Podcasts about Harbourfront Centre

Welcome back to the 204th episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 204th episode we bring you a Duet Review of Sankofa: The Soldier's Tale Retold, presented by Art of Time Ensemble, based on Igor Stravinsky's L'Histoire du Soldat, with a new libretto by Titilope Sonuga, directed by Tawiah M'Carthy. Join Mackenzie Horner and Jillian Robinson, as they unpack the brilliance of layered theatricality, the necessity to retell one's history, and (like the sankofa) the importance of learning from the past to inform the future. Sankofa: The Soldier's Tale Retold ran at the Harbourfront Centre (235 Queens Quay W, Toronto, ON) from October 24 to 27, 2024. See the company's website for more information about the show: https://harbourfrontcentre.com/event/sankofa-the-soldiers-tale-retold/ This review contains many SPOILERS for Sankofa: The Soldier's Tale Retold. It will begin with a general non-spoiler review until the 9:43 mark, followed by a more in-depth/anything goes/spoiler-rich discussion. Even though the current Toronto run has already come to an end, we hope that it may be revived elsewhere. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Jillian Robinson – Instagram: @jillian.robinson96 Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre If you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support

At Toronto's Harbourfront Centre, Nathan interviewed Ian Hamilton, author of the Ava Lee series, and Steve Urszenyi, author of Perfect Shot. Ian's latest book The Fury of Beijing is (possibly) the last in the series, while Steve's book kicks off the Special Agent Alexandra Martel series. Live at MOTIVE: Thrills from Start to Finish

At Toronto's Harbourfront Centre, Nathan interviewed Ian Hamilton, author of the Ava Lee series, and Steve Urszenyi, author of Perfect Shot. Ian's latest book The Fury of Beijing is (possibly) the last in the series, while Steve's book kicks off the Special Agent Alexandra Martel series. Live at MOTIVE: Thrills from Start to Finish

Toronto International Festival of Authors Director Roland Gulliver talks about the 'multifaceted monster' that is TIFA, their MOTIVE crime and mystery festival coming up in June, their flagship Fall festival coming in September, making his career move from Edinburgh to Toronto just 3 weeks before the pandemic shut everything down, Linwood Barclay as a celebrity author [and former Toronto Star columnist], and why he STARTS a lot of books with the best of intentions! The third annual MOTIVE Crime & Mystery Festival, Canada's largest, takes place June 7 to 9 at the Harbourfront Centre...more info at https://festivalofauthors.ca/crimeandmysteryfestival/ The 45th edition of TIFA's flagship festival, Canada's largest and longest-running literary festival, will take place September 19 to 29...more info at https://festivalofauthors.ca/flagship-fall-festival/ For everything TIFA, please go to festivalofauthors.ca TORONTO LEGENDS is hosted by Andrew Applebaum at andrew.applebaum@gmail.com All episodes available at https://www.torontolegends.ca/episodes/ Learn more about your ad choices. Visit megaphone.fm/adchoices

“Top of the morning to ya,” says friend and boyfriend of co-hosts and siblings Brian and Kerry. We're here on Outlook this week with visiting guest hosts Barry and his guide dog Oyster, fresh from their journey all the way from Ireland. From acquiring a pet passport to a fit-to-fly letter, Barry shares with us the process for travel with a guide dog and both of them are with us for the next few months on air. Alongside talk of travel with a guide dog, we touch on last week's Canadian federal budget announcement about the proposed Canada Disability Benefit, long promised by the Liberal government, but now the news is out that what they are offering is far less than was expected and what would put people with disabilities above the poverty line. So now Canadians with disabilities are not happy and not having it, speaking up where possible and we here are joining the chorus of voices, in a marginalised group often overlooked. In the second part of the show, we speak with Rebecca Singh of Superior Description Services, who we've had on the show last year to learn about what Superior Description does and since then what co-host Kerry has been working on as accessibility consultant. This time Rebecca is back to share with us all about next month's Junior Festival, for children five to twelve, on the campus of the Harbour Front Centre in Toronto. Junior is an arts and creativity festival for young people, running during the weekend of May 18th to the 20th. Sunday, May 19th is set aside as Enhanced Accessibility Day for children with disabilities, blindness and all kinds. There will be offerings such as touch tours, sighted guides if needed, and plenty of audio description available on site and online at the Harbourfront Centre website, described by Rebecca and reviewed by Kerry as consultant. Singh also shares with us another upcoming arts and creativity event she's working on, including podcasts as supplements to the in-person events, this June in the GTA and around Toronto, known as Luminato. So if you're in the area in the coming months, for either one, check out the festivals and events on offer by going to their websites, contacting them by phone, or by email at the links, number, or email address below: harbourfrontcentre.com/junior 416-973-4600 info@harbourfrontcentre.com https://www.luminatofestival.com https://superiordescription.com Listen to Rebecca Singh's previous Outlook appearance: https://podcasts.apple.com/ca/podcast/outlook-2023-03-06-international-womens-day-with/id1527876739?i=1000603364184

Stephen Tayo is a documentary and fashion photographer whose work celebrates the diversity, vibrancy and rich culture of West Africa — particularly his hometown of Lagos, Nigeria. Presenting in Toronto for the first time, Stephen's work is now on display at the Harbourfront Centre. He joins Tom to talk about his journey to becoming an acclaimed photographer and bringing snapshots from Nigeria to audiences around the world.

Toronto community reporter Mara Hutchinson tells you all about the Glisten Festival, an annual event that highlights the vibrant culture within the Yonge and St. Clair Business Improvement Area. She also shares her experience at the W Toronto Hotel and the Harbourfront Centre. From the February 20, 2024, episode.

In today's episode, we've got a great interview with Melissa Kent, whose hobby is screenplay critiquing!We talk about how Melissa was able to reconnect with her creative instincts by helping others with their endeavours in filmmaking, while learning the nuts and bolts of what makes a good screenplay!PLUS, Kayla talks about her hobby of glassblowing!Written and produced by Kayla Lean and Pete FalconerMusic, audio editing and video editing by Pete FalconerArtwork by Laura Walsh - https://laurajanewalsh.co.ukAnimation by Kayla Leanhowihobby@gmail.comLinksFind a screenplay critiquing group on at www.meetup.com/And once you've written it, here are some places to send it! https://www.denofgeek.com/movies/best-places-to-submit-your-screenplay/A selection of glassblowing classes around the UK: https://obby.co.uk/blog/top-7-best-glassblowing-classes-in-the-ukOr visit the National Glass Centre in Sunderland: https://www.visitengland.com/experience/try-out-glass-blowing-national-glass-centreAnd here's the cool, artsy, Harbourfront Centre in Toronto: https://harbourfrontcentre.com/Remember, you can sign up to the how i hobby newsletter at https://howihobby.beehiiv.com/subscribe for updates on new episodes, you can gaze at our beautiful faces at http://www.youtube.com/@howihobbypodand, and you can say hi to us on Instagram at http://instagram.com/howihobbyToodles!K&P#Hobby #hobbies #glassblowing #craft #glasswork #screenplay #screenplaywriting #filmmaking #podcast #comedy #newpodcast #interview Hosted on Acast. See acast.com/privacy for more information.

Clothing production has doubled worldwide over the last 15 years and has today a huge negative environmental and social footprint. The global fashion industry is not only the third most polluting industry, responsible for 8-10 percent of the world's carbon emissions, but it's also notorious for low wages and poor working conditions. Without a significant shift in how we produce and consume clothing, the planet and people will continue to pay the price for our love for fast fashion. What can we do to achieve a more Earth-friendly clothing industry? In this episode, we hear from forward thinkers working to find sustainable fashion solutions and advocating for more action. This episode comes from a Nordic Talks event arranged by the Harbourfront Centre in Toronto as part of the Canadian Circular Fashion Festival.

In this episode of the Plant-Based Canada Podcast, we talk to chef Ikeila Wright, former owner of the long-standing vegan Caribbean restaurant One Love Vegetarian in Toronto. When Ikeila decided to leave the world of meat behind and enter the plant kingdom, her Life changed. Everything she learned about cooking and the restaurant industry went totally out the window. In the process, Ikeila not only had to learn to emphasize taste… but also manipulate texture, timing, and temperature to create food that was pleasing to the palette without the aid of meat, dairy, eggs, or refined products.  In between raising children and catering, Ikeila and her family became known as food vendors at many major Toronto outdoor festivals. They spent many summers vending at The Harbourfront Centre where their One Love Corn Soup and Seasoned Corn received rave reviews. This included two appearances on The Food Network courtesy of ‘The Christine Cushing Live Show'.  In 2009, with the support of her children, the One Love Vegetarian Restaurant was born.  One Love Vegetarian remained at the forefront of the Toronto Vegetarian scene for over a decade before shutting down in 2022 following the COVID-19 pandemic.  Ikeila is now cooking up extraordinary meals as a private chef and caterer.Podcast ResourcesIkeila's WebsiteSupport the show

Right on the heels of Woodlands Checkpoint stories, now we have Tuas Checkpoint on board. Next up, Harbourfront Centre ah come on. But yeah, these three stories are bloody scary especially that family of four at the bus arrival area. Damn it lah.

Accessibility reporter Meagan Gillmore updates you on the Canada Disability Benefit following the latest cabinet shuffle (19:51). Lawrence Gunther shares tips for planning the perfect camping experience (33:59)! And, community reporter Elizabeth Mohler gives you the scoop about a Silent Disco Dance Party at the Harbourfront Centre in Toronto (43:37)!

The Élan Collective is a tenacious band of newly-minted theatre artists figuring out how to make art in a post-pandemic world, where the wobbly uncertainties of isolation and virtual distancing now have direct impact on their identities as artists in a live-performance medium. The collective lives to create theatre with momentum. Art that drives change and affects hearts and minds. Élan is the going, launch, setting in motion, or momentum. It's that moment when you finally DO launch yourself off the dock and into the cold lake. Jeannette Lambermont-Morey has directed for theatres across Canada and the United States, from the Stratford Festival (8 seasons), to the Virginia Stage Company (twice); including such theatres as The Citadel (Edmonton), The Great Canadian Theatre Company (Ottawa), Atlantic Theatre Festival (Nova Scotia), Manitoba Theatre Centre (Winnipeg), Festival Players (Prince Edward County), Theatre Aquarius (Hamilton), the Thousand Islands Playhouse (Gananoque), Talk is Free Theatre and Theatre by the Bay (Barrie), Theatre on the Ridge (Port Perry), the New World Theatre Project/Perchance Theatre (St. John's, NFLD), YES Theatre (Sudbury); and Toronto area theatres, Factory Theatre, Canadian Stage, Harbourfront Centre, The Guild Festival Theatre, and The Toronto International Fringe Festival, etc. She has worked extensively in college and university theatre programs as a director and instructor. Jeannette was Artistic Director of the New World Theatre Project in Newfoundland 2012/13 and served as Executive Director of the Shakespeare Globe Centre of Canada from 1999 to 2015. As a director/dramaturge, Jeannette has developed a number of works by up-and-coming Canadian and American writers in various stages of development -- most recently The Beloved by Wesley Colford, at the Highland Arts Theatre in Cape Breton. Jeannette is currently Artistic & Managing Director of Xchange Theatre Works in St. John's, NL. Michael Manning is a Toronto based actor, director, choreographer, and writer who is incredibly excited to debut his first play in the Toronto Fringe! He is currently studying Theatre Performance at the George Brown Theatre School located out of the Young Centre for the Performing Arts and will be returning in September for his third year. Prior to George Brown, Michael attended the University of Toronto and contributed to multiple award-winning student productions. Misha Sharivker is a Toronto-based actor and producer who is currently training at the renowned George Brown Theatre School. At any given moment, Misha can be found scrolling through an extremely niche TikTok feed or complaining that he's hungry. Instagram: @the.elan.collective Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

Do you sometimes wonder if the world is making progress on reaching the 17 Sustainable Development Goals (SDGs)? Are we succeeding in securing a better and more sustainable future for the planet and future generations? Now is a good time for a status update - the goals were agreed in 2015, so we are already halfway to the deadline of 2030. In this episode, we take a closer look at the goals chosen by the United Nations' 193 member states. How far have we come? Are we on track to transform the world in the next few years? And what does the future hold beyond 2030? This episode comes from a Nordic Talks event in Toronto, organized by the Harbourfront Centre, a not-for-profit cultural organization.

What you'll learn in this episode: How Noel promotes Canadian and American jewelry artists throughout the world How people who've never seen art jewelry should approach it for the first time Why brooches are the best type of jewelry for artists to express themselves How Noel selects pieces and artists to represent at his gallery Why Noel is hopeful that the financial and artistic value of art jewelry will increase with time About Noel Guyomarc'h Noel Guyomarc'h is the founder of Gallerie Noel Guyomarc'h. Established in 1996, the gallery exhibits outstanding collections of contemporary jewelry and objects created by Canadian and international artists. The only gallery in Canada dedicated specifically to contemporary jewelry, it has presented over 100 exhibitions in its space, which is considered to be one of the largest in the world. This internationally acclaimed gallery is a must for collectors, museum curators, and anyone who wants to discover and become acquainted with art jewelry. Additional Resources: Galerie Noel Guyomarc'h Website Galerie Noel Guyomarc'h Instagram Galerie Noel Guyomarc'h Facebook Photos available on TheJewelryJourney.com Transcript: Although Canada's art jewelry scene is relatively small, it has a devoted champion in Noel Guyomarc'h. Noel founded Galerie Noel Guyomarc'h in 1996 and has spent nearly 30 years bringing art jewelry to Montreal—and bringing Canadian jewelry to the world. He joined the Jewelry Journey Podcast to talk about how he chooses artists and exhibitions for his gallery; how he introduces art jewelry to first timers; and his hopes for the Canadian art jewelry scene. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're talking to Noel Guyomarc'h in Montreal. He is the owner and founder of Galerie Noel Guyomarc'h. He wants people to see that artists create works of art and that these pieces, when they're worn, it amplifies their significance. A relationship is established between the person who wears the piece itself and the viewer. He encourages visitors to cast a new eye on jewelry, which art jewelry really does. We will hear about all of this as well as how he came to operate a gallery and what he thinks about art jewelry in Canada. Noel, welcome to the program. Noel: Thank you. It's nice to be here. Sharon: We just had a long talk about how to say his name because there's an apostrophe before the H. Guyomarc'h. So, tell us about your jewelry journey. Noel: I started about 35 years ago in Montreal. I was working in a jewelry place which showed fashion, some art jewelry and some antiques from Asia. It's there where I started to be more aware of jewelry, but there was no contemporary jewelry or art jewelry, a very small collection, in fact. That place closed, and I decided to support local artists. I said, “O.K., I should open mine,” and it's what I did 27 years ago. Sharon: Wow! That's a long time. You were the only place around. I only know of one other place in Canada that has art jewelry. Noel: Yeah, since the past 25 years, many places have closed. Now I think we have two galleries in Canada which are presenting art jewelry, so it's not much. The other gallery, Lapine Gallery, presents only Canadian artists, but all different crafts, not only jewelry. My gallery is only dedicated to contemporary jewelry. Sharon: Oh, my gosh! Noel: There is not much in Canada. It's really sad. Sharon: When you look at a map, it's a big area. Noel: Oh, yeah. Sharon: We're a smaller area on the West Coast, but we don't have as much as the East Coast does. Tell us a little more. Would people be surprised if they found out this is what you're doing today? Were you artistic? Did you make jewelry? Noel: From the people who knew me a long time ago, yes, they would be surprised because it was not what I was planning to do in my life. I was working in administration. I'm originally from France, and I moved to Canada 25 years ago. My background was more in economy and administration, so nothing to do with art or even jewelry. There were never jewelers in my family. When I moved to Canada, I met people who were making jewelry. In a way, I started to be more introduced to jewelry. Sharon: Tell us about your gallery and how you introduce people to it, because you have very alternative materials in terms of jewelry. How do you introduce people? Noel: I like them to come in. They know already that there's something different because the front windows always display unusual work. So, when they come in, they are surprised by the diversity. They look at things, and when I see that there is some question in their eyes, I go to them and start to explain the work they're looking at. That way, they look at all the works in the gallery differently. Sometimes you're more attracted by one specific thing because of the colors, because of the materials, because of the idea. So, the fact that I explain the work, they understand that all the other works I have at the gallery are in the same group. They all have a specific meaning, a specific way of being done, of being worn, of being realized by artists. It's interesting, the effect. Sharon: Are people attracted because it's work by artists or because it's just different jewelry? Noel: They're curious because the format, the colors, the treatment of materials are very unusual. They're just surprised. It's funny because there are two sides of showing such jewelry. You have people who are curious; they want to learn more. There are others that say it's not jewelry because it's too stylized. It's very interesting to see the two behaviors in front of such work, in fact. Sharon: Do you have people who come in and say, “Oh, this looks interesting,” and they walk out with something they never experienced before? Noel: Exactly, yeah. Very often it's not the first time they're going to buy something. They need to get used to looking at them, to get used to eventually wearing it. It's a process. It's a work in progress, and a working process as well because they have to get used to such pieces. It's very interesting. Sharon: Are most of your customers women? Noel: I can say yes, 75% are female and 25% are men. Sharon: 25% is a pretty large amount. Noel: Yeah, I don't know what's been happening the past 15 years. It's like the men started to wear jewelry or they started to buy for their wives, but they want to buy something they like more than their husband or wife will like. It's very interesting, but it's not the same. I don't know. The past 15 years I've seen a difference. Before, people wanted to buy something to seduce their wives or husbands, and now they're acknowledging—because of me, maybe; I don't know—but they want to be sure that the piece pleases them before it will please their wife or husband. It's a slightly different way of buying, which I like. Sharon: Were you a jeweler? Did you ever make anything? Noel: I took some jewelry classes before I opened the gallery, but I realized that was not for me. That was very fast. After a few years, I realized that no, it's not for me to make them. I had ideas, but I didn't have the patience for the making aspect. I was surrounded by talented people, so why do something I will not be pleased with? But it was a good thing because I learned many techniques that way, so when I look at some work, I know the quality as well. I can see if it's well-made or not because I took those classes. Sharon: What do you consider art jewelry? What do you say when people come in and say, “What's art jewelry?” Noel: I try to explain that it's a result of a vision, of questioning, of reflection by one artist about what jewelry can be. It can be inspired by real jewelry, by the environment, by the field as well. No matter the techniques of the material used, it's the expression, the idea. The main goal is for them to express themselves. Sharon: Do you always say it's art jewelry by jewelers, or do you say it's jewelry by artists? Noel: Most of the time, I say by artists. That's interesting because now—it's not new—there are some people that were in different fields and they started to make jewelry, but they don't have the background of it. Just the fact that they use different kinds of materials, they don't need to have that goldsmith or metalsmith training. They choose jewelry to express themselves. Sometimes they know silver or precious materials. So, it's more the artists than jewelers. It can be jewelry artists, which means they've had the training, and artists. Sharon: Can you look at a piece and tell if it's somebody who has classical training, but then started to make jewelry with paper or plastic? Noel: Oh yeah, we can feel it. But when you have many training experiences, it gives you freedom to do what you want. I think it's nice when you have good training, for sure. Sharon: What was your catalyst for starting the gallery? Why did you decide, after working in these other places, to start a gallery? Noel: I worked in that place for five years, so it's where I learned a lot of things. Slowly, that place was showing more artistic types of work. Among those jewelry artists there, there were a few that I started to be very close to. Then the place I was working at closed because of the economic situation, and I said to those artists, “I've got to open something in a few years to support you and encourage you.” It's what I did after maybe three years that the place where I was working closed. I opened my gallery to support a few Canadian artists at the beginning, but it has grown very fast. We started to invite artists from everywhere and curate shows. Sharon: How do you curate shows? How do you decide somebody warrants a whole exhibition or if it's a group showing? Tell us what you have now and what's upcoming, that sort of thing. Noel: Sometimes it's curated shows. I did a few with invited artists or asked curators to do shows for the gallery. Sometimes, I'm doing a selection of artists because of their work. Sometimes it's from countries. I have done a show last year with Japanese artists. I selected seven with different backgrounds and different aesthetics, but I found it interesting to get them all together. Some of them have been trained in Japan and some outside of Japan, so the results were very different. Now, I have a show called “Animal, Vegetable, Mineral,” and that show has been curated by Melanie Egan. She's the head of the Craft and Design department from the Harbourfront Centre in Toronto. Sharon: What is her name? Noel: Her name is Melanie Egan. She's the head of the Craft and Design department at the Harbourfront in Toronto. She curated that show. It was presented last September. I was part of the project in a way because she wanted that show to travel to Montreal. I said yes, but the show was really big, so I did a short selection of work because we don't have the same space, even if my space is big. It was very interesting to see why she selected specific work. It was about Nordic work. She invited people from Sweden, Norway, Iceland and from Canada, different places from Canada. It was a very interesting show. Sharon: As you were going through to decide what to take from the show, since you couldn't show everything she had, how did you decide? Noel: It was more simple because sometimes she had similar items. I said, “O.K., instead of six necklaces, I'm going to bring four over because I don't have space for more.” They were by an artist from Finland. She has done huge, huge, huge pieces. They're not wearable art pieces. The dimensions are oversize. It's always more jewelry for the wall than jewelry for the body. So, it was big, big, pieces, and I picked the bracelet because it was three meters by two meters big. It was very big. Can you imagine if the bracelet was that size, what was in that piece? So, I just took the bracelet. Sharon: Did you look at the pieces and how they were made? Noel: Yes, I went to the opening in Toronto to look at all the work, to do the selection, to make the right selection for the gallery. Sharon: What do you consider the right selection? What will sell? Noel: Most of the pieces were not for sale because the Harbourfront Centre is a nonprofit organization. They invited the artists and got a grant to bring everything in. So, I have done that show in Montreal, but I'm not supposed to sell because all the pieces have to be returned because of customs issues. Finally, I sold a few so the artist had to ship them back to me, but at the beginning it was not a project to sell the work. But I had demand, so it was nice. It was great. It was a great turnout. Sharon: What's your favorite thing to sell? What do you like most about art jewelry? Do you like brooches? Men like brooches—I call them brooches. When I think of a man wearing jewelry who's not wearing a leather bracelet, I think of the brooches I see men wear, with lapel pins on their lapel. What do you like and what do you sell? Noel: I have a lot of brooches at the gallery because I like the format. It's very nice for the artist. They like to work in that format because they can express themselves. They know much more challenging things. A necklace can't be too heavy, earrings not too heavy, well-balanced, rings not too big. There are always questions of sizes as well, so it's a challenge. The brooches are a very rare form to express themselves. So, I like them, but I don't sell many brooches. It's not the best-selling item, but I have a lot because I like them. The best seller is necklaces and earrings and rings. Those three are very good, but brooches, I'm wearing them a lot. Slowly I succeeded to sell a few because I'm wearing them. When people come in, it's like, “I never thought about wearing brooches,” because they feel that it's not contemporary enough. The perception is like their grandmothers were wearing brooches, not them. But it's changing a little bit. Sharon: I guess when I see art jewelry exhibitions, I always think of brooches. You only do one. With earrings, you have to make sure they match and that sort of thing. It seems better for an artist to do a brooch. Noel: Yeah, but it's a piece that can encapsulate very nice ideas. I think that's why it's a favorite that I like to do. But sometimes, like I said, it's not always the best seller. Sharon: That leads me to the next question. They say that having a gallery, no matter what kind of gallery but especially an art jewelry gallery, is something of a passion. It's not because you want to make a lot of money; it's a passion thing. What do you think about that? Noel: It's absolutely true. I'm pleased because I've succeeded to make a living from it, but for sure, it's not where you're making a lot of money. Even the six or seven first years of the gallery, I had a job outside the gallery just to get an income. It was very challenging at the beginning. Now, I'm glad because it's balancing well, but I do it just because I'm very passionate about jewelry and I like to show the artists' work. I like to present it, but the return is not much. The return comes from the artists or when you meet someone. You like the work and buy it, and that means that you have done a good job. From the beginning, I didn't want to have debts by running a gallery. For me, it was not the purpose. For me, it has to pay for everything, and as long as I can gain a little income from that, I feel O.K. But it's true that we have to be passionate about the selection of work as well. I think for the gallery, I'm not doing easy sales pieces. I always try to challenge myself and challenge the artists themselves, so I have to keep motivated to do it. At times, it's very challenging. Sharon: Do you ever say to an artist, “This would be wonderful if you made it pink or blue or you added this,” or do you just let them do it? Noel: I don't want to be behind them and say, “You should do this because you're going to sell them easier.” No, my job is to create wonderful settings. I really trust them. I believe them. I don't want to influence that. Sharon: Do you see a difference in art jewelry between the U.S. and Canada or the rest of the world? Noel: Yes, there are some differences. It's the fact that we don't have a long story here about art jewelry. It's not that old. And it's the fact that there are not so many schools as well in Canada, and the fact that we don't have so many galleries to show those works, I think it's—what can I say?—it's very challenging for the artist here. So, they're not making the same type of work. Sometimes they're doing a more commercial type of work and one other kind of avant garde of work, but there are not enough galleries to show their work. I think if there were more, it would be more motivating. I'm almost the only one here, and I can't say yes to everybody. It's going better for the jewelry fields because there are some platforms, like the one from Toronto. There are also some events like the New York City Jewelry Week. There are a lot of Canadians going there and going to Europe as well. There are some fairs where the artists can go so they can show their work, not always through a gallery, but they can organize by themselves or pop up at events to promote themselves. I think that helps for the creation as well. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Rob Kempson is a theatre artist and educator, working primarily as a director and playwright, and the Artistic Director of the Capitol Theatre in Port Hope. Selected Writer/Director: Trigonometry (timeshare/Factory); Mockingbird (Next Stage Theatre Festival); SHANNON 10:40 (timeshare/Videofag); explicit (Rhubarb Festival); #legacy (Harbourfront Centre); The HV Project (Community). Selected Director: Box 4901 (timeshare/Buddies), The Places We Are (Theatre Erindale), The Snow Queen (Canadian Children's Opera Company), Electric Messiah (Soundstreams), The Little Mermaid (St. Lawrence College), 9 to 5: The Musical (Randolph College), The Ballad of Stompin' Tom (Sudbury Theatre Centre), Box 4901 (SummerWorks, foldA Festival); The Canadian, Maggie and Pierre, Million Dollar Quartet, Daisy Amazed Me, Violet's the Pilot, Rose's Clothes (Thousand Islands Playhouse); Robert (co-directed with Briana Brown, Toronto Fringe); Songs for a New World (Claude Watson). Writer/Composer/Performer: The Way Back To Thursday (Theatre Passe Muraille/Touchstone Theatre – Dora Nomination: Outstanding New Musical). Rob has been a member of the Stratford Festival Playwrights' Retreat, a Resident Artist Educator at Young People's Theatre, and the RBC Intern Director for The Musical Stage Co. He is the past Artistic Producer of the Paprika Festival, the past Associate Artistic Producer at Theatre Passe Muraille, and the past Associate Artistic Director at the Thousand Islands Playhouse. Rob is also the Co-Artistic Director of ARC, a Toronto-based company. www.robkempson.com Twitter: @rob_kempson Instagram: @rob_kempson Tickets to ARC's Martyr: https://www.nativeearth.ca/shows/martyr/ Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

How can I be happy at work? It seems that more and more people worldwide are asking themselves precisely this question. The COVID-19 pandemic especially made many of us reflect on the work-life balance and ask whether there is more to life than work. In this episode, we look at important questions surrounding working life today. How to improve your working conditions? How to find the strength to leave an unfulfilling job? How to find the right work-life balance? In short, we ask our speakers to reveal the secrets to boosting happiness at work. This episode comes from a Nordic Talks event organized by the Harbourfront Centre in Toronto. The talk is part of "Nordic Bridges 2022", a year-long initiative fostering cultural exchange between the Nordic Region and Canada throughout 2022.

The final of three interviews we recorded at Toronto's Harbourfront Centre as part of the Toronto International Festival of Authors. With novelists André Forget author of In the City of Pigs, and Naben Ruthnum author of A Hero of Our Time we spoke about their darkly comic novels that play with themes of work, art, and the unreality of even so-called real estate. Beneath the veneer with Naben Ruthnum and André Forget

The final of three interviews we recorded at Toronto's Harbourfront Centre as part of the Toronto International Festival of Authors. With novelists André Forget author of In the City of Pigs, and Naben Ruthnum author of A Hero of Our Time we spoke about their darkly comic novels that play with themes of work, art, and the unreality of even so-called real estate. Beneath the veneer with Naben Ruthnum and André Forget

Ekow Nimako is a Toronto-based, internationally exhibiting LEGO artist who crafts futuristic and whimsical sculptures from the iconic medium. Rooted in his childhood hobby and intrinsic creativity, Nimako's formal arts education and background as a lifelong multidisciplinary artist inform his process and signature aesthetic. His fluid building style, coupled with the Afrofuturistic themes of his work, beautifully transcend the geometric medium to embody organic and fantastical silhouettes. His large scale public installations include the monumental Cavalier Noir (Nuit Blanche, 2018) which features a seven-foot Black rider atop a dauntless Black unicorn. Conceptualized in collaboration with Director X, the piece subverts the dominant imagination of public monuments and centres Black narratives. Nimako's installation To Feed the Village, the Young Must Grow debuted at Berlin's Urban Contemporary Art Biennale (Urban Nation Museum for Urban Contemporary Art, 2019) alongside other internationally renowned visual artists. The touring group show Brick by Brick features several works from his Building Black Mythos series and opened in 2019 (20-21 Visual Arts Centre, UK, 2019). Nimako's medieval Africa inspired series Building Black Civilizations opened in 2019 at the Aga Khan Museum. The architectural and imaginative pieces explore the untold narrative of sub-Saharan Africa during the middle ages, with detailed references to architecture, Islamic civilizations and Afrofuturism. The anticipated sequel to this exhibition, Building Black:Civilizations II, premieres at Dunlop gallery in Regina in the fall of 2022. Nimako's latest body of work Building Black AMORPHIA presents artworks that thread together elements of West African mask making traditions, fauna and organic forms to create an amorphous and fantastical tapestry. This wall-mounted series displayed at the Harbourfront Centre in Toronto from January to June 2020. Exhibition plans for AMORPHIA II opening in London are currently underway. Nimako's work has been featured in media outlets and publications such as NOW Magazine, CBC, CBC Radio, Global News, TorontoLife, VICE, Toronto Star, BlogTO, Hyperallergic and the Globe and Mail. He is a published author of Beasts from Bricks (Quarry Books, 2017) an instructional LEGO book featuring miniature sculptures of rare and beautiful animals with an elevated aesthetic. Key Takeaways    1. Talent and passion can sprout from a young age - Ekow always wanted to create for as long as he could remember, exploring creative avenues like drawing, music, and sculpture throughout his life. As a young child, he wasn't even aware of the term “artist” but those around him recognized his talents and informed him of what he was. 2. Think outside the box - Ekow wanted to dedicate his time to art that was specifically for Black people so he turned to sculpting with LEGO and became a LEGO artist. From a LEGO box, not many people would think of creating the type of LEGO sculptures Ekow creates. With his artistic vision, he and his team pour in 100 to 1000 hours making entrancing sculptures from black LEGO pieces. 3. Recognition comes gradually - 2014 is the year that Ekow cites as the year his career started to take off. He received a grant which allowed him to create without the constraint of cost. Throughout the years, Ekow has been growing his Instagram page and working hard. His work has gained recognition both in Canada and internationally. In addition, Ekow just recently secured a formal deal with the LEGO Group! 4. Advice for aspiring artists - Get accustomed to solitude, as being an artist is time consuming. The majority of your time is going to be spent alone with your art. Be realistic- think about whether you want to pursue art full-time or go after another route while keeping art as your main passion. Consider the fact that you might need to balance the time spent on art and the time spent on other activities to ensure you have enough to get by. Be aware about art production and your desired artistic journey. Know what art you want to create and the medium it uses. Certain mediums allow for faster art production which could bring more short-term success. On the other hand, carving out your niche could bring more long-term success. 5. Tradeoffs can pay off in the end - For many years, Ekow worked a job he didn't enjoy, listened to his boss and dealt with racism in the workplace to make enough money to survive. He spent time and energy on his job that could have been put into his art. However, the money he earned allowed him to continue pursuing his true calling on the side. This tradeoff was made until it was no longer necessary and Ekow finally had the freedom to live off his work, dedicating everything he had to his creations. The freedom that comes with Ekow's position as a renowned artist is what he is most grateful for today. Ekow's Resources Website: https://ekownimako.com/artwork/ Instagram: https://www.instagram.com/ekownimako/   SUBSCRIBE TO THE PODCAST HERE: APPLE PODCASTS GOOGLE PODCASTS SPOTIFY LIBSYN YOUTUBE   OKIKI RESOURCES: Need Video Content or Personal Brand Photos? Book Here Join the Okiki Video Content Bootcamp Today! https://www.okikiconsulting.com/okiki-video-bootcamp   ABOUT FIYIN: Fiyin Obayan is the founder of Okiki Consulting, where she helps business owners communicate their personal brand or company brand stories through video content, in order to communicate to their target audience. Contact Fiyin: Website: www.okikiconsulting.com Email: info@okikiconsulting.com Phone: (306)716-0324 Instagram: @Okikiconsulting and @Okikiconsultingmedia Facebook: @Okikiconsulting LinkedIn: https://www.linkedin.com/in/fiyinfoluwaobayan/ Business: https://www.linkedin.com/company/okiki

The second of three interviews we recorded at Toronto's Harbourfront Centre as part of the Toronto International Festival of Authors. We interviewed novelist Jean Hanff Korelitz, author of several critically acclaimed bestselling novels, but most recently The Latecomer. It's the story of the Oppenheimer family, who are materially very comfortable, and fairly uncomfortable in just about every other way. Jean Hanff Korelitz, live at TIFA 2022

The second of three interviews we recorded at Toronto's Harbourfront Centre as part of the Toronto International Festival of Authors. We interviewed novelist Jean Hanff Korelitz, author of several critically acclaimed bestselling novels, but most recently The Latecomer. It's the story of the Oppenheimer family, who are materially very comfortable, and fairly uncomfortable in just about every other way. Jean Hanff Korelitz, live at TIFA 2022

Over the next few weeks we'll be sharing recordings of live interviews conducted at Toronto's Harbourfront Centre as part of the Toronto International Festival of Authors. The first of these features international bestselling author Marian Keyes speaking about her pandemic project, Again, Rachel, the unexpected (to her) sequel to her breakout 90s bestseller Rachel's Holiday. We spoke with Marian back in 2020 as well: Marian Keyes on getting older... but never feeling grown up

Over the next few weeks we'll be sharing recordings of live interviews conducted at Toronto's Harbourfront Centre as part of the Toronto International Festival of Authors. The first of these features international bestselling author Marian Keyes speaking about her pandemic project, Again, Rachel, the unexpected (to her) sequel to her breakout 90s bestseller Rachel's Holiday. We spoke with Marian back in 2020 as well: Marian Keyes on getting older... but never feeling grown up

The Black Lives Matter movement was propelled into the global spotlight as protests spread following the murder of George Floyd by a Minneapolis police officer in 2020. Having started as a grassroots movement protesting racially motivated violence and police brutality in the United States, Black Lives Matter has now grown into an international social and political phenomenon, with activists organizing protests and social media campaigns worldwide. In this episode, we explore how this once US-based movement has triggered action against racism in places as far away as the Nordic countries: A region traditionally seen as being at the forefront in the fight against inequality and discrimination but which still has its battles to fight regarding these issues. We also ask what the struggle for black people's rights will look like in the future. Will it remain global? And what would that mean for black people? This podcast episode comes from a Nordic Talks live event organized by the Harbourfront Centre in Toronto, Canada. The talk is part of "Nordic Bridges 2022", a year-long initiative fostering cultural exchange between the Nordic Region and Canada.

This week, on the podcast, host Eva Hartling speaks with Alicia Rose, Senior Manager in Strategy and Social Impact at TD. We talk about aligning purpose, passion and one's life work, as well as the best way for business owners to integrate values, culture and giving back to their business activities. Alicia Rose calls herself an INtrapreneur. She has had a lifelong passion for social impact, working with organizations such as Business and Arts, Pathways to Education, and Harbourfront Centre. She spent over 15 years in the nonprofit sector before joining TD Bank Group in 2018. Today in her role as Senior Manager, Strategy and Social Impact, Global Corporate Citizenship, she oversees the TD United Way Employee Giving Campaign and the TD Ready Challenge which is a North American innovation fund providing $10M of grants to charitable organizations. She has served on boards such as Literature for Life, School for Social Entrepreneurs Ontario and currently sits on the board of Soulpepper Theatre Company and JAYU, an organization that tells human rights stories through the arts.........This season of our podcast is brought to you by @td_canada Women in Enterprise. TD is proud to support women entrepreneurs and help them achieve success and growth through its program of educational workshops, financing and mentorship opportunities! Find out how you can benefit from their support! Visit: TBIF: thebrandisfemale.com // TD Women in Enterprise: td.com/ca/en/business-banking/small-business/women-in-business // Follow us on Instagram: instagram.com/thebrandisfemale

What you'll learn in this episode: Why art jewelry is a way to reflect current times How Annette is trying to create an art jewelry gallery in Copenhagen Why people often don't understand art jewelry, even in cultures with a tradition of goldsmithing, art and design Why Americans are more willing to wear large statement pieces About Annette Dam Annette Dam is educated from the Oslo National Academy of the Arts in Norway in 1999 and has since worked conceptually and exhibition-oriented. Annette Dam's works have been exhibited at exhibitions in Denmark as well as internationally. In 2015 she was selected for the World Craft Council's European Prize for Applied Arts in Belgium. Annette Dam received the prestigious Skt. Loye award from the Kjøbenhavns Guldsmedelaug. Additional Resources: Website Instagram Klimt02 Photos available on TheJewelryJourney.com Transcript: For Danish artist-jeweler Annette Dam, the appeal of art jewelry lies in the challenge of making it. How do you turn an idea or feeling into a wearable piece of art? That's the question she asks before starting any piece. She joined the Jewelry Journey Podcast to talk about her upcoming exhibitions and projects; how people from different cultures approach art jewelry; and why she wants to help the Danish art jewelry scene thrive. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is artist-jeweler Annette Dam, speaking to us from Denmark. Welcome back.    You used the word concrete, which is exactly the word I used when I was making notes. I thought, “Oh my god, that's a real challenge.” You say that what you're doing is a little bit like a riddle. You're trying to make something concrete that you're visualizing in your mind, but you want to make it real. That must be very difficult.   Annette: It is sometimes, but for me it's also where a lot of my drive is. It's where I get challenged. I get very frustrated and say, “I don't know. How do I do this?” but that is what I think is exciting. I must like it even though I get so frustrated. I think it's very hard sometimes.   For instance, I had an exhibition a while ago called “When Complexity Moved In.” It was about getting older. When you get older and more experienced and more knowledgeable, you're able to see things from many different perspectives. You can see other peoples' reactions and you can see their points. You may not agree, but you can still see their view, and it's not black and white anymore. A lot of friends who are the same age as me have the same feeling. Life doesn't get easier. Even though you may know a lot more, you get more experienced, it seems like it's getting even more complex. All the grey, all the nuances, you get aware of them. How do I translate that feeling into jewelry? That is a real challenge.   Sharon: Yes, it sounds like it. It sounds like a brain twister.   Annette: Yes, it is, but that's where a lot of my energy comes from, this riddle that I have to solve to get it into a material. I make jewelry that, at least in my opinion, is somewhat wearable. Some might disagree. So, there's also a functional side to it, and I want it all to work together. Then you have a lot of ideas, and it's also about subtracting so it doesn't get confusing. That's a lot of elements in that creative process, but that's the one that drives me.   Sharon: That's interesting. I could see how you have to streamline things and say, “O.K., I have a lot of ideas, but they can't all go into this one piece.”   Annette: No.   Sharon: I was intrigued by your—I'm looking for the name of it, the silversmithing program.   Annette: Yeah.   Sharon: Tell us about that.   Annette: I can say that whenever I start a new project, I always want to learn something new, not only in terms of investigating an issue, but also technical skills when I want to investigate a material. I want to challenge myself a little bit in that department as well. There's always a part of me trying out new thinking, being a beginner at something within the project.    In this case, it has a title called “Trespassing.” It's about gender. It's about the balance between femininity and masculinity and power structures and stuff like that. It's things we talk about these days. It's also a way for me to educate myself within this area. I have two children, two daughters that are 18 and 20. They live in this, but I have to more actively educate myself in these gender themes. It's very interesting.    I started out doing these neckpieces that are a balance between a necktie and a traditional pearl necklace. It's a long process where I also have to deselect something to make it clearer. Where is the balance? How long should the tie be compared to the necklace before it's a necklace and not a tie? What does it really say? Does it say what I want it to say? That was a small beginning of it, but I had the chance to go to this very experienced, very good silversmith Carsten From Andersen. It was also something I got a grant for through the Danish Arts Foundation. I hadn't done a lot of silversmithing, and that's a hard technique. I had a little bit of teaching of it in school in Norway, but it has to be in your body in a way to actually do it. So, he's teaching me. I'm starting out doing these—are they called puff sleeves? Like the one Sleeping Beauty was wearing. It's clothes and a shoulder piece.   Sharon: In silver?   Annette: It's in silver, yeah. I'm a big silver fan. It also has references to and elements of the parade uniforms the military wears. It's morphing into a different plane with the balance between something innocent and very feminine and something very powerful and demonstrating military power. How can I make an interesting balance between that? I'm also making—what is it called? Like a jock strap.   Sharon: Yeah, a jock strap.   Annette: Combining that with a garter belt. It's a way for me to explore. So, I'm doing this project and learning this new technique. Part of the project will be shown at a small gallery Portabel, owned by Camilla Luin, in Norway in September. The first step in that project will be shown there and then we'll see where it goes.    Sharon: How long is this silversmithing program?   Annette: It's just him and I deciding. When I think I've done enough and when I'm finished with what we talked about. We're still not there, but it's really interesting.   Sharon: It sounds like it.   Annette: He's a great guy and he's so good at it. I'm so impressed.   Sharon: I can give you a lot of credit for wanting to embark on something like that. I like it when people explain things to me, when someone takes me on a tour of an art gallery and I say, “Oh yeah, now I see it, O.K.” I saw your neckpiece with the pearls and the tie. I saw it online, and now that you've explained it, I go, “Oh yeah, I get it. That's really interesting.”   Annette: Yeah, it combined those very traditional, classical, masculine, feminine accessories, and then combining them and seeing how it works out.   Sharon: That's really interesting. You say you like to exhibit things. Why is that? Why are exhibitions important to you?   Annette: I don't know. I think the pieces that I do, they relate to a topic, and it feels like I have this conversation doing it. I have conversations with myself, maybe with colleagues, family. But then to see it through someone else's eyes when the audience comes, those discussions are really valuable to me. I gain a lot from them, so I like to exhibit. I like to make bigger pieces. I know they are not production work, where I will not sell 10 of them, or thousands of them, but I still like to do them. I like to have this conversation between myself and the audience and the gallerist and whoever is there. It's very giving for me.    Sharon: You mentioned the question marks in people not exactly understanding when you say artist-jeweler. Did they understand it more in Norway or is it just in general?   Annette: A little bit more, actually. Yeah, they do. They have an art tradition. It's a recent culture for doing craft in general. In my opinion, it's more valued there. They appreciate it more. It was a good place to study. They didn't question me as much.    Sharon: They didn't say, “What are you talking about?”   Annette: I get questioned a lot in Denmark, but not necessarily other places.   Sharon: Interesting.   Annette: Isn't it?   Sharon: Yes. I know that at one point you lived in the States, in California, I think. Did you do your crafts—   Annette: No, my husband is from California. I have never lived there.    Sharon: O.K. I was wondering if you were doing art jewelry. Have you tried exhibiting here?   Annette: No, I'm represented by Charon Kransen, among others.   Sharon: By whom? Oh, Charon Kransen.   Annette: I've been traveling a lot doing exhibitions in the States, but I never worked there or lived there. I find that the American audience, they are braver in a way. They appreciate some of my bigger works that I would never sell in Denmark. As you know, there are a lot of collectors in the U.S. We don't have collectors in Denmark yet. We're working on it, but they're just braver in wearing extravagant jewelry in the US. They don't mind having those conversations. I think if they wear a big piece that has a lot to say, they know they're going to be questioned and they will have a conversation. I don't know if the Danes don't really want that, but the Americans, they don't mind it. They like it, right?   Sharon: That's interesting, because I know the pieces you have online, and from what I've seen, I don't consider your pieces really big. They're not small, but they're not huge. It's not like wearing a pectoral.    Annette: I totally agree. My jewelry is not that out there. They're not that weird, but that's a way to come for Danish wares.   Sharon: Do you see the market growing there for art jewelry?   Annette: No.   Sharon: No?   Annette: No, but I see it growing in other places, in other countries.   Sharon: In Scandinavia?   Annette: Throughout the world in general it's growing. I'm very pleased, but not in Denmark.   Sharon: Interesting. I'm surprised to hear that.   Annette We have a long tradition of making jewelry, so it concerns that we don't have an education for art jewelery at a higher level anymore. If you want to be educated within art jewelry, you have to go abroad nowadays.    Sharon: What happened to the school?   Annette: It got closed down. They kind of made a school at this art academy, but they exchanged it for accessories, and that's not art jewelry. They kind of diminished that specific field within the accessory thing.   Sharon: It seems like there's a market in Canada. You're working on a project, the Nordic Bridges, in your exhibit in Toronto. Tell us about that.   Annette: Yeah, I was very pleased to get invited to this exhibition called Animal, Vegetable, Mineral. I was invited by Melanie Egan. She's a curator at the Harbourfront Centre in Toronto. In the year 2022, there's this project called the Nordic Bridges, which is a collaboration between the Nordic countries and Canada. The Harbourfront Centre is leading this project. There are exhibitions, venues with literature, film, dance, performance, gastronomy as well, all taking place at different places in Canada. It's a huge project. This is a part of it, this jewelry exhibition where there's one artist from each of the Nordic countries and I think six from Canada. I like the title.    Sharon: What does it mean?   Annette: It's a guessing game. I don't know. Do you have it in the U.S., a guessing game where the first question, at least in Canada, is animal, vegetable or mineral? In Denmark, it would be—how do I translate it? Is it living in the water, on earth or is it flying? You have to guess an animal in Denmark, but in Canada, I guess it's a little bit different. But this is the game, and that's the ...

What do you think of when you hear the word library? Maybe you think of a building full of books - a place to explore other worlds and perspectives. But in the 21st century libraries have become much more than that. They mirror society and reflect the developments occurring in the surrounding world. In some libraries, you can now even borrow a so-called human book – a real human being sitting in front of you sharing their personal story. Sounds exciting, right? In this episode, we explore the unifying power of libraries and discover why some people consider them to be the beating heart of modern communities. This episode comes from an online Nordic Talks event organized by the Toronto International Festival of Authors in partnership with the Harbourfront Centre. The talk is part of Toronto's Harbourfront Centre "Nordic Bridges 2022" cultural exchange initiative.

The Parenting Show - Sunday, June 12th, 2022 - Summer Camp! Host:  Pina Crispo // https://www.instagram.com/chic_mamma  Guest: Yashy Murphy // https://www.parentingtogo.ca/ Rankin Middlebrook // https://harbourfrontcentre.com/program/camps/ On this weeks' episode Pina is joined by friend Yashy Murphy from parentingtogo.ca and Rankin Middlebrook Senior Manager, Recreational Learning at Harbourfront Centre, to talk about summer camps and activities at the harbourfront.   See omnystudio.com/listener for privacy information.

In this second part of this episode, Linda chats with Marissa Stapley, whose book Lucky (published by Simon & Schuster and available on Audible) was just picked up as the first Canadian book on Reese's Book Club picks. Linda has a personal response to this book, which she references as she speaks about Stapley's interview with Shelagh Rogers on The Next Chapter. She also asks Stapley about the kind of research she undertakes to write this kind of book, and the characters about whom she writes. If you'd like to hear Stapley live -- or learn from her -- she is speaking and giving a master class (insert: Linda wishes she could be in Toronto for this!) at MOTIVE, on June 3 to June 5, at the Harbourfront Centre in Toronto. Hosted on Acast. See acast.com/privacy for more information.

In this special NAC Dance podcast, Cathy Levy (Executive Producer of Dance at Canada's National Arts Centre), Nathalie Bonjour (Director of Performing Arts at Toronto's Harbourfront Centre), and Jim Smith (Artistic and Executive Director of Vancouver's DanceHouse) chat with Alan Lucien Øyen, one of Norway's most exciting multi-talented and in-demand artists, about his art and bringing Story, story, die to Ottawa, Vancouver and Toronto in June 2022 as part of Nordic Bridges, a celebration of Nordic art, culture and ideas across Canada in 2022. Alan describes how the remounting of this work that speaks to our isolation and how we present ourselves depending on who we are with and the situation we are in, feels like a victory after the postponements and setbacks imposed by the COVID-19 pandemic. He expresses gratitude for having been able to work in both theatre and dance; for the deeply moving experience of remounting Pina Bausch's Sweet Mambo on Tanztheater Wuppertal Pina Bausch; for a future filled with exciting projects; and to be given the freedom and agency to look at things differently at a moment in time when the world seems to be rotating backwards.

When Joan Didion died in December 2021 at the age of 87 from complications of Parkinson's disease, writers and readers lamented the loss of a literary giant. In a rare conversation in 2005, Didion spoke to Eleanor Wachtel in front of a packed audience at the Harbourfront Centre in Toronto about her award-winning memoir, The Year of Magical Thinking. This interview originally aired on November 27, 2005.

This conversation was recorded as part of Work Shouldn't Suck's https://www.workshouldntsuck.co/ethical-reopening-summit-2021 (Ethical Re-Opening Summit) that took place on April 27, 2021. How can we and our organizations acknowledge and support the well-being of everyone as we continue to live and work through a global pandemic? Resources mentioned during session:Project Include's https://projectinclude.org/remote-work-report/ (Remote Work Report) & https://projectinclude.org/assets/pdf/Project_Include_Executive_Summary_0321_R4.pdf (Executive Summary) “https://hbr.org/2021/04/what-does-it-mean-to-be-a-manager-today (What Does It Mean to Be a Manager Today?)” by Brian Kropp, Alexia Cambon, and Sara Clark via Harvard Business Review “https://www.myungrangpark.com/measuring-loss-the-inequities-in-remembrance (Measuring Loss: The Inequities in Remembrance)” by Sophia Park “https://medium.com/commonfuture/prioritizing-wellbeing-in-2020-7f7473597354 (Prioritizing wellbeing in 2020)” by Joann Lee Wagner “https://www.workshouldntsuck.co/podcast2/ep03 (Working While Grieving)” Work Shouldn't Suck podcast EP03 “https://www.indiebound.org/book/9781942094470 (My Grandmother's Hands: Racialized Trauma and the Pathway to Mending Our Hearts and Bodies)” by Resmaa Menakem “https://projectinclude.org/assets/pdf/Project_Include_Harassment_Report_0321_R8.pdf (Remote work since Covid-19 is exacerbating harm: What companies need to know and do)” by Project Include https://www.brainpickings.org/2016/06/20/the-body-keeps-the-score-van-der-kolk/ (The Body Keeps The Score: Brain, Mind, and Body in the Healing of Trauma) by Bessel Van Der Kolk, M.D. “https://www.womanlymag.com/stressed-out/the-han-flowing-through-my-veins (The Han Flowing Through My Veins)” by Sophia Park via Womanly “https://hbr.org/2021/01/how-to-keep-your-cool-in-high-stress-situations (How to Keep Your Cool in High-Stress Situations)” by Robert E. Quinn, David P. Fessell, and Stephen W. Porges via Harvard Business Review SHANNON LITZENBERGER is an award winning dance artist, embodiment facilitator and experienced cultural leader working at the intersection of art, ideas and transformational change. As a dancer, performance maker and director, her work explores our relationship to land, the politics of belonging, and the forgotten wisdom of the body. She has been an invited resident artist at Soulpepper Theatre, Toronto Dance Theatre, Harbourfront Centre, Atlantic Ballet Theatre, Banff Centre, and the Gros Morne Summer Music Festival. She collaborates frequently with the Dark by Five Inter-arts ensemble and the Wind in the Leaves Collective. As a skilled freelance strategist, programmer, leadership developer, policy thinker and embodiment facilitator, she works with leading organizations in the arts, academia and the corporate sector. She is currently a faculty member at Banff Centre's Cultural Leadership Program; a Program Associate with the Cultural Pluralism in the Arts Movement Ontario (CPAMO) working on issues of equity, inclusion and pluralism; a guest facilitator of embodied practice at the Ivey Business School; a Trudeau Foundation Mentor; and a Chalmers Fellow, exploring the application of embodied practice in leadership development and transformative change processes. SOPHIA PARK (she/her) is a writer, independent curator, and general art person currently working out of Lenapehoking (Brooklyn, NY) and Gumi, South Korea. She studied neuroscience at Oberlin College, and will be a MA candidate at the School of Visual Arts in curatorial practice starting fall 2021. She's worked at the https://www.metmuseum.org/ (Metropolitan Museum of Art), and currently works at https://www.fracturedatlas.org/ (Fractured Atlas). She co-founded and helps run https://www.artwithjip.com/ (Jip Gallery), an apartment gallery turned curatorial collective, with fellow curators and friends. You can find her writing in numerous publications including Womanly Mag, Strata Mag,...

In The Straits Times’ The Big Story, multimedia journalist Hairianto Diman spoke to Journalist Timothy Goh about the roles of those running the headquarters of the Home Recovery Task Group at HarbourFront Centre. See omnystudio.com/listener for privacy information.

By creating his own opportunites and opening doors and opportunites for others, George Randolph has carved a winding transformational journey in dance through musical theatre and beyond. From the hallowed halls of Hampton University to the world-class stage of the Alvin Ailey Repertory Ensemble, George Curtiss Randolph Jr has always attributed his unwavering self-belief to a blessed upbringing in Red Bank, NJ. Upon wrapping his principal role with Les Ballets Jazz de Montréal, George pivoted from performance to producing, opening the iconic Randolph Dance Theatre and staging the 'T.O Hot Shoe Show', a smash featuring an international collection of dance giants from around the world. Beyond celebrating the work of industry masters, George looked to cultivate the skillset diversity of those simply studying to make it. Inspired by what could be, George challenged existing academic modules by introducing Canada to the Triple Threat Training method in 1992, housing its study in his beloved Randolph College for the Performing Arts. To this day, the program remains unrivalled, primarily due to it's innovative approach and progressive outreach. More recently, the RCPA founder's industry achievements have co-produced the CSA award-winning documentary ‘Unsung: Behind the Glee', national singing competition ‘Show Choir Canada', and a ground-breaking curriculum collaboration with Middle East arts jewel, Stardust Academy (Amman, Jordan). And while his efforts and leadership have been honoured by The Ontario Black History Society, Dance Immersion, Harbourfront Centre and Toronto Alliance for the Performing Arts, George continues to be most humbled by the army of actors, directors, producers, recording artists and choreographers that continue to share his legacy on stage and screen, world wide.

“In a way, I've always been working on the edge of both a larger dominant society engagement and a deep engagement with my communities. My focus is really digging deep into blackness.” Andrea Fatona, 2021   Toronto-based curator and scholar Andrea Fatona has been addressing institutionalized racism on her own terms since the 1990s. Our conversations across time reveal the depth of her commitment to making visible the full spectrum of Black culture in Canada. Engaging with Black communities to build an online repository while addressing algorithmic injustice, she and her collaborators are illuminating the work of Black Canadian cultural producers on the global stage.   Sound Design: Anamnesis Audio  Special Audio: Hogan's Alley (1994), courtesy Vivo Media Arts, Andrea Fatona and Cornelia Wyngaarden and Whitewash (2016), Nadine Valcin, courtesy the artist   Related Episodes: The Awakening, New Point of View at the Venice Art Biennale   Related Links: The State of Blackness, Andrea Fatona/OCADU, Vivo Media Arts, Okui Enwezor, All the World's Futures/56th Venice Art Biennale, Cornelia Wyngaarden What is The State of Blackness? The State of Blackness website shares digital documentation of a 2014 conference that took place in Toronto, Canada. The State of Blackness: From Production to Presentation was a two-day, interdisciplinary event held at the Ontario College of Art and Design University and Harbourfront Centre for the Arts. Artists, curators, academics, students, and public participants gathered to engage in a dialogue that problematized the histories, current situation, and future state of Black diasporic artistic practice and representation in Canada. The site is now expanding to serve as a repository for information about ongoing research geared toward making visible the creative practice and dissemination of works by Black Canadian cultural producers from 1987 to present.    What is Algorithmic Injustice? Algorithms come into play when you do a search on the internet, taking keywords as input, searching related databases and returning results. Bias can enter into algorithmic systems as a result of pre-existing cultural, social, or institutional expectations; because of technical limitations of their design; or by being used in unanticipated contexts or by audiences who are not considered in the software's initial design.

Brad Turner is a glassblower based in Toronto. Since completing a prestigious residency at The Harbourfront Centre he has traveled the world refining his craft, exhibiting at shows and collecting industry accolades and awards. Recently his skills were put to the test as a contestant on the hit Netflix series Blown Away where he competed against the best glassblowers in the country. For more visit www.glassturner.com. Making A Living Show is produced by Next Exit Media and hosted by Robi Levy. Listen to the show on Apple, Google, Spotify, Stitcher, iHeartRadio, Podbean, Radio Public, TuneIn, Youtube, Audible, Pandora and Podchaser. Follow the show on Instagram, Twitter, Facebook and Youtube. Support the show with a monthly contribution here. Hot Swing by Kevin MacLeod is licensed under a Creative Commons Attribution License.

Polly Esther is an award-winning writer, storyteller, and performance artist from Toronto. Since 2018, she has been touring her one-woman show _Dammit, Jim! I'm a Comedienne, Not a Doctor! _about how Star Trek has helped her in her journey as a recovering alcoholic. She has performed in several cities including Chicago's Funny Women Comedy Festival, SOLOCOM in New York City, the Yard Theatre in Los Angeles, (un)Told Storytelling in Ottawa, and at Fringes across North America.  Polly’s Dammit, Jim! was an award-winner at three different fringe festivals over three years running, picking up the "Low Tech" award at the Orlando Fringe in 2018, the "Spirit of the Fringe” award at the Ottawa Fringe in 2019. and “Best of the Fringe” at the 2020 Hartford Fringe. Polly was also invited to present Dammit, Jim! as a featured event for Algonquin College’s National Addictions Awareness Week in 2019. The Orlando Fringe was also the site for the World Premiere of Polly’s newest show last year (about her “Weird Al” Yankovic fandom), POLLYWOOD.  . Here at home, Polly has participated in the Toronto Storytelling Festival at the Drake Hotel, BRAVE: The Festival of Risk and Failure at the Harbourfront Centre, and several other monthly storytelling events around the city (But That's Another Story, DARE Storytelling, Witty Women).   Twitter: @pollyesthergems Instagram: @pollywoodproductions FB: facebook.com/DammitJimPollyEsther  Patreon: patreon.com/pollyesther Support Stageworthy: https://tips.pinecast.com/jar/stageworthy

Without the use of paper there would be no mokuhanga. Washi has played an indelible position in the world of the Japanese print. Many artists in mokuhanga use washi for their prints and as The Unfinished Print is a podcast dedicated to the workings of mokuhanga I felt it was necessary to interview an expert in all things washi. Nancy Jacobi has worked tirelessly in promoting the use of washi in her life through her company and store The Japanese Paper Place, here in Toronto. She has lectured on the subject, as well as educated many about the possibilities of washi. In this episode of The Unfinished Print Nancy helps me understand how important washi is to many artists, its history, and how it needs to be saved.  follow The Unfinished Print and my work on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Show Notes: all links are hyperlinked. Just click! The Japanese Paper Place  Echizen washi  Iwami UNESCO paper   Ogawa Hosokawa UNESCO  kozo paper - this video  I found on YouTube is a great mini doc of the intensive paper making process.  Rembrandt (1606-1669) - washiarts.com have written on Rembrandt's use of Japanese paper.  Inuit printmaking - The Inuit are an Arctic group of indigenous peoples located in Canada, Greenland, and the US state of Alaska.  They have a tradition of printmaking beginning in the 1950's, as introduced by administrator John A. Houston (1921-2005),who according to The Canadian Encyclopedia, studied in Japan for a few months under print artist Un'ichi Hiratsuka (1895-1997) Today, there is a rich history of printmaking from the Inuit people.  Mitsumata paper  Timothy Barrett is a printmaker and paper maker from the US who was interviewed on the Paper Talk Podcast   Dutch trade with Japan as found on a multi part website dedicated to the Netherlands/Japan exchange  Japonisme - a great essay found in the MET website   The Ontario College of Art is located in downtown Toronto near the Art Gallery of Ontario. With a long history of artists and art OCAD continues to teach art in Toronto.  The Bookbinders Guild of Toronto  chiyogami paper is a patterned paper for decoration and art   CERB - the Canadian Emergency Response Benefit plan was a monetary response to the current COVID-19 pandemic   Queen St. West is a street in the central part of Toronto, running West to East, with a rich history. In the 1980's when Nancy was first setting up The JPP it was a seedier part of Toronto with a lot of prostitution, drugs, and poverty.   CAMH - The Centre for Addiction and Mental Health is an institution in Toronto for the care of individuals afflicted with various psychiatric issues. It is still located on Queen St. West and has always been a fixture in the area.  With a rich varied history of research and awareness CAMH continues its efforts today.  Toronto artist co-ops have been important to the preservation and cooperation between artists for a long time. Artscape, the Art Gallery of Ontario, and others have been working with artists in Toronto for years.  The Paper Place  Trinity Bellwoods Park is a 16 hectare park located in and around Queen Street and Dundas Streets in Toronto.  It's an important park for many students, artists, hipsters, and bohemians. Once used by the University Of Toronto with the building of Trinity College in the mid 19th century, the college had been demolished in the 1950's much like many architecturally important buildings in Toronto at that time, and currently.  Etobicoke (Ētowbicoe) is a part of the city of Toronto which stretches west towards the city of Mississauga. It was a suburb until Toronto amalgamation in January of 1998. Au Papier Japonais (Montréal) -  I would encourage my American printmaker listeners to seek out Canadian paper shops like the JPP and APJ, as well as Washi Arts in the US, for their paper needs. With shipping being complicated with COVID-19 it may be a better option. The Ontario Arts Council is a grant based organization in the province of Ontario which grants subsidies for artists in visual and theatrical art.  The Japan Foundation is an organization based in Japan but found with art spaces and offices all over the world which spreads the culture of Japan.  Creative World  Brian Kelley - printmaker  Harbourfront is a portion of the lake shore in Toronto from Bathurst St. to Queens Quay. It has become a center for art, sports, theatre and outdoor activities. The arts have predominantly been exhibited at The Harbourfront Centre.  ARTiculations -  a shop in Toronto which conducts many workshops in many art forms.  opening credit background music: Return 0f The Crooklyn Dodgers feat. Chubb Rock, O.C., Jeru The Damaja (1995) © Popular Wheat Productions Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)              

رضا مقدس، هرجا که حرف موسیقی و هنر بوده، نام او هم درخشیده، تهیه کننده، نوازنده گیتار بیس، پیانو و سه تار و موسس اولین استودیوی دیجیتال در ایران به نام بم آهنگ که آلبوم زرتشت به آهنگسازی بابک امینی و خوانندگی گوگوش، جزو اولین آثار ضبط شده در آن استودیو هست Legendary Reza Moghaddas is a Toronto-based record producer, sound engineer, and musician who started to play piano at age 8 before picking up the bass guitar. Through his teenage years he was involved with both Western classical and Persian traditional music but by age 18 turned his efforts to jazz, fusion, and world music. When Reza moved to Canada in 2005 he brought his renowned Tehran-based Bamahang Studios with him and has since been a key member of Toronto’s vibrant music scene. He’s worked as the lead technician at many of Toronto’s major events and venues including Tirgan Festival, Harbourfront Centre, the Aga Khan Museum, and many more, and with internationally-renowned artists including Zakir Hussain, Mohammad Reza Shajarian, Angelique Kidjo, Tory Lanez, Kayhan Kalhor, Wally Bardou and more. In addition to writing scores and designing sound for over 50 film and theatre projects he worked with directors such as Bahram Beizaei, Helena Waldmann, and Soheil Parsa and nominated for Dora Mavor Moore Awards for outstanding sound-design and composition for “Homeland” directed by Setareh Delzendeh. He has, over the last nearly three decades produced, recorded, and mixed over 1200 albums and singles. He is currently venue manager at the Small World Centre, a cultural hub, venue, and studio space. #پادکست #طبقه۱۶ ------ Bazaar Project by Reza Moghaddas https://rezamoghaddas.bandcamp.com/album/bazaar-project Instagram https://www.instagram.com/rezamogh/Linkedin https://www.linkedin.com/in/rezamoghaddas/Twitter https://twitter.com/rez_mogh ------ About the Podcast Instagram https://www.instagram.com/tabaghe_16/Telegram: https://t.me/tabaghe16Spotify https://spoti.fi/2CiyRoHEverywhere else https://anchor.fm/soheil-alavi

Tim Walker, Manager of School Visits Programs for Harbourfront Centre discusses the challenges and silver linings that arts organizations are faced with during the pandemic - and how to pivot with the times. Tim Walker completed his Bachelor of Arts Honours degree at the University of Toronto in Geography and Sociology. He went on to complete his Bachelor of Education at Trent University, and completed his Masters of Education at York University. When he is not managing the School Visits team, he serves on the Board of Directors for PAONE (Professional Arts Organization Network for Education) and Small Print Toronto. Tim is passionate about the arts and the role arts education can play in helping to build a more beautiful and empathetic world. As a geographer, he loves to see students out exploring the city they live in and all the diverse cultures Toronto has. Harbourfront Centre (https://www.harbourfrontcentre.com/) , on Toronto's waterfront, is an innovative not-for-profit cultural organization that creates events and activities of excellence that enliven, educate and entertain a diverse public. If you are looking for additional resources to help you along your journey in the cultural sector - visit WorkInCulture (http://www.workinculture.ca/) to access the #1 job board for artists, creatives and cultural workers in Ontario and more!

Chris Tolley is a writer, director and producer, and the Co-Artistic Director of Expect Theatre. After graduating from York University he teamed up with Laura Mullin, and together they have created award-winning multi-disciplinary productions that have toured across Canada and the US.Chris’ work has been nominated for five Dora Awards in the General Theatre category, and has been shortlisted twice for the Toronto Arts Foundation Awards. In 2006 both Chis and Laura won Harbourfront Centre’s inaugural FreshGround commissioning award.His most notable works include Romeo/Juliet REMIXED (Toronto and Philadelphia), STATIC (World Stage Festival) and AWAKE (Next Stage Festival). Other work with Mullin include the CBC Radio drama, The Tunnel Runners, and the short film, AWAKE.He sits on the Board of the Playwrights Guild of Canada and serves as the Contracts Chair. He is also on a number of other theatre boards.Outside of theatre, Chris is also very active in national politics. In 2015, Chris ran in the federal election as the Green Party’s candidate in Toronto-Danforth, advocating for the cultural issues he is passionate about. His campaign resulted in the best showing for the Green Party in the GTA and surrounding area, and was recognized as one of the strongest campaigns run nationally.Twitter: @christolleyLaura Mullin is a playwright, director and producer, and the Co-Artistic Director of Expect Theatre and The Spark Collective. She graduated from York University with a bachelor of Fine Arts in Theatre before forming Expect and Spark with Chris Tolley. She has created and produced several highly acclaimed productions with Tolley that have toured nationally and internationally.Selected writing and directing credits: Romeo/Juliet Remixed (5 Dora award nominations, winner of Outstanding Choreography), EXPECT/ Spark; Tunnel Runners, CBC Radio; STATIC, Harbourfront Centre’s World Stage Festival; AWAKE, Next Stage Festival; AWAKE The Short Film; Rapid Eye Movement & To The Kid That I was, Nuit Blanche; One Sleepless Night, International Festival of Authors; Allowance (in development); Burusera, Watermark Theatre (national 21 city tour & to be published in the Playwright’s Guild Short Play Anthology); History of Visual Sources (short story).Awards & Commissions: Toronto Arts Foundation Award (short listed 2009 & 2013); Harbourfront Centre’s inaugural Fresh Ground Commissioning Award; Dora Award nomination for Outstanding Production for Romeo / Juliet Remixed (General Theatre category), Ontario Arts Council’s Creator’s Reserve from Nightwood Theatre (2013) and Crow’s Theatre (2015) for Allowance, Watermark Theatre Commission of Burusera for Canada 300’s national tour (2015).Twitter: @expectlauraPlayMEExpect Theatre has created an exciting new initiative that celebrates the best of Canadian Indie Theatre on a national and international scale. The project helps raise the profile of Canadian playwrights by highlighting new works through a series of podcasts, making it accessible to audiences worldwide.PlayME is transforming the way we experience Canadian theatre, by taking a bold and innovative approach to disseminating plays. The podcast features distinguished actors, and focuses on current and relevant scripts geared to the growing “on-demand” audience.Expect’s Artistic Directors, Laura Mullin and Chris Tolley are spearheading this project, in partnership with organizations such as The Toronto Fringe Festival and the Playwrights Guild of Canada.http://www.playmepodcast.com/ https://www.cbc.ca/radio/podcasts/arts-culture/playme/ http://expect.org/ Twitter: @expecttheatre

February is Black History Month and there are many events happening across Canada to celebrate.  TD bank held a launch event at Harbourfront Centre in Toronto this week.Canadian Songwriters Hall of Fame inductee and pioneering hip-hop legend Maestro Fresh Wes hosted the event. He has recently become the first rap artist to ever have a song inducted into the Canadian Songwriters Hall of Fame. His legendary single “Let Your Backbone Slide” was the first rap recording to reach Gold and Platinum Status. As an actor, Wes Williams has appeared in several film and television roles including 8 seasons on CBC’s hit sitcom Mr. D. He is also an author of the 2010 motivational book “Stick To Your Vision” and has presented Ted Talks on Self-Revision.A WIFT-T Crystal Award recipient, the always fearless Tonya Williams has established herself as a force to be reckoned with. In 1979, Tonya was one of the first black actresses to break into mainstream Canadian television. She is best known for her twenty year starring role as Dr. Olivia Barber Winters on the popular daytime drama "The Young and The Restless". The role garnered Tonya two Emmy Nominations and numerous national and international awards, including two NAACP Image Awards and an ACTRA Award of Excellence. In 2001, Tonya created the Reelworld Film Festival as a means of empowering racially diverse talent in Canada. http://singdanceactthrive.com/037

This episode of Long Night with Vish Khanna was recorded before a live studio audience at the Harbourfront Centre in Toronto, Ontario during Long Winter on Friday December 13, 2019. Our guests were Toronto musician Laura Barrett, podcaster/host of The Gravy Train, Jordan Heath-Rawlings, Saskatchewan-based Cree visual artist Joi T. Arcand, and from the band Sloan, Jay Ferguson. With announcer/sidekick James Keast and our house band, the Bicycles. Recorded by Dave MacKinnon. Produced by Vish Khanna and Long Winter. Photos by Kate Killet. Sponsored by Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts.

More satisfying than the front of a Black Friday line is this week's episode of New Theory Radio. Host Nav Nanwa is joined by comedian Ali Hassan, Television Producer Wasim Parkar and Filmi Festival Co-Founder Dinesh Sachdev to 'theorize' on the following topics: - Black Friday surpassing Boxing Day, and what this actually means in the grand scheme of things. - Racism in Sports, specifically hockey involving both the Don Cherry and Bills Peters incident- The roll-out and release of The Irishman on Netflix, and what this means to big budget films in the future. As well, Dinesh, Wasim and Nav stick around until the very end to talk about the Filmi movie festival, which is heading into its 20th year this weekend. New Theory Radio theme produced by Dusty Loops (@DustyLoops and www.dustyloops.com)Follow our PanellistsNav NanwaTwitter: @nnanwaInstagram: @navnanwaAli HassanInstagram & Twitter: @StandUpAliDinesh SachdevInstagram & Twitter: @delish99Check out the Filmi South Asian Movie Festival taking place on December 7th and 8th at the Harbourfront Centre in Toronto. For more details, check out www.filmi.orgWasim ParkarInstagram & Twitter: N/ANew Theory Radio can be heard live on Sundays at 5pm and Mondays at 8pm ONLY on News Talk Sauga 960 am (@Sauga960am) - https://sauga960am.ca

Featuring Melanie Egan of the Harbourfront Centre and Brigitte Clavette, jeweller, metal artist, and instructor at the New Brunswick College of Craft and Design, this episode explores the manifesto statement "Cookie cookie butter doesn't cut it... In today's world, you appreciate that Craft brings different cultures and perspectives into your space." This episode has been generously sponsored by the New Brunswick College of Craft and Design.

My brother and I had a startup that had just been bought out by Groupon, the world’s biggest daily deal website, for an estimated $24 million according to the Straits Times. We made it on the front page of the national newspaper, I was busy representing Groupon on breakfast TV shows and on Channel NewsAsia, while my brother was busy moving our new offices to Harbourfront Centre. Enjoy part 2 of a 2 part series, don't forget to listen to part 1 first.

Watch the video of this episode. What does it mean to be live? Can a hologram be considered performance? Is going to the theatre a private or communal act? And should performing artists embrace and incorporate technological change—or should they resist, and build an oasis from social media and screen time? What on earth is going on with live performance in the digital age? Listen to the first-ever recording of the podcast with a live audience! The panel, moderated by Ben, features Colleen Renihan, Craig Walker and Michael Wheeler of the Dan School of Drama and Music. About the Panel Colleen Renihan Colleen Renihan was delighted to join the Dan School of Drama and Music faculty as a Queen's National Scholar in 2016. She earned a B. Mus. in Vocal Performance from the University of Manitoba, an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and an MA and PhD in Musicology at the University of Toronto in 2011 with generous funding support from the Social Sciences and Humanities Research Council of Canada. Her dissertation Sounding the Past was a finalist for the Society for American Music’s Housewright Dissertation Award. Dr. Renihan’s research considers aspects of opera and operatic culture from a postmodern perspective. Inherently interdisciplinary in nature, it explores cultural politics, popular culture, performance theory, temporality, memory theory, opera’s interactions with media (specifically film), and opera’s potential for intervention in current debates in the philosophy of history. Her work has been published in a variety of edited collections and journals, including, most recently, twentieth century music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Forthcoming publications include an invited chapter on Benjamin Britten’s coronation opera Gloriana to an edited collection for Boydell & Brewer, and a chapter on affective listening in Harry Somers’s Louis Riel for Wilfrid Laurier Press. Two current book projects explore the historiographical dimensions of American postwar opera, and innovation in Canadian opera and music theatre 1970-2010. Dr. Renihan has presented her research at academic conferences in Canada, the United States, and Europe, including chapter and national meetings of the American Musicological Society, and in 2010, she participated in the Society for Music Theory’s graduate student workshop on ‘Music and Narrative’ with Michael Klein. She was a founding member of Operatics (a working group for the interdisciplinary study of opera) at the University of Toronto, a founding member of IPMC (Interdisciplinary Perspectives on Music in Canada), and has been involved with several research and writing projects at the Canadian Music Centre. Learn more about Colleen. Craig Walker is Director of the Dan School of Drama and Music and Professor of Drama, and is also cross-appointed to the Departments of English and Cultural Studies. Dr. Walker earned his Ph.D. at the University of Toronto, where he had taken his earlier degrees in English. He has taught courses in most subjects in Queen's Drama at one time or another. As a director, for the Queen’s Drama, Dr. Walker has directed the world premiere of Orbit, a play about the daughters of Galileo by Jennifer Wise (2014), a double-bill of Michel Tremblay’s Counter Service and Nina Shengold’s Lives of the Great Waitresses (2012), Thornton Wilder’s Our Town (2010), his own adaptation of Bertolt Brecht’s Drums In the Night (2008), John Lazarus’ Meltdown (2005), Michel Tremblay’s Les Belles Soeurs (2003), Thornton Wilder’s The Skin of Our Teeth (2000), his own translation of Odon von Horvath’s Judgement Day (1999), Richard Rose and D.D. Kugler’s adaptation of Timothy Findley’s Not Wanted on the Voyage (1997), the medieval morality play Everyman (1996) and Elmer Rice’s The Adding Machine (1993). From 1997 to 2007, Dr. Walker was Artistic Director of Theatre Kingston, during which time the company produced 54 plays, 36 of which were Canadian, including 18 world premieres. On the academic side (see profile on academia.edu), Dr. Walker's most recent publication is "Canadian Drama and the Nationalist Impulse" in The Oxford Handbook to Canadian Literature. He is the author of The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition and co-editor (with Jennifer Wise of the University of Victoria) of The Broadview Anthology of Drama: Plays from the Western Theatre, Volumes I and II and The Broadview Anthology of Drama, Concise Edition. He was Book Review Editor for Modern Drama for two years, from 1998 to 2000. In 2009, he was appointed as a Corresponding Scholar at the Shaw Festival. He is a Fellow of the Royal Society of Canada. Learn more about Craig. Michael Wheeler is Artistic Director of SpiderWebShow Performance, an online performance company working at a national scale. His previous position was as Executive Director of Generator, a mentoring, teaching, and innovation incubator that empowers independent artists, producers and leaders in Toronto. He has co-curated The Freefall Festival with The Theatre Centre and HATCH emerging artist projects with Harbourfront Centre. In 2017, he will co-curate the first Festival of Live Digital Art (foldA) at The Isabel Bader Centre for the Performing Arts. As Founding Artistic Director of Praxis Theatre and a theatre director, he has produced and created numerous independent works including Rifles (2 Dora nominations), the World Premiere of Jesus Chrysler by Tara Beagan presented in association with Theatre Passe Muraille, a National Tour of the SummerWorks Award-winning G20 drama You Should Have Stayed Home, and Jesse Brown’s Canadaland World Tour of Canada. Much of Michael’s work has intertwined with online tools, as editor and publisher of websites like PraxisTheatre.com (Winner Best Blog Post & Best Arts and Culture Blog: Canadian Blog Awards), DepartmentOfCulture.ca, AfricaTrilogy.ca, WreckingBall.ca and most recently SpiderWebShow.ca. He holds a BA (distinction) from McGill University and a Masters of Fine Arts from The American Repertory/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. Learn more about Michael.

Recorded live at Harbourfront Centre in Toronto on June 30th, 2018. Come see Stop Podcasting Yourself LIVE this fall. Sept. 23 - Toronto Sept. 25 - Winnipeg Oct. 4 - Calgary Oct. 5 - Edmonton Oct. 6 - Saskatoon

Chris Tolley is a writer, director and producer, and the Co-Artistic Director of Expect Theatre. After graduating from York University he teamed up with Laura Mullin, and together they have created award-winning multi-disciplinary productions that have toured across Canada and the US.Chris’ work has been nominated for five Dora Awards in the General Theatre category, and has been shortlisted twice for the Toronto Arts Foundation Awards. In 2006 both Chis and Laura won Harbourfront Centre’s inaugural FreshGround commissioning award.His most notable works include Romeo/Juliet REMIXED (Toronto and Philadelphia), STATIC (World Stage Festival) and AWAKE (Next Stage Festival). Other work with Mullin include the CBC Radio drama, The Tunnel Runners, and the short film, AWAKE.Most recently, Chris and Laura launched PlayME, a national digital theatre dedicated to producing Canada’s most innovative theatre works distributed globally via podcasts.He sits on the Board of the Playwrights Guild of Canada and serves as the Contracts Chair. He is also on a number of other theatre boards.Outside of theatre, Chris is also very active in national politics. In 2015, Chris ran in the federal election as the Green Party’s candidate in Toronto-Danforth, advocating for the cultural issues he is passionate about. His campaign resulted in the best showing for the Green Party in the GTA and surrounding area, and was recognized as one of the strongest campaigns run nationally.Twitter: @christolleyLaura Mullin is a playwright, director and producer, and the Co-Artistic Director of Expect Theatre and The Spark Collective. She graduated from York University with a bachelor of Fine Arts in Theatre before forming Expect and Spark with Chris Tolley. She has created and produced several highly acclaimed productions with Tolley that have toured nationally and internationally.Selected writing and directing credits: Romeo/Juliet Remixed (5 Dora award nominations, winner of Outstanding Choreography), EXPECT/ Spark; Tunnel Runners, CBC Radio; STATIC, Harbourfront Centre’s World Stage Festival; AWAKE, Next Stage Festival; AWAKE The Short Film; Rapid Eye Movement & To The Kid That I was, Nuit Blanche; One Sleepless Night, International Festival of Authors; Allowance (in development); Burusera, Watermark Theatre (national 21 city tour & to be published in the Playwright’s Guild Short Play Anthology); History of Visual Sources (short story).Awards & Commissions: Toronto Arts Foundation Award (short listed 2009 & 2013); Harbourfront Centre’s inaugural Fresh Ground Commissioning Award; Dora Award nomination for Outstanding Production for Romeo / Juliet Remixed (General Theatre category), Ontario Arts Council’s Creator’s Reserve from Nightwood Theatre (2013) and Crow’s Theatre (2015) for Allowance, Watermark Theatre Commission of Burusera for Canada 300’s national tour (2015).Twitter: @expectlauraPlayMEExpect Theatre has created an exciting new initiative that celebrates the best of Canadian Indie Theatre on a national and international scale. The project helps raise the profile of Canadian playwrights by highlighting new works through a series of podcasts, making it accessible to audiences worldwide.PlayME is transforming the way we experience Canadian theatre, by taking a bold and innovative approach to disseminating plays. The podcast features distinguished actors, and focuses on current and relevant scripts geared to the growing “on-demand” audience.Expect’s Artistic Directors, Laura Mullin and Chris Tolley are spearheading this project, in partnership with organizations such as The Toronto Fringe Festival and the Playwrights Guild of Canada.http://www.playmepodcast.com/http://expect.org/ Twitter: @expecttheatreStageworthy:http://www.stageworthypodcast.com Twitter @stageworthyPod Facebook: http://facebook.com/stageworthyPod

In this session, originally recorded on January 29, 2018, Jaime Watt, Executive Chairman of Navigator, a public strategy and communications firm, shares his five good ideas about government relations. When approaching politicians with your issues, you will be competing for attention with many other stakeholder groups. To help politicians understand your issues, your message will need to be clear, crisp and concise. Jaime Watt presents his five good ideas on how to get your message heard and acted on. Five Good Ideas Offer a benefit to the decision maker while simultaneously making your demand. Simply put, create a win for the government. Be aware that you are competing for attention with other stakeholder groups. Your message must be consistent and the information distilled. Be clear, crisp, concise. Discover the cross-section between your objectives and the changing government agenda. Related resource: Thank you for smoking, a movie by Jason Reitman – An example of how not to practice. Lobbying Act, Government of Canada Justice Rules website – The lobby rules, a must read for any practitioner. Lobbying for Change, book by Alberto Alemanno – A book which signals that lobbying is not always evil. The realities of lobbying – a look beyond the smoke and mirrors, TEDx Talk by Maria Laptev – In defense of lobbying. For the full transcript, visit https://maytree.com/five-good-ideas/five-good-ideas-government-relations/ About Jaime Watt Jaime Watt is the Executive Chairman of Navigator Ltd. He specializes in complex public strategy issues, serving both domestic and international clients in the corporate, professional services, not-for-profit, and government sectors. He is a trusted advisor to business leaders as well as political leaders at all three levels of government across Canada. Jaime has led ground-breaking election campaigns that have transformed politics because of their boldness and creativity. Jaime is immediate past president of the Albany Club, Canada’s oldest political club. He also serves on the boards of many other organizations including the Canada Institute of the Woodrow Wilson Center for Scholars in Washington, D.C., St. Michael’s Hospital Foundation in Toronto, the Shaw Festival and Toronto’s Harbourfront Centre. As well, he chairs the Capital Campaign for Casey House, Canada’s pioneer AIDS hospice, and is past president of the Canadian Club of Toronto, Canada’s oldest podium of record. Deeply involved with efforts to promote equality and human rights issues, he was the inaugural recipient of Egale’s Lifetime Achievement Award and has been awarded the Queen’s Golden and Diamond Jubilee medals for service to the community. He recently received Out on Bay Street’s Leader to be Proud of Award. Jaime has been elected to the College of Fellows of the Royal Canadian Geographical Society, is a Toronto Heritage Companion, and was recently named one of Toronto’s most influential citizens. A highly regarded speaker, Jaime appears often as a public affairs commentator in the media.

Recorded live on July 8th, 2017 at the Harbourfront Centre as a part of the Prairies to Pacific Festival 2017. Two of our favourites, Evany Rosen and Chris Locke, join us to talk about first class, Washington D.C., and Indian food.

Guests: Heather Rovet & Vivian Li –P of ReaLawState, Female Eye Film Festival founder & Executive Director Leslie-Ann Coles, Film critic Anne Brodie, Lifestyle expert Lena Almeida, McLeish Orlando's Alison Burrison & Harbourfront Centre's Iris Nemani-Steven Detz. Miss a show? Stream & download full shows for free on iTunes: http://www.apple.co/1U700c0 Follow us on Facebook/Twitter/Instagram: @WhatSheSaidTalk Website: http://www.whatshesaidtalk.com What She Said! with Christine Bentley & Kate Wheeler airs Saturday and Sunday at 10-11PM ET on Jewel 88.5 Toronto. Listen LIVE on the APP: http://www.streamdb5web.securenetsystems.net/v5/CKDX

Sarah Hall has refined a unique and hi tech approach to architectural glass that gifts the world with both beauty and power. Through the use of photovoltaic cells that convert solar energy into electricity, Hall’s windows can store sunlight by day to backlight the glass by night. They can also produce clean electricity that feeds directly into their respective buildings’ energy systems. Though designing with photovoltaic cells introduces some challenges, Hall moves viewers through her stunning mastery of light and color.   Hall designs large-scale solar and art glass projects for clients around the world including embassies, cathedrals, schools, universities, and colleges. These include Waterglass at Enwave Theatre at Toronto’s Harbourfront Centre; Lux Gloria at the Cathedral of the Holy Family in Saskatoon; Lux Nova wind tower at the University of British Colombia; Leaves of Light for the Life Sciences Building at York University in Toronto; and The Science of Light at Grass Valley Elementary School in Washington State. Having studied at Sheridan College in Ontario, Hall continued her education in the Architectural Glass Department at Swansea College of Art in Wales, UK. Her exceptional contribution to the built environment has resulted in Honor Awards from the American Institute of Architects and the Allied Arts Award from the Ontario Association of Architects. Hall’s artistic achievements were acknowledged by her induction into the Royal Canadian Academy of Art in 2002. An Arts Fellowship from the Chalmers Foundation in 2005 supported her innovative work in BIPV (Building Integrated Photovoltaic) solar art glass.   In 2016, Hall’s autonomous glass was featured in the exhibition International Panorama of Contemporary Glass-Art, held at the Centre International du Vitrail in Chartres, France. In addition to projects, lectures, and exhibitions throughout North America and Europe, Hall has co-authored 35 articles on glass art and published three books: The Color of Light (1999); Windows on Our Souls (2007) with Bob Shantz; and Transfiguring Prairie Skies (2012) with Donald Bolen. Her work was the subject of J S Porter’s volume, The Glass Art of Sarah Hall, as well as the CBC documentary series, “Great Minds of Design.” She is presently working on a large format retrospective book of her work entitled:  A Thousand Colours – Sarah Hall Glass.   Through her glass designs, Hall currently explores ways to generatepower and save birds simultaneously. She endeavors to create colored, transparent solar panels that will not only help power the buildings they cover, but also prevent birds from colliding with glass.    

Alex is a cultural producer based in Toronto, and often moonlighting in Rio de Janeiro. He is the founding Artistic Director of Uma Nota Culture and has spent many years as both an artist and an independent music promoter, always focusing on music from the ‘tropical world'. He has been at the forefront of many productions in conjunction with Lula Music & Arts Centre and the Luminato Festival, as well as several projects in Brazil. He is currently an Artistic Associate at Harbourfront Centre in Toronto.Since 2002, Alex has lived within the rhythm of maracatu and has researched and studied various styles; immersing himself in the style of the northern area of Recife. He counts among his teachers Mestre Walter de França and percussionist Eder Rocha. Alex was among one of the first to start a maracatu group in North America in late 2003 when he founded Maracatu Nunca Antes. Today, Alex is the artistic director of Maracatu Mar Aberto, spearheading the young troupe's artistic initiatives and community driven presence in downtown Toronto.Links:Maracatu Mar Aberto's Websitehttp://maracatumaraberto.com/Maracatu Ethnography: https://static1.squarespace.com/static/5564cee5e4b07d5fa8a2ea14/t/556d2f99e4b0975c0bb06ae3/1433218969402/Maracatu+Ethnography+-+Alexander+Bordokas.pdfPadê Onã - Maracatu Mar Aberto LIVE at in/future festivalhttps://www.youtube.com/watch?v=BSfsypAACdwMaracatu Mar Aberto Brazilian Drummers - CMRTVhttps://youtu.be/pTUJagrdwmgSponsored by GoSamba.net! Sponsored by GoSamba.net! Your source of caixas, chocalhos, repiniques, surdos, straps, tamborims, tamborim sticks all imported from Brazil!

Rob Kempson is a theatre artist and educator. A graduate of queen’s university, rob works as a playwright, director, and performer. Writer/director: Mockingbird (Next Stage Theatre Festival); Shannon 10:40 (Timeshare); explicit (Rhubarb Festival); #legacy (Harbourfront Centre); in my own skin (YRDSB); the HV project (Community); intersections (TDSB Arts co-op). Director: Violet’s the pilot, Rose’s Clothes (Thousand Islands Playhouse); Songs for a New World (Claude Watson). As a performer, he was most recently seen starring in his Dora-nominated musical The Way Back to Thursday (Theatre Passe Muraille). He was a member of the 2014 Stratford Festival Playwrights’ Retreat, and is currently a resident artist educator at Young People’s Theatre and the Associate Artistic Director at the Thousand Islands Playhouse.http://www.robkempson.com Twitter: @rob_kempsonTrigonometryGabriella wants action. Jackson wants a scholarship. Susan wants a family. In this new play by Rob Kempson, three disparate people find themselves bound together by desire, destiny, and a few scandalous photos. Trigonometry is about how far we go to get what we want: what we do to survive.https://trigonometrytheplay.com/Stageworthy:http://www.stageworthypodcast.com Twitter @stageworthyPod Facebook: http://facebook.com/stageworthyPod

Entrevistado por Radio Canadá Internacional, Blie Demon Jr. explicó que esta es la segunda vez que viene a la metrópolis de Toronto a luchar al Harbourfront Centre.

Del 15 al 17 de julio el Harbourfront Centre, que es uno de los grandes centros de actividades culturales en el centro de Toronto, presentará un evento titulado “Lucha by the water!”, o Lucha junto al lago.

This special The Bellows episode features carpenter Kevin Hutson, our moderator, joining writer/director Kat Sandler, technical director Dean Johnson, independent producer Aislinn Rose, technician and stage manager Pip Bradford, and designer and technician Rebecca Vandevelde discussing how to work with your friends while remaining professional. It was recorded live at Theatre Passe Muraille on January 18th. The first 10 minutes of the introductions was lost because SOMEone forgot to hit record: it happens. This audio starts with with Rebecca Vandevelde introducing herself. As well, the audio has been panned in order to facilitate the identification of the speaker with the audio field being layed out as they presented: Kevin, Kat (who joins later), Dean, Aislinn, Pip, and Rebecca. KEVIN HUTSON Kevin is the head carpenter at The Tarragon Theatre in Toronto and one of the founders of The Bellows. Kevin has also performed as a production manager, technical director, lighting designer and general technician in Toronto for may years. DEAN JOHNSON A technician and technical director in Toronto. KAT SANDLER Kat is a writer/actor/director working in Toronto. She is the Artistic Director of Theatre Brouhaha, and has staged six or her original plays; LOVESEXMONEY (Next Stage Festival), Help Yourself (Best of Fringe, winner of the Fringe New Play Contest), Delicacy (Summerworks), Rock (Storefront Theatre), We Are the Bomb (Toronto Fringe, Sucker (Storefront Theatre) and directed Twenty-Seven Wagons Full of Cotton, and The Unseen Hand (Playwrights Project). As an actor she has appeared onstage with Theatre Gargantua in the world premieres of FiBBer and Imprints. She is a graduate of Queen’s University. Kat will be writing Retreat while in Tarragon’s Playwrights Unit. AISLINN ROSE Aislinn is an independent producer, theatre maker, member of the Toronto Alliance for the Performing Arts’ Board of Directors, and Co-Chair of TAPA’s Indie Caucus. She recently joined the producing team for Luminato’s 2013 festival as Associate Producer, and produced the festival’s L’Allegro by the Mark Morris Dance Group, Feng Yi Ting directed by Atom Egoyan, and Ronnie Burkett’s The Daisy Theatre. This year she will be guest curating Harbourfront Centre’s HATCH 2014 season along with her Praxis Theatre colleague, Michael Wheeler. As the Artistic Producer of Praxis Theatre & Co-Editor of praxistheatre.com, she led the Open Source Theatre Project for Section 98 at Harbourfront Centre, created the experimental Dungeons & Dragons (not) The Musical, was Artistic Producer of You Should Have Stayed Home, and Producer for Jesus Chrysler in Association with Theatre Passe Muraille. She will be producing their upcoming cross Canada tour of You Should Have Stayed Home in Whitehorse, Vancouver, Toronto, Montreal and Ottawa. She and Michael Wheeler were named Theatre VIPs for 2012 by Toronto paper, The Grid, after having been named “People to watch” that year by Torontoist. Last year she produced Aluna Theatre’s inaugural PANAMERICAN ROUTES Festival of Theatre for Human Rights, and was Co-Producer with Fides Krucker on the electroacoustic opera Julie Sits Waiting (nominated for 5 Dora Awards including Outstanding Production – Opera/Musical). Other recent projects include producing The Lesson For Modern Times Stage Company (nominated for 8 Dora Awards, including Outstanding Production). Social media experiments include working as a consultant & online creator for the sold-out run of Michael Healey’s Proud and developing “The Brain”, the online counterpart for Liza Balkan’s Out The Window for The Theatre Centre’s biennial Free Fall Festival. Aislinn is the recent recipient of a Canada Council for the Arts Professional Development grant as an Independent Theatre Producer. SARAH ‘PIP’ BRADFORD Pip has lived and worked in the Toronto theatre community for the past five years. She freelances as a technician and stage manager for many companies in Toronto, inclu

“Strength must build up, not destroy. It should outdo itself, not others who are weaker. Used without responsibility, it causes nothing but harm and death. I can lift the heaviest weights, but I cannot take the responsibility off my shoulders. Because the way we use our strength defines our fate. What traces will I leave on my path into the future? Do we really have to kill in order to live? My true strength lies in not seeing weakness as weakness. My strength needs no victims. My strength is my compassion.”Patrik BaboumianStrength isn't just about physical prowess. Strength is about character.By this definition, vegan strongman Patrik Baboumian is perhaps the strongest man on Earth.Born in 1979 to Armenian parents in Abadan, Iran, Patrik and his family fled the Iranian revolution when he was seven and emigrated to central Germany. By the age of nine, he fell in love with wrestling on TV and soon developed an interest in weight training. As a young teen, he got into power lifting and bodybuilding, rising quickly through the ranks to become Germany’s national junior bodybuilding champion.For ethical reasons, in 2005 Patrik went vegetarian, accepting that this would likely undermine his performance goals. Instead, his improvement steadily escalated. So in 2011, he went completely vegan. And that's when things really blew up for the guy they call the Armenian Viking.100% Plantpowered, over the last 4 years Patrik has been awarded the title of Germany's Strongest Man, racked up multiple victories at the European Powerlifting Championships and set four Guinness World Records in various strength disciplines.We're talking about a guy who can Bench 463 lbs. Squat 794 lbs. And Deadlift 794 lbs.This is a long way of saying that Patrik Baboumian is stronger than you are. And believe it or not, he has accomplished all of these extraordinary, superhuman feats without the one thing long-held conventional wisdom dictates is absolutely necessary to optimally perform as an elite strength athlete: animal protein.I first met Patrik at the 2013 at the Toronto VegFest, where I stood on the WestJet Stage at Harbourfront Centre before a crowd 1,000 deep to cheer him towards a Guinness World Record setting yoke walk — a feat that entailed carrying 1,216 pounds (550kilos) a distance of 10 meters in less than 60 seconds (which he recently bettered to a current 560kg world record, completed in just 28 seconds). Spontaneously grabbing for my GoPro, I shot this little video documenting the astounding accomplishment:But Patrik's greatest strength is not his physical prowess. His greatest strength is his compassion.Breaking strongman world records is what Patrik does. But beyond the accomplishments and beneath the beast-like exterior lives a sensitive, gentle soul. An exemplary human of steadfast ethics whose conscience refuses to allow animals to suffer for the sake of his superhuman athletic goals. In stark contradiction to culturally entrenched notions of masculinity, Patrick performs his feats in the name of compassion — a threatening word too often misinterpreted as weakness that challenges predominant male gender role stereotypes and obliges us to rethink social priorities.My hope is that Patrik's example will open your mind. Compel you to question long-held, conventional notions concerning the relationship between nutrition and athletic performance. Reform stereotypical definitions of masculinity to embrace the responsibility mankind shoulders as protector of the voiceless. Reframe your interpretation of compassion not as weakness, but as our greatest strength. Stir you to think more deeply about your consumer choices. And ultimately inspire you to challenge your own personal limitations.Specific topics covered include: See acast.com/privacy for privacy and opt-out information.

Dancers, Derick K. Grant, Dianne Montgomery and Johnathan Morin, join Travis Knights in Toronto. Special thanks to Kim Chalovich and The Tap Dance Center for their support. Recorded live on 10/18/2015 Derick K Grant: follow on instagram @dgrizzly73 Dianne Montgomery: diannemontgomery@gmail.com Johnathan Morin: follow on instagram @johnnymorin The Big Band Tap Revue, Directed by Ted Louis Levy! November 28 & 29, 2015 The Brigantine Room at The Harbourfront Centre $20-30 tickets 7:30pm, all ages! For tix & info, please visit: www.thetjo.com/bigbandtap

Author, teacher and activist, Clay Shirky, discusses the visionary insights of Marshall McLuhan as well as his own ideas about the effects of new media and social networking on our society. Shirky's latest book Cognitive Surplus explores how new technology is unleashing a wave of creative production that he believes is transforming the world. Following the lecture, Shirky sits down for an interview with broadcaster Jesse Hirsh. The event was part of the McLuhan 100 series at the International Festival of Authors at Harbourfront Centre.

Author, teacher and activist, Clay Shirky, discusses the visionary insights of Marshall McLuhan as well as his own ideas about the effects of new media and social networking on our society. Shirky's latest book Cognitive Surplus explores how new technology is unleashing a wave of creative production that he believes is transforming the world. Following the lecture, Shirky sits down for an interview with broadcaster Jesse Hirsh. The event was part of the McLuhan 100 series at the International Festival of Authors at Harbourfront Centre.

The "Baby Boyz Dance Group" is a group of eight diversely trained male dancers under the direction of Artistic Director and choreographer, Trevor Brown. The company incorporates many genres weaving a creative identity that is compelling, moving, athletic and explosive dedicated to the creation of original works that celebrate the power and scope of the imagination with an emphasis placed on incorporating social messages in their work. The "Baby Boyz Dance Group" puts the D' in dancehall, while highlighting the artistry indicative in hip - hop and progressively connects both genres to dances of African and contemporary influences. The "Baby Boyz Dance Group" have appeared internationally in videos of Sean Paul and Rihanna and have shared performance venues with the likes of LL Cool J and Jully Black, among others. In 2009, they performed at the Legends of Hip Hop concert in which Chris Brown participated. In 2007 they performed at the prestigious Panafest festival in Ghana, West Africa. In this episode, we speak and share with Sheldon Steel, one of the members of "The Baby Boyz Dance Group". Shelodon talks about various subjects such as how the group was started, how he become involved with the group, the preparation needed for one of their shows and the group's trip to Ghana in 2007. The "Baby Boyz Dance Group" is holding it's fifth annual fundraiser and dinner dance and gala on February 12, 2011 at the Chandni Gateway Banquet Hall at 5 Gateway Boulevard in Brampton, Ontario (http://www.chandnibanquethalls.com/). The event starts at 6:00 p.m. Dinner is at 7:00 p.m. The dress code is formal. The event will feature The Baby Boyz Dance Group and other performers. For more information, please call Novelette at (647) 746-8609 or Paulene at (647) 866-0245. "Dance Immersion" proudly presents the Baby Boyz Dance Group in an urban dance story for its 2011 Annual Showcase presentation. The world premiere of Three Boyz, Three Countries & One Dream runs March 24-26, 2011 at 8 p.m. at Enwave Theatre as part of Harbourfront Centre's NextSteps. This exciting new dance-theatre work is about three young men from Africa, Jamaica and Canada who share the same dream to be the best no matter what life has to throw at them. All three men share one dream, but none of them could guess where that dream would lead - or how it would impact their lives and the lives around them. If you want to find out more information about the "Baby Boyz Dance Group" and "Dance Immersion", go to:http://babyboyzent.com/ ; (Website) babyboyz_ent@hotmail.com (email)http://www.facebook.com/home.php#!/babyboyz.dancegroup (Facebook) Feel free to email us at info@blackcanadianman.com. If you live in North America, you can leave us a voice mail at 1-866-280-9385 (toll free). God bless, peace, be well and keep the faith, Vibe and Vegas info@blackcanadianman.comhttp://thevibeandvegasshow.wordpress.com/ Twitter: http://twitter.com/vibeandvegas