ArtsBridge Winter/Spring 2017 by Allied Arts Council Lethbridge

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

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SOLIDANCE Skies the Limit

PERFORMANCE ART A Life Well Performed

SOAR

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Piloting Their Art Practice

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

SEE PAGE 19 MEMBERSHIP FORM

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AGM ALLIED ARTS COUNCIL

ANNUAL GENERAL MEETING THURSDAY MARCH 23, 2016

7:00pm

ATB Financial Community Room

Casa

Presentation of annual reports • Appointment of auditors Reception to follow

Please RSVP your attendance to info@artslethbridge.org

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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 Publication date January 2017

Administration Suzanne Lint Executive Director Dawn Leite Executive Assistant Jana MacKenzie Finance Kelaine Devine Communications Muffy McKay Projects

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

Winter/Spring 2017 Board of Directors PRESIDENT Jenn Schmidt-Rempel VICE PRESIDENT Amanda Berg SECRETARY Greg Norman TREASURER Kristen Hood DIRECTORS Ron Brown Michelle Côté Louise Drysdale Mary-Anne McTrowe Don Reeves

director’s message “Live art performance remains an interesting art form because it contains the possibility of both the actor and the spectator becoming transformed during the event’s unfolding.” Peggy Phelan, Ann O’Day Maples Chair in the Arts, Professor of Theater and Performance Studies and English, Stanford.

The focus of this edition of ArtsBridge is performativity and performance. Lethbridge benefits from the presence and passion of numerous amateur and professional actors, dancers and musicians. These talented people bring vitality to the city and help to build our community. We are saddened to share the loss of a true theatre champion and AAC Lifetime Member Doris Balcovske (In Memoriam, pg 18); but are happy to highlight an emerging performer in the visual essay, Justin Many Fingers, who showcases the transformative power of the work of the contemporary performance artist (pg 10). Performing arts enhance the vitality of Lethbridge and revolutionize the lives of individuals. Accomplished musician and recognized community leader, Lottie Austin, shares her insight into the enormous benefits of music training (pg 8); and we are introduced to an exceptional dance program, Solidance, which empowers diverse people while creating community through movement (pg 4). A new addition to ArtsDays 2016 was a walking tour of downtown highlighting the history of performing arts and performance spaces in Lethbridge (pg 6). The tour provides some interesting information. In 1911, the 8,050 people living in Lethbridge were able to enjoy performances at 6 different theatres that graced the community. More than 100 years later, the 96,000 plus residents of Lethbridge are served by two community theatres, the Genevieve E. Yates Memorial Centre, our community auditorium and the Sterndale Bennett Theatre, the adjacent black box space. Lethbridge’s education institutions are served by high school theatre spaces plus the three performance spaces at the University of Lethbridge, the University of Lethbridge Theatre, the David Spinks Theatre and the University of Lethbridge Recital Hall. Audiences also attend events in churches and community halls, multipurpose community rooms at Casa and the Lethbridge Public Library, the converted office space of the Geomatic Attic, the occasional basement of a retail outlet and an assortment of performance supportive bars and restaurants. Lethbridge performers still continue to perform despite the limitations. The year 2017 will be important for the performing arts community as our theatre workhorse, the Yates, undergoes renovations with no suitable alternative venues available. The hope and vision of building a new performing arts centre is once again put to the test as the City of Lethbridge contemplates a new capital improvement plan. Increased performance space is essential to the sustainability and growth of the performance arts in Lethbridge. Performers need a place to perform. More importantly, we need to provide the space for expanded performance opportunities to our community. It is through the transformative experience of live performance that communities prosper, mature and develop identity. Let us grow through the arts.

For additional copies contact the AAC office. No part of this publication may be reproduced without the written consent of the publisher.

Suzanne Lint Executive Director A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBR I D G E

Mary-Anne McTrowe

board blog Experience can be understood as an artistic medium. That is to say, although every artwork creates some kind of experience (aesthetic or otherwise), some works of art are the experiences they create. The viewer’s involvement, and how the piece works upon the viewer, is integral to the coming into being of the piece itself. Robert Rauschenberg sums it up1, “A good work of art 1

changes you. If it doesn’t, either it’s bad3 or you’re stupid4,5 or both6.”

This somewhat inflammatory statement may not,

in fact, have been said by Robert Rauschenberg,

Sturgeon’s Law f states that “90% of everything is crud”. I believe it.

the collagist, painter, and neo-Dadaist a . I have a memory of coming across the quote in my third

I object to Rauschenberg’s use of the word

year of undergraduate studies while researching

“stupid”; I would use the term “wilfully ignorant”

a paper on the international art movement from

myself.

the 1960s and 1970s known as Fluxus b. 5 2

If the work of art you have been contemplating

But what exactly is art? Here are three definitions

all this time has done nothing to change you, it

that I like- the first is from Fluxus group member

may not be due to any lack on your part (see

Ben Vautier c : “Everything is art.” Playwright, poet, novelist, and art collector Gertrude Stein d

Sturgeon’s Law, above). Don’t be too hard on 1

yourself!

instead tells us, “Art isn’t everything. It’s just about everything.” Finally, abstract painter Ad Reinhardt e

defines art in negative terms: “Art is not what is

not art.”

Sturgeon’s Law (above) and wilful ignorance collide; the art can do nothing, and regardless the viewer leaves unchanged. How boring and sad!

my favourite Rauschenberg piece is where he erased a Willem de Kooning drawing.

central to Fluxus art ideology was the attempt to do away with the art object as a non-functional commodity, and instead focus on experience as the work. Even the mundane events of life could be considered for contemplation. Take Alison Knowles’ 1962 instructions for the performance, Proposition: “Make a salad,” or Mieko Shiomi’s 1964 event, Water Music, which reads: “1. Give the water still form. 2. Let the water lose its still form.”**

author of one of my favourite sets of performance directions ever: “Take the chair and eat it. If it’s too hard to eat, throw it out of the window.”***

in her book, Tender Buttons, she begins her description of a drawing with “(t)he meaning of this is entirely and best to say the mark”.

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known for his “black paintings”, which seemed to show nothing at first glance but, after the viewer had spent a very long time looking at them, would reveal that there were indeed figure and ground after all and not just a featureless field of black.

named for science fiction writer Theodore Sturgeon.

** Her score for Wind Music emphasizes an experience in nature: “1 Raise wind. 2 Be blown by wind. 3 Wind at the beach wind in the street

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wind passing by a car Typhoon.” *** To be honest, I don’t have an actual reference for this either. It may or may not have been Ben Vautier.

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There are more benefits than just physical activity. They are using their bodies and refining physical skills but within the art of dance, participants want to improve, tell stories and perform.

Solidance : the Sky is the Limit Kelaine Devine, AAC Communications Coordinator Photos by Ruth Bergen Braun Photography There is movement. There is a movement. The Dance Studio at Casa is a very busy corner of the building with dance classes, rehearsals and dancers practicing their art. Twice a week, the studio welcomes Solidance, a democratic and cooperative association of dancers of all skills and abilities. Solidance is dance and movement for everybody in a completely inclusive environment regardless of ability, disability, income level, immigration status, cultural heritage, age, gender identity and sexual orientation.

“Whenever a dancer dances, they bring their culture with them.” ...Every participant has the space to fully express themselves through dance.

“Everyone in the room dances,” says Corey Makoloski, “You have to commit to the whole.” Corey with Callista Chasse are currently the two leaders of Solidance sessions in Lethbridge which are run through the University’s Recreation Services. He refers to the participatory nature of the sessions in which family members and care workers are also required to dance, not just with their clients, but with everyone. Solidance’s mother company is in Edmonton having grown out of a program at the University of Alberta; though the impetus for an inclusive movement environment evolved from the University of Lethbridge’s Complex Social Change Project. Professor Lisa Doolittle created a group called UpStarts with a disability population that explored discrimination in the workplace through movement and performativity. A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBR I D G E

Courtesty of the University of Lethbridge UNLIMITED production

Lisa, with Pamela Boyd, the former artistic director of MoMo, then created a Mainstage Production at the University entitled UNLIMITED. Corey signed on to the project as a choreographer. Chasse signed on as a dancer. They both became researchers in the Complex Social Change project at this time. UNLIMITED gathered dancers and actors of all abilities and had them develop a movement-based production together as a group. Many of the participants from UpStarts were involved with the project. From UNLIMITED grew Corey’s thesis project, LIMITLESS, a series of three video works starring an inclusive troupe of dancers. Many of the same dancers involved in this project were with UpStarts and UNLIMITED with the addition of new members. Among the goals of Corey’s thesis were developing teaching methods in dance and getting out of the university environment and into the community. Casa was an excellent venue to practice and rehearse, and the dancers were developing skills and a movement language. It was from this observation that the need to bring Solidance to Lethbridge evolved and began in the summer of 2015. January 2016 saw the first official sessions. A Solidance session is both like and unlike a traditional dance class. Each session is an hour and a half long. It begins with a circle. Corey and Callista are not always the ones leading the sessions. The circle allows the dancers to take deep breaths and become mindful about the class. Each participant shares their name and a movement which is then repeated by the group three times. In a group of twenty-five to thirty people, that is a lot of movement phrases to work through. The name circle is then followed by a more traditional warm up with a group for which trust and comradery has already started to be established. The session then moves into a 20 minute exercise that relates to the piece of choreography they are studying. Exercises can include mirroring, improvisation, pattern building or sign language. From the exercise, the dancers move into studying the choreography for the piece they are working on. Once again, Corey and Callista are not always setting these steps and have been working with participants so that they can lead the other dancers. Corey relates how a participant with Down’s Syndrome taught the class his own choreography. “He taught it to me and we co-taught together for the first session. By the second session, I was running the sound and he was leading the class.” Solidance provides this dancer the opportunity to teach, dance and choreograph his own artistic expression. As Corey notes, “His speech does not lead to good communication but his body does.” Dances are created as a group. There is improvisation, but also learned choreography; however it is the essence of choreography, as opposed to everyone putting their feet in the exact same place. One of the dancers does not like choreography as much as he enjoys to freestyle, so within a choreographed moment, he might bust out his own moves. These spontaneous moves embody the choreography in a totally unique way.

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MIRRORING EXERCISE “Whenever a dancer dances, they bring their culture with them.” Corey notes that the dancers bring all their experiences with them. One student loves ballet and that comes across in their movement. Others who have experienced pow wows bring that movement language and share with the class. Every participant has the space to fully express themselves through dance. To end each session, the curtains over the mirrors are closed, the music is turned up and a large social dance occurs where everyone moves their bodies and dances for the pure joy of it. The first session of Solidance saw Corey, Callista and Lisa each teaching for four weeks at a time in the two sessions. Now Corey and Callista each lead a session on different days for ten weeks. Each of them still visits the other dance groups as they miss dancing with the participants. In the past semester, Corey’s group learned five dances in ten weeks. They keep him on his toes and at the end of each class, Corey admits he is sweating. These are active classes. There are more benefits than just physical activity. They are using their bodies and refining physical skills; but within the art of dance, participants want to improve, tell stories and perform. Corey has had feedback from family members and care workers about the change that embracing dance has begun in participants. Dancers have gained an incredible amount of self-confidence. They are taking ownership, developing independence and taking initiative in all aspects of their lives. This new found confidence also changes the way others perceive the dancers. It breaks through stereotypes and changes expectations. It is art, it is dance, it is movement but it is also performative in its ability to evoke change and incite actions in all those who come in contact with Solidance. Solidance is a new organization within Lethbridge. Currently, both Corey and Callista have busy careers outside of teaching the dance classes but there is hope of growing and expanding the organization. You can see the Solidance troupe in action this spring at Lethbridge Society of Independent Dance Artists Annual Showcase in the Sterndale Bennett Theatre on March 11, 2017.

Want to try one of Solidance’s exercises? You will need some space, an even number of people and some painter’s tape. Place a taped line down the center of the room. One person is assigned to move. One person is assigned the reflection. The only rule: Do NOT cross the tape! Stand across from one another and just move the hands and the head for awhile. Get used to moving and observing. Work on levels without moving your feet. Move side to side and up and down. Walk away from the mirror but only in one path. Utilise movements from the previous two steps. Now you can travel. But pay attention to where other people are situated in relation to you. Problem solve. Reverse roles and begin at Step 1.

Solidance recently received a 2016 Lethbridge Inclusion Award from the Lethbridge Association for Community Living.

Dancers have gained an incredible amount of self-confidence. They are taking ownership, developing independence and taking initiative in all aspects of their lives.

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

Historic Theatre The ﬁrst Historic Theatre Walking Tour was conducted during ArtsDays and it was a huge success! Enthusiastic performing arts supporters toured the downtown core on a chilly fall day to learn more about the extensive history of Lethbridge’s theatre and performing arts. Come along for a quick jaunt in downtown to learn more!

Lethbridge’s ﬁrst theatre was constructed in 1885. Bourgoin’s

Hall was

an addition to the Saloon, a common practice in the late 1880s. Even then, at the time the Saloon added the theatre, the editor of the Lethbridge News was appealing for the construction of a suitable building for public meetings and entertainment. The theatre closed in 1888. Lethbridge’s population was less

than 2,000 residents.

In 1887,

the mess hall of the NWMP barracks was a major

This location had a lengthy history

theatrical venue. The barracks were used extensively until 1891 for theatrical productions.

with theatres,

Building Company’s Hall, also known as the Opera

and ending in 1969 with the closure of the

Hall, opened in 1891.

The theatre had a 20-foot stage with professional scenery and 400 seats. While it was heavily utilized by local amateur groups, it was a challenge to attract

beginning in 1911 with the Morris

Capitol Theatre.

professional touring groups. With the introduction of irrigation, and the boom

The Morris, had a capacity of

in the economy, the Opera House was converted into ofﬁce space. The theatre

550 patrons and was ﬁtted with

was closed in 1898.

a 450 sq. ft. stage, orchestra pit and four dressing rooms. The theatre was designed to accommodate smaller stage

Built in 1899, Oliver’s

Hall, or the new Opera House, was owned and

productions as well as movies.

operated by William Oliver. Mr. Oliver converted the lower level of his existing 42x72 ft two storey building into a hall, ﬁtted with a stage, scenery, piano, electric lights and seating for an audience of 350. Oliver’s Hall was the only live theatre venue until 1908. Lethbridge’s population was just over 2,300.

Grace McCurdy opened the Empress

Theatre in January 1913. The

theater was advertised as Canada’s ﬁnest photo play house and the most luxurious and comfortable theatre in the city. The Empress closed in 1932 and was put up for auction. Shackleford and Associates won the auction. The company remodeled the building and reopened as the Roxy Theatre in March of 1933. The Roxy was in operation until 1959.

The Lyceum

Theatre, opened in 1908, was a major performing facility

for live presentations until the Majestic Theatre was built in 1910. In 1909, the theatre walls collapsed due to construction failures. The theatre was expanded and reopened in 1909. The larger building had improved dressing rooms and an increased seating capacity of 350 compared to the original 200. The Lyceum remained in operation until 1925, but went through a number of changes in ownership and names. The theatre closed permanently in 1925 as the Kings Theatre.

The Eureka Theatre opened in 1908, was utilized for movies and vaudeville shows and averaged 3,000 visitors a week in 1910. The Eureka was the ﬁrst ﬁreproof theatre in Lethbridge with a water screen surrounding the proscenium. However, the owner felt the Eureka was inadequate and planned to build the Morris Theatre right next to this one. The Eureka Theatre closed in 1911.

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Theatre Factoids By 1911 • • • •

Population 8,050 6 theatres in operation More than 2,200 seats in theatres The smallest theatre was seeing more than 3,000 attendees a week in 1910.

By 1946 • Population 14,612 • 3 theatres in operation

1966 • Population 37,186 • 3 theatres in operation • More than 2,000 seats in theatres

2016 • Population 96,828 • 3 theatres in operation • 1,100 seats available in theatres Lethbridge has seen more than 30 theatres in operation since 1885.

Walking Tour 9

The new Bijou

Dawn Leite – Member of the Performing Arts Centre Advocacy Group The Paramount Theatre was built in 1950 and had 1000 seats. The theatre had a stage and proscenium and was used as a theatre venue until the Yates was built in 1966.

Theatre opened in 1911, and underwent

renovations to increase seating from 250 to 500 in 1912. The theatre was only open on Fridays and Saturdays and closed permanently and converted to an automotive garage and show room in 1917. It was the Majestic which made Lethbridge

Genevieve E. Yates Memorial Centre was built in 1966. The 488 seat auditorium

attractive to road shows and touring companies after the opening in 1910. The Lethbridge Herald had

has been the home for various local and touring performing arts groups since its opening. The

The

Sterndale Bennett Theatre, a 180 seat black box, was constructed in 1990. Renovations to both venues have already begun and the building will be closed for the 2017-2018 season. The Yates and Sterndale Bennett theatres will continue to serve the performing arts community.

described the theatre as “the most beautifully appointed theatre west of Winnipeg.” The seating capacity was more than 800 – there was a main floor, balcony and box seats. The stage could accommodate more than 75. The Majestic also had an extensive fly gallery. The theatre presented live performances almost every night of the week, except for short periods during the summer months. The theatre eventually became inefficient to operate and renovation was too costly. The theatre was closed and converted to dairy operations in 1942.

1 Avenue

Galt Gardens

2 Avenue

3 Casa

Southern Alberta Art Galler

3 Avenue

4 5

4 Avenue

2 12

11 Street

6 Avenue

8 Street

7 Street

6 Street

5 Street

4 Street

Stafford Drive

5 Avenue

10 Street

City Hall

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Yates Performing Arts Centre

Want to learn more about the historic theatres in Lethbridge? Come check out our Jane’s Walk on Saturday, May 6 at 1:00 pm. We will be meeting at Casa (230 8 Street South). We thank the Galt Museum & Archives for their support in research and the information available in George Mann’s publication, Theatre Lethbridge. We also thank those who have participated in the walk and provided additional feedback.

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

Performance Samuel Yamamoto, Art: Band Director, Magrath Jr./Sr. High School Leads to a Life Well Performed Written by Lottie Austin

Editor’s note: Lottie Austin and her husband Dr. George Evelyn are recipients of the 2016 Allied Arts Council Excellence (AACE) Joan Waterﬁeld Memorial Award. I met Lottie while videotaping an interview for the Mayor’s Luncheon for Business and the Arts. Toward the end, Lottie made a great statement about the beneﬁt of performance art education on all aspects for life. Sadly, the camera was packed up but the sentiment stayed with me. I asked her to expand on this thought for this issue of ArtsBridge. - Kelaine Devine

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My knowledge of the arts is greatest in the study of piano, which I’ve continued to pursue since my first lesson, at seven-years old. Following university graduation with a Masters in Performance, and a career in teaching and performing, I began a new career in financial and estate planning. During this career transition, I discovered that the skills learned studying piano were easily transferable to the study of finance. Not only that, life lessons learned through the pursuit of perfecting performance in the arts, especially piano, has served me well in pursing portfolio performance for clients. It’s my belief that the pursuit of a performance art education is an education in using all our senses, developing the necessary skills, habits and beliefs to successfully seize the reins of life and to live it well. The pursuit of music creates a plethora of skills: memory strength, tactile sensation, emotional response, physical strength and intellectual stimulation. What other benefits does the study of music bring? Practicing and learning, even a small piece of music, teaches us to break down a goal into its small components - note by note, phrase by phrase to create the big picture, a whole work of music or an entire program. It teaches us good habits and stretches our brain’s plasticity. We learn goal setting and planning. We experience intellectual development and gain self-confidence, knowing that we can learn and perform; benefits that are transferred to other pursuits in life, unrelated to music. The confidence developed in learning music transfers to work and social situations.

The study of music translates well to increasing the ability to find success outside music. Studies show intellectual brain development is strengthened. The performer must adapt to various locations and experiences. Imagine performing a piano work and during the performance, abruptly discovering that the piano doesn’t have all the keys required (yes, this has happened to me!), or some keys do not work (yes), or there is a memory lapse (yes!). Adapt, adapt, adapt. This developed skill translates to work place changes, job changes (many new employees today will have multiple jobs during their career), and finding alternate work strategies when the expected process is unsuccessful. The study of piano also requires the player to increase dexterity as both hands are being utilized but in very different capacities. We learn the art of creating a theme or melody with one hand, while the other hand provides an alternate function. Many workplace jobs require dexterity including surgeons, dentists, wood workers and machine operators. The mental development required for the brain to look at notes, send messages to the fingers and for each hand to perform different functions, increases plasticity in the brain. How is this helpful? Plasticity determines our ability to learn skills at an increased rate. What employer would not appreciate an employee’s ability to adapt? Performance is a natural component of the study of music, which develops valuable life skills. The 7-year-old who plays for others learns that practise improves performance. The chorister singing in the choir develops the ability to listen to others, while singing their own part just as the pianist accompanying a singer or instrumentalist must listen acutely in order to adapt to any performance surprises. Performing increases our awareness of how nervous energy affects our abilities. This leads to analysis of the performance in order to do better next time. This self-evaluation following ‘performing under pressure’ is a useful tool to apply in workplace performance. This skill developed over time, leads to a habit of self-evaluation, modification of methods and improved execution - keys to success in the workplace and in life. The study of music increases an individual’s ability to create alternate connections in the brain, which could compensate for cognitive declines in aging (Brenda HannaPladdy, Emory University School of Medicine). These benefits are applicable to adults who took piano lessons as a child, even if they have not taken lessons in a long time (Northwestern University). IQ’s of young students who participated in nine months of weekly piano or voice training rose approximately three points more than their untrained peers. (Glenn Schellenberg, University of Toronto, Psychological Science). Simply listening to Mozart triggers temporary increases in spatial intelligence (Frances Rauscher, University of Wisconsin). Piano students understand mathematical and scientific concepts more readily than those who have not studied music. Children who received piano training performed 34 percent higher on tests measuring proportional reasoning, ratios, fractions, proportions and thinking in space and time (Neurological Research, 1997).

The pursuit of music creates a plethora of skills: memory strength, tactile sensation, emotional response, physical strength and intellectual stimulation.

The mental development required for the brain to look at notes, send messages to the fingers and for each hand to perform different functions, increases plasticity in the brain. How is this helpful? Plasticity determines our ability to learn skills at an increased rate. What employer would not appreciate an employee’s ability to adapt?

Music for the sake of music can stand alone in its value to individuals and society. Skills acquired through its study highlight benefits that go well beyond expected bounds to infuse its student with a blueprint for success - in the pursuit of music, career and life itself. Hooray for music!

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

V I S U A L E S S AY :

JUSTIN MANY FINGERS, PERFORMING ARTIST

“It was very important to understand music, dance and theatre as a performer. It makes no sense to study one art form. For myself, the art form is the human body and how we navigate through life with thoughts, vocalization and human physics. When the main focus is on one art form, the rest of the body is silenced and is limited in the studio and in art.

I come from the Kainai Blood Tribe Reserve. I am a survivor of intergenerational trauma. From a

“Through rigorous

physical and scientiﬁc point of view, I have been

studies over the years,

silenced from my bloodline that I am still discovering

I am reconnecting the

and reconnecting with even though I lived on

artistic formation to the Blackfoot (Niitsitapii) evolution of culture and survival through arts.“

the reserve. As a Blackfoot First Nations native of Alberta, Canada, I am entering a new era with my artistic performance practice in the arts. I am always reconnecting back to the land, elders and culture. What we do is incredibly relevant and needs to exist, it is how we are reconnecting back to our roots after the devastation of colonization (referring to the Canadian history of both Canada and the native people that ﬁrst resided here). Through rigorous studies over the years, I am reconnecting the artistic formation to the Blackfoot (Niitsitapii) evolution of culture and survival through arts.

What I hope to accomplish in my short lifetime is an offering back to my culture; the ritual of renewal of stories, dances and song in this new age of preservation through the arts.”

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Justin Many Fingers has worked with the indigenous peoples of Australia, Thailand, Nunavut, Japan, Greenland, USA and Mexico. His homeland is the Kainai Blackfoot Reserve in Southern Alberta. He has studied in both western and indigenous performing arts forms for ﬁve and a half years throughout Canada. Justin is a graduate of the Centre for Indigenous Theatre, a three-year acting conservatory. He has also studied at the Soulpepper Actors Academy. Many Fingers has trained in numerous dance styles with Jock Sotto, Neil Leremia, Frances Rings, Santee Smith, as well as Bill Coleman, Penny Couchie, Alejandro Ronceria and Troy Emery Twigg. He has also attended the Banff Centre’s Indigenous Dance Residence, Toronto Dance Theatre’s Intensive and Kahawi Dance Theatre’s training program and the One Yellow Rabbit Lab intensive. The Elders he has learned from and worked with are Narcisse Blood, Alvine Mountainhorse, Beverly Hungry Wolf and Raymond Many Bears. Many Fingers is now in the process of starting Niitsitapi Dance Theatre in Lethbridge, Alberta. This initiative has come about due to his love of producing, directing, choreographing and creating.

“For myself, the art form is the human body and how we navigate through life with thoughts, vocalization and human physics.”

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

B en

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Piloting Their Art Practice: Soar Alumni Reflect

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La ur

Soar Emerging Artist Festival, is a 5 day, multidisciplinary arts festival for emerging artists. The festival began in 2015 in conjunction with the Lieutenant Governor of Alberta Arts Awards. In its third year, this legacy project invites emerging artists from all over the province to perform, exhibit and learn. We asked some of our Soar Alumni to reﬂect on their experiences with the Cabaret Nights, Symposium and the Soar Visual Arts Project.

Laura Ajayi lauraajayi.com I graduated with a B.F.A. (Art) from the University of Lethbridge in 2009, and despite having an excellent foundation for my art practice, I floundered in the ‘real world’ and became insecure in my work. Having recently returned to Alberta after giving birth to two babies, I began taking small steps toward rekindling my creative work, however my remote location in Northern Alberta made it difficult to connect with an arts community. Soar marked a turning point in the way I see myself as an artist and the seriousness that I bring to my work. Although I was really pleased to be included in the M.A.P.S. Project, I had written off attending the Symposium because of the investment it would take in travel and childcare. When I became aware of the Soar Travel Bursary offered through the AAC, I applied and held my breath! Receiving that funding enabled me to travel with my children, attend interesting and relevant seminars, participate in the opening reception for the M.A.P.S. Project and connect with a community of artists. Making this event accessible to rural artists and parent artists (my baby girl slept on my back for at least half the sessions!), through this bursary, was incredibly valuable to me. The Social Media Marketing seminar was particularly useful to me, a late-adopter of all things web-based. I can say honestly that I use the information from that seminar almost daily, both in my own art practice and in promoting my brand-new business offering art classes and workshops. As an artist in a rural location, I so enjoyed attending artist talks and having conversations about the content of their work. I am still considering some of the ideas presented in those talks and they continue to influence how my thinking about my own practice.

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Ben Price magician.org/member/benprice Instagram – benpricemagic

Twitter - @benpricemagic Facebook - facebook.com/benpricemagic

“My interest in magic goes back many years. During my studies, I found myself bemused at humanities attempt to answer the unanswerable, give names to the unnamed, and deﬁne the seemingly indeﬁnable. But what happens when all matters of reason give way to the truly inexplicable? Then we call it magic.” – Professor Price. Through the magic of the Soar Festival, I was able to bring life to a character that otherwise never would have seen the light of the stage. Myself, along with my writing partner and director Cameron Lomon, created a show that was an extreme departure from my standard comedy magic show.

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Having the festival as an explorative platform opened up many creative doors for me as a young, independent artist and magician. I was able to turn my knowledge of magic history into a complex, funny, and interactive theatrical show that was extremely well received by the Soar audience.

I took the lessons I learned from my experience at Soar and I adapted the way I perform my private shows by including an intriguing narrative that enables me to present my magic in a way most of my audiences have never seen. I have been able to discover a lot about magic as an art that I never would have had if Soar hadn’t given me the stage on which to do so. Since Soar, I have booked shows with many local groups that have all enjoyed the show I presented. I hope to be back at Soar in the coming years and I thank all involved for their dedication to making the festival happen.

Victoria Nestorowicz mokshamama.wordpress.com I was born and raised in Lethbridge but went out east to pursue my education in music and theatre at Sheridan College. I worked professionally in theatre, ﬁlm and television for about 10 years. I took a break from ‘acting’ in my early thirties to study Herbology in Calgary and had my son. Consequently, I became very interested in birth and assisting women through birth. In the fall of 2015, I worked in a birth centre in the south of India. The midwife-run centre assisted young women who had been abused and were pregnant. It is a very important resource. When I returned from India, we moved back to Lethbridge. The call for submissions to the Soar Cabaret was an opportunity to re-visit my experience in India and be creative again. I submitted my idea. Upon being accepted, I began writing my piece and workshopping it. Soar was a great opportunity for me as a beginner writer and director. It allowed me to be vulnerable and discover what does and doesn’t work in a theatrical setting. The festival did all the administrative work allowing me to focus on my art - this was invaluable. I had the resources to give the very talented actresses in my piece an honorarium. Meeting the other artists involved in the Cabaret Nights was exceptionally worthwhile and introduced me to the wonderful team at the AAC. Soar has inspired me to continue creating and telling stories. I highly recommend visual and performance artists submit to the Soar Emerging Artist Festival. It is an accessible platform to shape your craft and explore your inventions.

The Soar Festival continues into 2017. Each new iteration of the festival builds on the previous year’s festival. The Professional Development Symposium is open to emerging artists of all ages and will continue to provide mentorship to those pursuing arts careers. The Cabaret Nights and Visual Art Project are open to artists aged 18 – 35 (see pg 18). It is hoped that as alumni age beyond these calls that they become mentors for the artists following in their footsteps. Soar, at its core, provides community for emerging artists and that support grows each year as the festival grows.

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

Bridges conductor Nick Sullivan

Professor of Low Brass - U of L; Southern Alberta Trombone Collective (SATbC) How long have you been conducting? On and off for about 10 years as part of my teaching, working with various brass groups at the University and within the Community. What style(s) of music do you conduct? Generally, the groups I’ve worked with are viewed as within a ‘classical’ music world, but that may be more because of which instruments are in the ensemble as opposed to what music we perform. Many of the brass ensembles I’ve worked with perform music from early Renaissance times up to modern rock and pop tunes! Could you describe the relationship between a conductor and a band/ orchestra/symphony member? There are so many layers to this type of relationship, but I’ll pick one: trust. Trust that the musicians will learn their parts and be prepared, trust that the conductor will lead the ensemble in an appropriate direction musically, trust that the musicians will be capable to achieve those musical goals, trust that the conductor will be organized and conscious of the time commitments of all participants and so much more. Trust that everyone will do what is needed to achieve a rewarding musical performance! What excites you about working with musicians? Seeing the success that comes from all working together. The more people you add to the mix, the more complicated things can get; when everyone is ‘in the zone’ during a performance, some truly magical things can happen. Being a part of that musical success, as a performer or as a director, is an incomparable feeling. What is it like leading a group of musicians? A little terrifying! But in an exciting way; you’re responsible for the direction of a number of people who rely on you to provide clear direction, whether verbally or through your gestures. I find I need to be overly prepared, have the motions planned out and practiced far in advance but also have a clear idea of my musical goals so I can describe them with confidence to the ensemble. If I have a clear vision for what I want to achieve, it is far easier to convey! Future conducting goals? Not falling off the podium while waving my arms? My goal is always looking for the next opportunity to create great music with musicians who are engaged and excited to do the same!

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Bridges is our on-going feature that explores relationships in the arts. Lethbridge is an ‘Art City’ with numerous opportunities to see and hear live music. It is these relationships that allow our local performing arts groups to make something larger and grander than possible by the singular artist. This is especially true with the relationship between a conductor and the musicians under their care.

How long have you been a musician? I started playing tuba in grade 5, so about 24 years now. Music was a required course where I went to school. I didn’t know which instrument to play. The band teacher looked at my height and suggested I play tuba. I’ve been hooked ever since.

Gregg Samuel

musician

Lethbridge Symphony member, Lethbridge Community Band Gold Band member

What style(s) of music do you play? I mostly play classical, as that is most common for the groups for which I play. I have played bass trombone in a jazz ensemble in the past and really enjoyed that. Recently, I joined a polka band and that is a lot of fun. Each music style has its own feel and I enjoy playing anything that I can. I like to be as well rounded as possible. Could you describe the relationship between a conductor and a band/orchestra/symphony member? A good conductor will always ask for more from all sections. More expression, more dynamic differences, the list goes on... The beautiful thing about music is that you never stop growing. A musician can always work towards playing faster, shorter, higher, lower, better and so on. What excites you about working with a conductor? For me, a conductor needs to have passion. As with most art forms, passion is critical for a positive outcome. A good conductor will be able to get musicians to be excited about the music and want to put their own passion into it.

What is it like being a member of a large group of musicians? It can be a surreal experience to sit down with a large group of people and make music. The novelty kind of wears off after you have played with people for a number of years, but to sit down with a new group of people that you have never played with (and maybe not even know their names) and be able to make music together is incredible. Music brings together people from all walks of life with one common goal. I find it really interesting to find doctors and lawyers sitting beside students and trades people all with a common interest. It doesn’t matter what you do for a living or how you fill your days; when you sit down to play, the group only has one thing in mind and that is making great music. Future musical goals? Keep playing. I plan on playing until I am too old to hold my horn anymore.

A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETH B R I D G E

Mayor’s Luncheon for business and the arts

The Allied Arts Council of Lethbridge hosted the 11th Annual Mayor’s Luncheon for Business and the Arts on September 22, 2016 at the Lethbridge Lodge. The event recognized the achievements of individuals, organizations and businesses who have contributed to the arts vibrancy of our city. During the lunch, the Allied Arts Council Excellence (AACE) Awards were presented to an individual and business that have signiﬁcantly enhanced the arts community. The Young Artist Award was awarded to an up and coming Lethbridge-based artist who is advancing and enhancing the arts in our community. The Joan Waterﬁeld Memorial Award was presented to two artists, respected by their contemporaries, for outstanding contributions to the community. A jury comprised of AAC Board Directors and long-time members of the arts community deliberated throughout the summer to choose the 2016 award recipients.

Allied Arts Council Excellence (AACE) Awards: Individual: Vern Miller

Business: FWBA Architects

Nominated by André LaRoche

Nominated by the Southern Alberta Art Gallery

Joan Waterfield Memorial Award

Allied Arts Council Young Artist Award: Claire Lint Supported by Elizabeth Songer

Lottie Austin & Dr. George Evelyn

Nominated by the Lethbridge Symphony and The University of Lethbridge Conservatory of Music.

(L) Mayor Chris Spearman, (R) Claire Lint, Young Artist Award Recipient

From L to R: Dan Westwood, David Cocks, Christopher Babits, FWBA Architects.

(L) Mayor Chris Spearman, (R) Vern Miller, AACE Award Recipient, Individual

(L) Lottie Austin and (R) Dr. George Evelyn, recipients of the Joan Waterﬁeld Memorial Award with their award portrait (artist Blake Evernden).

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RAY

M E M O R I A L

JOLIFFE

S C H O L A R S H I P

The Ray Jolliffe Memorial Scholarship was established by the Jolliffe Family in 2008 to recognize the contribution of Ray Jolliffe in the ﬁeld of theatre production in the community of Lethbridge. Ray Jolliffe was an active member of the Lethbridge Theatre community for more than 40 years and his work backstage was instrumental in bringing untold productions to life. Ray was willing and able to handle many aspects of creating the magic of theatre. His work was a wonderful example of how the commitment of working behind the scenes is as rewarding as being on stage. The Ray Jolliffe Scholarship is a legacy of Jolliffe ’s contributions to the arts.

Mayor’s Luncheon for business and the arts

The scholarship provides ﬁnancial support to a student pursuing study in the ﬁeld of “Theatre Production Design and Management” and/or “Television Production and Design” at a recognized Canadian post secondary educational institution.

DEADLINE FOR APPLICATIONS MARCH 31, 2017: For more information or to apply, visit the Awards & Scholarships section of the AAC website:

allied arts co un cil

www.artslethbridge.org

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CALL FOR NOMINATIONS! Do you know someone who has contributed to the artistic vibrancy of Lethbridge through volunteerism and philanthropic activities?

Awards The Allied Arts Council is

calling for nominations for the

AACE Individual Award,

AACE Business Award,

AACE Service Organization Award, Young Artist Award and the

Application for the scholarship is open to Canadian students who were born, raised or are presently residing in the geographic area from the County of Warner, west to the British Columbian border and Vulcan County south to the United States border.

Is there a young artist who is making a difference in the city? Is there a business that champions the artistic community through donations and time commitments?

Joan Waterﬁeld Memorial Award.

Nominate them today!

For more information and to download nomination forms, please visit artslethbridge.org Completed Applications must be received by 5:00pm on June 1, 2017

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

IN MEMORIAM:

Doris Balcovske (nee Gibson) Honorary Lifetime Member of the Allied Arts Council

1924 – 2016 It is with great sadness that we bid farewell to Doris Balcovske. Doris was born and raised in the arts community of Lethbridge. Her parents, Chris and Linda Gibson and one of her two children, Sandi were all involved within the theatre community. Doris gave her time to many service organizations in Lethbridge, but had a particular love for arts organizations. She was one of the founding directors of the Allied Arts Council in 1958. Throughout the years, she served on the executive in every role including president several times over. Doris was named a lifetime member of the AAC in 1968. Volunteering extensively in the theatre community, Doris served on the executives of both Playgoers of Lethbridge and Centre Stage Productions. She is remembered fondly in George Mann’s Theatre Lethbridge: A History of Theatrical Production in Lethbridge, Alberta (1885-1988.)

Photo courtesy of the Galt Museum & Archives

“Doris . . . could usually be called upon to do all those kinds of tasks which have to be done but for which there is very little, if any, glory. But then, Balcovske was raised in a family where volunteer service to the community and its organizations was an accepted way of life. As a Playgoer, she participated in the executive, she performed many tasks backstage, she maintained the scrapbooks for many years, and she appeared onstage, occasionally. She even agreed to perform as Sergeant Presson’s trusty dog, Rex, in Ed Bayly’s melodrama, Priscilla Pringle’s Predicament.”

Amongst Doris’ achievements was being a passionate proponent for a cultural centre in Lethbridge. She was one of the voices that lead to the creation of the Genevieve E. Yates Memorial Centre in 1966. Her contributions and service are too great to number here. Her dedication was unparalleled but can be best summed up with this quote from her President’s report to the Community Services Directorate in 1974:

“In today’s world, the volunteer has become almost suspect - why would anyone work for nothing? . . . For the sheer love of it. “

Soar - Emerging Artist Festival takes place from May 31 - June 4, 2017 and is a 5 day, multidisciplinary arts festival of new work and professional development opportunities by and for emerging artists. Soar features the work of emerging artists - theatre, dance, cyber-art, music, painting, photography, filmmaking, poetry and more. Soar encourages emerging artists to explore interdisciplinary work, multimedia and new technologies.

Soar Visual Arts Project “I HAVE SOMETHING IMPORTANT TO TELL YOU: a postcard to a friend I haven’t met yet” A Mail Art exhibition in the Casa Passage Gallery and various locations downtown that challenges artists aged 18 – 35 to create a distinct piece of postcard sized art. Call for Submissions available online January 1, deadline February 28

Soar Cabaret Submission Call To Performing Artists Artists aged 18 – 35 are invited to submit work for presentation (music, drama, performance, dance, new media, spoken word) at Soar Cabaret Nights. Artists are encouraged to explore collaborative inter-disciplinary work, multi-media and new technologies. Successful applicants will receive tech, admin, marketing support and artist honoraria. Submissions open and forms online November 30, deadline February 28

Soar Symposium - Open To All Ages The Soar Symposium offers unique professional development workshops, panel discussions and artist talks. Spend the weekend honing your skills or learning new ones. Registration is open to the public – artists and arts supporters of all ages, disciplines and skill levels. Registration opens March 1

$25 Symposium Pass to professional development sessions $50 Festival Pass includes all Symposium sessions and Cabaret admission 18 arts bridge

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

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

Core funding support is gratefully received from:

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MABNEYTTEVROTHICAENSONE ARE

Become an AAC

member

Organizations, individuals and businesses can demonstrate support for the arts in Lethbridge with an AAC membership! For a full listing of member beneﬁts, visit www.artslethbridge.org NEW MEMBER

New members

Allied Artist Associate Individual Friend Family Friend Business/Corporate Friend

July - December 2016

WELCOME NEW MEMBERS: Associate Members:

Artist Members:

Royal Class Piano Service

Katherine Bourke Paul Butler Jheri Cook Brenda Isaak Takao Glen MacKinnon Karen Patching Elizabeth Porter Rennie Poynton Anali Reizvikh Jean Sheppard Morris Soenen Jason Trotter Cristina Wiebe

Friend Members: Joni Mohr

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

calendar of events January January

The Gallery at Casa Composition in the Shape of a Pod: Surrounded by Exquisite Detail Janice Rahn Main Gallery The Age of Man, work by Rick Gillis Concourse Gallery Work by Bonnie Patton Passage Gallery Opening Reception: January 7, 7:00pm Shows run January 7 – February 18 Galt Museum & Archives Kids Celebrate! Until January 15 Main Gallery Signs of the Times with Trish Purkis January 19, 7:00 - 9:00pm The Empress Theatre Rosie and the Riveters January 28, 7:30pm Lethbridge Public Library All that Glitters – Valmarie Cooke Until January 18 Library Gallery, Main Branch Lethbridge Symphony Gilbert & Sullivan February 3 & 4, 7:00pm Southminster United Church New West Theatre Luke’s Lunchbox by Sharon Peat Until January 7 Sterndale Bennett Theatre Southern Alberta Art Gallery Another Name for Everywhere – Miruna Dragan Until February 5 Blue Flame: Constructions and Initiatives – Anton Ginzburg Until February 5 Troyanda Ukrainian Dance Club Malanka January 21 Southern Alberta Ethnic Association University of Lethbridge Art Gallery 50 (art + people = X) January 6 – February 17 Helen Christou Gallery, LINC Building, Level 9

Mi’kwite’tmn (Do You Remember) January 19 – March 9 Main Gallery, Centre for the Arts, W600 Coffee’s On at the Gallery January 25, 9:00 - 10:30am Main Gallery, Centre for the Arts, W600 The Drawing Bar January 26, 7:00 - 9:00pm Main Gallery, Centre for the Arts, W600 University of Lethbridge Conservatory of Music First Friday Lunch & Listen Concert Series From Poulenc to Porter: Arias, Art Song & Musical Theatre, featuring Megan Wittig, Brenton Taylor and Joel Goodfellow January 6, 12:15 - 1:00pm ATB Financial Community Room, Casa Birthday Concert Series: Celebrating Franz Schubert January 30, 4:30pm ATB Financial Community Room, Casa

Lethbridge Symphony Love Notes 2017: With Love from Broadway February 11, 5:00pm ATB Financial Community Room, Casa

University of Lethbridge Art Gallery Second Nature Opening March 16, 4:00 - 6:00pm February 24 – June 2 Helen Christou Gallery, LINC Building, Level 9 Culture Vulture Saturdays– Drawing the Future February 25, 10:00am–5:00pm U of L Main Atrium University of Lethbridge Conservatory of Music First Friday Lunch & Listen Concert Series Trombones at the Movies, featuring Nick Sullivan and the SATbC February 3, 12:15 - 1:00pm ATB Financial Community Room, Casa

march

March February february Casa Family Fun Day February 20, 10:30am – 3:30pm Youth Art Week February 21 - 24 Galt Museum & Archives Why I Hate the “F Word” February 1, 2:00 - 3:00pm From Pianos to Power Chords February 4 – April 30 Main Gallery Exhibit Grand Opening & The Curator Presents with guest curator Tyler Stewart February 5, 2:00 - 3:00pm Painting an Image with Songs February 15, 2:00 - 3:00pm Family History Day February 20, 1:00 - 4:30pm Lethbridge Community Band A Night of Big Band Music February 18, 7:00pm College Drive Community Church

Allied Arts Council Annual General Meeting March 23, 7:00pm ATB Financial Community Room, Casa The Gallery at Casa Pine Cones in Soft Mouths work by Mandy Espezel Main Gallery Divining work by Kelsey Stephenson Main Gallery Work by Colleen Anable Passage Gallery Work by the Lethbridge Photography Club Concourse Gallery Opening Reception: March 4, 7:00pm Shows run March 4 – April 15 Galt Museum & Archives Jazz, the Great American Musical Art Form March 1, 2:00 - 3:00pm Bamboo Flutes March 3, 1:30 - 3:00pm Taiko Drumming March 4, 1:00 - 2:00pm

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The Empress Theatre Centre Stage Concert Series Tia Brazda March 11, 7:30 - 9:30pm

Lethbridge Community Band Celebration of Brass Brass Choir March 4, 7:00pm La Cite’ des Prairies Mozart & Mario Silver Band March 18, 7:00pm College Drive Community Church Lethbridge Photography Club Photo Fusion March 7 – 8, 7:00pm Casa Lethbridge Public Library Lethbridge International Film Festival March 20 – 25 Main Branch Lethbridge Symphony Latin Fever March 3, 7:00pm La Cite’ des Prairies Catch Me (If You Can) March 20, 7:00pm Southminster United Church University of Lethbridge Art Gallery The Drawing Bar March 2, 7:00 - 9:00pm Main Gallery, Centre for the Arts, W600 Looking Back / Looking Forward March 16 – June 9 Main Gallery, Centre for the Arts, W600 Knit ‘n’ Knatter / Crochet ‘n’ Chatter March 27, 12:00 - 1:00pm Main Gallery, Centre for the Arts, W600 University of Lethbridge Conservatory of Music First Friday Lunch & Listen Concert Series Global Drums March 3, 12:15 - 1:00pm ATB Financial Community Room, Casa Birthday Concert Series: Celebrating J.S. Bach March 20, 4:30pm ATB Financial Community Room, Casa

Cover photos by Henriette Plas