work they have to support a wider range of programs than
communities
that. Secondly, audiences want to know more about what they’re coming to see and they want
make and the
to have the opportunity to talk and share about that experience. There’s a much more important social element today.”
way they develop
Webb says audiences need more stimulation and an outlet for their own expression, “people are much more interested in looking for a means to express themselves creatively so buildings are
facilities.
much more likely now to include spaces for arts education.” Technology is also having a profound impact on buildings, he says “new technologies are bringing different kinds of programs into these buildings, so programs where you have electronic media and live performance mixed up together in performances. The video gamers are coming into these buildings with live music and the opportunity to create sort of interactive video games, multi-player, interactive games.” Webb’s goal is to think of ways to return more control of the experience to the audience by giving them options and opportunities to come in and out of the space as they choose to and to do other things while watching a performance, he says,“we haven’t solved this but I suspect that this is going to be a very significant issue in the years to come.” AB
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Give your Child a
Healthy Dose of Music
by Breeanne Fuller, Piano Instructor and Licensed Kindermusik Educator for the University of Lethbridge Conservatory of Music
Research in the area of early childhood music exposure has been consistent: music and the brain can make magic!
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I believe that children are born musicians and that their experiences will dictate whether they will in fact be musical. This makes sense when you think that almost all children, from a very early age, are drawn to music. These little Mozarts hum or dance at every opportunity, just waiting for the chance to harness their natural gift. Research in the area of early childhood music exposure has been consistent: music and the brain can make magic! There are many benefits to exposing your child to music; aside from simply harnessing a child`s talent, you are actually fostering development. You will find a plethora of tips, from headphones over a pregnant tummy, to music and movement classes shortly after birth, but it all leads to one conclusion: music exposure is beneficial. So, regardless of what profession you think your children might pursue, music will help get them there. Will your child be a future engineer? Well, early exposure to music significantly improves spatial-temporal reasoning, which is the ability to think ahead, see patterns, sequences and manipulate images. Or, how about a brain surgeon? As your child learns a musical instrument, the amount of somatosensory cortex devoted to the fingers is increased, so those intricate surgeries will be a piece of cake.
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You will also find articles and studies indicating that exposure to music and movement is proven to strengthen a child’s language and literacy skills (afterall, syllables are rhythmic!), social and emotional development and public speaking skills – say hello to the next world leader! You may also decide to pursue private music lessons, which will have many advantages as well. Even as you listen to the not-so-melodic sounds of your child as she practices that beginner’s version of Beethoven’s Ode to Joy, you will remember that her musical education – wrong notes and all – is for a good cause. You will see discipline learned from daily practicing, and a sense of personal achievement felt when a piece of music is mastered. You’ll note the ease with which your child learns to read words because she can already read music. And more than that, she will know how to play an instrument! So where can you start? Research shows that the best learning environment is in the home, and incorporating music into your daily routine is easy. This can be as simple as dancing in your living room; it will not only stimulate the vestibular system, promoting increased balance and coordination, but will foster a unique bond as your child associates one-on-one parent time with fun, musical play. Or on a road trip, try tapping or clapping a steady beat along to
whatever is on the radio. The ability to keep a steady beat will be a skill she’ll use as she dribbles past the defense in the zone championships. And, if you`re bored with music, try actively listening to your neighborhood sounds; a dog barking can be a fun “guess its size” game (she’ll learn that pitch relates to size) and this will transform your child into an analytical listener. You can also play rhyming games - how many words (real or silly) rhyme with your name? - or identify the first sound in a word, and try to find other things that start with the same sound, fostering phonological awareness and setting your child up for reading success. The bottom line is, while you may not remember all of the research behind the benefits of music, like the emotional and social development, balance and coordination, precision and motor-control, spatial-temporal reasoning, increases in manual dexterity, analytical listening skills, phonological awareness, language and literacy skills, confidence and public speaking skills, increased discipline, unique bonds, a sense of personal achievement, and self-expression and creativity, what you will notice is that involvement in music is something your child will love – and that is just as important! AB
Van Gogh Syndrome scroll
by Rick Gillis, Visual Artist and Allied Arts Council Board Member
Virtually every visual artist that I know has in his or her
ourselves at least a 7 ranking, and working towards
possession a substantial inventory of work that, for a
boosting that number higher.
variety of reasons, will likely remain so for some time. Let’s just refer to it as Van Gogh Syndrome, though few
As a member of The Burning Ground artist studios in
if any will ever gain that artist’s posthumous fame.
downtown Lethbridge, I regularly experience firsthand the appreciation our community has for what we do.
board blog
a substantial inventory of work that, for a variety of reasons, will likely remain so for some time. Let’s just refer to it as Van Gogh Syndrome, though few if any will ever gain that artist’s posthumous fame.
It can be said without reservation that most visual art-
We welcome visitors to our studios every week and
ists (at least the ones I know) certainly don’t make art
without exception they leave much richer and more
for financial gain. Thus, it could be said that the issue
appreciative than when they arrived. Many visitors have
of whether a community supports its artists or not is
no idea of the breadth of the visual arts in Lethbridge
moot. That would be approaching the whole matter
and are quite blown away to discover these alcoves of
from a completely wrong perspective.
practicing artists all over the city.
Let’s, instead, view it from the community point of view.
If I were to interject one comment at this point, it would
In some ambiguous way there is a symbiotic relation-
be this—it is rare that an artist is not a welcoming,
ship that exists between visual artists (and probably
engaging person, not to be viewed as aloof or unap-
other artists as well) and the communities in which
proachable. Do not be intimidated. Visit a studio when
they practice their art. That relationship goes some-
you find one, drop into a gallery at any opportunity.
thing like this:
You will be richer for it, and you will, by your participation, be enriching your community. Art is certainly not
It can be said without reservation that most visual artists (at least the ones I know) certainly don’t make art for financial gain. Thus, it could be said that the issue of whether a community supports its artists or not is moot. That would be approaching the whole matter from a completely wrong perspective.
1. Visual artists are generally pleased when they do sell
something to be feared, yet surprisingly I have often
their work. It is, after all, very real confirmation of accep-
seen people pause at the entrance to a gallery or the
tance, but it’s not necessary. What is important is that
door to an artist studio, hesitant to cross that threshold.
these artists are recognized within their communities
Don’t be.
Let’s, instead, view it from the community point of view. In some ambiguous way there is a symbiotic relationship that exists between visual artists (and probably other
The question is, then, where does Lethbridge rank? As
continue making their art. From time to time Leth-
artists, we would always like to see “better”. We’d like
bridge will produce a visual artist of national or even
to see more galleries, have more exhibits, more artists
international reputation. For every one of those, there
working in studios in the city core and a more wide-
are legions of artists who are inspired to make art sim-
spread embrace of what we do and how we contribute.
ply for arts sake, needing only to know that they are
If we are practical we can put it on a 1 to 10 scale, and
contributing something special to their city and that
as far as cities our size go, we’d truthfully have to give
this contribution is appreciated. AB
as such and are people who contribute to the cultural enrichment of their community.
Lethbridge has an enviable reputation as a city that values its arts and its artists. Are we there, then? Have
2. Because a community, in general, can appreciate
we arrived? Hardly. We are not Santa Fe of the North
that it has practicing, accomplished artists in its midst
nor Seattle of the Prairies. The work done by those who
there is a level of support for these artists, and the arts
promote and advance the arts in this city has been
in general, that elevates the community to something
monumental. However, the work doesn’t end. Ad-
more than just a nice place to live. Truly, what separates
vancement of the arts requires vigilance, tenacity and
a mediocre city from a great one is the level to which it
an ongoing sense of stewardship.
supports its arts and its artists. In that time this city can count on its visual artists to
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How do you encourage appreciation of the arts by the masses? Well one way is to produce a competitive reality TV show where some of the most talented dancers in the country come together to showcase their talents, and compete to be crowned the best – but don’t just allow the experts to determine the outcome, open it up to the audience and allow them to engage in the process; not only exposing them to the art form but also deepening their understanding and interest. 8
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Popowich accepting a key to the city of Lethbridge, following her win on SYTYCD Canada.
“I’ve never been surrounded by so many people who just love what they do so much...” This phenomenon has made So You Think You Can Dance Canada and shows like it very popular and is helping to deconstruct the notion that the arts are exclusive. SYTYCD Canada has given many dancers opportunities they may not have otherwise have had. One such dancer is Lethbridge’s own Tara-Jean Popowich who was crowned Canada’s favourite dancer in Season Two. It’s probably safe to say that a year ago you would not have recognized the name Tara-Jean Popowich, but since her win on the show it is safe to say you probably not only recognize it but have had the privilege of seeing her talent in action. The Allied Arts Council sat down with Tara-Jean to find out about her journey from Lethbridge raised dancer to a national star. “There’s no way that I’d be where I am if I wasn’t from Lethbridge,” Popowich says matter-of-factly, her charisma filling the room despite her small frame, as she sips coffee across the table. Her face framed by her trademark fedora she explained how her early dance training was paramount to developing her technique, “Growing up, we did ballet a lot and that’s the foundation of dancing. You have to train as much as you can as a kid to make sure you have that muscle memory, because as you grow up it’s way harder to become more flexible, to become better at turning; so to get your childhood base as a dancer is the most important.”
Popowich talks about her time on SYTYCD Canada and says that Canadian dancers have a lot of respect for each other, “I’ve never been surrounded by so many people who just love what they do so much, it was really overwhelming at first, when the top twenty had our first meeting and sitting there realizing how much talent is in one room right now and how much love they have for what they do, it was just amazing. It was really nice, it was like a complete family.”
If you know even a little about Popowich’s story, you probably have heard that her mother has been a driving force in her suc-
“There’s no way that I’d be where I am
cess. When asked why she started dancing the answer is sim-
if I wasn’t from Lethbridge.”
ple, “my mom put me in it.” Later she elaborated when asked about her mentors, “My mom, she’s a single mom, I don’t know how the heck she did it, I’m still just so mind-boggled how she made me successful, it’s all because of her for sure.” Mom and some true determination played a part in her success. Popowich says all dancers go through struggles and when she was about fourteen it got extremely difficult for her,“I thought I could quit dance and find another path and find another dream in life, but I pushed through it.” Pushing through and gaining experience all over North America, Popowich has insight into a variety of dance communities including Montreal, Vancouver and L.A., and she says that everywhere is completely different. “Ballet in the states isn’t strong but they have really solid hiphop, and their styles are really updated.” With all that she has experienced it doesn’t take long to real-
This family extends to the talented choreographers that Popowich had the good fortune of working with on the show who gave her opportunities to explore a variety of genres she was less familiar with. She says she will continue to work with many of them in the future and anticipates a move to Toronto and then other centers including New York, however she will always make time for Lethbridge. “I’ll always come back and teach master workshops and make sure that the kids are still growing as dancers and know what’s out there in the world.” As Popowich continues her journey she is sure to inspire those who have the privilege of meeting her, whether it’s over a cup of coffee or watching her dance, or what she describes as “moving art”. AB
ize that appreciation is something Popowich is bursting with. ARTSBRIDGE
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‘Parlour’, a window gallery started by David Hoffos, featuring work by artist Len Komanac
finding your
place
An Interview with David Hoffos
by Frater Tham, an artist who maintinas a studio practice in downtonw Lethbridge
When I was asked to write about maintaining a studio practice in Lethbridge, I immediately thought about award-winning artist David Hoffos. Hoffos has an extensive and successful career, both nationally and internationally. While he has presented his work in many major Canadian cities, and at some of our most prestigious galleries, Hoffos has always maintained his home and studio in Lethbridge, where he has developed strong ties with the community.
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your place
You can get something out of your own community first, and perhaps that can launch you into a larger sphere.
I was able to catch up with David Hoffos, via telephone, in Dawson City, Yukon, where he was
participating in an ‘artist-in-residence’ program and developing new work to be presented at the Cultural Olympiad in Vancouver. I proceeded to ask him a series of questions about the challenges and benefits of making Lethbridge a home-base.
My first question, asked in order to sate my own curiosity, was about the advantages of basing a national career in a smaller city like Lethbridge. “There are a number of advantages
to living in a smaller centre.” Hoffos responded. “Its cheaper to live than in a bigger city,
you can find a studio a lot easier...and you can afford more and your money goes further. That’s the big advantage. Its also easier to get your running around done, making your daily routine much less complicated than it would be if you lived in a larger city”. An interesting
and practical point, which gave me pause to wonder about time constraints for an artist who is confronted daily with urban sprawl and rush-hours. Smaller centres can be effective bases because the art-world is becoming, in Hoffos’ words, “an increasingly interconnected world.”
I was curious as to his opinion about basing a successful career in a smaller centre like Lethbridge, rather than moving to larger cities like Vancouver, Calgary or Toronto. His reply, aside
from a discussion about the importance of networking, was an insightful series of comments about connections and community; “...as time goes on there are people there, mentors and teachers, that I’ve known for close to twenty years. If I were to move now, it’s not
that I would be starting from scratch because I’ve built a career and practice, but I wouldn’t have that immediate sense of community that takes time to build.”
David then shared a cogent point with me, and one he attempts to share with a younger
generation of emerging artists, “One of the things I always recommend or suggest to students when I’m traveling, and I’m often traveling to smaller places like Dawson City for instance, is to use the resources where you live and not abandon those because you think
everything is going to improve by moving to a bigger place. I try to make them aware that
“
If I were to move now, it’s not that I would be
they have an option, and don’t automatically have to make the choice to move away. You
starting from scratch
can get something out of your own community first, and perhaps that can launch you into
because I’ve built a
a larger sphere.”
career and practice,
My final question to David was about younger artists choosing to stay in Lethbridge, and
whether this community was a place that could nurture their careers. His response was
but I wouldn’t have
optimistic, and nostalgic about his own early opportunities at the SAAG and Trianon,“I think
that immediate
Lethbridge does a good job of nurturing emerging artists...There are local opportunities
sense of community
of varying levels, including opportunities at the Bowman, various speak-easy galleries, and window spaces like Parlour that I set up a few years ago. So I think there is a chance for an
that takes time
artist who is emerging to get some initial notice.”
to build.
While David’s insights were positive, his final comments tempered them with an urgent and
practical warning for artists, “I’m not so sure about sustaining a practice strictly within the confines of Lethbridge. It is still on the shoulders of artists to get their work out beyond the
”
City somehow, and how that happens is a little more mysterious...grant opportunities, ap-
plying to artist-run-centres and traveling to residencies. While Lethbridge is a great place to base yourself, it doesn’t solve all your problems. It would be pretty hard to make a living as an artist if you just stayed in Lethbridge.” AB
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two households Photos by Stuart Mueller Photography
both alike in dignity, in fair Lethbridge where we lay our scene...
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...but unlike Shakespeare’s tragedy there are no grudges or mutiny here, just the sweet sound of thriving live music.
dramatic? Yes, but also true. Henotic Restaurant and the Slice Bar and Grill are two major players in our city’s music scene. These two downtown spots are working in tandem providing nightly shows covering a wide range of talent and genres to an eager audience. “There are more and more people that are becoming fans of live music in Lethbridge,” says Slice owner Jesse Freed. Both he and Jason Beacock, owner of Henotic Restaurant, say that the diversity of the audience’s taste in this community is growing, and people are more interested in independent music. “A lot of people when they think of live music they think of going out and listening to a band play their favourite songs that they hear on the radio and that’s not really something that we or Henotic have pushed,” Freed says. Beacock says he has brought on a full time promoter for Henotic to let people know they are going to have a blast when they come down, even if they have never heard that particular type of music before. “We tap into a lot of different audiences in town and age groups. We get the university crowd, we get the rock crowd, we get the garage crowd and it’s all over the place.” The enthusiasm and support for original music is generating endless opportunities for local talent, especially emerging artist who would otherwise not have a platform. “There are lots of bands that came right from nothing to what they are now in Lethbridge... playing gigs regularly,” Freed says.
“
We tap into a lot of different audiences in town and age groups.
” ARTSBRIDGE 13 1 ARTSBRIDGE
forces to produce events with a performance line-up that appeals to wide variety of tastes. The convenience of the two locations, practically book ends to the soon to be site for the Community Arts Centre on third avenue and seventh street and the newly renovated Southern Alberta Art Gallery, is helping to create a cultural corridor that lends itself to foot traffic and an exciting energy that Lethbridge may not be accustom to. An atmosphere with this kind of positivity and creativity is inciting initiative, Beacock says the centre of culture in a city is downtown and his goal is to help downtown Lethbridge really takeoff. “Lethbridge is just on the verge of being a really awesome city and expanding, you know it’s not This dedication is also building partnerships
small town anymore.” The calibre of entertainment is high and definitely
and mentoring opportunities for artists that
something to be proud of. “There’s so many good things going on here,”
may not have otherwise have happened Freed
Beacock says, “it blows me away everyday and when I think that I know
says, “you start seeing more people that may-
everybody that’s here and playing somebody else will walk in the door.”
be didn’t know each other before kind of start to work together and it helps the music scene
With these two live music venues taking the charge this cultural momen-
in general when some of the talented people
tum is underway. The potential is limitless, Freed says “It’s good to see
in this town get together with some of the
some of the people that have been doing it (music) a long time being able
people that are developing and help them out
to find a home in Lethbridge that is satisfying to them and they are still
a little bit.”
able to go out into the rest of Western Canada and play shows and help be ambassadors to Lethbridge music.” AB
Another unique collaboration that is occurring from time to time is between the actual venues themselves. Freed and Beacock both say they have a mutual respect for what one another is doing and occasionally they join
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“
An atmosphere with this kind of positivity and creativity is inciting initiative
The Evolution of an Artist Dave McCann is the latest full time musician to move to our little piece of heaven out on the prairies. Dave’s had a busy year with the release of his third studio Album “Dixie Bluebird” His latest offering saw Dave and his band do the Canadian unheard of and head south to Nashville to record with Rodney Crowell sideman Will Kimborough. The result is an 11 song masterpiece that invokes the spirit of early Whiskeytown and a Twangier Wilco. As far as Canadian roots music goes “Dixie Bluebird” is a strong candidate for album of the year.
By Lethbridge based singer/songwriter Leeroy Stagger LS: You moved to Lethbridge from Calgary a little while back, how do you find the transition from a major city to here and how do you find the music scene different if any? DM: Any jump in location is hard. Calgary is a major player in the world economy and that brings a lot of easy money to the music community. I miss that sometimes. I miss being close to an airport. I miss my friends. Calgary’s always been good to me. But as far as big cities go, I’ve always kinda found them cold and distracting. Calgary’s no different. If you’re not careful you’ll wake up with a tiny, shrunken, corporate grinch heart. Lethbridge feels good - it feels like I’ve come home.
LS: I think this is your 3rd studio album, you decided to record in Nashville TN, what prompted that decision and what affect did it have on the songs and the sound of this record? DM: I had my list of producers I wanted to work with: Jack White, Buddy Miller, Colin Linden, Larry Campbell, Will Kimbrough, Eric Roscoe Ambel, etc. Buddy was busy till 2011. Charlie Sexton and Ethan Johns’ management blew me off with hundred thousand dollar offers? The Canadians didn’t even get back to me? Time alignment was such a huge factor. I wanted this project to be about chasing the heart of American music. Where it comes from? Why it exists? I wanted to experiment with the idea of geographic influence. When it came down to the music, I wanted to see how, or if at all, New York, Los Angeles, Austin or Nashville would affect the final outcome of the songs. So when Will Kimbrough called and said he was into the songs, and had a studio picked out in East Nashville, that’s when it all fell into place. A lot of my favorite recordings were cut in Nashville. It has such a wild musical history, a real strange magic. You could feel it right off, the South - the idea that this place is one of the mythical origins of the Blues, Country and Rock and Roll. You can’t help but let that kinda stuff just seep into the music.
LS: What Role did Will play as the producer, did he change much of what you brought to him? DM: Will has released a pile of great recordings himself so he knows music firsthand - besides working with major level guys and staying grounded on the indy scene. He’s an amazing in-demand Guitar Sideguy, Songwriter, Session player and Producer. He’s worked with Rodney Crowell, Todd Snider, Mavis Staples, Jimmy Buffet, Garrison Starr, Matthew Ryan, and Josh Rouse - including producing a Grammynominated record by Adrienne Young, and Todd Snider’s East Nashville Skyline which he co produced with Todd. He has such a deep grasp on Americana roots music scene. After talking to him over the phone I was excited to work with him. He’s a pretty humble guy and his musical intuition is so incredible. We burned 12 hour days away for two weeks and at the end of it we walked away with the record we wanted to make. It wasn’t tyrannical. He didn’t change decisions. He didn’t change arrangements. He let us find the feel and helped us build on that. And above that he made us laugh. He’s got a wicked, fast paced sense of humour and he really helped us keep it light in the studio. Finding a studio environment that fostered creative output is sometimes tough. He lined us up with Elijah Shaw at the Toy Box, which was incredible. He brought out a pile of gear for us and he offered us a list of studio players including Pedal Steel Legend Al Perkins (Gram Parsons, Manassas), and he even tried to hunt down retired piano legend Hargus Pig Robbins for us. All in all, he helped us make the best record we could make.
LS: With “Dixie Bluebird” your voice seems stronger and more defined than ever, do feel the same way? What gives? DM: That’s the evolution of an artist, I guess. You keep building, refining and redefining yourself. When you’re involved in projects that interest you, and you commit your full ability towards that journey, you just find more strength in the act of creating. Your art, your life, your voice... or whatever - it just becomes stronger. That’s how it was with “Dixie Bluebird” for me. I knew what I wanted and committed. AB ARTSBRIDGE
15
My grandpa was the son of a son of a son of a farmer. I could’ve just said, “My grandpa came from a long line of farmers,” but that would not have produced quite the same effect. It would have been a cliché, and my grandpa
By Camille Fairbanks
was anything but a cliché.
Anyway, it’s making better use of imagery to say, “My grandpa was the son of a son of a son of a farmer.” It practically forces you to picture four generations of farmers in dusty blue overalls with their backs to the wind, and sprigs of alfalfa peeking out from between their sun-chapped lips. [See what I mean about imagery?] Anyway, he was a farmer, and I am nothing like him.
For example, I am addicted to Diet Dr. Pepper, but I never saw my grandpa drink anything but tap water and two percent milk... and the occasional mug of hot honey-lemon water, for his gout—or was it his diabetes? Regardless, he drank it, and I couldn’t imagine why anyone would swallow such fowl-tasting stuff, but he did, and that was that. My grandpa made his living by rising well before dawn, tilling and plowing and raking his fields under the scorching Arizona sun, and selling his harvest for profit. In fact, he worked so hard and so long in those infinitely dusty fields, that at the age of fiftyfour, he was hospitalized and diagnosed with the lungs of an eighty year-old chain smoker, yet he had never in his life touched a cigarette. Or a cigar. Or a pipe. Or a joint, for that matter (he despised all smoking equally). He was a hard, hard worker, and that is an understatement. 16
ARTSBRIDGE
Him and Me and Then and Now
I, on the other hand, take any chance I can to cut corners and create less work for myself. Oh, I do what needs to be done, but nothing more, and usually less, if I can get away with it. I have the lungs of a woman in her mid-twenties, just as they should be—or should they be? I would make a terrible farmer. My pitiful crops would never make it to market because I’d spend too many mornings cocooned in bed, convincing myself that the plants could last just one more day without water. My grandpa was out of bed and already working by five in the morning; I don’t even function properly before noon. I am pampered—I have eight or nine “signature” scents. Maybe even ten. Body sprays, mists, perfumes, I’ve tried them all. I am consumed with such an enormous desire not to stink that a licensed psychiatrist might very well diagnose me with an obsession. I never hesitate to buy a bottle of perfume that claims it will make me successful, sophisticated, secure. Obviously, if a manufacturer could bottle success and sell it, it would be much more expensive than anything I could afford, but still...I try. That’s one thing I have in common with my grandpa—perseverance. By contrast, though, I can honestly say I never hugged my grandpa a day that he didn’t smell like Bag Balm or Vick’s Vapor Rub, and chickens. Bag Balm and chicken coops—that was his cologne. L’essence de farmer. The Bag Balm was for his cracked and calloused knuckles. Naturally. Me? I use gallons of lotion to avoid ever having cracked skin in the first place. My grandpa valued hard work, valued a firm handshake, valued a dollar. He didn’t graduate from college and didn’t encourage any of his kids to do so, either. My mother, the oldest of six children, decided she would graduate anyway. She went to college and she loved it and she became a teacher and married my dad who also valued education and worked as a teacher and together they created my older sister who is a teacher, too, and here I am. I will never be a teacher, not if I can help it.
But I learned that bit about existentialism in school. So. There it is. I don’t want to care about university, but how can I make light of all the school that constructs who I am? I don’t want to sit through classes, but how can I make it as a writer if I don’t? I have so much to say, so much I want to do with my time outside of copying notes from my professors’ lectures, but those lectures are vital now to my greatness later. Would my grandpa agree? No, probably not. But that’s the thing about time: it changes people. His father probably thought that it was foolish to move to Arizona from Idaho just for some girl, but in Arizona, my grandpa made his fortune, he made his family, and he flourished. And I can’t imagine myself as an Idaho farm-girl anyway. So here I am, in school. I’m writing these words about Ibsen, Munro, Hemingway, Yates, but none of them mean anything to me. I write my essays because I must—it is a means to an end. It’s important, yes, but not really. This—writing this, these very words—this is important. [That was rhetoric. I learned it at school. My grandpa might not care about school, and I might not, either; but I’ll graduate, because without it, I could not have written this.]
My grandpa valued hard work, valued a firm handshake, valued a dollar.
I attend classes at the university. I’m majoring in English. Presently, “student” is the biggest slice of the pie chart of my identity, and if my grandpa were alive, he wouldn’t care a lick about that. He would write me letters and ask me about my family, my husband, the weather, my church, my job, my summer plans, my health—he would care about me—but it would not occur to him to ask about my classes. Interestingly enough, I am not hurt by that assumption. Obviously, he’s dead, and it’s only my own mental workings that have decided he wouldn’t care about my education, but it’s more than that—even if it were true, even if he were alive and proved me right and didn’t ever ask about my classes, I still wouldn’t feel bad. I wouldn’t mind because I wouldn’t blame him. In fact, I would very much agree that school is for sissies and I’m wasting my time and it’s all very dreadful to sit in these English classes and read about The Great Ones when I could be being great myself. I totally agree.
Photo by Stewart Mueller
But there’s a catch. There’s always a catch: If I were an existentialist, I wouldn’t care about school with its grades, or jobs with their paycheques. I wouldn’t really even need to care about my grandpa. If I were an existentialist, I wouldn’t have to be anything—I would just be.
In my head, I am not in school and I’m not snowed in and I’m not in Canada. It’s summer and I’m in Arizona—hot, and glorious. My grandpa looks at me with those eyes that can only be described as crinkly, and he pats my shoulder with that solid hand, that wrinkly hand whose skin has lost its elasticity, and so, when pinched, stays standing in a little mound for fully thirty seconds before finally settling back down to its natural state, and I miss him. AB
Camille Fairbanks was born and raised in the desert of Mesa, Arizona, so nothing could have come as a bigger shock than uprooting her life and moving to Southern Alberta, Canada. She is currently pursuing a degree in English from the University of Lethbridge; her hilarious experiences there inspire Archives of Our Lives, a Canadian-American Young Married College Student’s Humour blog, which she updates regularly at www.archiveslives.com.
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In Memoriam: Muriel Jolliffe A Community Treasure By George Mann
When most people speak about Muriel
remember them so much better than
Jolliffe, they generally refer to her as “a
those of us who had to perform them.
force to be reckoned with.” I certainly agree that she was an extremely force-
In 1966, Muriel and Dick Mells con-
ful exponent of quality artistic endeav-
vinced the Allied Arts Council (and
ors throughout her lengthy profession-
later, LMT) to sponsor summer musi-
al career as dancer, teacher, examiner,
cals so that youth in the community
and choreographer. Her commitment
would have something interesting to
to her art and to her community was
do during the long summer months.
bountiful, and because of that many in-
Muriel choreographed eight of the
dividuals and organizations will be for-
thirteen summer musicals which they
ever grateful to her. Dancing careers of
produced. The young people involved
various kinds have opened up for many
with these productions were ecstatic
of her former students, and I’m sure
about these opportunities. At that
that they all now appreciate the demands for perfection which she
same time, Muriel (together with other members of her family) decid-
placed upon them. Yes, Muriel was somewhat volatile – her students
ed to give Lethbridge audiences a new experience by staging English
often felt her wrath, but they also were captivated by her wonderful
Christmas Pantomimes. This again provided excellent opportunities
sense of humor. Her laughter was contagious. She would often regale
for her students to gain valuable stage experiences, although they
listeners with the wild and wonderful things her students would say
generally played supporting or chorus parts. The “Pantos” provided a
or do. Let us not forget the tremendous amount of joy which she gave
wonderful holiday gift for the whole community throughout the pe-
to large numbers of people who were audience to the many presen-
riod 1966-1979 and in 1985! Certainly, the community received these
tations which she presented or in which she was involved.
riotous offerings with the greatest of pleasure.
Organizations such as the Lethbridge Musical Theatre would prob-
As mentioned earlier, Muriel occasionally appeared on stage. I par-
ably not exist today if it had not been for the foresight of Muriel Jol-
ticularly remember her portrayal of Essie in The Playgoers’ 1966 pro-
liffe, Dick Mells, and Albert Rodnunski. In 1964, with the support of
duction of You Can’t Take It With You, in which she was given dance in-
the Lethbridge Symphony, these artists decided to stage two succes-
struction by my character, Boris Kolenkhov. From then on, she would
sive musicals. The huge success of these productions reestablished
jokingly tell people that I had taught her everything she knew about
musical theatre as a major artistic activity in the city. Shortly thereaf-
dancing.
ter, Lethbridge Musical Theatre became an independent organization committed to presenting at least one musical annually. Muriel’s work
I have barely touched the surface when describing the many con-
as choreographer for at least twenty of LMT’s productions added
tributions which Muriel made to the artistic life of Lethbridge and
significantly to the professionalism of those shows. Critical viewers
area. So very much else could be said about her influence on dance
would characteristically comment that LMT shows were equal to, if
instruction, her organization of dance festivals, and her respect as a
not better than, professional shows that they had witnessed. Muriel’s
dance examiner and adjudicator, but I believe these are generally
marvelous sense of humor was on display for all to witness when she
acknowledged. I can only conclude from this short resume that her
took on the role of Pappy Yokum in LMT’s 1966 presentation of Lil Ab-
contributions excelled in both quality and quantity, and that she
ner. Although I was not in that show, I had the thrill of being in many
deserves some form of official community recognition for her many
of the shows choreographed by Muriel, and I continuously marveled
splendid efforts. AB
at the fact that she could map out movements on the spot and then 18
ARTSBRIDGE
The Allied Arts Council (AAC) is a registered not-for-profit organization with the mandate to advance the arts in our community. The AAC supports artistic
support the arts
endeavours that enhance the quality of life for individuals and our community. The organization is supported by its members, corporate and private donations
AAC membership
and annual fundraising activities. Support is gratefully received from:
CONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION NEW MEMBER
RENEWAL
Name Business (if applicable)
New Members: Sep 21/09 – Feb 16/2010
Address City
Individual Members:
Associate Members:
Karen Bremner Laurie Cottingham Ye-eun Her Lindsay Horrocks Maria Fawn Livingston Colleen McNary Pat Neufeld Bryanna Papp Jesse Plessis
Buggy Barn Studio & Gallery Yoga/Pilates with Ali
Allied Members: Cultural Appreciation Society of Alberta Lethbridge Community Taiko Association
Province Postal Code Telephone Facsimile
Lifetime Members: Doris Balcovske Van Christou Karen Kay Clare Malmberg
Email Website
Allied Organization
$75*
Artist
$25*
Associate
$75*
Friend to the AAC
$15
Family Friend to the AAC
$25
I would like to make a donation of $ TAX RECEIPTS WILL BE ISSUED FOR DONATIONS
CREDIT CARD INFORMATION Visa
Mastercard
Total Donation and/or Membership amount
Card# Expiry Date Signature CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE
I am interested in becoming an AAC volunteer *Inclusion in 2010/2011 AAC Arts Directory
of events calendar of MARCH
march
Ammena Dance Company . . . . . An Explosion of World Dance and Music March 6, 7 – 9pm Yates Memorial Centre Empress Theatre Society . . . . . . Concert VI Centre Stage Series 20092010: Pavlo Emmett Lopez March 1 & 2, 8pm Empress Theatre, Fort Macleod Galt Museum & Archives . . . . . . Seniors Program Wednesdays through to May 26, 2-3pm Saturdays at 1pm Weekly through May 29, 1-2pm Treasures & Curiosities Artistic Treasures & Curiosities Exhibitions run until May 20, 2010 Slap Shot and Hurry Hard Exhibitions run until Mar 21 Café Galt: The Looming Crisis for Public Collections, Josephine Mills March 24, 7pm (Doors Open at 6pm) Lethbridge Artists Club . . . . . . . Beginner’s Watercolour Class with Val Peterson March 18 - April 8, 6:30 - 9pm Bowman Arts Centre Italian Style Calligraphy Class with Linda Baines. . . . . . . . . . . . . . . . . . March 24 - May 5, 6:30 - 9pm (no class April 7) Bowman Arts Centre Lethbridge International Film Festival . . . . . . . . . . . . . . . . . . . . . . March 8 – 13 Lethbridge Public Library Theatre Gallery Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . . Flute Magic March 5, 8pm Southminster United Church The Creation March 29, 8pm Southminster United Church Mueller Art Gallery. . . . . . . . . . . . Julie Duschenes: New Work Exhibition Runs March 13 - April 24 Opening March 13, 7 - 11pm 105 8 St. So. New West Theatre . . . . . . . . . . . . . The Attic, the Pearls & Three Fine Girls March 4 – 13 Sterndale Bennett Theatre
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ARTSBRIDGE
Southern Accord Chorus. . . . . . . Hearts in a Chord – A Tune of Two Cities March 13, 7pm College Drive Community Church
Lethbridge Artists Club . . . . . . . Acrylics - Intermediate Level Class with Jackie Cardinal April 15 - May 20, 6:30 - 9pm Bowman Arts Centre
Southern Alberta Art Gallery . . Looking for Donkeys By Nanna Debois Buhl Exhibition runs March 13 - April 25 Opening Reception March 13, 8pm Temporary Location 324 – 5 St. So.
Lethbridge Handicraft Guild of Weavers, Lethbridge Artist Club, Textile Surface Design Guild, Oldman River Potters Guild & Chinook Woodturning Guild . . . Bowman Spring Sale April 24, 10am-4pm Bowman Arts Centre
Manga Ormolu By Brendan Tang Exhibition Runs March 13 - April 25 Opening Reception March 13, 8pm Temporary Location 324 - 5 St. So. U of L Faculty of Fine Arts. . . . . . Unidentified Human Remains & the True Nature of Love By Brad Fraser March 4 – 6, 8pm March 6, 2pm David Spinks Theatre Spring Sing - U of L Singers and Women’s Chorus March 6, 8pm Southminster United Church U of L Collaborative Piano/Guitar: It Takes Two March 12, 7pm Gem of the West Museum, Coaldale Works on paper from the U of L Art Collection Curators: Museum Studies interns Exhibition Runs March 12 – April 9 Opening Reception March 12, 8pm U of L Main Gallery Life is a Dream by Pedro Calderon de la Barca March 23 – 27, 8pm University Theatre Glory and Grandeur - U of L Wind Orchestra & special guests March 26, 8pm Southminster Church.
APRIL april Galt Museum & Archives. . . . . . . Eggstravaganza! April 3, 10am -2pm UPcycling Show & Sale April 22, 10am-9pm Galt Museum & Archives Café Galt: Earth Day Panel Discussion April 22, 7pm Café Galt: Jewels of The Prairie with June Flanagan April 22, 7pm (Doors Open at 6pm)
Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . . Heroic Horn April 30, 8pm Southminster United church Oldman River Potters Guild . . . . Spring Pottery Sale April 29 & 30, 10am – 8pm Bowman Arts Centre Playgoers of Lethbridge . . . . . . . Regional One Act Drama Festival April 30, 7pm Sterndale Bennett Theatre Spirit-in-Motion Yoga . . . . . . . . . “Free Your Body, Find Your Voice” with guest teacher Pamela Alexander April 10, 9:30am - 1:30pm Community of Christ Church 425 11 St. So. U of L Conservatory of Music. . . PAS Day of Percussion April 10 U of L Faculty of Fine Arts. . . . . . U of L Jazz Ensemble Concert April 7, 8pm University Theatre Global Drums! April 9 & 10, 8pm University Theatre The 1940s (Historic Lethbridge Festival) Exhibition Runs April 16 – June 4 Helen Christou Gallery Faculty Artists & Friends: An American in Paris April 17, 8pm University Recital Hall Art Student Open House April 20 & 21
MAY may Empress Theatre Society . . . . . . Fort Macleod International Festival (formerly Windy Mountain Music) May 27-31 Various locations
Galt Museum & Archives . . . . . . . Behind-The-Scenes Collections Tours May 1, 1:30 & 3pm Historic Lethbridge Festival: Celebrating the 1940s May 1- 9 St. Patrick’s Cemetery Tour (Historic Lethbridge Festival) May 4, 7-8:30pm Taste of Downtown (Historic Lethbridge Festival) May 5, 5-8pm Mountain View Cemetery Tour (Historic Lethbridge Festival) May 6, 7-8pm Regional Heritage Fair (Historic Lethbridge Festival) May 8, 9:30-2pm 1940s Dance Hall Party (Historic Lethbridge Festival) May 8, 8pm Leeroy Stagger & The Wildflowers . . . . . . . . . . . . . . . . . . May 14 & 15 Lethbridge Casino Lethbridge Artists Club. . . . . . . . Chinese Brush Painting Workshop with Siew Mak May 1 & 2, 10am - 4pm Bowman Arts Centre Lethbridge Artists Club . . . . . . . Techniques & Strategies in Watercolour workshop with Anne Havard May 15 & 16, 10am - 4pm Bowman Arts Centre Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . . Ranges of Brass May 10, 8pm Southminster United Church Kids Choir Performance May 26 & 27, 7pm Southminster United Church Mueller Art Gallery. . . . . . . . . . . . Kathleen Moors: Covenant Series Exhibition Runs May 2 - June 26 Opening Reception May 1, 7-11pm 105 8 St. So. New West Theatre . . . . . . . . . . . . . The Tooth Fairy May 5 – 8 Yates Theatre Oldman River Potters Guild . . . . Spring Pottery Sale May 1, 10am – 4pm Bowman Arts Centre
Playgoers of Lethbridge . . . . . . . Regional One Act Drama Festival May 1, 7pm Sterndale Bennett Theatre Southern Alberta Art Gallery . . Brian Goeltzenleuchter Exhibition Runs May 1 - June 20 Opening Reception May 1, 7 PM Temporary location 324 – 5 St. So. Art’s Alive and Well in the Schools Exhibition Runs May 2 - June 20 Opening Reception May 2, 1pm Temporary Location 324 – 5 St. So. Southern Alberta Artist Association . . . . . . . . . . . . . . . . . . . Alberta Community Art Clubs Association, Southern Zone Show May 15 & 16 Arm Navy and Airforce Veterans Club 403.328.9942 U of L Conservatory of Music Feel the Beat’s Carnival of the Animals May 18 & 19, 10am & 12pm Cellofest May 21-23 U of L Faculty of Fine Arts. . . . . . 1940’s Big Band Jazz - Features David Renter’s Contemporary Jazz Works Orchestra (Historic Lethbridge Festival) May 1, 8pm Southminster United Church “We’ll Meet Again” - Music faculty and students (Historic Lethbridge Festival) May 4, 7:30pm Lethbridge Public Library
JUNE
june
events JULY july
Galt Museum & Archives . . . . . . Museum Community Day – Blackfoot Shirts Jun 5, 10am – 5pm
Galt Museum & Archives . . . . . . Museum Community Day – Canada Day July 1, 1-5pm
Our ancestors have come to visit: Blackfoot Shirts Exhibition runs June 5-August 29
Get Outta Town Bus Tour: Writing On Stone July Date TBA
Get Outta Town Bus Tour: Waterton Wildflower Festival June Date TBA
New West Theatre . . . . . . . . . . . . . Music-Comedy Revue Show July 2 – 24, 1pm & 8pm Yates Theatre
McGill Blvd. Music and Arts School . . . . . . . . . . . . . . . . . . . Open House June 12, 4-7pm 260 McGill Blvd. West Mystique Images and Evolved Productions Presents. . . . . . . . . . Inshala III - Gathering the Tribes An Ever Evolving Experience June 11 - 13 Fish and Game Park - Fort Macleod Southern Alberta Art Gallery . . Trudy Smith Exhibition Runs June 25 - September 5 Temporary Location 324 – 5 St. So. Cal Lane Exhibition Runs June 25 - September 5 Temporary location 324 – 5 St. So. Southern Alberta Artist Association . . . . . . . . . . . . . . . . . . . Pack-Up-and-Paint June 14 – June 16 Canyon Church Camp, Waterton National Park
Summer Theatre Camps Dates TBA Yates Theatre
U of L Conservatory of Music. . . Southern Alberta Vocal Experience (SAVE) Teen Program: August 8-14 Senior Program: August 13-21 University of Lethbridge
Summer Theatre Camps Dates TBA Yates Theatre Southern Alberta Art Gallery . . House Tours and Tea July 24, 10am – 3pm Location TBA U of L Faculty of Fine Arts. . . . . . Drama & Art Camps July 5 though Aug. 20
AUGUST august Galt Museum & Archives . . . . . . Get Outta Town Bus Tour: Hutterites & History August Date TBA New West Theatre . . . . . . . . . . . . . Music-Comedy Revue Show August 6 – August 28 Yates Theatre
Contact information for each event/organization: Ammena Dance Company ammenadance.com Empress Theatre Society empresstheatre.ab.ca Galt Museum & Archives galtmuseum.com Leeroy Stagger & The Wildflowers l e e r oy S t a g g e r. c o m Lethbridge Artists Club 403.328.6276 Lethbridge Handicraft Guild of Weavers, Lethbridge Ar tist Club, Te x t i l e S u r f a c e D e s i g n G u i l d , Oldman River Potters Guild & C h i n o o k Wo o d t u r n i n g G u i l d 403-320-5771
Lethbridge International Film Festival 403.328.2854 Lethbridge Symphony Orchestra l e t h b r i d g e s y m p h o ny. o rg McGill Blvd. Music and Arts School mcgillmusicandarts.com Mueller Art Gallery s t u a r t m u e l l e r. c o m Mystique Images and Evolved Productions Presents mystiqueimages.ca New West Theatre newwesttheatre.com Oldman River Potters Guild 403.329.3936
Playgoers of Lethbridge 403.327.1947 Southern Accord Chorus 403.381.4777 Southern Alberta Art Gallery saag.ca Southern Alberta Artist Association 403.328.9942 S p i r i t - i n - M o t i o n Yo g a spiritinmotionyoga.ca U of L Conservatory of Music uleth.ca/finearts/conservatory U of L Faculty of Fine Ar ts uleth.ca/finearts/events
ARTSBRIDGE
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on the cover: Henotic Restaurant, live music scene.
Mueller Photography
Photos by Stuart Mueller.
www.stuartmueller.com
See story on page 12.
muellerphotography@stuartmueller.com
403.328.8170