Saturday, April 30, 2011

Saskatoon Rosetown Biggar Candidates Twitterlogue

After a local newspaper article Election has candidates all a-Twitter decided to contact Riding Saskatoon-Rosetown-Biggar candidates and engage in a twitter Q&A.

All candidates had an account (Apr. 30, 2011):

@KellyBlockcpc
285 Tweets 280 Following 1,189 Followers 136 Listed
@Nettie_Wiebe
55 Tweets 189 Following 201 Followers 23 Listed
@vicki_strelioff
135 Tweets 35 Following 29 Followers 4 Listed
@leereaney2011
2 Tweets 9 Following 11 Followers 1 Listed

Nettie Wiebe (NDP), Vicki Strelioff (Green) & Lee Reaney (Liberal) all started Twitter accounts for the 2011 election. Incumbent Kelly Block (CPC) started an account April 4, 2009. Usage speaks for itself.

Began with a Prologue - introductions and seeing possibilities.

Primary intention was to ask a series of questions. Needed to alert that the arts are important. Also posted relevent arts links from page numbers of their particular party platform statements on the arts to art advocate groups hoping candidates would become more informed on the complexity of arts&culture issues.
Canadian Conference of the Arts' online Bulletins and the Canadian Arts Coalition Arts Vote toolkit were main resources for both questions and information.

All except Lee Reaney made some contact. It became apparent he had no interest in Twitter.
________________________________

Prologue

i.. Dear candidates, your campaign is on: Who will speak for real support for SK arts & culture this time? (question co-opted with slight revision from Jian Ghomeshi tweet).

Kelly Block: Enjoyed hosting Minister Moore on March 17, 2011 who announced funding of$700,000 for festivals and cultural events in SK this summer.
Kelly Block: To start I would suggest googling Government of Canada and the Ministry of Canadian Heritage and Official Languages.

ii. Dear candidates. Any all-candidate forum planned?
no answer

iii. What is your vision for arts and culture in our riding?

Vicki Strelioff: Arts & culture needs more investment as they feed the heart & soul of society. People are more than machines.

Vicki Strelioff: I am involved with Scottish pavillion at Folkfest & on the executive of the SHDA. I enjoy music, art, theater, etc as a fan.
________________________________

Questions:

1. How will you improve culture sector workers socio-economic conditions whose annual incomes fall below Canadian average?

Vicki Strelioff: We need to establish an adequate base income & work up from there; establishing funding, grants, etc. to keep arts & culture vibrant.

2. How will you forge a culture policy of international exchange - a diplomacy of co-operation, understanding & critique?

Vicki Strelioff: Lot to answer in a tweet. GPC all about cooperation here & abroad. Can't we all just get along to achieve the common goals of humanity?

Nettie Wiebe: Hello Raymon. Thanks for the questions. However, they require substantial answers. Do you have an email address where I can reach you?

3. What fiscal measures do you propose to encourage SK arts philanthropy & private investment in arts and cultural work?

Vicki Strelioff: Better value at tax time for charitable donations made to the arts. Improve funding to Arts & culture agencies. Really support CBC!

4, What measures does your party propose to support touring and the circulation of the works of Canadian artists across Canada?

Vicki Strelioff: I would need to get details from GPC for this; don't know if there is time before May 2 to answer.

5. Do you support increasing the budget of the Canada Council for the Arts and if so, to what level and over what time frame?

Vicki Strelioff:You give tough questions! It's hard to nail down $ amounts, but I would guarantee no cuts firstly for sure & move forward from there.

________________________________

Afterward

Attended the all candidates forum and tweeted a thank you to the three present which resulted in the first candidate tweet to the others.
Vicki Strelioff:@if @leereaney2011 @Nettie_Wiebe As always, so many topics not touched upon which should have been.

Lee Reaney essentially did not use Twitter. Kelley Block stopped on Apr. 20. Nettie Wiebe tweeted infrequently though followed back (She did not e-mail back). Vicki Strelioff tweeted extensively, followed back & tweeted directed to me often.

A List of all candidate tweets. Should be noted posts directed to specific people (@user name) are not included on the list.

More info at PoliTwitter.

:: Note :: ... special thanks to Vicki Strelioff who sought engagement with thoughtful and continuous replies and extended conversation ... she also sought permission to use a tweet of mine in her speeches ... Kelly Block earned the most offensive tweet suggesting I google for information ...

Unfinished thoughts: Part 1

Finished reading, Zygmunt Molik's Voice and Body Work: The Legacy of Jerzy Grotowski by Giuliano Campo with Zygmunt Molik. My debt to Zygmunt has previously been noted.

My thoughts revolve around 'tradition'.
Molik: The tradition. Follow the tradition. That's all. And everyone brings something new to the tradition and in this way it goes on. It's very simple. There's nothing more to say. (28)

Campo Note: I have to clarify that Molik's idea of tradition relates to research of the sources of each human being rather than the theatrical roots. In fact he created his own techniques and never referred to any other method, whilst still claiming to belong to the tradition. This is indeed the specific approach reveled by the operation of maieutics as an exploration of the self.
(188)
My acting classes often conclude with a statement to the effect I come from the 'Grotowski tradition' and more specifically the voice work, though completely my own responsibility, is a direct development of a search begun with Molik.

T. S. Eliot wrote in an essay Tradition and the Individual Talent, "Every nation, every race, has not only its own creative, but its own critical turn of mind ..." What exactly do I mean 'tradition'? What is this searching? What 'critical turn' of a practitioner's mind is required?

Is it possible to inherit a practice? Could following the ways of a teacher/master with strict repetitive adherence reconstruct the meanings, proportions and values of an acting process.

I obtained my status as teacher by a labour of lived experiences. Through these experiences I perceived the presence of an acting process. I studied with a collection of the most individual work of actors during their period of full maturity with a growing sense of my own place in time and I fostered a deep appreciation of my relation to encounters with living actors. To teach in the present requires an awareness of the past which the past's awareness of itself cannot be articulated. I procured a consciousness of the past and continue to develop this consciousness with each and every classroom/training experience.

The paradox to discover my place/identity/process involves a surrendering of myself each moment to something more valuable. The progress is a continual self-sacrifice, a continual vigilance to follow the 'work'. In fact to become a receptacle for seizing and storing up countless exercises, remembrances, associations, feelings, phrases, images which remain until all unite in the moment of working. There is not the need to express myself but rather the need to follow a particular territory, " ... the unknown. I'm not going to explain what the unknown means, but such a thing exists, yes, and so it is possible to find it." (Molik. 5) The unknown, in practice, is when the practitioner combines their body, voice and life in peculiar and unexpected ways.
Molik: My knowledge. When I start a new work I don't use any knowledge. (19)
I take this to mean 'the work' cannot be done without surrendering wholly to the 'work' to be done and I am not likely to know what is to be done unless I practice in what is not merely the present, but the present moment including the past - fully conscious not of what is dead but of what is already living.

It would be false to speak of conforming to a way of working. It is more valuable to find a way the process fits into a life force.

continued at Part II

Friday, April 29, 2011

sun sojo

snow gone
so go
o o
-


:: Note :: ... playing with korean word 소조 (sojo) ... as Ae Ran writes her Moscow presentation ...

Thursday, April 28, 2011

Saskatoon Rosetown Biggar all candidates forum


The Riversdale Community Association hosted an All Candidates Debate Forum for the federal riding of Saskatoon-Rosetown-Biggar on Thursday, April 28th at 7 p.m.

Thanks to Community association president Doug Ramage for all his efforts to make this possible.

The room was full of maybe a hundred and started with opening statements. Each candidate answered four questions from the chair: 1) The Environment 2) Health 3) Housing and 4) Riding Priorities. Candidates then directed questions to each other followed by an open microphone on far ranging issues: Defense, Treaty obligations, Agriculture, Food and Drugs, Unemployment Insurance, Poverty, Advocacy Rights, Student Tuition & Costs, Water Fluoridation and First Nation University funding.

The candidates though reluctant to pose questions to each other answered all constituent questions succinctly with clarity and respect. There was in the room a looming sense of absence - in fact Nettie Wiebe directed her question to the missing conservative incumbent & all three assured if elected they would be a greater presence in the riding and promised opportunities for citizens to have their voice heard.

My sense was of more commonality and shared understandings between the three. What separated them was their particular party history and experience. Lee Reaney affirmed his strong support of the Liberal Platform, Vicky Strelioff confessed herself a non-politician seeking to represent those who felt unrepresented and Nettie Wiebe asserted the affirmative actions instituted by the traditions of her CCF/NDP.

I learnt much about the immense diversity of the people that took the time to attend this forum. All ages were represented. A dirth of suits and ties. This was not a hundred dollar a plate dinner or invite only crowd or a rally for supporters. It was not even a debate. It was more a chance to voice and express deep concerns and the overwhelming concern was please listen to us.


The lasting image was three dignified and passionate individuals seated on a stage in front of a forest lake background of green trees, fresh water, clean air and open sky. A symbol of place. Open skies, open minds, limitless imagination - my definition of democracy.

In the crowd sat a recent graduate and a present high school drama student of mine. Both students just entering voting age and both from countries ravaged by war - their eyes shone bright as they valued the forum experience.

They are the future that cares.

:: Note :: ... picked up the "Nope" postcard from material at the back tables ... printed by the Young Liberals of Canada ... seemed fitting as nope the CPC weren't there ...

Sunday, April 24, 2011

Quilico Awards announced


Winners of 2011 Christina and Louis Quilico Awards announced
Soprano Ileana Montalbetti won the second prize of $3,000.
Also performing in The Canadian Opera Company Rossini’s Cinderella (La Cenerentola) April 23 - May 24.


:: Note :: ... folowing her dream ...

Sunday, April 10, 2011

Running Amok

Reprinting an article from the University of Saskatchewan student newspaper The Sheaf. Drama Students Run Amok

Year-end project shines light on budget cuts in arts colleges

ASHLEIGH MATTERN
Editor-in-Chief
"We’re a tiny little building, we’re a small student population, but we have a lot of heart.” - Grahame Kent Drama Student

A group of 20-odd people run through the halls of the John Mitchell Building, chanting, “Now all the youth of England are on fire!” A fourth-year drama class instigated the ruckus; they’re leading the group through a metaphorical reenactment of the Feb. 17 fine arts and humanities divisional town hall meeting.

Art cannot be wholly separate from the world in which it was created, a maxim the expressive movement drama class exemplified with a recent performance. Developed as a year-end project, the performance was born in part out of their frustrations with budget cuts and downsizing planned for the drama department. They were in the first stages of creating the performance when the College of Arts and Science hosted the first of two town halls. “We got kind of riled up about the town hall meeting, and we were already in the middle of planning this project,” explained drama student Morgan Murray.

“We were sitting outside and reading the text and a few things just lined up and then we kept going a bit deeper and more things started locking in place,” continued drama student Grahame Kent. The words to the performance came from Henry V. As they read the text, they started to see parallels to their own situation. One comparison they found was to England, a place which had a “little body with a mighty heart.” “That sort of was like, hey, that’s us!” said Kent. “We’re a tiny little building, we’re a small student population, but we have a lot of heart.”

The movement class performed three of five prologues from Henry V, inviting the audience to join in at times, and moving the audience around the tiny John Mitchell Building. Only one of the prologues was developed around the idea of criticizing the cuts to the department. At one point, the performance moved from a small seminar room to the larger North Studio. Drama student James Aaron explained this part of the performance was based on events at the town hall.

“When the vice-dean [David Parkinson] came in and saw there were tons of people from the music department, the drama department and also the English department and religious studies, visual arts, all people that are affected by the arts and science, his aide came in and moved us to a larger room.” Two big black boxes stood at the centre of the North Studio with the words “The Project” on it to represent the proposed Clarion arts centre. The performance included knocking The Project over.

“Our drama department is thriving,” said drama student Nathan Howe. “We’ve had a few sold out or close to sold out shows the
last two years, so we brought in some images of that with the Clarion Project.” “Everyone’s expecting more good things to come out of this department, such as the Amadeus production next year,” added Kent. “We were trying to show the problem with that because people can get jazzed about that, but they’re cutting down staff.”

The students who staged the performance are clearly frustrated and worried about the future of their department. Howe pointed out that the John Mitchell building was supposed to be a temporary building, but the drama department has been there now for 18 years. “It’s technically a soil science building,” said Kent.

Murray added that the department will lose nine credits next year. “One general theme that we wanted to get across was that for those of us who are returning to the university next year… we’re worried about what the department is going to be like,” said Aaron.

Saturday, April 09, 2011

Islander Winds



under the green-black ocean
Sea weed -
deep thought
murmurs the quake: there are
still voice cries beneath
the bleached bones.

:: Note :: ... searching for the soul of Grass Tomb ... with others ...