Saturday night, due the national and local popularity of A Tribe Called Red, was sold out for the NAC Presents turns 5!event.The NAC basically turned their main foyer into a night club. The effect was brilliant. The NAC definitely knows how to throw a sexy #Decolonize party.
Mehdi Cayenne was also amazing bringing a francophone presence to the event. The importance of the evening was not lost on him and he got the crowd engaged in celebrating the diversity that Canada represents – but a diversity that needs to broaden to recognize First Nations, Inuit and Métis as significant contributors of culture.
Dancer James Jones charmed the crowd during ATCR’s performance combining breakdancing moves with hoop dancing. It was clear from the crowd’s reaction that contemporary Indigenous culture is celebrated and the impact is positive.
If you missed Saturday’s event you can still take advantage of the events the rest of the week. And if you are not in the Ottawa area the Art & Reconciliation Panel Discussion moderated by Truth and Reconciliation Commissioner Marie Wilson will be livestreamed at this link here.
TUESDAY – SATURDAY (January 12 – 16 at various times): Jack Charles V The Crown “Aboriginal. Actor. Addict. Residential School Survivor. Cat Burglar. Homosexual. Jack Charles is an Australian tribal Elder and a living legend. This highly entertaining and autobiographical presentation, which includes a three-piece band, runs the gamut of a life lived to its utmost, spanning Charles’ career as an actor/musician, a lifetime of political activism, and a terrifying descent into heroin addiction and petty crime. His experience as a stolen child echoes the plight of Canada’s own Indigenous people – and his heart-warming presence, generous spirit and unswerving optimism make his journey one of resilience and reconnection. Jack Charles is a theatrical marvel.”
WEDNESDAY (January 13 from 5:30 – 6:30 pm): Rita Joe National Song Project “Students from schools in Nova Scotia and Quebec will perform music they created based on Rita Joe’s I Lost My Talk poem.”
Mi’kmaq youth from ABMHS High School, Eskasoni, Cape Breton, N.S.
Algonquin youth from Kitigan Zibi Kikinamadinan School, Maniwaki, QC
Frances Joe, the daughter of poet Rita Joe
Moe Clark, Host and Multi Media Métis Artist
Alexander Shelley, Music Director of the NAC Orchestra
Annie Smith St-Georges, Algonquin Elder
Jessica Bolduc, 4R’s Youth Movement
THURSDAY (January 14 at 6:30 pm) : Art & Reconciliation FREE & LIVESTREAM! A timely panel discussion on art in the context of reconciliation moderated by Dr. Wilson, Commissioner, Truth and Reconciliation Commission of Canada, and featuring panelists Rachael Maza, acclaimed Australian theatre director of Jack Charles V The Crown, Joseph Boyden, author of the award-winning novels Three Day Road and The Orenda, and composer John Estacio. The panel discussion will be introduced by the Right Honourable Joe Clark. The event will be live streamed at nac-cna.ca/live. Guests to attend the event include Their Excellencies David Johnston the Governor General of Canada and his wife Sharon Johnston, Mrs. Sophie Grégoire-Trudeau, and National Chief Perry Bellegarde of the Assembly of First Nations.
THURSDAY – FRIDAY (January 14 – 15, 8 pm & 7 pm): I Lost My Talk “World premiere of I Lost My Talk, composed by John Estacio and performed in Southam Hall by the NAC Orchestra under the direction of NAC Music Director Alexander Shelley. This immersive, multidisciplinary work – based on the poem by the late Mi’kmaw elder and poet Rita Joe – was commissioned for the NAC Orchestra to commemorate the 75th birthday of The Right Hon. Joe Clark by his family, and features an extraordinary film produced by Barbara Willis Sweete.”
Legacy of Hope exhibit looks the impact of the Residential Schools opens tomorrow at the National Arts Centre
And finally from now until the end of the month the exhibit 100 YEARS OF LOSS: The Residential School System in Canada will be available for viewing from 2 pm onwards each day.
“This bilingual exhibition, created by The Legacy of Hope Foundation, raises awareness and understanding of the history and legacies of the Residential School System in Canada. Through archival photographs and documents, first-person testimonies, and evocative works of art, the exhibition encourages us to learn about this difficult history, to recognize its legacies in our country today, and to contribute our own acts of reconciliation.
On Saturday May 23, R.A.P.S.Ody, Ottawa’s only monthly urban arts cypher returns to The Flava Factory with its fourth edition. The show’s feature, international spoken word artist and Canadian rapper from the group Missing LinX, Just Jamaal The Poet, will be performing a rap set including shooting a LIVE RAPSODY MUSIC VIDEO.
WHEN: Saturday, May 23 Sign up at 6 pm & show starts at 7 pm
WHERE: The Flava Factory 1075 Wellington Street Ottawa
HOW MUCH: $10
The show begins with an open mic session followed by the popular two round $200 cypher battle. Artists looking to compete must arrive at 6:00 pm to register; while the open mic sign up is done in advance by emailing email@example.com.
Looking at the typography of a city through an Indigenous lens can fracture what we think we know. Chorography is the act of “describing or mapping a region.” The chorography of our cities effectively maps multiculturalism but underneath the Little Italys and Chinatowns original place markers have been trampled under the foot of many a newcomer.
Recent headlines have pointed to Winnipeg as being one of the most racist cities in Canada. For the urban Indigenous population in Winnipeg the city, whose name is derived from the Cree word win-nipi, is marked with anxiety. Marvin Francis was a playwright, author, visual artist and poet from Heart Lake First Nation and his experience of living on the “Urban Rez,” as he referred to Winnipeg, formed itself into a book titled City Treaty: a long Poem.
I was being followed
so I took my usual back alley route
trash can trails
make ’em get their feet dirty
but it was no use
you cannot shake a clown
that mask sees all
we begin the treaty project
we needed money we wrote
on the back maize flake boxes expensive
knows ever since sky ripples
mingles clown city native
write new treaty cost heap big money
the clown surveys post/city/modern/after treaty/after
lawyer = life
finds the reality:
As a teenager, moving off his reserve to the city, Marvin developed a complex relationship with Winnipeg.
“The urban Aboriginal experience is dependent upon the circumstances of the individual, and speaking in general terms is always dangerous, but I think it is a fair statement that, for the average Native who comes from the Rez, the city contains a spectrum that ranges from new possibilities to that social monster, crack.” Read more…
It’s hard to know where you are standing when the original place markers become impossible to find. But they are still there for those who are tenacious enough to search. Sometimes names hint at the histories that lay just below the surface of maps made for our ‘modern’ times.
tkaronto (Kanien’kehake), onitariio (Wyandot)
Where the trees are standing in the water, the beautiful lake
Counter-mapping is a term used to refer to the intentional use of mapping methodology and technology such as GIS, cartography and geomatics to make visible how dominant power systems have used maps as a way to assert control over territories often for the purpose of resource extraction and/or settlement.
Beyond the legal applications counter-mapping combined with visual ways of expressing space are being used by artists as a way of marking places with counter-narratives.
Sarah Yankoo “is Algonquin, Irish, Hungarian, Romanian and Scottish and edge walks between the bush and the city that gathers in Toronto.” While in York University‘s Environmental Studies program she discovered the poetry of Marvin Francis in a class titled Indigenous Literature, Survival and Sovereignty and for her, the earth moved. Her response was to become one of the tenacious ones who seeks to uncover what some have tried to make us forget. Her photographic work is about creating an image bank demonstrating that in urban spaces a counter-mapping movement is taking place – graffiti tagging, arts activism, and even random formations seem to be giving us a message.
In underpasses, subway stairs and skyscrapers Sarah finds markers that signify we may be at the moment before a seismic shift is about to go down. The ‘Urban Rez’, as Indigenous populations explode, can become a place of renewal and a city, like Toronto / Tkaronto is capable of flexing intuitively – as though it remembers. The shape of the map may not be changing, but the rigid borders of colonial mindsets shift to create a dynamic that will forever change the emotional contours of a city.
Top image of Haida artist Corey Bulpitt’s mural. Bottom image Métis symbol replicates on subway stairs. Both by Sarah Yankoo.
Sarah has also found a way to continue the work that Marvin started by “writing her own treaty poems while exploring the piece [City Treaty] as an installation work and political engagement piece.” For the University of British Columbia’s exhibit Claiming Space: Voices of Aboriginal Youth at the Museum of Anthropology she contributed City Treaty Manuscript. (view City Treaty Manuscript image above)
“Claiming Space: Voices of Urban Aboriginal Youth looks at the diverse ways urban Aboriginal youth are asserting their identity and affirming their relationship to both urban spaces and ancestral territories.” Read more…
KIMIWAN ‘ZINE‘s SIXXX edition featured Sarah’s treaty poem push that bush as well as her work titled your X mark (pictured below)
KIMIWAN ‘ZINE is a quarterly publication that showcases words + art from emerging + established Indigenous, First Nations, Métis, and Inuit writers + artists. Kimiwan is independently published by a collective of Indigenous artists, writers, students + community members.
Kimiwan was started by Joi T. Arcand and Mika Lafond in summer of 2012.”
Top image X marks an urban spot. Bottom image peace and moccasins. Both images by Sarah Yankoo.
The Revolution will be Indigenized.
Marvin, who passed away in 2005, wrote of Toronto:
“Winnipeg, with its high Aboriginal population, is one place where you can walk downtown and meet other Aboriginals. Regina is like that, too, but a city like Calgary or Toronto has few Aboriginals visible downtown.”
In Toronto First Nations, Métis or Inuit populations can become invisible, absorbed into the multicultural mix but as the city becomes more inquisitive about Indigenous histories and contemporary realities after the earth moved during Idle No More, the Toronto of Marvin’s recollection is rapidly changing. A growing Indigenous presence comprised of artists, activists and academics is drafting a new city treaty with their work. This isn’t just taking place behind the institutional walls of universities and museums – their work spills out into the streets.
During the summer of 2013 Ryerson professor Hayden King (Anishinaabe from Beausoleil First Nation on Gchimnissing) along with artist and educator Susan Blight (Anishinaabe from Couchiching First Nation) embarked on an intervention under the name Ogimaa Mikana (Leader’s Trail in Anishinaabemewin). In different locations in downtown Toronto street signs and memorial plaques were subtly counter-mapped by placing Indigenous names and text over the ones put in place by the operating Governments of Canada. Spadina was changed to Ishpadinaa and a plaque was covered at Queen’s Park with the words:
With round dances taking place inside shopping malls and pow wows outside on University campuses even the rhythm of the city has changed.
Sarah also uses music as a way to infuse urban streets with Indigenous vibrations. She makes mouth bows out of branches she searches for when out in the bush. Inspired by the music of Buffy Sainte-Marie as well as A Tribe Called Red she also performs and is often remixing the recordings of her mouth bow on her iPad.
This coming Saturday she will performing alongside Skookum Sound System for Native Women in the Arts Catalyst Series hosted with the BOLD As Love Collective at the Musical Gallery, Toronto. Collectives like BOLD As Love, with their spoken word and musical performances, showcase the plurality of Indigenous voices fleshing out a deeper meaning of diversity.
The words of our lost languages have hidden meaning And while business talks a level playing field Native landscapes can contain asphalt back onto our feet As the land itself invents our soundscape (read Sarah’s full treaty poem Edgewalker Remix below)
Counter-mapping and marking alternate meanings into the urban space becomes a therapeutic act. Time to dig down into the bedrock to excavate those solutions.
We all walk these edges uncertain
On border slippery
Between dirt poor
And filthy rich
Between the bush and city
Between sandy hot beach laughter
& heart breaking tears crying in the snow
We point out the edges that cut off our mind
Invisible borders stronger than barbed wire
Cement our paths to our edge walking ways
To lost children
& a Trail of Beers
When all you really want is to do is just go home
Play in a garden where pedals do not bite
Where the fingers fold in prayer
Where the smile heals eyes
Burnt by too much evening
For the young
& The old experienced love that still dares
The smoke is white and the crackle is electric
So pull your thoughts of others from history into today
And we all emerge from
Actual treaty lines
into the native-aboriginal- First Nation- last chance Indian status- cuz you went
trapping that day universe
The words of our lost languages have hidden meaning
And while business talks a level playing field
Native landscapes can contain asphalt back onto our feet
As the land itself invents our soundscape
What words describe agony of kids torn away
Language ILL legal
Of a circle of a people with their hearts in the fire
spirits in the electric smoke
& Minds in the crackle with knowledge for
To those treaties smouldering and collecting our dust
To loop the difference in times zoned
Flash present to a disguise that fools nobody’s god
Flash back again and again over and under and through the flashing
To the territory as large as the land itself
Reach the borders and the sounds that fit the land contours
And while the rivers wash from the inside and the prairie undulates from the Canadian
Shield up one side of the Rockies and down the Mackenzie. Remember there is no
linear in the bush, and the city only thinks it does. so you can finally figure out that the
land is owned only by our children and never by us
Argue/bitch/question/probe/tear apart/challenge/discuss until everyone is sick of it
Then do it again
For you must remember what the people went through
Above images of Sarah Yankoo by Leah Snyder for Mixed Bag Mag.
EDITOR’S NOTE: Sarah is rocking a jacket by Toronto based Dene designer Sage Paul and boots by Métis owned company Manitobah Mukluks. You can support Indigenous designers by signing a petition against DSquared’s #DSquaw collection from Milan Fashion Week at Change.org. The petition asks that Dan and Dean Caten apologize for their actions and as Canadians donate the profits from their collection to an organization that supports the rights of Indigenous women here in Canada. Click here to sign.
Listen to Sage Paul speak on the issue to Metro Morning’s Matt Galloway here.
“North America’s Premier Festival of Global Jewish Music & Culture returns…
…with its 10th biennial celebration. Over 200 artists from more than a dozen countries will showcase the vibrancy and brilliance of Jewish artistic traditions, from traditional styles to cutting-edge, cross-cultural fusion.”
If you love Klezmer music, Toronto’s own Lemon Bucket Orkestra and all things Yiddish then by the lake is where you need to be. The 2012 Festival was really amazing and this year’s line up of Jewish performers and musicians from around the globe won’t disappoint. Best of all most of the events are FREE! Harbourfront knows how to do a long weekend well.
HIGHLIGHT TODAY: Lemon Bucket Orkestra will be giving a dance workshop @ 4 pm. “Learn Ukrainian and Breton dances to the thrilling musical accompaniment of Canada’s only klezmer-gypsy-party-punk-superband.” More info…
HIGHLIGHT TOMORROW: The Ashkenaz Parade @ 4 pm.
“Propelled by the music of Lemon Bucket Orkestra and all the Festival musicians, Shadowland Theatre will once again transform Harbourfront Centre into a swirling spectacle of colour, puppetry, stilt-dancing, and performance.”More info…
Honouring the spirit of Louis Riel and cultural resiliency.
Today, Manitobans are celebrating Louis Riel Day in remembrance of Riel’s political and social impact for the province of Manitoba. “Louis Riel was the driving force behind Manitoba becoming Canada’s fifth province. His dream of a province that embraces all cultures is still shared by Manitobans today.” (sited from Government of Manitoba’s website)
But Riel’s impact was larger than the locality of the battles fought in the late 1800s and his vision is still relevant in contemporary times. As a leader who fought for the rights and cultural sovereignty of the Métis people Riel has become for many (even non-Métis people) an icon of resistance. He understood the fissures that occur in the dried up riverbeds that lie between culture and geopolitics. Today many are still praying for rain and fighting the same battle.
Riel also believed in the power of artists. He is quoted as saying “My people will sleep for one hundred years, but when they awake, it will be the artists who give them their spirit back.”
In this spirit MIXED BAG MAG celebrates Louis Riel Day with a feature on Cree Métis artist Jason Baerg. Jason’s current show at Urban Shaman in Winnipeg, Manitoba features his work from his series Nomadic Bounce. The work for Nomadic Bounce was produced as part of a residency in Australia RMIT School of Art and is about (re/dis)location. Nomadic Bounce points to the fact that whether we are near or far from ‘home’, it is an ever present concept we return to even when our feelings around home are ambiguous, even tenuous.
Detail shot of Nomadic Bounce series at Urban Shaman. Image provided by the artist.
Jason has called many places home. Born in Sarnia, Ontario Jason was young when he moved with his mother and siblings to Prince Albert, Saskatchewan to be closer to his Aboriginal family. As a teenager he ‘bounced’ back to Sarnia, Ontario where he lived with his Mennonite father. Soon after he moved to Kitchener-Waterloo to finish high school. Then there was Montreal for university, Toronto for college and art residencies in New York, Santa Fe and Australia.
“Home is a headspace”
But like a bird, Jason always circles back to where his migration route began. For Jason home base is located in the power of Indigenous Knowledge, both the spiritual concepts and the potent visuals that speak through the language of symbols. This is what grounds Nomadic Bounce but like much of Jason’s work, with this project, he also chose to take a investigative journey around innovative techniques.
Nomadic Bounce was an exploration into what happens when you take traditional painting then utilize ‘cutting edge’ technologies to intervene and agitate perceptions of what painting / sculpture / installation can be.
The paintings were based on seven 33 second video clips Jason made of poignant moments he experienced at home / abroad / in transit. Two mirror sets of paintings were created: one set remained as traditional paintings that could be fixed to a wall; the other set was laser cut into shapes and intended to be used for site specific installations. A shape that is ubiquitous in this series is the thunderbolt. Jason explains that he uses the thunderbolt often as it is affirms change but not just any type of change – it is the type of change that is “dramatic, immediate, rapid.” When he brings this symbol into his work it is about shifting energy.
The original intent of the body of work was to re-assemble it each time it changed location as the idea of a journey was the core conceptual premise of the series. In Australia the laser cuts were assembled into mandalas, powerful circles that establish a sacred space and represent the cosmos. Jason imagined that the next manifestation of the work would be something similar but then the work took on a life (or lives) of its own when it disembarked at each new destination.
In Prince Albert the work configured to resemble the cityscape Jason grew up with and the view of the buildings as seen from across the river divide. In Edmonton, as Idle No More gained momentum and the Journey of the Nishiyuu topped the headlines, the pieces were assembled into four jack rabbits that were inspired by the cunning abilities of the trickster when opposing the status quo.
Nomadic Bounce installed at Strathcona County Art Gallery, Edmonton. Image provided by the artist.
The Battle of Batoche in 1885 was a defeat for the Métis people that led to the surrender and eventual execution of Louis Riel. When Jason’s work arrived at The Mendel Art Gallery in Saskatoon the Battle combined with the impact of the railway on Indigenous people was the spirit that moved the work to configure into an empty train car modeled on the post-modern solar-powered speed trains of Japan. Jason says this form was about “an act of reclamation, giving the power back to the People.”
Now at Urban Shaman the work has emerged as two wolves, both in a strong stance, reflecting their gaze upon each other. Jason sees the wolf as an innovator who leaves the pack to find new knowledge that is brought back to fuel resiliency. “The wolf is looking into the future, the past, into the community and at itself, concurrently.”
The beauty is that this series of work that began as a meditation on home has become fluid, adaptable to place and flexible – changing shape without compromising the original sum of its parts.
FYI– Jason’s show RETURNINGcloses this weekend at Urban Shaman so if you are in the Winnipeg area this would be a great show to check out!
Artist: Jason Baerg
Dates: January 17 to February 22, 2014
Opening reception on January 17 | Artist Talk at 9pm
Location: Urban Shaman’s Main and Marvin Francis Media Art Galleries
In partnership with Art City Youth Exhibition, Urban Shaman’s AND Gallery
“Traditional Chef, Johl Ringuette, and the staff of RingFire Productions have been providing delectable Aboriginal cuisine to the Toronto Native community and allies for several years. Raised in Northern Ontario, his knowledge of native food was provided by his father (a hunter), and inspired by the culinary wisdom of his mother. Yearning for the indigenous foods from his childhood such as wild game, freshwater fish, berries, and maple syrup, he set out to provide Aboriginal catering to the urban community. With almost thirty years experience in the foods industry, Chef Ringuette has been serving Traditional Anishnawbe foods since 2005.”
FYI – Win tickets through Urban Native Magazine.
CONTEST RULES –
tweet: “Hey @UrbanNativeMag I wanna see @iskwe at The Garrison” by 1 PM, Wednesday, October 2nd or email Lisa at urbannativemag.com to win.
CONGRATS TO THE MANIFESTO TEAM ON ANOTHER YEAR OF AMAZING PROGRAMMING & IGNITING THE COMMUNITY!
This festival continues to show how when enough people connect on a vision something wonderful and fresh can occur. The weather today? Not so good but Manifsto is offering plenty of food for thought and inspiring creativity inside and away from the rain with their symposiums & talks.
NOON TODAY – SO MUCH THINGS TO SAY: Evolution Summit. An inspiring array of panel discussions, keynote speakers and mentor classes. More info…
3 PM TODAY – THE FLOOR AWARDS. Manifesto celebrates the best urban dance artists, educators, youth and community catalysts at our 3rd Annual Floor Awards. First created through community dance consultation, this awards provides a platform to honour the depth of creation and innovation happening in urban dance arts in Toronto. More info…
4 PM TODAY – HEARTIST. A pre-show panel discussion and audience talk back about the growth of mentor-mentee collaborations in Canada, how they work, and add value to the health of the Canadian arts sector. More info…
6PM TODAY – SACRED SEVEN ART SHOW – This year for the 7th Annual Manifesto Art Show we will explore the notions of connectedness and evolution as we present thought-provoking works from local artists as well as game-changers from across the globe.
“Everything in our world is sacred and interconnected – and we’re in the midst of an epochal shift to recognizing that truth in every realm of human endeavor.” – Stephen Dinan
It was a late night tweet from one of Toronto’s finest MP Kristyn Wong Tam that put MIXED BAG MAG onto this exuberant project – WAACK REVOLT A Dance Film.
Watching the video I was sold on the fact that this team has tons of talent.
Waack Revolt’s Diana Reyes aka Fly Lady Di (above) and Emily Law aka Em Fatale (left).
Already familiar with dancer Diana Reyes aka Fly Lady Di (MIXED BAG MAG almost had her as part of the MASHUP STYLE shoot – next time Diana 😉 ) and Emily Law aka Em Fatale from the incredible Toronto dance troupe Kaha:wi (check out MIXED BAG MAG’s post on Kaha:wi’s The Honouring) it seemed an easy decision to get on board to help spread the word!
MIXED BAG MAG’s interview with WAACK’s Director / Writer Sonia Hong was in a word ‘soulful’. At a time where there is ubiquitous imagery representing a too-cool-for-school vibe we often mask our deeper human qualities like vulnerability and the yearning we all have for connectedness behind that chill exterior. I appreciated that Sonia was an open book and ready to share her history as to how she became a film artist who focuses on LGBTQ issues.
Bullied for not fitting in, somewhere along the way and at a young age, Sonia reached in to that spiritual place that we all have inside to find her source. From hiding her light to shining bright, Sonia had done such a remarkable turnaround with her confidence that a teacher who noticed shared this with her then asked her to be the valedictorian at her Grade 8 Graduation.
She built on that confidence and started to attend theatre summer schools where she said improv helped her try on new characters, play around with identity, and continue to grow more comfortable in her skin.
She also spent time working at Legal Aid alongside her mother. “If I hadn’t of gone to film school I would have gone to school for social work.” A keen sense of social justice, she takes her role as an artist seriously developing projects that can help kids struggling with their identity and place in the world.
Writer / Director Sonia Hong (right) with Producer Allia McLeod(left).
“Community building and creating an inclusive community is what I have always been really passionate about. I want to help young people feel empowered and to know from an early age that it’s ok to be yourself.”
Somewhere in the interview we got to speaking about girl culture – for me coming of age with Madonna and Sonia coming of age with the Spice Girls. Whether we agree with it or not, pop culture is what meets kids where they are at. As a female, Madonna taught me that my sexuality was for me alone to own and to be aware of it and my decisions around it but not without having fun – Express Yourself!; for Sonia the Spice Girls belted out the message that she understood to mean be yourself in the most bombastic way you dare – Zig A Zig Ah!
Our musical tastes have matured (I think?!) but for both of us the concern is that in today’s hyper-sexualized Britney-Miley-Nicki world sexuality now is only about an act of ‘performance’ for another’s gaze (mostly young girls for the validation of males) and something is getting lost in the delivery along with the chance for youth to develop a strong sense of self.
WAACK REVOLT takes all that on and promises to be sexy short with a definite message regarding understanding, owning and standing up for your sexuality. Commissioned by the Reel Asian International Film Festival as a collaboration between dancers and filmmakers, WAACK REVOLT will be premiering at this year’s festival.
“This cheeky love story, WAACK REVOLT. A DANCE FILM, sets the stage for a playful journey that opens during an audition in 1940s Hollywood. It is here that our two lovers first meet and begin their love affair with one another – which centers around their shared passion for “Waacking”. Outraged by their “Waacking” dance style, a visual metaphor for their unconventional love and identity, the public exclaim that they aren’t permitted to “Waack” in public, and must keep it behind closed doors.
In response, the couple escapes to different iconic time periods, sliding and interchanging between genders, ultimately blurring the lines entirely as they “Waack” their way to a full, vivid expression of themselves and their love.”
Using dance to challenge traditional gender roles and stereotypes.
The artistic medium of dance has given Sonia the perfect vehicle to investigate gender as it refers to sexuality.
Sonia goes deep into the exploration of how gestures sub-consciously communicate the assertion of power or an act of oppression and she explains that when they are thinking about the choreography they don’t want the dancer playing the male role to come across as a predator or the dancer embodying the female character as not without movements that communicate empowerment.
“I am really exiting about gender-bending with the actual choreography as music and dance are very gendered.”
Waack itself is a form of dance that evolved during the disco era and much like Voguing was embraced and developed by communities on the fringe of the mainstream as a way to own power around race, class and sexual orientation.
“To me, as a 12 yr old girl, the Spice Girls’ “Zig A Zig Ah” could mean anything you wanted it to much like this style of dance. You should be able to be yourself anywhere and you should be able to WAACK wherever you want.”
Emily Law aka Em Fatale
Professional dancer and founding member of the Toronto house dance crew Warehouse Jacks. Emily has been nominated for a Dora Mavor Moore award and a Gemini for her work with Kaha:wi Dance Theatre.
Diana Reyes aka Fly Lady Di
Multi-disciplinary artist, who has appeared on several progams including MuchMusic’s “RapCity”, and CBC Music’s “How to Dance to Classical Music”. Diana is a member of b current’s prestigious rAiz’n ensemble – home to some of Canada’s most successful performing artists, playwrights and producers.
A dynamic and multi-faceted artist, based in Toronto, Maylee’s music combines organic and electronic forms, including elements of boogie, bossa, space funk, psychedelia and soul. She’s shared the stage with the likes of Janelle Monae, Lee Fields, Aloe Blacc, Little Dragon, and The Budos Band. SOCAN has recently nominated her for the coveted songwriting prize. Get into the ‘Waack Revolt. A Dance Film.” groove with some of her funky tunes. www.mayleetodd.com
K-os & Serena Ryder – snapping some great Canadian musicians. Home-grown talent at its best!
MIXED BAG MAG is pleased to showcase our talented guest photographer Ardean Peter’s coverage of some this year’s performances at the Luminato Hub. Out under the open air and starry skies (Luminato seems to have the Gods & Goddesses of weather on their side) each year you can enjoy music from all over – the most popular Italian rapper to the most acclaimed Sufi singers from Azerbaijan…it’s a definite trip. And best feature? It’s FREE so hit the Hub from 8 pm to 11 pm each night until this Sunday for some unique beats.
What Ardean has to say about Luminato:
“It is a treat to be able to see such talented and successful Canadian artists – and in a free venue! This past weekend I loved getting a chance to madly sing along to my favorite K-os songs and re-acquaint myself with Serena Ryder – a spectacular and genuine performer.
A bonus though was experiencing these artists amongst a diverse group of spectators – from age to ethnic background. Everyone was there to enjoy great live music and during the course of the night, I even connected with a new friend. Saturday night I found myself back at ‘The Hub’ for the Maxi Priest concert where I busted a move or two to the pop-reggae tunes.
I’m looking forward to attending a few more performances at David Pecaut Square before the festival closes this Sunday but next year I plan to add even more of Luminato’s events to my schedule so I can experience and enjoy everything that Luminato has to offer!”
Just over a year ago I gave myself an assignment to start the ball rolling on what was ultimately going to be my bigger project – MIXED BAG MAG. On my blog, The L. Project, I began to produce a portfolio of work that demonstrated my knack at uncovering and then curating a theme, a stream, an undercurrent. I went out into Toronto to find other people that spoke a new 21st Century language – intercultural, interdisciplinary, socially innovative – people that with their creativity were into sparking a flame that could lead to BIG change.
And since I went out to explore what made Toronto such a fantastic model for a 21st Century city it only made sense to begin my journey of discovery by covering what I believe to be the quintessential model of a 21st Century arts festival – LUMINATO.
It celebrates all the artistic disciplines, this year even including the Culinary Arts.
Not just cross-disciplinary, LUMINATO also makes cross-cultural dialogue the cornerstone upon which it has built an interesting series of hybrid commissions including last year’s 1001 Nights which brought together the talent of British director Tim Supple and Lebanese writer Hanan Al-Shaykh.
For LUMINATO 2011 I cleared out my account and bought all the tickets I could afford. Along with my bank account I cleared my calendar and for the next 10 days immersed myself into all that I love –dance, music, film, literature, visual arts, design and more! Extraordinary was already in season for me in 2011 and with 35+ events attended in all, LUMINATO was undoubtedly the highlight of my year!
At Luminato 2012, I spent most of my nights taking advantage of the free concerts at the Luminato Hub (David Pecaut Square) in an effort to scout out what acts may be a fit for MIXED BAG MAG. The music I experienced criss-crossed the globe from Mali (Fatoumata Diawara) to the Balkans (Shantel & The Bucovina Club Orkestar & our local Lemon Bucket Orkestra), and included Canada’s own K’NAAN, a Somali born performer who mixes hip-hop with traditional Somali musical elements and poetry.
Each night as I witnessed the diverse crowds that would show up I noticed something. Along with people that were unfamiliar but open to the music that was being performed, others were intimately acquainted with what was being sung. Behind me, beside me and in front of me were people belting out lyrics in a language that was their original mother tongue. In the location of their new home, people were able to joyously sing, at the top of their lungs, the songs from the home they left. You could sense the cathartic release!
How powerful can this be for us as a community if we choose to collectively celebrate the sum of all our ethnically diverse parts?
A beautiful week of beautiful music only confirmed what I already believe – that events like LUMINATO offer more to us than just entertainment. At a societal level these types of events can offer healing.
This is why I began this project and my journey of curating at MIXED BAG MAG the best of what I call New Culture because what is closest to my heart is the transformative power of culture. Ultimately it is the energizing spark that can ignite our souls.
Performers from top to bottom – K’NAAN and Nelly Furtado, Michael Franti, Nomadic Massive, Fatoumata Diawara, Afrocubism, Michael Franti and Jovanotti, Telmary Diaz, Shantel & the Bucovina Club Orkestar, and Lemon Bucket Orkestra.