ARTS CULTURE EVENTS Features In every issue FALL 2018 / WINTER 2019 12 How to Write a 3 President’s Letter Perfectly Sad Song Singer-songwriter 4 Event Highlights Kim Richey writes Some highlights from lyrics that tug at the this season’s Banff On the cover heartstrings Centre events , 2005)

14 The Full Light of Day 6 Connect With Us Electric Company Follow our InStudio Theatre’s most ambitious stories online project to date 8 From the Vault DOWN THE RABBIT HOLE RABBIT THE DOWN 20 Cultural Leaders Get to know the artists Shaping Communities behind some of the Canada’s artistic leaders works from our make an impact permanent collection

24 Taking Risks On and Off the Wall Climb into Tommy ELECTRIC COMPANY Caldwell’s book, The Push THEATRE has been ), PAUL D. FLECK LIBRARY AND ARCHIVES ( ARCHIVES AND LIBRARY FLECK D. PAUL ), creating unique and 28 Creative Counterpoints daring theatre in Crystal Pite and Jonathon

REVISOR Canada for over 20 Young return with Kidd years. The company’s Pivot’s, Revisor 10 Studio Visit innovative use of tech­ Learn about one of our nology, ability to bend Leighton Artists Studios genre, and experimentation with form have long caught the eye of contemporary theatre-goers across the country. 40 Open Studios Peek into the studios of Their latest and most ambitious project to date, The Full Banff Centre artists Light of Day, is no exception. As our cover depicts, the performance is a sensory feast of mixed-media, including 46 What’s On film and virtual reality paired with a live stage perfor- Plan your fall/winter mance. They join us at Banff Centre for a production cultural adventures residency this fall where they’ll dive deep into the story and push their artistic boundaries even further. Their 56 Alumni News residency culminates in a preview at Banff Centre before Celebrating Banff the show premieres at Vancouver Playhouse in 2019. 32 The Space Between Us Centre achievements Help set artists Indigenous artists use and milestones technology to decolonize the cultural landscape 58 Staff Recognition

34 A Sense of Place 60 Banff Centre Supporters in motion Author Ayelet Tsabari Read all about the show processes memory 64 Last Word and Electric Company’s through writing Exploring the creative Support the Artists’ Fund history on the Canadian workspace of stage on pages 14-19. 36 Arts Funding Rewritten Anishinaabe comedian How major supporters Ryan McMahon residency. Photo by Donald Lee. by Photo residency. Learn more and buy tickets All donations to the Artists’ Fund go directly to Banff Centre arts help build more inclusive at programs and support deserving artists on their creative journey. banffcentre.ca arts communities

To make a donation, please visit banffcentre.ca/artists-fund or call Candice Noakes at 1.888.495.4467 Dance Indigenous ( SLOBODIAN MICHAEL ROSE), GABRIELLE AND BELLIS SCOTT ABOVE, AND IMAGES (COVER JOHNSON BRIAN CREDITS: PHOTO

Fall 2018 / Winter 2019 InStudio 1 PRESIDENT’S LETTER

More Time. Banff Centre is thrilled to welcome More Space. back Kidd Pivot’s Crystal Pite and Jonathon Young as they put the finishing touches on their latest More Art. collaboration, Revisor. Crystal and Jonathon previously shaped their award-winning, internationally- Be part of a legacy 85 years in the making. Rita Taylor. by Photo participant, 2018. acclaimed piece, Betroffenheit, right here on Banff Centre stages. Banff Centre offers programs in the Indigenous, This fall and winter events season literary, media, performing, and visual arts. also features the annual Banff Centre Apply today. Mountain Film and Book Festival in DEAR November. The festival includes over ARTS 75 films from legends of the adventure banffcentre.ca community like Tommy Caldwell whose Emerging Banff Artist in Residence Emerging Banff Artist in LOVER, book, The Push, was finished in a Banff As the seasons change, we welcome Centre Leighton Artists Studio. You can read about how Caldwell equates

Brubey Hu, Brubey exceptional new events and residencies to our campus in the snow- physical and creative risk in this issue, covered mountains of Banff. then come see him speak on stage. This fall and winter, Banff Centre’s Finally, this season is also packed with campus is bursting with new creations great up close and personal shows by some of the country’s most exciting from Ron Sexsmith, Canadian folk and boundary-pushing artists. From and country singer William Prince, dance, to theatre, music, and visual a holiday concert with Sharon and art, creators from across Canada Bram, and a new work from renowned and the globe flock to the Rockies for Canadian choreographer Peggy some space to create their best work. Baker called who we are in the dark. We hear over and over from artists Please enjoy this issue of InStudio, how rare an opportunity it is to attend which looks behind the scenes of programs at Banff Centre, and this all our exciting artistic projects. We season our visiting artists are once look forward to welcoming you this again using their time to create bold fall and winter to Banff Centre. new works that will go on to tour the globe — and you get to see it here first! Sincerely, Our cover story this issue of InStudio explores Electric Company Theatre’s most ambitious production to date, The Full Light of Day. The Vancouver company is on campus this fall for a three-week production residency and avant-premiere of Janice Price their work before it premieres at PRESIDENT & CEO the Vancouver Playhouse in 2019. BANFF CENTRE FOR ARTS We speak with author Ayelet Tsabari AND CREATIVITY and comedian and performer Ryan McMahon about their creative practices, and what storytelling means to them. Singer-songwriter Kim Richey also gives advice on how to write a perfectly sad song. PHOTO CREDIT: COLIN WAY COLIN CREDIT: PHOTO

Fall 2018 / Winter 2019 InStudio 3 WHAT’S ON AT BANFF CENTRE

TOP: Ensemble Electric Company Theatre The Debaters Live Contemporain The Full Light of Day December 2 de Montréal’s October 19 After a sold out show last year, Génération2018 A new film/theatre hybrid The Debaters Live is back with this Canadian tour written by Daniel Brooks and special Christmas-themed event. conducted Join us this winter Host Steve Patterson and two of his by Véronique directed by Kim Collier. favourite comics perform stand-up, Lacroix (photo for music, dance, with two hilarious debates focused by Jan Gates). theatre, lectures, ECM+ Génération2018 on the holiday season. BOTTOM: JUNO and peeks inside October 25 Award winning our artists’ studios. Crossing Canada from West to East, singer-songwriter Revisor ECM+’s Génération2018 Canadian William Prince Learn more about tour, conducted by Véronique A Kidd Pivot production created (photo by Fanny L our fall and winter Lacroix, presents the latest edition by Crystal Pite + Jonathon Young Photography). shows and events of this legendary project in which February 13 + 14 on pages 46–55 the Canadian public can vote for From the creators of the internationally its favourite composition. and on our website acclaimed Betroffenheit comes a new dance/theatre work about corruption, at banffcentre.ca farce, and the forces of radical change. Literary Arts Public Readings ABOVE: December 6 + 13, January 23 + 30, Electric Company March 15 + 22 William Prince Theatre presents The Listen to readings from writers March 2 Full Light of Day (photo in Banff Centre’sWriters Retreat Raised on the Peguis First Nation by Brian Johnson). programs hosted by guest mentors of Manitoba, Prince is a JUNO OPPOSITE: Alex Leslie, Anne Fleming, Pasha Award winning singer-songwriter Revisor, a Kidd Pivot Malla, and Zsuzsi Gartner. whose music is full of emotionally production (photo by charged experiences. Michael Slobodian).

banffcentre.ca Fall 2018 / Winter 2019 InStudio 5 @BANFFCENTRE CONNECT WITH US Art Online

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), BEN TIBBETS (VALENTINE FABRE), CHRIS AMAT, PAUL D. FLECK LIBRARY AND ARCHIVES ARCHIVES AND LIBRARY FLECK D. PAUL AMAT, CHRIS FABRE), (VALENTINE TIBBETS BEN ), on the creation of new works at Banff +

@banffcentre to get regular ÉE Centre. Keep an eye on our social peeks into our artists’ spaces, channels for a behind-the-scenes look information about upcoming at these creations. performances, and stunning There’s More to See views of our unique campus OPEN STUDIO is a video series that in the mountains. Behind the Scenes goes inside the studios and creative spaces of our artists and asks them about their practices. Step inside the Get involved with Banff Centre online studios of our participants to see what to see even more from InStudio. Every their process is all about. time you see the plus symbol ( ), it means we’ve got more in store for you, with videos and articles available online. You can also explore more on our website and on YouTube. Learn how Tara Bryan’s artists’ book, Down the Rabbit artists get inspired to create their Hole, 2005. Turn the works in our Spotlight series. Plus, page to read more check out our Banff Centre Presents about this work (photo courtesy of series to get a deeper look at the Paul D. Fleck Library creation of productions before they and Archives). head out into the world. banffcentre.ca PHOTO CREDITS: BANFF CENTRE FOR ARTS AND CREATIVITY, RANDALL L. SCHIEBER (ORPH SCHIEBER L. RANDALL CREATIVITY, AND ARTS FOR CENTRE BANFF CREDITS: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 7 FROM THE VAULT

TARA BRYAN Down the Rabbit Hole, 2005

BY SARA KING-ABADI

ARTIST TARA BRYAN loves and also create that kind of the element of surprise. ‘what the heck is going on That’s why, as a response to here’ feeling,” she says. a call for artists’ books cel- Bryan tries to pick ma- ebrating the works of Lewis terials that suit the idea Carroll, Bryan transformed of the story, like the Thai the “Down the Rabbit Hole” bamboo paper on the out- chapter of Alice in Wonder- side wrapper of the book, land into a work of art that that’s meant to evoke the you can tumble into. grass that Alice would have “I like making books be- been sitting on by the river cause they are kind of an bank before her fateful fall. intimate contact with the For Bryan, who has been viewer,” Bryan says. That’s making artists’ books since why she imbues her work the mid-'80s, the medium is with the unexpected. “I think an interactive way to reach that people who are ad- the viewer. “I think that it’s venturous in reading them really important to create should be rewarded.” that kind of conversation, to Cheeky labels on Down take them out of their regular the Rabbit Hole beg the book reading element into a viewer to “lift me” and “pull different world,” she says. me.” The intrepid reader who Banff Centre’s Paul D. dares to pull the cord falls Fleck Library and Archives into an accordion tunnel of houses one of largest text that almost literally pulls artists’ books collections them into the first chapter of in North America, with the classic children’s story. over 5,000 titles, and holds seven of Bryan’s works. The library’s signed copy CELIA PERRIN intersecting forms and planes, this configurations [that these objects] I WANTED of Down the Rabbit Hole SIDAROUS dynamic composition urges the viewer would normally present themselves TO GIVE is edition 15 of 40, and is to assess the relationship between under.” These assemblages of seem- the second incarnation Striped sticks, streamer, a collage each photographed component in ingly random forms allowed her to delve of the book. Even though and some wood, 2012 THE a highly controlled space. Perrin Si- into an aesthetic vocabulary rooted in this edition from 2005 won BY SARAH FOX darous’s careful and calculated assem- photography, sculptural impulse, and VIEWER a Craft Council award for blage elevates the act of looking into a the history of still life as a genre. Innovation and Design, Bryan CELIA PERRIN SIDAROUS’ artistic prac- deeper exploration of object potentiality. Perrin Sidarous was the recipient VERTIGO. has redesigned the book tice is characterized by a preoccupation During her time in the Bow Valley, the of the Barbara Spohr Memorial Award a third time in an attempt with the interplay of collected objects Montreal-based artist scavenged ma- in 2011, a juried biannual prize awarded Don’t let the delicate to properly capture Alice’s and still life photography, which evolved terials around campus including “logs, to Visual Arts alumni making significant look of the die-cut boards fall into the unknown. during her first Visual Arts residency at snacks, leftovers from performances contributions to photography by the and Japanese kiritsubo pa- Banff Centre in 2010. [her residency participants] were doing friends and family of the late artist Bar- per fool you. All of Bryan’s Paul D. Fleck Library and Five works from Perrin Sidarous’s together as a group, twigs, rocks,” she bara Spohr, administered by Banff Cen- books are meant to be Archives at Banff Centre is generously supported through series Les Choses (“things”) (2012- says. Subsequently experimenting with tre. Later this year, she will be pursuing played with, and this work the Bobbye Ruth and Dewitt L. residencies in Italy and Norway, while 2013) became part of the Walter Phillips composition and photographing these is meant to let drop into thin Potter Library Endowment Gallery permanent collection in October items in her studio, Perrin Sidarous continuing to evaluate and activate the air, creating a rush of shock Fund and the William and 2013. Striped sticks, streamer, a collage developed this practice into a daily ritual. interior quality of inanimate objects. and disorientation. Nona Heaslip Endowment for and some wood (2012) is a rose-hued In the artist’s words, this process was “I wanted to give the viewer Archives for Performing Arts. arrangement of precarious, yet precise- “a form of note taking…a way to look at vertigo, and that element of

ly placed objects. Juxtaposing various things differently, to change assumed ARCHIVES AND LIBRARY FLECK D. PAUL OF COURTESY CREDIT: PHOTO surprise of suddenly falling,

banffcentre.ca Fall 2018 / Winter 2019 InStudio 9 STUDIO VISIT

Renowned Canadian architects designed artist retreats that are perfect spaces for creation. Here’s the next in our ongoing series exploring Banff Centre’s Leighton Artists Studios. The Glass

“I’ve never House worked so well in my entire life

BY RYAN McINTOSH as I have here, in the Evamy. THE LEIGHTON ARTISTS STUDIOS, opened in 1985, This is a stunning are nine unique studio spaces for artists working in all genres. The area is located on campus, but place to work nestled in the forest in a world all its own. as a writer.” Each of the eight original studios was named for the Timothy Findley distinguished Canadian architect who designed it, 2001 for Banff Park and each space is unique in its look and feel. The Radio interview beautiful, secluded spaces have housed writers, composers, singer-songwriters, visual artists, screenwriters, playwrights, translators, curators, theorists, and more. It’s the perfect place to es- cape into your thoughts and focus on creation. Located in a small clearing surrounded by a forest of spruce and pine, the Evamy Studio, designed Have a 360° by architect Michael Evamy, was made for writing, look at more whether by authors, playwrights, or composers. studios and The studio, also called “The Glass House,” appears spaces on to have more window than wall with its balanced use campus at of glass and cedar. The features include skylights and facebook.com/ corner windows which give the occupant beautiful banffcentre Original floorplan of the Evamy forest and mountain views from every angle. This Studio, by creates a serene atmosphere that feels like a very Michael Evamy open but private space to work all at once. (courtesy of the Paul D. Maintenance of the studios is supported by the Fleck Library Leighton Artists Studios Facility Renewal Endowment.

and Archives). AMAT CHRIS CREDIT: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 11 How to “WRITE WHEN YOU’RE IN THE Write a THICK OF IT.”

Write when you feel it Some find that a little distance makes Perfectly for clarity when it comes to emotional matters, but for Richey, that raw feeling is where she finds inspiration. “Write when you’re in the thick of it,” she says. That feeling will come through onto Sad Song the page and preserve the moment. “I kind of lean towards the melancholy a little bit. I think the place where I can put that, without being a sad person Singer-songwriter Kim Richey all the time, is in songs.” Even if it’s not quite right, it’s a starting place, and a writes lyrics that tug at the potentially cathartic one at that.

heartstrings BY DEVON MURPHY Find the heart of the matter In the space of a song, there’s not a lot of room to tell your story. That means the songwriting process is a lot about THERE ARE CERTAIN TYPES OF SONGS trimming the fat and making every WE TURN TO IN TIMES OF NEED — sad word count. “Sometimes people will songs, love songs, songs that seem keep saying the same thing over and to turn anger into vapour. When lyrics over again without advancing the story,” authentically capture a feeling, a catchy says Richey. Every verse should say tune can transform into a saving grace. something new. That’s also what makes That’s why the art of songwriting re- playing and tweaking your song all the quires vulnerability, and a willingness to more important. “You’ll always hear give a piece of yourself to the listener. a word you can change that makes it mean so much more.” Kim Richey is a musician who understands the power music can have on a person. Richey, faculty for Banff Centre’s Sing- Just get started Primary Colours er-Songwriter residency, has released­ “Every time I sit down to write a song, featuring nine albums and has co-written with art- I don’t know if I’m ever going to be able Kim Richey ists like Dixie Chicks and Trisha Yearwood. to write another song,” says Richey. performs If you’re feeling a bit blocked or emo- on October 6. For Richey, writing a new song — especially a sad one — is a way to tionally drained, get up and get moving. Buy tickets at reach out to people who may be Richey likes to go for a walk, grab a banffcentre.ca feeling the same way she is and coffee, or read books that put her in a letting them know they’re not alone. new frame of mind. Though it can be “That’s what we’re all trying to do — hard at first, Richey promises, “Once connect with people,” she says. you know where the song’s going, then it’s really fun.” Here are some songwriting tips from a woman who’s spent years pouring her Devon Murphy is the Editor of InStudio. heart out on the page. Kim Richey joined Banff Centre as faculty last spring for the Singer-Songwriter residency. She was generously supported by the Paul

D. Fleck Fellowships in the Arts Endowment. BINKLEY GINA CREDIT: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 13

A PERFORMANCE ABOUT MONEY, CAPITALISM, AND FAMILY; A HYBRID OF THEATRE AND FILM; A TECHNOLOGICAL FEAT.

All of these elements come together as Electric Company Theatre’s newest production, The Full Light of Day, emerges from the shadows this winter for a production residency at Banff Centre before its premiere at the Vancouver Playhouse in January 2019, followed by a run at Toronto’s Luminato Festival in June. The piece is certainly ambitious, but Naomi Campbell, deputy artistic director of the Luminato Festival is excited about what’s to come. “The com- bination of Kim Collier and Daniel Brooks is pretty exciting,” she says. “They’re both theatre directors at the top of their game.”

FROM FILM SCRIPT TO STAGE PRODUCTION

The Full Light of Day is, quite literally, a film adap­tation — writer Daniel Brooks even created the script using screenwriting software. It’s described by director Kim Collier as a “modern tragedy,” and began as an adaption of Yasujiro– Ozu’s 1953 masterpiece Tokyo Story (which was, in turn, based loosely on the 1937 American filmMake Way for Tomorrow). But while the work was initially inspired by the cine- ma, it soon grew to encompass much, much more. “At the time, I was in Karnataka in India,” says Brooks, “and was reading a lot about the Mumbai mafia. So in the forest of Karnataka I let myself go, allowing myself to write freely, informed by Ozu, violence and corruption, and various stories from my own family history.” It was there a first draft emerged — the story of Mary, an ageing matriarch of a wealthy Toronto family whose life is thrown into chaos when one of her children goes missing. It’s an exploration of greed, wealth, ambition, and capitalism — the Toronto housing market features heavily in the production.

banffcentre.ca Fall 2018 / Winter 2019 InStudio 17 “A FILM AND YET

“I wanted to write something that structur- NOT A FILM. ally encouraged a kind of experience for an audience that did not provoke outrage or THEATRE AND YET righteousness, but a more tempered and NOT THEATRE. less predictable, less rational response to complexity,” says Brooks, a prolific writer and IT’S GENRE-BUSTING.” director, and winner of the 2000 Capital Critics Circle Award and the 2001 Siminovitch Prize for excellence and innovation in Canadian theatre.

He coined the phrase “plausible ambiguity,” to describe the storytelling technique “in which much is omitted,” preferring obscurity and com­ plexity over certainty. In an age of extremes, of moral outrage and indignation, Brooks is striving for nuance and understanding. He was guided in this quest by the novels of George Eliot, whose “We are so grateful to have Banff Centre as a mission in her work is, as he understands it, producing partner for the work.” “to expand her reader’s capacity for compas- sion,” notes Brooks. It’s a mission shared by Bringing The Full Light of Day to the stage will Collier. “What we need from our art is to keep require Collier to draw on her previous experience building compassion and healing and collectively directing challenging productions over the years. moving towards the greater good,” she says. “From creating scenography for the stage through production whose lyrics consisted solely of “Even when the work was smaller, its aspiration video projection (as we did with Studies in Motion) numbers. “Those [first] shows integrated tech- was on a large scale,” says Campbell of Electric The challenge, however, is to bring that film script, to working with live feed cameras (Brilliant, The nology in an increasingly organic way,” Campbell Company’s earlier years. “Even in their one-per- with all its nuance, to the stage. That’s where Col- Fall, No Exit), or working with filmed units that recalls. “It’s not like taking a separate script, like son shows, there has also been this tremendous lier comes in. “I asked Daniel if he would be open are created in pre-production (The Fall, Tear The Hamlet, and deciding we want to do a contem- ambition.” Perhaps it’s fitting that, 22 years after to bringing his emerging creation to the theatre,” Curtain, The Score, Riot) — it’s a beautiful and porary version and all the ghosts are on film and its founding, The Full Light of Day is the compa- says Collier. “I loved the story and I felt that what flexible toolkit I’ve acquired that will be utilized to Hamlet’s madness is on video,” she says. “This ny’s largest and most ambitious project to date. was at the core of the piece was very important best serve the story and the actors,” she says. is a step beyond that. When they knew from the “This massive project has literally taken a village and urgent,” she says. She also knew from methodology that they wanted to use [technol- of cooperation to achieve,” notes the company’s previous experience that situations which initially The production, billed as a film/theatre hybrid, ogy], that becomes a part of the vocabulary and artistic producer, Clayton Baraniuk. seem impossible to stage can make for great will feature four short virtual reality films that Scott Bellis and that’s a different thing.” theatre. “We thought of the writing as inspiration, serve as companion pieces to the stage play. Gabrielle Rose As the premiere approaches, Collier is focused as possibility, as movement,” Collier says. “Not Set designer Julie Fox has developed material working with In other words, the tech was there from the on giving life to Brooks’ mo­dern tragedy that final…but a place from which to dream.” And so, scenography that allows the action to flow like filmed units that beginning. Collier, the recipient of multiple awards originated as a film script so many months together, Collier and Brooks discussed what was a film, “landing us in one location after another,” are created in including the 2009 Vancouver Mayor’s Arts ago. “Art takes time,” says Collier. “The more and wasn’t possible. “Questions about locations, says Collier. A film and yet not a film. Theatre pre-production Award and the 2010 Siminovitch Prize in Theatre, time you have, the more you can refine what the number of characters, how we move from and yet not theatre. It’s genre-busting — one (photo by notes that people tend to have strong opinions you want to say and do.” With The Full Light of Brian Johnson). one scene to another — these practical questions of Electric Company Theatre’s specialties. about the use of technology in theatre. “Many, I Day, as with the company’s previous produc- have become increasingly pressing as we move think, feel it is a brutal thing to interrupt the live tions, the medium is part of the message. “We towards production,” admits Brooks. potential of theatre with tools that dominate our are surrounded by images and media. We use A LOOK BACK AT A COMPANY lives elsewhere: television, film, screens, phones, it to serve our desires and ambitions,” says In late September, Electric Company Theatre THAT LOOKS FORWARD and computers.” A theatre patron, the thinking Collier. “So of course, the stage is like us: part will be participating in a three-week production goes, perhaps wants an escape from technology live, part mediated. It is who we are now.” residency at Banff Centre where they’ll be able to Collier co-founded Electric Company Theatre in rather than a production that engages with it — a work some of those questions out and prepare 1996 along with Jonathon Young, David Hudgins, perspective Collier says she understands. “But of Jennifer McCartney is a New York Times bestselling author. The Full Light of Day for its premiere. “It will allow and Governor General’s Award-winning writer course there are no absolutes and no right ways Electric Company Theatre’s production residency is us to test prototype ideas that have only been Kevin Kerr to “defy and expand the definition of to do anything in the theatre,” she says. “Not all generously supported by the Maclab Enterprises worked out on paper and see if they work,” says what live theatre can be.” For Collier, that meant pieces want technology. I have no interest in Endowment Fund. Collier. “It’s just not possible to bring to life a experimenting with technology in ways that hadn’t technology separate from its ability to enhance fully integrated production — ensuring the media, yet been explored in Canadian theatre — the or support the experience of content.” Ultimately, actors, staging, light, sound, composition, and set company’s first production,Brilliant! The Blinding she says, a production must feel alive and unde- animations all work together seamlessly — without Enlightenment of Nikola Tesla, featured a “live” niable and help us feel more connected in this spending time together in the theatre,” she says. silent film, a glowing five-foot orb, and a choral world, regardless of whether or not it uses media.

banffcentre.ca Fall 2018 / Winter 2019 InStudio 19 Cultural Leaders Shaping Communities

Banff Centre’s Cultural Leadership program teaches the importance of putting community first BY AFTON BRAZZONI

As organizations and their leaders including understanding how institu- navigate this shift from an inward fo- tional structures may contribute to op- cus outward, the concept of systems pression. “I got so much motivation out leadership — the ability to perceive and of the program that whatever we do, respond to the complex systems we even if it’s small, will matter,” she says. CONNECTION TO OURSELVES “This program was like a recalibration “There is so much we can do when we work within — comes into play. These AND THE WORLD is inherent in of what I thought was possible as work collectively,” McManus says. systems may seem overwhelming, One example is a policy development artistic practices and experiences. an executive director of an arts but they’re highly susceptible to small project at ArtStarts to help prevent Increasingly, arts and culture leaders organization. It taught me how to He believes arts and culture organiza- changes, Nuraney explains. cultural appropriation. “We were across Canada are expanding their work across and beyond the sector tions are beginning to step into new afraid that it wasn’t perfect,” Nuraney focus beyond the organizations they to make change happen,” she says. roles within their broader communities, The Cultural Leadership program says. “But we put it out there as a lead to connect with the broader signalling a shift away from historical encourages leaders to practice what working policy and asked people to communities those institutions serve. Not-for-profits are often constrained boundaries. “There’s an opportunity the arts teach, and contribute. This type ArtStarts by a lack of resources, but networks for leaders to think less about the experiment to gather of work allows us to in Schools programs “We’re all born as innate creative can provide solutions to capacity institutions and more about the com- feedback and drive The second engage with others who Professional beings, and arts and culture tran- issues and help organizations munities we serve.” innovation. Leaders we become are probably dealing Learning for scend the boundaries we create deliver on their mission by working should also get com- with similar challenges. Teachers (left) and become socialized to believe,” alongside others aligned around a Cultural Leadership co-faculty and fortable with consis- irrelevant to People won’t really and Gallery says Navida Nuraney, Executive cause. An aha-moment for Nuraney Banff Centre’s Vice President of Arts tent evaluation, she our community know who you are or Drawing Director of ArtStarts in Schools. was learning to view her organi- and Leadership, Howard Jang, says adds. “In the social how to connect with (right) (photos The Vancouver-based organization zation as a node within a network, the program was designed with that innovation sphere, we should no you if you don’t express courtesy of expands the role of art in education rather than as the centre itself. premise in mind, using the not-for- evaluation isn’t about longer exist. your value systems.” ArtStarts). and provides artistic experiences profit model as inspiration. what you’re trying to for youth across British Columbia. She’s not alone in that discovery. Exec- prove, it’s about what At Manitoba Music, the utive director of Manitoba Music, Sean “At its core, every not-for-profit is you’re trying to improve and learn. health and well-being of artists, rather When Nuraney applied for Banff Cen- McManus, echoes the sentiment. The governed by its community,” Jang If your impact starts to change… than just their work, has become tre’s Cultural Leadership program, her not-for-profit association represents says. “We tend to think of our- be open to where the work is going.” increasingly important, McManus says. focus was internally tuned to how she over 800 members in all areas and selves as businesses, but we’re As part of its mandate, the organi- could help her organization reach its genres of the province’s music indus- community activists. The second Nuraney says Cultural Leadership zation helps artists and companies highest potential. However, she quickly try by supporting them with education, we become irrelevant to our com- prompted her to examine ArtStarts’ achieve financial sustainability. learned that working in isolation can advocacy, and industry development. munity we should no longer exist.” responsibility to engage with and only take an organization so far. respond to current societal issues,

banffcentre.ca Fall 2018 / Winter 2019 InStudio 21 Participants at the initial Primary Colours Cultural gathering in Leadership Brilliance Toronto. program participants at Banff Centre (photo by Happens Rita Taylor). Here Book your conference at Canada’s home for arts training and creation.

Learn more Contact us today. about Banff Centre 87 7.760.4595 Leadership programs [email protected] and register today banffcentre.ca at banffcentre.ca Photo by Chris Amat. by Photo

Canada’s music economy is growing, in institutions,” he says. “The potential “The calibre of the learning was so rich. but musicians’ work adds so much is to develop leaders who are strongly It felt like a master’s degree, but so more than economic value, McManus community-based. If we can do that, it actionable,” she says. “Anyone who’s says. That’s why Manitoba Music will have global impact.” going to embark on a career in the partners with non-traditional arts arts should be motivated and excited organizations like small collectives For McManus, who has a master’s in about how we can transform society’s to amplify their work. musicology, the program offered a perception of what the value of art is combination of mentorship and a solid to begin with.” As the Cultural Leadership program perspective on the arts and culture enters its second year, Jang says sector. “Increasingly the role of leader- Afton Brazzoni is Marketing Lead for Banff Centre’s focus is on bring- ship within arts is to be thinking about Banff Centre Arts and Leadership program recruitment. ing new, diverse voices into the what we’re doing with the power of classroom and continuing to gather the arts and not to take it for granted. Banff Centre Leadership programs inte- feedback from participants so the There’s a responsibility there,” he says. grate the power of the arts, the wisdom learning has impact and relevance. of Indigenous practice, and the beauty of Banff National Park to prepare and em- Nuraney, who has a master’s of power the next generation of leaders. The “Although some of the program will business administration, says she Cultural Leadership program is generously build capacities in terms of skills, it is previously felt she had the necessary supported by BMO Financial Group, The meant to offer rigorous reflection into education to be successful in her work, Globe and Mail, and Thomson Reuters. the role of a cultural leader and the but the Cultural Leadership program ways in which leadership is manifested added context around purpose.

banffcentre.ca banffcentre.ca Fall 2018 / Winter 2019 InStudio 25 Tommy Caldwell Oct 27 – Nov 4 2018 seen after climbing the Dawn Wall during the filming of the movie The Dawn Wall in Yosemite Valley, CA, United States in January, 2015 (photo by Bligh Gillie).

All these events involved a certain level “After arriving at Banff Centre I felt of risk, first assessed and often set equally single-minded. My climbing aside. But Caldwell applies the same gear sat unused in a duffel bag next lessons he’s learned on and off the wall to my bed. I wrote 16 hours a day and to his own creative practice as a writer. for the first time in my life I wasn’t even tempted to go climbing,” he says. A 19-day media circus ensued after “When my brain felt tired I hit the reset Caldwell completed the first free as- button by going on short runs up Tun- cent of the Dawn Wall in Yosemite; the nel Mountain. Inevitably, while running, world was eager to hear his personal more ideas emerged and I constantly story. The next thing he knew, he found had to stop to jot down notes. The himself in New York City ideas turned themselves into sentenc- at a big publishing house Join us for nine days at My ambition to es, then pages, and chapters.” signing a book deal. Writ- North America’s largest write a book was ing The Push: A Climber’s The Push is a compelling and gripping mountain festival, filled supposed to be a Journey of Endurance, narrative. There is an honesty to with stories of remote Risk and Going Beyond Caldwell’s writing that treads on risky, journeys, groundbreaking search for truth. Limits, his memoir about private territory. His vulnerability is expeditions, and cutting- that ascent, was another evident and he embraces it. edge adventure shared kind of risky business for Caldwell, but “In climbing, we often think that we are by filmmakers, authors, one he was ready and willing to take on. © Ben Tibbetts working towards a goal, a summit. But photographers, and “Memoir writing and public speaking when we get there we find little more adventurers from do a decent job of fuelling my appetite than hollowness, uncertainty,” he says. around the globe. for risk. They require a similar leap of “Maybe that’s okay, because uncertainty faith and a belief that it’ll all work out seems to be a precursor to euphoria, Tickets now on sale in the end,” he says. “My ambition to and euphoria a precursor to uncertainty. write a book was supposed to be a So maybe our search for summits and

Valentine Fabre, Dent du Géant Fabre, Valentine See Tommy Caldwell at search for truth.” truth will not bring us to the end, but in fact, back to the beginning.” the 2018 Banff Centre After learning about Caldwell’s writing Mountain Film and Book project, Banff Centre for Arts and Cre- Stepping out onto the ledge of the Festival Friday, November 2. ativity offered him and his co-author, unknown realm of writing, Caldwell Over 75 screenings and Kelly Cordes, a two-week residency in may have found his new medium. events are scheduled the Leighton Artists Studios — time to throughout the nine-day reflect, polish, and complete the book. Joanna Croston is Banff Centre Mountain Film festival. To learn more The experience opened new doors for and Book Festival’s Programming Director. and buy tickets, visit Caldwell, expanding his ideas about banffmountainfestival.ca what challenge and risk really mean. Tommy Caldwell’s stay in the Leighton It offered a new focus, not unlike Artists Studios was generously supported by the Paul D. Fleck Banff Centre Box Office climbing itself — so Caldwell committed Fellowships in the Arts Endowment. 1.800.413.8368 to the project much the same way. banffmountainfestival.ca

banffcentre.ca Creative Counterpoints

Crystal Pite and Jonathon Young’s dance-rich, theatre-smart Revisor marks the next step on their creative, collaborative journey together BY KAIJA PEPPER

THE INTERACTION BETWEEN MOVEMENT AND based on Shakespeare’s Tempest that made clear TEXT — how the poetry of the body in virtuosic the specifics of the story and characters, which then action can co-exist with concrete ideas — fascinates imbued the second, more abstract act with partic- Crystal Pite, an extraordinary choreographer with ular meaning: the audience was not watching yet commissions from major dance companies around another “angsty” dance between two people, but the world. In recent collaborations with writer, actor, could recognize Prospero and his daughter Miranda. and co-founder of the innovative Electric Company A similar interplay fuels Revisor, with its complex Theatre, Jonathon Young, she has pushed and interaction of dance and words. “I’m interested pulled, prodded and probed the relationship for all in theatrical images,” says Young. “Working with its worth. Pite and Young return to Banff Centre in Crystal provides a way of supporting those images, February along with their design team and cast of giving them a different kind of depth and context.” eight dancers to complete the final phase of their When we spoke at the beginning of the summer, third co-creation, Revisor. they were still “circling around” the content, as Pite Text has typically been a source of inspiration for describes their process. She talked in broad terms Pite’s choreography. We’re not talking traditional about how, from the beginning, it felt “necessary, story ballet, with its notoriously clunky reliance on because of our times,” to do something political. mime, to which Pite says she is “allergic.” Her take “We wanted to talk about corruption and deception, has always been both more straightforward, like and occupation, and power.” projecting words onstage to clearly advance the She and Young had considered including farce in narrative, and also complex. For instance, The their hard-hitting, theatrically inspired exploration Tempest Replica (created for her Vancouver com- of trauma, Betroffenheit, but a vaudeville-styled pany, Kidd Pivot) began with a very theatrical act showtime took shape, instead. Farce, with its PHOTO CREDIT: MICHAEL SLOBODIAN MICHAEL CREDIT: PHOTO

Fall 2018 / Winter 2019 InStudio 29 “It was so exciting to see the dancers respond to [Jonathon’s] take on how to approach the text.”

Crystal Pite

Jonathon Young

ability to express the absurdity of much human The central character in Young’s script is a revisor, approach the text — what the backstory is, and the That play of form and content is complicated, behaviour around power and politics, found a responsible for the revision of legal texts. “The intent and the possible interpretations — and to see but it’s what this duo does best — orchestrating a home with Revisor. language of statutes and charters tells us how to new dimensions to their dancing emerge.” fine, sometimes giddy counterpoint of story and Farce had been on Young’s mind for several years, be,” says Young. “It tells us what’s acceptable and “The script has been rattling around in my head for abstraction to expand the limits of both dance and since reading about Russian avant-garde theatre what’s not. Our character works deep down within a long time,” Young explains. He’s familiar with every theatre, art and entertainment. director Vsevolod Meyerhold. He had come across language, tinkering with it, but he’s mistaken for nuance of “who the characters are, what they might “We’re offering multiple ways in,” says Pite. At the an article about Meyerhold’s 1926 non-realist pro­ someone of power and influence.” want, the tensions in their relationships, and what end of the day, the desire is “to communicate, to duction of Nikolai Gogol’s farce, Revizor (commonly Young, who performed in Betroffenheit, earning that might offer to the choreography.” tell a story, or ask a question in the theatre that we translated as The Government Inspector), in Moscow. him a British Critics’ Circle award for Outstanding Besides giving the dancers concrete reasons can ponder together.” “Meyerhold was both a product and a victim of Performance in 2016, will not be onstage in Re- to move, the script also provides something for the Communist system,” says Young. “[After the visor. Asked how that affects their relationship in them to push against or deviate from. Also, it’s only Kaija Pepper is the Editor for Dance International magazine. Russian Revolution], ideas about progress and the studio, Pite recalls a recent rehearsal for the one part of the show. “We’re using it as a kind of Crystal and Jonathon’s production residency for Revisor change enabled artists to experiment to their new piece, squeezed in toward the end of the problem or obstruction,” says Pite. “We’re imagining is generously supported by Banff Centre and an fullest,” he explains, “and then all that freedom of Betroffenheit tour. As she began blocking scenes the farce is occupying space on our stage, and the anonymous donor. expression started to be labelled anti-revolution- and choreographing to the text, Young got involved other part of the show is in resistance to that. It’s ary.” In 1940, the Soviet government sentenced with directing the performers. “It was so exciting trying to dismantle or subvert the farce, to get out Meyerhold to death by firing squad. to see the dancers respond to his take on how to from underneath it.” PHOTO CREDIT: MICHAEL SLOBODIAN (ALL) SLOBODIAN MICHAEL CREDIT: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 31 The Space

As technology enthusiasts and visionaries for the future, how Between important is the idea of hybridization? You both bridge between art and academic worlds, and use digital technology to re-presence Indigenous narratives. How does this relate to the resurgence movements taking place Us across Indigenous communities and historically non-Indigenous spaces?

What inspired the creation of an JN: As a scholar, artist, and curator How Indigenous visual arts program I bridge multiple spaces of inquiry, focused on “technology, collaboration, and I would argue the most exciting What about our upcoming Indigenous and the future”? As Indigenous artists work is being created by Indigenous program most excites you? visual artists INDIGENOUS ARTISTS are creating and intellectuals, why are these artists because we are not bound to new ground in digital and visual arts, concepts relevant to our present the binaries or strict disciplines of art JN: The opportunity to play and are using imbuing technology with culture context, and what ties them together? mediums or Eurocentric art history. create work that is rooted in place to foster spaces for decolonial Busting open the western canon of and social issues that currently face technology as imagining and self-determination. Julie Nagam: I was interested in the thinking allows artists and scholars to our society as a whole. I am excited Dr. Julie Nagam, an Anishinaabe artist, geographic space that defines us, critically engage in Indigenous ideol- to have the space to explore the a decolonial curator, and professor is a leading and at the same time what brings ogies and transformative praxis. Col- various facilities Banff Centre has to “When our champion of this movement, and us together. The future is filled with laboration ruptures the singular author offer, the concentrated time with the voices tool to discuss will be hosting one such space at possibilities and opportunities, and or artist of authority into a radically faculty, guests, and participants. culture, Banff Centre this winter. Together, concepts of collaboration allow us different space where the possibilities are joined, Indigenous visual artists, curators, and to work within Indigenous methods of social change and community JW: We all live in our own bubbles. we’re able contemporary scholars from around the world will to create stronger artworks and engagement can be at the forefront. Programs like this are important as join to explore The Space Between theory, locally and internationally. they allow you to step out and see to make art practice, Us. I spoke with Julie and fellow guest JW: Hybridization has always been part what everyone else is doing. I always faculty member Dr. Johnson Witehira, Johnson Witehira: In 2014 I was of Maori– art. Following our arrival in end up finding someone doing work loud and and the future an innovative Ma–ori designer, artist privileged to work with poet Karlo Aotearoa (New Zealand) we needed to that is better, more interesting, or powerful and researcher, about our upcoming Mila on a project that linked the South adapt our art-making processes to suit more technically sophisticated than residency program. Pacific together through language the new materials and substrates. Later mine. This inspires and motivates statements – – BY SIKU ALLOOLOO and customary concepts. It was on, as Pakeha (British) settlers brought me, especially when they are also that As a multidisciplinary team, we will here I started to see how the shared new tools and ideas, our art again be- Indigenous. At the same time, explore ideas of art-making, critical history and knowledges of Indigenous gan to transform. Hybridization allows programs like this always lead to hopefully thinking, technology, and collabo- peoples would be critical in building us to tell stories in a way that express- future opportunities as you find will bring

ration. We are excited about what an Indigenous future. Euro-American , 2014) es who we are in ‘the now’. This is why others you never knew were working possibilities and cross-pollinations will models are failing us, not just in health I think digital art forms are particularly in the same space as you. I’m excited about emerge in a space filled with diverse and education, but also in environ- WAKA relevant for telling our stories at the about what this might lead to. change.” Indigenous knowledge systems, mentalism. I believe that Indigenous moment. Digital technology has also territories, and artistic mediums cultures have solutions to the major allowed Indigenous peoples to connect Siku Allooloo is an Inuk/Haitian Taino — and what that could mean in the issues currently facing the planet. more, particularly through social media writer and co-faculty member for the Visual Arts program The Space Between Us. worlds we then continue to create. When our voices are joined, through platforms. However, I do have some collaborations like this, we’re able to concerns around data sovereignty and Indigenous Arts at Banff Centre is make loud and powerful statements how we protect ourselves, and our generously supported by RBC and the that hopefully will bring about change. knowledges, in these spaces. Slaight Family Foundation. ARTWORK BY JOHNSON WITEHIRA ( WITEHIRA JOHNSON BY ARTWORK

banffcentre.ca Fall 2018 / Winter 2019 InStudio 33 A Sense of Place

For Ayelet Tsabari, writing is a way of processing memory, and for someone who has lead such a peripatetic life, memory is often

tied to place BY ADAM WRAY

TSABARI WAS BORN IN TEL AVIV, moved to Vancouver Have you ever had the experience of returning after years of extensive travel, and now finds herself based to somewhere you’ve written about and feeling, in Toronto. Her first book of short stories,The Best Place “Wow, I nailed it — I captured this place perfectly”? on Earth, was released in 2013, has since earned strong You write about a place, and the place you write about critical acclaim, and been translated widely. Her stories are is frozen in time. You can’t really go back. It’s constantly lush and character-driven. Tsabari, who is faculty this fall changing. So, it’s never been a concern for me to “nail it.” for Banff Centre’sEmerging Writers Intensive, is also an ex- And I don’t mean that the details aren’t important, but perienced teacher of creative writing, which she views as it’s about the character, the experience they’re having an important complement to her own practice. This year, of the place. What we see is always, always coloured Tsabari will locate herself somewhere new once again — by how we feel at the time. The same place would Halifax, where, she joins the faculty of the MFA in Creative be very different to two different people, or even to Nonfiction program at the University of King’s College. the same person on different days. As long as it feels true to the story, to the character, then I nailed it. Your new book, coming out February 2019, is a collection of essays called The Art of Leaving — a really How has teaching shaped your own writing? evocative title. Could you tell me about how you arrived at that title, and how it’s meant to frame the work? You have to really understand the intricacies of craft to be able to teach, to be able to answer questions and Writing a memoir is basically an act of looking back Ayelet: troubleshoot problems students may have. In that way, and finding meaning in the events of your life. I noticed as it’s helped me in my own writing. And working with I was writing it that leaving seemed to be a pattern, the students is very inspiring. Having your preconceived one constant thing in my life up until a few years ago. So, notions, your judgement challenged — I love that. You’ll it was an investigation of that. I felt that I sort of made the expect from students one thing, and they blow your act of leaving my life, my home. I felt that I perfected it, mind. That’s really exciting, and it’s educating for me, and made it into an art, but, of course, looking back now, as well. I don’t just do it as a way to support my writing. I know that there is no art to leaving. It’s a messy thing. For me, it feels like it’s never complete, either. You’re You’ll be teaching a short fiction workshop at Banff always leaving parts of yourself in all of these places Centre in October — how do you see the importance “I’m very attuned you’ve been and all of those people that you’ve loved. of programs like this one for emerging writers? to place ... I think When I read your work, I get such a clear sense of place. A lot of times, people are just waiting for that moment most migrants are.” To what degree does the fact that you’ve lived so many when you can write all day — it doesn’t happen. There’s places and travelled so widely animate your work? always work, there’s always life. So, this is such a gift, to be able to do it for a week. I’ve been in residencies where I’m very attuned to place because, I think, most migrants you’re sort of plucked from civilization, and unplugged, are. If you don’t move around a lot, I don’t think you pay and spend a week concentrating on your craft, and it’s as much attention to the particularities of [a] place as always been such an inspiring and prolific experience. people who are new to it — to the sensory experience of a place, to the people, to the language. It’s everywhere, Adam Wray is a writer and editor based in Montreal. I feel, in my work — both in my fiction and my nonfiction. It’s really important to me to evoke a strong sense of

PHOTO CREDIT: JONATHAN BLOOM JONATHAN CREDIT: PHOTO place, to transport the reader, to take them with me.

banffcentre.ca Fall 2018 / Winter 2019 InStudio 35 Banff Centre alumnus and Indian Group of Seven member Alex Janvier during the Aboriginal Thematic Residency in 2010. (photo by Laura Vanags). Arts Funding Rewritten Strong relationships with major funders like Canada Council for the Arts have enabled Banff Centre to lead the way toward a more inclusive arts community BY NICOLE NICKEL-LANE.

THE MASSEY COMMISSION, a 1951 expatriates from Europe, the report was report advocating that art is an intrinsic designed to support “grand art”: ballet, part of life, set the foundation for cultur- theatre, opera, and music. In order to al funding in Canada. One of the Com- properly stage classic performances in mission’s core tenets: It is the govern- (relatively) young Canada, large sums ment’s responsibility to support the arts. of cultural capital were generated, and The report remains a cornerstone of a crop of Centennial performing arts Canadian arts and culture institutions to venues sprang up across the country. this day, yet the arts ecology it created For decades to follow, Canadian audi- has only very recently begun to morph ences in major centres had access to and evolve. Early on, getting to become seasons’ worth of works by the Masters, an artist at all became a vestige of the The Nutcracker at every Christmas, and elite — a rigid, colonial, exclusive struc- a substantive enough arts and culture ture that was not built to recognize and sector that Canada was producing accommodate all artists and art forms. world-renowned artists of its own.

The Massey Commission laid the Provincial arts funders were established groundwork for the creation of two soon after — the money was flowing, national arts and culture institutions: but only available to those who met the National Archives of Canada distinct criteria: candidates must have LEFT: Aboriginal Filmmakers program participants in 1998. and Canada Council for the Arts. been trained professionally, have held RIGHT: Former Program Director for the Aboriginal Dance program Underwritten by descendants and significant exhibitions, and have had and an instructor of Indigenous Performance Muriel Miguel performs a Spiderwoman Theatre production in 2002 at Banff Centre (photos courtesy of Paul D. Fleck Library and Archives). banffcentre.ca Fall 2018 / Winter 2019 InStudio 37 international exposure. Indigenous The formal — and dramatic — reset of voices were completely left out of the who got how much arts funding and for conversation for decades. In fact, the what didn’t happen until 2017, when Massey report contained only one Canada Council tore down its funding paragraph referencing Indigenous model and implemented new require- artforms, which recommended they ments to specifically support equity be phased out and eliminated. engagement, community outreach, OPPOSITE TOP: and Indigenous participation. Funding Aboriginal Storytelling It was not until the 1990s that a move- criteria were no longer siloed within Joseph Naytowhow in ment among Indigenous artists began western Eurocentric disciplines, and 2006 (photo courtesy to take hold. One by one, in Manitoba, arts agencies at all three levels of gov- of Banff Centre for Saskatchewan, and the Maritimes, ernment quickly recognized the need Arts and Creativity). several small, independent, Indige- to establish Indigenous arts funding. OPPOSITE BOTTOM: nous-administered artist Alumni Sadie Buck centres had opened in an By then, Canada singing during the attempt to create space Indigenous Council and Banff Aborioginal Women’s for Indigenous artists in voices were Centre had worked Voices program in 1997. their communities and together on Indige- TOP: Dancers disciplines. Then came completely nous Arts projects for rehearsing in studio the 1990 Oka Crisis and left out of the 20 years — in other for BONES in 2000. powerful responses from words, when the infra- BOTTOM: Dancers Indigenous artists like conversation structure to support performing BONES at Alanis Obomsawin. Cana- Indigenous Arts did Banff Centre in 2001 da Council responded by for decades. not exist, the two (photos courtesy of gathering together more organizations found a Paul D. Fleck Library than 300 Indigenous artists and arts way to support artists anyway. Among and Archives). practitioners from across the country to early Banff Centre Indigenous alumni talk about funding for Indigenous art on are Rebecca Belmore, Sadie Buck, a national level. At the end of a full week Shirley Cheechoo, Marie Clements, of discussions, workshops, and debates, Michael Greyeyes, Tomson Highway, a national Indigenous arts and culture Brian Jungen, Margo Kane, Alanis framework had begun to take shape. Obomsawin, Jani Lauzon, Santee Smith, and Drew Hayden Taylor. These At the same time, Banff Centre was and many others have significantly following the same process in the changed the landscape of Indige- development of a distinct Indigenous nous arts and artists in Canada. Arts program. The synergy between Canada Council’s work to support and fund Indigenous Arts and Banff Centre creating inroads to Indigenous BONES: An Aboriginal Dance Opera “That’s what it was like for me.” The Arts residencies did not go unnoticed was one of the first major projects creation of clearer pathways for emerg- in the community, and Banff Centre undertaken following the inception of ing Indigenous artists to access artistic was soon recognized as a hub for “You need to Banff Centre’s Indigenous Arts program training, mentorship, and support is Indigenous artists of many disciplines. in 1994. The production — touted as central to her vision for the Indigenous have lived the world’s first of its kind — debuted Arts program at Banff Centre. experience in Banff in 2001, was four years in the making, and has toured internation- As we move into a new era of resource and respect ally. In retrospect, it satisfied many allocation for a wide range of artistic in order to of the criteria for artistic funding in practice, Banff Centre and Canada place at that time, but the path for its Council will together work to rewrite formulate creators to conceive and produce the funding model on an institutional ideas and the show would have followed a level. Shared knowledge, informed different trajectory than that of their practice, and community engagement make change.” non-Indigenous counterparts. help to more inclusively support future generations of artists. Steven Loft Reneltta Arluk, Banff Centre’s Director of Director of Indigenous Arts, Nicole Nickel-Lane is a Banff Centre Indigenous Arts, makes a squiggly line Canada Council for the Arts Development Officer. in the air with her finger, like a child’s Indigenous Arts at Banff Centre is generously drawing of a bowl of spaghetti. “This is supported by RBC and the Slaight Family what it’s like for an Indigenous person to Foundation. pursue artistic development,” she says.

banffcentre.ca Fall 2018 / Winter 2019 InStudio 39 OPEN STUDIOS

Meet the artists and see their works in progress at our free Open Studio events. Learn more at banffcentre.ca

LEFT: Luke Siemens’ studio during the 2018 Emerging Banff Artist in Residence program. ABOVE: Anika Ahuja’s studio during the 2018 Emerging Banff Artist in Residence program (photos by Rita Taylor).

banffcentre.ca Fall 2018 / Winter 2019 InStudio 41 OPEN STUDIOS

Meet the artists and see their works in progress at our free Open Studio events. Learn more at banffcentre.ca

TOP: Visual artist Margot Klingender works on a copper mould in our sculpture studio during the Emerging Banff Artist in Residence program. BOTTOM: Emerging Banff Artist in Residence participant Éloïse Plamondon-Pagé hangs her ethereal prints in her studio (photos by Rita Taylor).

TOP: Members of Peggy Baker’s company work with her on her new performance, who we are in the dark, a collaboration with Arcade Fire’s Sarah Neufeld. Baker and com- pany return this winter to continue work on the piece (photo by Donald Lee). MIDDLE: Garnette Cadogan, in conversation with Anna Badkhen and Hari Kunzru (not pictured) during the Literary Arts res- idency The Art of Walking (photo by Donald Lee). BOTTOM: Ensemble Evolution participant Kalun Leung performs trombone and electronics during an open presentation (photo by Rita Taylor).

banffcentre.ca Fall 2018 / Winter 2019 InStudio 43 OPEN STUDIOS

Watch a video about Lexi’s work Meet the artists and see at banffcentre.ca/ their works in progress InStudio at our free Open Studio events. Learn more at banffcentre.ca

TOP: Emerging Banff Artist in Residence participant Lexie Owen casts ordinary corner store items in bronze and re-displays them back in their original setting. BOTTOM LEFT: Singer-Songwriter par- ticipant Joanna Wallfisch performs at The Club during her residency. BOTTOM RIGHT: Singer-Songwriter resident Matt Andersen lets loose on stage at The Club.

Residents of the Indigenous Storytellers and Spoken Word program Back row, L-R: Taran Kootenhayoo, Storme Webber, Third row: Victoria Inglis, Tawahum Justin Bige, Kiera Dawn Kolson, Second row: Janet Rogers, Ernie Lennie, Josh Languedoc, First row: Maggie Mercredi, Veronica Johnny, Tai Amy Grauman PHOTO CREDITS: RITA TAYLOR (ALL) TAYLOR RITA CREDITS: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 45 WHAT’S ON AT BANFF CENTRE

William Prince Laila Biali

Barney Bentall & The Cariboo Express November 10 Laila Biali November 22 The Barra MacNeils An East Coast Christmas November 25 The Debaters Live December 2 Sharon & Bram December 15

Mainstage Primary Colours

Leeroy Stagger Leeroy Music + Comedy Leeroy Stagger September 22 Ron Sexsmith October 4 Michael Bernard JACOB BLICKENSTAFF (PRINCE) BLICKENSTAFF JACOB Primary Colours Fitzgerald & JJ Shiplett featuring Kim Richey, Doug Cox, January 19 and Linda McRae October 6 Bruce McCulloch & Cathy Jones PHOTO CREDIT: CJ HICKS (PRIMARY COLOURS) (PRIMARY HICKS CJ CREDIT: PHOTO Sam Baker January 26 October 14 Alan Doyle Colin Linden February 21 October 18 William Prince Mary Walsh March 2 November 9 PHOTO CREDITS: ROCKIE NOLAN (BIALI), DAVID GUENTHER (STAGGER), (STAGGER), GUENTHER DAVID (BIALI), NOLAN ROCKIE CREDITS: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 47 WHAT’S ON AT BANFF CENTRE Literary Arts Events Out of Bounds: How Women Write the Wilderness November 3 Join award-winning Moun- Robert Cribb + tain and Wilderness Writing Martha Mendoza faculty Marni Jackson in Exceptional dining redefined conversation with authors by creativity, sustainability, in Conversation Angie Abdou, Kate Harris, and culinary diversity. September 20 Bernadette McDonald, Jan Redford, and Susan Purvis on Join Robert Cribb, award win- writing wilderness memoirs. Discover serene panoramas ning investigative reporter at The Toronto Star in conver- and elegance in abundance. Mainstage Dance sation with Pulitzer Prize- Dine with us. winning Associated Press Kidd Pivot presents and the forces of radical Peggy Baker Dance and sophisticated design journalist Martha Mendoza. change. Young adapts an Projects presents elements from artists RESERVE TODAY Revisor archetypal comic plot to working with pigment, banffcentre.ca/dining generate the score for Pite’s projection, and light. Created by Crystal Pite who we are in 403.762.6300

stunning choreography. As Jeremy Gara and Sarah ) + Jonathon Young dialogue and dance come the dark Neufeld, both members of February 13 + 14 in and out of alignment, March 9 Grammy and Juno Award- Mountain and Revisor is moved by its winning rock band Arcade From the creators of the Choreographed by own opposing internal Fire, are joined on stage Wilderness internationally acclaimed acclaimed Canadian dance forces to create a theatrical by seven extraordinary Betroffenheit (winner of the artist Peggy Baker, who expression of startling dancers in a work that Readings Olivier Award for Best New we are in the dark offers DAY OF LIGHT FULL THE depth and complexity. explores and illuminates Emerging November 14 Dance Production) comes the immediacy of daring shifting identities, betrayals, Join Faculty Marni Jackson, a new dance/theatre work contemporary dance, Writers Intensive secrets, and intimacies Tony Whittome, and this about corruption, farce, supercharged live music, played out in the dark. Faculty in year’s guest faculty Harley Rustad, for readings from ), BRIAN JOHNSON ( JOHNSON BRIAN ), Conversation the Mountain and Wilderness October 4 Writing program. Harley Rus- Electric Company Join Elizabeth Philips, Kyo tad is an editor with The Wal- Theatre presents Maclear, Ayelet Tsabari, rus and author of Big Lonely and Michael Lowenthal Doug: The Story of One of The Full Light in conversation with Canada’s Last Great Trees. host Mojo Anderson. of Day DARK THE IN ARE WE WHO October 19 Literary Arts A new film/theatre hybrid Public Readings written by Daniel Brooks and directed by Kim Collier. December 6 + 13 January 23 + 30 ), JEREMY MIMNAGH ( MIMNAGH JEREMY ), Set in Canada’s urban March 15 + 22 financial centres,The Full Listen to readings from Light of Day tells the story of REVISOR a mother who must contend writers in Banff Centre’s with her husband’s corrupt Writers Retreat programs legacy before she dies. A hosted by guest mentors brilliant team of Canadian Find more events, Alex Leslie, Anne Fleming, Pasha Malla, artists have come together information, and and Zsuzsi Gartner. around this new work, and buy tickets at The Full Light of Day is the banffcentre.ca largest and most ambitious project in Electric Company

Mainstage Theatre Mainstage Theatre history. PHOTO CREDITS: MICHAEL SLOBODIAN ( SLOBODIAN MICHAEL CREDITS: PHOTO RAVENS) (THREE WHITT KATY (RUSTAD), SPEAKER THE OF COURTESY (LOWENTHAL), SALERNO MICHAEL (MENDOZA), ROWLAND K. ANNIE CREDITS: PHOTO

banffcentre.ca Fall 2018 / Winter 2019 InStudio 49 WHAT’S ON AT BANFF CENTRE Indigenous Arts The Ensemble Concert in the Contemporain de st Montréal (ECM+) 21 Century presents Performances Génération2018 Concerts between February 12 and March 1 — check October 25 dates at banffcentre.ca Crossing Canada from Experience the work of West to East, the ECM+’s st Concerts Concert in the 21 Century Génération2018 Canadian program participants and tour, conducted by Véronique join them in exploring new Lacroix, presents the latest ways to present classical edition of this legendary and contemporary music. project in which the Go beyond the traditional Canadian public can vote for concert experience! its favourite composition. Come discover the new works of Sophie Dupuis (NB/ Keep Cozy ON), Patrick Giguère (Qc), Choral Art James O’Callaghan (BC/ Performances Qc) and Thierry Tidrow (ON/ Stay Cheerful DE) in some electrifying Multiple concerts in Body Weather performances, where February — check dates February 3 – 9 audience will be introduced at banffcentre.ca to the secrets of each Performance by Choral Art The term and philosophical Visit Banff Centre to celebrate piece by the composers program participants, an basis for Body Weather Indigenous the holidays with: themselves, the conductor, intensive residency that was founded by butoh and host Gabriel Dharmoo. explores the creation and dancer Min Tanaka and his Storytellers and presentation of choral performance group, Maijuku. Barney Bentall & music in the 21st century. This workshop will gather Spoken Word The Cariboo Express together 10 First Nations November 10 Banff Musicians creators in a process of Residency in Residence dialogue, exchange, and March 4 – 24 Singer- physical practice. Body This program develops The Barra MacNeils Concerts Songwriter Weather considers the body participants’ skills of An East Coast Christmas Multiple concerts from as a constantly changing creation, presentation, November 25 September 2018 to Performances environment within a greater and activism through story­ environment — always in flux.​ telling and spoken word. February 2019 — check Multiple concerts in The Debaters Live dates at banffcentre.ca Experience a performance March — check dates FABRE) (VALENTINE TIBBETTS BEN (ARLUK), PHOTOGRAPHY WORKS RED (ROGERS), LEE DONALD MAHON), Christmas Special c of newly created works by Banff Centre provides at banffcentre.ca participants and faculty December 2 space and focused time Join faculty along with including Janet Rogers, for musicians of all genres participants from Banff Ryan McMahon, and to concentrate on artistic Sharon & Bram Centre’s Singer-Songwriter Reneltta Arluk. development while working residency program for many December 15 on projects that can be nights of song exploration. Indigenous Arts at Banff either individually or group/ Centre is generously ensemble-based. Hear supported by RBC and the Slaight Family Foundation. world-class faculty and ), COURTESY OF THE SPEAKER (M SPEAKER THE OF COURTESY ), bright young performers Find your holiday bliss at during these free concerts. banffcentre.ca/holidays-2018 BANFF CENTRE MOUNTAIN

TOP TO BOTTOM: WEATHER BODY FILM AND BOOK FESTIVAL Singer-Songwriter residency participant Stephanie Johnson OCTOBER 27 — NOVEMBER 4 performing in The Club. Nine epic days with over Choral Art performance. 75 events and screenings. Learn more and buy tickets Banff Musicians in Residence program participants Dale at banffmountainfestival.ca McArthur and Caroline Shaw performing PHOTO CREDITS: JAMES BROWN ( BROWN JAMES CREDITS: PHOTO (photos by Donald Lee). banffcentre.ca Fall 2018 / Winter 2019 InStudio 51 WHAT’S ON AT BANFF CENTRE WALTER PHILLIPS GALLERY

THE CAVE An exhibition by Young Joon Kwak September 29 — December 14, 2018 Family Winter Opening Reception: Friday, September 28, 2018 Arts Festival Walter Phillips Gallery is pleased to present THE CAVE, a solo exhibition of FEBRUARY 17 + 18 new sculpture, video, and installation work by Los Angeles-based artist Young Joon Kwak. This exhibition signals the Explore a world of art artist’s first presentation in Canada, and Visual Arts Events and imagination this will explore the cultural phenomena of the ‘man cave’— the refuge of masculinity within Family Day weekend. the household. Refusing this possibility for Visual Arts Open retreat, THE CAVE reflects on the cultural Lecture Series Studios Featuring performances by comedian, understandings of these spaces, and will feature a newly commissioned video magician, and stunt-man Wes Barker, Multiple talks — check dates October 17 + December 5 + collaboration with Kim Ye that responds at banffcentre.ca February 6 + March 27 songwriting workshops with Norman Foote, to the site of the exhibition within the The Visual Arts Lecture Tour the studios to meet and a free Public Swim at Sally Borden Pool. historical context of Banff National Park. Series presents free and discover the work Join in free family activities including WORK PICTURED LEFT: talks by leading Canadian of artists in the Visual film screenings, arts and crafts, and international artists, Arts spring and summer Young Joon Kwak, Excreted Venus, 2014. teen workshops, and more! curators, and academics. residency programs. Laminated archival pigment print mounted on aluminum. 43 34 x 82 34 x 2 inches. Courtesy For the whole family, including ages 12+ of the artist and Commonwealth & Council.

Tickets now on sale 1.403.762.6301 | 1.800.413.8368 Carry Forward banffcentre.ca Drawn to Curated by Lisa Myers Nature Circulated by Kitchener-Waterloo Art Gallery October 2 + 19 November 7 + 23 February 2 — April 28, 2019 January 18 Opening Reception: Friday, February 1, 2019 February 6 + 15 The term “carry forward” suggests March 6 + 15 passing or transferring something on to Banff Centre presents this the next generation, yet also refers to popular series of drawing taking account of gains and loss. Some workshops. Led by staff values can be traced through records and artists, participants and paperwork, yet others are elusive, of all ages and levels of sustained in fragments, memories, stories, experience are invited. knowledge, and place. This exhibition brings Class locations vary together artworks that propose different and include: Banff Park modes of understanding how realities are Museum, Cave and Basin registered, contested, and even fabricated National Historic Site, within the framework of an archive. The Whyte Museum of the Canadian Rockies, and Banff Public Library. Festival Free and open to all Walter Phillips Gallery is exclusively Supporter Wednesday — Sunday committed to the production, presentation, 12:30 — 5 p.m. collection, and analysis of contemporary art and curatorial practice. PHOTO CREDITS: RITA TAYLOR (GABRIEL MOLINA, OPEN STUDIO), KRISTA BELL (DRAWN TO NATURE), MARTHA DE SANTIAGO (FAMILY WINTER ARTS FESTIVAL) ARTS WINTER (FAMILY SANTIAGO DE MARTHA NATURE), TO (DRAWN BELL KRISTA MOLINA,STUDIO), OPEN (GABRIEL TAYLOR RITA CREDITS: PHOTO

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Joi T. Arcand

New Heights Sara Sithi-Amnuai MUSIC

Honours, Nominations, and Milestones for Sara Sithi-Amnuai was the London’s Castalian Quartet, recipient of the 2018 BMI alumni of Banff International Banff Centre Alumni and Community Future Jazz Master Scholar- String Quartet Competition, ship. The $5,000 award was won the inaugural 2018 presented to Sithi-Amnuai at Merito String Quartet Award/ Broadcast Music Inc.’s an- Valentin Erben Prize. Castal- nual dinner and celebration ian Quartet returned to Banff Billy-Ray Belcourt LITERARY ARTS of NEA Jazz Master Fellows Centre in September 2018 Billy-Ray Belcourt, poet, Anita Doron, screenwriter at the Kennedy Center in for the second edition of the writer, and Banff Centre alum and Banff Centre alumna, Washington, on April 15. Banff Centre International is the Canadian winner of the wrote the script for The She participated in the 2016 String Quartet Festival. Griffin Poetry Prize, worth Breadwinner, which was Banff International Workshop $65,000, awarded to one nominated for a 2018 Acad- in Jazz and Creative Music. Canadian and one interna- emy Award in the category tional poet annually. Belcourt of Animated Feature Film. was most recently at Banff The cast includes Canadian Centre in January 2018, and actress Saara Chaudry and is Iskwé delivered a public reading. based on the book by Ca- VISUAL ARTS This Wound is a World is nadian writer Deborah Ellis; Three Banff Centre alumni his first book of poems. one of the film’s executive were honoured by the 2018 producers is Angelina Jolie. Governor General’s Visual and Media Arts Awards — Wyn Geleynse, Sandra Semchuk, and Adrian Stimson. The work of all PERFORMING ARTS recipients is featured in an Jenna Rodgers, theatre artist alumna Crystal Pite won Banff Centre Opera alum- exhibition at the National and faculty for Banff Centre’s the prestigious 2018 Olivier nus Owen McCausland Gallery of Canada. Playwrights Lab over multiple Award for Best New Dance starred as the fisherman years was a recipient of the Production, for her piece in the Robert Lepage-di- Three artists shortlisted for Lieutenant Governor of Flight Pattern, created for rected production of the 2018 Sobey Art Award Alberta’s Emerging Artist London’s Royal Ballet. This is The Nightingale with the are Banff Centre Visual Arts Banff Centre for Kevin Drew, who shared Banff Centre programs and Artwork of the Year for Award in June 2018. the second year in a row Pite Canadian Opera Company alumni — Joi T. Arcand, Arts and Creativity a win with Gord Downie in was most recently in Banff Everything Now. Parry has won this award. In 2017, she at The Four Seasons Jordan Bennett, and Jeneen the category of Songwriter working on songs for her participated in multiple Orphée+, the co-production won it in the same category Opera Centre in Toronto. Frei Njootli. The winner congratulates all of of the Year for songs from next album. Banff Centre programs and with Against the Grain The- for Betroffenheit, created and of the Sobey Art Award its alumni, faculty, the album Introduce Yerself. has also served as faculty. atre (AtG), Opera Columbus, previewed at Banff Centre. Njo Kong Kie’s musical receives $100,000 and the and community Drew has served as faculty Mike Murley, a member of Arcade Fire won the Juno and Banff Centre for Arts performance Mr. Shi and His work of all five finalists is on their 2018 at Banff Centre. the jazz quartet The North, for Album of the Year. and Creativity, won five Dora Banff Playwrights Lab alum- Lover won three 2018 Toron- exhibited at the National which won a Juno for their Mavor Moore Awards, includ- na Hannah Moscovitch’s to Theatre Critics Awards: Gallery of Canada. Juno Award wins Barbara Hannigan, who, self-titled album in the Tanya Tagaq, who was ing Outstanding Performance musical Old Stock: A Refu- Best New Musical, Best Actor and nominations with Ludwig Orchestra, category of Jazz Album of nominated for the album Ensemble and Outstanding gee Love Story, was nom- in a Musical (Jordan Cheng), New York-based Canadian including: won for the album Crazy the Year (Group). Murley has Retribution in the category Production. The contem- inated for six NYC Drama and Best Supporting Actor in photographer Moyra Davey Girl Crazy in the category of participated multiple times of Alternative Album of the porary opera, directed by Desk awards, including a a Musical (Derek Kwan). Njo won the 2018 Scotiabank Classical Album of the Year in the Banff International Year. Tagaq has taken part Joel Ivany, premiered in nomination for Moscovitch. Kong Kie has taken part in Photography Award. She (Vocal or Choral). Hannigan Workshop in Jazz and Cre- and performed in multiple Columbus, and then toured Old Stock is based on multiple residencies at Banff received $50,000, a career is a Banff Centre music ative Music. Banff Centre programs, and to Toronto and Banff Centre the story of Moscovitch’s Centre, and he rehearsed survey exhibition at Ryer- alumna and has taken part was most recently at Banff in 2018. Ivany is the Artistic great-grandparents, and Mr. Shi and His Lover son’s Image Centre as part in multiple programs. Richard Reed Parry, a core Centre as guest faculty in the Director of AtG and Director the play is directed by during a residency here. of the Scotiabank Contact member of Arcade Fire, Spoken Word program. of Banff Centre’s Opera in Christian Barry, also a Banff Photography Festival, and Iskwé, nominated for the which was nominated in the 21st Century program. Centre alum, who was a monograph published by album The Fight Within in the the categories of Single nominated for an award in the German publisher Steidl. category of Indigenous Music of the Year, Album of the Multi-award-winning chore- the category of Outstanding Davey attended two residen- Album of the Year. Iskwé Year, Alternative Album ographer and Banff Centre Direction for a Musical. cies at Banff Centre, includ- has taken part in multiple of the Year, and Album

ing Photography Studio. (ISKWÉ) MACINTOSH LISA (SITHI-AMNUAI), SITHI-AMNUAI CINDY (ARCAND), PHOTOGRAPHY SWEETMOON (BELCOURT), ARTIST THE OF COURTESY CREDITS: PHOTO

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Learn more about Longy or apply at: Longy.edu PHOTO CREDIT: CHRIS AMAT CHRIS CREDIT: PHOTO when words fail, when words music speaks. banffcentre.ca SUPPORTERS Major Arts Supporters Banff Centre Supporters Banff Centre gratefully acknowledges the following $25,000+ major arts cash supporters. Their generosity provides emerging and established artists with access to our creative programming and to inspiring mentorship from our leading faculty.

Thank you to all our generous 2018/19 supporters. Artists’ Fund

Pat and Connie Carlson Government Jarislowsky Jarislowsky Fraser John and Sheilagh Langille Banff Centre is grateful for the funding from the Government of Alberta through Alberta Advanced Education, Alberta Infrastructure, and the Foundation Partners Foundation Alberta Foundation for the Arts. Arts programs are also supported by funding from the Government of Canada through the Canada Council for the Arts, the Department of Canadian Heritage, the Canada Arts Training Fund, and the Canada Arts Presentation Fund. Brent Mclean and Kim and Jeff Sheila Wappel-Mclean van Steenbergen

Banff Centre International Banff International Literary Banff International Workshop String Quartet Festival Translation Centre in Jazz and Creative Music

Sir Jack Lyons Power Corporation Major Leadership Supporters Charitable Trust of Canada

Banff Centre celebrates and deeply appreciates the commitment to developing leadership capacity across Canada, demonstrated by the following Banff International String Quartet Competition generous $25,000+ supporters who provide key programming and access funding. This work is developed with support from the Peter Lougheed Leadership Initiative, in partnership with the University of Alberta, made possible by funding from the Government of Alberta. Christine and David Estate of Adam S. Hedinger Anderson Visionaries Founding Nexen Chair in Indigenous Leadership

The Lougheed Family Banff Centre Mountain Film and Book Festival John and Bunny* Ferguson

Access and Travel

Anonymous Imperial

Dance Programming Emerging Atlantic Artist Residency Environmental Reportage Residency

Harrison McCain Foundation Gordon and Jill Anonymous Rawlinson and the Hnatyshyn Foundation

Indigenous Arts Literary Arts and Music Programs Musika Emerging Talent Contest Media Partners Sandra and Ernie Green

Official Airport Shuttle Official Beer and Cider Supplier, Shaw Amphitheatre

banffcentre.ca * Deceased Banff Centre endowments are listed on the following page. Fall 2018 / Winter 2019 InStudio 61 SUPPORTERS

Bliss Carman Award Endowment Frederick Louis Crosby Leighton Studios Facility Renewal PricewaterhouseCoopers Bobbye Ruth and Dewitt L. Potter Memorial Endowment Fund Endowment Endowment for Not- 2017/18 Supporters Endowment Fund for Freeze Family Career Development Lenora P. Masters Endowment for-Profit Leaders Dance Scholarship Program Fund, BISQC Linda and Richard Singleton Publishing Workshop Endowment In recognition of supporters who contributed $10,000+ to Banff Centre for Arts and Creativity between April 1, 2017 and March 31, 2018. Bobbye Ruth and Dewitt L. Potter Freeze Family Instrument Fund Endowment Fund Quebecor Media Endowment Amounts represent actual cash and in-kind funds received and do not include pledge amounts committed that are receivable in future years. In Library Endowment Fund Frelyn Memorial Endowment Liz Crockford Artists Fund R.S. Williams & Sons Company Ltd. addition to the names listed, Banff Centre expresses appreciation to the many others who have supported arts and leadership. Boris Roubakine Memorial Gail and Stephen A. Jarislowsky Lockwood Family Endowment Banff International String Endowment Outstanding Artist Program Fund for Music Quartet Competition Fund The 1988 Foundation c/o Lotte and Carter-Ryan Gallery Investors Group OneWest Event Design Brenda and Jamie Mackie Endowed Gay Mitchell and Archie McIntosh Louis and Gertrude Crosby Raul Urtasun - Frances Harley John Hecht Memorial Foundation CBN Commercial Solutions Jarislowsky Fraser Partners Foundation Osprey Packs Fellowships for Visual Artists Creation Endowment Fund Family Endowment Scholarship for Artists Aimia Chevron Canada Limited J. Vair Anderson Jewellers Parkland Fuel Corporation Bruce McKinnon Memorial George Brough Memorial Endowment Louis Muhlstock Endowment from Argentina Alpine Club of Canada Clif Bar and Company Kicking Horse Coffee Company PETZL Endowment George Ryga Playwriting Lucy and Stephen Maxym Repsol Emerging Artists Don and Laura Althoff Coast Mountain Sports Kootenay Mountain Culture Magazine Power Corporation of Canada Canadian Pacific Hotels Endowment Scholarship Endowment Endowment Scholarship Fund The Alvin and Mona Libin Foundation Coca-Cola Refreshments John R. Lacey Bryan Price and Christine Choi Carlyle Norman Scholarship Gertrude and Ernest E. Poole Mackie Family Creation Repsol Master Artists Endowment Amazon Canada Company Lake Louise Ski Resort and Janice Price and Ian Findlay for Emerging Literary Endowment Fund Endowment Richard and Sidney Killmer Christine and David Anderson ConocoPhillips Canada Summer Gondola Rab Artists Endowment Gladys and Merrill Muttart Maclab Enterprises Endowment Fund Oboe Endowment Fund Christine Armstrong and Irfhan Rawji David Cooke John and Sheilagh Langille Gordon and Jill Rawlinson Carlyle Norman Scholarship for Foundation Endowment Macquarie Group Foundation Robert L. Jamison Endowment Azimuth Capital Management Vito Culmone Nancy Lever and Alex Pochmursky RBC Royal Bank Mountain and Wilderness Writers Greg Rudel/Andrew Shepherd Endowment for Not-for-Profit Rogers Communications The Azrieli Foundation Edna and Richard Cushman Jens Lindemann, C.M. Robyn and Gord Ritchie Carolyn Tavender Endowment Memorial Endowment Leadership Chair in Literary Journalism Banff Airporter Inc. David Spencer Endowment Loch Gallery Seven Generations Energy Ltd. Catharine Whyte Memorial Gwen Hadley Scholarship in Marek Jablonski Piano Endowment Endowment Fund Banff and Lake Louise Tourism Encouragement Fund Jamie and Brenda Mackie Shell Canada Limited Endowment Literary Arts Endowment Margaret (Peggie) Sampson Rosetta and Mario Stella Endowment Banff Canmore Community Deuter Maclab Development Group Rick and Brune Sinneave CIBC Emerging Artists Harold Crabtree Foundation Memorial Endowment Rousseau et Vermette Endowment Foundation Edmonton Community Foundation Maclab Properties Group Sir Jack Lyons Charitable Trust Scholarships Endowment Endowment Maria Francisca Josepha Brouwer Ruby Mercer Opera Award Bruce and Carol Bentley Evenko Foundation Letha J. MacLachlan, Q.C. The Slaight Family Foundation Clifford E. Lee Choreography Award Harold Douglas Brown Endowment Scholarship Fund for Ruth and Wes Van Dusen Endowment Big Rock Brewery Jan and Larry Fichtner and John Ridge Marg and Ron* Southern Colleen Anderson Millard Visual Helen B. Schlosser Endowment Dutch Musicians Sandra Faye Guberman Endowment Bird Construction and Flair Foundation In Honour of Amelia Madro Rosetta* and Mario* Stella Art Endowment Fund Helen Macfarlane Allison Marjorie and Neil Armstrong Schlosser/Alton/Peacocke Company Limited Margaret and Jim Fleck Mammut Suncor Energy Foundation Creation Fund Endowment Endowment Endowment Endowment Blake, Cassels and Graydon LLP Chris and Mary Fong Masters Gallery Ltd. TD Bank Group CUPE Local 4318 Scholarship Fund Herb and Ivy Paris Endowment Marnie Warrack Memorial Sir Jack Lyons Scholarship for the Arts BMO Financial Group George Family Fund at Mawer Investment Management Thomson Reuters Cyril and Elizabeth Challice Fund Ian S. Lee Memorial Endowment Endowment Sir Mark Turner Memorial Boréale Explorers Gift Funds Canada Jeff and Marilyn McCaig TransAlta for Musicians IBM Theatre Crafts Endowment Marshall M. Williams Endowment Scholarships Endowment Bow Valley Power The Globe and Mail Brent McLean and Sheila Shirley and Greg Turnbull Cyril and Elizabeth Challice Teaching Ilona Diener Memorial Fellowship Mary and Chris Fong Sonia de Grandmaison Endowment Jeff Boyd Sandra and Ernie Green Wappel-McLean Kim and Jeff van Steenbergen Fellowship Fund for Music Fund Endowment Family Endowment Stuart Olson Endowment BP Canada Energy Group ULC Harrison McCain Foundation MEC The Walrus Cyril and Mary Paris Endowment Institute of Canadian Bankers Mary E. Hofstetter Legacy Fund Sunwapta Broadcasting Limited Buck Braund Dick and Lois Haskayne Rick Miller David T. Weyant Q.C., ICD.D Darwall Endowment Endowment for Excellence in the Visual Arts Endowment Andrea Brussa Estate of Adam S. Hedinger Gay Mitchell and Archie McIntosh and Charlene Anderson David and Peggy Leighton Isobel and Tom Rolston Fellowships Mary Mooney Memorial Endowment Susan Agar Memorial Endowment Buff Hnatyshyn Foundation Mountain Galleries at the Fairmont In honour of R.S. Williams Endowment in Music Endowment Maxine and Jack Weber Endowment Susan and Graeme McDonald The Camera Store Rebecca Hotchkiss and Harley Mountain House and Sons Company David Spencer Emerging Vocalists Jay Macpherson Literary Michael and Sonja Koerner Endowment Music Endowment Canada House Gallery Hotchkiss* and The Hotchkiss Nikon Canada World Expeditions Endowment Fund Arts Endowment Michael Davies Scholarship Susan Glass and Arni Thorsteinson Canadian Natural Resources Limited Family Foundation The North Face Yeti Coolers Denis Jackson Memorial Jeanne and Peter Lougheed Endowment Fund Fund for Dancers Endowment Pat and Connie Carlson Husky Energy Inc. Oboz Footwear Anonymous (4) Scholarship Endowment Endowment Morna Davies Memorial Endowment Susan Siversky Memorial Endowment Devon Canada Scholarship Jeannie McWhinnie Endowment Fund Muriel Jolliffe Endowment for Dance Sylvia and Jack Chetner Endowment Endowment for Indigenous Jeff and Kim van Steenbergen Artist Myra Paperny Endowment for T.C. Hargrave Scholarship Leaders and Managers Scholarship Endowment Fund Emerging Alberta Writers in Voice Endowment Donald and Stella Cameron Jenny Belzberg Endowment Niki Goldschmidt Fund for Tevie and Arliss Miller Endowment Memorial Endowment Jim Dinning and Evelyn Main Endowed Composers Endowment Toshimi and William Sembo Doris Elizabeth Yanda Endowment Scholarship for Visual Artists Nonprofit Leadership Masterclass Artist Endowment Dorothy Cranstone Endowment John Labatt Limited Endowment Scholarship Fund Trina McQueen Endowment Banff Centre Endowments Dr. William A. Cochrane Endowment John Linn Memorial Endowment Nova Corporation Endowment Fund for Film and Media Eagles Nest BISQC Young John W. Kieley Endowment OK Gift Shop Endowment Vladimir & Yachiyo Wolodarsky Banff Centre for Arts and Creativity is grateful to its generous donors who, recognizing the need for sustainable funding sources, have created Artists Endowment Fund for Emerging Musicians Ontario Artists Fund Endowment Fund for endowments — the earnings from which provide ongoing support for artists and leaders at Banff Centre. Eaton Foundation Endowment Fund Joseph F. Smith Memorial Patricia Clifford Scholarship Literary Arts & Music Edith Marion Ramsay Endowment Endowment Fund W.O. Mitchell Endowment 60th Anniversary of Dance Endowment Alice and Betty Schultz Anjulin Endowment Banff School of Advanced Memorial Endowment Joyce and David Keith Scholarship Paul and Gerri Charette Endowment Walter and Estelle Painter Endowment 75th Anniversary of Banff Centre Scholarships Endowment Fund Annie Romanchuk Endowment Management Endowment Edwards Family Fund for the Arts Bursary Fund William and Nona Heaslip Endowment Endowment Fund Allard Foundation Endowed Arnold Spohr Distinguished Guest Barbara and John Poole Endowment Eileen Higgin Calgary Theatre Joyce Carlyle Memorial Scholarship Paul D. Fleck Fellowships in for Archives for Performing Arts Aboriginal Women’s Voices Scholarship Fund for Artist Endowment for Dance Barbara Gyurka Award for Singers Endowment in the Crafts Endowment the Arts Endowment William T. Wylie Endowment Endowment Nonprofit Leaders Art Work Acquistions Endowment Technical Achievement Eldon & Anne Foote Fund for Cultural Keith Evans Scholarship in Peter and Sheila Bentley Distinguished William Townsend Memorial Ada Bronstein Endowment Fund Amanda Fryk Skarin Asper Endowment Barbara Spohr Memorial Endowment and Environmental Leaders Visual Arts Endowment Guest Artist Endowment Fund Endowment Adele Wiseman Endowment Memorial Endowment Audrey E. Klinck Scholarship Fund Benediktson Fellowship Fund EPCOR Scholarship Endowment Ken and Marie Madsen Peter Lougheed Leadership Wizan Film Properties Inc.Endowment Alan and Christene Murdock Andrea Brussa Master Artist Aurora Fund for Icelandic Artists for Not-for-Profit Leaders Endowment Scholarships Institute Endowment Yolande Freeze Master Artists Endowment for Dancers Endowment Fund Bakstad Stone Family Endowment Benediktson Fellowship Fund Evelyn Wood Memorial Endowment Ken McVey Memorial Endowment Peter MacKendrick Endowment in Music Fund Alan Hooper Memorial Endowment Andres Segovia Memorial Endowment Banff Centre General Endowment for Mexican Artists Finch Chamber Music Kelly S. Thompson Fund for Visual Artists Alathea and Herbert Manley Andrew David Shapiro Banff Centre Staff Endowment Bess Winspear Memorial Endowment Scholarship Fund Scholarship Endowment Pitblado Family Scholarship Endowment Memorial Endowment Banff Churches Endowment Betty Farrally Memorial Endowment Fiona Mee Foundation Endowment Laszlo L. Funtek Endowment for Dance Endowment

banffcentre.ca * Deceased Supporter logos and lists throughout publication are current at time of printing. Fall 2018 / Winter 2019 InStudio 63 LAST WORD

ANISHINAABE COMEDIAN, WRITER, MEDIA-MAKER, AND COMMUNITY ACTIVATOR RYAN McMAHON WHEN I’M is always busy creating something new. From STARTING A his podcast, Red Man Laughing, to an upcoming book on decolonizing Canada, McMahon takes NEW PROJECT, on many projects at once — but he’s not in the studio as much as you may think. We spoke with I GIVE IT A the Indigenous Storytellers and Spoken Word faculty about his favourite spaces, tools, and SPIRIT. environments in which to create.

Q Describe your current studio/working space. A It’s got speakers, and headphones, and mi- crophones, and DSLRs and knick knacks and notebooks. My studio desk is covered in stickers and messages from my kids — it’s a piece of art itself. But frankly, a lot of the time, I need to be out of my studio and I need to be outside. The studio is the last place I want to be. I look to be close to the lake or on the river. Under a tree somewhere is good enough for me. I’m on the road about 250 days a year. I’m probably sitting under a tree on the side of the highway, or looking for the nearest tree close to the Best Western where I’m staying. Q What hours of the day are you most productive? A Being a dad I’ve had to have a routine. I like to work early in the morning, and late at night, then throughout the day getting outside. Just trying to find balance. You have to go out and live your life — you never know where that inspiration will come from.

Q What tools are important to have with you when you’re creating/working? A Most often I have a field notebook, a little pen, my cellphone, and a set of headphones. I find that when I’m really starting to brainstorm projects, that discovery phase for me is very light. I’m writing a book right now and I started using Voice Notes and freeflow let the words come, and that has changed my practice so much. It’s transformed the way I work. What’s also been very beneficial is noise-can- celling headphones. If I’m on a plane, subway, bus, they allow everything else to disappear and I’m able My Studio to put some focus into what I’m doing. Sometimes when I’m sitting outside I love to take the noise away and experience the world visually.

We step inside the studios of Q Do you have any rituals to start your work day or a new project? some of our favourite artists A When I’m starting a new project, I give it a spirit. and thinkers to see where they I always offer tobacco; I put it out on the land somewhere to give thanks and create a relation- create their best work BY DEVON MURPHY ship that makes sense to me as an Anishinaabe person. Whether it’s a new live show or a podcast I’m working on, I’m always giving thanks and it just centres me and allows me to focus. I also start Indigenous Arts at Banff Centre is generously supported with a new notebook, brand new memory cards. by RBC and the Slaight Family Foundation. In a way, I’m trying to give that project its own universe to live in, its own creation story. PHOTO CREDIT: COURTESY OF THE ARTIST THE OF COURTESY CREDIT: PHOTO

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