Upcoming Concert: Journey from this World

My choir, the Capital Chamber Choir will be presenting its last concert of the 2011-2012 season on Friday, May 4th, 2012 at First Baptist Church on Laurier Avenue at Elgin St. Tickets are available to purchase at the Leading Note on Elgin Street or online. The program includes works by Delaney and Estacio, and the music ranges from the solemn to the sardonic. I am really proud of the work the choir has done and hope you can enjoy some beautiful contemporary Canadian chamber music with us!

City of Ottawa Action Plan for Arts & Culture

A friend sent me the City of Ottawa's latest action plan for arts & culture. I haven't had a chance to read it but thought I would post it and start a discussion. It looks like it was put together by Arts Ottawa East, the organization on which I served as a Director from 2004-2007. Christine Tremblay and her team do great work!

Review: Kabarett '33 at the Gladstone

Last Thursday, I saw Kabarett '33 at the Gladstone, which was written and performed by Bremner Duthie. Duthie has training as an opera singer in Montreal and his vocal talent shone, despite his voice sounding strained and tired. Overall, I was disappointed with the performance, and more disappointed that the reviews I read were deceptively inaccurate. I had taken 3 guests with me that night expecting a rip-roaring cabaret show. This is not it.

I thought the performance felt rushed and a lot of creative opportunities to develop character and flesh out the more poignant themes and dramatic moments were ultimately missed. The character appeared neurotic in a way that was unrealistic and distracting and prevented me from being taken into his world. In fact, at one point, there's a reference to contemporary events that completely destroys the illusion of the world created. It happens about 2/3 of the way through the show.

The staging should have taken place on a smaller scale for a one-man show: the strewn-about bits of clothing were cliche,  scatterbrained and ultimately unintuitive for the audience to follow. The set did not resemble the ransacked green room of a theatre. Green rooms are cramped characterized by "organized chaos" of costumes, props, dust, makeup stands, lights, wigs, old sets, sponges, liquor bottles etc. Better use of props, like an old piano (which I know from experience is backstage at the Gladstone green room) or a makeup boudoir would have provided levels, dynamism and inspired choreography. Better use of elements of cabaret (hello, drag!) would have given the show the flare it lacked as well as provided the audience with the depth and variety it craved.

There were a few exceptional moments: the opening scene was creatively done with a flashlight. The purple lighting was gorgeous and dramatic. The lighting overall was outstanding, actually.

The music was good; it was all originally recorded by Bremner Duthie and his ensemble.  I was concerned about copyright violations, as the program did not indicate whether the copyrighted works had been used with permission; many of them have been re-released and re-recorded, so I'm not sure if they're in the public domain.

The one and only bit of choreography had some compelling wrist movements. Lastly, Bremner did a good job of highlighting the complex ethical role that audiences played in attending Weimar German cabarets at the time, and he teased out that role with his audience.

Kabarett '33 closes this weekend at the Gladstone.

Le Patin Libre

I saw these talented artists last month on the Rideau Canal in Ottawa. Above is a video of them performing in Montreal at Nuit Blanche, courtesy of their YouTube channel. Think hip hop on skates. They're amazing. I see they have a show coming up on March 20th in Montreal - check it out!

Guerilla Dance Theatre

I learned this week that out of suffering we can create beauty and take action toward change. It has inspired me to found the Guerilla Dance Theatre Company.

Dance theatre is something I discovered while living in London, England, from 2007-2008. It spoke to me as an audience member in a way like no other dance I have done (ballet, jazz, hip hop, swing, flamenco) could. I have had the great privilege of studying modern dance with Cumbrae, Elaine Hunter, Caithream Celtic Dance Fusion and Natasha Royka Pilates and Dance, all in Ottawa. I credit Natasha for my 6 year incubation and recent awareness of my dance vocabulary.

I doubted that I had a dance vocabulary: I'm not a dancer, I told myself time and again. I'm too fat, too short, too busty, too (formally) untrained. I can remember looking into the ballet mirror at the age of 8 and realizing I was one of the larger girls in my class. Others perhaps unintentionally impressed it on me that there was little value in pursuing my passion to dance, and I was vocally discouraged from auditioning for theatre at Canterbury High School. When I didn't audition for theatre school after high school, I felt I had personally failed my drama teacher and mentor, Bernard Leger, who had taught me leadership skills and saw in me what I couldn't see in myself. Because of him, I am the arts activist I am today. And now it is time to put that activism into the art I defend so heartily in the city I love so much.

My dad and I at the Victoria Theatre, London, UK before Billy Elliot

Fast forward 6 years, age 22. I'm sitting in London, England, with my dad at the Victoria Theatre performance of Billy Elliot in London's West End, and before the show starts he turns to me and feels the need to exorcise a parental regret. He is moving me in on the eve of starting my Master's program at the London School of Economics and he says something along the lines of, "I know you've always wanted to dance, if you would like to do that now, I give you my blessing." I feel shocked. What do I do with my 40,000$CDN line of credit? How do I get a visa to make money as a dancer with my student visa to study at LSE. If I dance professionally, how do I pay back the loan? No, I tell myself, this is an impractical and albeit bittersweet permission that comes too little, too late.

Dancers from Surrationality after the LSESU's recital, Soul Calibre, choreographer Francesca Cookney in the Centre, February 2008, Old Building, LSE Campus

But of course it's never too late. Timing is a perception that resides in one's mind and is confined by one's expectations. I re-discovered modern dance at the London School of Economics Student Dance Union where I was cast in two pieces for their annual revue. That year, I danced and acted my way through my Master's - what I look back on now as an anthropologist to be an intellectual and character building ritual; a rite of passage of Gen Ys. But dancing was an enthralling experience, and one that helped me translate and channel the culture shock of a.) graduate studies b.) in British culture. I was so impressed with the calibre and professionalism of all of the performers that I felt like I had a little bit of the art school experience I always wanted. All of us were closeted artists: my choreographer was doing her Master's in geography, the fellow dancers were doing classic LSE curricula in International Relations. We were going to go to law school, start careers with the UN, save the world and earn a living after this formation. My choreographer, a wonderful inspiration, has since told me that she has shut the door on her dance life, and it saddens me, because I know one can have it all if one makes balance a priority.

So I have. In the middle of a demanding law school curriculum, I have founded the Guerilla Dance Theatre Company with the support of my husband and friends. It will shock, it will critique, and it will inspire as only I hope it can.

Anatomica at the NAC

Last week I had the great privilege of attending the performance of Andre Gingras' Anatomica by Dance Works Rotterdam at the National Arts Centre Theatre. The piece reminded me of two things: the contemporaneous reflection of human relationships that emanate from the Dutch dans theater scene, and secondly, the lack (or my ignorance) of a dance theatre scene here in Ottawa. There is contemporary dance and classical dance, but no dance theatre. I was thirsty and drank in the incredible social commentary about love, sex and relationships of Anatomica's first half.

The piece opened with with the dancers dancing as though they were in a club or in a strip club. It was sexual and reminded me of the mating dances I have seen in documentaries. Then they would stop, point at an audience member on which the spotlight was shining as though to say, "Dance, now you're the performer. Perform for us." The day after Valentine's Day, it was a reminder of the performing we do for each other, the vulnerability we have at the risk of performing and feeling rejected and the expectations that are dashed if we do not perform well - however you take that to mean :)

I also found poignant the performing we do for each other on the Internet, specifically on internet dating sites (of which I actually have no experience) and sexting. In this collection of short scenes, the dancer opened her laptop and proceeded to pose and type and flirt with her partner, who was situated offstage and only represented by a voice. The voice asked personal questions about what she likes to do and asked her to touch herself, take of her shirt, etc. The dancer obliged. But then the voice asked her, "Is your daddy proud of you?" The dancer was immediately offended, hid in shame from the computer and then gingerly shut the top of her lap top. The impact was like a mack truck on the audience. There was a collective tension in the air at her sense of hurt and shame and betrayal. She had trusted her partner, she had received his/her approval, and in one foul swoop, the partner had inflicted shame without really knowing the ramifications of what he/she was doing. This is the human condition of our contemporary society. We please and hurt each other instantly without the personal realtime connection to how our comments are absorbed and processed. For this to be represented in dance reached all of us. Prior to this, there had been grumblings in the audience, "what are they doing? Is this dance? This is what the NAC makes us pay for?" I heard of one family leaving close to the beginning with their children, which is too bad, because this is a way for their kids, in my opinion, for them to make sense of the world they live in. Sexting is part of their kids' lives now and there's no turning back and I truly think protecting children is futile - except if it's from adult predation. Child pornography is a scourge and we need to deal with it, but I think that's a separate conversation.

The second half of Anatomica was somewhat less compelling. The show opened with a photographer walking in the audience: he was performer and watcher as he took polaroids of audience members. Then, he gradually made his way onstage only to find a clone of himself with the same wig and camera. I understood that we perform for each other with this belief that we are all individuals, but we are not. Our identities are shaped by our desires to conform or not conform to society. We are an aggregate. We can be understood empirically and predictably.

After this portion, I found the dance less engaging although it was beautiful to watch, full of levels, kicks, jumps, and tumbles down a mattress or teetering at the top of a precipice and choosing to jump or not to jump.

In my own mind, I chose to jump. Andre Gingras and Dance Works Rotterdam and others (Natasha Royka, Natasha Bakht, Le Groupe Dance Lab and Lainie Towell) have inspired me to build and appreciate my dance vocabulary. The culmination of this is that I decided to found my own Dance Theatre company, unleash the dance vocabulary and ideas I have had building and have repressed and denied for the last 5 years. Art that inspires appreciation and reflection is wonderful; but art that inspires further creation is an art in itself.

I am so grateful to the NAC and Cathy Levy for bringing contemporaneous, moving (no pun intended!), cutting edge dance theatre to Ottawa. If you have the opportunity, check out Andre Gingras and Dance Works Rotterdam. You won't be disappointed.

Response to Xpress Cover Story "Ottawa Sucks"

It is high time that Ottawa stands up and take responsibility for what it really is: the cognitive surplus capital of Canada. A long-time advocate and performer, I was incensed by the Ottawa Xpress’ recent cover article, “Ottawa Sucks” and its summary of the so-called “debate” in the Ottawa Citizen and Globe and Mail about the lack of culture and support for it in the nation’s capital. A debate requires two sides; this article only represented one. The article itself, by Cormac Rea, was really about the SAW Gallery’s new exhibition, which attempts to (re)present what is a collective self-flagellation, while chanting in unison, “Ottawa Sucks”. Sadly, the core important message of the article – that there’s a new exciting exhibition in town - was drowned by all the self-hatred.

I find it impossible to continue to watch the media flagellate this city and its citizens for its “lack of arts and culture”. In my two short years as a co-producer and co-host of the Friday Special Blend on CKCU, a local arts radio show, there was never a shortage of events to attend or arts blogs, such as Apartment613 and Artengine to follow, many of them well-attended or sold out. Andrew Cohen and his ilk’s reprinted vitriol for this city not only perpetuates inaccuracies, but veils the media’s paradoxical role in promoting cultural activities while simultaneously slagging arts supporters for not doing enough. By publishing such blatant trash, you risk causing the very thing you sought to avoid, namely, public participation in artistic and cultural activities.

Cultural studies have long recognized the media’s role in politicization and socialization of individuals in the polis: if Ottawans are told consistently that they live in a city with no culture and that they don’t participate in what culture they have, they will believe this fallacy and cease participating altogether.The danger of this is that Ottawans, and the rest of Canada, will ignore the richness that resides here and opt for petulant comparisons with Toronto and Montreal that are factually distinct and based on oversimplifications and inaccuracies. Ottawa for its size is in a category of its own because of the cognitive surplus of its citizens.

First, the factual distinctions: Ottawa is smaller in population size than both Toronto and Montreal, but vastly larger geographically. It has also been a city for much less time and home to many transient diplomats, bureaucrats, entrepreneurs and academics. Its downtown core is smaller; it is a commuter city.  Because of its smaller population, it has a lower proportion of what I will call single-income professional artists.  Ottawa also receives less grant money comparatively with Toronto, Montreal, Vancouver and Calgary. Part of the burden of being the national capital is that no level of government (save for municipal) wants to appear as showing favouritism, especially in a fractious, regionalist federation like Canada. Although it may be smaller, its culture is rich and the crowds come out in the most unconventional of places.

What needs to be done is a longitudinal economic and sociological study about consumption and production habits of this city’s residents, professional and otherwise, to truly determine whether Ottawa’s so-called identity crisis and self-flagellation is warranted.  As an anthropologist, I would be interested in partnering in such a project.  One theory I have is that if incomes in Toronto and Montreal are higher than Ottawa’s, one could justify lower consumption of cultural goods based on disposable income levels, disparity and relative costs of living. And yet despite these hurdles, Ottawa thrives.

To say that Ottawans are not interested, passionate or supportive of arts and culture is patently false when new venues open their doors and the established venues are booked years in advance. It was thanks to more than 20 years of lobbying by community groups that the Shenkman centre has become the success it is in Orleans; and the same goes for the GCTC, St. Brigid’s Centre for the Arts, Centrepointe Theatre and, although it has faced high profile financial difficulties lately, the Gladstone Theatre.

I consistently hear that “Ottawa is a great place to raise a family” and that “the government is a great place to work if you have a family.” Following a recent conversation with a former high-ranking bureaucrat at Heritage Canada who conducted a national study on the arts, I learned that parents are the single largest funders of the arts. If Ottawa attracts families and provides flexible work schedules, then it follows that parents likely have the incomes to put their children in after school programs geared at the arts, attend rehearsals and performances. I have been performing and advocating on behalf of the arts in this city since high school and my own parents have been behind me every step of the way. Ottawans are consuming and care about culture: they’re busy investing in tomorrow’s artists, artists who will eventually flock to Montreal, Toronto, and Vancouver for studies and then return to their city to cultivate its culture, like the owners of the Gladstone Theatre, founders of Odyssey Theatre, Third Wall Theatre, Dance with Alana Studios.

 Secondly, I think a longitudinal survey of Ottawa’s arts scene would show that Ottawans instead of being only passive consumers, are active producers because of a cognitive surplus.  This city is full of productive artists with multi-faceted interests, like Professor Natasha Bakht, a renowned contemporary Indian dancer, Canada Dance Festival Board Member and most recently, co-founder of the Ottawa Dance Directive; musicians like Jill Zmud, who, in addition to recording an album and touring, is also leading an initiative to make university education accessible to Ottawa’s homeless. Artists like Professor Jim Davies, an American cognitive scientist who, while only an Ottawa resident for a few short years, has published poetry in ByWords Literary Journal, displayed art at the Atomic Rooster and Chinatown Remixed, had one of his plays produced by Sock ‘N Buskin Theatre, and could be found on stage every Sunday with Insensitivity Training, one of Ottawa’s five regularly performing professional improvisation comedy troupes (Bet you didn’t know there were five!). Artists like Jason Pelletier and Melanie Yugo, both of whom deal daily in health and culture policy respectively for the federal government, have hosted Spins and Needles for years and shown Ottawans  - and many others from Montreal to New York to London - that the capacity to create is literally in their own hands; or artists like Ritallin, a spoken word poet and activist who worked for a number of years as a labour policy analyst at HRSDC and who co-founded along with John Akpata, CHUO radio host and consistent candidate for Ottawa-Vanier in so many elections I have lost count, Ottawa’s spoken word scene. CapitalSlam sells out twice monthly in the Mercury Lounge. It is possibly the largest and most active spoken word scene in Canada. These artists are involved, aware and they draw a crowd.  So what are Andrew Cohen and his ilk whining about? Good question.

I haven’t even gotten to the people who tirelessly promote the arts in this city in addition to balancing jobs and life: the ubiquitous Jessica Ruano whose thumbs are in so many artsy pies I can’t list them all here and if I did they would be out of date because she’d be on to the next thing before this article was published. My co-host Sue Johnston, hosted the Friday Special Blend for 8 years while she worked full-time at Industry Canada, or David Yazbeck, Partner at Raven, Cameron, Ballantyne and Yazbeck, one of the top human rights and appellate firms in the city, who sits on the Board of the Ottawa Folk Festival and who recently represented artists in a dispute with the National Art Gallery, or Dr. Jill Taylor whose dental practice, the Tooth Gallery, draws a massive turnout at her monthly vernissages that feature up-and-coming visual artists. 


So Ottawans, get up and start taking credit for the cognitive surplus of talent in this city and the improvements it has made to the buffet of arts and culture available. This is your city; it’s time to stop beating it into the ground.

Fundraiser: Capital Chamber Choir On the Rocks with a Twist

I have the great privilege of singing with the Capital Chamber Choir, an ensemble dedicated to the performance of Canadian contemporary Chamber music. This is a unique niche in Ottawa, and our director, Sara Brooks, goes to inspiring lengths to access this repertoire, often contacting small publishing houses abroad. The composers also occasionally attend rehearsals and concerts, which is a tradition long lost if an ensemble only produces the classics. Furthermore, it commissions composers and musicians and provides them with a market for their oeuvre; an important endeavour as Arts funding and education declines.

I discovered the Capital Chamber Choir in 2010 when I was covering its upcoming concert for the Friday Special Blend, a CKCU radio programme I was co-producing and co-hosting at the time. When I heard them perform, I was moved by their artistic vision, sound, dedication and poise. One year later, I auditioned and joined their Soprano section. The repertoire is challenging and I look forward to growing as a singer under  Sara's direction and through the support of the ensemble.

It is with pride and hope that I invite you to join us on Friday, February 17, 2012 at the Manhattan Room in the Empire Grill at 27 Clarence St. in the Byward Market for an intimate concert and silent auction. Tickets can be purchased at http://www.eventbrite.com/event/2606349662.

Thank you for your support!