City of Guelph Artist-In-Residence Greg Denton in his downtown studio. See story on pg 14
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WAYS WE REMEMBER:
Legacies of In Flanders Fields
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WAYS WE REMEMBER I remember the first time John McCrae’s poem, In Flanders Fields, held any real significance for me. I was touring Europe with a childhood friend at the tail end of another year in university when we found ourselves on the historic World War One battlefield of Beaumont Hamel – a spot in northern France where, in the span of fifteen minutes on the hellish morning of July 1st 1916, upwards of ninety percent of the almost 800 soldiers of the Newfoundland Regiment were either injured or dead from a barrage of fire rained down upon them by the German army. I remember the undulating terrain of the battlefield still scarred from the thousands of shells that tore it to shreds a century ago; and the opposing sides’ trenches that couldn’t have been more than a measly twenty feet apart at some points along the line; and a curious grave stone that recorded the names of two soldiers (as opposed to the usual one) because, as our guide
informed us, 'those soldiers’ bodies had been found fused together' – the result of last ditch efforts to huddle close and protect one another. And I recalled the lines from McCrae’s poem: We are the Dead. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie In Flanders fields. And for the first time in my life I began to understand (at least a little) the weightiness of that ‘Great War’, and our responsibility to remember again and again that generation of mostly youngsters – eighteen-, seventeen-, sixteen-year-olds – who would never make it back. And also the significance of McCrae’s poem as a tribute to those men and women who died, and as a living monument to their memory. This special issue of col.lab.o.rate has been
published with the guidance and support of Ella Pauls (Manager, Cultural Affairs & Tourism), Stacey Dunnigan (Supervisor, Guelph Tourism Services), and Tammy Adkin (Manager, Guelph Museums) not so much as an historical look back at McCrae’s poem, but as a look forward at the legacy it continues to leave. Indeed, McCrae’s In Flanders Fields effectively demarks one of the most salient beginnings of a phenomenal local literary, artistic, and cultural legacy. A legacy that continues to inspire and inform our community as Guelph carries on growing into a richly-textured metropolis.
Chris Tiessen Publisher, col.lab.o.rate Manager, Marketing & Communications Guelph Chamber of Commerce guelphchamber.com
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col.lab.o.rate issue 6: fall 2015
Contents: 6. Creating a Space for McCrae: The hill had a lot to say 9. How the Poppy 'Went Viral'
Chris Tiessen Publisher. Editor. Writer. Photographer. Has been to la Somme.
10. The Eden Mills Writers’ Festival: A literary picnic on the banks of the Eramosa 12. From One Tank to Another: Russ Bateman’s Journey from Troop Leader to Royal City Brewing Co. 14. Moments of Sitting in Remembrance and Reflection: the painter and the sitter 18. Thoughts of Poetry & Remembrance
Cai Sepulis Art Director. Designer. John McCrae PS Graduate. Other collaborators: Ella Pauls, Robin Morden, Hélène Duguay, James Burgie, Starr LoFranco, Andrew Vowles & Taylor Moran.
21. Shared Values: Intrigue & Meridian pull together to help community benefit 22. ANAF & The Making-Box: How comedy in Guelph took root & blossomed in the most unlikely soil 23. John McCrae in the Imagination of Lucy Maud Montgomery 26. Hillside Moments: Of Love and Community and Music and Memory 30. ‘We Shape Our Buildings: Thereafter They Shape Us’ 33. The Guelph Lecture: (Memories) On Being Canadian 34. Saving McCrae House: How a handful of locals helped preserve a piece of our history
䄀 挀漀渀瘀攀爀猀愀琀椀漀渀 戀攀琀眀攀攀渀 䄀渀琀栀漀渀礀 搀攀 匀愀 愀渀搀 倀爀漀昀⸀ 刀漀最爀椀漀 䴀椀最甀攀氀 倀甀最愀 ⠀䌀爀漀猀猀眀愀礀猀 嘀椀猀椀琀椀渀最 匀挀栀漀氀愀爀Ⰰ 唀渀椀瘀攀爀猀椀琀礀 漀昀 一攀眀 䰀椀猀戀漀渀⤀
CREATING A SPACE FOR McCRAE The hill had a lot to say
Article & Interview by Ella Pauls, Manager, Cultural Affairs & Tourism, City of Guelph
R
ory Templeton remembers the first time the hill spoke to him. As Landscape Planner for the City of Guelph, he was charged with leading the landscaping project for the expansive hill in front of Guelph Civic Museum. As the project unfolded, the hill quickly became a fully engaged character in the dramatic action. Whether submitting to design or resisting major change, the steep slope had its say. I caught up with Rory recently to ask about the creative process. Here's what he had to say:
Q A Q A
What was the intent of the landscaping program? The primary goal was to create a signature front yard for Guelph Civic Museum. The large expanse, coupled with its prime position at the highest point in our downtown, offered a rare opportunity to develop a unique green space that would provide a reflective context for Remember Flanders, the bronze sculpture of John McCrae by Canadian artist Ruth Abernethy.
As you began the project, what did the hill reveal? Both challenges and pleasant surprises. First we discovered that the hill consisted mostly of fill material. Our hope of reusing the existing soil to establish plant material had to be abandoned. The hill was slowly dying and it needed help. Then we uncovered large concrete walls, which had been the foundations of Bishop Macdonell Catholic High School that once sat on the hill. As excavation continued, the hill’s true impact – its sheer size, beauty, and commanding presence – was revealed. It was as if it had been invisible, passed unnoticed by thousands every day. Soon pointing fingers and smiling faces appeared along Norfolk. The hill was quickly becoming far more important than first appeared.
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'The hill spoke. We listened. To be sure, there was much give and take, but the end result was so much more than we could have imagined.' City of Guelph Landscape Planner Rory Templeton stands proudly in front of one of his latest creations
7.7.
Q A
The hill has a storied past. How do the design elements speak to Guelph’s history and character? The hill has been many things over time – a grove of mature trees, a garden for nuns, a school ground, and a manicured lawn. We wanted to come full circle, preserve the remaining large trees and restore it to a front yard space. The new plantings reflect the City’s commitment to native plant selection. Notice how the native shrubs create ribbons down the hill, like river tributaries, making their way to the downtown. The patterns and textures reflect how the land and its rivers have influenced the city from its very beginnings. The design also pays homage to McCrae’s In Flanders Fields – the ‘row upon row’ of serviceberry trees ties the site together. Our city’s character shines through in the purposeful informality of the design. Though the lines will be maintained to keep the overall concept intact, the spaces between will be free to grow into sustainable communities.
Q A
What does the future hold for the 'new' hill? The thrill for me is that the newly designed space is even more dynamic than I imagined. I now see it as a large-scale living sculpture that will evolve as the plants mature and seasons change. The spectacular vista, whether from below, or down from the top, will draw visitors from near and far. From his hilltop perch, McCrae will continue to inspire us.
No doubt the hill will carry on engaging anyone it meets. It will be fascinating to watch its new life unfold.
8.
Details of the hill designs
How the poppy 'went viral' by Robin Morden
The Remembrance Day lapel poppy, with its crimped red plastic petals, black felt pistil, and pin stem (good for pricking fingers, lousy for keeping the poppy in place) is a familiar sight. But the poppy didn’t become a powerful emblem overnight. Its evolution from resilient wildflower to enduring symbol is a remarkable story of inspiration, determined effort, and vision. The poppy’s contemporary symbolic resonance has its origin in John McCrae’s In Flanders Fields, which begins: ‘In Flanders fields the poppies blow …’. The poppy McCrae was referring to is the Papaver Rhoeas, or the corn poppy, the seeds of which can sit dormant on top of the soil for years at a time, germinating only when the ground beneath them is disturbed. In the spring of 1915, when Ypres’s war-ravaged fields and unseasonably warm weather created ideal conditions for poppy growth, thousands of red-crimson flowers sprang up, fragile figures of new life amidst a devastated landscape. McCrae’s genius was to realize the evocative power of this image. John McCrae’s poignant verses moved many readers across the world – but perhaps none so much as American Moina Michaels, who worked with the YWCA during the War. Describing the effect of reading McCrae’s poem as a ‘full spiritual experience,’ Michaels pledged ‘to KEEP THE FAITH and always to wear a red poppy of Flanders Fields as a sign of remembrance.’ In 1920, in the wake of a campaign by Michaels, the National American Legion endorsed the poppy as its national symbol. Anna Guerin, associated with the French YMCA, saw tremendous potential in Michaels’ idea. Not only could the poppy be used to honour dead soldiers, she thought, but proceeds of poppy sales could be used to help living victims of war, such as orphaned children. Guerin started manufacturing fabric poppies in France. Soon after, she travelled to Australia, Canada, New Zealand and Britain, to talk to people about the poppy. On July 5th, 1921, the War Veterans Association of Canada (later the Royal Canadian Legion) adopted the poppy as its national emblem of remembrance. If last year’s record-setting poppy sales are anything to go by, the genius, insight, and pragmatism of these three visionaries will continue to live in the revered annual tradition of the poppy.
'..McCrae's poignant verses moved many readers across the world..'
The Eden Mills Writers’ Festival: A literary picnic on the banks of the Eramosa
by Hélène Duguay Claire Paller remembers moving to Eden Mills with her parents when she was three years old. She recalls this small settlement about twelve kilometers east of Guelph as a lovely village in which to grow up, with many friends and family close by. But the village was quiet – except for that one weekend in September when the whole landscape exploded with people (including writers, of course), music, and delicious food! The Eden Mills Writers’ Festival has been holding a literary picnic on the idyllic banks of the Eramosa River for over 25 years. As its website reveals, the festival was founded in 1989 by Governor General Award winner Leon Rooke. At the time, Leon and his wife Connie lived in the former stagecoach hotel across the street from the then-Eden Mills General Store. The store owners suggested that Leon launch his latest novel from just outside their village emporium. Leon did, and invited other writers, including major Canadian literary figures like Rohinton Mistry, Jane Urquhart, Michael Ondaatje, and Linda Spalding to join him, and the Eden Mills Writers’ Festival was born. Over the years, the festival has hosted a veritable who's who of established and emerging Canadian writers, attracting the winners of Canada’s major literary prizes and rising literary stars to perform alongside well-established favourites such as Margaret Atwood, Ann-Marie MacDonald, and Lawrence Hill. The festival is a community-driven event. It depends heavily on wonderful volunteers who generously donate their time to make the event a warm and welcoming experience. Local residents make their properties available as reading sites, their lovely gardens providing perfect story-book settings for book lovers to hear authors read from their works. ‘I always looked forward to this beautiful September weekend when our little village was closed to traffic and the villagers so kindly let the festival-goers in for the weekend to share in the beauty of Eden Mills’, notes Claire. This year, on September 13, from noon til 6pm, over 50 authors will gather once again on the banks of the Eramosa to read from their latest books. Come hear them read and join in the festivities. Visit edenmillswritersfestival.ca
'..where new writers are introduced to a large audience and established writers are newly engaged.' - Leon Rooke
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䔀洀瀀漀眀攀爀椀渀最 䰀攀愀搀攀爀猀 琀漀 匀琀爀攀渀最琀栀攀渀 䌀漀洀洀甀渀椀琀椀攀猀 䠀攀氀瀀椀渀最 漀爀最愀渀椀稀愀琀椀漀渀猀 最攀琀 渀漀琀椀挀攀搀 愀渀搀 昀漀甀渀搀 椀渀 琀栀攀椀爀 挀漀洀洀甀渀椀琀椀攀猀⸀ 圀攀 戀攀氀椀攀瘀攀 琀栀愀琀 戀礀 栀攀氀瀀椀渀最 漀爀最愀渀椀稀愀琀椀漀渀猀 最攀琀 洀漀爀攀 愀琀琀攀渀琀椀漀渀 椀渀 琀栀攀椀爀 挀漀洀洀甀渀椀琀礀 眀栀攀琀栀攀爀 椀琀✀猀 最攀漀最爀愀瀀栀椀挀愀氀Ⰰ 戀礀 椀渀搀甀猀琀爀礀Ⰰ 漀爀 戀礀 椀渀琀攀爀攀猀琀Ⰰ 眀攀 挀愀渀 栀攀氀瀀 琀栀攀洀 栀愀瘀攀 愀 戀椀最最攀爀 瘀漀椀挀攀 愀渀搀 洀漀爀攀 椀渀昀氀甀攀渀挀攀⸀
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䨀漀栀渀 䌀⸀ 䴀愀砀眀攀氀氀 猀愀椀搀Ⰰ
䰀攀愀搀攀爀猀栀椀瀀 椀猀 椀渀昀氀甀攀渀挀攀Ⰰ 渀漀琀栀椀渀最 洀漀爀攀Ⰰ 渀漀琀栀椀渀最 氀攀猀猀⸀
椀渀琀爀椀最甀攀洀攀⸀挀愀
‘..all about promoting our local community.'
From One Tank* To Another: Russ Bateman’s journey from troop leader to Royal City Brewing Co. by Chris Tiessen Russ Bateman remembers the first time he felt the blast of an IED as it detonated underneath the convoy in which he was traveling. It was Fall of 2008, and occurred the very first day that Russ – then a troop leader in the Canadian Armed Forces – was escorting a convoy of vehicles through Kandahar Province. As he recalls: ‘The blast had a familiar sound – like a car door being slammed shut in the distance. Months after I’d returned from Afghanistan I continued feeling anxiety every time I’d hear a car door close.’ An anxiety that’s only recently dissipated as Russ continues to turn his attention toward exciting new entrepreneurial endeavours closer to home. Like a plumbing company, for instance, that Russ started in 2009 which now employees about ten tradespeople. And Royal City Brewing Co., a craft brewery that Russ co-founded in
12.
2013 with his close chiidhood friend Cam Fryer. As Russ remarks: ‘My tenure in the military definitely provided me with a skill set that’s enabled me to run my businesses effectively – including the abilities to manage time, people and projects.’ Indeed, if expansion is any indication of success then Russ’ management skills are proving extremely effective, as the evergrowing brewery is in the midst of increasing its capacity from a 500 liter system to a 1200 litre system. But while the military is an important part of Russ’ past, he’s careful that it doesn’t bleed too overtly into his present. ‘Since leaving the military and moving back to Guelph – a community I first fell in love with while studying at the university – Cam and I have remained deliberately hesitant about incorporating military themes into the marketing of the brewery. Instead, we’ve continued to emphasize Royal City as a business that’s all about promoting our local community.’
Russ (right) and Royal City brewer Cam Fryer with a bunch of tanks; (next page) Russ with troops in Afghanistan
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MARKET SQUARE
Indeed, from the brewery’s name to the names of its brews – including Suffolk Street Session Ale, Gordon Hill Hefeweisen, Exhibition IPA, 100 Steps Stout and more – Royal City Brewing Co. is by definition a celebration of Guelph’s favourite neighbourhoods, landmarks, and culture. And of great tasting beer. This doesn’t mean that the brewery avoids supporting military initiatives altogether – especially initiatives tailored to support the health and wellbeing of Canada’s veterans. Like Wounded Warriors Project, a charity that empowers injured veterans and their families. Last year, Royal City brewed a special Remembrance Red with proceeds going toward the charity. And last winter the brewery also helped fundraise for the ANAF Club 344 Refacing Project by organizing the inaugural Guelph Cask Beer Festival with some help from their friends – other area breweries. While this year’s centenary anniversary celebrations of John McCrae’s poem, In Flanders Fields, effectively recalls a Canadian military past as seen through old black & white photographs and grainy film reels, it’s important to note that our military heritage is alive in our community – no longer escorting convoys in tanks, but instead (at least in one case) brewing in them. *While proofing this article, Russ made it clear that he never actually traveled in tanks – but instead in various other types of military vehicles. I kept the title anyways – it just works so well.
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moments of sitting in rememberance and reflection: the painter and the sitter
Article & Interview by Ella Pauls, Manager, Cultural Affairs & Tourism, City of Guelph
G
reg Denton remembers portrait by portrait. Private yet public. Personal yet detached. These opposites are dynamically at play this summer as Greg Denton paints 100 portraits in oil, depicting living military personnel and others associated with war and loss. Greg was selected as the 2015 City of Guelph Artist in Residence to engage the community in a project commemorating the 100th anniversary of the writing of In Flanders Fields by John McCrae. Denton’s project, titled 100 Portraits/100 Poppies: Sitting in Remembrance, will creatively animate various public spaces in our downtown.
‘Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.’ -Oscar Wilde, The Picture of Dorian Gray Greg Denton painting – and sitting – in his downtown studio
15. 15.
the painter and the sitter (cont..)
In a recent conversation, Greg shared some thoughts on the development of this project.
Q A
You’ve painted many portraits. What’s different about this project? I usually paint in my studio where there’s no distraction. Taking my practice into public space to paint 100 portraits is a new experience. I feel like I’m pushing the boundary between street artist and studio painter. It’s forcing me to stretch the performative aspect of my work.
Q A
What do you require of the sitter? In a sense, the sitter is a collaborator. The sitter’s role is to surrender to the moment and let go of any expectation of the end result. That takes courage. The portraits are painted quickly in a single sitting, each within the space of about one hour. They’re not edited. The sitter has no control of the outcome, and must be comfortable with that. This approach puts both of us in a vulnerable position – and therein lies the necessary creative tension.
Q A
You describe these portrait sessions as both personal and detached. How so? There are multiple realities at play. For the sitter it’s very personal. Imagine watching your likeness come into being. You may love it or be slightly uncomfortable with it or even find yourself somewhat unrecognizable. My reality is quite different: I’m painting what I see in the moment and concentrating on how it relates to the work as a whole. We’re both watchers. I’m watching you and you’re watching your portrait unfold. That’s why the facial expressions in the portraits often seem serious. They are expressions of concentration.
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Studio details
Q A
What interested you in working with the Flanders commemoration theme? This theme gave me a chance to develop a very focused concept. I’m intrigued by the idea of repetition – in this case, everyone wears a poppy and is either in a military uniform or wearing something in similar colour. Each portrait is painted against a green backdrop. When assembled in grid formation, they will give a visual allusion of McCrae’s field of poppies. Even the white spaces between the portraits will suggest rows of crosses.
Q A
What’s the legacy piece of this project? I see each of the 100 portrait sessions is an act of commemoration in honour of individuals in our community who have experienced war and loss. Every painting is an unedited recording of what took place in that moment of sitting in remembrance and reflection. It will be an honour to share these moments and the resulting creative work with my community.
Irene Szabo
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䘀漀爀 琀椀挀欀攀琀猀 ☀ 搀攀琀愀椀氀猀㨀
眀眀眀⸀眀攀氀氀礀挀愀猀欀昀攀猀琀⸀挀漀洀
Thoughts of Poetry & remembrance ‘One lives in the hope of becoming a memory.’ Argentinian poet Antonio Porchia ‘For me, In Flanders Fields is one expression of the ‘personality’ of Guelph – oozing with creativity and talent, as in the first stanza, but rising to do duty to the causeat-hand as in the last six lines. A tension that makes us unique.’ Sue Bennett, University of Guelph
’Having stood among those rows of poppies and the crosses that mark the resting place of Canadians who gave the ultimate sacrifice I am reminded, every time I hear In Flanders Fields, that we must acknowledge our sacred obligation to not break faith with those who died or those who fought and returned, who, with their families, need our support now more than ever.’ MP Frank Valeriote
‘Remembrance of things past is not necessarily the remembrance of things as they were.’ French writer & critic Marcel Proust ‘God gave us memory so that we might have roses in December.’ Scottish writer J.M. Barrie
‘My great grandfather was killed in France on the first day of the battle of the Somme in 1916. I think of him in the lines ‘short days ago we lived, felt dawn, saw sunset glow, loved and were loved’ and I am deeply moved by the call to service ‘take up our quarrel with the foe’ to protect what he died defending - peace and freedom from tyranny. Former Mayor Karen Farbridge
‘It’s impossible to truly understand the horrors of war unless you’ve been there. But through In Flanders Fields, we gain a sense of the grief, duty, and honour McCrae and his fellow soldiers experienced. That’s a remarkable gift for all of us in the generations that followed him. It inspires our profound gratitude for those who served, and those who continue to serve.’ Mayor Cam Guthrie
‘...to you from failing hands we throw the torch. Be yours to hold it high...’ I am inspired to think of the torch not as a weapon with which to continue the fight, but as an instrument of enlightenment, encouraging us to keep the faith with those who served and died, by finding a better way to achieve the peace and freedom for which they fought. This call to action is as relevant today as it was 100 years ago. Lest we forget.’ Tammy Adkin, Guelph Museums
‘When we think of the past it's the beautiful things we pick out. We want to believe it was all like that.’ Margaret Atwood, The Handmaid’s Tale
‘I feel as if I had opened a book and found roses of yesterday sweet and fragrant, between its leaves.’ L.M. Montgomery, Anne of the Island 19.
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Shared Values:
Intrigue’s Starr LoFranco (second from left) with (l-r) Meridian Branch Manager Amie Burke, District VP Carlo Montagnese & Branch Manager Cathe Lovell photo: James Burgie
Intrigue & Meridian pull together to help community benefit by Chris Tiessen with Starr LoFranco Starr LoFranco remembers feeling frustrated and discouraged working in the community benefit (ie non-profit) sector, where it constantly seemed as though ‘getting the message out’ – that is, effectively communicating the incredible things that local non-profits are doing to help strengthen our community – was next to impossible. And so she’s helped do something about it. This story begins with an alliance, a partnership, a union. Intrigue Media and Meridian Credit Union. You recognize them both. You’ve seen those names around town. Intrigue is a marketing company and Meridian is a financial institution. But marketing and banking aren’t the reasons they come to work each morning. People are. Intrigue’s purpose is to empower leaders to strengthen communities. As Starr (now working full-time at Intrigue) notes: ‘Giving back has been a core part of Intrigue since its inception. By helping organizations with their marketing, Intrigue helps them grow by allowing those leaders to do what they do best rather than worrying about marketing: the people at Intrigue are happy to take care of that.’ Meanwhile, Meridian exists to grow the lives of their Members and improve the communities
they live in. As Meridian branch manager Amie Burke remarks: ‘Through excellent programs like Commitment to Communities, we’re investing money, time, and talent to help build prosperous, resilient communities. Our entire team shares this vision.’ Do these organizations sound similar? The folks at Intrigue and Meridian think so too! They love Guelph. They’re passionate about community. They have fun while doing what they do. They work the same way. Their purposes align beautifully. And both organizations have come to recognize what led Starr to such great frustrations: namely, that community benefit organizations consistently struggle to reach potential audiences. Potential donors. Potential clients. Potential volunteers. Potential. And so when Starr, Intrigue’s Rob Murray and Meridian branch managers got together recently, an idea was born. Both wanted to give a Guelph organization resources to do more good here in their own backyard. Okay - they want to give this to ALL organizations, but they realize they have to start somewhere. They’re combining resources to connect a Guelph non-profit with the collateral it needs to have a robust marketing plan. After all, Intrigue and Meridian believe that
enriching community through sponsorship helps motivate their own teams. Who wouldn’t want to work harder together to build unique, strong, vibrant, communities? And with that, the inaugural annual Non-Profit Marketing Bursary was born. From August 15th to October 23rd, all local non-profit organizations are invited to apply for a marketing bursary to help get noticed in our community. If you’re interested in learning more about or applying for this bursary, you can visit intrigueme.ca/marketing-bursary. The winner will receive a $10,000 marketing grant from Intrigue and Meridian toward marketing services from Intrigue. Together these local organizations are making Guelph even more awesome! (If that’s even possible.)
'..enriching community through sponsorship..' 21.
‘With mirth and laughter let old wrinkles come.’ -William Shakespeare
The Making-Box co-creators Jay Reid & Ric Mattingley reliving past glories at the ANAF Club 344
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ANAF & The Making-Box: How comedy in Guelph took root & blossomed in the most unlikely soil by Chris Tiessen The Making-Box co-founder Jay Reid remembers the first time he heard a chortle of laughter at a Making-Box comedy show. It was as though the clouds had parted just a touch, and a single ray of sunshine was able to peek through – and wink. When it happened again, things got brighter still. And when the sporadic laughter of that inaugural show had by the end of the night evolved into a symphony of hysterics – tittering, chuckling, guffawing – which in turn evolved into a string of bi-monthly sold out shows, and a year later their very own comedy theatre and improv classroom on Baker St, Jay and his Making-Box business partner Ric Mattingley knew they were on to something good. And the space that housed such mirth and success? The (seemingly) most unlikeliest of places – the Army Naval Air Force (or ANAF) Club 344 Guelph. Dating back to 1845, the ANAF Club 344 has traditionally been home to an exclusive membership of Canadian veterans who most would assume gather there for somber reminiscences of shared military experiences. Who would have thought this the perfect home for comedy to blossom and flourish? ‘When we first approached the ANAF Club to see if they’d be inclined to provide an incubator space in which we could test whether there was a local market for amateurdriven comedy and improv shows,’ Jay recalls, ‘we were a bit nervous about how we’d be received.’ Adds Ric: ‘And the table of gruff-looking men drinking beer and watching soccer when we stopped by the club to propose our prospective tenancy certainly didn’t help assuage our initial anxieties.’
Ric Mattingley
Yet it became clear right away that ANAF was different from what they had anticipated. The staff were very enthusiastic about hosting The Making-Box – and at no cost. ‘For an untested start-up like ours with very little seed money and almost no track record to secure a free space in which to build a comedy community was a huge boost,’ Jay observes. ‘And the fact that the ANAF remained accommodating no matter how unorthodox our programming became was a bonus.’ (Case in point: the ANAF even let Jay and Ric use their oven to cook hundreds of Tasty Taters as part of a skit during a show.) ‘The ANAF means so much to the success of The Making-Box, Ric adds. ‘It’s where we launched our ‘First-Timers’ series featuring amateur comedians who’d never tried stand-up before. It’s where we introduced our ‘Two-Timers’ series featuring most of our first-timers drawn back to the stage for a second round of clammy hands and anxiety and awkwardness and adrenaline and awesomeness.’ He continues: ‘It’s also where Jay and I saw first-hand how a room full of complete strangers will come together in full support of a first-time comedian struggling on stage. And where these first-timers effectively broke past their comfort zones into new realms of confidence and possibility as they suffered victoriously through agonizing – yet astonishingly entertaining – sets.’ As we celebrate the centenary anniversary of John McCrae’s In Flanders Fields, I cannot help but point to an (albeit vague) analogy linking the poppies of McCrae’s poem with The Making-Box: namely, that just as the poppies found fertile soil in the mires of war, The Making-Box managed to take root and blossom in the most (seemingly) unlikeliest of places – our ANAF Club 344. Jay Reid
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John McCrae in the Imagination of Lucy Maud Montgomery
Checkmate
by Andrew Vowles They shared a birthday – Nov. 30 – and Scottish heritage. Might Anne of Green Gables author Lucy Maud Montgomery have held some unshared feeling for Guelph-born John McCrae, author of In Flanders Fields? It was summer 1910. Montgomery had already gained fame as an author and was engaged to Presbyterian minister Ewan Macdonald. By then, McCrae was practising and teaching medicine and pathology at McGill. It wasn’t his first teaching stint. In 1892-93, he taught courses at the Ontario Agricultural College. Young and inexperienced then, he garnered complaints from students about his teaching. In August 1910, he was appointed as doctor to an expedition organized by Earl Grey, Canada’s Governor General, to scout a possible rail link from the prairies to Hudson Bay. In York Factory, they boarded the Earl Grey steamship and sailed for the Maritimes. Grey had arranged to visit the PEI homestead of Dr. Andrew MacPhail, a famous Island son. Grey also intended to meet Montgomery. In a letter to MacPhail, he wrote that ‘I shd. like to thank her for Anne of Green Gables. I have not enjoyed a book more for a long time than I did hers – a Classic.’ His letter is quoted in Lucy Maud Montgomery: The Gift of Wings, a biography written by Mary Rubio, emeritus professor at the University of Guelph and co-editor of Montgomery’s journals. Montgomery wrote in her journal about meeting Earl Grey’s party that summer at MacPhail’s home. She remarked on other members of the group but left out McCrae. That’s intriguing to Rubio. Did the author’s silence hint at some unspoken admiration for the good-looking bachelor doctor? ‘There was not a romance between Lucy Maud Montgomery and John McCrae, but there certainly was a connection that I found remarkable in her failure to mention that she met him,’ says Rubio. Montgomery did perhaps write about the doctor in a more telling way. She began writing her novel Rilla of Ingleside in spring 1919. In January 1918, McCrae had succumbed to pneumonia amid the battlefields of the First World War. Three years earlier, he wrote In Flanders Fields, the poem that became famous worldwide. In Rilla, Walter Blythe also wrote a famous poem that ‘went around the world.’ Rubio says Walter, Anne’s fictional son, shared the literary sensibility, modesty and idealism of the young doctor that Montgomery met that summer nine years earlier at the MacPhail homestead. Montgomery and Macdonald eventually moved to Ontario, where he had a parish first in Leaskdale and then in Norval. This year, the Norval manse was bought by the L.M. Montgomery Heritage Society, which plans to develop the property as a museum and centre for literary excellence involving scholars at U of G and other institutions.
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Hillside moments: Of Love and Community and Music and Memory
by Chris Tiessen, with a little help from his friends
I
remember my first ‘Hillside Moment’ – those enchanting, magical bits of Hillside that give life a sudden luminosity. It happened some years back on a Hillside Friday while my oldest son Dylan and I kept watch over the festival’s sacred fire. Our task as fire keepers was to make sure the flame remained healthily ablaze, and to ensure that those who wanted to enter the fire’s circle followed proper aboriginal protocol. So we sat by the entranceway of the circle committed to fulfilling our role.
Folks came and went. Some stayed by the fire only briefly while others lingered. As the last bands finished their sets on the festival’s four stages, the fire’s circle served as a space of refuge amidst the sea of thousands of exuberant festivalgoers hustling back to their campsites, or to ‘Volly Village’ (the tent city that houses many of the festival’s 1300+ volunteers), or to the fleet of buses waiting to return these merrymakers downtown. I recall the laughter, yelling, and barely controlled chaos of the crowds creating a stark contrast to the tranquility of the circle and those sitting cross-legged, kneeling, or crouching silently by the fire. And then, as if by some sort of magic, there was calm. The distant chanting, yipping, and laughing from Volly Village became barely audible, and, finally, uniquely comforting. Except for a couple meditating by the fire, Dylan and I were alone. Under the clear night sky. With a cool breeze breaking the day’s oppressive heat. And the flames flashing low and constant. It was an entrancing moment. And it was good. Each Hillside since, Dylan and I have taken up that same Friday night shift as keepers of the sacred fire. And each year is different. There have been downpours. And clear skies. And heat. And cool. And, unfailingly, magic. We’ve come to covet our sustaining memories and nostalgia for the festival’s precious, unexpected Hillside Moments – whether at midnight by the fire or at other times throughout our Hillside weekends. Long-time Hillside Artistic Director Sam Baijal has no shortage of Hillside Moments. He fondly recalls the Arcade Fire performance that closed the Main Stage set in 2005. ‘While they were ending their epic performance with an encore of their anthem Wake Up, the band walked off the stage with their instruments,’ Baijal recalls, ‘and the mesmerized audience marched with them, over to Volly Village and into the warm summer night.’ Indeed, Sam’s penchant for billing emerging acts before they’ve ‘made it big’ – including The Arcade Fire (in 2004), Metric (in 2003), Feist (in 2000), Serena Ryder (in 2002) and so many more – has become a signature component of the festival. And has made for many memorable ‘first shows’. (main) Gospel Hour; (this page, top to bottom) Artistic Director, Sam Baijal; Little Oliver
Fly away, Sue... 'When I think of Hillside, I think of Sue Richards – a woman who defined for me creativity, community, encouragement and fearlessness. Our community continues to shine on as a bright beacon, attracting people who continue to nurture such characteristics. We move forward together, strengthening as we go. Sue would always say 'go for it!'' - Bunny Safari Hillside Festival co-founders Dy Maas & Sue Richards at the 2008 festival. Sue died in 2014, leaving her community with a legacy of boundless creativity and fearlessness. Photo: Bunny Safari
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Current Hillside Board Member Murray Short, for instance, remembers seeing Serena Ryder play Lake Stage in 2002, when she was just 19, before many folks knew who she was. ‘It was one of those performances that started out sparsely attended and ended with a packed tent of Hillsiders screaming and whistling and going crazy … That dazzling 2002 set continues to stand out above her more recent mainstream sound.’
‘Music is the art which is most nigh to tears and memory.’ -Oscar Wilde
City of Guelph Senior Communications Officer (and long-time Hillside emcee) Stacey Hare recalls ‘swooning at the sight of Bahamas’ Afie Jurvanen’ before she’d ever heard him sing. As she notes: ‘My crush is ongoing.’ Meanwhile, Wellington Brewery’s Paul Aquilina remembers seeing Warsawpack play Island Stage in 2003 – ‘an energized set complete with horn section’ that to this day remains one of his all-time favourite shows. Local illustrator Cai Sepulis (artist of several Hillside posters) remembers the first time she saw her festival artwork. She notes: 'It was everwhere – on t-shirts, posters, signs. it was incredible – a sign that I was onto something good.' Meanwhile, Hillside staple Tom Klein Beernink fondly recalls from this year's festival 'seeing Michael Franti wade joyously and fearlessly into a huge appreciative crowd and feeling an overwhelmingly powerful sense of love and gratitude for this beautiful festival. Everything Hillside has always aspired to be came together in that moment.’ Downtown Guelph Business Association Executive Director Marty Williams was also transfixed by a moment in this year’s festival, when Poor Man’s Whiskey did a rendition of Paul Simon’s Graceland. ‘I remember standing in the crowd at Lake Stage listening to the band’s interpretation of this great album. An homage. And the best thing about it was seeing people who weren’t yet born when Graceland was released singing along to every song. Through them I was received into a graceland of my own.’ Ontario Co-op’s Peter Cameron also remembers Poor Man’s Whiskey – from 2013 when they played their rendition of Dark Side of the Moon at Lake Stage. ‘They dressed up as characters from the Wizard of Oz and when they cut into ‘Wish You Were Here’ the tears just started welling up for all my wonderful friends who had passed away and used to love Hillside … . It was so sad but also an oh so joyous moment!’ Peter’s wife, former Mayor Karen Farbridge, observes fondly that Hillside ‘remains a constant source of happiness’ for children. Make your way around the island and you’re sure to find kids having their own Hillside Moments: making friends on hand-made carousels, splashing in the water on festival beaches, captivated by children’s performers at the Kids’ Stage, or dressing in costume and marching around the island in the annual Children’s Parade. Indeed, Hillside makes children of us all. As film producer Erin Young recalls of Fred Penner’s performance at this past Hillside: ‘His children’s tent performance was more packed with parents than kids.’ She adds: ‘It brought back memories from my childhood – and created new ones for my young family too.’ These exquisite Hillside Moments are enchanting when they happen, and they never dissipate completely. Instead, they continue to grow over time – enriching our memories and warming our hearts. We truly are blessed to have such an incredible festival of love and community and music. To enjoy and remember for years and years (and years) to come.
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(this page, top to bottom) Main Stage; Campers' Beach; Breakdancing Workshop
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'We shape our buildings: thereafter they shape us' How A Local Couple is Writing Great Poetry on the Streets of Guelph Through Rehabilitation, Re-purposing, and Remembrance
Kirk Roberts getting his hands dirty somewhere on the second floor of the historic Petrie Building
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by Chris TIessen
K
irk Roberts remembers the first time he took note of the historic Petrie Building as a local monument whose future seemed destined to hold as rich and colourful a history as its storied past. It occurred during a pre-purchase inspection tour of the space when Roberts, along with life and business partner (at Tyrcathlen Partners) Peregrine Wood, arrived at the building’s fourth floor – accessible only by a work ladder the top of which had seemed to them to disappear through a hole in the ceiling of the third floor. 31. 31.
Roberts recollects:‘When I climbed the ladder and stuck my head up through the hole I was simply awestruck by what I saw. The single beam from my work light revealed, through dust and gloom, soaring twenty-foot ceilings and exposed stone and brick walls.’ When Roberts made his way across the room and peered out of a hole in the massive windows (long boarded up), the view – of the Church of Our Lady soaring up over the cityscape below – confirmed that the best chapters of this historic building had yet to be written. Not that the chapters already written haven’t been interesting. On the contrary, evidence of historical remains are inscribed onto – and into – the building top to bottom, inside and out. From the formidable stamped galvanized metal and zinc façade with mortar and pestle relief to the boxes of formaldehyde (that hearken back to the building’s pharmaceutical origins) concealed inside basement walls; from the crude graffiti of topless women scrawled on original raw plaster walls to the dozens of dated messages that reach back over a century; from the third floor cloakroom adorned with rows of coat and hat hooks to the still-operational peep holes in the cloakroom doors that evoke the building’s mysterious chapter as a home to the Order of Oddfellows; from the dirt and grime and broken glass that speak to the building’s neglect over time to palpable signs that this was once a magnificent structure – the Petrie Building remains a monument to our community’s past.
‘..these buildings are a key element of Guelph’s identity.’
A monument that Roberts and Wood are eager to preserve. As Wood notes: ‘The process of rehabilitating any historic building is a seemingly eternal balancing act of preservation and revitalization. It’s about offering glimpses of what once was as well as what’s still to come, in an intermingling of design elements that ultimately drive emotions equal parts nostalgia, remembrance, delight, and exhilaration.’ Wood continues: ‘While the next chapter of Petrie will most certainly highlight more current minimalist aesthetics, it will also feature details from the building’s past – from original design elements to decades-old graffiti.’ And some really cool new businesses that promise to make a big impact in Guelph. (There’s already been much buzz around the community about prospective Petrie uses – from the promise of a brewpub on the first floor to hints about the most incredible 4,000 square foot space on the third and fourth floors – replete with those aforementioned skyscraping ceilings and amazing views.) Like Roberts’ and Wood’s past rehabilitation projects – including the former Guelph Civic Museum (now Boarding House Arts) and Granary Building (now home to the Guelph Chamber of Commerce, Innovation Guelph and a host of other local community benefit organizations and businesses) – the development of Petrie will focus on, as Roberts notes, ‘community-building.’ Community that has already been created and sustained inside each of Roberts’ and Wood’s buildings – for arts and culture in Boarding House Arts; business, innovation and entrepreneurship at The Granary Building; and (we wait for this) ‘lifestyle’and ‘entertainment’-focused initiatives at Petrie. And community that continues to transcend these buildings’ walls and re-vitalize our city’s centre. John Ruskin, in The Poetry of Architecture, observed that great architecture will lead folks ‘as much to the street … as to the temple and tower’. Indeed. Roberts notes: ‘We believe that one of Guelph’s greatest strengths is the number of historic buildings that have survived in the downtown core. These buildings are a key element of Guelph’s identity. While some have come down, others remain – we feel that it’s imperative that we care for the ones that are still standing.’ In this year of remembrance of the enduring poetry of John McCrae, we might reflect upon poet John Hollanders’ observation that while poetry is ‘platonically real’ and texts ‘durable,’ structures of stone ‘are transient and subject to the ruin of time’ – and be mindful of and grateful for creative souls among us committed to preserving the poetry of architecture.
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Unrestored details of the Petrie Building interior
The Guelph Lecture:
(Memories) On Being Canadian by Taylor Moran I remember the very first Guelph Lecture: On Being Canadian in 2003. Environmental activist Severn Culiis-Suzuki so candidly inspired the youth of all ages that we can, and do, make a difference. I remember in 2004, the contrast between William Whitehead’s moving delivery of a lost lover’s words, and the jubilant celebration of life The House of Velvet brought to us through their ‘energized reggae-acid-funk’ music. In 2014, I remember laughing aloud at art critic Robert Enright’s threat to audience members that they would be ‘spanked’ for using flash photography and/or smart phones. I remember in 2008 when Winnipeg film-maker Guy Madden demonstrated how he so brilliantly blurs the lines between imagination and real life. I remember
Eccodek, Invoke-Tress Dance, and Sam Cino fusing cultures through sound and movement for a dazzling performance in 2007. I remember in 2004, how Atom Egoyan and Arsinée Khanjian so passionately brought to life, through their words and images, the horrible truth of the Armenian genocide.
convincingly made the case that we must reintegrate the Aboriginal perspective into the core of how we imagine ourselves as Canadians. I remember how, just last year, autoharp-wielding Basia Bulat, all by herself on that giant stage, charmed and wowed us into feeling like she was performing with a full band.
I remember that time when Peter Mansbridge just showed up and surprised us all will with some funny and charming anecdotes about being Canadian. I remember in 2010 being slammed by the empowering and controversial poetry of Oni the Haitian Sensation.
I know that after November 13, 2015, I will also remember the vast imagination and ideas of eclectic, visionary Jaron Lanier and the influential Aboriginal voice of Lee Maracle, and the possibilities of sound by The Penderecki String Quartet, with Peter Hatch and DJ Cyclist. Please join me in making these your memories, as well. Visit guelphlecture.com
In 2009, I remember how John Ralston Saul so
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Saving M Crae House: c
Jacquie Norris at the newly renovated McCrae House
How a handful of locals helped preserve our history by Robin Morden Jacquie Norris remembers how close we all came to losing McCrae House, and reflects what could have been ‘had the House been torn down.’ It nearly was, except for the efforts of a few Guelph citizens, including Jacquie and her late husband, Ernie, whose efforts ensured the survival of the birthplace of Guelph’s favourite son, John McCrae. The story begins in 1965, when McCrae’s birthplace went up for sale and a local developer expressed interest in tearing it down and erecting an apartment complex in its place. The John McCrae Memorial Branch 257, of which both Jacquie and Ernie were longtime members, called a meeting and struck a committee consisting of Ernie Norris and Floyd Robbins of the legion, and Barclay Holmes from the Guelph Historical Society. Their mission: to buy the house, restore it, and open it to the public as a museum. Branch 257 provided a $500 cheque for a down payment, but the bank wanted a surety on the mortgage. With the fate of McCrae’s birthplace
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hanging in the balance, the three men put up their own homes as collateral. ‘It was always a joke that if this didn’t work out, eleven of us (including our children) were going to be living at McCrae House,’ says Jacquie, laughing. ‘Because Barclay was a bachelor, we agreed that we would send him out to the carriage house.’ As soon as the three men purchased the house, they began raising money for its restoration. Word of the project spread quickly and donations came in from all over the world. Members of the McCrae family donated furniture.
on the centenary of the writing of In Flanders Fields, the newly-renovated house has been reopened with a permanent exhibition that tells McCrae’s story in an innovative new way. These days Jacquie likes to attend bagpipe concerts at McCrae House on summer evenings. Sometimes, while she takes delight in the quaint limestone cottage, the lush gardens in full bloom and the impressive John McCrae Memorial monument, she is reminded that, except for the passion and commitment and generosity of a few, she might instead be surrounded by a hulking concrete apartment block. And she shudders and shakes her head.
By the end of the following year McCrae House had been designated a National Historic Site. When the McCrae House was officially opened to the public in 1968, it was run entirely by volunteers and a part-time coordinator. Then, in 1983, it was given to the City of Guelph, debtfree, to be operated by Guelph Museums. Now,
As we continue to enjoy this fine landmark, we can be thankful for those who risked losing their own homes to preserve – for us all – John McCrae’s birthplace and, now, museum. Have you taken in the newly-renovated McCrae House? Visit guelphmuseums.ca/venue/mccrae-house
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Fighting in Flanders GAS. MUD. MEMORY.
August 21 to November 15, 2015 · Civic Museum An exhibition developed by the Canadian War Museum, Ottawa
FOURTH FRIDAY WITH
Ian Bell
September 25, 2015 · 5 to 9 pm · Civic Museum 108 Water Street
Merrymaking at the Museum: 1915
LIVE AND SILENT AUCTION September 26, 2015 · Civic Museum
WALK. BIKE. DRIVE.
John McCrae’s Guelph Tour September 27, 2015 · Various locations
52 Norfolk Street
Remembrance Day
November 11, 2015 · McCrae House
519-836-1221 guelphmuseums.ca