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INDEX
1. Fado presents FIVE HOLES: reminiSCENT
Performance mini-festival, September 18 - 21, 2003
2. CALL FOR PROPOSALS: "Community/Performance" Bryant College (Rhode Island, USA)
Deadline: November 1, 2003,; Source: Artsadmin e-digest issue 97
3. CALL FOR PROPOSALS: "Inquiry into Collectives and the Artist's Role in Society" Artist Residency Program, Carnegie Mellon University (Pittsburgh USA)
Deadline: October 1, 2003; Source: APInews #50
4. CALL FOR PROPOSALS: ANTI - Contemporary Art Festival (Finland)
Deadline November 28, 2003; Source: Anti Festival
5. UPDATE, CALL FOR SUBMISSIONS: "April 2004 Boston Performance Festival" (Boston, USA)
Deadline extended to December 1, 2003; Source: Jamie McMurry
6. CALLING ALL AKA's (Also Known As's): art/research project (Roberts Creek, Canada)
Deadline: ongoing; Source: Anna Banana
7. CALL FOR SUBMISSIONS: "SONUS" CEC on-line electroacoustic repertoire (Canada website)
Deadline: ongoing; Source: CEC (Communauté électroacoustique canadienne / Canadian Electroacoustic Community)
8. EVENT: "RHWNT " WALES - QUEBEC EXCHANGE (Wales / Quebec City)
October 2003 / September 2004; Source: Andre Stitt
9. EVENT: "International Meetings on Popular Theatre" (Victoriaville, Quebec)
September 2003 - June 2004; Source: Théâtre Parminou
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1. Fado presents FIVE HOLES: reminiSCENT
Performance mini-festival, September 18 - 21, 2003
FIVE HOLES: reminiSCENT
September 18 - 21, 2003
Curated by Jim Drobnick & Paul Couillard
All events Free
five performance projects dealing with the sense of smell
PROJECT SCHEDULE:
Millie Chen & Evelyn Von Michalofski - THE SEVEN SCENTS
Saturday & Sunday, Sept 20 - 21, 2003, noon - 4 pm
Harbourfront between the pond/rink and Lake Ontario (Queen's Quay W.)
Shawna Dempsey & Lorri Millan - SCENTBAR
Saturday Sept 20, 2003, 6 - 9 pm
Karen Schreiber Gallery (25 Morrow Ave., # 302)
Cheli Nighttraveller - untitled
Saturday Sept 20, noon
Berczy Park (Front St. between Church St. & Scott St.)
Helen Paris & Leslie Hill (with guest artist Lois Weaver) - ON THE SCENT
Thursday - Saturday, Sept 18 - 20
half-hour performances in a private home
various times; call for reservations (maximum 40 participants)
Clara Ursitti - PULL UP TO THE BUMPER
Thursday Sept 18, evening (random street intervention)
Saturday, Sept 20, 6 - 9 pm (exhibition)
Karen Schreiber Gallery (25 Morrow Ave., #302)
Public discussion with the artists (and party)
Saturday, Sept 20, 9 - 11 pm
Karen Schreiber Gallery (25 Morrow Ave., #302)
presented in collaboration with BLANK SLATE
Fado is pleased to present FIVE HOLES: reminiSCENT, a series of five performances dealing with the sense of smell, curated by Jim Drobnick and Paul Couillard. For this series of site-specific works, audiences may find themselves being chauffeured through the city in a semen-scented limousine, engaging in an intimate aromatic visit in a private home, taking a smell tour of the seven seas while gazing out over Lake Ontario, ordering up their own personalized perfume, or reflecting upon 'cultural stench' beside a downtown fountain.
The title of this project, reminiSCENT, notes the powerful relationship between smell and memory. reminiSCENT focuses on the diverse relationships between smell and memory -- whether personal, cultural, social or historical. How do odours influence the creation of the self and the narrative of one's life? How can scents symbolize or mark political moments and historical eras? In what ways are aromas significant to the transmission of cultural memories and identity? How does the commodification of smell -- perfumes, artificial scents, etc. -- generate nostalgia and affect recollection?
FIVE HOLES is an ongoing Fado series that examines the nature and importance of bodies (performer and audience) in performance art by considering individual senses. Featured artists in this 'smell' component include Millie Chen and Evelyn von Michalofski (Ontario), Shawna Dempsey and Lorri Millan (Winnipeg), Cheli Nighttraveller (Montreal), Helen Paris and Leslie Hill (UK), and Clara Ursitti (Canadian artist living in the UK).
About the projects
Inspired by the legendary exoticism and adventure of The Seven Seas, Millie Chen and Evelyn Von Michalofski provide an occasion for virtual travel with THE SEVEN SCENTS. Cruise ship deck chair recliners face the waters of Lake Ontario and invite bystanders to lie back, relax, listen to a series of soundscapes and inhale the ambiance of distant locales. Like spa therapists, the artists will gently facilitate each lounger’s sensorial reverie. Distilling together sound and scent, romance and reality, the piece evocatively contemplates the fantasies of escape and the economic actualities of tourism.
Shawna Dempsey and Lorri Millan’s SCENTBAR promises unique, personalized scents scientifically tailored to each client’s memories, anxieties and desires. Trained technicians will tally the answers to visitors’ scent-questionnaires and concoct custom-made perfumes in their laboratory cum parfumerie. Drawing from a top-secret odour palette, their potions transcend the use of scent for fashion or flirtation. These one-of-a-kind distillations connect the wearer intimately and olfactively to the complexities of the contemporary world – they are fragrances for troubled times.
Cheli Nighttraveller’s untitled performance addresses racism operating at the level of the body and hygiene. Since the era of first contact, the so-called “odour of the other” has served as a pernicious means by which European colonizers stigmatized First Nations peoples. Reflecting at the edge of a fountain in Berczy Park, Nighttraveller recalls an episode in the life of Quannah Parker, the last chief of the Comanches, who once caused a stir by bathing in a public fountain. The artist will satirically confront the misconceived but persistent fiction of “cultural stench.”
ON THE SCENT, by Helen Paris and Leslie Hill, in collaboration with Lois Weaver, reconfigures an apartment with olfactory performances and interventions. Visitors journey through a series of visceral encounters that infuse the residence with heightened experiential potential. A trail of scents leads to stories and confessions wafting unexpectedly through the space and secreted away in compartments and corners. Reflecting upon the significance of smell in everyday life, this aromatized environment intensifies the role scent plays in identity, emotion, place and memory.
PULL UP TO THE BUMPER by Clara Ursitti occurs in a white stretch limousine, the acme of celebrity display and mobile partying. For selected performance-goers and chance passers-by, an intimate conversation and olfactory experience awaits as they cruise the streets of Toronto. The limo’s sensuous, private interior, complete with refreshments and other luxury comforts, is a chamber redolent with the spirit of seduction. In this gender reversal, a woman holds the balance of wealth, status and sexual agency as the artist inquires into the dynamics of stardom and urban prowling.
About the artists
Millie Chen and Evelyn Von Michalofski have collaborated since 1990 while concurrently pursuing individual practices. Their performative interventions – situated in retail stores, an ethnological museum, and sight-seeing meccas – engage olfactory, tactile and gustatory materials in the context of examining notions of history, tourism, the body and cultural difference. Chen has exhibited widely in Canada, the U.S., the Netherlands, Japan and Mexico. She teaches at the State University of New York at Buffalo and explores associations between the sensual and symbolic qualities of common yet potent materials such as bread, hair, rice and spices. Von Michalofski’s work has been included in exhibitions throughout Canada as well as the U.S., the Dominican Republic, the Netherlands and Spain. She focuses on the alchemical transmutation of materials, especially in regard to the food, drug and cosmetic industries. She resides in Belleville, ON and curates at the Museum for Textiles.
Shawna Dempsey and Lorri Millan have collaborated on performances, films, videos, publications and public art projects since 1989. This duo is best known for provocative, humourous pieces such as WE'RE TALKING VULVA, A DAY IN THE LIFE OF A BULL-DYKE, and LESBIAN NATIONAL PARKS AND SERVICES. Twisting traditional mythology and iconography, exploring notions of the lesbian body, and looking at the devolution of modern-day language and democracy, their works combine savvy writing, vivid personae and poignant wit. Based in Winnipeg, they have toured extensively throughout North America, Europe and Japan, and their film and video works have been screened in venues ranging from women's centres in Sri Lanka to the Museum of Modern Art, NYC. Their most recent publication is Lesbian National Parks and Services Field Guide to North America: Flora, Fauna and Survival Skills (Pedlar Press, 2002).
Leslie Hill and Helen Paris are London-based artists working in performance, video and digital arts, known for their edgy, humorous interrogations of contemporary culture and politics. Their company, curious, was formed in 1996 and has been supported by institutions such as the Arts Council of England, the National Endowment for the Arts (USA), the National Center for Biological Sciences, India and the Australia Council. They recently received a Franklin Furnace commission to make three short films in New York in 2004. The company’s work has been exhibited internationally and featured in a wide variety of publications. Their book, Guerilla Performance and Multimedia, was published by Continuum in 2001. Lois Weaver has been a performer, director, and writer with the Split Britches Company since 1980. She is currently developing solo work and a guerilla video performance commissioned by Franklin Furnace. She teaches at Queen Mary, University of London, where she is involved in STAGING HUMAN RIGHTS, a project using performance to explore issues of human rights in women’s prisons in Brazil and the U.K.
Cheli Nighttraveller, born in Saskatoon, explores her identity as a person of mixed cultural heritage (Métis) through performance and video. She was active in Saskatchewan's contemporary Aboriginal arts community before moving to Montreal in 2001. She has participated in artist residencies and performance festivals across Canada, including the 7a*11d International Festival of Performance Art (Toronto), Latitude 53's VisualEyez Festival (Edmonton), Sâkêwêwak Artists' Collective (Regina) and grunt Gallery (Vancouver).
A Canadian artist based in Glasgow, Clara Ursitti has worked with organic and synthesized fragrances for the past ten years. Collaborating with Dr. George Dodd, an olfactory scientist and aromatherapist, her series of olfactory portraits, sniffing videos, a dating service based on body odour (PHEROMONE LINK), a performance utilizing smell-tracking police bloodhounds, as well as a number of pungent installations have delved into the psychological and social aspects of scent. Exhibiting throughout Europe and the British Isles, and in Australia, New Zealand, Canada and the U.S., her work has been featured at the ICA in London and in the Venice Biennale.
Paul Couillard is Fado's Performance Art Curator. Working as an artist and organizer since 1985, he has created over 100 solo and collaborative performance works. He has been the Performance Art Curator for Fado since its inception in 1993, and recently edited the text/DVD publication La Dragu: The Living Art of Margaret Dragu.
Jim Drobnick is a critic and curator living in Montreal. He teaches at Concordia University and is Assistant Editor at Parachute. He has published in anthologies, catalogues and journals such as Crime and Ornament (2000), Foodculture (2000), Performance Research, Angelaki and High Performance. He is editor of the forthcoming book/CD Aural Cultures (YYZ/Walter Phillips Gallery) and co-editor, with Jennifer Fisher, of Living Display (University of Chicago Press). He is a founding member of the curatorial collaborative DisplayCult, which produced COUNTERPOSES (1998), VITAL SIGNS (2000) and MUSEOPATHY (2001), and is writing a book on the sense of smell in contemporary art and performance.
Fado is pleased to acknowledge artist travel support for this series from London Arts and the Glasgow School of Art.
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2. CALL FOR PROPOSALS: "Community/Performance" Bryant College (Rhode Island, USA)
Deadline: November 1, 2003,; Source: Artsadmin e-digest issue 97
Community/Performance (4th-6th June 2004) seeks to bring together scholars and practitioners of participatory art, community performance, performance theory and related fields. The three-day event will take place on the green campus of Bryant College, Rhode Island, which lends itself both to the installation for temporary outdoor art works, to the presentation of computer-based/new media works, and to traditional stage-based performances and workshops.
As part of Community/Performance, the national organization ACN/Arts Culture Nature will sponsor a number of panels and workshops that address in particular art and ecology issues.
Please send all queries and proposals by November 1st, 2003, to pkuppers@bryant.edu.
If you prefer snail-mail: Petra Kuppers, Asst. Professor of Performance Studies, English and Cultural Studies Department, Bryant College, 1150 Douglas Pike, Smithfield, Rhode Island 02917, USA
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3. CALL FOR PROPOSALS: "Inquiry into Collectives and the Artist's Role in Society" Artist Residency Program, Carnegie Mellon University (Pittsburgh USA)
Deadline: October 1, 2003; Source: APInews #50
The STUDIO for Creative Inquiry in the College of Fine Arts at Carnegie Mellon University seeks applicants from across the spectrum of all the arts for two residencies January - December 2004.
The STUDIO is an arts research center designed to support creation and exploration in the arts, especially interdisciplinary projects that bring together the arts, science, technology and the humanities, and impact local and global communities. At that intersection of art, science and society, STUDIO artists find new creative opportunities, funding and the means to transform society.
This fellowship program seeks to connect established artists to the robust science-technology resources at Carnegie Mellon. The artists will:
Engage contemporary science-technology as it provides tools, media and content to their work
Assume leadership roles in generating and implementing complex, collaborative projects
Connect the process of the projects and its results to the larger community
Artists will initiate projects and develop collaborative teams drawing on faculty-researchers across the university's major academic divisions in the arts, sciences, technology and social sciences.
During this residency program, the STUDIO will conduct an inquiry into the current trend of artists working as collectives, including the sponsorship of a panel discussion open to national participation culminating in a report.
Fellows will receive administrative support from the STUDIO staff, including assistance in developing connections with potential collaborators and facilities at the university. Office space in the STUDIO and computing equipment will be provided to each fellow. Fellows receive an email account and access to the university libraries, computer labs and athletic facilities.
Each resident will also receive:
12-month salary of $30,000 and special faculty status
Generous benefits package (healthcare insurance, free public transit, etc)
A project fund of $5,000 to be used for technical support personnel, equipment and/or supplies
Exhibition / presentation support
Travel and relocation assistance (Housing is not provided, but affordable, safe housing is readily available in the university area.)
Each resident fellow will be expected to:
Maintain residence in Pittsburgh during the residency
Develop and present a culminating work or work in progress developed during the year in residency
Work within the community of artists and other professionals at the STUDIO and the university towards enriching the overall interdisciplinary arts culture
Artists with established capabilities for working on complex, collaborative projects in the science-technology arenas are eligible.
Artists will be selected through an open, competitive selection process by a panel comprised of artists, STUDIO steering committee and staff, based on:
Professional capabilities of the applicants as revealed through resumes and documentation of prior work and their established ability to work collaboratively in complex projects
Proposals for utilizing the robust resources available (applicants will be encouraged to be open to the influences of their host environment)
Consideration of the diversity of the resident group
Applications are due are due October 1, 2003.
Recipients will be announced by November 1, 2003.
Details and application forms can be found at http://www.cmu.edu/studio/fellowships/index.html
Questions about the program may be sent via email to studio-info@andrew.cmu.edu
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4. CALL FOR PROPOSALS: ANTI - Contemporary Art Festival (Finland)
Deadline November 28, 2003; Source: Anti Festival
ANTI - Contemporary Art Festival is an international forum for experimental views of creating art.
In its programme ANTI Festival combines performance, live art, light & sound art and environmental art to function within a city. The events of the 2003 festival take place in 12 different locations in Kuopio, for example a petrol station, bomb shelter, nursing home and a barber shop. The concept of the festival has inspired people internationally; the site specific nature of the works and everyday locations create exciting situations for both the artists and the audience to experience the latest in arts today.
Call for proposals for ANTI 2004 begins in August, last day to send a proposal is the 28th of November 2003.
Info: http://www.antifestival.com/
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5. UPDATE, CALL FOR SUBMISSIONS: "April 2004 Boston Performance Festival" (Boston, USA)
Deadline extended to December 1, 2003; Source: Jamie McMurry
In the Spring of 2004, I will be leading a course that will explore the various means of curating and producing an international performance art festival.
The course will be taking place at the School of the Museum of Fine Arts in Boston, USA and will involve 8-12 students.
The festival will take place April 2nd and 3rd and a location has not yet been confirmed.
As part of the course, the students will review materials of various applicable artists from all over the world. After this review period is completed (BY APPROX MID FEBRUARY 2004), then the students will select 6-8 artists to participate in the festival.
Although I wish many more artists could participate, the available budget will not allow us to produce the works of more than 6-8 and the curating process is an important element of the course.
Selected Artists will receive:
$200 performance fee
all needed materials (limited to $200 per performance)
all technical requirements (sound, video, light)
private lodging for 4 days
local transportation as needed
At this time we do not know if we will be able to offer airfare. We will make every effort to purchase or get donated airplane tickets.
PLEASE SEND MATERIALS FOR REVIEW
-video, photos, press clippings, writings
Anything you would like the students to view as they are considering possible participants
School of the Museum of Fine Arts
ATTN: Jamie McMurry / Performance Dept.
230 The Fenway
Boston, MASS
02115-5596 USA
FINAL DEADLINE: DECEMBER 1st, 2003
please email me with any further questions
thepowderkeg@hotmail.com
http://homepage.mac.com/fnfestival
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6. CALLING ALL AKA's (Also Known As's): art/research project (Roberts Creek, Canada)
Deadline: ongoing; Source: Anna Banana
If you use and are known by an assumed pseudonym or nickname, or have changed your name legally, (other than by marriage) and are willing to engage in a research project into the hows, whys and affects of that change, I want to hear from you.
THE OBJECTIVES of this art/research project are to:
a) locate a significant number of artists who fit the above description, and
b) to investigate relationships between your name change/assumed name(s) and whatever visuals you have that reflect or result from the changed name, in your work, outlook, disposition, activities, relationships and artistic practice , and to
c) document with video, photos and texts any and all such evidence.
Through this research, I hope to verify the idea that those undertaking the radical step of changing their name, have accessed and expressed a wider range of talents, expressions and interests than they did while using their given names. My own experience in this regard, has been profound, and my reading on the subject, indicates that changing one's name has far reaching affects.
For purposes of the final presentation of my findings, I am looking for individuals who have visual evidence; materials that reflect or result from their new/assumed identity. For example; artwork (subject matter, style, media), clothing, photos/body size, posture, appearances (before/after), collections, activities; anything undertaken since the change that has a visual component.
THE FOUR PHASES of this research project are as follows:
Stage 1 to find/identify individuals who fit the description above.
Stage 2 is a questionnaire probing the above issues, to identify individuals whose name change has produced visual components, and who would be willing to engage in... .
Stage 3 a video interview, and permission to photograph the visual material that relates to/reflects your changed name for an eventual . .
Stage 4 presentation/installation, possible publication of the results of this research.
PLEASE NOTE: STAGES 3 and 4 will be dependent upon funding, but the project goes ahead regardless of the final outcome/presentation mode.
PS. Other Anna Bananas WELCOME
If this project interests you, please contact:
Anna Banana, RR 22, 3747 Hwy. 101, Roberts Creek, BC Canada V0N 2W2, or <a_banana@sunshine.net>
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7. CALL FOR SUBMISSIONS: "SONUS" CEC on-line electroacoustic repertoire (Canada website)
Deadline: ongoing; Source: CEC (Communauté électroacoustique canadienne / Canadian Electroacoustic Community)
(français suivant)
SONUS.CA -- a new resource for everyone interested in sonic art.
Looking for a place to hear new electroacoustic works, or to make your own materials available for listening? -- Sonus.ca -- a permanent searchable web jukebox of hundreds of pieces by artists from around the world.
The CEC (Communauté électroacoustique canadienne (CEC) Canadian Electroacoustic Community), presents SONUS, a permanent and ever-expanding on-line electroacoustic repertoire, complete with program notes and short composer biographies, freely accessible to the public.
Future plans include a Flash version with playlists, an improved search engine and curated galleries. For now, just click on http://www.sonus.ca for a listen and a look. Enjoy!
Participation :
All composers and sonic artists are invited and encouraged to contribute works to SONUS. Submission details are available at http://www.sonus.ca
Education / Research :
This collection offers a permanent database of sounds and pieces, which the international education and research community in music/sound perception can access freely.
For class use, students can be directed to specific works, or encouraged to explore the range of pieces. With access to parallel articles on analysis / description (starting with http://www.econtact.ca), the Sonus.ca site is an invaluable teaching aid for both the sound-oriented and the general student of this art form.
Thanks :
The site has been made possible with the support of the Canada Council for the Arts (Music Section), participating composers, and the <pep> team.
---
SONUS.CA -- un nouvel outil pour tous ceux que l'art sonore intéresse.
Vous voudriez pouvoir écouter de nouvelles pièces électroacoustiques, ou
au contraire rendre accessible à l'écoute votre propre production? --
Sonus.ca - un juke-box web permanent, doté de son propre outil de
recherche, offre déjà plusieurs centaines de pièces de créateurs(trices)
du monde entier.
La CEC (Communauté électroacoustique canadienne (CEC) Canadian
Electroacoustic Community) présente ici le fruit de ses efforts pour
l'établissement du premier répertoire électroacoustique en ligne d'accès
universel, comprenant notes de programme et résumés biographiques, dont
plusieurs sont présentés à la fois en français et en anglais.
Parmi les plans de développement, notons l'amélioration de l'engin de
recherche, une version en Flash avec listes d'écoute et l'ouverture de
galeries spécialement proposées par des curateurs attitrés, ce qui
n'empêche pas qu'une visite immédiate à : http://www.sonus.ca puisse
procurer, d'ores et déjà, une expérience plus que consistante.
Participation :
La CEC encourage la participation continue des compositeurs (trices) et
des producteurs d'art audio, lesquels trouveront sur :
http://www.sonus.ca tous les renseignements nécessaires pour soumettre
leur travail.
Enseignement et recherche :
En tant que base de données permanente rassemblant sons et compositions,
cette collection constitue une ressource indispensable et libre d'accès
pour la communauté internationale dédiée à la recherche et à
l'enseignement en musique et en perception auditive.
Dans un contexte scolaire, les étudiants pourront être, soit aiguillés
vers des oeuvres précises, soit encouragés à entreprendre des
explorations thématiques. Avec son accès parallèle à une série
d'articles descriptifs ou analytiques, Sonus.ca est un outil précieux
pour les personnes entreprenant des études non seulement en
électroacoustique, mais plus généralement orientées vers le son et la
musique. Voir : http://www.econtact.ca.
Remerciements :
Ce site n'a vu le jour que grâce aux soutiens du Conseil des Arts du
Canada (Section Musique), des compositeurs(trices) participant(e)s et de
l'équipe de <pep>.
=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>=>
Communauté électroacoustique canadienne (CEC)
Canadian Electroacoustic Community (CEC)
RF-302, 7141, rue Sherbrooke Ouest.
Montréal, QC, H4B 1R6, CANADA
Fax: (514) 848-2808
mailto:ian@econtact.ca
http://cec.concordia.ca
http://www.econtact.ca
http://www.sonus.ca
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8. EVENT: "RHWNT " WALES - QUEBEC EXCHANGE (Wales / Quebec City)
October 2003 / September 2004; Source: Andre Stitt
WALES - QUEBEC EXCHANGE
Performance art practice over the decades has often been predicated on the
notion of meetings: contact and exchange. This process has lead to
international networks of artists that form fluid amalgams and menaeouvres
in and around existing art systems exemplified in dominant culture.
Performance artworks often identified as time based or ephemeral activities
are always temporary and often influenced by the place and the time in which
they occur. As such they draw our attention to the very nature and process
of art making and the connection or exchange made in the moment of the
encounter.
RHWNT, literally meaning ‘Between’ in Welsh, is offered as a significant
encounter between artists, writers and teachers from different cultural
backgrounds. It is through contact and exchange that these practitioners
have affirmed a collective affirmation of similarity. The unique identity of
Wales and it’s language within the UK, the colonial legacy and contentious
economies of exchange embedded in it’s history has a significant correlation
with Quebec. Furthermore the formation of performance art collectives, art
run centres and initiatives is the foundation of much of contemporary
artistic culture in Cardiff and Quebec City.
RHWNT, organised as a collaborative exchange between Trace, Installaction
Artspace in Cardiff and Le Lieu, Centre en Art Actuel, in Quebec will take
place throughout 2003-2004. Both orgnisations were set up to explore intersections between artistic
disciplines. Both artist run centres locate their discourse within the
dissemination of contemporary art practice that seeks to place emphasis on
context, process, network and exchange. Their focus can be interpreted as
primarily performative - to explore the previously unconsidered ways of
‘thinking’ and ‘doing’ offered by time based art and work that emerges from
this activity - performance, installation, sonic and interactive arts.
Artistic directors of Trace; André Stitt & Le Lieu; Richard Martel, have
selected emerging artists from both communities to present live and
installed work in two major events.
In October 2003 Quebec artists will be presented at Trace, Chapter Arts
Centre and specific sites in Cardiff. The event will be augmented by two
educational exchanges between Cardiff School of Art & Design, Concordia
University, Montreal and Cicoutimi University, Quebec. A critic/writer from
each city will also take part to create a commentary on the event and to
further contextualize the issues and debates that arise from the meetings.
In September 2004 a similar event will take place in Quebec representing
Welsh artists. This will include work at Le Lieu Centre en Art Actuel, sites
throughout the city of Quebec and the Sequence Gallery in Chicoutimi.
Education exchanges will occur throughout 2003-2004.
RHWNT Quebec Programme - Cardiff October 2003
Thursday 9th Oct.
18.00 - 19.30 : Performance/Installaction - James Partaik
20.00 - launch : Chapter Art Centre: Videos & Documentations exhibition
Launch Party - Chapter upstairs bar + DJs
Friday 10th Oct.
Day - Site Specific performance [city centre] - Claudine Cotton
8.00 - Chapter Theatre: Video programme + 2 performances by :
Les Fermiéres Obsédées [Annie Baillargeon, Melissa Charest, Eugenie Cliche,
Catherine Plaisance]
Martin Dufrasne & Carl Bouchard
Saturday 11th Oct.
Day - Site Specific performance [city centre] - Claudine Cotton
Afternoon - Chapter Cinema 2 : Quebec Video + discussion
8.00 - Chapter Theatre: Video Programme + 2 performances by :
Les Fermiéres Obsédées [Annie Baillargeon, Melissa Charest, Eugenie Cliche,
Catherine Plaisance]
Christian Messier
Trace: James Partaiks installation will be open 2.00-6.00pm Fri-Sst. Then
at weekends until 26th Oct.
Quebec Education Exchange:
Michael Le Chance, Chicoutimi. Ingrid Bachman, Concordia, Montreal
Quebec Writers Exchange: Guy Sioui Durand
Quebec Publications rep. Nathalie Perreault, Inter Magazine
Quebec Director/Curator: Richard Martel
RHWNT Welsh Programme - Quebec City Sept. 2004
[specific dates to be coinfirmed]
Thurday
Opening - short actions/video
Friday
Evening - Le Lieu: 2 performances: Eddie Ladd, Richard Morgan
Saturday
Day/Evening - Lot Fleuric : Phil Babot - City Centre Underpass 2-7pm
Day/Evening - Le Lieu : Eve Dent - L e Lieu Basement 2-7pm
Evening - Lot Fleuric ; 2 performances; Matt Cook, Simon Mitchell + video
programme & DJs.
Sunday
Afternoon - Le Lieu: Video+ discussion
Evening - Le Lieu: Food & Party
RHWNT Welsh Programme - Chicoutimi Sept. 2004
Sequence Gallery: Paul Granjon - Exhibition/Installation
Welsh Education Exchange: Paul Granjon, Ella Gibbs, Cardiff School of Art &
Design
Welsh Writers Exchange: Heike Roms
Welsh Director/Curator: André Stitt
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9. EVENT: "International Meetings on Popular Theatre" (Victoriaville, Quebec)
September 2003 - June 2004; Source: Théâtre Parminou
Théâtre Parminou (Victoriaville, Quebec) in collaboration with le Centre de théâtre-action (Belgium) is organizing a series of international meetings on popular theatre from September, 2003 to June, 2004. Our aim is to bring together popular theatre workers from Quebec, Canada, and abroad to look at the state of this form of theatre today and to initiate new ways of collaborating to develop audiences. The meetings will also be open to the community workers and activists who will play a key role in our discussions.
The activities of I.M.P.T. will consist of two stages:
A Series of Seminars in November 2003
- Seminars and discussion will be held during the day and there will be an evening performance of Le Linge Sale (Dirty Clothes) by the theatre company Zigas, from Togo.
Dates:
- Montréal, November 1, Université du Quebec à Montréal (UQAM), salle Alfred-Laliberté.
- Gatineau, November 5, Collège de l’Outaouais ,333 Cité des Jeunes
- Quebec, November7, Laval University, théâtre de la Cité Universitaire.
A Festival and Conference June 3 to 7, 2004
- Symposium: Lectures, discussions and debates
- Training: 4 workshops
- Festival: 7 shows, participatory performances and animated events
- Networking: Organizing collaborations and audience development.
Most events will be open to the general public and will be publicized through a national media campaign and by a number of our European collaborators.
Project Rationale
Nowadays the communities we work with face issues that go beyond the socio-political context of any one province or country (increasing poverty, the environment, factory closings, etc.) Due to the rise of globalization we need to change the type of analysis we make about these issues. It is no longer possible to understand and define social realities within a sectarian or regional context. We need to integrate the vision of artists from elsewhere and bring to our stages issues that reflect both our own social realities, and echo those of the world.
Those of us who work in this type of theatre have a great need to share what we know to counterbalance the isolation in which we work, deal with the marked lack of resources supporting our theatrical development, develop our relationship to audiences and examine how we are financed.
In Europe and other parts of the world popular theatre is part of a network actively involved in an international movement with which we would like Canadians to become more closely linked.
For more info
Maureen Martineau
Co-Artistic Director, Théâtre Parminou
e-mail riti@parminou.com
telephone: (819) 758-0577 extension 29 or extension 0
fax: (819) 758-7080
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Fado is pleased to acknowledge the support of the Canada Council, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council and the Department of Canadian Heritage for their sponsorship of our ongoing activities.
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