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Friday, October 4, 2019 Advertising produced by the Globe Content Studio. The Globe’s editorial department was not involved.

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THERE’S A NEW WAY TO GO TO THEMOVIES — not at the cinema, but at thesymphony.

Film concerts are growing in popularity,and the Toronto Symphony Orchestra isattracting new audiences who want toexperience megafilm franchises such as Lordof the Rings, Harry Potter and Star Wars.Currently on the roster is Star Wars andHome Alone.

“It’s a wonderfully contemporary way ofwedding the incredible things that canhappen in a movie … with the live musicexperience,” says Matthew Loden, chiefexecutive officer of the TSO. “It gives peoplea different sensibility of the incredible emo-tional range and impact and joy and terrify-ing anxiety that someone can experiencewhen they hear this music.”

There’s also a lot of technical expertiserequired to pull this off — so the musicalscore sounds exactly the same as it does inthe movie.

“It’s a high-wire act for our musicians,”Loden says. If they’re laying down a record-ing track, they have several opportunities tohit the notes correctly. During a live perform-ance, they only get one shot.

“It’s a testament to the quality of the TSOthat they can pull it off,” Loden says. “Theseare not scores quietly underwritten to help

emotionally enhance the film — they areintegral, complicated pieces of art andthey’re hard to play.”

The symphony is finding new audiencesthrough film concerts. According to TSOstats, 63 per cent of households who attend-ed its Home Alone or Star Wars perform-ances were new to the TSO, and 42 per centof those came from outside of the GreaterToronto Area.

“I think sometimes if you haven’t grownup going to a symphony concert, it’s easy tofeel like there’s a disconnect. It’s music that’snot for you, it’s a language that you mightnot immediately take to,” Loden says.

But when people see an orchestra with amovie, it strips away the “symphonic bag-gage that can sometimes come along withbeing fancy and elite,” he says. “This is away of making it real and immediate and funand a part of something you already love.”

While film concerts are becoming in-creasingly popular, there’s a long tradition ofHollywood composers — such as JohnWilliams and Erich Korngold — who haveused music as an identifier for characters inmovies. Think of Darth Vader, and you canhear the music. Same with the shark inJaws.

MOVIES COME TO LIFEAT THE SYMPHONY

SYMPHONY, PAGE E6

ANYONE IN THE THEATRE COMMUNITY willtell you about the importance of volunteers,many of whom step up to help any way theycan, just for the love of it.

There is no better feeling of communitythan what comes with being a volunteer,establishing longlasting emotional connectionswith other people who have that same level ofinterest and passion for local theatre, the artsand the not-for-profit community.

When Rose Theatre in Brampton, Ont.,asked its volunteers why they get involved, thetop three responses were: to give back to thecommunity; to stay active; and to be a part oftheatre and arts culture. Volunteering in thearts is particularly important to seniors andretirees. At the Rose, these are the lobbygreeters, theatre ushers, ticket takers, coat-check people and event hosts.

“Their contribution to theatre and arts andculture in Brampton is something that cannotbe measured in hours or shifts worked, but inexceptional service and connections created,”says Cristina Rizzuto, co-ordinator for perform-ing arts marketing at the Rose. “Our volunteerswelcome our patrons to the theatre as thoughthey are welcoming them home.”

The McMichael Canadian Art Collection hasa core of 150 volunteers who serve on theboard of trustees, the McMichael Youth Team,the McMichael Volunteer Committee and with

staff members on the Moonlight Gala, theMcMichael’s signature annual fundraiser.

Those volunteers assist visitors, participatein community outreach and provide crucialevent support throughout the year. Theirgallery docents are trained volunteers wholead visitors on interactive tours of the gallery’sground and exhibitions.

Roberta Smith, vice-president and chief ofstaff for the Toronto Symphony Orchestra, saysvolunteers are “vital to the success of the TSO.”

The Toronto Symphony Volunteer Commit-tee, with 150 members and which has been inexistence almost as long as the TSO itself, iscredited with bolstering the financial health ofthe TSO and with helping to expand aware-ness of its musical and education programs.That includes hosting fundraising events suchas wine auctions and marathons.

“They are not only ambassadors for theorchestra, but they are very much like family,”she says.

Stacey Arppe, volunteer manager at theCanadian Canoe Museum in Peterborough,Ont., actually keeps a tally of the number ofhours booked in by museum’s 180 volunteers:19,648 hours were logged in 2018 by thepeople who support every department andprogram at the museum.

VOLUNTEERS GIVE –AND RECEIVE IN TURN

VOLUNTEERS, PAGE E4

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E2 G THE GLOBE AND MAIL | FRIDAY, OCTOBER 4, 2019

SPONSOR CONTENT ADVERTISING PRODUCED BY THE GLOBE CONTENT STUDIO. THE GLOBE’S EDITORIAL DEPARTMENT WAS NOT INVOLVED.

Happy days are indeed hereagain as Drayton Entertainmentwill have popular TV star DonnyMost (right) wowing audiences atSt. Jacobs Country Playhouse inthe role of Serge in the hit playART, which began running onOct. 2 and continues to Oct. 20.

Most is best known for hisrole as Ralph Malph in the classic

sitcom Happy Days, which ranfrom 1974 to 1984.

He is a casting coup forDrayton, coming on the heels ofits presentation of George Wendt(famous as barfly Norm inCheers) in Death of a Salesmanand Cindy Williams (ShirleyFeeney in TV's Laverne andShirley) in Thoroughly Modern

Millie. “Donny Most remains oneof Hollywood’s most cherishedtelevision actors,” says artisticdirector Alex Mustakas.

In ART, described as a seriouscomedy, Most will portray Serge,who buys a controversial abstractpainting that provokes a fiercedebate over the value of art andtests the limits of his friendships.

Also appearing will be Broad-way's Lee MacDougall as Marcand accomplished actor RalphSmall, all under the direction ofMax Reimer.

Tickets can be purchased atthe St. Jacobs playhouse,www.draytonentertainment.comor by calling (519) 747-7788 or1-855-drayton (372-9866).

DRAYTON PRESENTS HAPPY DAYS ACTOR DONNY MOST IN SERIOUS COMEDY ABOUT ART

Feeling stressed? Maybe that commute has got you a little tense? Orperhaps a deadline at work? Take heart – the Toronto Consort is back forits 2019/2020 season to let its music work its charms.

The Fellowship of Early Music explores the power of togetherness andinclusion. An exciting group of collaborators and guest performers willjoin the core troupe, including: internationally acclaimed vocal ensembleProfeti della Quinta; Scott Metcalfe, one of North America’s leading EarlyMusic specialists; and First Nations drummers and singers Marilyn Georgeand Shirley Hay.

Adam Thomas Smith, the Consort's director of audience engagementand education, says this year's program is aimed at being an antidote tothe divisive rhetoric that seems to blare everywhere these days.

“It is our hope that together, with the audience and through the powerof collaborative music-making, we counteract some of the negativity anddivision that’s prevalent today,” he says. “It’s an exquisite lineup this year– one that we invite you to come and take part in.”

The epic season begins on Oct. 25 with Countryside and Court, featur-ing the timeless, toe-tapping joy of French music with fiddler and dancerEmilyn Stam, followed by the seasonal delight of Schutz's Christmas Storyon Dec. 15. Programming for the new year starts with a screening of TheSearch for Salamone Rossi on Jan. 27. The season wraps up with a musi-cal celebration of all Earth's creatures starting May 8.

The Toronto Consort has become internationally recognized since itsfounding in 1972 for its excellence in the performance of medieval, Renais-sance and early baroque music. Its members include both singers as wellas musicians who play such instruments as the lute, guitar, flute, earlykeyboards and percussion at concerts that explore rarely heard composi-tions.

It has toured internationally and across Canada, made recordings forthe CBC Collection and Marquis Classics, with its most recent release,Frescobaldi & The Glories of Rome, out this autumn. It has also contrib-uted music to such historical TV shows as The Tudors, The Borgias andThe Vikings.

Tickets can be purchased online or at the box office at Trinity-St. Paul'sCentre, 427 Bloor St. West. For information, call 416-964-6337.

TORONTO CONSORT EXPLORES THE POWER OF INCLUSION

If one had to boil down what audiences will get out of this upcoming seasonat Young People’s Theatre, it’s this, says artistic director Allen MacInnis: theSeven Ancestral Teachings.

Rooted deep in Anishinaabe culture, they are respect, humility, bravery,honesty, love, wisdom and truth, and act as signposts by which to live andwork well. Each of this year’s productions in YPT’s 2019/2020 season exploresone or more of these seven teachings.

“I think we live in a time when we need to think about what makes us dowhat we do. How do we do better? And thinking about these things doesn’thave to be done in a full or overly serious way. Sometimes it’s in somethingentertaining and fun and delightful that we realize what’s good in the worldand in us,” MacInnis says.

YPT presents theatre for young audiences and casts professional actors inall its shows. Education is at the core of what YPT does.

This year’s lineup features:The Mush Hole. On the main stage from Oct. 16 to Oct. 25, The Mush

Hole looks at the devastating intergenerational impact of Canada’s residentialschool system, a dance performance from award-winning choreographer,director and producer Santee Smith. Recommended for ages 11 and up.

The Adventures of Pinocchio. On the main stage from Nov. 11 to Jan. 5,2020, and directed by award-winning actor Sheila McCarthy, this is a holidaymusical adaption of the classic story, geared at ages five and up.

A Million Billion Pieces. In the studio from Nov. 25 to Dec. 13, and recom-mended for ages 13 and up, this tells the story of love in trying circumstances.Two 16-year-olds, isolated by a rare disease that could prove deadly if theymake contact, tempt fate to meet and test what it means to live and love likeother people.

Jungle Book. On the main stage from Feb. 10 to March 21, 2020, andrecommended for ages five and up, Jungle Book is an immersive, multimediaadaptation of the classic work.

You and I. In the studio from Feb. 11 to Feb. 23, 2020, and recommendedfor children 12 months to 30 months, You and I is a multisensory, playfullyinteractive adventure.

Blue Planet. On the main stage from April 6 to April 29, 2020, and recom-mended for ages nine and up, this story is based on a blue planet inhabitedonly by children, who get their wish to fly. But it comes at a cost, and onlybravery and ingenuity will save their fragile world.

Jack and the Magic Bean. In the studio from April 14 to May 10, 2020, andfor ages three to eight, this is a delightfully innovative Spanish-English spin onthe classic tale.

Cartography. On the main stage May 5 to May 14, 2020, Cartography isfrom New York’s acclaimed ArKtype and tells the plight of young refugeeslooking for a place to call home.

YOUNG PEOPLE’S THEATRE FOCUSESON THE PRINCIPLES OF BETTER LIVING

From left, Janice Amaya, Noor Hamdi, Malaika Uwamahoro, VuyoSotashe and Victoria Nassif star in Cartography at Young People’sTheatre next May. ELMAN STUDIO PHOTO

The Mush Hole stars, from left, Semiah Smith, Montana Summers andJulianne Blackbird and runs to Oct. 25. IAN R. MARACLE PHOTO


FRIDAY, OCTOBER 4, 2019 | THE GLOBE AND MAIL G E3


AN ART EXHIBITION ON A PAINTERcirca 1630 and an opera by Mozartcirca 1780 can still enthrall audiencestoday.

There’s something about Rem-brandt’s Leiden period and Mozart’sDon Giovanni that resonate in mod-ern times, and Canadians now have achance to experience both.

“I think human beings havechanged very little,” says MarshallPynkoski, co-artistic director of OperaAtelier and director of the upcomingproduction of Mozart’s Don Giovanni.“Fashion changes but people don’t.”

Whether they’re wearing pow-dered wigs or jeans and T-shirts,people still fall in love, feel jealousyand engage in duplicitous behaviour.

“So, we can allow these works tohave their own life, to breathe,” hesays, “and amazingly enough, if wetell the story well, people will findthemselves in it.”

With a new Rembrandt exhibit atthe Agnes Etherington Art Centre atQueen’s University and the upcomingproduction of Mozart’s Don Giovannicoming to Toronto, it’s a chance forCanadians to see why the old mastersstill reign today.

DON GIOVANNI

Wolfgang Amadeus Mozart’s DonGiovanni is considered one of thegreat period ensembles, but it wasnever meant to be serious. The newproduction from Opera Atelier, whichruns Oct. 31 to Nov. 9 at the EdMirvish Theatre, brings the operaback to its roots: as a comedy, and alowbrow one at that.

Mozart himself referred to DonGiovanni as “opéra bouffe, the lowestform of comedy,” Pynkoski says. It’sabout a playboy who falls in lovewith every woman he sees, andevery woman falls in love with him …until something goes terribly wrong.

“Although he is the hero, he’s theclassic anti-hero. He’s the Clyde inBonnie and Clyde; he’s the bad guyeveryone loves.”

Often, productions of Don Giovan-ni are dark and dramatic; but OperaAtelier has taken a different approach.

“It’s our insistence on it being acomedy, and it’s a comedy aboutyoung people,” Pynkoski says.

“Like all comedies it has momentsof great drama, but the driving forceis comic.”

And it’s not just about opera.Mozart loved dancing, Pynkoski says,and Don Giovanni captures that. Inthe 18th century, a large ballroomwould feature several orchestras indifferent corners of the room. Mozart“brilliantly recreates that” in DonGiovanni by having three differentdances happening at the same time.

Opera Atelier specializes in ba-roque repertoire and its productionsare performed on period instrumentsby the Tafelmusik Baroque Orchestra.They also incorporate dance andtheatrical staging.

“An opera is supposed to be acelebration of all the arts, like a greatBroadway musical — great singing,great lines, great actors,” Pynkoskisays. Whether you go to see Phan-tom of the Opera or Spiderman,“either the audience is on their feetor it’s not working.”

REMBRANDT EMERGES

Rembrandt van Rijn is another oldmaster still relevant today – and thisyear marks 350 years since his deathon Oct. 4, 1669. To commemorate the

‘Year of Rembrandt,’ the AgnesEtherington Art Centre at Queen’sUniversity in Kingston is featuring aspecial exhibit, Leiden circa 1630:Rembrandt Emerges.

It’s the only exhibition on Rem-brandt developed in Canada, featur-ing works from the Agnes collectionand from collections across NorthAmerica.

“It’s a great time for the Agnes todo this because we have reallybecome a hub for the study ofRembrandt,” says Dr. Jacquelyn N.Coutré, the exhibit’s curator and aresearcher of European art at theAgnes.

There’s a reason why peoplecontinue to study Rembrandt.

“He had a very intriguing and,some would say, very modern life,”Coutré says.

“There’s something about hisbiography that still captures us; hehad a rebellious, independent streakin him.”

He also had great confidence inhis own abilities, which sometimesled to conflicts with his patrons, butthat “very much appeals to themodern sensibility,” she says, “the

ability to know that his work wouldbe appreciated if not by the personwho commissioned it, then by otherpeople in the Dutch Republic.”

And then there’s his art. Rem-brandt, like so many of his peers,took inspiration from great tales —from ancient history, from the Bible,from Greek mythology. But hehumanized his subjects, like Judas,with his hands clasped in “incredibledesperation” after betraying Christ.

Even in an age-old story such asthis one, there’s “something veryhuman about that,” Coutré says, “thatincredible sense of regret and re-morse that transcends time, and thehumanity he captures in these sto-ries.”

The exhibit features 33 works ofart, including paintings and prints,and provides a “great entry point” forthose new to the old masters.

It’s also free to the public, “so it’san incredible opportunity for people… to see the works of an incredibleartist for free.”

The exhibit runs until Dec. 1 inKingston; and from there it will touracross the country, starting in Ed-monton.

Eighteenth-century operas and paintings by old masters continue to have relevance for today’s audiences

MOZART REMBRANDT

Opera Atelier brings Don Giovanni back to its roots as a lowbrow comedy. BRUCE ZINGER Leiden circa 1630: Rembrandt Emerges features 33 works. AGNES ETHERINGTON ARTS CENTRE

OLD WORKS FIND NEW AUDIENCES


Tania Miller conducts theRoyal Conservatory OrchestraFRIDAY, SEPTEMBER 27, 2019

Komitas: A Canadian TributeFRIDAY, OCTOBER 25, 2019

Lizz Wright and Catherine RussellWEDNESDAY, OCTOBER 30, 2019

Karina Gauvin withthe Pacific Baroque OrchestraFRIDAY, NOVEMBER 1, 2019

Toronto Sings the BreithauptBrothers’ SongbookSATURDAY, NOVEMBER 2, 2019

Ray Chen with Julio ElizaldeFRIDAY, NOVEMBER 8, 2019

Carminho and PilarSATURDAY, NOVEMBER 9, 2019

Mavis StaplesSATURDAY, NOVEMBER 16, 2019

Daniel Hope with theZurich Chamber OrchestraSUNDAY, NOVEMBER 17, 2019

Andrei Feher conducts theRoyal Conservatory OrchestraFRIDAY, NOVEMBER 22, 2019

Formidable! Charles AznavourSATURDAY, NOVEMBER 23, 2019

Yefim BronfmanSUNDAY, NOVEMBER 24, 2019

Akademie für Alte Musik BerlinWEDNESDAY, NOVEMBER 27, 2019

Dee Dee Bridgewater:Memphis … Yes, I’m ReadyTHURSDAY, NOVEMBER 28, 2019

Blind Boys of AlabamaChristmas ShowFRIDAY, NOVEMBER 29, 2019

Chucho Valdés: Jazz BatáWEDNESDAY, DECEMBER 4, 2019

The Tallis Scholars: ReflectionsSATURDAY, DECEMBER 8, 2019

Dee Dee BridegewaterRay Chen

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“A large contingent of our volunteersare paddlers themselves with apassion for canoeing, camping andoutdoor pursuits,” says Arppe.

“We consciously strive to foster astrong sense of community amongour volunteers, so some join us tonetwork, meet new people andconnect with like-minded individu-als.”

One of those volunteers, DaleStanden, says he is a historian andcanoeist, with a connection to themuseum going back to its roots.Again, the payoff for volunteers likeStanden is the emotional connectionto the topic and what the museumor gallery represents both personallyand to the community.

“The museum’s collection isunparalleled in its richness, and itspreservation is an important project,”he says.

“Working with people who sharethe same sense of the value of themuseum to the community is per-sonally rewarding. It is also fun.”

Walter Emrich, a collections andexhibition volunteer at the AgnesEtherington Art Centre, at Queen’sUniversity in Kingston, was a practis-ing doctor who retired four yearsago. His aim was to volunteer in anarea different from his professional

life. This is popular thinking amongretirees who volunteer.

After becoming a member at theAgnes Etherington Art Centre justbefore retiring, he soon found thatthe gallery’s collection numberedmore than 17,000 items, and thatthere were collection managers andcurators who all needed help. That’show he jumped in.

His job is to do collections condi-tion reporting – doing a walkaround the gallery on a weeklybasis, looking for any changes in allthe exhibited artwork. That could beaging factors such as paint flaking offan oil painting, or paintings warping.It could be contact of the works withgallery visitors or attendants, such asfingerprints or dust on frames.

“After reviewing the variouspieces for several weeks I feel like Ihave a personal relationship andattachment with that work,” Emrichsays.

“I’m allowed to be in an envi-ronment of creativity and am able togive my time to help in a small wayto maintain and preserve that cre-ativity, so that others may benefitfrom it.”

It is certainly the notion of givingback that appeals to many volun-teers.

“At this point in my life I feel anobligation to give something back,

to share the knowledge I haveaccumulated and to mentor others.Volunteering at Agnes provides mewith an opportunity to do that,” saysChristina MacLachlan, communitydocent at Agnes.

Young and old, volunteers arecrucial to the arts community. OperaAtelier’s crew of volunteers, calledon to help out in the office, onlarger projects and mailings, espe-cially for the annual gala, are a coregroup of friendly, dedicated operalovers.

“From mailings to helping staffour gala and our education/outreachprograms, volunteers are the reasonit all works,” says Rebekah LoboscoGilli, development manager forOpera Atelier.

Toronto’s Tarragon Theatre callson 100 to 120 volunteers eachseason to cover off duties such asfront-of-house usher, as well as toprovide gala and administrationassistance.

“We do offer the opportunity tosee the performances when they’veassisted us, so that’s certainly amotivator,” says Cameron Johnston,director of marketing for TarragonTheatre.

“Beyond that, Tarragon volunteersare genuinely passionate about thework we’re doing. They’re our best,most honest audience.”

VOLUNTEERS: THE LIFEBLOOD OF THE ARTSFROM PAGE E1

Retired doctor Walter Emrich is a collections and exhibition volunteer atthe Agnes Etherington Art Centre, and was looking for somethingdifferent in retirement. Shown here with collections assistant Leah Cox,he checks on the conditions of the exhibited artwork, looking for signs ofwear or damage. AGNES ETHERINGTON ARTS CENTRE


NOV–

16,17,20&21VIVALDI’SFOURSEASONSHear ConcertmasterJonathan Crow leadtheOrchestra in one ofclassical music’s mosticonic pieces.

JAMESBOND:THEMUSICPrepare to be shaken andstirred as the TSO paystribute to the suave andimmortal secret agent.

Fall in Love withOrchestralMusic

IncomingMusic DirectorGustavoGimeno returnsto conduct these Franco-Russian gems includingRavel’s ballet suite andBeatrice Rana’s TSOdébut playing Prokofiev’sPiano Concerto No. 3.

Our InterimArtisticDirectorleads twosensationalconcerts.

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BRUCE COCKBURN AND JAZZ SING-ER HOLLY COLE are some of theCanadians icons headlining theschedule for the Royal Conservatoryof Music this fall and winter and bothare artists who have enjoyed nationaland international acclaim.

The Royal Conservatory, a “musiceducation institution” founded on theprinciple that personal growth ischannelled through the arts, hasalumni of such renowned names asOscar Peterson, Glenn Gould, SarahMcLachlan, Diana Krall, GordonLightfoot, k.d. lang and Cockburn.

Mervon Mehta, executive directorof performing arts at The RoyalConservatory, says blending in Cana-dian icons is vital to their program-ming since they opened Koerner Hall10 years ago. The venue showcasestop-flight artists from across the jazz,classical, world music, folk and popgenres.

“Quite naturally, many have beenCanadian,” Mehta says. This seasonthe Royal Conservatory has 100concerts and 51 of those featureCanadian artists.

That tells you everything about thedemand. Canadian audiences take

pride in Canadian artistic talent, butwon’t go just because it’s the patrioticthing to do.

“Canadian musicians can gotoe-to-toe with musicians from aroundthe world in any genre,” Mehta says.“We proudly present themwithoutcaveat and without quotas. We alsolove to introduce our audiences tonewer artists who we think showpromise and need a larger platform.”

Of the Canadian headliners for thecoming season three are already soldout (Cockburn, Cole and AdriannePieczonka) and several others areclose (Karina Gauvin, Toronto Singsthe Breithaupt Brothers, Amici En-semble with Russell Braun, LouisLortie, Oscar Peterson’s Africa, AngelaHewitt and Jan Lisiecki).

Cockburn plays Oct. 19 and Coleplays Dec. 14.

In Brampton, the Rose Theatre hasa lineup this fall featuring Canadianlegend Burton Cummings, rockquartet Sloan and a tribute to the late,great Gord Downie of The TragicallyHip.

Formed in Halifax in 1991, Sloan,now based in Toronto, just released its12th studio album. A CBC Critics’ Pollhad the Juno Award-winning band asone of Canada’s top bands of all time.Sloan plays on Oct. 10.

It’s been almost two years sinceDownie, the former frontman of The

Tragically Hip, died, and Canada lostone of its true music icons. One of hislegacies was his work on the reconcil-iation with Canada’s First Peoples.

The tribute concert at the Rose onOct. 16 will feature a group of Cana-dian artists, in collaboration with TheGord Downie & Chanie Wenjack Fund,promoting awareness and educationabout the issue and celebratingDownie, his music and legacy. (Gord’sLegacy will also be performed on Oct.18 at First Ontario Performing ArtsCentre and at the Burlington Perform-ing Arts Centre on Oct. 17.)

Cummings needs no introduction– the legendary singer, songwriterand recording artist was with Canada’soriginal rock ‘n’ roll superstars, TheGuess Who, and then followed thatwith a long solo career featuringdozens of hit singles and albums. HisUp Close and Alone show runs at TheRose on Nov. 28.

There is no shortage of Canadiantalent this fall and winter. Othernotable concerts include: award-winning Canadian singer-songwriterLoreena McKennitt at Roy ThomsonHall on Nov. 1; Avril Lavigne plays TOLive’s Meridian Hall (formerly theSony Centre) on Oct. 6; Jann Ardenplays Casino Rama Resort on Dec. 7;Celine Dion is at Scotiabank Theatreon Dec. 9; and Blue Rodeo is at theBarrie Molson Centre on Dec. 29.

CANADIAN ICONS HEADLINE THIS FALLTake your pick of the bestthe country has to offer

Legendary singer-songwriter and guitarist Bruce Cockburn plays theRoyal Conservatory of Music on Oct. 19. THE ROYAL CONSERVATORY


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G A L E R I E D E B E L L E F E U I L L E

THIS FALL AT GALER IE DE BELLEFEUILLE

Jennifer HornyakOctober 10 - 22

Metis AtashOctober 31 - November 12



The celebrated internationaldance series Torque is returningto Harbourfront Centre with sixpremiere performances fromsome of the world's most dy-namic choreographers.

The series will feature theworld premiere on May 15, 2020,of Sky Dancers: Bridges from theA’nó:wara Dance Theatre of

Kahnawake and Montreal. Run-ning at the Fleck Dance Theatre,it tells the story of the 1907Quebec bridge disaster that killed33 ironworkers from the Mo-hawk community of Kahnawake.

The Torque series kicks offon Oct. 18 at the Fleck DanceTheatre with the Canadianpremiere of Norway's Sim-

ulacrum, where the winter guestcompany mixes Japanese dance-drama with flamenco and con-temporary dance theatre.

The Toronto premiere ofAustralia's Split, from LucieGuerin Inc., starts on Nov. 8 atthe Harbourfront Centre Theatre.

The Canadian premiere ofA.I.M's Mixed Repertory Pro-

gram from the United States atthe Fleck Dance Theatre starts onFeb. 21, 2020.

Quebec's Compagnie Virgin-ie Brunelle makes its Torontopremiere of Les corps avalés onApril 3.

Love Chapter 2's Canadianpremiere presented by L-E-V fromIsrael kicks off on April 30.

“In presenting each of thesepieces, we are broadening ourexploration of the power ofdance as a way to communicateideas and emotions,” saysNathalie Bonjour, acting directorof performing arts.

Get tickets at harbourfrontcen-tre.com, by calling 416-973-4000or at 235 Queens Quay W.

TORQUE CELEBRATES DANCE FROM AROUND THE WORLD

PEOPLE AROUND THE WORLD HAVEALWAYS EMBRACED the art of themoving body as a way to expressthemselves. While the style of dancechanges and evolves, the art formcontinues to offer a unique way forpeople to better understand them-selves and the world in which theylive.

Canadian Stage, one of Canada'slargest not-for-profit contemporarytheatre companies, explores thisconnection between culture anddance with a contemporary twist.

NEW PERSPECTIVESON OLD TRADITIONS

Award-winning theatre directorBrendan Healy brings a deep interestin inter-culturalism in the arts to hisrole as artistic director for CanadianStage.

“I love the collision or conversa-tion between different perspectives,ideas, culture, and backgrounds. A lotof the work this season is a result ofthat,” he says.

Minorities is one of those produc-tions that explores the constantconflict between social prejudice andhow artists need to express them-selves and relate their identities to theworld they live in.

“Producer Yang Zhen tells thestory of ethnic minorities in Chinawith an ultracontemporary look ontop of those traditions. Most of thedancers are young women fromChina, the Tibetan region, InnerMongolia, the Uyghur AutonomousRegion Xinjiang and Macao. It’s afascinating look into today’s Chineseyouth culture,” Brendan says.

For more of the non-traditional,Canadian Stage’s company-in-resi-dence Red Sky Performance in-troduces the world premiere of AF.

“Red Sky is masterful when itcomes to contemporary Indigenousperformance. I love how they’veflipped George Orwell’s classicAnimal Farm on its head. It’s really anIndigenous reclaiming of the storyabout a new kind of revolution. It’sedgy and innovative,” Brendan says.

WAYS WE CAN LEARN

Looking ahead, Brendan is excitedabout new works that go to the edgeand explore tensions, conversationsand ways we can learn. He’s alsoexcited to be collaborating with TOLive to co-present the massive scaleproduction of Spirit from internation-ally renowned Australian companyBangarra Dance Theatre. Spirit infuses65,000 years of Aboriginal and TorresIsland culture with exhilaratingcontemporary movement.

Audiences can discover the magicof Spirit at TO Live’s Meridian Hall(formerly named the Sony Centre forthe Performing Arts). TO Live’spresident and CEO Clyde Wagnerdescribes the partnership with Cana-dian Stage as a natural fit.

“We knew that Canadian Stageshowcases contemporary dance sowhy not work together to bring moreamazing performances like Bangarra’sSpirit to more audiences?”

Connecting three of Toronto’smost iconic theatres: Meridian Hall,St. Lawrence Centre for the Arts andMeridian Arts Centre (formerly theToronto Centre for the Arts), TO Liveoffers a full range of performing arts,theatrical and concert events, familyprograms, and free communityevents, such as its Discover Work-shop Dance Series.

“Education and engagement is atthe heart of who we are,” says Clyde.“With our workshops you can comeand sit for free in a safe and support-ive space, ask questions and learnfrom top-calibre artists. I think anyonecan appreciate and love contempo-rary dance. So many of our participa-nts go from ‘I don’t get it to ‘I love it’afterwards.”

INTERACTIVE AUDIENCEEXPERIENCES

This fall, as part of TO Live’s DiscoverDance Series, participants discoverthe world of Bharatanatyam, a formof Indian classical dance, with artistKH Kanna. Clyde describes the seriesas an interactive experience withlearning at its core. “They can askquestions and have conversationswith the artist to understand andappreciate the age-old Indian art ofphysical expression that centres ondisplaying the divine or spiritualaspects through the body.”

A well-known dance is the salsabut Factory Theatre has taken it in anew direction with the Torontopremiere of Broken Tailbone. It is amoving and hilarious collection ofstories of intimacy, politics, cultureand the forgotten origins of the salsa,culminating in an interactive dancelesson written and performed byCarmen Aquirre.

“With Broken Tailbone there is nofourth wall. The studio space istransformed into a dance hall and theaudience is dancing. Carmen isweaving a story as a woman, an artistand a woman of colour with salsadance lessons involving the entireaudience. It’s really quite incredible,”says Factory’s artistic director, NinaLee Aquino.

The introduction of theatre eventsas immersive experiences for audi-ences and performances is not newbut Nina, who is herself a Filipina-Canadian playwright, director, drama-turge and actor, sees it as a wonder-ful and important addition to thetheatrical landscape.

“I’m happy that audiences aremore and more open to it,” she says.

“You’re asking the audiences tostep into your shoes and for thathour you’re going to see and feel myworld. It could be a powerful tool tobuild understanding and positivechange.”

CONTEMPORARY DANCE:WHERE CULTURE AND

CONVERSATION CONNECT

Factory Theatre presents Broken Tailbone, written and performed byCarmen Aguirre, shown above with the crowd. It is an interactivesalsa experience running until Oct. 13. ERIN BRUBACHER PHOTO

“Audiences don’t know how beauti-fully they’re being manipulated bythe music,” Loden says. There’s adepth and dimensionality that musiccan bring to the visual experience;you can have Luke Skywalker andDarth Vader on screen together, “andthe music can blend in a way thatyou can’t get in any other type of artform.”

The musical scores from theseepic movies could be standalonesymphony concerts — and that’s thecase with TSO’s special performanceof James Bond: The Music, whichfocuses on the music without amovie screening.

“There’s never been a time in thehistory of the world that people havehad such immediate access to somuch incredible music,” Loden says.“We want to be able to tap intopeople who are newly experiencedto hearing this type of music …finding ways where we’re providing akind of service to the way people arelistening now.”

But this in no way detracts fromthe traditional concert experience. “Ifyou love Muller and Beethoven,” hesays, “we’re going to keep doingMuller and Beethoven the way wehave for 100 years.”

The upcoming 2020/2021 filmconcert season will be announced inFebruary.

SYMPHONY: MOVIE MUSICFROM E1


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LES CORPS AVALÉSCOMPAGNIE VIRGINIE BRUNELLE | QUEBEC

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Tragically Hip will include RoyalWood, Tom Wilson, Dala, TwinFlames and more. The concertwill be followed by a communalHip singalong around a sacredfire directly behind the PAC indowntown St. Catharines. Fundsraised will go directly to theDownie/Wenjack fund.

Downie announced the

Two years ago, Canadians lostone of our most beloved musicicons. Gord Downie spent hisfinal days shining a light on thereconciliation with Canada’s FirstPeoples and asked all Canadiansto join the call to action.

A group of Canadian artistshave joined our collective recon-ciliation journey with the Gord's

Legacy concert to help promoteawareness, education and action.

In collaboration with The GordDownie & Chanie Wenjack Fund,the First Ontario PerformingArts Centre (PAC) presents aspecial evening to celebrate theman, the music and his legacy.Featured artists performingsongs by Downie and The

establishment of the fund, andrelease of his solo album, graph-ic novel and animated film SecretPath, in October 2016, sixmonths after he revealed he hadterminal brain cancer. He wasinspired by Chanie Wenjack, a12-year-old boy who died whilerunning away from the CeciliaJeffrey Indian Residential School

near Kenora, Ont., in 1966.Downie used his final public

appearances to encouragereconciliation with Canada'sIndigenous Peoples.

Gord’s Legacy will be per-formed on Oct. 18 at First OntarioPAC, as well as at The BurlingtonPerforming Arts Centre on Oct. 17and the Rose Theatre on Oct. 16.

CANADIAN ARTISTS JOIN RECONCILIATION MOVEMENT WITH GORD’S LEGACY CONCERT

THE IDEA THAT ART IMITATES LIFEhas been around for centuries andthere’s a good reason for it.

Real life stories resonate with anaudience, grabbing their emotions,whether it be a theatre production,musical performance, art piece or aphotographic exhibition.

“Those who don’t rememberhistory are doomed to repeat it,” saysClyde Wagner, president and chiefexecutive officer of TO Live, which isputting on the major exhibitionMandela.

“That’s critical at this time, partic-ularly here in North America as I thinkwe see value-based movements inyour marketplace. When we wereapproached by the Canadian HumanRights Museum … it didn’t take usfive seconds to say yeah we wouldlike to do [the exhibition],” Wagnersays.

“The reason we want to do it isbecause it’s germane to our man-date, which is to reflect the city onthe stage but also to create publicdialogue around important topics ofthe day, and the topic of equality,diversity and human rights is onethat’s being questioned I find.”

A rich sensory experience ofimagery, soundscape, digital mediaand objects, Mandela exploresNelson Mandela’s fight for justice andhuman dignity in South Africa.Among the exhibition’s many dra-matic visual features and originalartifacts is a replica of Mandela'seight-foot by seven-foot prison cell.

Previously known as Civic TheatresToronto, TO Live is one of Canada’slargest multi-arts organizations,operating three iconic venues andpresenting a full range of performingarts, theatrical and concert events inboth downtown and uptown Torontoat Meridian Hall (formerly the SonyCentre for the Performing Arts), St.Lawrence Centre for the Arts and theMeridian Arts Centre (formerly the

Toronto Centre for the Arts).“Art or the creative arts in any

format – visual arts, music, dance,theatre, architecture, design all ofthese things – have a way to inspirepeople and engage with the publicthat is both able to be accepted by abroad audience but also emotionallyconnected to a topic,” Wagner says.

“Great art can touch peoplewhether it has a social message ornot. If it has a social message like theexhibition … then it also falls into acategory of things that we’re inspiredto do.”

Andrey Tarasiuk is artistic directorat Pleiades Theatre, which is present-ing Besbouss: An Autopsy of aRevolt, the English-language pre-miere of a story inspired by theheadlines and running in November.It’s based on the Arab Spring up-risings in Tunisia that were triggeredby the self-immolation of a streetvendor named Mohamed Bouazizi in2010.

“For me, essential to this play is itreally sort of sits in a place where itasks the question: ‘Can one personmake a difference?’ … The play is thestarting point for a conversation ishow I view this production,” he says.

“The issues don’t escape us. Ithink it behooves artists to examineglobal events and the impact ofthose global events on all of us andto be fearless in posing questions.Why is this happening? And what arethe consequences? How do theseevents impact on our lives? These arecritical and imperative questions thatneed to be responded to by artists. Ifeel very strongly about that andartists are up to that task,” Tarasiukadds.

Majdi Bou-Matar, director of Be-sbouss, says art tells stories by takinghistorical events and figures as sourcematerial but then making it morerelevant way to audiences today.

“Real events in history is materialout there that belongs to anyone.The main thing is how do we usethose events as a tool to tell ourstories in the here and now,” he says.

THE RESONANCEOF REAL STORIESHistorical events inspiretoday’s audiences


“...entrancing, exciting, and best of all, steamily onmessage...”– CalgaryHerald

JULIET & ROMEONOVEMBER 18, 2019CHOREOGRAPHED BY KIMBERLEY COOPERADAPTED AND NARRATED BY CORY BOWLESPERFORMED BY THE DJD DANCERS WITHORIGINAL MUSIC BY NICK FRASER ENSEMBLE

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LEGACY:a tribute toGordDownie

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ANYONE THINKING OF RENTING ASPACE for their big event that isinspired by the arts should restreassured: These venues can handlepretty much anything. Just ask LaurenNaus.

“We have the election cominghere,” says Naus, the marketing andaudience development manager ofFactory Theatre, citing the Oct. 21federal vote for Canada's next govern-ment. “We're actually going to be apolling station.”

Using rented spaces for events hasbeen a long-standing tradition sincepeople started gathering in communi-ty halls. As populations have in-creased along with aspirations, newtypes of venues are growing indemand as renters look for some-thing different. Places can range fromthe more intimate to large concerthalls and be as diverse as the eventsthey host, which can range fromweddings to corporate functions toshows.

The venues usually have thebenefit of being one-stop shops andcan help not only with space but alsowith technical requirements, ticketselling and catering.

“Toronto is such a growing city,just by sheer numbers and pop-ulation alone and, as an increasinglymetropolitan city, there's a lot ofaction,” says Monica Esteves, theexecutive director of Canadian Stage.

“There's a lot of parties, there's lotsof companies and corporations whoare doing events and who are want-ing to create memorable and uniqueevents, so moving out of traditionalevent spaces and into something thathas a story is an interest to a lot ofpeople. There is an uptick that every-one is seeing on that front.”

Sylvain Landry, co-owner anddirector of the Thompson LandryGallery in the historic Distillery District,says an artistic venue has an ad-vantage for renters that might not beimmediately obvious when they areconsidering a place.

He notes that not everyone com-ing to a corporate event, for example,knows one other and once in thegallery, they'll often grab a drink andwalk around looking at the eye-grabbing collection of legendary andcontemporary Quebec art, usuallygetting engaged in a conversationabout it.

“And then the ice is broken andeverybody becomes friends aroundthe art,” Landry says.

That's something that's echoed byJan Allen, director of the AgnesEtherington Art Centre at Queen'sUniversity.

“The artworks on view throughoutour spaces make a dramatic settingand serve as conversation starters,”she says. “The Atrium, for example,currently presents a bold two-part

painting by Claude Tousignant and anewly commissioned installation byToronto-based artist Sandra Brewster.”

Another advantage for renterslooking at artistically inspired spacesis the richness of architectural stylesand history many are steeped in.

For example, Thompson Landryhas two galleries. The Stone Spacenot only has its stunning artwork butis also adorned with original distilleryequipment from when whiskey wasmade there back in the 1800s. TheCooperage Space has exposed brickand plaster walls in its 4,300 squarefeet, which is a blend of the rustic andthe sophisticated.

Allen says the most sought-afterspaces at the Agnes Etherington areits spacious modern Atrium and thehistoric Etherington House.

“The former is a flexible, elegantlyproportioned space for larger gather-ings, talks, symposia, celebrationsand ceremonies,” she says. “Thegracious period rooms of the groundfloor of Etherington House, withchandeliers, period furnishings and a

Steinway piano, are a wonderfulsetting for brunches, intimate recep-tions or meet-and-greet events,dinners or discussion circles.”

Over at Canadian Stage, rentershave the options of two theatrespaces, two lobbies and a rehearsalhall, all of which are suitable fortheatre productions, corporate events,dinners and workshops in the Victor-ian building built in 1887 and formerlyknown as The Gas Works.

“It's very welcoming,” Estevessays. “The brick and wood and kindof industrial steel are the three textu-ral components in all of the spacesand they're timeless.”

Factory Theatre's Victorian buildingon Bathurst Street has been desig-nated a heritage site.

“The building has a lot of charac-ter,” Naus says. “We've kept a lot ofthe historic elements.”

Some renovations have beendone to meet theatre needs, shesays, and up-and-coming indietheatre companies comprise a largepart of the varied rental clients.

One of the great advantages forrenters in the Toronto area is thevariety of spaces, which can stretchfrom hundreds of seats to thousands.

Mervon Mehta, executive directorof the prestigious Royal Conservatoryof Music, says it filled a gap when itcame onto the market 10 years ago.He points out that, while there weremany great venues, there wasn't onewith 1,000 or so seats.

“We happily filled that spot,” hesays, acknowledging that businesshas been brisk.

“Ever since we've opened we'vebeen happily overrun with rentersand they come in all shapes andsizes,” he says. “It really runs a gamutand, since we're so centrally locatedand we really do offer a kind ofsoup-to-nuts service, people tend toflock here.”

In fact, this year marks the 10thanniversary of the 1,135-seat KoernerHall, which is the Conservatory's mainrental venue, an elegant, modernbuilding that wraps around theConservatory's Edwardian building onBloor Street West.

As well, TO Live recently amalga-mated three separate performing artscentres under its banner. MadeleineSkoggard, TO Live's director of pro-gramming, says they offer everythingfrom a studio theatre to Meridian Hall,formerly known as the Sony Centre,and the Meridian Arts Centre, which isthe new name for the Toronto Centrefor the Arts.

When thinking of renting a space,Skoggard says it is important to thinkabout who your audience is.

“Maybe the space they think theywant isn't necessarily the right spacefor them,” she says. “That could befor budget reasons or maybe it's justtoo big or it's too small or it's not inthe right part of town.”

But she says renters shouldn't bedaunted because there is advice to behad for those seeking to hold anevent. “We can help set it up in a waythat it will be successful.”

VENUES TO RENT FOR YOUR NEXT EVENT

TO Live’s Meridian Arts Centre is the new name for the Toronto Centre for the Arts. Its lobby has anelegant, art deco-inspired space with 60-foot ceilings that’s perfect for galas. JONATHAN CASTELLINO PHOTO

Theatres and galleriesoffer impressive spaceswhere you can hostyour special functions


Every canoetells a story

These seemingly simple watercraft carry complex stories thatmust be shared. They have a role to play in our understandingof our past – and our collective future.

A stunning new museum at the water’s edge in Peterborough,Ontario, will mean that the world’s largest collection ofpaddled watercraft will keep inspiring and connecting Canada –for generations to come.

Learn more about this projectof national scope and significance,and support our $65M campaign:canoemuseum.ca

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ASK PEOPLE ABOUT ARTISTICMEDIUMS and they'll usually mentionpaint and pastel. Barnacles probablywouldn't come to mind.

Unless you're Joanne Thompson.“I'm looking at a piece right now

that has barnacles on it and they wereactually encased in concrete and thenincorporated into her work,” says theco-owner and director of ThompsonLandry Gallery of a creation by Que-bec artist Amelie Desjardins. “It'samazing how artists are pushing theboundaries at the moment in termsof their mediums.”

Desjardins travels the world seek-ing materials for her work, which issaid to depict a complete life cycle.

“She travels to Bali every year andspends six months a year there,basically diving for wood and metaland old containers that she finds atthe bottom of the ocean and sherepurposes that into her work,”Thompson says.

The artist likes architectural details,too, so old buildings are also fodderfor her.

There's a lot of innovation atThompson Landry, which showcasesQuebec artists in its two spectacularspaces in Toronto’s Distillery District.Thompson points to Yoakim Be-langer, who works with such materi-als as reclaimed aluminum andoxidized steel that he finds in olddumping grounds.

“We had one piece which wasactually a side of a ship,” Thompsonsays. “You can imagine how thick thatwas. It had a hole in it and it was sotextural and beautiful.”

Working in non-traditional medi-ums has a long history. Martin Drolet,director of Galerie de Bellefeuille

points to how landmark artist MarcelDuchamp used everyday objects andpop art sensation Andy Warholemployed soup cans and Brillo boxes.

“Artists are always inspired infinding something new and beingoriginal and creating their ownniche,” Drolet says. “I think that's whyyou see a lot more artists now turningto conceptual art, performance art,using mixed media to really create aname for themselves, be original andtell their story in a different way thanjust with a paintbrush and oil oracrylic.”

Galerie de Bellefeuille, which hasspaces in Montreal and Toronto, has awide range of Canadian and in-ternational artists.

Among them is American PeterAnton, whose sculptures suggest a bitof a sweet tooth with his depictions ofchocolate and doughnut boxes andother candies.

“We have a new series coming upwhere he's doing these little Valen-tine candies so small hearts withmessages on it like 'Be Mine' or 'LoveYou',” Drolet says.

Metis Atash, a sculptor from Roma-nia now living in the United States,also plays with culture using fibre-glass and Swarovski crystals, recentlydoing a collection of punk buddhas.

“They're little buddha statues thathave spikes on the tops of theirheads,” Drolet says. “She grew up inGermany so she takes that punk rockculture of German music and thenshe mixes it in with Buddhism, whichshe converted to when she starteddoing fine arts for a living.”

He also cites Lucy Sparrow, whoseinstallations feature everyday objectssuch as ketchup bottles made of felt.

“When she has shows, she doesthese convenience store marketswhere as you walk into the room,everything in the store, in the space,is made out of felt. She creates herown world out of just one medium,which is interesting.”

Art indeed takes many forms and agood example of that is at the Cana-dian Canoe Museum in Peterborough,which sits in a sweet spot betweenhistory and art with its collection ofmore than 600 canoes of varioustypes that speak to unparalleledcraftsmanship that is not only eye-catching but practical.

Curator Jeremy Ward says there'sart in the functionality of the craft, inits sophisticated hull design and howthe culture behind it is being ex-pressed.

“You can identify a lot of thecanoes, the makers and the homecommunities, by the distinct shape ofthe stems, the bow and stern of thecanoe,” he says. “That would be anart form being expressed, I think. Thatwould be an aesthetic tradition, acultural tradition being added on butit's also practical too because it'sreally important to know who'stravelling out on the water or beingidentified.”

He explains that ornamentationseen on some canoes can meanmany things.

“The decorations on the WestCoast canoes are often painted withanimals and there's a narrative some-times that's worked onto the hull intraditional artwork,” Ward says. “It

can convey all kinds of meanings andthere would be no simple reason forthat. It would be specific to the com-munity and carry their stories.”

While Canadians are often think ofcanoes historically in association withFirst Nations, he says it's a conceptthat goes around the world and backthrough the millennia, made ofeverything from birch bark andbundled reeds to the most modernhigh-tech materials now.

The museum is actively spurringcreativity with a host of workshopsthat span everything from canoerestoration through leather work,weaving, and paddle making, forexample, giving valuable experiencesto youth and adults

“This is really a great centre forhands-on learning,” says Ward. “Andyou can only expect that to grow.”

UNIQUE MEDIUMS,POWERFUL MESSAGES

Many artists go beyond using paints in their artwork and seek out differentmediums. Peter Anton’s oversized and delicious-looking sculptures put anemphasis on chocolates and other sweets. GALERIE DE BELLEFEUILLE

Artists find ingenious materials out of which to create art,from metal to felt and even barnacles from the ocean

“Artists are alwaysinspired in findingsomething new

and being originaland creating theirown niche ... [to]tell their story in a

different waythan just with a

paintbrush and oilor acryllic.

Martin DroletDirector

Galerie de Bellefeuille


Robert Houle (b. 1947), Blue Thunder, 2011, oil on canvas, 2 panels, each panel: 91.4 × 61 cm,Collection of Glen & Marion Knott, Photo: Alexandra Cousins

The courage to remember.A process of personal reconciliation.

Robert HouleHistories

Exhibition Sponsor

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MORE PEOPLE ARE EXPLORINGWAYS to channel their creativitythrough art and Canadian galleries,museums and theatres are respon-ding in innovative and exciting ways.

Renowned artist Daniel Hughesteaches life drawing at the AgnesEtherington Art Centre at QueensUniversity in Kingston. His studentslearn to sketch a live model usinggraphite pencil, ink and charcoal.

“Art is a lot more accessible now,”Hughes says. “With all the tech-nology available to people they stillwant to take a piece of paper andcharcoal and get it messy in theirhands. I think it’s therapeutic andmeditative to express yourself cre-atively. It’s silent in my class whenthe model is posing. People are sointo their work and when we finisheveryone just breathes.”

His students come from all agesand backgrounds, from an emergen-cy room physician to an 80-year-oldworking painter named Grace.

“Rob Baxter of The Tragically Hiphas taken a several courses and hasdeveloped a real interest in painting,”he says.

Una D’Elia, a professional artist,author and associate professor of arthistory and art conservation atQueen's University, sees a growinginterest in people wanting to learnand experiment with different materi-als and artistic techniques.

“Historically, art wasn’t somethingconfined to museums. It was part ofpeople’s everyday lives,” she says. “Iactually took the life drawing work-shop and it was great to see such adiverse group of people from work-ing artists to those just wanting to trysomething new. The instructor wasso supportive. It’s a fascinatingprocess and, in the end, we were allso pleased with what we had ac-complished!”

HEALING ART

Art and wellness is the focus of aweekly drop-in program for young

adults at the Agnes Etherington ArtCentre with educator and certified arttherapist Harper Johnston.

Johnston says her “ArtHive@Agnes offers a safe, nurturing,fun, energetic and creative homeaway from home. Some might call ita ‘brain break’.”

Johnston says that producing artreduces cortisol levels and, as aresult, lessens stress in the body. Herstudents come from all walks of lifeand each has a unique story aboutwhy they are there.

“They come alone, with a friendor sometimes in groups. They talk,share, meet new people and arealways grateful to be in a well-equipped studio in an amazinggallery where they can explore theAgnes’s collections for inspirationand work with a wide range ofmaterials to create art they neverdreamed they were capable ofproducing. Best of all they love thatit’s free, inclusive and accepting and

they get to take their art home!”Edmund Chan of Toronto found

healing and a community of supportat Toronto’s Tarragon Theatre after hesuffered a devastating stroke. Heregistered for a playwriting workshopat the theatre to help with his recov-ery. The Tarragon is a leading compa-ny for the encouragement of newwork and Canada’s home for ground-breaking contemporary playwritingunder the direction of artistic directorRichard Rose.

Chan speaks slowly and carefullyas he describes the warm welcomeand supportive community he foundat Tarragon. “The instructors andstudents are fantastic. I’ve workedhard and I’m making progress.Thanks to my teachers Richard Roseand Paula White and all the studentswho’ve helped me I’m writing lots ofscripts and I’m talking easier now. Iwant to talk,” Chan says.

Paula White has been a playwrightfor more than 30 years. She says she

loves the Tarragon’s commitment tonew writers and what it takes tocreate and communicate a reallygood play.

“It’s very hard to do and Tarragonis committed to the hard work andpatience to develop new writers,”she says.

White has been part of an excitingevolution in the art of writing for thestage. “The opportunity to learn isavailable to anyone now. Our stu-dents are actors, filmmakers andscreenwriters. There are people whoare simply curious about the world oftheatre and what happens behind thescenes. And there is Edmund whobrought something profound to ourclasses -- the gift of communication.He reminded us all how we long tobe able to communicate and tellstories.”

ART INSPIRED BY TRADITION

Inspiring curiosity, connection and

new understanding is the foundationof The Canadian Canoe Museum inPeterborough. With its impressiveholdings of 600 canoes, kayaks andpaddled watercraft, the museumoffers a series of artisan workshops.Participants spend an exciting andrewarding one or two days exploringtheir creative side by learning how tomake a coiled basket, trail toboggan,snowshoes, wool and leather mittensor anorak.

Beth Stanley is the museum’sassociate curator and has beenintegral in growing the workshops.

“It’s so accessible here … thetools, the instructor … people dothings they don’t think they can do.It’s magical. We offer up to 40 work-shops a year and we’re seeing such amix of people who come to us notknowing each other and leaving asfriends.”

Workshop instructors include anIndigenous canoe builder whoteaches a birch-bark basket workshopto a young couple who live off thegrid in Northern Canada and special-ize in winter treks on the land usingtraditional toboggans, canvas anoraksand handmade gear.

The Canadian Canoe Museum hasalso invited Ottawa artist VanessaCoplan to lead a unique communityart project where members of thepublic weave, tie, pull, knit and sewtextiles to create a 14-foot canoe thatwill be temporarily displayed at themuseum.

“I want art to be able to speak topeople in a way that isn’t just lookingand seeing and nodding their heads.I want it to be about feeling andparticipating in something,” Coplansays.

The Textile Canoe grew out ofCoplan’s first large-scale project calledI, Canada, a series of hand-sewnpatchwork blankets that markedCanada’s 150th birthday in 2017.

“I worked on half of these blan-kets with hundreds of school agersfrom Grades 4 to 12,” she says.

“It fuelled my passion for workingwith many hands on deck and forexperiencing the act of thinking andmaking together. The museum’scanoe project is the culmination ofthis new and exciting opportunity wehave to move from viewing to do-ing.”

MOVING FROM VIEWING TO DOINGPeople from all walksof life explore theircreative sides by learningto make their own art

Artist Daniel Hughes offers a six-week course in life drawing at Agnes Etherington Art Centre. In hisDrawing from the Model classes, students learn to sketch using graphite pencil, ink and charcoal and learnmethods of drawing the human form. GARRETT ELLIOTT PHOTO


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