Meet Adrian Stimson on art, culture and his new role as the first Indigenous board chair at AUArts.
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Pulse
What you need to know from the 2024 Spotlight on Arts Audiences survey.
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Next Gen The Let’s Create an Opera program introduces the craft to young students.
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Experience Shop local for your next piece of art with the help of our list of Calgary’s artisan sales and markets.
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Discuss Community builder Ken Lima-Coelho, Olympic champion Catriona Le May Doan and chefs Connie DeSousa and John Jackson chat about arts and culture.
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Exhibit
The Northeast Mini Galleries create connections and build community pride.
features Passing on Artistic Knowledge and Tradition 025
Calgary artists in puppetry, Indigenous art and spoken word mentor the next generation of creatives.
The Road to a Creative City 030 Collaboration is key for Calgary to strategically drive prosperity through the creative economy.
Slay All Day 035
Meet local performers who help drive the evolution of Calgary's drag scene.
A River Runs Through It:
How Public Art Tells the Story of Calgary’s Rivers 040
Artists help us understand our relationship to our greatest natural resource — water.
New Blood brings healing and understanding to Indigenous history.
ART ON THE HORIZON
Dance-pop star Kiesza reflects on unearthing her Calgary roots with a new era of music.
Chair, Board of Directors
Chima Nkemdirim
President and CEO
Patti Pon
Calgary Arts Development Authority is a wholly owned subsidiary of The City of Calgary. We invest and allocate municipal funding for the arts to hundreds of arts organizations, individual artists, artist collectives and arts events in Calgary. We believe the arts have the power to create vibrant communities and bring together diverse voices and perspectives. We support artists in the development of their skills and the expression of their creativity. Calgary Arts Development supports and strengthens the arts to benefit all Calgarians.
Statements expressed herein do not necessarily represent the views of the publisher.
Copyright 2024 by RedPoint Media Group Inc.
No part of this publication may be reproduced without the express written consent of the publisher.
Published annually by Calgary Arts Development in partnership with RedPoint Media Group.
Your Phil. Your Music.
CALGARY – BLUE SKY CITY
What I liked about the process of Calgary’s brand evolution to Blue Sky City was the commitment to ensuring all voices were heard and included. And that everyone would be able to see themselves in this new brand for our city. That aligns with how I feel about the arts — that they are for everyone, reflect diverse stories, create a sense of belonging and are borne of boundless imagination.
I hope you feel a sense of possibility when you participate and engage with Calgary’s vibrant, diverse and sometimes provocative arts scene. You can see yourself in the stories being told and come to understand something new about the world, connect on a deeper level with your loved ones and other Calgarians, and find greater meaning in being alive in today’s complicated, messy and exciting world.
I love artists and the arts and how they contribute to our Blue Sky City. The very thing that sets us apart as a species is our creativity — our ability to imagine the possibilities and then make them real. That’s what artists do every day. They are masters of creativity. They are true blue-sky thinkers.
There has been ceremony, song, dance, drumming, storytelling, drawing, crafting and sewing on this land since time immemorial. We acknowledge and celebrate the original peoples of this place: the Blackfoot people
comprising the Siksika, Kainai and Piikani Nations as well as the Tsuut’ina Nation and the Îyârhe Nakoda Bearspaw, Chiniki and Goodstoney First Nations. Today, this land is also home to the Otipemisiwak Métis Government Districts 5 and 6, as well as many First Nations and Inuit from across Turtle Island. We walk with the original peoples and the many others who have moved and settled here, sharing the responsibility of being good treaty partners and stewards of this land.
I extend my gratitude to everyone who contributed to this year’s magazine — our partner RedPoint Media, and the writers, photographers, illustrators, designers, editors, advertisers and, especially, to the artists you’ll meet within its pages. Create Calgary shares stories about a handful of the thousands of artists and arts organizations who make this city a better place to work, live and play. Discover artists who are leading the way to those who are sharing their creativity through a variety of art forms, from those who are discovering the power of the arts at an early age to those who are passing on their knowledge to the next generation. Everyone featured in these stories uses imagination to create joy, meaning and beauty in our city. I hope you enjoy meeting them and reading their stories.
Thank you for your belief in Calgary’s arts scene and artists. By supporting the arts, we get closer every day to living up to Calgary’s infinite possibilities as a Blue Sky City.
Patti Pon President and CEO, Calgary Arts Development
P.S. To find out more about what’s happening in Calgary, visit yycwhatson.ca.
Patti Pon at the confluence of the Bow and Elbow rivers.
MEET: ADRIAN STIMSON
by Marcello Di Cintio
Adrian Stimson is a member of the Siksika Nation, a residential school survivor and a multidisciplinary artist whose paintings, sculptures and installations have been exhibited across Canada and internationally. In Calgary, Stimson’s sculpture project, Kawa’pomahkaiks | Animals That Roam The Prairie, can be found along International Avenue, and his four-metre tall bronze sculpture, Iini Bison Heart, stands on the banks of Paskapoo Slopes near Canada Olympic Park.
Stimson graduated from what was then called the Alberta College of Art and Design (ACAD) — now Alberta University of the Arts or AUArts — in 2003 before earning his MFA from the University of Saskatchewan in 2006. In March 2024, AUArts appointed Stimson as the university’s new chair of the board of governors, the first Indigenous board chair in the institution’s 98-year history.
What kind of artist are you? I call myself interdisciplinary. I majored in painting at ACAD back in the day. When I did my masters, I branched out into installation and performance. I would say that nowadays, as an artist, unless you're extremely lucky, you have to be multidisciplinary. I've also delved into public artworks, so I have a few in Calgary, Saskatoon and soon Ottawa.
What does your new role as chair mean for you as a working artist? In reality, the time commitment isn't as huge as you would think. I definitely have a lot of time to work on my own practice. But the position does require a commitment of sorts. I was appointed March 20,
and we jumped right into a search for a new president. Dr. Daniel Doz, who has been in that position for 13 years and did a wonderful job, is going to be moving on next year. I'm the head of the president's search committee. We’re getting as many voices as we can within that committee to really determine the future course of the university. We’re looking to where we want to go as a university, and where we’ve been. The year 2026 is our 100th anniversary, and that’s another thing on my plate. We're starting to get ready for that because, as you can imagine, it's going to be a celebration. But it's also the end of
our current strategic plan. We are starting to develop a new strategic plan for the future. Like every institution, we hope that we can double our student body within the next 10 years. We have our sights on growth.
What is the advantage of having an alumnus as the board chair? Having attended AUArts, it gives me a sort of inside perspective. That definitely helps. You know the organization to a large degree. It's kind of funny, because at that time, as a student, you see all sorts of problematic things. And you go to administration and say, ‘How come this isn't happening? How come that's not happening?’ not realizing the process that you have to undergo. Now I'm in that position, and I have to deal with the needs of the students. And I think that's a pretty interesting place to be because I can empathize and understand. Being an alumnus, I care for the university, too. I had an amazing time here. Like every student that goes through an institution, you have your good moments and bad moments. But in the end, once you graduate, there's a real fondness for the institution. So I definitely have that strong relationship to the institution. It's a place I care for, and I want to see it succeed.
How do you accomplish that growth? What does it take to attract artists to AUArts? We can speak to our track record. AUArts has produced some pretty significant award-winning artists all over the place. Geoff
Iini Bison Heart, 2020
McFetridge, for example, is now situated in Los Angeles and works with all the big producers. We really need to do a lot more promoting of ourselves: our successes, what we've done and what we do.
A lot of our students go out into the world and end up in many other industries thanks to their arts background. Creative research often translates into other industries. A great deal of what artists do is problem solving. Artists are great problem solvers.
And we’re in Alberta, so we've got to promote that and speak to how the arts are absolutely necessary and beneficial to the well-being of the economy here. The arts are often not viewed in the way that other economies are viewed. It
takes a lot of explanation to show and prove how much artists contribute. That definitely is a challenge: bringing that forward and helping people understand not only statistically, but by example, how much money the arts bring into a community.
Do you often have to explain the creative economy? Do you find that people don’t necessarily want to believe in the economic value of art? I think that's a long, historical, ingrained thing that is slowly changing. Obviously, it hasn't changed enough. I always wonder when are we [as artists] going to stop fighting to exist?
When are we going to stop having to extol the virtues of art in society? Art and artists contribute not only economy-wise, but in the imaginations of our minds and hearts. We're so integral, but, at the same time, we're still seen as outside it all. That is obviously one of my jobs, to help shift those perceptions.
What does it mean to young Indigenous artists to have someone with your background as chair? I hope it's inspiring. I am the first Indigenous chair of Alberta University of the Arts. I’m very proud, honoured and humbled to be in this position. To be able to stand up on stage last spring and congratulate Indigenous graduates and shake their hands was a moment of pride. I shake all the students’ hands, of course, but there are a lot more barriers for Indigenous students. What I hope is that we lead by example. That we show young Indigenous people and artists that they can succeed.
I come from a very interesting history. I went to residential school. I hated institutions and have a right to be very cynical and critical of Canadian institutions. But I've been able to work through it, and I've been able to become a part of it. Having that background gives me empathy.
Regardless of the obstacles from childhood or through your life, if you want to be an artist and you want to move forward, you look to examples of someone who you can identify with. I hope I'm that person, not only for people of colour and Indigenous students but for all.
Kawa’pomahkaiks | Animals That Roam The Prairie, 2020
Post-pandemic, the arts sector continues to experience a decline in engagement with events and activities. Building upon research that began in 2020, Stone Olafson, a research consulting firm, continues to provide specific, relevant and reliable facts to support the arts sector to enhance relevance, rebuild audience participation and grow attendance.
Here are some key findings from the spring 2024 Spotlight on Arts Audiences survey , conducted with a representative sample of Albertans, highlighting the Calgary region results. Armed with this information, arts organizers can target their efforts in the city to build support and get bums in seats.
For many Calgarians (83 per cent), arts experiences are considered a special outing.
More than three-quarters (78 per cent) admit to not engaging as frequently in arts experiences as they used to, but they do love the experiences they have.
76 per cent want to explore new shows or new works. But 64 per cent say that because they are attending fewer events, they do prefer experiences that are familiar or trusted.
37 per cent of Calgarians want to see shows featuring local talent, even if they don’t know who they are.
CONSUMERS WANT MORE FLEXIBILITY. ONLY 22 PER CENT HAVE CURRENT SUBSCRIPTIONS OR PASSES TO ARTS OR CULTURE ORGANIZATIONS
Nearly half (49 per cent) of Calgarians want to learn about other cultures through show elements.
Personal relevance is key to decisions about spending, whether that is ticket sales or donations. Audiences want to see themselves in the works or experiences they invest in. 41 per cent agree they are more likely to attend a performance or event if their own cultural group is represented. This jumps to 60 per cent among visible minorities.
BUT 64 PER CENT WOULD CONSIDER AN ARTS TICKET BUNDLE THAT OFFERS VALUE AND FLEXIBILITY.
76 per cent of Calgarians participate in some form of digital arts experience, most commonly watching or streaming performances. Digital arts engagement is higher among younger groups and arts-immersed audiences.
74 per cent of Calgarians would contribute to the survival of an arts organization and 70 per cent would support the development of new arts experiences.
CALGARY IS CREATIVE.
Inspiration is everywhere. With our blue skies, vibrant and welcoming neighbourhoods, and year-round experiences for all to enjoy, there’s a reason Calgary is the 5th most livable city in the world.
Explore your city at lifeincalgary.ca
However, 81 per cent believe other areas are in greater need
NEARLY 70 PER CENT OF CALGARIANS REVEAL THEIR HOME ENTERTAINMENT
INSPIRES CHOICES FOR LIVE EXPERIENCES. MOST PREFERRED GENRES FOR AT-HOME ENTERTAINMENT ARE COMEDY, DOCUMENTARY, MYSTERY AND DRAMA
LET’S CREATE AN OPERA
by Maureen McNamee
The music room at Panorama Hills School is buzzing as elementary students talk excitedly about opera. For these 10and 11-year-olds, it’s been a hot topic all year. In fact, they’ve been singing opera songs on the bus, in the hallways and outside during recess. “I never really liked opera before because I didn’t understand it,” says Kaiyal, one of the students. “Now I think I’d like to go see one.”
During the 2023-24 school year, the grade 4 and 5 classes at Panorama Hills School — almost 200 students in total — took part in Let’s Create an Opera, an education program offered by Calgary Opera. Along with school music specialist Cheryl Grunsell, the students worked with a librettist, composer, director and other professionals to write and perform their own opera: Prepare for Impact. The theme touched on topics such as the environment and Indigenous culture. The students collaborated on the story, memorized the songs, created sets and props, and then put it all together. Finally, they performed for their parents and the entire school.
At the same time the students were learning hands-on about opera, they were also figuring out how to work together and support each other, and that success takes practice and persistence. “There was so much important learning that went on through each of those steps of creating an opera,” says Grunsell. “They had to cooperate on a huge scale.”
PROVIDING ACCESS AND BELONGING
School principal Allison Paull says it was incredible to be able to provide students with access to such a high-quality arts experience especially given the diversity of the school with about 50 per cent of students speaking a language other than English. “Due to generous funding that has been given to us, it did not cost the school anything, but it also involved every single grade 4 and 5 student — they all found a role in this,” Paull says. “And so there's that equity piece that I think was amazing, that we were able to break down those barriers.”
Grunsell says whether students chose to sing in the chorus or play in the percussion ensemble, music itself is an inclusive activity. “If a student is struggling academically, socially or has limited English, music provides multiple entry points and allows all students to be successful,” she says. “Music spans all countries, languages and cultures
so, in many ways, it is a universal language that connects us. Most importantly, when performed with others, music provides a sense of belonging. In my opinion, this was the most important benefit of this residency.”
Calgary Opera launched the program in 1997 with the intent to make opera accessible and understandable to all members of the school community. The late Bob McPhee, who was general director and CEO at the time, said “Not only does Let’s Create an Opera help us build our audiences for the future, but as children take ownership in the creative process, they learn at a much deeper level.”
EARLY EXPOSURE BUILDS AWARENESS AND EMPATHY
So far, 76 school operas have been created through the program. Schools apply and are selected based on need. Patricia Kesler, Calgary Opera’s former education and community engagement manager, says she looked for schools that haven’t had as much access to the arts. “The main point is just introducing people to opera, letting kids know it exists,” she says. “My hope for them is that they will come to love it.”
In the past, an average of three schools were chosen each year, but for 2024-25, there will only be one. The program lost its corporate donor
a few years ago, and last year, the Calgary Foundation provided funding while efforts to find a new sponsor continued, but the search has, so far, been unsuccessful.
Still, Calgary Opera provides other
ways for young people to discover and explore the artform as well, such as free Serious Family Fun events where kids of all ages can enjoy music, stories, visual arts, dress up and more at the Mamdani Opera Centre; in-person school tours (this year’s performance is The Witty Squirrel); and discount tickets to full dress rehearsals for all students and members of some community organizations.
Participation in the arts has been shown to have many benefits for young people, but in Kesler’s experience, the greatest is its ability to build empathy. “We need people to understand each other more,” she says. “Opera has the capacity to tell so many different stories. It’s a doorway into a world of experiences and emotions that they wouldn’t have access to otherwise.”
Back at Panorama Hills School, the buzz of the performances will wear off, and the songs will be sung less often on the playground, but for the 200 students who created an opera together, the experience will have a lasting impact.
Learn more at calgaryopera.com.
WHAT THE KIDS ARE SAYING
“I learned to face my fears. And I also learned a lot about, like, centre stage and left stage and stuff like that.”
— Lillian
“I felt so sad when it was all over. I wish I could do it again.”
— Maya
“I felt like it was a huge accomplishment that I’ve made in my life, like my first real, actual, big show that I’ve done, and I felt really confident for the next time I do something like this.”
— Chase
“I believe it sprouts the seeds for people to come and experience the arts.”
— Josh
Thank you to students Nicolette, Lilian, Maya, Kylie, Josh, Chase, Kaiyal and Claire for sharing what they learned from being part of Let’s Create an Opera.
experience PUT SOME ART IN YOUR CART
A smattering of some of the amazing annual markets and artisan sales in Calgary for your next local artsy find. by
Olivia Piché
U/D NIGHT MARKET
Discover local artisans and their handmade goods at the U/D Night Market Summer Series in the University District, or check out the holiday edition.
MILLARVILLE FARMERS’ MARKET
Millarville Racing and Agriculture Society has put on a farmer’s market since 1982. Held every Saturday from June to Thanksgiving, the market features over 100 vendors, including farmers, artists, makers, bakers and more. Make sure to check out the Christmas Market too.
CALGARY NIGHT MARKET
What started as a collection of small community artisan markets has grown into the Calgary Night Market. Browse through local vendors during its summer dates.
SHOW + SALE AT AUArts
Support students and browse beautiful creations at the Show + Sale virtual and in-person markets organized by the Alberta University of the Arts’ Student Association. You’ll find fine artwork, crafts and designs by local students, and 100 per cent of the proceeds go towards supporting creative careers.
MARKET NIGHTS
AT HERITAGE PARK
From June to September, Heritage Park hosts Market Nights, where shoppers can find various artisan products.
KENSINGTON NIGHT MARKET
During the summer, local producers, artisans and makers of all sorts gather in Kensington for the annual open-air market.
MOUNT PLEASANT POTTER’S GUILD’S POTTERY SALE
Mount Pleasant Potter’s Guild presents annual spring and fall sales and a Christmas Pottery Market. Look through pots, bowls and other ceramic creations crafted by the potters in the guild.
SPRING AND HOLIDAY
MARKET AT THE DEERFOOT INN & CASINO
Find arts and crafts, among other goodies, at the Deerfoot Inn & Casino markets, held twice a year.
MARKET COLLECTIVE
Market Collective’s holiday and seasonal art markets showcase the works of all types of artists. Find the work of woodworkers, potters, painters, candlemakers and many more diverse entrepreneurs.
UNDER $100
ART SHOW CALGARY
ART SPOT has been helping artists sell their work and making art affordable since 2008. For two weekends in early December, Calgarians can shop for paintings, photography, pottery, glassware, jewellery, woodwork, sculpture and much more, all for under $100. This year, an additional weekend has been added for the Under $200 Art Show to expand the range of offerings.
AUTHENTICALLY INDIGENOUS MARKETS
Authentically Indigenous has been hosting markets since 2015, bridging the gap between Indigenous art and public events, and enhancing the visibility of Indigenous artistry. Discover handmade creations by Indigenous artists at the annual Spring Matriarch Market and Holiday Market.
FAIRVIEW STUDIOS FAMOUS SPRING AND FALL POTTERY SALE
Browse through a selection of handcrafted ceramic works by the potters at Fairview Studios. Prepare to be surprised at the variety of goods — it’s more than just mugs!
INGLEWOOD NIGHT MARKET
From handmade crafts to local small business goods, food and live music, you’ll find everything for a good time at the Inglewood Night Market. The market is held in the evenings during spring and summer and brings together vendors, artists, shoppers and creatives.
PALETTE FINE ART SHOW AND SALE
The Calgary Community Painters Society present its art show and sale every year in the fall and spring and has recently added a winter show. The show and sale features paintings of all varieties by independent artists.
FESTIVE FOOTHILLS ART SALE
Discover fine craft and artworks from local artists with the Leighton Art Centre’s second annual sale, the Festive Foothills Art Sale. The sale runs from November to December, just in time for some Christmas shopping.
4TH STREET NIGHT MARKET
Since 2021, vendors, entertainers and artists have gathered in the heart of Beltline for a few select summer nights for the 4th Street Night Market. Shop crafted wellness products, jewellery, artisanal home goods and more.
PEAK TO PRAIRIE MARKET
Started by two entrepreneurs who wanted to bring more local shopping opportunities to northwest Calgary, Peak to Prairie Markets happen twice annually, one in the spring and one during winter holidays. Shoppers can buy handcrafted goods, artwork and more from a variety of local vendors. Plus, Peak to Prairie donates all the funds from its raffles to local charities.
MARDA LOOP NIGHT MARKET
From the creators of Inglewood and 4th Street Night Markets comes a new market, Marda Loop Night Market. Enjoy live music, tasty food options and handmade goods.
CLOTHESLINE ART MARKET
For nearly 40 years, the Leighton Art Centre has been showcasing local artists at its annual Clothesline Art Sale. Now split into two events, the Clothesline Art Market and the Clothesline Online Art Sale, shoppers can browse through original artworks created by Leighton Art Centre members. The in-person market is a twoday event held at the beginning of June.
CALGARY CREATIVE ARTS GUILD ANNUAL SHOW & SALE
The Calgary Creative Arts Guild hosts a spring and fall show and sale where shoppers can find new works of fine art by the guild’s talented artists.
HERITAGE WEAVERS AND SPINNERS GUILD OF CALGARY ANNUAL SALE
Held in November, this sale is the perfect place to browse through handcrafted blankets, table runners, pillows, rugs, placemats, scarves, hats and more.
Do you have markets to market? List them on yycwhatson.ca.
LEGACY OF THE LAND:
Embracing Indigenous Knowledge in Wild Canada
In December 2023, the Wilder Institute/ Calgary Zoo in Calgary, Alberta, Canada, introduced the world to Wild Canada — a remarkable 21-acre redevelopment project aimed at deepening visitors’ connection with iconic Canadian wildlife and the dynamic ecosystems they call home.
The zoo is nestled in the heart of Calgary, where the Bow and Elbow Rivers converge. While this site has been special to zoo visitors for almost a century, it has been an important gathering place on the prairies for far longer. When it came time to reimagine what the Wild Canada experience could be, the organization recognized the importance of infusing the space with stories that reflect the location’s significance and the layers of footprints that have crossed these lands through the centuries.
The Wild Canada redevelopment project was underscored by a commitment to thoughtfully and respectfully incorporate Indigenous worldviews and Ways of Knowing throughout the interpretive experience to tell these stories authentically. The zoo worked with two Indigenous community engagement consultants from Siksika First Nation to advise, share teachings, and help foster relationships. Together, they developed a four-pronged approach that included amplifying the work of Indigenous artists.
As visitors step into Wild Canada, they are greeted by a sculptural art installation enhanced by the sounds of a Blackfoot drum combined with the echoes of wildlife and wild places across Canada, all coming together to form Aurora. The multi-sensory gateway sets the stage for the artwork by seven Indigenous artists found throughout the experience. From the prairies, foothills, Rocky Mountains, and boreal forests to the coastal, tundra, and river landscapes of Canada and the Arctic, the beautiful art and sculptures created
by these talented artists honour the connection between humans, wildlife, and the land.
From the outset of the project, emphasis was placed on the infusion of genuine Indigenous viewpoints, culminating in a vibrant tapestry of creativity and heritage. It is through this lens that visitors are invited to immerse themselves in an experience that encourages exploration, reflection, and inspiration.
Brenda Hamilton (artist)
Gordon Wesley (artist)
Crystal Lee Clark (artist)
HOW ARTS AND CULTURE INFLUENCE US
by Karin Olafson | illustrations by Dane Thibeault
How does art inspire us, and how does the city we live in inspire the arts and culture scene? Four prominent Calgarians discuss the influence of arts and culture — in its many varied forms — on and in Calgary. Ken Lima-Coelho is the Big Brothers Big Sisters of Calgary president and CEO, an a cappella performer with the Heebee-jeebees and a passionate arts supporter. Catriona Le May Doan is the president and CEO of Sport Calgary and an Olympic speed skating champion.
Connie DeSousa and John Jackson are the chefs and co-owners behind popular local restaurants, including charbar and CHARCUT.
What do you find inspiring about arts and culture in Calgary?
Ken: It’s fearless. Whether the oil price is $110 a barrel or $20 a barrel, we find a way to make arts and culture happen. The art scene hasn’t shied away from our boom-and-bust economy but has embraced it and used it as fuel to create interesting art and interesting conversations.
Ken Lima-Coelho
Catriona: To me, arts and culture in the city are so exciting because it is our way of expression — and I would include sport in this umbrella. There is so much stress in our lives, yet as soon as there is an outlet for expression, I find I am more at peace.
Connie: We love to see how food and dining have become such an important part of the art and culture scene in Calgary over the last 10 years. Food is a way to connect with each other, and the restaurant scene allows chefs to express their creativity.
How have you seen the arts and culture scene change in Calgary?
Ken: For a while there, I think the scene relied on corporate Calgary’s financial backing. And, of course, the corporate world is still a huge, very important driver, but I see now that the attitude isn’t, ‘Hey, let's find a funder and then make art.’ Now, Calgarians make something happen and then find the support to keep it going.
Catriona: I feel like there are currently more avenues to arts and culture, including sport events. There are now more festivals, more displays, more events, more teams and more opportunities. I believe the pandemic taught us we need to take time to enjoy more things in life.
Connie: It’s been inspiring to watch our arts and culture scene evolve and grow in our city over the last several years. Being a born and raised Calgarian, I have had the opportunity to see so many festivals and cultural events pop up over the years. I especially love Taste of Calgary, GlobalFest and Beakerhead.
What do you feel is challenging further creation of arts and culture in Calgary?
Ken: I think respect for the arts remains a challenge. For example, looking at a school budget, some might say, ‘We have to keep computers and math and science and writing, but the music teacher can go.’ No! Arts and culture create wellrounded citizens.
Catriona: There is a lack of time, and, of course, pursuing many of these outlets costs money and the cost of living is increasing. More opportunities are available, but [Calgarians don’t necessarily have greater financial freedom] to access them.
John: We need to continue to push the limits and think outside of the box to draw attention to our arts and culture scene to compete with other major cities in Canada.
Art can evoke a variety of feelings. Why is it okay for art to sometimes make us feel uncomfortable?
Ken: If art doesn’t make us feel uncomfortable, nothing changes or progresses. Art can also shed a light on hard stuff, like substance use and mental health challenges; as well as celebrating what’s right in the world. Art shining a light on the hard stuff is what makes it really fulsome.
Catriona: There is no right or wrong when it comes to art. I have looked at some pieces that others absolutely love, and they cause me to feel anxious. That is okay. Art moves everyone in some way.
Connie: When art makes me feel uncomfortable, I feel it distracts me from other negative emotions I may be feeling — and maybe even provokes positive emotions. Art can turn a day around simply by experiencing it.
Catriona Le May Doan
When you encounter arts and culture in the city, do you see how our sense of place has inspired those creations?
Ken: What really speaks to the kind of place Calgary is, is how easy it is to just stumble upon art. Spontaneous expressions of art, whether it’s seeing another new public art piece on a building or a community expression of art — like kids using sidewalk chalk — it’s happening everywhere we look.
Catriona: I love to see various culture, art and sport demonstrations that are unique to the different backgrounds, ways of life and beliefs in Calgary. I was recently at the Siksika Health Fair, and I loved the singing and the drumming; I felt the energy in the room.
John: We love our cultural melting pot in Calgary. A favourite example of this is the Taste of Calgary Food Festival, where you can sample dishes from around the world created by locals who have immigrated to Calgary, who are showcasing their cultural heritage through food.
What does Blue Sky City (Calgary’s new civic brand) mean to you, and how do you think it relates to Calgary’s arts and culture scene?
Ken: For every assumption we make about what Calgary is, there are 30 artists — maybe even 300 artists! — ready to help us understand it from a different level and perspective. That is blue sky thinking.
Catriona: I believe it signifies that there are no limits. Hopefully, we can find enough resources that there are no limits to arts, culture and sport experiences for Calgarians.
Connie DeSousa John Jackson
BUILDING COMMUNITY PRIDE THROUGH PUBLIC ART
The Northeast Mini Galleries project creates connections and invites artists to share their love for their northeast communities.
by Olivia Piché
You can find colourful murals, vibrant installations and unique sculptures all around the city. Thanks to the current public art policy that no longer requires public art dollars to be tied to the sites of the capital projects that funded them, more projects can be found in communities throughout the city. A clear example of this policy in action is the Northeast Public Art Initiative, which The City of Calgary began in
2020. “Now we can put art where people are,” says Heather Campbell, Calgary Arts Development’s public art manager. “With some projects, we are specifically trying to put artworks into communities that have less municipally funded public artworks.”
As part of the initiative, the Northeast Mini Galleries project features artwork by 13 artists at a time, and curates three new exhibitions a year for a total of 39 artists. Whether it be painting, sculpture or beadwork, the mini galleries showcase art in a variety of mediums in small raised-box displays — hence, mini galleries — across 10 locations in the northeast and three in City Hall. The program is designed to not only increase access to art and create a deeper sense of community and engagement with public spaces within the northeast but also empower artists in the area and offer them more opportunities.
CREATING CONNECTIONS
The northeast covers a large area of Calgary and is made up of many diverse residents and groups. The curated mini galleries help connect those living and working in the quadrant. Northeast residents can visit the galleries and discover what it means to be part of the community through different artists’ perspectives. The mini galleries aim to strengthen the sense of inclusion by sharing diverse stories, histories and experiences.
“There's so much diversity in Calgary and in the northeast. It's nice to celebrate it, encourage it and share those different stories,” affirms Tiffany Wollman, Calgary Arts Development’s public art project lead. She explains how public art benefits
Loriel Swoboda next to her artwork, Bond.
Fadi Alkhouri next to his artwork, Community of Hope.
communities by allowing people to take a moment to pause and reflect on the art, and it may even be insightful or transformative. It sparks joy and can make space for placemaking and belonging.
And the response from residents has been very positive. Many community associations say they love having the art on display and community members ask how they can get involved as artists. “For some communities, the Northeast Mini Galleries bring hope and healing. It is very rewarding to hear of people seeing the mini galleries and wanting to share their art in them and to have parents contact us to help support their children’s dreams and share their artworks,” says Wollman.
“There are so many positive aspects of public art, and the more we can spread art across the city, the more I believe we will be enriched with compassion and a sense of belonging,” she says.
COMMUNITY PRIDE
Anyone with strong ties to the northeast can apply to participate as an artist. The program offers accessibility and opportunity to share stories, artistry and culture, regardless of experience and expertise. Because of this, the program sees a diversity of artists, mediums and artistic backgrounds, and can serve as a launching pad for emerging artists.
“For many artists who have applied or been in the program, this may be their first time calling themselves an artist, or even seeing themselves as an artist. This can be great for growth and confidence in pursuing their creative interests and artistic ways of thinking and expressing themselves,” says Wollman.
Loriel Swoboda, a digital painter who aspires to do art full time, gained exposure for her work through the program. But more than exposure and experience, Swoboda was able to showcase her pride in the northeast. “It's a really beautiful neighbourhood, but a lot of people don't give it a chance,” she says. “Most
people have a negative opinion of the northeast, but there's really rich culture here, and the community is really strong. I wanted to put that on display.”
Visual artist Erin McDonald feels the same. As someone who grew up and lives in the northeast, she loves that the program celebrates and beautifies the area. “Having public art invites more people to come out and see the neighbourhoods, feel more safe and have a community feeling, rather than being scared because of what everyone's saying in the media or how the northeast is portrayed. It makes it more beautiful and welcoming,” she says.
“It's important to me to be able to highlight my love and interest for living in the northeast and show the beautiful sides of it and the little areas that maybe not everyone's been to or seen. There is beauty in everyday life out here.”
To learn more, visit calgary.ca/arts-culture/ public-art/northeast-projects.html.
(Left) Coming Home by Erin McDonald; (Right) Erin McDonald next to her mini gallery.
Leia Guo’s mini gallery featuring her artwork, Trials and Tribulations #1.
The Art Of Community
The arts are the foundation of our society. They show us who we are and who we can be - and inspire us to achieve our potential together. We’re proud to bring live performances into the suburbs, helping make the arts more accessible.
PASSING ON ARTISTIC KNOWLEDGE AND TRADITIONS
by Michaela Ream
When it comes to artmaking, mentorship matters. From co-productions and incubators for emerging artists to ongoing guidance, artistic mentorship helps pass on the knowledge and traditions of age-old art forms so that they continue to thrive and evolve today.
Here’s how some local artists and organizations dedicated to puppetry, traditional Indigenous artmaking and spoken word are carving out lasting legacies.
PUPPETRY: IMAGINATION AND PLAY
For years, Calgary has been known internationally as a hotbed for puppetry, and it has only grown thanks to its diverse collection of innovative puppeteers. Its reputation as a cutting-edge community for puppetry was established in the 1980s by Ronnie Burkett, who used original puppetry to tackle challenging subjects such as love, loss and loneliness in a way that took puppetry beyond child’s play, appealing to and connecting with adult audiences.
Calgary’s puppetry companies have continued to push the boundaries of what puppetry can be. Recently, the Fraggle Rock: Back to the Rock reboot of Jim Henson’s popular puppet show was filmed at the Calgary Film Centre. The reboot took place across a sprawling space, including using 3D printers and monorails to bring each scene and character to life while employing a host of local puppeteers to help re-imagine the art of puppetry.
While many people first learn about puppets through early childhood shows like Sesame Street, not all puppeteers go on to learn formally but rather become involved through creative exploration.
Pityu Kenderes as the Monster created for Ignorance by Old Trout Puppet Workshop.
“Puppetry is a folk art, meaning most of the people doing it haven’t gone through a formal training program, but they do it because they are interested and passionate,” says Peter Balkwill, co-artistic director and co-founder of Old Trout Puppet Workshop. Old Trout is one of Canada’s most prominent puppet theatres and was founded in 1999 by a group of artistic friends with a shared interest in puppetry and re-imagining the art form.
As a folk art, the knowledge of puppetry is spread within the community through festivals, touring shows and workshops hosted by fellow puppeteers eager to pass on their own learned knowledge. Xstine Cook likewise found herself drawn towards mask and puppetry as artistic expressions and has helped grow and share the knowledge of these art forms.
“Albertans definitely embody an entrepreneurial ethos that suits the inventiveness, curiosity and tenacity required by puppetry,” says Cook, who is the co-artistic director of the Festival of Animated Objects (FAO) alongside Balkwill. “My role is to make space for artists to try to experiment, to see what will happen.”
Cook started FAO in 2002 to “build love and awareness of mask and puppetry, to be a platform for local artists, and to be a place for the cross-pollination of ideas, contacts and relationships amongst artists.” Held annually in the spring, FAO hosts 100+ local, national and international artists per year and has an incubator program that supports the development of four new works a year. Cook also hosts and curates the Dolly Wiggler Cabaret — named after Burkett’s term for a puppeteer as a “dolly wiggler” — where each year, 40-plus artists are welcomed into a space where “anything goes.” She has seen artists grow into themselves and their art, evolve to create full-length, sold-out shows, and continue to mentor other emerging artists. In 2003, Cook founded the Calgary Animated Objects Society (CAOS), which mentors five to 10 artists each year and inspires “acts of radical creativity” through making live shows, movies and school residencies.
“By making a safe and welcoming space for anyone interested
in these art forms, people are welcome to try, to fail, to try again, to join with others and find a loving audience,” explains Cook.
The freedom to fail and try again within a supportive community is what led Balkwill to found the Canadian Academy of Mask and Puppetry or CAMP, as an homage to the Old Trout’s founding members developing the idea for a puppet company at camp. Balkwill acts as co-artistic and educational director alongside puppetry artist Elaine Weryshko, where they foster puppetry throughout Canada with workshops and intensives that support puppeteers in the spirit of play, freedom and imagination.
“Play is mandatory for art, but it has become tough for people because it takes a deeply personal understanding of who you are and what you do to have fun,” says Weryshko.
CAMP also brings in local and global mentors such as David Lane, a theatre artist, puppet maker and original member of Old Trout and Nina Vogel, an award-winning Brazilian artist, who bring unique lessons to presenting puppet shows, crafting puppets and encouraging artists.
Over the years, more local puppet organizations have joined the scene, including Suitcase Theatre Arcade, Mudfoot Theatre and PuppetStuff, further fuelling the art form of puppetry, inspiring and engaging new generations of puppeteers from all backgrounds through community, mentorship and creative freedom.
“The puppet community is exploding with vibrancy right now,” affirms Weryshko. “It’s one of the coolest and most rapidly growing communities with lots of young and old people coming to train and pass on that knowledge.”
INDIGENOUS ART: UNIFYING AND HEALING
In June 2021, the Government of Canada designated September 30 as the National Day for Truth and Reconciliation. The day not only marks a pathway to a healthy and united future but also opens the doors for traditional Indigenous art and culture to flourish.
For Yvonne Jobin, Cree artist and founder of Moonstone
(Clockwise from bottom right) Strike-A-Light pouch by Yvonne Jobin; OKO Earth Masks by Canadian Academy of Masks and Puppetry; Still from Iniskim: Return of the Buffalo by CAMP for the Festival of Animated Objects.
Creation, an Indigenous art gallery, gift shop and workshop space, Truth and Reconciliation helped further shift Indigenous art and artistic traditions from dying art forms to ones welcomed by both Indigenous and non-Indigenous artists.
“So many doors have opened for our people in the last 10 years,” says Jobin. “I’ve seen so much growth and positivity, and people wanting to embrace [Indigenous art].”
Jobin learned traditional art methods from Elders and Knowledge Keepers, like decorative art, which includes various forms of beadwork, quillwork, moose hair tufting and fish scale art. Over the years, Jobin has passed along her knowledge, heritage and culture to artists of all backgrounds and cultures through workshops and classes hosted at Moonstone Creation.
“I have always been adamant about helping to promote and preserve the culture through the arts, through all of the classes, and the beautiful things we create,” she says.
Indigenous art has also become an avenue for younger Indigenous artists to educate and raise awareness in new ways. Kristy North Peigan, a Peigan First Nation member and freelance artist, uses her art as an educational tool. As a cosplayer, North Peigan connects to younger audiences while also portraying characters and clothing in a way that speaks to her values as an artist and her Indigenous heritage. In 2023, North Peigan went to the CALGARY EXPO dressed as Wonder Woman with a red handprint across her mouth.
The red handprint has become a powerful symbol of the Missing and Murdered Indigenous Women and Girls (MMIWG) movement, used as a sign of solidarity
and to represent the thousands of silenced women. By attending a high-profile event in a well-known costume with the lesser-known handprint, North Peigan brings the two ideas together to raise awareness around MMIWG and showcases her work.
“When I encounter people dressed as Wonder Woman, they already love [the character], so I’m not trying to convince them to like me as an Indigenous person, so it’s a great unifier and equalizer,” explains North Peigan.
Art as a unifier is a powerful concept and is becoming a prominent part of modern-day Indigenous art.
When Stephanie Eagletail, an Indigenous fashion designer, was 16, she made her first Pendleton blanket coat under the mentorship of her mother and aunt. Eagletail’s blanket coats began a two-step journey towards self-healing and passing along the art. Eagletail uses the process of cutting and resewing Pendleton and Hudson Bay blankets into coats, both
(Clockwise from top right) Screen Ghosting; Lasting Legacy, both by Kristy North Peigan; North Peigan cosplays as Wonder Woman.
companies with histories of colonization, as an act of decolonization and healing for herself and her family. Each coat honours Eagletail’s culture and traditions by drawing inspiration for her designs from photos and memories of her great-grandparents. Eagletail has also taught over 400 people from Indigenous communities and non-Indigenous organizations the art of coat making and finding healing through the process. Eagletail continues to teach members of local Indigenous communities and Nations across Canada the craft.
artists have also been influenced by jazz, dadaism and surrealism, and the art form continues to evolve.
“I feel like it’s my gift to share the knowledge of making coats and upcycling and repurposing these blankets,” says Eagletail. “It’s part of intergenerational healing that even after going through all those atrocities, we’re still here today.”
Bringing Indigenous culture, tradition and history out of the past is also part of what North Peigan and other Indigenous artists call “Indigenous futurism,” blending traditional and modern mediums to showcase how Indigenous culture is alive now and for future generations.
SPOKEN WORD: SPARKING CONVERSATIONS
We may not immediately think of speech as an art form, but like all art forms, it is creative and dynamic with the power to engage, connect and entertain audiences.
Some might say spoken word originated from the epic verses spoken in ancient Greece, but the modern version as an art form emerged from movements like the Harlem Renaissance in the early 20th century when Black artists used the medium as a form of social commentary and empowerment as well as in the 1940s and ’50s when Beat Poets in New York, San Francisco and Los Angeles, criticized mainstream American life through writing and performing poetry in an authentic, unfettered style. Spoken word
Spoken word became popular worldwide with Calgarians catching on quite quickly, says Sheri-D Wilson, renowned poet, Calgary's fourth Poet Laureate, educator and community builder. As a then-aspiring artist, Wilson first travelled around the United States and Europe, discovering spoken word under mentors including Allen Ginsberg, Diane di Prima and William S. Burroughs, who helped Wilson find her own voice. Now, Wilson mentors other aspiring spoken artists along a similar path of self-discovery. “You have to find other voices that you love and listen to everything without judgment. Keep your heart and mind open and explore all possibilities so that you can start hearing your own voice,” explains Wilson.
Helping spoken word artists flourish and explore their authentic voices is what guided Wilson to create safe spaces for spoken word artists to perform without limitation and build community.
Wilson co-founded the Single Onion in 2000, the longestrunning poetry reading series in Calgary, where renowned Canadian poets and up-and-coming local artists could come together to share their work at open mics and readings, hear different voices and find their own voices. Wilson later founded the Calgary Spoken Word Society and co-founded the Banff Centre’s Spoken Word program. Over the years, Wilson has visited schools and universities to speak about spoken word to hundreds of students and has closely mentored 60 artists.
“Spoken word doesn’t have to follow any rules,” adds Miranda Krogstad, a spoken word artist. “It can be personal and
Sheri-D Wilson
Stephanie Eagletail
political; it can rhyme or not; it can be uplifting or laugh-out-loud funny. It can be anything you want, allowing anybody to get into it.”
Krogstad co-founded YYSpeak, a spoken word network, in 2013. It began online as event listings for upcoming open mic nights. But over the years, Krogstad has evolved YYSpeak into a “communal and supportive space for spoken word artists” and for the community interested in attending and supporting its artists. Krogstad also works in schools and youth programs, teaching about creativity and empowerment through the art of poetry and in sharing one’s voice. “Spoken word is not just poetry for the poets; it’s poetry for the people,” she says.
Krogstad’s sentiment is shared by many fellow spoken word artists who are changing the narrative of what spoken word can be. For many years, poetry has been viewed as an “elite” art form. Spoken word, however, is bringing about a modern renaissance, making poetry accessible by embracing creative freedom.
Similarly, Wakefield Brewster, professional poet, Calgary's sixth Poet Laureate and spoken word artist, uses his work as a medium to
(From left to right) Stephanie Eagletail, Sheri-D Wilson, Wakefield Brewster and Miranda Krogstad.
advocate for literacy and the humanities, healing arts and alternative medicine, awareness for alcoholism and addictions, and mental wellness and recovery.
“The arts are humanities, and the humanities are where we all truly connect,” says Brewster. “Making sure that I can bring my artistic expression in the name of service to different communities is paramount to me wrestling poetry away from the elite and letting the whole world know poetry belongs to them.”
In 1999, during Brewster’s first year of his poetic career, local schools began hosting him to bring his poetic and spoken word knowledge into an educational setting. Since then, he has worked with thousands of students from grade 7 to university level through presentations that he calls “Writing Change Into The World.” He mentors students from writing their work on paper to presenting it on the stage with themes of justice, equality, diversity, accessibility and more. The work is what Brewster proudly calls among his “greatest educational and community projects yet.”
With artists championing the art form by teaching and engaging, spoken word artists and audiences will keep emerging. “Spoken word is going to continue to grow and thrive because you are connecting and responding with it [and the artist] right at the moment, and that sparks conversations,” affirms Krogstad.
Wakefield Brewster
Miranda Krogstad
THE ROAD TO A CREATIVE CITY
Collaboration is key for Calgary to strategically drive prosperity through the creative economy.
by Olivia Piché
Singer-songwriter and Canadian icon Jann Arden began developing her distinct sound by playing original music in the basement of Calgary’s Smuggler’s Inn in the 1980s. Internationally recognized visual artist Chris Cran has called Calgary home since the 1970s, and dancer and pop superstar Tate McRae attended Western Canada High School before recently making her big break in the U.S. Talented artists, bold innovators and creative minds have long been embedded in the fabric of the city.
Although Calgary has always been a place where creativity grows, it’s often overlooked as a creative city globally and even sometimes by Calgarians themselves. Despite the creative talent in Calgary, it’s still often seen as a business centre, known mostly for its oil and gas industry. But there’s a lot more to Calgary, and the city is working to leverage its potential from all sectors, most notably its creative and cultural industries like film, publishing, digital media, interactive technologies, sound recording and the arts.
With support from different civic partners and programs, Calgary Arts Development, Calgary Economic Development (CED) and Mount Royal University created a strategic roadmap called CreativeCITY to help drive a vibrant creative economy. The collaborators looked to community engagement, creative leaders, research and reports to build this strategy, which has developed the building blocks for Calgary to strengthen its creative economy. The goal is for Calgary’s creative economy to gain recognition as a global leader in order to capitalize on the associated social and economic benefits.
A CREATIVE ECONOMY: TOGETHER IS BETTER
While creativity might be thought of as relevant to the arts sector alone, a creative economy looks through a wider lens and sees it across all industries. Patti Pon, president and CEO of Calgary Arts Development, explains that the direct output of creativity is innovation, and there’s a need for innovation across all industries. Innovation looks to solve problems in new ways, address social issues and make cutting-edge contributions to society. “If all of us practice more creativity, we will be more innovative, and we will be able to contribute in more meaningful ways in a world that's having a lot of struggles right now,” she says.
liveable city in the country and unconditionally tie creativity to its DNA. This, in turn, will drive the economy and make for a better Calgary.
As Calgary gains recognition as a hub where creatives can successfully live, work and play, it attracts more like-minded people. The more attractive a city, the more things happen here — more events and conferences fill the calendar, more businesses and corporate offices set up shop, more innovators offer more solutions to city issues and more money flows, particularly to tourism, hospitality and entertainment industries as more people come here to work and visit.
“This is not about art being nice to have. This is about business. This is about making money for the benefit of our community at large,” affirms Pon. “When an artist has more money in her pocket, it means there's more money in the pockets of arts venues, restaurants, the parking authority, arts educators, arts institutions and art post-secondary.”
A creative economy acknowledges that creativity is found in many industries, and there’s strength in supporting unified growth across them. “We believe we can have an impact if we actually do things together, and that's what CreativeCITY does; it provides a place to aggregate the work of everyone and to demonstrate the larger impact of the creative economy as a whole, not of its parts,” says Kaley Beisiegel, principal consultant of Bird Creatives, the consultancy that authored the CreativeCITY strategy.
The strategy aims to put Calgary on the global map as a creative city, make it the most
CED acts as a champion of the CreativeCITY strategy with Calgary Arts Development. CED president and CEO, Brad Parry, explains what CreativeCITY aims to do for Calgary’s creative sector is what has been done to position the city as business-friendly with other industries. “The more we can tell stories about the artists that are here, the more we get recognition, and the more people want to come. It's one of those circular economy things that we want to keep building, but we have to tell the stories just like we do with business right now,” he says. “We're attracting that kind of high-level global talent into the city that just keeps reinforcing the fact that we want to invest in this and see the future for us in this creative economy.”
BUILDING BLOCKS IN PLACE
At the time the 2021 CreativeCITY Ecosystem Report was published, roughly 50,000 Calgarians volunteered in the creative economy, and Calgary had the highest labour force productivity of any major Canadian city. These levels of volunteerism and productivity generate big money. Before the pandemic, in 2019, the creative sector in all of Alberta employed a total of 45,600 individuals and contributed $4.2 billion to GDP. In 2020, even with the effects of the pandemic, the Calgary music sector alone generated $1.7 billion of Alberta’s GDP. The impact of Indigenous creative sectors locally shouldn’t be understated either — the Indigenous economy contributed $1.5 billion to Calgary’s GDP in 2021.
“We have the resources, the talent, the people and, more importantly, we understand the value of having a solid creative economy and creative innovative thinking, and how it’s going to help drive us even more into a world where people see Calgary as a place where they can come and really do some outstanding work around whatever mediums they have,” says Parry.
As the city’s different industries intersect through CreativeCITY, the aim is to gain traction and recognition of Calgary’s creative assets. So, when Calgary plays host to major events like the World Petroleum Congress or the upcoming North American Indigenous Games, Calgary Arts Development understands the importance of using those platforms to showcase the city’s creativity. “When there are a lot of eyeballs on Calgary during these major events, I want their eyeballs to see the strength, vibrancy and vitality of Calgary's arts and culture ecosystems,” says Pon. “Now is not the time to take our foot off the gas. If anything, it's time to press harder.”
Many people simply don’t know about the amazing things happening in Calgary, explains Parry. But they are happening. Calgary is home to the Music Mile and Arts Commons — the largest performing arts facility in Western Canada — and MovieMaker Magazine ranked Calgary as the eighth-best city for filmmakers in North America on its 2024 list. “If we’re already seeing this type of success without a coordinated effort, and if we can get our ducks in a row and really make sure that we're supporting this opportunity in the way that it needs to be, then we're going to see the benefits as a city,” says Beisiegel. Those benefits centre on increased liveability through more social and economic resources for residents.
A CreativeCITY strategic guidebook is available for anyone in the creative economy to build on what they contribute to the city, whether through a grant, business loan or other tools, but primarily through working with others. Beisiegel explains that companies and organizations often look for their own advancement. But, the sum is greater than its parts, so the guidebook is designed to look at the creative economy at large and the broad opportunities that come with collaboration among various sectors. “It identifies those opportunity areas and provides a framework for how we can pursue this work together,” she says.
A BRIGHT CREATIVE FUTURE
CreativeCITY consists of a four-part plan: making creativity the heart of everything done in the city; unifying the creative economy under one identity; giving the creatives of the city the right tools to succeed; and tapping into the city’s diversity. The strategy has established the framework and outlined steps to move forward, and now, it’s up to creative individuals and groups to take those pieces and
run with them. Calgary creatives must see themselves as members of the creative economy and look at what they’re bringing to it. Then, they need to look at how they can collaborate with others to do more. For instance, if you’re an arts educator or an artist trying to pass on your knowledge to new artists to continue your artform, look at how you can work with organizations embedding more arts into formal education or arts groups developing legacy-building platforms.
Ultimately, it all comes down to building a better Calgary. A future where Calgary is a globally recognized creative city would benefit many. Beisiegel affirms that a strong creative economy improves economic and social challenges. The more liveable a city, the more social issues are addressed, and the more creatives are attracted to plant their roots in Calgary and help drive the economy.
“If we continue to pull together as a city and take on the values and aspirations of what this guidebook is — a collaborative effort to fast forward to mutually beneficial outcomes for everyone in the city — the outlook for Calgary is really great,” says Beisiegel.
For your own copy of the CreativeCITY guidebook, visit calgaryartsdevelopment.com/news-information/reportsresearch/creativecity-prosperity-through-the-creativeeconomy-strategic-guidebook.
— THE PLAN —
EMBED AUDACIOUS CREATIVITY INTO OUR CITY’S DNA
A profound place to share.
Each year, Calgary Foundation flows millions of dollars to every corner of our city, supporting causes as myriad as our population. As those funds spread, our hope is that they bring something else with them—the knowledge that a city is a profound thing to share.
The Nuff family all perform as part of HireHeelsYYC. From left to right, Nearah, Farrah, Tana and Nada.
Local drag performers share how Calgary’s drag scene has evolved and can compete on the big stage — but only with continued support.
by Elizabeth Chorney-Booth with files from Colleen Seto
This past winter, Nearah Nuff, a 23-yearold drag performer from Calgary gained international fanfare after appearing (and, spoiler alert, placing in the top four) on Canada’s Drag Race, a spinoff of the global television phenomenon that is RuPaul’s Drag Race. With her cherubic good looks, confident demeanour and gravitydefying dance moves, the artist enchanted audiences and earned fans from around the world.
While Nearah’s Drag Race run was fun and seemingly effortless, earning a spot on the national stage was the result of years of developing her own personal talent with the support and mentorship of Calgary’s own robust local drag scene. Nearah may have helped put Calgary drag on Nearah Nuff
the televised map, but it was Calgary that got her on that road in the first place.
“I made it the farthest [that] anyone in Alberta has gone on that show,” she says (for the purpose of this story, all performers will be referred to by their drag names and pronouns). “I feel like the Alberta talent we have is very underrated. There are so many talented performers who deserve a chance to be recognized in this way.”
To drag fans solely familiar with performers they see on shows like Drag Race, the news that Calgary is teeming with local drag performers, carefully pulling on wigs and adhering milelong false eyelashes to perform day in and day out may come as a surprise. But it doesn’t take much digging to find live drag shows happening throughout the city, with everything from drag bingo and brunches to full-on musicals or classic cabaret-style shows starring drag queens, drag kings and artists of all gender identities taking place at nearly every kind of restaurant, theatre and bar. The popularity of reality TV contestants may have made drag more visible to non-2SLGBTQIA+ audiences, but drag in Calgary long predates the advent of RuPaul’s Drag Race in 2009.
A LONG AND PROUD DRAG PRESENCE IN CALGARY
“There were tons of queens back when I started, and there still are tons of queens today,” says Carly YorkJones, the star of Carly’s Angels, a drag show that has been running in the Inglewood
Carly York-Jones
vegan pizza and pasta restaurant and bar The Attic (and a string of other bars and restaurants occupying the space before it) since 2000. “We're just in different locations. Drag doesn't necessarily have to be part of an underground scene with an adult-only aspect to it anymore.”
While York-Jones is far from being the most veteran drag performer in Calgary (Mercedez, one of her “angels” has proudly been performing for over 40 years), she is a couple of generations older than Nearah. YorkJones started performing in the early ’90s in Winnipeg as a point of entry into the local gay bar scene — as a young person coming to terms with her own sexuality, drag provided a sense of community and connection. While drag has expanded to include different styles of expression in the years since she started, York-Jones’s act still falls into a traditional definition of drag — that is, a male-identifying person dressing in an exaggerated style of clothing, hair and makeup typically coded as female while performing a combination of dancing, lip syncing and comedy, all with a hefty dose of charisma and charm.
York-Jones may not be reinventing the wheel when it comes to her brand of drag, but she is a trailblazer via her vision of creating a show that takes drag beyond traditionally 2SLGBTQIA+ spaces to perform in a restaurant setting, inviting in audiences of all identities and backgrounds to come along with her. She loves her classic style but is also moved by the ways in which the definition of drag performance has evolved over the decades.
“Our show is sort of the vanilla aspect of the rainbow at this point,” York-Jones says. “That rainbow has added quite a few colours to it. We see women, heterosexual, non-binary and trans performers. There are just so many different types of acts under that drag heading, which is wonderful to see.”
AN EXPANDING RAINBOW OF PERFORMERS
The drag rainbow includes Farrah Nuff, a non-binary-identifying performer with a background as a competitive dancer. Farrah’s look often trends towards the gender non-conforming: they’re often clad in a lime-green wig and makeup, with tattoos exposed and in a bodysuit with minimal or no padding at the chest. A Farrah show is marked by high energy, intricate dancing and expertly executed lip-syncs, all performed with an abundant sense of joy. The performer, who started doing drag nearly 20 years ago, was looking for a way to continue practising the skill they’d developed as a competitive dancer. While working in a 2SLGBTQIA+ club, they were coaxed from behind the bar to try their hand at drag and became part of the regular roster of performers less than a month later.
Farrah has passed their wisdom and spirit down to their own drag daughter, the aforementioned Nearah Nuff (“drag mother” and “drag daughter” can be a mentorship relationship, usually referring to the person who guides a new drag performer and provides caregiving), who, after a childhood of competitive dancing and watching Drag Race with her stepmother, as well as training as a makeup artist, approached Farrah about pursuing drag. With all of that experience, the skill quotient is high, but both Nuffs and their extended “Nuff Family” also use drag to build community and as a form of personal expression.
“Farrah is a part of who I am as an individual,” Farrah says. “Drag has been a wild journey of self-discovery and performance opportunities. It is also about family and having people to support you that you chose to be related to as opposed to blood relations.”
Farrah has also been proactive as a businessperson, on a mission to open the door even wider for audiences of all identities. In the spring of 2020, near the beginning of the pandemic, Farrah and their drag sister Nada Nuff launched HireHeelsYYC, a booking agency and production company that gained ample news coverage with its curbside Mother’s Day performances. It gave performers the chance to continue the momentum of local drag’s popularity, even as traditional performance venues shut down.
Farrah Nuff
DRAG ISN’T ONLY AT DRAG SHOWS
Like Farrah, Mavis Vontrese uses drag for selfexpression and performance. “I was always doing drag, but only in private,” she says. “I was always dressing up and performing.” Vontrese, who grew up on the Kainai Nation in southern Alberta, began publicly performing drag during her theatre degree at University of Lethbridge. Moving to Calgary in 2017, she performed in many drag, cabaret and theatre shows. She’s also incorporating drag into her professional theatre work.
Since 2019, she has played the Ghost of Christmas Present in Theatre Calgary’s A Christmas Carol. “I love the idea of storytelling and how drag can be a part of theatre,” she says. “In collaboration with the costume design team, director, playwright and my acting style, it became a drag character. Traditionally, that ghost is a hungry bearded man, but that abundance can also refer to an abundance of queer joy. I love when we can be open to thinking of things in new ways. The role was about being larger than life and I pushed in the direction of drag, but no one was opposed or said it was a bad idea. People seem receptive to it.” Vontrese also points to how mainstream shows are beginning to house and even dedicate drag characters within them such as Kinky Boots or locally, Lunchbox Theatre’s With Bells On holiday show.
THE LOCAL DRAG STRUGGLE IS REAL
Even with that community support, local drag performers still often struggle to attract the kind of attention the touring superstars of Drag Race enjoy. Even though drag shows are commonplace in Calgary, local artists have to work hard to build fan bases, command reasonable performance fees and earn the cash tips traditionally handed to the stage during a drag show. Making a full-time living as a drag performer is rare — Farrah points out that the pay isn’t high and there’s not always enough work — and maintaining the gear required is a costly endeavour. York-Jones says she’s satisfied to earn enough to keep herself in professional-level wigs and glamorous gowns. The reality is, most performers in Calgary don’t expect to be able to quit their day jobs. As successful as they are, York-Jones and Farrah have professional careers outside of drag, and Vontrese also works as an actor, director, playwright and producer. But even if most artists aren’t getting rich, maintaining a local drag community requires audience support.
“If people want more local queens from Calgary representing on bigger platforms like Drag Race, they need to show up and show out,” Nearah says. “It gives us more opportunities to work, make more money and invest into our crafts. Every time a person tips a drag queen, they're investing into their local queer community.”
Supporting and celebrating local drag doesn’t just grow specific artists, it also provides representation to Calgarians who may be exploring their own gender expression. Carly’s Angels’ home base, The Attic, saw a series of protests outside its doors throughout late 2022 and early 2023 over a series of all-ages drag brunches it was hosting. Similar protests have taken place in front of libraries hosting Reading with Royalty drag storytime programs, prompting The City of Calgary to enact a bylaw prohibiting protests within 100 metres of a Cityoperated recreation facility or library.
Mavis Vontrese
INCLUSIVITY MATTERS
“It’s easy to villainize drag as an art form because it’s always existed on the margins of creative expression. In today’s political climate, it can be scary to do shows in public,” admits Vontrese. “But in order to break the stigma, we need to be open and allow space for all forms of drag to exist. For me, drag is a way for me to free the feminine as a Two-Spirit person, to bring people together and share queer joy. There truly is room for everyone, and it’s lovely seeing people from underrepresented communities take up space in the drag scene — from non-binary performers to performers with disabilities and from neurodivergent communities. All of that feels good. And I would love for more Indigenous performers to explore the art form and step into their power. Promoters and producers need to be intentional about who is
being invited to participate in shows. Drag spaces need to be safe and accessible to make this possible.”
With a growing cohort of young gender non-conforming Calgarians looking for role models, Farrah, who has personally been the target of a harassment campaign by an anti2SLGBTQIA+ group, believes some of the public pushback against drag highlights how important the art form is. “If you don't have haters, you're not pushing boundaries,” they say. “If you're not pushing boundaries, you're not breaking ground or breaking moulds.”
York-Jones adds that while exposure to drag was important for her when she was a young person discovering her identity and community over 30 years ago, drag’s growing openness and inclusiveness are just as important in the here and now. “I love looking feminine,” she says. “I like the pretty — I like the jewels and the rhinestones and the hair. But I know queens out there that go 100 per cent in the opposite direction, and they have an audience, too.”
Ultimately, that boundary pushing, along with drag’s ability to delight, entertain and inspire, is why supporting a robust local drag scene and a place where audiences can see performers beyond their screens is crucial. “What’s been so nice about seeing drag come to the forefront is that it’s been easier to combine my drag persona with my theatre persona — combine my identities in a way,” says Vontrese. “I want to be taken seriously in theatre, but now I can feel comfortable adding some of my drag attributes in those spaces and be my whole self.”
Nearah Nuff
Farrah (left) and Nearah Nuff
A RIVER RUNS THROUGH IT: HOW PUBLIC ART TELLS THE STORY OF CALGARY’S RIVERS
Artists help us understand who we are in relation to our greatest natural resource — water. by Marcello Di Cintio
As the Bow River flooded its banks and overwhelmed the city in June 2013, artist-duo Charles Blanc and Tristan Surtees, known together as Sans façon, sat in the cafeteria of Calgary’s Water Centre and wondered what to do. Sans façon was leading WATERSHED+ at the time. The ambitious project, launched two years earlier as part of Calgary’s Utilities and Environment Protection (UEP) Public Art Plan, embedded artists with engineers, architects, water management experts and municipal staff to connect Calgarians with our watershed through a series of public art works. In the wake of the flood, however, Blanc and Surtees questioned their roles while the river seemed to rebel against the city. “I’m sure we can go fill sandbags,” Blanc said at the time. “But what does an artist do in this situation?”
Just then, an overworked City of Calgary water engineer walked through the cafeteria. The man had barely slept or seen his family for a week. He paused at Sans façon’s table. “He said, ‘We need artists more than ever now,’” recalls Blanc. That engineer, along with others, shared with Sans façon how engineers can talk in graphs and in numbers, but they need an emotional
understanding of what is happening. That’s what artists can do. We all know Calgary’s origin story. The city grew from the place where the Bow and Elbow Rivers meet, a place of convergence where people had gathered for millennia. In a way, our rivers are the original storytellers of this place. They are the enduring authors of a narrative that flows through time and geography. As such, the rivers become a different kind of natural resource for the artists that engage with them. The Bow and Elbow provide inspiration and an opportunity to translate Calgary’s riverine identity through public art. In turn, as the flood-weary engineer claimed, their work grants Calgarians an emotional understanding of who we are.
But engineers and other municipal employees are also part of our rivers’ grand narrative. After all, the Elbow and Bow don’t just simply flow between the riversides. The rivers flow into our homes, through our taps and hoses, and back into the watershed again. Blanc calls the workers who guide the water in and out of our daily lives an “army of carers.” Their usually invisible labour deserves to be celebrated through public art, too.
INTO THE DAYLIGHT
During his time in Calgary in the 2010s, acclaimed New Yorkbased artist Brian Tolle met with members of the municipal water department and visited the Bow Glacier — not just the source of the eponymous river, but of the watershed that provides most of Calgary’s drinking water. Inspired by all he learned about the city’s water supply, Tolle created Outflow. For this sculpture, which stands on the banks of the Bow River
at Parkdale Plaza, Tolle used computer imaging software to create an inverted 3D image of Mount PeeChee, the third-highest peak in the Bow River watershed. Tolle then cast the inverted mountain in locally produced ductal concrete. The sculpture integrates into the city’s stormwater system, making it a functional part of the system. Viewers can walk through Outflow on a stainless steel bridge and watch stormwater travel through the sculpture to the Bow River just beyond via an outfall. “It seemed to me so interesting that the source of this river is this pristine glacial
formation, coincidentally called an ‘outflow’ glacier,” Tolle said in an interview with The Calgary Herald at the time.
Outflow also allows for sunlight to strike the previously covered stormwater as it flows through, a process known as “daylighting,” which can help release certain volatile chemicals from the water before it flows into the river. “One of the best ways to show people where these pollutants were generated and how they make their way into the water was to ‘daylight’ it,” Tolle said in the Herald interview. Outflow also traps the occasional bit of trash or debris that might’ve made its way into the storm drain system. “It seems counterintuitive to allow trash to be collected in a public art project,” Tolle said. “At the same time, I think, what better way to demonstrate what really is happening than to expose it to the public.” The piece allows viewers to visualize the Bow’s journey through our civic infrastructure and imagine our own impact on the river’s health.
POLISHING THE WATERSHED
A few kilometres upstream from Outflow stands Dale Hodges Park, one of the largest initiatives and artworks undertaken by WATERSHED+. The park’s collaborators descended upon the former Klippert gravel pit on the Bow River’s northern bank with a pair of ambitions: first to restore the area into a riparian habitat and, second, to improve the stormwater drainage system on the site. Additionally, the artists wanted to look at how to bring people to an emotional connection with the watershed. This unique collaboration between the artists, The City of Calgary (UEP and Public Art departments) and WATERSHED+ consultants O2 Planning + Design, Source2Source and AECOM resulted in a project that melded these intentions that seemed to be at cross purposes: one based in ecology, one in engineering and one in art and society.
Opened in 2019, the $26.8-million project, of which $2.2 million went towards public art, has culminated in a park that makes the stormwater treatment process visible to viewers before the runoff enters the Bow River. Just like Outflow, Dale Hodges Park grants visitors insight into how our manufactured water systems interact with the natural world. In their artist statement, Sans façon explains, “Instead of an invisible system disconnected from citizens, we chose to use the journey of the stormwater and its part in the creation of different habitats to be apparent throughout.”
Stormwater flows from nearby residential communities into the circular Nautilus Pond on the western edge of the park where larger sediment particles are removed from the swirling water. The water then drops through a halo drain and streams slowly through polishing marshes, sculpted into sweeping curves by the design team, where the roots of wetland plants cleanse the stormwater of fine particulate. Finally, the water seeps through a wet marsh before reaching the outfall to the Bow, the stormwater now cleaned of at least half of its sediments.
In turn, the wetlands offer a new biodiverse habitat for both
Halo Drain
flora and fauna. Nearly 50,000 woody and 40,000 emergent plants were included at the site, and the outfall stream feeds an important trout-rearing habitat. The park also forms a new locus on a wildlife corridor — a highway for beavers, skunks, deer and raccoons — from Bowness Park upstream to Edworthy Park to the east.
According to O2 Planning + Design, the park’s pathways and boardwalks “mimic and contrast” how the water flows, inviting visitors to “read the river’s story over time.” Never has stormwater treatment been this engaging. Or this beautiful.
A MOMENT IN TIME
Kansas artist Steve Gurysh’s contribution to WATERSHED+, called Parts per trillion, was somewhat more ephemeral. During this threeyear project with Dynamic Environment Lab, Gurysh worked with UEP employees to 3D scan items — graffiti-tagged stones, a Cliff Swallow nest, a bison skull — derived from the Bow River watershed. He then populated a digital archive of these objects.
As he amassed his archive, Gurysh engaged with his UEP colleagues to learn about the vast tangle of geological, historical and anthropological forces that define
the watershed. He investigated sediment flow, attended archeological digs and examined the inner workings of the city’s water infrastructure. The title of the piece was inspired by the researchers Gurysh engaged with and their ability to assess the watershed in astounding detail and resolution — literally in parts per trillion.
"Through this engagement with water experts in Calgary, I learned that Parts per trillion as an idea revealed a perspective, how even seemingly very small traces of human activity could have disproportionate effects downstream. I decided to meticulously recreate the graffitied stones [I came across at a bend in the river], as a way to record the marks made by anonymous people while considering how these gestures relate to the scale of the watershed, to imagine what might happen if the stones continued to be swept down the river, and how
Mirror Pool
strange it would be to find these markings many miles from here, many years from now."
Gurysh translated the 3D scans of his found objects back into physical forms by casting them in earthenware ceramic. On a snowy September day in 2019, Gurysh fired the pieces in a pit he dug at Edworthy Park’s riverside on the spot where an early 20th-century brick factory once stood. In his description of Parts per trillion, Gurysh wrote, “This gesture both finalizes the ceramic process, carbon-dating each object, while registering a visible mark of the landscape.”
The flow of the Bow River — or any river — might represent the unceasing flow of time. But Gurysh’s ceramics press pause on this chronology, preserving these objects in the moment of their discovery. Time, like the river, carries on, and all that remained of Gurysh’s riverine labours was the fading scar his pit kiln left behind.
GETTING PERSONAL
Perhaps the most intimate and whimsical contributions to the WATERSHED+ program came in 2014 from Broken City Lab (BCL), an Ontario-based collective. BCL’s artists Hiba Abdallah, Joshua Babcock and Justin Langois produced a series of river-engaged works called Varying Proximities. For one of these works, titled Subtext: River Signs, BCL installed 100 signs to stormwater outfall sites
Subtext: River Signs
around Calgary with playful but probing questions such as: Is the river painful? Is the river hopeless? Is the river rebellious?
These questions might seem ludicrous on their face, but they compelled viewers to consider their own human relationship with the Bow and Elbow in ways they wouldn’t have thought of before. Through these queries, the rivers become more than just waterways, but our fellow Calgarians — characters caught up in a civic drama we’re all a part of. “In a way, we were trying to personify the river,” Abdallah says. The fact that the signs pose questions rather than issue statements means every viewer brings their own potential answers. The piece is not fully complete, then, without our own riverside contemplation.
Connecting to the Bow Hotline was another work in the Varying Proximities series. The artists established a toll-free phone number for “viewers” to call: 1-844-OURBOW-RIVER. The Bow would “answer” with a recording of the flowing water. Like the river signs, the phone number
played with the idea of personifying the river — this time in an even more intimate and human way. “Is there a situation where somebody would really just need to hear the sound of the river to feel comforted?” asks Abdallah. “Maybe you moved away, and hearing the river makes you feel like you're close to home again.”
When Calgary Arts Development approached BCL to ask if they could bring the hotline live again in 2024, a decade after the original launch, the artists took the opportunity to rethink the project. One of the changes is to the number itself. “In the 10-year span, we’ve learned so much about nature and our relationship to it, through Indigenous learning,” Abdallah says. “That initial phone number was so possessive. Our river.” The new number will be 1-855-BOW-LSTN. BCL hopes to reframe the project in a way that grants agency back to the river. “Before, it was framed as you’re taking something from the river. This time, the thinking is that the river can give you something.”
Our physical connection to water is simple enough to comprehend. We drink and we wash. We paddle and swim. There is no resource more essential or more banal. But the work of these artists reveals the depth of our simultaneous connection to the source of that water. The same river we skip stones across flows over our bodies in the shower. The river we raft down on lazy summer days forms the ice in our lemonade. Through public art, we see our relationship with the river is emotional and psychological, too. The river doesn’t just give us “something,” as Abdallah says. The river gives us everything.
Bow-Inspired Hard Candy
Connecting to the Bow Hotline
Students at Strathmore High School performed New Blood to commemorate National Indigenous Peoples Day on June 21, 2024. Create Calgary captured these behind-the-scenes moments.
POETRY, DANCE AND MUSIC FOR RECONCILIATION
New Blood brings healing and understanding to Indigenous history.
by Stephanie Joe | photography by Jared Sych
What started in 2014 in response to thenmayor Naheed Nenshi’s proclamation of a year of reconciliation, New Blood has since turned into a 10-year-running play. The dance show has been performed hundreds of times, including at the renowned Jack Singer Concert Hall, and a CBC documentary about it debuts this fall.
New Blood was created by Strathmore High School’s drama and dance teacher, Deanne Bertsch, in collaboration with the school’s former Blackfoot language teacher, Eulalia Running Rabbit. Inspired by Siksika Nation’s former Chief Vincent Yellow Old Woman’s experience at residential school and how he reclaimed his life, the show mixes poetry, contemporary and traditional dance and music, and features Indigenous and non-Indigenous students. “The play brings healing and understanding,” says Running Rabbit, co-director and narrator of New Blood. “A lot of people don't know about the residential school experience and what the students went through. We’re here to share that experience.”
Running Rabbit, a residential school survivor herself, is reminded of her experience when she performs, and she often thinks of a classmate who passed away. Running Rabbit was a day-school student, which meant that she was allowed to return home in the evenings. Each morning, she was bussed back to school where her friend would be waiting for her. “The first thing we’d do is run up the stairs and look out the window. Always looking out the window. One day, I asked her, ‘Why must you look out the window all the time?’ And she goes, ‘Hoping to see my parents coming for me.’ As young as I was, I knew how it felt to be lonely.” Even now, when Running Rabbit thinks about her friend, “sometimes I still break down.”
Though painful, Running Rabbit knows it’s an important story to tell. She remembers when Bertsch approached her to participate in the play. Running Rabbit agreed though they didn’t know how big it would turn out to be. When they performed for the first time, they realized how powerful it was and took it to Siksika High School, where they were just as successful. They had buy-in from both Indigenous and nonIndigenous audiences.
Bertsch’s goal at the time was to create a piece of theatre that included the history of the Blackfoot students in her class and for nonIndigenous students to learn more about the stories of the original inhabitants of this land. “In 2014, I went to Writing-on-Stone Provincial Park and toured the writings and pictographs, which tell the history of the Blackfoot people,” says Bertsch. “The Blackfoot guide told us that some of the stories have been lost when the Blackfoot people were put on reserves in the late 1800s, and weren’t able to learn their history.”
She then decided to talk to Running Rabbit about the history that changed the way of life for Blackfoot people. While speaking with Running Rabbit, Bertsch learned about the many factors that continue to affect Indigenous peoples today. Running Rabbit touched on the fur trade, reserves, residential schools and why her people still struggle with addiction. “She talked a lot about healing,” says Bertsch. “And
she wanted the show to be about that.”
So, the two teachers set forth on a journey to create an informative play, and it so happened that one of Berstch’s students was the grandson of Chief Vincent Yellow Old Woman. That student connected the teachers with the Chief who generously shared his story of going through residential school, the trauma it inflicted upon him and how he found hope and healing to become Chief of his people. “That became the backbone of our story and how we told it,” says Bertsch.
Though she admits that using English popstar Peter Gabriel’s music throughout the show may sound like a strange choice, Bertsch says that when listening to the lyrics, a lot of his work had anti-colonial undertones that criticized the apartheid in South Africa. Indigenous peoples in Canada had similar experiences of forced assimilation and trauma as Black South Africans.
“We started choreographing with his music,” says Bertsch. “And the Chief gave us an amazing poem called Indian in the Child,” written by Cree Métis artist Sandra Sutter and Jim Pearce based on the Chief’s life.
The play is told through movement and dance and covers topics such as the fur trade, smallpox pandemic, residential schools, trauma and addiction. While these are difficult topics and current realities for many Indigenous peoples, this story is one of hope and healing.
“It's been a really amazing journey,” says Bertsch. “It gives our Indigenous student performers an opportunity to be seen and honoured. It celebrates Indigenous culture in our school and has fostered new relationships where there haven't been relationships before.”
New Blood has been performed more than 300 times across Western Canada with about 150 students and 14 different casts. Coming up on its 10-year anniversary, New Blood will have a CBC documentary about its evolution air on November 22, 2024 — nearly a decade since its first performance.
While Canadians have likely heard about residential schools through media and social studies curriculum, New Blood offers a different way of helping people understand and empathize with the loss that happened. Running Rabbit agrees and believes the show’s message will continue to reach many. It’s an important story about reconciliation, and even after 10 years, people still want to hear this story, if not more so. Running Rabbit remembers daydreaming as a
little girl in residential school and wondering what her future would hold.
“My dream came true when we played at the Jack Singer Concert Hall with the orchestra,” she says. “We got to do the play where all these famous people come to do their shows or music. It was just amazing.”
“My dream came true when we played at the Jack Singer Concert Hall with the orchestra.”
Eulalia Running Rabbit
After a serious car accident in 2017, Juno Award-winning singer, multi-instrumentalist and dance-pop star Kiesza was forced to take a break from her career. Now, she’s back in full swing with a new album, Dancing and Crying: Vol. 1 and is set to put on a special full-orchestra performance with the Calgary Philharmonic Orchestra on October 5, 2024. She talks with Create Calgary about unearthing her Calgary roots with a new era of music. As told to Haider Ali
“My roots, development, growth, teenage years, selfdiscovery and the decision to be a musician all happened in Calgary. I don’t live in Calgary full-time anymore, but I understand now how cool of a city it is and how devoted it is to the arts. It was such a good incubator for someone like me who was wacky and weird and had a passion for music.
Calgary is my heart, and it comes with me everywhere. We in Calgary appreciate a lot of different genres. There’s such a mixing of cultures, but there’s this underlying love for Americana, folk, singer-songwriter and country. It just seeps into your DNA at some point. So I had trouble at first when I was writing for other people in New York; people would be like, ‘Your harmonies are very country-sounding.’ I had to unlearn that part of me, and it got very tucked away. I never had a chance to show the side of myself that you get to hear on Dancing and Crying: Vol 1 with the blending of subtle country, the singer-songwriter, the folk with dance and house music. It was really serendipitous and strange how the show with the Calgary Phil came about. I was talking to my manager about how I wanted to make a dance symphony, especially surrounding Dancing and Crying, because [it] had just come out. I did not expect to get an offer the next day. It has been a dream of mine. It's cool that the first time will be in Calgary, a place of beginnings for me.
A big chunk of my life is healing from the car crash in 2017. It's been six, going on seven years of healing from a brain injury. I’ve grown in ways that have influenced the music coming out now. It’s interesting because I was in an Uber the other day, and the guy didn't know I was a musician. I played “Hideaway” for him, but he had never heard the song, which was crazy. Then I was like, ‘Let me play you one of the new songs that just came out.’ It’s a decade apart, and I played him, “Strangers.” He said, ‘I can hear so much pain in your voice now. What happened?’ I was like, ‘Wow, well, because I went through a lot of pain.’ And it's interesting that somebody who had never heard me before was able to pull that out.
This new project came out of this need to dance again during my recovery, and I talk with a lot of people about the fact that I am bringing my roots, Calgary, into the new music. So, this whole next wave of music has a lot of Calgary in it, and I'm very proud of that.
With Calgary’s new brand, Blue Sky City — if you grow up around the beauty of something like a beautiful blue sky all the time, I think you have more days of happiness, and that's a gift.”
