Pandemic inspires Montreal artist to recreate her home in 500 clay figurines

‘Housewarming’ is Karine Giboulo's newest exhibition that explores feelings of isolation and daily lives during pandemic times

By: Ionna Hipolito

Montreal-based artist Karine Giboulo presents “Housewarming” at Gardiner Museum in Toronto as a reimagined version of her home, embodied in over 500 miniature polymer clay figures and furniture.

Sharing the then-common sentiment of being confined and stuck at home during the pandemic, Giboulo used her home as the base model for “Housewarming,” hoping to “explore the state of the world” through her art, as she mentioned in her interview statement. The exhibit is available for viewing from Oct. 20, 2022 to May 7, 2023, on the third floor at Gardiner Museum.

Giboulo began working on this project in 2020 as a creative outlet during the unprecedented time. The entire exhibition took about two years to complete, and the process of creating the clay figures started on her kitchen table.

“When I was in my home for the first two to three weeks, I was in shock and not really working,” Giboulo said. “After the initial shock, the more I worked, it became a really creative process for me. I was not able to do the work I was doing before — it helped me [cope].”

Having previously worked on paintings that featured “little figures” and their stories, Giboulo was inspired to create 3D versions of those figures. “I’ve never sculpted before that. I didn’t even have any equipment. I just went to an art store and bought this box of clay, and when I started to work with it, it was easier than doing 2D works,” she explained.

The artist said one of her favourite parts in putting together the exhibition was working with the museum staff and the exhibition manager through a Zoom meeting. “We built [the] whole house and placed the work, and it was super fun and really exciting.”

Giboulo invites visitors to immerse themselves in the experience and discover the stories told throughout the journey in her reimagined home. The miniature figures interact and blend with everyday household furniture to portray a bigger picture; there are also installations inside Amazon boxes that address social and environmental issues. The boxes can be located outside the "house" perimeter and inside rooms, but Giboulo provides the audience with a pamphlet that guides them through a recommended viewing order.

Miniature Amazon workers preparing packages in a warehouse created by Karine Giboulo and displayed at the Gardiner Museum in Toronto from Oct. 20, 2022, to May 7, 2023. (Ionna Hipolito/CanCulture)

For me, these were the most memorable rooms in “Housewarming:”

By My Door

A parcel is placed at the front of a door. Peer through a hole on the box, and you will see an Amazon warehouse with an array of masked employees preparing packages to be delivered to people in the safety of their homes. Giboulo does a wonderful job prompting visitors to reflect on the inaccessibility of remote work in specific industries and how much we rely on the labour of others to find comfort.

Miniature figures wait in line at the “food bank” to buy groceries, created by Karine Giboulo and displayed at the Gardener Museum in Toronto from Oct. 20, 2022, to May 7, 2023. (Ionna Hipolito/CanCulture)

My Kitchen

Within her simulated kitchen, Giboulo incorporates a reusable grocery bag as a “Food Bank.” In the kitchen, figures with masks sit over countertops, socially distanced and waiting in line. She uses the installation to highlight food insecurity amid the pandemic, its negative impacts on vulnerable community members and their struggle to obtain even basic necessities.

Miniature figures are trapped inside glass jars to visually represent social distancing and isolation. Created by Karine Giboulo and displayed at the Gardiner Museum in Toronto from  Oct. 20, 2022, to May 7, 2023. (Ionna Hipolito/CanCulture)

My Pantry

Straight ahead of the kitchen is Giboulo’s replicated pantry. On the shelves are figures of healthcare workers and the elderly encased in glass jars, emphasizing isolation and abandonment during a crisis. Seniors were among the most affected groups during the pandemic because of their weaker immune systems and susceptibility to getting sick.

“The pandemic just made a situation that already existed worse,” Giboulo said. With our busy lifestyles, we often need to remember to check up on our older relatives. The pandemic further restricted us from seeing them and caring for them as much as we did pre-pandemic. As both seniors and healthcare workers are trapped inside the jars, it symbolizes their isolation from their family, friends and loved ones. These jars are placed in the pantry to symbolize a place and an issue we do not visit frequently.

 In a chest drawer inside the bedroom, the clay figures portray the common exploitation of female labour workers in factory settings. Created by Karine Giboulo and displayed at the Gardiner Museum in Toronto from Oct. 20, 2022, to May 7, 2023. (Ionna Hipolito/CanCulture)

My Bedroom

This room is an inviting space with feminine touches. The bedroom’s chest of drawers reveals a clothing factory lined with masked female-presenting figures working on sewing machines. Giboulo highlights how society plays a role in gendered labour, consumption and waste while emphasizing women's exploitation in factory-like environments. “There’s also the [aspect] of closing those drawers and [staying oblivious] to things when we don’t want to see the truth,” Giboulo said.

The artist explains that this room resonated with her the most because of the personal touches about her grandmother, sickness and most importantly, herself. “This was a piece that really touched me.”

Visitors can follow the artist and her intimate journey with self-acceptance through self-portraits and personal traces in the installation.

Karine Giboulo is now working on a documentary for her next project; she expressed that “Housewarming” was a way for her to capture the last two to three years. “And in the next few years, this can be like an artifact of what happened.” And what continues to happen.

Carefully analyzing the figures makes it easier to relate to the stories and their characters. The artist playfully and realistically encompasses the state of our world while addressing other pre-existing political matters all through the tiny holes and detailed carvings that make up each piece.

‘The Christmas Spirit’ brings life and death to community theatre

The Scarborough Theatre brings “The Christmas Spirit” to the stage and with it, a theatrical encouragement to the public to spend quality time with their loved ones this holiday

By: Aliya Karimjee

A banner presenting cast members and an image of an ornament with the figure of the Grim Reaper inside.

A banner presenting the actors, the production and design team, the director and the producer of “The Christmas Spirit” production. (Courtesy of Scarborough Theatre Guild)

Santa’s coming down the chimney for his annual delivery, but this year’s present could be a deadly one. 

“The Christmas Spirit,” presented at the Scarborough Theatre Guild, encapsulates an off-beat, dark comedy directed by New York-based playwright Frederick Stroppel.

Screening from Dec. 12 - 17, this holiday play reminds the audience of one of the true meanings behind this time of year — being at home with loved ones. Julia Dowling, the focal point of the performance, intends to do just that when the Grim Reaper gives her one last day to live.

During this festive time of year, the story’s family members must try to be on their best behaviour. Gossip, chatter and bickering over disagreements is not an uncommon scene at the Christmas dinner table. But as the play’s plot unveils, so does the message of the vitality of loving and appreciating each other despite familial differences.

Play director Kevin Shaver describes the play as a wonderful story about family that acts as a reminder of the true essence of the Christmas spirit. He encourages everyone to enjoy every moment with family and loved ones.

“Like any other family, there’s always dynamics, but it’s about resolving those problems and dynamics,” Shaver said. “And I think Christmas is all about family, getting together, despite all the issues and problems.”

Family and community values are not just major themes within the play; they are equally present among the production cast and crew of “The Christmas Spirit.”

In a cast consisting solely of volunteers, all participating bodies are passionate about theatre despite coming from various backgrounds, such as teaching, funeral home directing and television production work.

According to cast member Mallory Holmes, the team became their little family through 10 extensive weeks of practice, three times a week for three hours each day.

Many audience members appreciate community theatre, especially when they’re able to spend time with family simultaneously. The feeling of a tight-knit community can be felt as soon as the audience enters the auditorium.

“I’ve been coming here for quite a long time, maybe about 10 years. I just like watching community theatre,” said Mary Gouch, an audience member.

Another spectator, Christina Hampton, had the pleasure of seeing this play as a birthday present from her sister.

A theatre set of a chair, a couch, a one-person sofa, a coffee table and a Christmas tree in a small home.

The family Christmas celebration set for “The Christmas Spirit” at the Scarborough Theatre Guild. (Courtesy of Scarborough Theatre Guild)

The crew welcomed the audience to further submerge themselves in the experience. At the end of the play, the audience had the opportunity to discuss the show with cast members over drinks and snacks included with admission.

Holmes, who plays the role of Melissa, newly-introduced as son Paul’s girlfriend at the Christmas celebration, said she appreciates the opportunity community theatre has given her.

“I work in television production now so that’s where most of my time is, but then I get to come here and play around,” said Holmes.

As a theatre graduate from York University and a practitioner in television production, Holmes said it has been a “jolly” theatrical experience being able to perform for other theatre-lovers.

“There are specific people in my life that I’ve lost. Seeing that happen right in front of my eyes — even though it’s on stage, and even though it’s acting — it feels real,” said Jarett.

As the holidays quickly approach, this play also acts as a reminder that familial love and affection is a privilege often taken for granted. While the holidays are a busy time for everyone, it’s important to take the time to turn to the neighbours who often get overlooked and under-loved. They deserve it more than most.

For anyone struggling with hard times, grieving a loved one or not making it home for the holidays, we wish you an extra special Merry Christmas and happy holidays!

The feeling of home: An exploration into ‘Afghanistan, My Love’

A new art exhibition provides a pair of fresh eyes on Afghanistan through the contemporary works of Afghan artists

By: Kaden Nanji

The staircase leading into the “Afghanistan, My Love” exhibition at Aga Khan Museum in Toronto. (Kaden Nanji/CanCulture)

Reflecting on their home, artists explore their nation’s identity — transcending any physical location — in Toronto’s Aga Khan Museum’s newest art exhibition, “Afghanistan, My Love.”

When searching for pictures of Afghanistan on Google, the top results are guaranteed to be filled with weapons and militias. The idea of Afghanistan as a violent combat scene, rather than a home to millions of individuals, has been perpetuated by the media for years. Since 9/11 and the War on Terror that followed, the image of Afghanistan in the Western eye has gradually deteriorated. Today, the idea of Afghanistan as anything beyond a warzone is unfathomable to some.

“Afghanistan, My Love” works against this stigma and acts as a reminder of the country’s culture and beauty beyond the commonly painted backdrop of war and destruction.

“Afghanistan My Love” highlights Afghanistan as a place of “cultural richness, diversity and deep love,” according to the Aga Khan Museum’s website. It offers visitors a glimpse into Afghanistan that paints it as more than a physical place, but as a home, a memory and an identity.

Showcasing the work of Toronto-based Afghan-Canadian artist Shaheer Zazai and those from the global grassroots art collective ArtLords, the exhibition was put together as a love letter.

“We try to consider relevant topics apropos to the time [and] we were keen to change the lens of Afghanistan,” said Marianne Fenton, Aga Khan Museum’s special projects curator.

ArtLords community mural projects in Kabul, Afghanistan showcased at the “Afghanistan, My Love” exhibition at Aga Khan Museum. (Kaden Nanji/CanCulture)

The first portion of the exhibit focuses on the work by ArtLords, their movement focusing on peace, empathy, kindness and accessibility for art in Afghanistan, South Asia and SWANA (Southwest Asian and North African) countries, according to their mission statement.

Alongside members of the local community, ArtLords developed a series of interactive murals throughout Afghanistan on large walls, buildings and even blast walls — barriers designed to protect buildings and the individuals who reside in them. These murals depict different ideologies shared by communities including ending war, education for young girls and against government corruption.

As part of the exhibition, a portion of ArtLords’ community work in Afghanistan is showcased inside the museum. Through photographs of local Afghans decorating the murals, ArtLords aims to amplify Afghan voices.

 Shaheer Zazai’s traditional Afghanistan carpet renderings using Microsoft Word showcased at the “Afghanistan, My Love” exhibition at Aga Khan Museum in Toronto. (Kaden Nanji/CanCulture)

The second portion of the exhibition centres on the work of Afghan-Canadian artist, Zazai — focusing on the influence of Afghan culture and diaspora. 

Exploring the layers of his complex cultural identity while working with Afghan women weavers, Zazai creates traditional Afghan carpets by designing patterns using various tools within Microsoft Word, which he then repeats and formats to create the appearance of a traditional Afghan carpet. He then sends these prints to Kabul, Afghanistan, where they are weaved into intricate carpets.

“Zazai’s pieces are a testament to the unifying power of art created within the context of community and rich cultural histories,” reads the museum’s website. His work showcases the influence of intergenerational Afghan carpet-making, merging it with Western culture through technological tools as an Afghan in the diaspora.

“Afghanistan, My Love” encapsulates our shared humanity. Looking past the country’s stigmas and misconceptions, the featured creators demonstrate art as a powerful medium for connection during times of adversity.

 A postcard with a message to Afghanistan signed by museum visitors “Karen and Mauricia.” Visitors are welcome to participate in this interactive portion of the “Afghanistan, My Love” exhibition at Aga Khan Museum in Toronto. (Kaden Nanji/CanCulture)

To visit the Aga Khan Museum is to not only learn more about Afghan culture through a contemporary art exhibition, but to learn about the influence of different cultures in Canada, and how art can be seen as a visualized form of pluralism. When a group of people from different places work together to create something beautiful using the experiences and skills collected from their backgrounds, true works of art are formed.

Looking back at the gallery wall containing messages to Afghanistan from individuals from different places and walks of life, it’s easy to find one thing in common: a shared humanity. This exhibition is best expressed through the eloquent words on one of the postcards displayed: “I hope for the future to be a love and peaceful world, where kindness is nothing but eye contact, and where happiness is the reason to live.”

“Afghanistan, My Love” will be displayed at the Aga Khan Museum until April 10, 2023.

Painting ‘forever’: Wedding painters capture everlasting moments of love

Trending videos on social media shine a spotlight on wedding and live-event painters

By: Aliya Karimjee

 Ontario wedding painter, Emily Bransfield, at work painting a ceremony at a wedding. (Photography by @joeeandtyler via @emilypaintsevents on Instagram)

Caught on camera, a painter gently places a canvas on an easel as a bride and groom take their first dance, ready to begin their new life together. The first brush stroke is placed and, by the end of the condensed 30-second video, the scene of the newlyweds in front is meticulously transferred onto canvas. Its beauty and intricacy unveil every detail of the profound and melodic love of a newly married couple.

Often accompanied by beautiful and touching orchestral music, time-lapse videos of live-event wedding painting have made waves on social media platforms like TikTok and Instagram.

Perhaps it’s how impressively fast the artist works or how realistic the paintings end up being, these videos have gained massive popularity and pushed the art of wedding painting to the platform’s forefront.

One of Emily Bransfield’s wedding paintings portraying a couple’s first dance. (Photography by @goldhousestudios via @emilypaintsevents on Instagram)

Ontario wedding painter Emily Bransfield has garnered over 3,000 followers and hundreds of thousands of likes on her TikTok account where she posts live footage of her painting at weddings. According to Bransfield, wedding painting has been around long before its contemporary popularity on social media.

“Some people might think that wedding painting is like a trend or a fad, but it definitely isn’t,” Bransfield said. “It's just something that's been rediscovered.”

Bransfield spontaneously unearthed her passion for live-event painting five years ago when she was brainstorming unique gift ideas for her friends’ engagement. As a self-taught artist always painting portraits, she realized she could put her artistic talent to another use. 

“I was like, ‘what if I painted one of their wedding photos?’” said Bransfield. “[Each painting] is super special to the person and that’s what makes it special to me.”

Newlyweds’ reaction to Bransfield’s painting of their wedding. (Photography by @mariahrothphotogrpahy via @emilypaintsevents on Instagram)

Wedding dates that were postponed due to the pandemic have piled up for this past summer 2022 wedding season, making it busier than ever for wedding painters, according to Shauna Umney-Gray, a live-wedding painter based in Barrie, Ont. She says it took a lot of planning on both ends to make a pandemic-wedding work.

A consultation between the artist and clients is the essential first step in preparation for a wedding painting, she notes, as the two parties work together to determine which special moment to capture.

Umney-Gray said she keeps an eye out for alternative magical moments that her clients might appreciate. “Usually, I’m taking a video to get the most movements in the moment so I can work from that throughout the night.”

The pressure that comes with capturing the once-in-a-life-time, fairytale moment comes with the territory, but these artists are determined to persevere through it because the end result is always worth it, says Umney-Gray.

“I’ve had a couple of times where I’m not seeing it happen as quickly as I want it to. But then all of a sudden, I do one last brushstroke and it comes to life — and that’s very rewarding,” Umney-Gray explained.

Bransfield says she understands the significance of painting a couple’s special day, which is exemplified by her own wedding’s painting hanging proudly in her dining room.

“There is this timeless, everlasting quality to a painting,” said Bransfield. “It has a very sentimental, rooted feeling.”

Painting pieces of Canadian past with local artists at Art Toronto

Canadian artists are finding solace in depicting social connections through their work showcased at the Toronto exhibition

By: Teresa Valenton

Ibrahim Abusitta’s earliest work in this collection that refers to his childhood. The memories of billiards continue on through his works as a homage to these recurring themes, showcased at the Art Toronto exhibition at Metro Toronto Convention Centre on Oct. 30, 2022. (Teresa Valenton/CanCulture)

Though COVID-19 has not reached its end, artists showcase their desire for pre-pandemic nostalgia at Art Toronto, Canada’s oldest and largest international art fair.

Hosted at the Metro Toronto Convention Centre from Oct. 27-30, the three-day event offered visitors a look into over 90 galleries from across the world. Presenting a variety of works from installations to project spaces, the event gave a closer look into the works of contemporary artists.

Opening up discussions about identity, memories and creative processes, panels were also held for upcoming artists to delve deeper into their presented works. With daily tours hosted by experienced curators, collectors and artists, visitors were met with extensive artistic knowledge when stepping into the space. 

Ibrahim Abusitta’s complete collection that presents a deeper look into human connection, with billiard scenes and club gatherings, he paints with solace in mind. Showcased at Art Toronto inside Metro Toronto Convention Centre on Oct. 30, 2022. (Teresa Valenton/CanCulture)

Shifting from a photographer to a painter throughout his career, Palestinian-Canadian artist Ibrahim Abusitta finds a voice in a new medium for expression.

“It's nice to be back in a big venue to display the work like this. Usually when I’m doing these shows, it’s a group show with a couple of pieces, so it was cool to feature a few more at this art fair,” said Abusitta.

As common themes weaved themselves through various works of art, the precedence of the pandemic remains as one. Looking back to the importance of human connection, Abusitta captures solemnity through his paintings.

“For me, there is a personal connection to social gatherings and those that have been missed in the past,” said Abusitta. “The concept was to connect with these missed and forgotten memories.”

Utilising cool colour palettes with hues of blue, purple and contrasting yellow, Abusitta creates scenes that let viewers seep into unfamiliar feelings of sonder–the uncountable realization that those around us, strangers and family alike, have complex lives that we may never be privvy. Objectively creating works of art that resemble windows into tightly-knit communal spaces, viewers are almost driven to insert themselves into Abusitta’s scenes.

 The Silver Dollar Room (2022) captures the essence of Toronto nightlife as Abusitta juxtaposes these sort of social gatherings pre-pandemic to those of today. Displayed at Art Toronto inside Metro Toronto Convention Centre on Oct. 30, 2022.  (Teresa Valenton/CanCulture)

Created for local audiences, Abusitta’s “The Silver Dollar Room” is focused on the Toronto music venue that was demolished in 2018. Despite The Silver Dollar Room being completely rebuilt at a new location, Abusitta’s piece is a tactile memory to commemorate the original space as a means of contact. Including the surrounding buildings on the outlines of the painting, he states his intent to remind viewers of the space the venue had once occupied. “This is an intentional memory of the past for the local Toronto viewership who know that this venue no longer exists,” Abusitta said.

Looking back to the importance of human connection, Abusitta captures solemnity through his paintings.

Holding value to the pieces themselves, Abusitta compares his art to the permanence of a tattoo. “When I look at my paintings it’s like a memory of that time, just like a tattoo. Even though it will be there forever, there is a new meaning to the creative process.”

Drawing on the past once more, Canadian-British self-taught visual artist Maggie Hall uses pop culture references to reminisce in childhood memories. Displaying paintings that she has worked on over the last few years at Art Toronto, Hall said she feels excited for visitors to witness the product of her efforts.

For the last 10 years, Hall has dedicated time to her craft on a daily basis. Constantly working to improve her skills while facing a multitude of personal challenges, she emphasises the importance of valuing herself through her art.

Featuring her ongoing Cheezies series, Hall brings the Canadian staple to the international eye. Overwhelmed by the presence of American pop culture, she highlights the snack as the main focus of her work while questioning Canada’s place in the media. “There are lots of Coca-Cola and McDonald’s references. But I thought, what about Canada? We have a lot of great iconography, so we should use them,” Hall said.

Two of many installations of Maggie Hall’s Cheezies series that have brought viewers together to recall nostalgic childhood memories at the Toronto Art Fair held inside Metro Toronto Convention Centre on Oct. 30, 2022. (Teresa Valenton/CanCulture)

Driven by her goal to change the pop culture scene, Hall wants to redirect these conversations away from American exceptionalism. Using Cheezies bags as a main example, Hall recalls her personal connection to the snack. Upon a conversation with her partner about their shared love for the product, Hall decided to create a painting that would later change her career.

Hall said many Instagram users messaged her about the piece as they recalled their personal stories towards the painting’s subject. A client even requested Hall to paint another instalment of the series — a bag to memorialize childhood fishing trips with their grandfather.

“I kept getting messages about how this snack has centred family relationships, so I just kept painting them and I realised that they were a very important symbol for Canadians,” Hall said.

Continuously expressing interest in visual arts from childhood, Hall allows art to take a growing precedence in her life. 

“When I was a child, my father gave me crayons upon crayons and I would just sit alone in my room and paint or draw. It was something I was always drawn to, but when I was around 18 I put it down for 10 years or so because I got distracted,” Hall said. “I didn’t think I was good enough, but about 10 years ago, when I was 28, I realised I wanted to pursue this.”

Hall’s artworks on display at the fair which include her typography works incorporated onto old artworks, concrete and more pop culture references. (Teresa Valenton/CanCulture)

Attaining new levels of success as a self-taught artist, Hall was astounded upon finding out her work would be exhibited at Art Toronto. 

Abusitta and Hall are two of many artists who showcased their work at Art Toronto. With a display of different artistic mediums and means of expression, visitors of the exhibition were met with an abundance of artwork to appreciate and stories to be uncovered.

Toronto Dragon Festival made a grand return after a two-year pandemic pause

Despite a shortage of time and funding this year, the Toronto Dragon Festival team pulled together a massive success in promoting Chinese culture

By: Meilin Ma

The 12-metre-long, 5-metre-tall dragon lantern at Nathan Phillips Square, Toronto City Hall, is the hallmark of the Toronto Dragon Festival. (Courtesy of XINHUA News)

The 2022 Toronto Dragon Festival (TDF), one of the largest Chinese festivals in North America, was successfully held at Nathan Phillips Square in Toronto from Sept. 2-4., after a two-year hiatus because of the pandemic.

A total of 90 booths were set up at the site, consisting of cultural, small merchandise and food categories.

Another major part of this festival was the non-stop live performances, spread out in three areas: the open square space, the water show stage and the main stage. Live concerts, folk dancing, Beijing Opera, culture and arts display, Kung Fu and martial arts showcase, and fashion on the water, appeared on the three stages one by one.

But surprise to everyone’s eyes came the highlight of all this year - the breathtaking acrobatic lion dance on high poles attracting crowds of people from all ethnic groups to stop and water.

A large crowd performed Tai Chi, the Chinese kung fu, at Nathan Phillips Square, Toronto. (Courtesy of Toronto Dragon Festival)

“Lion Dance is the most iconic performance in Chinese culture,” said David Zhang, the chief director of TDF and the vice president of the Canadian Association of Chinese Performing Arts.  “High Pole Lion Dance is a top-performance form of Lion Dance with high artistic and technical requirements. The performers must be very experienced, because the difficulty and danger coefficient are extremely high, and it requires a high degree of consistency and years of practice.

David Zhang is the key designer who outlined the festival back in 2018. He oversaw all the stage performance activities that took place three days in a row. As the chief director, he tries to add some highlights to every TDF for the audience to experience the amazing Chinese performances each time.

“The High Pole Lion Dance is a breathtaking show for the audience,” said David Zhang, “It embodies the essence of Chinese culture. That is why we invited Eagle Li and his team to join this year’s festival.”

Eagle Li is a Cirque Du Soleil performer and he started to learn lion dance during his childhood in China. After more than 20 years of practicing and touring worldwide, he has become a world-class High Pole Lion Dance coach and performer. Li and his team performed four rounds in this year’s TDF, each time winning endless praise from the packed audience.

"What touched us the most was every time at the end of each performance, many in the audience would come to us and thank us," Li added that he is very delighted to join this year’s TDF, and he hopes to let more people know about High Pole Lion Dance and to know more about the profound Chinese culture.

According to the organizing committee, more than 80 art groups, 140 performances and about 1,500 performers participated. Including all the merchants, staff and volunteers, over 4,000 people were involved with the festival. Approximately 80,000 visitors attended this year's festival, more than 70 per cent of whom were non-Chinese, according to the TDF organizing committee.

A sea of people came to join the TDF at Nathan Phillips Square, Toronto on Sept. 2, 2022. (Johnny F. P. Tam/TDF)

But it was not an easy setup after a two-year pause due to the pandemic; there were some tough challenges in organizing this event.

"We faced tremendous difficulty this year to run such a big event," said John Zhang, the chair of the 2022 Dragon Festival Organizing Committee and the president of the Canadian Association of Chinese Performing Arts. "We only had two months to prepare, which usually takes six months." 

The team of the Third Dragon Festival. From left to right: Anna Bian, Susan Xu, David Zhang, John Zhang, Lunjun Mou, Kitty Chen, Katherine Hou, Timur Zhao, Shengqi Lin, Xin Yue. (Betty Liu/TDF)

John Zhang said the organizing committee was hesitant to start planning for the festival due to the pandemic, but when they decided to kick it off, it was already July.

But time shortage was not the only challenge of holding this grand event.

“The biggest challenge this year was that we didn't have enough funding," said John Zhang. "We received only half of the funding from the government, and we did not get as many sponsors this year as last time." 

In the past two years, many businesses have been set back because of the pandemic; as a result, people have become cautious. John Zhang tried to contact companies and people he knew, hoping to get their support, but in the end very few were able to respond.

John Zhang speaks to the media during the festival at Nathan Phillips Square, Toronto. (Betty Liu/TDF)

But there were some businesses that stepped up to support this good cause.

One good example: Manling Jia, the owner of Manling Dance & Art Studio in Toronto, heard about the situation. She contacted John Zhang and said she would like to donate to support this event. While John Zhang was very appreciative, he knew Jia's money was all hard-earned and decided to decline Jia's offer respectfully. But Jia was persistent and did send the money saying it was her wish to support this festival, according to John Zhang.

John Zhang has worked and lived in Canada for decades and has been devoted to planning and holding Chinese community cultural activities. He likes to see Chinese culture integrated into Canada's diversity culture through cultural and art events so that multi-ethnic people in Canada would have a chance to experience the charm of Chinese culture directly. 

One of the traditional Chinese programs at the opening ceremony of the festival: Ansai Waist drum. (Courtesy of Toronto Dragon Festival)

After inaugural success in 2018, this year is the third Toronto Dragon Festival attracting the keen attention of mainstream society in Toronto.

"Every day after the festival is done," said John Zhang, "After the visitors leave, we have to pick up the trash, help guide trucks and load and unload goods. We're always the last ones to leave the scene." 

John Zhang said preparing for this festival is like "fighting a war" for him every time, and every aspect must be considered to ensure the grant event runs smoothly. 

"I'm very grateful that I have a strong team of like-minded people who worked together to make it through despite a lack of time and funding," John Zhang added.

Tonny Louie, the chair of the Toronto Chinatown Business Improvement Area, who has years of experience organizing big outdoor events in Chinatown, said it is very hard to put together a big outdoor event — and teamwork is the key.

“There are many steps to running a big outdoor event, and the team's experience is very important,” said Louie. “Otherwise, there will be issues everywhere. I think the Toronto Dragon Festival was a great success this year."

A traditional Chinese custom performance at the main stage of Nathan Phillips Square in Toronto. (Courtesy of Toronto Dragon Festival)

David Zhang, though not related, is John Zhang's best partner.  The two other core team members of the organizing committee of TDF are Susan Xu, the executive director, and Kitty Chen, the deputy chief director. They all have a common goal: to promote Chinese culture and to build understanding between Chinese Canadians and other ethnic groups in Canada.

In the past decade, this strong team has accomplished several major projects in the Chinese community and won a very good reputation for hosting high-end cultural events and performances. They worked together and supported each other in a very cooperative way and succeeded in each mission, including the TDF since 2018.

John Zhang and David Zhang at the opening ceremony of the Toronto Dragon Festival on Sept. 2. (Betty Liu/Toronto Dragon Festival)

"This festival was a success with the collective efforts of every team member," said John Zhang, "But we can’t do everything just by ourselves, especially without enough funding.  We had thousands of volunteers to support us. They are the heroes behind the scenes that must be honoured. We could not have achieved a perfect end without their help and effort.”

Biao Xie, a licensed electrician, was one of the volunteers who had been devoting himself to the TDF for all three years from the very beginning.

"I'm very proud to be part of the Toronto Dragon Festival," said Xie, "because it is a very high-level event aimed at mainstream Canadian society. I will volunteer for the festival again next year, because through the event I can also contribute to promoting Chinese culture overseas."

Xie said his one regret is that he didn't have much time to enjoy everything of this festival during the three days because he was too busy, and he hopes he can have some time to watch the terrific shows and taste some delicious Chinese food next time.

A visitor buying a traditional Chinese snack, grilled squid, at a food booth of the Toronto Dragon Festival. (Courtesy of Toronto Dragon Festival)

According to the organizing committee, about 2,500 volunteers participated in this festival. They were assumed in various positions of the festival and can be seen in every corner of this event.

"I believe all the volunteers, staff and the performers of TDF have the same goal," said David Zhang. “To promote and integrate our Chinese culture into Canadian culture and become a part of it, rather than being regarded as a foreign culture.” 

Shelley Carroll, the Toronto city councilor from Don Valley North, attended the festival personally to show her support.  She was very happy that she could attend this year’s TDF to learn more about Chinese culture, since her riding represents all sorts of Asian communities.

“More than ever, we need to be displaying all that we know about the Asian culture,” said Carroll. “We need to bring people here so they can embrace Chinese culture.”

Carroll also discussed the anti-Asian hate that happened over the last couple of years during the pandemic, stating that it is not acceptable. “We need to remember why we are here today,” said Carroll, “People must support events like this because it is part of Canada's heritage too."

Carroll is not the only politician who came to the festival to show their support for the Chinese community. Shaun Chen, a member of parliament who represents Scarborough North, also attended the opening ceremony of the TDF. He brought a congratulatory letter from Prime Minister Justin Trudeau.

"I believe it is important for us to have such an event like the Toronto Dragon Festival, where we can share our diversity to promote that understanding," said Chen, who attended this festival's opening ceremony. "That is so critical on that pathway to building a more inclusive society. So, these events are significant, and we should continue working together to build a better country."

The event’s team, consisting of the organizer, cast, crew and volunteers at the end of the 2022 Toronto Dragon Festival at Nathan Phillips Square in Toronto on Sept. 4. (Courtesy of Toronto Dragon Festival

After three years of success, the festival has now become a brand that is well known in the Chinese community. The organizing committee has already started to plan for next year's TDF.

“We will continue doing it every year,” said John Zhang. “We hope that more Canadians of diverse cultural and racial background will come to enjoy the TDF and have fun with the fantastic activities. I guarantee that next year’s festival will be even better than this year. “

The South Asian Yard to host its first in-person event for Brown creators

What do you SAY?

By: Aru Kaul

Archanaa Tharumanayagam, Ria Arora, Mahira Khan. (Courtesy of the South Asian Yard)

The South Asian Yard (SAY) is bringing young Brown voices to the forefront of arts and culture with their first in-person event happening on Aug. 19.

Founded in 2021 by TMU social work alumni Ria Arora, SAY is a non-profit organization with the mission to empower all second-generation South Asian Canadians through initiatives that foster a sense of connection and belonging in the South Asian community.

“As a young Indian woman, I’ve experienced the identity crossroads of being a Brown woman in a White society, such as not knowing my mother tongue and being labelled as the ‘rebellious’ child,” says Arora.

Arora says she created this organization for people with similar experiences to explore their identities without the pressure to label or justify the choices behind their identity.

SAY’s in-person launch allows young South Asians pursuing creative fields to promote their work. 

TalkBicultural, a past initiative of SAY, spotlighted five South Asian women and their platforms as well as addressed issues in the South Asian community from their perspective including mental health, gender roles and academic pressure. Arora has the same goal for the launch, with the added benefit of an in-person setting. 

“The whole point of our launch is to let people know that we do exist and that there is an existing space that works to address this issue,” Arora said. 

The SAY team also consists of the project director Archanaa Tharumanayagam and creative director and community outreach coordinator Mahira Khan who both develop initiatives for the South Asian community. Both Khan and Tharumanayagam’s personal experiences have an impact on their work. Tharumanayagam’s work is influenced by the representation of dark-skinned women in film, TV and music while Khan’s work is influenced by the value of space and place in shaping one’s identity and future.

“As a Pakistani-Canadian who immigrated to Scarborough, struggles of identity were strong within my childhood,” Khan said.

And while the South Asian community makes up the largest racialized group in Canada, the multiplicity of marginalization for South Asian, dark-skinned women create a more vulnerable and intersectional social location of oppression. 

“I was often told to not go outside in the sun, put on skin lightening creams and that I was ‘pretty for a dark-skinned girl’,” Tharumanayagam said.

The launch will take place at Clubhouse Toronto from 6 p.m. to 10 p.m. and will feature a pop up market with items like South Asian themed journals, candles and novels written by South Asian authors.

Some of the South Asian creatives attendees can expect to see are: Trish Kapilan, a Sri Lankan Tamil artist and fashion student at TMU, who tells stories about Tamil identities and how their experiences unite the community using her art, Ari Para, a queer and nonbinary artist, writer and ESL teacher who sells polymer clay jewelry, LGBTQ+ books and zines and will be offering tarot readings at their table and Ashwini T, a Sri Lankan Tamil artist and fashion student at TMU who creates zines based on the scenery around her.

Tickets for the launch are available on SAY’s Instagram page @southasianyardofficial for $30. Complimentary refreshments will be available.

Q&A with the co-directors of Italian Mime Suicide

“Why is a laugh similar to a cry?” asks Kari Pederson, who explores the idea with co-director Adam Paolozza in their mostly silent production at The Theatre Centre.

By: Rowan Flood

A scene from the production of  Italian Mime Suicide. (Courtesy of Andrew Jehan)

Named one of 2021’s top 10 shows in Montreal by the Montreal Gazette, Italian Mime Suicide came to Toronto this spring. The show, which remains silent for most of its duration, follows a mime who is deeply hurt when he believes his craft is not appreciated. Yet as an artistic endeavour, it holds much more. 

In an interview with CanCulture, the directors, Kari Pederson and Adam Paolozza, explain how the production examines the way we perceive and express sadness, laughter and ways to be silly. It also explores the hard question that has become even more demanding throughout the pandemic: “Why do I keep making the art that I make when it feels kind of hopeless or doesn't seem like anyone's interested?” said Paolozza. The questions that are explored throughout the show and the ones it asks the viewers make it a commanding piece of work.

It can be hard to detect emotions and energy through a screen, but Pederson's and Paolozza’s were unmistakable as we came together over Zoom. The two co-directors of the production Italian Mime Suicide felt much respect and admiration for each other as they spoke. Pederson entered the meeting first, smiling when she got a text from Paolozza saying he would be a couple of minutes late, and Paolozza came second with a cup of coffee ready in hand. As we began to talk, the two filled each other's sentences to add importance to the humbly spoken phrases and remind one another of missed points and achievements. The care they felt towards each other continued with their apparent devotion to their production. Paolozza emphasized how Pederson "lifted it up and made it what it was." Pederson reminded Paolozza of how his Italian heritage and time spent at l'Ecole Internationale de Theatre Jacques Lecoq impacted his desire to create the play.

Italian Mime Suicide was first formed in 2016 and showed in Montreal last year before arriving in Toronto. The show opened to the public on April 23 at The Theatre Center and welcomed an excited crowd. People hugged and greeted one another warmly yet tentatively. The feeling of coming to see a live show was unfamiliar to some after two years of an isolating pandemic. I overheard a woman ask her friend when she sat down, "Is this too close? Yet the atmosphere was hopeful, and he responded, "oh no," as she sat down close to catch up. The lobby and cafeteria quickly filled as the starting hour approached, and many people seemed to know each other as voices rose in recognition. 

A 2003 article about an Italian mime who died by suicide inspired this artistic project, explained Paolozza. Although the headline is dismal and going on twenty years old, it remains poignant and finds relevance to this day through Pederson and Paolozza's captivating show. When we spoke, our conversation covered how this show began, how beauty is found with and through sadness, and what this play means for the two directors.

The director and dramaturg Kari Pederson for the show Italian Mime Suicide. (Courtesy of Kari Pederson).

The artist director, creator and performer Adam Paolozza for the show Italian Mime Suicide. (Courtesy of Adam Paolozza)

What first sparked the interest to create Italian Mime Suicide?

Paolozza: When I got back from theatre school I really wanted to make a show about mime. I was looking for a subject matter and my friend sent me an article. It was a really short obituary. The headline was “Italian Mime Suicide,” and that’s where I got the title. I thought that was an intriguing title — kind of funny, kind of sad, this tragic comic thing. It stuck with me. Over the years I kept trying to think of a good context, a good way to expand on that and it really started to come together when Kari joined in 2015. I’ve always liked mime but I’m aware you get teased sometimes. There is a kind of cringe factor that Kari and I were interested in exploring as also part of the audience experience. 

Pederson: If I could expand, it wasn't just theatre school, it was Lecoq. It is a physical style of theatre but some people refer to it as “Mime School.” Adam is also half Italian and I think that's a little more context of why it rang a little more true at that time. I came in as a stand in and when we started working we tried to find the meat of the project. We realized the meat isn't necessarily the true story of a man, we didn't even know him. What rang true or what was interesting about this title was that tragic comic. There's this fine line, and why does mime sit on that fine line? How does that fine line live in us? Why is a laugh similar to a cry? Why is sadness sweet sometimes? With mime, in particular, it’s both. It's cringeworthy but I love it. 

Do you feel you found something you personally related to in this story?

Pederson: Yeah, even though on paper I don’t come from a circus or mime background, I do come from performance and dance. Even my thesis research is about performance. Specifically, how deep, internal, unconscious acts of mimesis actually shape who we are, how becoming is relational. We only become who we are through our relations to others. I think theatre does that. With research on kinesthesia they found that when audiences are watching dancers or performers, similar synapses are figuring in their own brains. That’s happening even in an audience of Italian Mime Suicide. What was really exciting to me was more so these deeper or esoteric hooks. On top of that we really had great performers.

Paolozza: I wanted to make a show that could put some of those things like Kari was saying, that are sweet but also sickly sweet, on stage. Similar to Kari, I’m interested in people's bodies and their personalities. For us, it was important to have the different body shapes in actors. Kari also has a background in visual arts studies. There is a sense of how the image is constructed, sculpturally, with light. That also really attracted me to the work.

I’m interested in this thing between clown and mime. We like to make people feel safe to be silly, and see what comes out of their personalities. I really want to find a way that silliness can be taken more seriously. When you have less words there's more space to relate to a piece in a different way. 

The performers, Rob Feetham, Erika Leobrera, Adam Paolozza and Nicholas Eddie on stage. (Courtesy of Andrew Jehan)

What makes bodily gestures so significant, specifically in performances with minimal speech?

Paolozza: One thing I really took away from school is, how do you create the space out of which text arises? All of the relations of the bodies and all that before language arises is a rich territory to explore for drama. In that grounding, the gestures have a slightly different meaning. I think we relate to that, if you’re waiting for the bus or waiting at a dentist office. It’s a very archaic way that we read each other, the way we move, the inclination of the head. We wanted to create more space to explore that. I also just love the expressive body. Something I’m interested in exploring is the invisible gesture. Every work proposes to an audience what it’s trying to do, maybe in an unspoken way. It's engaging with certain questions and I think that's the deeper gesture. It's not a physical gesture, it’s more the intention of the creators. The gesture for us is the relation between seemingly opposite things. Sadness or laughter.

Pederson: In this context the importance of gesture in live performance especially in Italian Mime Suicide, where there are words and narrative but it’s not so much spoken by the characters in the show, it doesn't run it. Our approach was more similar to visual arts, where we want to create an image, and then we want to live in the image. Rather than telling a story with our words the approach was more about bringing a living image.  A gesture is an embodiment of surroundings. I think that's the heartbeat of the show.

Was there a vision for what you hoped or wanted people to walk away with after seeing the production?

Pederson: I think we had hopes. Speaking of gesture, in some ways this show is our gesture for the audience. You can never know what someone is going to walk away with. Everybody has different tastes, different expectations. I think we wanted it to be sweet, even though it was funny, we wanted it to be something real, slightly reverent. We were unafraid of the absurd. If an idea came up as we were divising, if it made us laugh out loud and shake our heads we were like “”hmmmm?” 

Paolozza:  There's a hope there to get the audience in a space where they feel okay to enjoy things that are in some sense are childhood things. A lot of the clown work relies on that childlike naivete. You don't realize you look silly, and being comfortable in your own imbalance. That tender thing that Kari is talking about, it's trying to give that feeling to the audience. Giving them that assurance, that it's okay to laugh, if we are acting silly it creates more safety for that softness between people. 

How does the play or can the play have relevance to what's happening now in the world as we come out of a pandemic and things are opening up?

Paolozza: The questions in the show are the same: Why do I keep making the art that I make when it feels kind of hopeless or doesn't seem like anyones interested? All artists, probably all people, struggle with that existential question. Something about saying that now, after the pandemic — being in public, hearing live music, being able to laugh — I think it has given it a different poignancy. It's cool to see how a show changes. We're grateful that the searching and the questioning of the show is connecting to people. 

Pederson: I think the catharsis feels sharper now. We’ve collectively gone through this thing. Probably most people would say these past two years have been harder than others.

A scene being enacted by performers Rob Feetham, Erika Leobrera, Adam Paolozza and Nicholas Eddie on stage. (Courtesy of Andrew Jehan)

What have you learned or taken away through creating this show?

Paolozza: There was a lot of trusting or trying to trust that things would work out. Trusting that people know what they're doing, that they're going to bring their A-game, giving them agency. It's not a new thing that I’ve learned but an experience I’m grateful for. I’m really grateful to my collaborators. To make a show that can be silly and have laughter and create space for that — people need to feel like they have agency. Feel like they’re a part of something. That was a good lesson; the more you relax and trust that people are incredible in all different ways, you don't need to stress so much. 

Pederson: Something that this process of being in Montreal and Toronto offered post or within COVID is to remember to be real. Originally, our beginning piece with our musician was original hype-man stuff and because of some feedback we'd gotten, we talked and realized, “oh yeah, to ask someone how they are right now it's not as flippant or as passing as it used to be.” Now to ask someone how they're doing, we're actually asking because most of us have a really complicated answer. There is an air of feeling more genuine with one another.

Are there any final words you would like to add?

Pederson: I would say that this show has a spirit of care. That's something I would like to mention about it.

5 upcoming Toronto summer art festivals

Toronto’s live art scene is back and better than ever with these spotlighted summertime art festivals

By: Olga Bergmans 

(John Thomas/Unsplash)

Summertime is approaching, which means it’s time to queue in the warmer weather, and pair it with a variety of unique art festivals. 

Art lovers are ready to unite through new festivals in the city as opportunities for outdoor festivals and activities are starting to open up again. Check out this list for five upcoming art festivals to add to your summer calendar. 

Toronto Outdoor Art Fair

This beloved Toronto art festival is back this summer at Nathan Phillips Square after its long awaited return to in-person. TOAF  features curated art collections including 2D and 3D works, craft and design, photography and paintings. At TOAF, you’ll be able to enjoy performance art, gallery tours and dance performances. With the various artists and collections, attending this festival is the perfect opportunity to discover new creators while enjoying the sunny weather. 

This year, the festival will run from July 15 to 17. In 2021, the festival celebrated its 60th anniversary of showcasing emerging artists. If you’re an art lover of many mediums, consider the TOAF for your next festival outing. 

Luminato Festival

This international festival of arts and culture is devoted to showcasing visual arts, performance, media and more! Luminato is a Toronto based festival that works to highlight international art works, and connect Canadians with a cluster of new and exciting artists. This year, the festival is running from June 9 to 19 with a variety of events that you can buy tickets to. Some include a Late Night Cabaret, guided ceremonies of meditation and movement with visual and audio prompts and the Black Ark installation that takes you inside a cathedral-like structure, highlighting the history of enslavement in Canada.

Luminato Festival Toronto was created after the SARS epidemic to showcase Toronto as a culturally vibrant city and to bring people together — an initiative that still rings true in 2022. Join them this year if you're looking to visit events with historical backgrounds and art through physical forms. 

Queen West Art Crawl Festival 

The Queen West Art Crawl (QWAC) is a two-day festival that includes art, music and multiculturalism with thousands of yearly visitors. The festival runs from Sept. 24 to 25 and stretches along some of Toronto’s most popular streets where various art displays ranging from photography to glass to wood art.

QWAC is committed to representation through art, including a 2SLGBTQ+ friendly Kids' Zone, as well as music and drag made up of over 50 per cent BIPOC performers. The festival works hard to highlight a variety of groups and identities by ensuring they are strongly represented. QWAC also partners with multiple groups, such as Workman Arts and the Native Canadian Centre of Toronto, to create a space for artists who have gone through mental health issues and for local Indigenous populations to showcase their art. If an all-inclusive art festival sounds like your groove, QWAC is the festival for you.

Big On Bloor

Big on Bloor will take place on July 16, from 12 p.m. to 10 p.m. on Bloor Street West. Staying true to its name, Big on Bloor is a large arts event with music, crafts and a gathering of artists from multiple backgrounds and identities. Some highlights include communal quilt making, large-scale sculptures and Japanese lantern making. This event includes a ton of local businesses, stretching all the way from Dufferin Street to Lansdowne Street. This free, community-oriented festival is ideal for bringing a bunch of friends together for a day of arts, food and good company. 

Liberty Village Art Crawl

Another amazing (and free) festival is the infamously busy Liberty Village Art festival which includes art, design and live music. In addition, the festival is home to multiple shops that include curated fashion, jewelry and home decor from several independent artists. Liberty Village is known to host lively events with food and music, which are especially vibrant in the summertime. Art Crawl will include multiple food vendors, as well as Kid Artik, a Toronto-based DJ! The Toronto Art Crawl was founded back in 2013 and has since hosted over 62 events such as their Christmas Market and Dog festival, where you can take your pup to get pampered for a day. This festival is a one-day event, happening on June 4, so be sure not to miss it! 

As I’m confident you’ll have no trouble finding options to choose from this summer, this list is a stellar start. Time to start booking! 

X University students display their artwork at annual creative industries showcase

Ranging from photographs to paintings, the diversifying works from these three X University students uphold artistic visions 

By: Teresa Valenton

Taken in front of Casa Loma, Shadi B’s photographs depict powerful women reclaiming historical narratives. (Teresa Valenton/CanCulture)

Cultivating a range of works from students in the X University creative industries program, the annual showcase event provided a platform for aspiring artists at the Great Hall in Toronto. 

On April 7, the Creative Industries Course Union (CICU) arranged their annual event to present the works of X University students in a gallery-style setting. Utilizing various mediums, each artist lays out an artistic vision to be carried throughout their works. The event is in person for the first time since 2019.

Though the creative industries program is the first of its kind in North America, the showcase presented an expanding presence in the works of students. And in selecting a specialization, aspiring creatives are provided resources to develop their skills. 

Shadi B, a first-year creative industries student, is specializing in fashion and communications. She diversifies her photographs by enhancing the natural beauty of individuals. Driven by ranging identities and the exploration of the human body, she seeks to enhance the viewing experience with colour. 

In her art, Shadi highlights the power of simplicity. By working alongside both film directors and models, she captures an unforeseen side of individuals through colour. 

In portraying a range of bodies, Shadi highlights a Black, queer individual photographed in front of Toronto’s Casa Loma to juxtapose history.

“I wanted to place a body that was never really thought of in the process of building the specific location,” she said. 

To reclaim a historically white space, Shadi’s goal was to showcase a “Black, beautiful queer body in a very powerful stance with bold makeup and fashion.” 

In curating a fun setting to take photographs, Shadi was most focused on empowering the individuals with which she was shooting. One of her models was a 15-year-old girl who had never been photographed prior to the shoot. 

“When she got in front of that camera, it’s like I had never seen someone come so alive before. It was really just picking the work that I have a special connection with,” Shadi said.

Throughout her journey to display these works at the showcase, Shadi realized the power in sharing her work with like-minded individuals. In honouring future goals as a creative, Shadi says she hopes to use these experiences as a reminder to keep making artwork.

Exploring traditional mediums such as paint, Brennan March, a fourth-year creative industries student, reconnects with loved ones through art. Specializing in fashion and film, March explores interpersonal emotions through his works.

Brennan March’s two paintings depict grief in relation to healing and reconciling with loved ones. (Teresa Valenton/CanCulture)

While grieving the loss of a close individual, March utilizes art as a healing project — a vessel to express his emotions. Recalling memories from his childhood, he is brought back to an individual who first taught him about painting. 

“It was something that I did with them a lot, and so it was kind of a thing I wanted to do to connect with them again,” March said.

Portraying a time of self-isolation during the COVID-19 pandemic, March recalls connecting with nature at a time when he felt disconnected from his peers. Fragments of these emotions are intertwined through both pieces.

“Both came out of me, like kind of feeling a rhythm with the things around me,” March said.

Drawn to sand as a means of imagery, he is reminded of the realities of adaptability.

“In my mind, it’s very surreal that a material on earth can take any shape and it’s just beautiful to look at,” March said.

Using this event as a catalyst to potentially display more works, March says he is hopeful to see where art takes him.

Driven by ideas of self-reflection and joyfulness, Imani Dominique Busby, a third-year creative industries student, highlights connectivity amid the pandemic. Working as an independent curator with specializations in fashion and curatorial practices, Busby relates to all aspects of visual art.

Exhibiting abstract portraits, Busby calls on individuals to reflect on the evolution of interpersonal identities amid the pandemic.

Imani Busby’s acrylic rendition of Johannes Vermeer’s Girl With a Pearl Earring is displayed with accompanying works at the Great Hall. (Teresa Valenton/CanCulture)

In abstracting Vermeer’s Girl With a Pearl Earring and depicting images of her close friends, Busby paints what is familiar to her own experiences. By utilizing high contrast colours like blue and orange, she represents joyfulness amid COVID-19. 

“These paintings are actually a series that I created in quarantine. They are all very colourful and the idea was to reflect the joy of individuals even though we can’t all be together during isolation,” said Busby. 

Viewing her work from an opposing perspective, Busby says she hopes viewers will become inspired to paint as well. Aware of her mission as an artist, Busby seeks to connect individuals to the joy of art.

“I want them to be inspired if they want to try painting as well. Maybe they could do it too, you know?” 

Head Over Heels marks thrilling return to musical theatre at X University

XMTC has returned in a comedic and campy night of fun

By: Nalyn Tindall

Promotional graphic for Head Over Heels via XMTC on Facebook

The X Musical Theatre Company (XMTC) debuted their first musical theatre production since the beginning of the pandemic, with in-person showings of the musical Head over Heels from April 6 to 9.

The show provided an evening of quality entertainment filled with laughs and surprises. A true showcase of student talent, Head Over Heels wove rock music and royalty together unlike anything I’ve ever seen. I was quite impressed with both the powerful singing and committed acting that created the outrageous characters of Arcadia.  

The jukebox musical comedy, styled to the hits of ‘80s rock band the Go-Gos, tells the story of the royal family of Arcadia on their journey to keep their famous “beat.” Prophecies are fulfilled, battles are won and lives are changed. Head Over Heels dives into themes of self-expression, acceptance and love while staying light-hearted and amusing.

Second-year law and business student Grace Johnson as Pamela, the eldest princess of Arcadia, and first-year creative industries student Jake Zanth as Dametas, the king's royal viceroy, brought the comedy of the show to life. Their comedic timing paired with impressive acting chops sold the campy nature of Arcadia. 

Johnson impressed the audience with her ability to embody her character's growth throughout the show, and went all out to portray Pamela's vanity and inherent wild nature. Zanth, on the other hand, consistently delivered laughs while still remaining touching and sincere, acting as the unexpected yet widely welcomed heart of the show. 

Second-year film student Natalie Maclagan as Philoclea, the youngest princess of Arcadia, and first-year journalism student Joëlle Staropoli as Mopsa, the royal handmaiden, delivered exceptional vocal performances and brought life to the ‘80s hits. Whether it be Maclagan’s sweet voice or Staropoli’s impressive runs, the music — and the actresses producing it — did not disappoint. 

While there were multiple stand-out performances, fourth-year creative industries student Jordan Davis as Gynecia, the queen of Arcadia, really stole the show. Her stage presence was enchanting, and she commanded the stage effortlessly. Whether it be singing or acting, I couldn't take my eyes off Davis anytime she graced the stage.

The choreography was rather ambitious, paying off at times but stifling at others. It seemed that, with a few more rehearsals, the large choreographed numbers would’ve fallen perfectly into place. I was especially impressed with the dance core. The five performers were able to add moments of humour, amaze during dance breaks and continually impress with their nuanced talent. The dance core was utilized well and added to almost every soloist’s song without detracting from the story. 

My favourite part of the show was the ensemble tracks — the collective sound of the 20 individuals on stage was immaculate. The group sounded as if they’ve been singing together for years, achieving exceptional blend and balance and consistently hitting earth-shattering harmonies. These cohesive moments truly brought the show and its music to life. 

The live band was a very appreciated touch. While a live band is not always expected in smaller productions like these, it made all the difference in Head Over Heels. As much as the ensemble was able to bring the music to life, the band truly embodied the songs. The group was able to follow the performers and set the tone of the show.

The set, while minimal, provided many creative staging opportunities. I enjoyed the playfulness of the props and their crafty nature, and was impressed with the creative use of lighting. The medieval costumes really set the scene for the show and helped transport the audience into the royal kingdom. 

The cast as a collective possessed impressive comedic timing and an ability to effectively tell their story through prose and song. I’m extremely glad I got the opportunity to watch the show and give my accolades to everyone involved. I would highly recommend following the future work of XMTC, if this amusing musical was any indication of what’s to come. 

Picking up pieces of Ukraine: An exclusive Q&A with street artist Mahyar Amiri

By experimenting with various mediums, this Toronto-based artist is raising awareness for Ukraine

By: Teresa Valenton

Amiri finishes up the final details on his latest mural MAKE LOVE NOT WAR by adding the remaining petals beside a young girl. (Dylan Kavalsky/VOCAB Communications) 

In embracing a creative rebellion against tradition, mixed-media artist Mahyar Amiri explores the boundaries of street art. As one of the only silkscreen artists — a form of art that utilizes negative spaces through stencils — in Ontario, Amiri challenges new mediums to evolve as an artist, which is evident in his most recent mural, MAKE LOVE NOT WAR. 

Amidst the war between Russia and Ukraine, Amiri draws attention to the innocence of children during these times. Images of the mural have been shared by notable Ukrainian celebrities including Alan Badoev and Irina Soponaru.  Located on the wall of Civello Salon and Spa at 269 Queen St. West, Amiri creates a space for reflection. 

Inspired by artists such as Warhol and Banksy, Amiri pushes himself to focus on his personal values through public displays of art. Emphasizing inner strength as an artist, Amiri draws inspiration from their willingness to create thought-evoking pieces. 

Creating a variety of pieces around Toronto, Amiri calls out political issues through various mediums. In a 2021 mural titled REVOLUTION, he features two young boys as his subjects to represent the tensions between Afghanistan and its citizens. 

Amiri also created for Blunt and Cherry, highlighting the COVID-19 pandemic in relation to controversies surrounding vaccine and mask mandates among global citizens. Replacing a flag with a mask, Amiri highlights how international governments have provided aid to the virus. 

In an interview with CanCulture, Amiri speaks on the artistic subject matter of his latest mural, taking on the city and establishing himself as a street artist.

Do you have specific locations in mind when creating murals?

Two fundamentals come into mind when painting a mural. One is the location and what it means to me; so that’s one thing, which is the sentimental aspect of the mural location. The second part is obviously the exposure it gets. I wouldn’t want to paint on the side of a dumpster or something that no one sees. It’s great for any artist to paint on a wall that gets a lot of exploration and establishes your name in the city.

In relation to your piece about the war between Russia and Ukraine titled MAKE LOVE NOT WAR, why did you select the wall of Civello Salon and Spa?

At first, they didn’t want to give me that wall because they originally had it black and a lot of artists had tried to occupy it. Long story short, I just went up to them and I said I’m going to do it for free and if you don’t like this mural, I’m going to paint it black the next day and come back down with no problem. They liked me as a person and not just an artist, I was very thankful for that.

Can you walk me through the creative process of this mural? 

So that mural was painted with monochromatic colours such as dark grey and white to paint to subjects. I used yellow and blue for the flag and the flowers the girl was picking up from the floor and brown for the cardboard. I did not want to go too busy, but I just wanted to paint kids as a subject as something simple and, yet, meaningful as well. 

How did you select the subject matter in depicting the war between Russia and Ukraine?

Personally, I still don’t know what my official subjects for my murals are, but lately, they have been children because I do like the innocence they carry within society. So whenever there is a war or disagreements between a party’s adults, I always like to highlight and raise awareness of these events, such as what’s going on in Afghanistan and the war in Ukraine with these children. In my eyes, they have no intentions of causing trouble or bloodshed and I wanted to use them to convey this message — to create love not war with the Ukraine mural; just simple subjects with nothing too out of the ordinary. 

Is there a reason behind the juxtaposition of the monochromatic aspect and the children in the piece?

The yellow is very evident with the flowers to kind of represent the light and happiness the city brings. But as you can see, there are not many yellow flowers left in the mural. Most of them are gray, like on the sides of that girl. So she’s kind of picking up the remaining pieces of her country to gather and hold them in her hands. It represents all the happiness and joy that were wiped off the environment. The yellow is to showcase and display the beauty that Ukraine once had before this war began.

In what ways do you want viewers to view your art?

My business is called Not Art, so I don’t really know. They can view it however they want, it’s open to perspective at the end of the day. I’m just painting because I have fun with it. I’m not painting to shove opinions down people’s throats. As long as it makes people feel something, I think I’m doing my job right. If I’m making the change, I think I’m doing my job right. I just hope that at the end of the day I have fun and people like my work.

Do you feel moved as an artist creating a mural with this subject matter as well?

Yes, I do feel moved. It’s one thing about selling an art piece for some amount of money and there’s one about making a mural for free. So I definitely do enjoy all the comments and messages that I get from it. It was my goal for people to love it and I hope it directs people towards making love and not a war for the future. 

Through Amiri’s visual interpretations of international issues, the streets of Toronto have become a canvas of opportunities. You can find more of Amiri’s artwork here. 

New York-based artist transforms MOCA Toronto into a vibrant space for storytelling

Referring to a multitude of historical archives, an engaging new exhibit creates a stage for the untold stories of European history

By: Teresa Valenton

Gibson invites audiences to immerse themselves in his exhibition through the use of familiar mediums such as stickers, posters and furniture. (Teresa Valenton/CanCulture)

By creating interactive spaces for the general public to immerse themselves in, a New York-based artist facilitated an accessible space for marginalized communities at Toronto’s Museum of Contemporary Art (MOCA).

On March 10, MOCA launched their spring exhibitions featuring headlining artists such as Shirin Neshat with Land of Dreams, Felix Gonzalez-Torres’ Summer and Jeffrey Gibson’s I AM YOUR RELATIVE. Throughout each floor, the artists present their ideas through unique mediums, while a recurring theme of connection weaves itself through them all seamlessly. 

As each artist shares “emotional portraits” by immersing viewers into the art, MOCA has become a space for self-exploration and enlightenment. 

At the unveiling of his first exhibition at MOCA, Jeffrey Gibson, an interdisciplinary artist based in Hudson, New York and member of the Mississippi Band of Choctaw Indians and Half Cherokee, transforms the first floor of the gallery into a visual archive to uplift Indigenous, Black, Brown and queer voices. 

Situated on the gallery’s free admission first floor, Gibson utilizes historical archives and bright stages to recall the ways in which history has been told. 

Rendering photographs of Indigenous, Black, Brown and queer people, Gibson faciliates a space to provide comfort to those who have felt silenced. (Teresa Valenton/CanCulture)

“Knowing that this space is open and available and free to the public was something we wanted to make available for multiple ages. I guess this was an accessible way for people not to feel intimidated by an art space to make them feel comfortable,” said Gibson. 

As the exhibition unfolds over the upcoming months, performers such as Amplified Opera, a Toronto-based opera company, and Emily Johnson, an American dancer of Yup’ik descent, will bring in other narratives of history through unique performances.

Inspired by his own artistic practices over the last 15 years, Gibson incorporated furniture that viewers could curate experiences out of. Incorporating pillows into each “stage,” he encourages viewers to become comfortable within his work.

Referencing his previous work To Name An Other: Call for Performers by the National Portrait Gallery in 2019, Gibson presents a crossover between art and audience involvement. The craft comes from allowing individuals to be observed through their actions, Gibson said.

Gibson invites his audience to partake in his exhibit by using comfy, colourful pillows. (Teresa Valenton/CanCulture)

In utilizing public spaces, Gibson presents history through the use of public archives. While referencing stories rooted in Indigenous cultures of the Americas, he gravitates towards certain materials such as stickers and rendered photographs. When reminiscing about the poster walls of his teenage bedroom, Gibson relates it back to the found materials for I AM YOUR RELATIVE.

“I like the negative spaces as other information peeks through, and then the local contributions that we receive will enter into programming to see what they have contributed,” Gibson said.

Though the pandemic took an effect on the production of this series, reconfiguring ideas and communicating with performers took roughly 18 months, Gibson said. All images that were used had to be formatted along with the stage designs in accordance with his creative vision. 

Travel restrictions slowed down the momentum but his team was eager to pick up the project. All members took precautions and relied on transparency throughout the project, forming a community in the process, Gibson said. 

When considering perspective, Gibson encourages viewers to take enjoyment in his work, “I think it’s a place for people who have differences who believe that these differences are tremendously rich and add to our culture.” 

Continuously shocked at the prejudices that remain intact, Gibson feels as if the treatment of Black, Brown, Indigenous and queer folks should have culturally progressed. However, with the relationship between research and art, Gibson is reminded that images can appear both abrasive and empowering to different audiences. 

Presenting the relevance of this piece, Gibson marks history through a multifaceted expression of today. 

“There are emotions; there are facts; there are lies. So I see it as generating media to help describe the moment as if someone was looking back at it.” 

These 5 women advocates are championing for change

To celebrate International Women’s Day on March 8, it’s time to know this list of Canadian activists

By: Kinza Zafar

(From left to right, top to bottom) Freda Huson, Jennifer Bernard, Samra Zafar, Vivek Shraya and Shina Novalinga. (Kinza Zafar/CanCulture)

The purpose of International Women’s Day is not to merely celebrate women’s accomplishments—it’s to spark a much larger discussion regarding liberation beyond patriarchal standards and decolonizing our minds. For some, it’s a push towards awareness of the existing disparities among genders and the absence of equal opportunity. For women, non-men and gender non-comforming folks, it’s a time where recognition deserved year-round is granted and voices are platformed. These are five Canadian women who are challenging the status quo.

1. Shina Novalinga

If you’ve ever scrolled down on #IndigenousTok, content creator Shina Novalinga’s face is one you may be familiar with. Known as @ShinaNova online, the 24-year-old from Puvirnituq, Quebec has grown her platform to nearly six million followers across TikTok and Instagram. 

Indigenous communities have found a home on TikTok by sharing parts of their lives with the world and connecting with each other across Turtle Island and beyond. Novalinga rose to fame by correcting misconceptions and prejudices regarding Indigenous Peoples while also offering a lens into her life as an Inuk person in so-called Canada. The popularity and passion around videos of her and her mother throat-singing on TikTok has led them to release a full-length album, which you can check out here.

2. Samra Zafar

After arriving in Canada in 2000 as a child bride in a forced arranged marriage to a man a dozen years her senior, Samra Zafar was trapped in an abusive marital union for over a decade. 

Kept from leaving the house, she wasn’t allowed a job or post-secondary education. After finishing her high school diploma through virtual learning and slowly stowing money away by babysitting at home, Zafar enrolled at the University of Toronto and fled with her daughters, aged 10 and five. 

Today, she has become the first person of colour and woman to not only sit on the Board of Governors at U of T, but also chair one of its campus councils. Zafar has notably delivered three TEDx Talks, written an international best-selling memoir, A Good Wife: Escaping the Life I Never Chose,  and has been recognized twice as one of the Top 100 Most Powerful Women in Canada, Top 25 Most Inspirational Women in Canada and a Top 25 Canadian Immigrant. 

The Pakistani Canadian is currently embarking on a second career as a first-year student at McMaster University’s medical school while continuing to share her story on the global stage.

3. Jennifer Bernard

Jennifer Bernard is the first Black CEO of a Canadian hospital foundation and has often found herself as the sole visible minority in the room throughout her career. Bernard has devoted her life to serving marginalized communities by working in children's hospitals and eventually becoming CEO and president of the Women’s College Hospital Foundation. In 2018, Women of Influence, an organization that highlights female success stories, recognized Bernard among the 25 most influential women in Canada. 

Two years later, she was named one of the Top 100 Most Powerful Women in Canada with the Inclusion Vanguard Award, given to those championing to advance human rights. Bernard has utilized her platform to advocate for marginalized communities to receive equitable healthcare by advocating for free gender-affirming surgeries and fighting to close gaps.

4. Vivek Shraya

Creative powerhouse Vivek Shraya’s boundary-blurring art welcomes people into queer experiences, gender and identity. In her non-fiction best-seller, I’m Afraid of Men, Shraya explores how the impacts of toxic masculinity and patriarchal roles followed her through her transition. 

As a trans woman of colour, Shraya understands intersectionality and hopes her art can change perspectives, demand awareness and expose prejudices. She is a director on the board of the Tegan and Sara Foundation, an assistant professor of creative writing at the University of Calgary and is now adapting her debut play, How to Fail as a Popstar, for television, in partnership with CBC.

5. Freda Huson

Freda Huson is a woman chief (Dzeke ze’) from the Wet’suwet’en people in Canada. She has been relentlessly advocating for Indigenous communities, frequently at the forefront of land defending protests in the face of multi-billion dollar pipeline construction projects backed by police with heavy machinery. 

As a leading voice, Huson is determined to reconnect communities with their land and ultimately reclaim control to ensure Indigenous peoples are granted the same quality of living as settlers in this country. 

Also known as Chief Howilhkat, at four feet 11 inches tall, the 57-year-old’s holistic approach to dismantling the pipeline project strikingly differs from the violent crimes and genocide committed against Indigenous Peoples in Canada. Huson’s bravery and leadership undoubtedly deserve the utmost recognition and support. 

In 2009, she established the Uni’stot’en camp, a communal healing place incorporating Wet’suwet’en culture to guide people through their trauma-healing journeys by connecting to nature. 

These women have achieved success in spite of adversity — not because of it.  No matter the day, spend some time to reflect on the world around you, practice gratitude, recognize your privilege and celebrate resilience. Remember, silence always sides with the oppressor. 

Calgary art museum announces permanent free admission

Glenbow Museum will also undergo a name change as part of the Glenbow Reimagined campaign

By: Iqraa Khan

Downtown Calgary (blazejosh/Pixabay)

Free general admission is coming soon to one of Calgary’s most notable art museums. Glenbow Museum made this pivotal announcement at a press event on Feb. 17, along with more information about the transformation of the museum.

“The vast majority of museums in the world charge for admissions to their gallery which unfortunately means that there are always members of those communities who cannot participate in the enrichment we know the arts bring in our lives,” said Nicholas R. Bell, president and CEO of the museum. “Glenbow will join the ranks of museums which provide free admission as the first major museum in Canada to offer free general admission for everyone forever.”

 Alberta Premier Jason Kenney also announced that the Glenbow Museum will be renamed the JR Shaw Centre for Arts & Culture, in honour of the late founder of Shaw Communications and Corus Entertainment, as part of the Glenbow Reimagined campaign.

The campaign is focused on eliminating the cost of general admission to remove the fundamental barrier of affordability. This advancement will ensure everyone has an opportunity to access Glenbow’s resources by redesigning the building to recognize physical accessibility barriers and incorporating inclusive solutions by listening to experts and advocates with lived experiences.

With art and culture playing an important role in the lives of people from different socioeconomic statuses, it is important to ensure that there is barrier-free access to world-class artwork from artists across Canada and around the world. “JR firmly believed that there is a responsibility as a citizen to give back and the more you have the more you give,” noted Julie Shaw, president of the Shaw Family Foundation and the daughter of JR Shaw, in a memorial video presented during the press event.

Shaw also announced that the foundation has donated $35 million to the Glenbow Museum in order to provide free admission for visitors coming to the museum.

Gail O’Brien, the co-chair of the Glenbow Reimagined campaign, announced that the museum will be securing $40 million from the government of Canada, $40 million from the government of Alberta, $25 million from the City of Calgary, and an additional $12 million from Glenbow supporters to bring innovation to the arts. She additionally stressed the importance of art education exposure for the general public. 

Kenney and other speakers at the event acknowledged how this advancement will allow the museum to inspire future generations of artists and encourage the studying and appreciation of artists and their works.

Opinion: Fatuma Adar’s She’s Not Special: Exploring your trauma, sort of

Blending stand-up comedy with music and theatre, a Toronto-based writer engages with ideas of Blackness, Muslim identity, trauma and Linkin Park 

By: Sophia de Guzman

Fatuma Adar for her show at the Next Stage Festival, She’s Not Special (Courtesy of Fringe Toronto)

Adapted to an online theatrical experience, Fatuma Adar’s She’s Not Special at Fringe Toronto’s Next Stage Festival sets out to tackle the myriad of contradictions and questions posed when a Black, Muslim writer must create for a white industry. Adar combines bare-boned stand-up comedy and earnest on-stage confessions with a variety of musical numbers into a 50-minute late-in-life coming-of-age that circles themes of identity-based trauma, self-worth, and self-actualization. 

The show opens by following Adar getting ready to perform the show we are all about to see. Supposed texts the writer receives as friends and family get ready to see her show appear on the screen and are read aloud; the words of encouragement get increasingly cacophonous until one phrase is repeated over and over: “Black excellence”.

Lights over a dark stage then ignite to reveal Adar, sitting on a stool, alone on stage. She begins a rap number to introduce the on-stage portion of her show, the lyrics hyping her and the audience up, reminiscent of popular “bad bitch” attitudes in 2010s millennial culture and popular artists of the time, such as Lizzo. A line that’s pretty summative of the number, “Be more like my bra / Be more supporting”.

Within the first 15 minutes of the show, it's clear that Adar’s satire and humour will be the vehicles through which she will reluctantly “explore her trauma,” which is also a central line in the musical number that follows.

 At this point, at the end of the first two of five musical numbers, it seems Adar has said most of what she intends to with this show. Adar does not want to explore her identity-based trauma, yet feels she is demanded to by her industry and, in a broader context, she fears much of what she wants has been shaped by white society. 

Whether these are “valid” things to base a show around is not a point of contention; obviously, they are. However, She’s Not Special, either intentionally or unintentionally, poses a grand question: When embarking on an artistic pursuit that is entirely based on your membership of marginalized communities, what is your responsibility to said communities? 

Ostensibly, the answer given by Adar is none. 

Before I proceed further in my review of the show, I should be clear — I’m not Black or Muslim, so my criticism can only be taken so seriously. There are aspects of Adar’s show and artistry that could have very well eluded me as a consequence of my ignorance. Still, as the show revolves around dealing with identity-based trauma as a creator who is also a woman of colour, I, along with many others that are not necessarily Black or Muslim, could identify with the issues at hand. 

Adar makes quick work to express plainly, “Black excellence is a scam”, touching on a sentiment shared by many Black women coming out of the now endlessly mocked “girl boss” era of feminism — why must Black people, women especially, be excellent to be celebrated? Recognized, even? 

She further points out that the desire she has to achieve the “excellence” defined by the white society that she lives in feels even more futile as she acknowledges the systemic disadvantages she faces. Many Black women and women of colour can likely relate to these disadvantages; however, Adar’s message on Black excellence is obscured by smaller, almost bitter, throwaway jokes. 

For instance, during the course of this bit, she uses her “3-minute attempt” at Beyoncé’s rather intense pre-Coachella diet, as a sort of analogy for how impossible the standard for Black excellence is. But poking fun at the “joyless” diet comes off as ignorant to the tremendous pressure Beyoncé has faced to fit in the white beauty standard. This is not to insinuate that billionaire Beyoncé has had a hard life, but it is no secret that commenting on women’s bodies, and by extension, the things they often must do to maintain them, seems a bit low. 

Moreover, for Adar to frame her show as a bid for understanding that, as a Black creative, there are countless undue obstacles to cross in order to be recognized for her talent, and in the same breath laugh at the almost cruel diet a Black pop star felt pressured to go on post-pregnancy to maintain her relevance is fundamentally contradicting the spirit of the original point. 

Again, this sounds like a small throwaway joke, and certainly not enough to sour a whole production. Yet, this is the first in a trend for Adar. Instead of pointing the finger at her obvious oppressors — the white creative industry and just plain, old racism — she distances herself from Blackness. This attitude shines through best during the most visually interesting and high production musical numbers in the show.

 It’s a parody of a grunge-rock music video from the early 2000s (think Evanescence), and the song centres around an argument that nine-year-old Adar had with a boy in her class named Devante. While Devante thought Ludacris to be the best lyricist of all time, Adar thought it was Linkin Park. Consequently, Devante called her an “Oreo”, a derogatory term used by Black people, to describe a Black person that they see as wishing to be a part of white society or establishment. 

The song that follows then discusses how what she likes is not “conventionally Black” and that she is, in a sense, resentful that young Black people (she’s 30) are now able to freely be “alternative.” She briefly reconciles with the greater point that one would think that the song is about: she worries that what she likes and what she thinks may be more influenced by whiteness than she can control. 

But then, against my sincerest wishes, she comes back to say that “they” called her “Oreo” and importantly, she doesn't know who “they” are. In the song, she doesn’t really allude to anyone calling her “Oreo” except for Devante. At no point in this song, or in the show really, does Adar directly point to whiteness as her oppressor, not even really at racism as the source of her issues. 

Of course, it's not very artistic to state things explicitly, but Adar does decide to make fun of, or in some way distance herself from trap music, rappers and her five-year-old self’s natural baby hairs. 

So all of this said, we return to the principal question I think was posed by this show: When embarking on an artistic pursuit that is entirely based on your membership of marginalized communities, what is your responsibility to said communities? 

Ultimately, I don’t think we can critique how someone expresses the pain that they felt as a consequence of racism, misogyny, or any other form of discrimination. But I wonder, like Adar states in her show, if we “use” our trauma, particularly that which is based on our identities, do we not have a responsibility to at least acknowledge the true perpetrator? To identify that while we have been hurt because of the communities we are a part of, it is not those communities that hurt us? 

These are questions that are, at the end of the day, up to everyone to answer on their own. She’s Not Special has received critical acclaim from multiple critics in publications like NOW Toronto and CBC, so it seems many resonate with Adar’s answers.

She’s Not Special was available to stream at the Next Stage Festival in February 2022.

Calgary dance studio makes significant cultural changes to “The Nutcracker”

The local studio changed two dances in the classic ballet considered culturally insensitive

By: Mijal Kleinkopf Madrigal

(Fokko/Freeimages)

“Nutcracker Season” has performers scrambling to put on a magical show for audiences. But in the 2021 season, one ballet company made an effort to represent different cultures in a more inclusive and positive light.  

Evolutions School of Dance (ESD) in Calgary has changed the names of “Arabian” and “Chinese” dance pieces in The Nutcracker to “Coffee” and “Tea” to be more culturally appropriate. These names reflect the Land of Sweets that Clara, the main character, is introduced to in the second act of the ballet. 

Pieces known as “Russian” (or “Trepak”) and “Spanish” have been changed to “Peppermint” and “Chocolate.”

Vanessa Wright, ESD owner and director, and Natalka Lewis, ballet teacher and director at ESD, choreographed their own version of these pieces with none of them portraying a specific culture.

“We purposely chose the candy route and then took inspiration with our artistic abilities to pull off those elements of those candy pieces,” said Wright.

ESD performed the classic ballet live for the first time on Dec. 12 at Decidedly Jazz Danceworks in Calgary.

Wright said that the only way ESD would portray these cultures is if they brought in a professional dancer to teach a culturally appropriate dance. 

Further changes to The Nutcracker have been made by challenging gender norms. The characters Drosselmeyer, Rat King, and Nutcracker were played by female dancers in ESD’s The Nutcracker adaptation.

In the classic version of  The Nutcracker, the “Arabian” dance is meant to represent coffee in the Land of Sweets, while the “Chinese” dance represents tea. 

The original pieces have portrayed both Chinese and Arabian culture in a stereotypical light. Dancers in the “Arabian” piece are seen with harem costumes, often doing hand gestures similar to those seen in Egyptian hieroglyphs. 

In the “Chinese” piece, dancers are often dressed in a tang and may have either a traditional Chinese headdress or farmer hat. Props such as fans and colourful umbrellas are used, which can be seen in some forms of Chinese folk dance.  

“It clearly isn’t representative of this [folk] dance, but my first impressions from watching it purely from an artistic or entertainment standpoint, it was enjoyable and impressive,” said Justin Lui, an amateur ballet and Chinese folk dancer based in Toronto.  “They take their impressions of it, a very superficial impression of it, and stereotypical ideas of what it would look like with hand gestures.”

Courtesy of Justin Lui

Cultural appropriation in ballet dates back to the 18th century with Russian classical ballet. Marius Petipa choreographed the majority of ballets in this era, among them, The Nutcracker.  

“A big development of this part of ballet was the balletisizing of folk dances,” said Amy Bowring, executive and curatorial director at Dance Collection Danse. “For example, the dances that were common in Europe like czardas, polka, those kinds of dances became balletisized.” 

Balletisizing refers to adding ballet technique and elements to a dance that does possess them. 

Bowring goes back to the Romantic Era of ballet, around 1830, characterized by ballets such as Giselle, Coppelia, and La Sylphide. These ballets were set in locations considered exotic, such as in the highlands of Scotland.

“This idea of setting ballets in other countries or bringing in elements of dance from other countries was something that was developed in the Romantic Era and was continued in the classical Russian era of ballet’s development,” said Bowring.

“That’s where you get things like the Arabian dance, the Chinese dance. There’s also a Russian doll dance in The Nutcracker.”

Other than The Nutcracker, classical ballets such as Le Corsaire and Peer Gynt, have depicted stereotypes of SWANA (South West Asia/North Africa).

Bowring theorizes that this fixation on this area started from degrowth in archaeology, particularly in Egypt. Because of this and the proximity between the lands (such as not having to cross an ocean, only having to cross small bodies of water or arriving by land), those images spread easily throughout Europe.

Considering these ballets were made around the Victorian Era, there was a conservative way of dressing. In women’s fashion, necklines were up to their necks, and skirts covered their ankles.

However, in Mediterranean countries, due to the hot weather, people didn’t need to cover up.

“That must’ve been fascinating to northern peoples, right? To come across societies that did not have to be quite so bundled up, quite so covered,” Bowring said. 

As society progresses, and people become aware of stereotypes in beloved classics like The Nutcracker, there is still a lot of work to be done both in and out of the ballet world.

As Lui said: “There's room, maybe even a responsibility, for the work to grow and evolve with a more global worldview.”

CanCulture’s homemade holiday gift guide for everyone on your list

Five timeless treasures you can make yourself to show how much you care

By: Sabrina Scroppo

(Tatiana Terekhina/Pixabay)

My earliest memory of the holiday season is one of my mom dressed in a ruffled apron decorated in stains and hovering over our oven while notes of warm vanilla float through the air. With her face powdered with flour, we put together gift boxes of gingerbread cookies to drop on each doorstep in our neighbourhood. 

With the commercialization of the holidays, gift-giving is usually accompanied by big box store buy-one-get-one sales and expensive shiny gadgets. Who’s to say that the gesture of giving something homemade doesn’t mean more than a new perfume or a pair of shoes? 

Here’s a few DIY Christmas presents your friends and family are guaranteed to cherish and never forget.

Baked goods

There’s no going wrong with a care package of chewy snickerdoodles, cranberry orange shortbread bites or traditional holiday fruitcake. No matter your level of baking expertise, homemade treats are always served with a side of love. Bring back all the nostalgia from childhood traditions and present a platter of festive desserts to your co-worker, neighbour or favourite teacher.

(Vadym Petrochenko/Pixabay)

A self-care kit

The holiday season marks the end of a stressful month of deadlines, exams and last-minute tasks. Take the time to relieve your friends and classmates of that stress with a DIY self-care kit. 

You can personalize a box with their favourite candy, a book and a candle, with an added handwritten note to get them through the day. Including handmade spa day essentials like bath bombs or face masks are great additions to a gift everyone wants but won’t get themselves.

Handcrafted jewelry

Dedicating hours to a new skill is often rewarding, so sharing what you’ve learned is always a prize. As an affordable alternative to pricey diamonds, a handcrafted bracelet tailored to the person you are gifting makes a unique keepsake. You may choose to string colourful plastic or wooden beads through a thread in a random pattern or even assemble your loved one’s name in a bracelet. A different route could be to create friendship bracelets together using embroidery floss for some extra quality time during the holiday season. 

You can also scour Esty’s online shops to support small Canadian businesses and do a little extra good for artistic entrepreneurs this time of year.

Personalized family cookbook

Tucked away and hidden from kitchen messes is the collection of recipes my grade 6 class compiled for a Mother’s Day gift. As a relentless 12-year-old, I knew my mom’s mashed potatoes deserved the first page. 

A creative idea for the chef in your life is a handpicked assortment of recipes that have been passed down from generation to generation. From your great aunt’s apple pie to your new friend's famous pizza, this unique cookbook won’t be one just anyone could find on a storefront shelf.

(Sinenkly/Pixabay)

Frame anything! 

The beauty of a homemade Christmas gift is that it can be personalized in every which way. Wrap a shiny red bow around a family portrait and you have the perfect balance between sentimental and practical. 

It is close to guaranteed that any grandparent’s heart will melt over a special scrapbook of memories. A collection of home videos or old collectibles will promise no dry eyes on Christmas morning.

Photo Essay: The meanings behind Canadian street art

What stories lie just behind the spray-painted brick or airbrushed stucco?

By: Olivia Wiens

Photos by: Haley Sengsavanh, Kinza Zafar, Olivia Wiens

While many people turn to galleries and museums to enjoy stunning art pieces, fantastic artwork can be found on many streets in Canada.

From small graffiti scratches in the back alleys of prairie towns to the towering murals overlooking the Toronto skyline, street art is a valuable part of Canadian culture. It reminds us that beauty and art can be created out of anything. And while the free viewing is a perk to public street art, it also showcases pieces of our history that might otherwise be forgotten. 

Let’s travel across Canada and see the street art each place has to offer.

“The Matriarch”, created by Skwxwú7mesh Úxwumixw (Squamish Nation) artist Siobhan Joseph and her team, is located in Vancouver on the side of Slim’s BBQ. (Haley Sengsavanh/CanCulture)

“The Matriarch” was created for the Vancouver Mural Festival in 2019 and was inspired by artist Siobhan Joseph’s late mother, who was the matriarch of the family. Her mother is dressed in red to honour Missing and Murdered Indigenous Women and Girls and is standing amid a lush natural landscape with the sea and mountains.

Displaying such a prominent issue on the side of a building creates an active reminder of the social injustice that Indigenous women face every day. It helps to form a deeper impact in the daily lives of those simply driving by the colourful mural.

Painted on the side of The Slice, a bar in Lethbridge, Alta., in 2007, this mural was created to help attract customers to the restaurant’s growing business. (Olivia Wiens/CanCulture)

Artists Ryan Smitham and Daniel Audet tag-teamed this mural to help broaden the live music scene in their small city. The woman depicted is Shaela Miller, a local singer who has played at The Slice many times since the painting was created. Street art like this mural helps depict pride and appreciation for locals who shape the city they are from.

Located on the side of the Ukrainian Co-op in Regina, Jez Brenwold’s aerosol piece is meant to symbolize Ukrainian culture within Saskatchewan. (Olivia Wiens/CanCulture)

Jez Brenwold’s floral work wraps around the entire building, but the bordered wheat field is the focal point of the piece and highlights the beauty of the Saskatchewan prairies. 

Street art like this allows the artist to share their pride and passion for their culture with an entire city. As this mural lines a main road in Regina, countless people driving by get to appreciate Ukrainian culture in their own province.

This airbrush mural, created by Troy Brooks and Christiano De Araujo in 2014, is a tribute to the queer bathhouse raids that occurred in Toronto in 1981. (Kinza Zafar/CanCulture)

“The Bathhouse Raids” was the largest of 11 murals created for the Church Street Mural Project, a project coordinated with WorldPride, which Toronto hosted in 2014.

The piece acts as a reminder of the struggles that queer people faced in the 1980s, as well as the struggles that they still face today. However, “The Bathhouse Raids” also symbolizes a significant turning point for Toronto’s 2SLGBTQIA+ community, as the raids that occurred in 1981 sparked many human rights and police brutality protests.

Elicser Elliott has been spreading his art in Toronto’s Queen West neighbourhood since the 1990s. This recent piece of soft figures and organic shapes is for those who construct warmth and connection within their communities. (Kinza Zafar/CanCulture)

Elicser Elliott is one of Toronto’s most notable graffiti artists. Some of his most recent works have showcased his appreciation for COVID-19 frontline workers and his passion for the Black Lives Matter movement. 

Oliver Cuoto, owner of The Bee Shop on Bloor St. West in Toronto, provided this conceptual design to artist Slavka Kolesar, who spent the month of July 2020 making their collective dream come to life on the side of Cuoto’s store. (Kinza Zafar/CanCulture)

This original mural depicting the world of honeybees is a collaboration between a shopkeeper, Oliver Cuoto, and an artist, Slavka Kolesar. While illustrating motifs of Mother Earth and the life cycles of honeybees, Kolesar also reflects the ever-existing human-nature relationship. The large-scale street art acts as a constant reminder to passersby that the nature around them desires respect from humankind.

When people are exposed to significant, and often large, pieces of art in their daily lives, the meaning behind those pieces becomes more and more evident. Street art sparks conversations about the issues surrounding each work, whether that be current social justice issues or moments in history that have shaped the country. Ultimately, visible, accessible and meaningful art forms like these not only allow bystanders to appreciate them, but also reminds them that art is a means of fighting for what you believe in. 

Street art can be found in every corner of Toronto, and ArtWorxTO has collected over 1,500 pieces of street art as part of “Toronto’s Year of Public Art 2021-22”. To start exploring the beautiful creations made by Canadian artists, check out their Artworks Map, which lays out murals, architecture, sculptures and so much more for the public to enjoy.

With the increase of online art exhibitions, where do physical museums stand?

After COVID-19 shifted galleries and exhibitions to a digital space, artists and art institutions are now adjusting to a new normal

By: Anna Maria Moubayed

Art Gallery of Ontario visitors line up to enter the gallery. The AGO enhanced its virtual presence and online viewings of artwork during the pandemic. (Sean Driscoll/Unsplash)

COVID-19 left museums and art galleries with highly restricted access since the start of the pandemic. With 61 per cent of all global art fairs cancelled, the market was forced to transition to a  digital platform. 

“At the start of the pandemic, it was clear that artists’ opportunities were being limited,” said Laureen Marchand, the founder and general factotum of the Grassland Gallery Online.

The Grassland Gallery Online uses online showrooms to generate sales, reaching collectors who may never have had the opportunity to set foot in the Southwest Saskatchewan space.

Going into 2021, Marchand said she entertained the idea of moving to an online format to retain contact with both artists and buyers, and do it in a format that is safe and comfortable for everybody.

According to Marchand, online viewing allows collectors and wider audiences to sit in front of a piece of art and spend time experiencing and analyzing the work for as long as they desire without the pressures of physically being in a gallery.

“I don’t think it’s in any way a replacement. It’s an enhancement,” she said.

Physically experiencing art is no longer a prerequisite to purchase or enjoy works, said Theresa Van Groll, an art history professor at X University who formerly worked at the Saint Louis Art Museum and the Everson Museum of Art.

“A lot of museums realized that to maintain contact with their audience and to build the community that supports them, they have to step up to the plate and start expanding their virtual presence,” she said. 

For some museums, the evolving online exhibitions gained popularity. The easily accessible content brings in many viewers who simply like the comfort of their home.

“I’ve had groups of students who have done virtual museum visits who are in different parts of the world,” said Van Groll. "There’s a lot of flexibility.”

But experts remain conflicted on whether digitalization is undermining the power of physical art and abandoning the tradition of visiting a museum.

“One of the things you miss is scale. It’s not my body standing in front of the object for me to compare myself to the size of that work of art. We get a completely different impression,” said Van Groll.

As a painter herself, Marchand is interested in the application techniques of paint on canvas, which she notes is not quite visible on an online platform.

“The in-person galleries give the viewer a sense of what the artwork would look like in a room, from scale to texture. This isn’t very successfully translated to online exhibits,” she said. 

Despite all the positives of an online format, Marchand believes that “there is nothing like actually being there and seeing art.” But she highlights that with a boost in online shopping across all markets, more and more people are finding it convenient to shop for art online.

Canadian works of art sold at Canada’s Heffel auction amounted to over $16 million as of August 2021.

“We have seen works by prominent artists reach new heights, important institutions and organizations join forces across all facets of the industry and major developments in the way art is presented and enjoyed,” according to a Heffel newsletter.

With 908 remote live auction bidders and viewers, the auction featured a three-city broadcast from salerooms in Toronto, Montreal and Vancouver, bringing together the live and digital experience.

According to the Heffel newsletter,  “this reimagined format was a first in the Canadian market, and we are proud to be paving the way as the auction world experiences a new era.”