The chill was chased away though by the warm personalities of TO DO’s Executive Director Sanam Samanian, R & D Director Gelareh Saadatpajouh and Communications Coordinator Michael R. Madjus all rocking their own personal style.
Each year I look forward to this event so I can discover little gems of design located around the festival route in Toronto’s core. This year I am excited to see the Wishbone Table by Alan Hindle of Stacklab and OCAD U’s 3rd edition of Tables, Chairs and Other Unrelated Objects. Also over OCAD U at their Onsite Gallery is Terreform ONE (Open Network Ecology) and the show Biological Urbanism: An Opera of Disciplines from Architecture, Landscape, Urban Design, Biology, Engineering and Art. Running until February 22 Terreform ONE is a
“New York-based design group that promotes environmentally conscious urban planning. Its projects are an exciting mixture of architecture, landscape, urban design, biology, engineering and art and it is dedicated to finding innovative solutions for sustainability in energy, transportation, city infrastructure and waste management. The works featured in this exhibition at Onsite [at] OCAD U highlight Terreform ONE’s interest in incorporating living organisms in design, and advancing the notion of sustainability beyond a popularized mainstream rhetoric.”
And of course there is the Gladstone Hotel’s Come Up To My Room show (#CUTMR) – one of the most celebrated mashup design-craft-art shows of the year in this city!
For this MIXED BAG MAG edition of #MashUPStyle for #TODO14 Sanam, Michael and Gelareh showcased second hand finds from mothers’ closets, far-away and nearby vintage stores as well as some local designers like North Standard, jewellery designer Yasaman Pishvai (Void Jeweler) glasses by festival Sponsor iconic eye-wear designers Cutler and Gross.
All above images by Leah Snyder for Mixed Bag Mag.
When Worlds Collide How Do You Return Back to Home?
Last Friday I experienced Akram Khan’s DESH at the National Arts Centre in Ottawa. Akram is one of Britain’s most exciting contemporary dancers / choreographers and like so many people in the 21st Century he is attempting to perform a balancing act between two (or more) worlds. There is the England of his own biography peppered with the history of the Bangladesh his parents left when they came from Dhaka to Wimbledon where Akram was born.
Once caught mimicking Michael Jackson dance moves, Akram (who also credits being inspired by the moves of Bruce Lee, Fred Astaire and Charlie Chaplin) was immediately put into Kathak classes – his parents attempt to keep him rhythmically attuned to the sub-continent rather than the beat of American pop culture.
Eventually though the mash-up masala that London was produced this phenomenon of a performer who brilliantly synthesizes Occident and Orient into the most moving experiences for his audiences. Akram has also worked with other Brits who have built their careers around the psychological space created by cultural hybridity – writer Hanif Kureishi (Sammie & Rosie Get Laid, My Beautiful Laundrette, The Buddha of Suburbia), internationally renowned artist Sir Anish Kapoor, and musician-composer-producer Nitin Sawhney who has worked with musical ‘fusion-aries’ like Natacha Atlas, Cheb Mami, Nusrat Fateh Ali Khan, and most recently produced the score for Canadian director Deepha Mehta’s adaptation of Salman Rushdie’s Midnight’s Children – a poignant narrative on the agony and the ecstasy of hovering between many states of being.
“Contemporary dance can have more ambiguity which means it can also have many more stories”
DESH (which means homeland in Bangla) starts in a pre-Partition place then moves forward and backward through memories around the birth of modern day Bangladesh and the genesis of the dancer’s career in Great Britain.
When asked after his NAC performance if DESH is based on the biography of his and his father’s lives Akram replies “it was personal, but not so much to be about me but to be universal.” Akram and his team went to Bangladesh to gather stories they could link to his own and from that experience arose DESH. He went on to say that in contemporary dance there is more ambiguity in the delivery so the interpretation is able to hit closer to home for more people regardless of whether the audience has a historical connection to the story.
The miracle of multiplicity.
A day after viewing DESH I found myself at DOPPELGANGING: A Master Class held at Galerie SAW Gallery and facilitated by Kuwati-born Palestianian-American media artist Basma Alsharif. Basma’s Master Class was based on her struggles as an artist and human being to come to terms with her own shifting identity(s). She relates that when in America she would put on her American identity like a cloak. On the family’s yearly visits back to Palestine she would switch her psychological attire. She would flip flop back and forth with desire for the place she wasn’t physically in “living two lives separated from each other but existing at the same time.” She says she began to “perform” her identities “either defending an identity or denying it” and always trying to find a way to solidify all of herself(s).
The Story of Milk and Honey قصة حليب و عسل
“I decided to explore the psychology of endless travel, isolation and escapism…I discovered a letter without an envelope or address”
The question she put to us – is there a way to take this bifurcation of our beings and turn it into a position of strength?
I would argue that many already have.
At a time when we have a multiplicity of narratives these voices did not descend into dissonance, rather they have become a well articulated melody that many hear.
The ability of artists to translate the universality of experience is what helps us remember how to listen to each others words and respect our shared humanity.
We all understand a desire for home, for sovereignty of state, for peace of mind.
Cultural provocateurs, like Akram and Basma, offer us a road map to recover the treasure of deep empathy and a way back to “home”.
“The Beat of the Globe pulses in the heart of Toronto as the 3rd Annual Small World in the Square takes over Yonge-Dundas Square on Saturday September 28th from 1 pm on. This free, family-friendly event will showcase internationally renowned musicians who will get the crowd jumping to genres including Balkan, Calypso, Afro-Colombian jazz, Funk, Mexican rock and more. Between main stage performances, the InterAction Stage features hands-on workshops where participants can have unique one-on-one experiences with the artists. The centre piece of the 12th Annual Small World Music Festival, this cross-cultural community celebration will be a day to remember!”