By: Chloe Price Photo courtesy of: Chris Gatchalian *Permission to reprint granted by the Vancouver Arts Colloquium Society The relationship between politics and art has been a constant subject of debate, and we live in a time when this conversation is more relevant than ever before. With the birth of social media we have seen the advent of callout-culture, and a new method of holding individuals accountable for their words and actions. Additionally, the political polarization of Western society is peaking at the current moment, and the Internet serves as a limitless digital soapbox for people to present and argue about their vastly differing perspectives and outlooks on life. These factors have helped create a culture in which few works of art are exempt from being viewed through a political lens. When we sit down to speak, local writer Chris Gatchalian explains to me his own evolving view on the matter. “When I was younger, I used to think of art and literature as being these universal things that were apolitical, but I don’t subscribe to that belief anymore. I still believe art is transcendent, and I don’t want to get too spiritual, but it is connected to the Divine, I think, but I don’t think that precludes it from being political. To ignore politics is to ignore what’s going on in the world, and I don’t think art should ignore what’s going on in the world.” Gatchalian has just finished his residency at Vancouver’s Historic Joy Kogawa House. The building was once inhabited by renowned Canadian writer Joy Kogawa, who is perhaps best known for her book Obasan, which centered on the government’s persecution and internment of the Japanese in Canada during the Second World War. Kogawa and her family were sent to an internment camp in 1942, and today her childhood...

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By Lara-Sophie Boleslawsky (Vancouver Arts Colloquium Society) Photos by Noriko Nasu-Tidball Walking in, one is greeted by a jovial atmosphere; the afternoon sunlight filters into the room, illuminating the dark wood of the piano at the front of the room. There is a small buzz, with the audience waiting in anticipation for the concert to begin. We begin with the classics: Jane Perrett’s soprano voice is soars as she sings ‘Quando Me’n Vo’, teasing her lover as Musetta in Puccini’s La bohème. It is then Gerard Satamian’s turn to take the stage, and the tone immediately shifts as he laments love in Poulenc’s heartbreaking ‘Les chemins de l’amour’. Each performer embodies not only their respective characters, but also the songs themselves. It is a truly magnificent spectacle, and the brief intermission is needed, if only to refresh after the emotional outpour of each performance.      Indeed, we are treated not only to Jane Perrett and Gerard Satamian’s brilliant voices, but also to breathtaking piano instrumentals by Jane’s son, David. Performing classics such as Chopin’s ‘Prelude in B Minor’ and Beethoven’s first movement of ‘Leichte Sonate in G Major’ he brings a voice to these songs, flitting about the room as if truly alive.      Following the intermission is a brief performance by mezzo soprano Ayako Komaki. She beams brightly before beginning her performance, only to transform before our very eyes, becoming the tragic Queen Dido, mourning her own lamentable future whilst singing ‘When I am Laid in Earth’. The intensity present in the room soon reconstructs, with Jane Perrett’s rendition of the classic Disney tune, ‘When You Wish Upon A Star’, whereupon everyone is urged to join in. Continuing along this nostalgic frame, Gerard Satamian ends the concert with ‘If I Were A Rich Man’...

By Katherine Dornian (Vancouver Arts Colloquium Society) Photo Courtesy of Salome Nieto In a quiet, bare studio at the Shadbolt Centre for the Arts, I watch Salome Nieto being born. Her movements are slow and deliberate, full of pause. She falls into herself and then unfolds, slowly, evoking something fragile and primeval, facing the world for the first time. Behind her, poet Shauna Paull approaches with deliberate steps. In a shy, vaguely singsong voice, she speaks of water, light, and my mind leaps to the quiet of a first creation. In the background, original music plays, vaguely evoking Tchaikovsky’s Swan Lake. Shauna watches Salome’s transformation, watches as she looks around in wonder and fear. Soon Salome embraces her, childlike and seeking comfort, and a deeply intimate connection is established before she is sent back out on her own to discover. All this time, producer Eduardo Menesses has been scribbling away at his notes, muttering quietly with the lighting and sound directors. When the song ends, he calls Salome over to work out some transitions, then asks her genuinely, what she felt while performing the scene. So has this process gone for over a year and a half – this constant cycle of meditation, observation and dialogue that’s gone into the production of Umbral. “It grows organically out of what we have to say,” says Salome. “It’s not about a product; we’re working together to create an experience.” The production, co-created by Salome and Eduardo with the help of their close-knit community of artists, is a reflection on human nature, as well as a commentary on the reality of war. It integrates an interdisciplinary mix of poetry, video, music and visual arts to support the core element of the show and Salome’s strongest talent, butoh...

    By Haley Cameron Photos: Noriko Nasu-Tidball   When Etsu Inoue first came to Vancouver from Fukuoka, Japan back in 1989 it was to explore. The twenty-four year old had caught the travel bug while working for a Japanese airline, prompting her to apply for a Canadian working holiday Visa. Fast forward twenty-five years and Inoue is still exploring — but these days it’s with water colours and calligraphy.   “There is so much more nature here than in Japan,” Inoue shares, explaining how she came to stay in British Columbia and what inspires her creative work. “And there is quite a strong community of artists,” continues Inoue, a member of the Federation of Canadian Artists who is graciously appreciative of her local support systems.   When Inoue first landed in Vancouver she remained in the tourism industry, working with a local tourism company until 9/11 and SARS fears began to hurt the travel sector. “That’s when I started pursuing my art and calligraphy more seriously,” she shares.   Inoue first began studying calligraphy at the age of eight, when it was introduced to Japanese children as a part of their regular academic curriculum. Since leaving Japan, Inoue has continued to train under the guidance of her master, whom she calls Kisui, using his artist name. “I’m still learning,” laughs the humble student, explaining that she sends her work back to Japan for feedback once per month.   Her water colour work is an entirely different story. “It is all self-taught,” she says. She began pursuing painting professionally fifteen years ago. “Before that it was always a hobby; I love painting very much,” says the artist. Inoue has customized her watercolor painting by incorporating materials traditionally used for calligraphy. “I use the washi...

Choreography and performance: Salome Nieto Artistic Direction: Eduardo Meneses-Olivar Exploring the scope and depth of her Mexican culture and bringing her curiosity over its marvelous reality and surrealism as the starting point for this work, Vancouver’s Salomé Nieto uses religious iconography, beliefs and traditions as inspiration for this work, an investigation into the themes of devotion, ritual and myth. Camino al Tepeyac is a metaphor for the convergence of two cultural and religious beliefs in one female deity that is the origin and end of all things. The Mexicas called her Tonantcin (Our Mother Coatlicue) and after the conquest her name became Virgin of Guadalupe and the Mother of the Mexican people in the Catholic faith. pataSola Dance wishes to acknowledge the support of the 2014 International Butoh Festival in Argentina, the project “Puedes Volar Mariposa” directed by Master Gustavo Collini-Sartor, the auspice of the Mexican Embassy in Argentina and the Canadian Embassy in Argentina during our stay in Buenos Aires, and the support of Canada Council for the Arts, the BC Arts Council, the Province of British Columbia and Shadbolt Centre for the Arts for the full production of Camino al Tepeyac. Camino Al Tepeyac runs from Wednesday November 19 2014 to Saturday November 22 2014 in the Studio Theatre Reserved 6450 Deer Lake Avenue Burnaby BC V5G 2J38 pm Approximate running time: 120 minutes Ticket through box office 604-205-3000 Tickets are now available to purchase at tickets.shadboltcentre.com Here is the sneak preview of Camino Al Tepeyac    ...

By Haley Cameron Photos by Lydia Nagai For Salomé Nieto, dance is not just a career. “It’s my oxygen,” says the Butoh dancer. Twenty one years ago when her ex-husband asked her to relocate to Canada she agreed under a single condition. “I told him that if I could dance in Canada I would go.” Luckily the answer was yes and she has called Vancouver home ever since.   Salomé’s stylistic focus is initially surprising. The 47-year-old hailing from Mexico City calls herself a Butoh dancer, a post-war genre originating in Japan, however this was not always the case. “I was trained in contemporary dance with a traditional Western background,” she explains. It was Kokoro Dance, a local company she worked with upon her arrival in 1992, that introduced her to the modern Japanese style.   “I’ve spent a lot of years trying to show diversity but I am ultimately most comfortable with Butoh.” According to Salomé, Butoh deals with themes of humanity, fragility, renewal, and constant transformation. Translated as “firm step into the ground with arms opening away”, she explains that it is the strong sense of expression that spoke to her. “I love the imagery, the focus on sensation,” she says. When I point out that her arms haven’t stopped moving since we sat down to talk she laughs and tells me, “My thoughts are bigger than the words I have.”   Butoh has taken much of the world by storm. Salomé says she is continually amazed just how much the art form is appreciated worldwide, citing that South and Central America, Europe and Asia are all incredibly supportive of the genre. “I haven’t necessarily found my place in Vancouver,” says the local dancer who does most of her collaboration internationally. “It isn’t...

  By Haley Cameron Photos: Noriko Nasu-Tidball   When Kagan Goh describes a particularly taxing trek through Mexico he doesn’t just say that it was warm. Demonstrating an incomparable gift for self-expression he relays the heat of the Aztec sun with such clarity that I can feel the back of my own neck start to itch with the onset of an imaginary sunburn. Raised in an exceptionally artistic family – he still lists his physician father as his favourite novelist – this writer/poet/documentary film maker always knew he would pursue a creative career. “I’ve been surrounded by artists all my life,” he says, explaining how his entrepreneurial father, Goh Poh Seng, was largely responsible for exposing Singapore to international culture. His primary role model brought famous musical acts into his restaurant, chaired a national theatre association, and helped start Singapore’s first ballet company. And the family’s list of artistic accomplishments only continues as Kagan describes his mother’s editorial work and the various creative pursuits of his three talented brothers. While natural artistry may be hereditary for Kagan, other factors have greatly influenced his creative production and inspiration over the years. For many years, Kagan’s life was completely dictated by manic depression. These days he dedicates most of his efforts – both artistic and otherwise – to advocacy and awareness of the illness. The Vancouverite speaks as candidly of his struggle with mental illness as he does his romantic pursuits or headstrong fight for film school admittance; all stories he shares so openly that you can’t help but give him your trust. One word that comes up repeatedly when speaking with Kagan is ‘maverick’. He has a huge amount of respect for those brave enough to go against the grain in the pursuit of their...

By Haley Cameron Photos: Noriko Nasu-Tidball The first half hour I spend with Yayoi Hirano provides a notable clash of cultures. The slight Japanese woman sits across from me in a traditional kimono complete with tabi socks, as we explore the boundaries of our linguistic restrictions over a few slices of pizza. It’s during this casual dinner that I learn Yayoi-san relocated to Canada from Japan twelve years ago. And later, as we discuss her interesting career, I learn that merging various cultural extremes is rather habitual in her lifelong East-meets-West artistic dialogue. Having a piece of Ham and Pineapple while dressed in traditional Japanese garb no longer seems quite so unusual.   It’s unfair to limit Yayoi-san to a single title, considering her vast talents in a multitude of creative outlets, but above all else she identifies as a mime artist. “Since I was a child I loved to act,” she tells me, sharing that in her very first elementary school production she was so determined to be on stage that she performed through a fever of 102 degrees. Yayoi-san’s interest in drama continued to develop through her youth. She recalls watching a European theatre group present Shakespeare’s The Merry Wives of Windsor in high school, considering it an important milestone in her own developing love of drama. Despite the language barrier, Yayoi-san was able to recognize the underlying story and therefore relate to the movement, costumes, and sets. “I was dearly fascinated. I fell in love,” she says.   While Yayoi-san was exploring various means of artistic expression she met Lecoq mimes (the traditional French mimes typically associated with the art form). Having already realized acting’s ability to transcend linguistic barriers, miming struck a chord for the young artist. She began to...

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...

“Becoming Art” An Interview with BRF by Raffi Wineburg Photos: Noriko Nasu-Tidball 1. Pioneer “Part of what makes him so special is that he is doing something that no one has considered art before.” -Melissa Mann With short blond hair, bulging muscle, and Clooney-esque laugh lines etched into an otherwise youthful, clean-shaven baby-face, Brent Ray Fraser looks like an Aryan superhero. In reality, Brent is a multidisciplinary erotic performance artist. But he doesn’t like labels. Few labels, if any, do him justice. “I don’t even like to be called and artist,” he said. “Art is just what I do.” There is no one who “does” art in the same way as Brent. The first such example is Ecdysiart: for these live shows, Brent simultaneously paints and strips naked—a literal and metaphorical take on art as an act of self exposure. At the end of an Ecdysiart performance Brent often creates “[object] D’art.” where he imprints his body part onto a canvas (“like a self-portrait of arousal”). Brent has also pioneered an art form called “[object] paintings” where he uses his body part as a brush to create portraits or landscapes. Brent’s art is truly unique and regarded as such: He has performed (not always naked) in hundreds of venues and garnered international acclaim for his works and performance pieces. His art is both experimental and boundary pushing. It forces us to reexamine what we believe art is. It challenges us to recognize the human body as an object of art. And it dares us to celebrate sexuality in new, provocative ways. “When you take away things that push the envelope, then we will just crumble,” said Brent. “Sexuality is something that is swept under the rug, but if you take that away we will...

Community is like performance on stage “It is my passion, it is my life.” – Angel Drummond By Joyce Tam Photos by Noriko Nasu-Tidball What is better than doing something that you are passionate, as well as giving happiness to others? What are you passionate about? Do you enjoy watching comedy shows and theatre performances? From Angel Drummond’s story, her life experiences could give us a very positive encouragement. Already a successful theatre producer, she started her own show business after high school, and her goal to use comedy shows to relieve the audiences from their stressful lives. “We don’t laugh enough, we don’t laugh loud and long enough,” Angel said. From planning to the actual performance, Angel focuses on writing plays and choosing characters for acting. Her plays will show on stage twice a year in the seniors center, where over a 100 seniors would go to the Kerrisdale Community Center that becomes extremely popular. Although actors are mainly seniors and guests are targeted for seniors, they would bring their sons and daughters, grandkids and all their friends to join that enlarge the group of attendance. These family-oriented comedy are not only showing within the Kerrisdale community, but rather it is also branching out to more Vancouverites including nearby secondary schools, retirement homes like Crofton Manor and West Vancouver’s neighborhood house. Since it is now a great hit of these comedy shows, Angel would like to try something big and to take those shows as far as Calgary and Vancouver Island. “One of the person said it is the best entertainment she has ever seen,” Angel said. There are two main qualities that lead her to being a successful theatre producer. Firstly, Angel elaborated where a successful show has to be responsive and...

An interview with Melody Ma, chair of artsScene Vancouver   Canvas painting at the artsScene relaunch party, Photo courtesy of Edith Hung By Lauren MacFarland In the city of Vancouver, there is never a shortage of things to do. From our beautiful mountains to the shops on Robson Street, Vancouver offers a myriad of activities for all types to choose from. What can sometimes be overlooked though, is Vancouver’s thriving arts scene, showcasing talent from every type of media, all catering to the various tastes of the city’s diverse population. Sadly, these Arts programs aren’t often recognized by the young professionals of the city who may not know the wealth of options available to them, and that’s where ‘artsScene Vancouver’ comes in, an organization designed to bridge the gap between the business world and the art world, giving the young professionals of the business world a chance to help foster the growth of arts in the city though patronage and volunteerism. Melody Ma is the Chair of artsScene, channeling her business skills and love of classical art to raise the level of awareness of some of the world class options Vancouverites have to experience art in their city.   Melody has been ingrained the classical art world from the age of four, when she started Chinese dancing, along with piano lessons. Growing up close to the Downtown core in Strathcona, she counts herself lucky to have had so many opportunities to cultivate her knowledge of art while in school. “I had unbelievable access to the arts because I was just so close to it, meaning we always went to art galleries, (more times than I would like to say!), we would go to the symphony all the time, the opera, the ballet would come to us…all...

In the spirit of the Chinese New Year Celebrations by Synn Kune Loh* a poet and visual artist CELEBRATION Predisposed response to beauty Spring rain calls me to life random thoughts deeply transparent a sigh of forgiveness unfolds the beauty EARTH CALLING What fulfills an inner longing   Mountain storm had let up Winter retreated earth preserved A double rainbow framed the road From behind temple doors, golden faced buddhas take a peek at the world. *Born in China, Synn Kune grew up in Hong Kong. He completed a BA in Psychology from the University of Bridgeport in the USA before his graduate study in Cultural Psychology at Queen’s University, in Kingston, Ontaria. An accomplished painter, he studied experimental art at the Ontario College of Art in Tronto. In addition, Synn Kune holds a Master degree in Therapeutic Counseling from the International College of Spiritual and Psychic Science in Montreal, Quebec. Synn Kune found his inspiration through the abstraction of forms and ideas. What makes his paintings unique is the metaphysical content, which explores the relaity of the ideal. The artist steps outside of representation to create a visual language using dots, lines, circles, triangles, squares, color and form. The result is a vision of ecstatic wonder and astonishment. “These paintings are about nothing. Therefore they are about everything.” ~ Synn Kune...

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

About Paul Toolan I first got bitten by the acting bug when I was in secondary school in England.  The school put on a yearly production of a Shakespeare play and of course at first I was cast in supporting roles which gradually grew in size until I was cast as hylock in The Merchant of Venice.  I attended university where I became a very active member of the dramatic society. The society put on at leastone production a year and took a play and a late night revue to the Edinburgh Festival fringe. I particularly enjoyed one year at the fringe when I played a sizeable cameo in the play Antigone  by Jean Anouilh and then took part in the late night revue which had been written by a very talented graduate who was trying to make his way in the show business scene in London. For a while after I graduated I combined teaching and acting at The Mountview theatre club in north London which put on amateur theatre of a high quality. After I emigrated to Canada I continued to teach and took part in the amateur theatre scene in Winnipeg. Then I married and had a family and decided to commit myself fully to teaching. Only recently since I came to Vancouver as a retired teacher have I revisited my theatrical self. I¹ve taken part in several productions over the last few years and finally decided to put together a one person show which explores Shakespeare¹s life and times and how they are reflected in his plays. A Short Story by Paul Toolan Mrs. T It was the voice that struck him at first, high pitched and at the upper end of the register just a little quivery. Reminded him of...