“A Sense of Place in History” An Interview with Brian Robertson Interview  by Espen Fikseaunet* Photos by Noriko Nasu-Tidball *Studying social anthropology at the Norwegian University of Science and Technology (NTNU) in Trondheim and currently enrolled in the First Nation Studies at UBC   In the southernmost part of Dunbar, not too far from the Musqueam reserve, I meet with Brian Robertson. At the sound of the doorbell I open the door to find a very tall, middle aged man, dressed in semi-formal attire. Nothing about his style reveals the fact that he’s an artist –  nor, for that matter, do we have any telltale clues that he’s a historian and scientist. He reveals all that later on. As we exchange polite greetings the discussion soon moves on to Norway, the country where I’m from, and one of many countries that Brian has visited. Already he’s beginning to talk about some of his experiences and opinions, so we decide to move to the table where the conversation can be recorded. With maple tea and dark chocolate in front of us, we launch into the first question. – What led you into music? “Well, it’s one of those situations where I’ve kind of evolved into being a musician and a singer/songwriter. Playing music, much less creating and performing it, was not something I started until well into my life.” Brian goes on to explain how he loved dancing as a child, and how that prepared him for his musical endeavors later in life. Eventually he picked up the guitar and started singing in his late twenties. His main genre is Folk Music, possibly as a result of the strong tendency towards Folk in the 60s and 70s when he first started out as an artist. Some years after...

An Interview with Stuart Ward Interview by Raffi Wineburg Photographs courtesy of Hfour   Over eight million people watched live on Youtube, as on October 14, 2012, Austrian Skydiver Felix Baumgartner was lifted 39 kilometers into earth’s stratosphere by a 40 acre helium-filled dry cleaner bag, then promptly stepped out into space, free falling for over four minutes before parachuting safely to earth. When he deployed his chute, a camera focused intently on the corporate sponsor logo printed on top: Red Bull. Marketing and advertising are changing. Television ads, once the pinnacle of product promotion, are often used by consumers as bathroom breaks, or a channel flipping recess. Youtube and Facebook ads are mere annoyances, small blips in an otherwise unending stream of entertainment. More and more, companies—Red Bull being perhaps the most notable—are turning to experiential marketing—connecting consumers with a brand through a live interaction. Does sponsoring a free fall from space make consumers go out and purchase a case of Red Bull? Perhaps. Does it create a memorable and lasting impression with the brand? Undoubtedly. “It seems,” says Stuart Ward, founder of experiential design company Hfour, “that what people crave, are real experiences. And we can see that in marketing everywhere.” Hfour creates multi-sensory experiences to “solve design challenges and create marketing solutions.” A “multi-sensory experience” put simply, is art. Stuart instals live digital art displays at events to create branded art experiences. “We need new ways to engage people and I say, instead of being the advertising, be the entertainment,” said Stuart. “Be the content people want to watch, not the stuff on the side of your Facebook page.” Stuart’s job is to make just such content. His work is incredibly varied. Recently, he worked on a Vancouver Public Library Foundation fundraiser called...

For Kesseke dance is like a medicine.   He started dancing at seven years old and at eleven he went to the Ivory Coast National Ballet and was there for several years dancing locally and touring around Africa and Europe. He also danced for Yelemba d’Abidjan and Ballet Djolem d’Abidjan, la Companie de Wouafou d’Abidjan.In 2001 he moved to Vancouver and currently dances for his own group WEST meets WEST, a multicultural drum and dance group playing the traditional Ivory Coast rhythms from West Africa. Kesseke teaches West African drums and dance in various studios around Vancouver.   To learn more about Kesseke, please visit www.kissofafrica.ca Photos by Noriko Nasu-Tidball Kesseke is also a clothing designer and tailor! An Interview with Kesseke By Max Potter Although perhaps not particularly well known outside of sub-Saharan Africa, West African dance is a cherished tradition carried on by its performers as well as having carved a niche with some unlikely new disciples. Whether it’s for voyeurism, entertainment or simply a cardio workout, several curious citizens flock to studios to be taught by veterans of the art like Kesseke Yeo. Originally from the Ivory Coast, Kesseke began dancing at age five and was noticed by his seventh year. By the age of fifteen he was recruited by the Ivory Coast ballet and began touring worldwide, performing throughout Africa and Europe, from Yamoussoukro to Paris and everything in-between. The dances that I was able to witness were raw and heavily rhythm based. Nothing short of a gymnast, Kesseke incorporates various athletic feats such as spontaneous backflips to break up the heavy beats and singing as his voice and bare feet act as instruments of their own. The dances are laced with a mythology that comes through even for those oblivious to the meaning of the various chants uttered between...

  An Interview with The Land of Deborah        By Lauren MacFarland Photo: Noriko Nasu-Tidball Described as sounding like “Sarah McLaclan and Jewel playing scrabble”, Vancouver-based singer-songwriter act ‘The Land of Deborah’ puts every inch of her infectious persona into her music. Her songs are introspective and upbeat, each written from the heart and telling a story. “Calling herself ‘The Land of Deborah’ was a unique way for Deborah to put a name on her creative brand, which doesn’t just include personal songwriting and performing, but also composing scores for television and film and video blogs. “Years and years ago I thought ‘Deborah’ was just so boring, so one night I decided to be called ‘The Land of Deborah’ and it just stuck,” she explained. “The way that I see it, the music comes from me and my mind is the ‘land’, so therefore ‘The Land of Deborah’ is songs from my mind! It’s not just the songs, it’s who I am, I also love art, and public art…and that’s what the ‘Land’ turned out to be. I get called ‘Land of Deborah’, or ‘Land’ or just ‘LOD’ and that’s kind of what it’s become.” Her various creative outlets have grown and expanded over the years as Deborah explored the different opportunities that came her way. “At the beginning it was just songs, but I’ve always wanted to do something with film and through a chance meeting I ended up writing a song for someone’s film. It’s not something I actively pursue, but if I meet someone and they need a score for a film I’m all over that.” Working for somebody else almost requires a separate muse, when someone asks for a specific type of song it allows her to exercise...

Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything

 by Trina Moran   Author of the soon to be published A Mythology of Sound, Joël Tibbits professional life is grounded in the areas of music composition, film making, sound design, and yoga. Originally from New Westminster and Surrey, Joël has been involved with music since his teens and holds a degree in music composition from Simon Fraser University. Overall, Joël is most fascinated with exploring facets of consciousness through music and sound.   Joël started becoming involved with music in high school where he learned to play guitar, piano, and even began composing his own music for guitar, cello, and piano. He later pursued a Bachelor of Fine Arts degree at Simon Fraser University where he majored in music composition, specializing in esoteric and contemporary music. During his studies at Simon Fraser, Joël participated in a summer music composition program abroad in Darmstadt, Germany where he had the opportunity to meet and study with internationally renowned composers. After his university education, Joël spent a year in Japan studying Samurai philosophy. He exclaimed that hundreds of years ago in Japan when the Samurai class was still prevalent, their class also became obsolete and re-emerged as artists. Joël claims that studying Samurai philosophy in Japan revitalized a sense of artistic self within himself. Also after SFU, Joël focused on martial arts (Kung Fu, Hung Gar) and mystic practices such as tarot, Kabalah, spirituality, theology, metaphysics, and cosmology. Currently, Joël enjoys working on short films. He currently worked on a web series that parodied the hit television show, Mad Men. It went on to compete in the 2012 LA Webfest and took home 3 awards. Joël also worked on ‘filament’ a short film he directed in 2011 which follows a character through a variety of environments while exploring...

The road is life and is a dilligent and long one….I was in awe of him; he is truly an inspiration. ~ Editor-in-Chief Alcvin Ryuzen Ramos Shakuhachi Artist (Japanese Bamboo Flute Musician and Teacher) Interviewed by Editor-in-Chief Photographed by Noriko Nasu-Tidball Q:   Could you please tell us your cross-cultural backgrounds? What was your upbringing like in Japan (as non-Japanese ethnically speaking)? How did you feel being “gaijin” in Japan? What is your identity now? A: My parents are from the Philippines but I was born in Japan. We lived on a US military base but made frequent visits outside to be with Japanese friends. I was very young so I don’t really remember too much about Japan so I had no conceptual understanding of what a gaijin was. I moved to the US when I was about 6 and went to school there completing university. I returned to Japan after university to study shakuhachi for the first time, which is when I understood more deeply what a gaijin was. Although I have a western mindset, my spirit has always been Asian with a particular affinity to Japan. I moved to Canada in 1997 and have since attained my Canadian citizenship. But I feel that I am more a citizen of the world that is open and loves learning about other cultures and traditions. But there is something in the centre of my spirit that is Japanese. Q:  When made you first realize you wanted to pursue a career in Shakuhachi master? Who were the early influences? A: My major in University was Eastern Comparative Religious Studies and I was originally attracted to the monastic life and/or academic life and was headed that way. But when I first heard the shakuhachi flute, I wanted to go to Japan to study...

The Secret to Being a Great Musician Kevin Olafsson, a master teacher of Japanese tradiational Koto and Shamisen music, revealed how cross-cultural experience was a great foundation to expand his art and to deepen his understanding of musical masterworks and tradition.  Being a native Japanese, I was not only blown away by his Japanese-like demeanor but also by his great soulful sounds. My hats off to him! ~ Editor-in-Chief About Kevin In 1988, Kevin left Canada for Japan and began koto and shamisen lessons as a member of the Souchiku Kai, a school under the direction of Takemura Aiyako.  In 2000, he left Tokyo for Honolulu to begin graduate studies in ethnomusicology at the University of Hawaii at Manoa. His research focused on the Iemoto Seido.  He was a Graduate Assistant in the University of Hawaii Music Department and taught the shamisen portion of the Koto Ensemble class.  He has been heard on Hawaii radio as a guest on Barbi Wong World Notes, and the late Glen Grant Japanese Ghost Stories as well as on TV KHON morning show.  He regularly taught and performed both koto and shamisen and guest lectured at the UH music department. Kevin is especially proud of the University Laboratory School Japanese music ensemble, which he founded in co-operation with the Kimono Culture Class.  Most recently he has performed in Vancouver for the Japan Canada Relief Fund and conducted a lecture workshop at Quest University. Photograph by Noriko Nasu BONUS!! Come Meet Kevin and Try His KOTO Workshop! Recommended for all ages! When: May 20, 2012, Sunday, 2pm-4pm Where: Kerrisdale Community Centre For Registration:  https://pbregister.vancouver.ca/adet.sdi?activity_id=354719   Complimentary coffee is donated by Bean Around The World...

Interviewed and written by Queenie Lee Dylan Cramer has been teaching saxophone in Kerrisdale Community Centre for 19 years. He is also a recording artist who has received worldwide acclaim. What is the key for his success? It is his talent, but also his “honesty” with his students and “passion” for his job. Dylan’s success did not come easily. He had gone through difficult times when he was young. The death of his father when he was 13 was the reason he started connecting to his saxophone. “It was a way to escape.” Dylan recalled. However, his way of escape brought him two of the most influential people in his life. He went to LA to study with Sonny Criss who became like a second father to Dylan. “It was like finding my father again.” Dylan described. But heartbreakingly, his second father left him just like his biological father. They both committed suicides.  With his days filled with grief, Phil Sobel was the one who put Dylan back together. “Every death brought in a birth” Dylan told me. Yes, the death of his father gave birth to his passion for saxophone and his attachment with his second father Sonny and the death of Sonny brought in the birth of his other mentor Phil Sobel. “I am very fortunate. Some people never bump into anybody meaningful in their life.” Dylan said. Success never came easily. The success Dylan has today is credited to his hard work and talent, but to him, it is credited to all the meaningful people in his life. The influence his two mentors had on him transfers to how he sees his music career and education today. Being a teacher is not a job for Dylan Cramer. He specifically said to me “it’s...