Podcasts about National Arts Centre

Elmnt FM's Shawn Allen had the chance to sit down with the one-and-only Celeigh Cardinal to talk about growing support for emerging Indigenous artists, her upcoming show at the National Arts Centre, and more.

Kala Ramnath is a world-renowned Indian violinist who performs in both the Hindustani classical tradition, and in collaborations that incorporate many styles with Ray Manzarek of The Doors, Bela Fleck and Edgar Meyer, Hilary Hahn, Kronos Quartet with Reena Esmail and veena player Jayanthi Kumaresh, and  leading orchestras such as my own National Arts Centre, to name but a few. You'll hear about her childhood, and how she became a disciple of the legendary vocalist Pandit Jasraj, leading her to revolutionize her approach to Hindustani violin technique. As a teacher she has put together an incredible resource with an extensive video library that she's created of Indian music, Indianclassicalmusic.com  When I recorded this interview with Kala, she had just the day before returned from the celebration of life for the legendary tabla master Zakir Hussain, who died this past December, and was one of the most important musicians in both Indian music and in bringing a global audience to Indian music. He had moved to San Francisco in the 1960s and was involved in too many projects to begin to list; in 2024 he was the first musician from India to receive 3 Grammys at one ceremony, including his collaboration with Bela Fleck and Edgar Meyer. Zakir Hussain was an incredibly important mentor of Kala, and you'll hear in her words about what his guidance and collaborations meant to her. Kala talked to me about some of her many cross-genre collaborations, including her fantastic albums with tabla master Bikram Ghosh  and her inventive trio with George Brooks and Gwyneth Wentink and you'll hear some of that music as well (albums linked below).  Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript : YouTube and TranscriptKala Ramnath Website Indianclassicalmusic.com Raag Ahir Bhairav  Paperboats album Elements trio albumOther episodes I've linked directly to this one, which I think may interest you: Karnatic violinist Suhadra VijaykumarSitar and tabla player Mohamed Assani Bansuri player Milind DateSarod player Avi KishnaIt's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity.  Please buy me a coffee? Or check out my merch store Sign up for my newsletter and get exclusive sneak peeks! Timestamps:(00:00) Intro(02:41)Zakir Hussain, Triveni with Jayanthi Kumaresh(10:53) Kala's childhood(15:17) Indianclassicalmusic.com resource(17:56) Kala Ramnath Collective world music (19:13) albums with Bikram Ghosh(20:28) A Better Place from Paperboats with Bikram Ghosh (26:30) Pandit Jasraj, changing her approach to the violin(34:46) Raag Ahir Bhairav (video linked in show notes) (46:16) Kala's Singing Violin style(48:12) other episodes you'll enjoy and different ways to support this series(49:05)Concerto for Hindustani Violin and Orchestra written with Reena Esmail(54:32) Ragas according to the time of day(57:43) Ray Manzarek of The Doors, ragas with other musical traditions(01:02:31) why Kala uses viola strings and tunes low(01:04:21) trio with George Brooks and Gwyneth Wentink(01:05:42) Better Than Coffee from Elements, George Brooks, Gwyneth Wentink (link in show notes)(01:10:15) Bela Fleck, Edgar Meyer, importance of consistent practice(01:13:54) Kalashree foundation(01:15:28) pandemic shutdowns, performing with Zakir Hussain 

Composer Darren Fung joins us to discuss Michael Kamen's amazing swashbuckling score for Robin Hood: Prince of Thieves. The underrated career of Kamen, what makes a stirring adventure score, and the impact having a Big Iconic Song can have are discussed, along with Darren's work with the Screen Composers Guild of Canada and the Canada's National Arts Centre's National Creation Fund. Join us, won't you? My Big Score was created and hosted by Christopher Dole. Our producer, editor, and social media consultant is Ellie Warren. All piano music performed by Christopher Dole. The main theme was composed by Erik Jourgensen. Show artwork by Chandler Candela. This series is produced in Los Angeles County on the ancestral lands of the Tongva, Tatavium, and Chumash. You can find our website at mybigscore.transistor.fm and on Twitter at @MyBigScorePod. Do you like this show? Do you want to help us make more of it? There are so many ways you can do that! The quickest and easiest way is to toss us a few dollars on Patreon at https://www.patreon.com/mybigscore. You'll get early access to episodes and additional bonus material. And if you like the show, share it with your friends, any way that you can!

Live from Ottawa! Paul reluctantly makes a New Year's resolution. Writer Ian Williams reads from his upcoming novel You've Changed. Strategists Garry Keller, Marci Surkes and Allison Gifford (“The Panel”) talk about the political year to come. Ada Lea performs her songs “Damn” and “Baby Blue Frigidaire Mini Fridge.” Jazz guitarist Jocelyn Gould performs the Paul Wells Show theme music.   Thank you to our friends at the National Arts Centre for hosting this live event, and to WestJet and Meta for their support.   Season 3 of The Paul Wells Show is sponsored by McGill University's Max Bell School of Public Policy.

Join us for an hour of live music, politics, and self-reflection. Former Premiers Kathleen Wynne and Jason Kenney trade jabs onstage and look back on the year that was. Catharine Vandelinde, executive director of Options Housing, talks about her work getting people off the street and into homes. Jazz guitarist Jocelyn Gould performs "It Had To Be You," "Softly As In a Morning Sunrise," "I Haven't Managed to Forget You" and our theme music. Singer-songwriter Scott Merritt performs his songs "Moving Day" and "Willing Night." And Paul finds the spirit of Christmas... eventually. Thank you to the National Arts Centre for hosting this event. Thanks to Meta and WestJet for their support. Season 3 of The Paul Wells Show is sponsored by McGill University's Max Bell School of Public Policy.

The beauty of radio! We chat with the writer and the music composer of an ambitious new radio play for a National Arts Centre series on climate, sustainability... and the future of Canadian neighbourhoods. (Krissy Holmes with Berni and Duane)

The role of the artist in the climate crisis is not simply to communicate scientific information in a sort of dressed up kind of way, but really to engage the imagination to do that thing that only art can do, which is getting at these almost imperceptible shifts in identity, in purpose and meaning, and the way that we as humans think about our relationship with the natural world and our place in it. It's ineffable, that kind of shift. If that's not the role of art, I don't know what is.  Judi Pearl has been a passionate environmentalist since her early teens here in Ottawa, unceded Algonquin-Anishinaabe lands. In addition to her long-standing role with the English Theatre Department at the National Arts Centre, Judi formerly served on the boards of The Only Animal theatre company and the Professional Association of Canadian Theatres also known as PACT.Judi is also a co-founder, along with myself, Anjali Appadurai, Robin Sokoloski, David Maggs, Kendra Fanconi and Anthony Garoufalis-Auger of SCALE (Sectoral Climate Arts Leadership for the Emergency), a non-profit network of artists, cultural practitioners, and arts organisations committed to addressing the climate emergency. This organization was founded in 2021, where Judi was also the Operations Lead until 2023. You can learn about SCALE by listening to its current leader of SCALE, Annette Hegel, in e176 art as a tactic.At the NAC, Judi has produced large-scale projects such as Grand Acts of Theatre, Stages of Transformation, the NAC Hip Hop Theatre Festival, the annual ceremony for the Siminovitch Prize (2016-2020) as well as Family Day (2011-2015), among many others. She was also the recipient of the CEO's Award of Excellence in 2020. Well deserved, I'm sure. My first conversation with Judi  (e59 pearl – positive tipping points) took place during a walk in the park here in Ottawa where we talked about theatre, the climate emergency, collaboration, arts leadership, the intersection of arts and sustainability and elusive positive tipping points. I invite you to listen back to that episode:SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.Fast forward 3 years later and Judi has a new title at NAC English Theatre ‘Associate Producer, Artistic Programming and Environmental Projects', which points to her long standing leadership role on environmental issues at the NAC and in the arts sector in general. Judi's work these days has an increased focus on artistic programming such as the Irresistible Neighbourhoods, a multi-year play development project centered on themes of climate and sustainability, which nurtures both emerging and established playwrights to imagine alternative visions for the neighbourhoods they call home and I invite you to go all the way back to the second episode of this season, e155, where you can hear Sanita Fejzić talk about her Irresistible Neighbourhoods radio play Machines and Moss. When I first Sanita's play I was blown away. I loved it. Irresistible NeighbourhoodsIt was good to reconnect with Judi, the theatre producer and climate activist. I've always appreciated Judi's insights on art and climate emergency policy as well as her moral clarity, for example : What we hear is extremism on both sides, even though those extremist views are often, I think, a minority, and yet those are the voices we hear the most that get the most attention and then because of the way social media works or the media in general works, that extremism tends to beget more extremism, hence polarization just gets worse and worse. I really hope that the arts and artists can be a force to counter that trend.Judi also observes that the arts are well placed to address these wounds :I think it's vitally important that artists hone, cultivate and maintain an ability to dialogue and listen and reach people who think differently.And I think we should be grateful to Judi and her peers for working so hard to help set up SCALE and similar organizations that place the arts at the centre of the complex challenges that we face and thereby increasing their relevance. Judi's recommended readings are : Not the End of the World : How We Can Be the First Generation to Build a Sustainable Planet by Hannah RitchieFix the News by Angus HerveyNote: This document was referred to during this conversation : Walking Gently on the Land (National Arts Centre Environmental Sustainability Action Plan 2023-2026)*Sections of the episode (generated by AI and reviewed by Claude Schryer)Reconnecting with Judi PearlJudi Pearl returns to the conscient podcast, reminiscing about past conversations and her journey in the arts. The discussion sets the stage for exploring her current role at the National Arts Centre and her commitment to environmental issues.Judi's Journey in the ArtsJudi shares her background as a theatre artist, highlighting her evolution from stage manager to associate producer at the National Arts Centre. She emphasizes her deep connection to Ottawa and her work in a large institution.The NAC's Environmental CommitmentThe conversation shifts to the National Arts Centre's environmental policies, including their new strategic plan and sustainability action plan. Judi discusses the importance of setting targets for waste, energy, and artistic programming.Creative Green Tools and Climate AwarenessJudi and Claude elaborate on the Creative Green Tools in Canada and their relevance to measuring the environmental impact of the arts. Judi highlights the importance of raising awareness and establishing baselines for carbon footprints within institutions.Irresistible Neighbourhoods: A New Artistic InitiativeThe focus shifts to Judi's artistic work at the NAC, particularly the ‘Irresistible Neighbourhoods' project. She explains how this initiative aims to explore neighbourhoods through a climate lens, involving emerging playwrights in the creative process.The Role of Climate DramaturgyJudi discusses the innovative concept of climate dramaturgy, introduced by Vicki Stroich, and its significance in shaping narratives around environmental issues. This approach encourages playwrights to imagine futures for their neighbourhoods beyond dystopian themes.Integrating Music and TheatreAs the conversation continues, Judi shares insights on the integration of music and theatre in the second volume of ‘Irresistible Neighbourhoods.' She highlights the collaborative process between composers and playwrights to create a unified artistic vision.Art's Potential for Cultural ShiftJudi reflects on the power of art to influence societal attitudes and values, drawing parallels with historical movements. She argues that cultural shifts are essential for driving political and economic change, particularly in the context of climate action.Facing the Future: The Role of ArtsAs we confront the uncertainties of the future, the conversation shifts to how the arts can play a pivotal role in addressing societal challenges. The discussion highlights the potential for the arts to foster resilience and adaptation in communities facing resource scarcity and climate change.Bridging Divides: The Power of DialogueThe dialogue emphasizes the importance of engaging with differing perspectives in an increasingly polarized world. Artists are encouraged to cultivate the ability to listen and connect with those who hold contrasting views, fostering a more inclusive discourse.Navigating Modernity: A Call for OpennessThe conversation delves into the complexities of modernity and the need for new visions as societal structures evolve. The speakers advocate for open dialogue and collaboration to address pressing issues, highlighting the potential of community-engaged arts.Finding Hope Amidst ChallengesAs the discussion turns to the media's portrayal of current events, the speakers reflect on the necessity of sharing positive stories that inspire action and change. They recommend resources that highlight impactful initiatives and encourage a more balanced view of the world's progress.Joy in the Everyday: Celebrating Small WinsJudi shares personal moments of joy and gratitude, emphasizing the importance of recognizing positive aspects in life amidst challenges. They reflect on the significance of community and the arts in fostering connection and hope. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

Kevin Loring is an accomplished Canadian playwright, actor and director. He currently serves as Artistic Director of Indigenous Theatre at the National Arts Centre in Ottawa. He also serves as Artistic Director of Savage Society where he develops work that reflects an indigenous world view. A Nlaka'pamux from the Lytton First Nation in British Columbia, Kevin was the winner of the Governor General's Award for English Language Drama for his play, Where the Blood Mixes. The play explores the intergenerational effects of the residential school system. He also has a lengthy IMDB entry, with roles in Da Vinci's Inquest, Arctic Air and Health Nutz, and played Edmund in an all-First Nations production of Shakespeare's King Lear.

Today, we're sharing another except from Paul Wells' audiobook, Justin Trudeau on the Ropes, read by the author himself.  Much of Trudeau's reign as Prime Minister has been shaped by major external events, including the election of Donald Trump in the U.S. This section of the book looks back on how Trudeau adapted to a Trump presidency. Justin Trudeau on the Ropes is published by Sutherland House. The audiobook was recorded at the National Arts Centre. You can download the entire thing wherever you get audiobooks.

In this excerpt from his audiobook, Justin Trudeau on the Ropes, Paul Wells looks back to the beginning of Trudeau's political career. Justin Trudeau on the Ropes is published by Sutherland House. This audiobook was recorded in studio at the National Arts Centre. You can find the full thing wherever you get audiobooks.

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2024 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links: https://justineachambers.com/ https://www.katefranklin.ca/ About Justine: The anchors of Justine A. Chambers movement based practice are found in collaborative creation, close observation, and the idea of choreography as living archive. She is concerned with a choreography of the everyday; with the unintentional dances, as she describes them “that are already there.” She emerges from the Black American Diaspora, bi-racial and a dual citizen. Her practice extends from this continuum, and its entanglements with western contemporary dance and visual art practices. Her recent choreographic projects include: Zephyrs, Heirloom, And then this also, One hundred more, tailfeather, for all of us, it could have been like this, ten thousand times and one hundred more,  Family Dinner, Family Dinner: The Lexicon, Semi-precious: the faceting of a gemstone only appears complete and critical; Enters and Exits and COPY. Chambers' work has been hosted at: Libby Leshgold Gallery at ECUAD, Leonard and Bina Ellen Gallery at Concordia, Contemporary Art Gallery (Vancouver), Sophiensaele (Berlin), Burrard Arts Foundation, Nanaimo Art Gallery, Art Museum at University of Toronto, Morris and Helen Belkin Art Gallery, Cantor Fitzgerald Gallery, Mile Zero Dance Society, Festival of New Dance, Agora de la danse, Canada Dance Festival, Dance in Vancouver, Dance Saskatchewan, Dancing on the Edge Festival, New Dance Horizons, The Roundhouse Community Arts Centre, Vancouver Art Gallery and the Western Front. Chambers is a founding member of project bk, was artist in residence at artist run centre 221A (2017), a selected artist for the  Visiting Dance Artist Program at the National Arts Centre (2019-2020), one of three choreographer's in the Yulanda Faris Choreographer's Program (2017-2018), and associate artist and artist in residence to The Dance Centre (2015-2017), Justine has collaborated on projects with: Digital video artist Josh Hite: COPY: a movement based installation, Incoming, Green Boot Print (The Roundhouse Community Arts Centre, Code Lab and 350.org), Choreography Walk (2015: Vancouver, 2019: Hong Kong, 2019: Vancouver). Choreographer and dancer Laurie Young: One hundred more Visual artist Natalie Purschwitz and sound artist Anju Singh: Co-facilitation of Trackings and Trappings – Summer Institute at Plug In Institute of Contemporary Art Sound artist Elisa Ferrari: EMF Movement Studies.  Visual artist Mike Bourscheid: Idealverein Dance Artist Alexa Solveig Mardon and scholar Peter Dickinson: Our Present Dance Histories Visual artist Evann Siebens:  Homemade Again. Dance artist Claudia Fancello: Light Was The Night: Night Shifting. Musician Ben Brown:  We're Making a Band Visual Artist Brendan Fernandes: The Working Move (The Western Front, The Stedelijk Museum) Contemporary Gamelan Composer Michael Tenzer: Sphinx (Tour of Bali 2013) Visual artist Jen Weih: Stack of Moves (Wrong Waves Festival 2013) Visual artists Marilou Lemmens and Richard Ibghy: Is there anything at all left to do be done at all (Trinity Square Video) Dance artist Deanna Peters: One + the Other (The Cultch and New Dance Horizons) Chambers, Sadira Rodrigues and battery opera's Su Feh Lee co-facilitate the monthly forum The Talking Thinking Dancing Body; a conversation about aesthetics, context and artistic processes. As a dancer, she has worked with a number of choreographers both nationally and abroad. Including: Kate Franklin, ame henderson, sasha ivanochko, battery opera, adelheid dance projects, Company 605, Tara Cheyenne Performance, Oded Graf and Yossi Berg, Wen Wei Dance, Mascall Dance. Chambers teaches at The School for Contemporary Arts at Simon Fraser University, Working Class, Toronto Community Love-In, Modus Operandi Training Program and Ballet BC. Justine is currently engaged as an artistic monitor for the work of Mardon + Mitsuhashi, and Amanda Acorn. Chambers is Max Tyler-Hite's mother.   About Kate:   Kate Franklin was born in North Bay, Ontario. She started dancing at age 5 and got super serious about it at age 10. When she was 13, she left home to attend Quinte Ballet School of Canada in Belleville, Ontario, where she undertook her professional training for the next five years. Now an independent contemporary dance artist, she has spent the past 20 or so years in Toronto/Tkaronto and so-called Vancouver (on the unceded Indigenous territories of the Musqueam, Squamish and Tsleil-Waututh First Nations) wearing almost every "hat" a person can wear in the community, (performer, choreographer, administrator, volunteer, producer, presenter, educator, outside eye, probably a couple other things). She works regularly for local artists Company 605, Justine A. Chambers and Tara Cheyenne Performance, amongst others, as well as being in her eighth season as Associate Artistic Director of four-year post-secondary contemporary dance program Modus Operandi, where she has the responsibility and privilege of teaching a small, dedicated, passionate group of younger dance artists.  Kate has taught Yoga and Pilates mat work in the past.    About Tara:   Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.

John is a Palestinian-Canadian composer, pianist and electronic musician based between Toronto and Berlin, who creates what he calls "Baroque-Middle-Eastern-Cyberpunk". We talk about the process behind his commission for the National Arts Centre orchestra, why he feels more free in his visual arts practice, how he uses his concerts to address what is happening in Palestine, the various complexities of Palestinian identity, and nocturnally creating his album “Time Sketches” in three weeks. Connect with John: Instagram Website YouTube References to check out: Ernst Fuchs "Art & Fear" by David Bayles and Ted Orland --- Send in a voice message: https://podcasters.spotify.com/pod/show/bri-clarke/message

I think artists can challenge us by showing our blind spots, in a way, educating us, but also inspiring us about what's possible, right? I think in SCALE we talk about re-authoring the world. That's what artists do. We re-author the world. We create alternative ways of even just thinking about what's desirable in the first place.I first met novelist, playwright, poet, and essayist Sanita Fejzić in 2021 while we were both on the Mission Circle of SCALE, the Sectoral Climate Arts Leadership for the Emergency, where we had great debates about climate justice and the role of art in the climate emergency and you'll hear more about this episode.I also had the pleasure of doing sound design in 2023 for a series of short plays called Why Worry About Their Futures that Sanita produced for the Undercurrents festival here on unceded land of the Anishinaabe Algonquin nation, also known as Ottawa.Sanita holds a PhD in Cultural Studies from Queen's University where she articulated an artistic and political movement called ‘Peasant Futurisms' and I think you'll enjoy learning more about this. I love the way Sanita's work simultaneously explores the future, past, and present by grounding peasant ways of knowing, relating, and being in the world. Maybe we're all peasants, or have that potential?You'll also hear Sanita talk about a new radio play for the National Arts Centre as part of its Irresistible Neighbourhoods project.Our conversations begin with her long journey from Sarajevo to Ottawa and concludes with a book recommendation: Rita Wong's Forage and Undercurrent.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

In this final episode of Stageworthy, host Phil Rickaby talks with theatre and opera director, playwright and educator, Peter Hinton-Davis. In addition to his work work as a director, playwright, and educator, from 2005-2012, he took over as the artistic director of English theatre at Ottawa's National Arts Centre, shaping how Canada conceptualizes its national theatre. He is currently directing Coal Mine Theatre's Dion, running until March 3 at Toronto's Coal Mine Theatre. Stay tuned to the end of the episode for some thoughts from Phil Rickaby on the ending of Stageworthy. Bio Director, dramaturg and playwright Peter Hinton-Davis has worked across Canada with many theatre companies. He has been the Associate Artistic Director at Theatre Passe Muraille and the Canadian Stage Company in Toronto, Artistic Director of the Playwrights Theatre Centre in Vancouver, the Dramaturg in Residence at Playwrights' Workshop Montréal, and Artistic Associate of the Stratford Festival. From 2005 to 2012 he was Artistic Director of the National Arts Centre English theatre, where he created a resident English theatre company, with actors from across the country, and programmed the NAC's first season of Canadian plays. His own plays for the stage include Façade, Urban Voodoo (written with Jim Millan) and a trilogy of three full length plays entitled The Swanne -- George III: The Death of Cupid (2002), Princess Charlotte: The Acts of Venus (2003), and Queen Victoria: The Seduction of Nemesis (2004). Eleven years in the making, all three plays premiered under his direction at the Stratford Festival. In 2006, he co-created with Domini Blythe, and directed the solo work, Fanny Kemble, about the life of the famous British actress and abolitionist. www.peterhinton.ca Instagram: @peterhintondavis

As we revealed in our 42nd Street episode the shoes of our wonderful Canadian Bea Arthur Autumn Smith left were just too big to fill for one co-host. So the decision was made to split the co-hosting duties between two wonderful hosts and you've met Maris Lyons and now we are excited to introduce you to our new and other permanent co-host Scott Hurst! Scott is a survivor of 48 years in professional & community  theatre, Scott has earned a living as an actor, singer, dancer, director, writer & producer, and his resume includes seasons at the Stratford Festival, Charlottetown Festival, Blyth Festival, Thousand Islands Playhouse, the National Arts Centre and a side trip to the MDM Theatre in Moscow. A recipient of an Excellence in the Arts award at the 2009 Barrie Arts Awards, Scott is known locally for his extensive work with The South Simcoe Theatre, Kempenfelt Community Players, Talk is Free Theatre, Theatre by the Bay, Huronia Players, and the Orillia Sunshine Festival. He currently sits on the Board of Directors for The South Simcoe Theatre and is helping to develop a training program for actors, directors, singers and production teams. A proud member of the LGBTQ2S+ community, Scott is now considered by some to be a Gay Elder and he's grateful to have lived long enough to achieve that status. 3TY Rob! We are so excited to have Scott on our team and please joy this introductory interview where Mackenzie and Scott discuss Scott's theatrical background and we explore his thoughts on the current musical theatre landscape. Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. ⁠⁠⁠Facebook⁠⁠⁠ ⁠⁠⁠Instagram⁠⁠⁠ ⁠⁠⁠Twitter

The perfect way to start off our episodes for the month of December is by taking in a musical. Your Halo Halo Podcast co-hosts Jezzie and Sigi had the pleasure of watching  Prison Dancer: The Musical--now playing through December 2 at the National Arts Centre in Ottawa. The musical, created by Romeo Candido and Carmen Leilani De Jesus and directed by Nina Lee Aquino is inspired by a 2007 viral You Tube video where 1500 inmates from a prison in Cebu danced to Thriller. Blown away by the music and lyrics by Romeo Candido, Jezzie found underlying messages in the spectacle including, “Dancing gives life”; “Taking responsibility for your life”; and “Asking for what you need.” Dynamic performances from the cast including the “love teams” : Lola (Julio Fuentes) and Shakespeare (Dominique Brillantes); and Christian (Daren Dyhengco) and Cherish (Diana Del Rosario) has the co-hosts floored and clamouring for more. Later, Jezzie outlines the message, “Hope can exist anywhere,” ties into this week's culture capital topic and that hope is “recognizing that there are many ways to accomplish one's goals and not giving up as a result.” If you are in Ottawa, go and see Prison Dancer: The Musical. From the music, dancing, tales of love, hope and having no “regerts”—get your tickets before it is too late!

The National Gallery of Canada had a rough year, as they reckoned with shifting attitudes towards culture and representation. Their new CEO, Jean-François Bélisle, joins Paul to talk about how he plans to move forward, and what a national art gallery should look like in the year 2023. This episode was recorded live at the National Arts Centre. FURTHER READING: Turmoil Engulfs Canadian Art Museums Seeking to Shed Colonial Past - The New York Times Subscribe to Paul's Substack for a premium version of this show: paulwells.substack.com

Mark Sutcliffe decided to run for mayor of Ottawa after being frustrated by the Freedom Convoy and the city's ill-fated LRT project. He won. A year into his term, he reflects on trying to solve some of the city's biggest problems, including saving the downtown core and getting the LRT back on track. This episode was recorded live at the National Arts Centre. Subscribe to Paul's Substack for a premium version of this show: paulwells.substack.com

Minister of Indigenous Services Patty Hajdu joins Paul to talk about reconciliation, drug policy, and the road that led her from working with the most vulnerable members of society, to sitting in Trudeau's Cabinet. This episode was recorded live at the National Arts Centre. Subscribe to Paul's Substack for a premium version of this show: paulwells.substack.com

Author and Globe and Mail writer John Ibbitson joins Paul to discuss his new book, The Duel: Diefenbaker, Pearson and the Making of Modern Canada. Ibbitson talks about how the decade-long showdown between these two Prime Ministers set the stage for the world we live in today, and why he believes Diefenbaker has been unfairly maligned in the historical record.   This interview was recorded live at the National Arts Centre.   Subscribe to Paul's Substack for a premium version of this show: paulwells.substack.com   

ReFolkUs is back with a special pre-conference drop, where we will be releasing four episodes prior to the Folk Music Ontario Conference being held in London, Ontario on October 12th-15th.Named after Estelle Klein, a long-time advocate of Canadian Folk music and one of the initial founders of the Folk festival scene, the Estelle Klein Award honours the work of an individual or group that has made significant contributions to Ontario's folk music community. For the first time in 2023, the Estelle Klein Award has been divided into two separate areas of recognition - The Community Builder Award, and The Lifetime Achievement Award. In this week's episode, we chat to Erin Benjamin, who is the 2023 recipient of the Estelle Klein Lifetime Achievement Award. Erin takes us back to the early days of her career as both a musician and a performing artist and dives into the story of how she became the very first Executive Director of Folk Music Ontario (originally called OCFF). We also chat to Erin about the incredibly important work that she is currently doing with the Canadian Live Music Association and her priorities and hopes for the next 5 years of her career.Erin is a champion for the live music industry; our festivals, venues and live music workers. Congratulations to Erin Benjamin on winning the Estelle Klein Lifetime Achievement Award.Follow Erin Benjamin and the Canadian Live Music Association online:WebsiteSocial Media @canadian_live____________________An award-winning community builder and driving force in Canadian Association leadership, Erin Benjamin has worked in the music industry for over 25 years. Originally a touring and recording artist and then as executive director of both Folk Music Ontario (2001) and the Canadian Arts Presenting Association (2008), today Erin continues her work as the first and only President & CEO of the Canadian Live Music Association (since its founding in 2014). An unflagging champion for the live music sector, particularly during COVID-19, she currently serves as a board member for the Ottawa Board of Trade, the United Way Eastern Ontario and the Ottawa Film Office. Over the years she has served a wide variety of organizations as a board member including The Unison Fund, Folk Alliance International, the Songwriters Association of Canada, the National Arts Centre's Creation Fund, RBC Ottawa Bluesfest and others. She is the proud recipient of several awards including the Jackie Washington Award (NLFB, 1998), Ontario 150 Award (2017), the United Way's Community Ambassador Award (2019), Tourism Industry Association of Ontario's Resiliency Award (2021), and the Spirit of Folk Award (FAI, 2022), and the Estelle Klein Award (FMO, 2023) all in recognition of her service to community. Erin lives in a vibrant downtown neighbourhood with her amazing kids and perfect pandemic puppy and can often be found on the golf course in the pursuit of happiness. ______________Presented by Folk Music OntarioHosted by Rosalyn DennettProduced by Kayla Nezon and Rosalyn DennettEdited by Jordan Moore of The Pod CabinTheme music “Amsterdam” by King CardiacArtwork by Jaymie Karn

This week Phil Rickaby chats with Patrick Blenkarn and Milton Lim about asses.masses, a unique theatrical experience that sits at the intersection of video game and theatre. This episode promises to uncover the layers of this innovative game-meets-stage play and will leave you questioning your perceptions of traditional theatrical conventions. Expect to be drawn into a world where the audience becomes the performers, engaging in a live, interactive video game that requires the negotiation of power within the story, all while remaining enjoyable to watch for the non-participants. As we navigate through the mechanics and origin of asses.masses, you will also find yourselves questioning prevalent stereotypes about the humble donkey. Commonly misconceived as stubborn and unsmart, our fascinating exploration of the donkey as a symbol of labor initiates insightful discussions about digital labor and its implications today. Coupled with the intriguing concept of game show mediation and audience involvement, this episode will certainly broaden your understanding of performance art, digital labor, and animal symbolism. Our discussion extends beyond the boundaries of performance, delving into the debate over video games as an art form. You'll be immersed in the collaborative process of game development and storytelling as we dissect the structure of Asses Masses and its influence from other famous titles. We also reflect on the changing attitudes towards art consumption and its impact on the reception of such innovative works. As we conclude, you'll be left with a deeper appreciation for the intricacies of game development, the symbolism of labor, and the power of audience engagement in redefining performance art. Patrick Blenkarn is an artist working at the intersection of performance, game design, and visual art. His research-based practice revolves around the themes of language, labour, and economy, with projects ranging in form from video games and card games to stage plays and books. His work and collaborations have been featured in performance festivals, galleries, museums, and film festivals, including the Festival Internacional de Buenos Aires, the Humboldt Forum (Berlin), Festival of Live Digital Art (Kingston), STAGES Festival (Halifax), Banff Centre for the Arts, Risk/Reward (Portland), SummerWorks (Toronto), rEvolver (Vancouver), RISER Projects (Toronto), and the Festival of Recorded Movement (Vancouver). In 2020, he was nominated for Best Projection Design at Toronto's Dora Awards. In 2022, his work with Milton Lim, asses.masses, received the National Creation Fund from the National Arts Centre of Canada. Patrick has frequently been an artist in residence at galleries and theatres around the world, including The Arctic Circle (Svalbard), the Spitsbergen Artist Center (Svalbard), GlogauAIR (Berlin), Fonderie Darling (Montreal), Malaspina Printmakers (Vancouver), Skaftfell Center for Visual Art (Iceland), VIVO Media Arts (Vancouver), and The Theatre Centre (Toronto). Patrick is also the co-founder of and a key archivist for videocan, Canada's video archive of performance documentation, and one half of Guilty by Association with Cole Lewis. He has a degree in philosophy, theatre, and film from the University of King's College and an MFA from Simon Fraser University. patrickblenkarn.com Instagram: @patrickblenkarn Milton Lim (he/him) is a digital media artist, game designer, and performance creator based in Vancouver, Canada: the traditional, unceded, and occupied territories of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations. His research-based practice entwines publicly available data, interactive digital media, and gameful performance to create speculative visions and candid articulations of social capital. This line of inquiry aims to reconsider our repertoires of knowledge aggregation and political intervention in the contemporary context of big data and algorithmic culture. Often cheeky and audience/participant driven, his work challenges standard performance traditions including duration, linearity, and repeatability. Milton holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University. He has created works for and performed in various international festivals and venues including PuSh International Performing Arts Festival (Vancouver), CanAsian Dance Festival (Toronto), Carrefour international de théâtre festival (Quebec City), IMPACT Festival (Kitchener), Seattle International Dance Festival, Risk/Reward Festival (Portland), Festival Internacional de Buenos Aires, artsdepot (London), Battersea Arts Centre (London), New Theatre Royal (Portsmouth), Strike a Light Festival (Gloucester), Hong Kong Arts Festival, soft/WALL/studs (Singapore), and Darwin Festival. Performance credits include The Arts Club's The Great Leap, Gateway Theatre's King of the Yees at Canada's National Arts Centre, and Theatre Conspiracy's award-winning immersive show: Foreign Radical at CanadaHub (Edinburgh Fringe). Milton's media artworks have been presented at the Vancouver Art Gallery, San Francisco State University, F-O-R-M, VIVO Media Arts Centre, and The New Gallery. In 2016, he was awarded the Ray Michal Prize for Outstanding Body of Work at the Jessie Richardson Theatre Awards. He is a co-artistic director of Hong Kong Exile, an artistic associate with Theatre Conspiracy, a co-founder and key archivist with the videocan national archive, an infrequent Sessional Instructor with Simon Fraser University's School for the Contemporary Arts, one of the co-creators behind culturecapital: the performing arts economy trading card game, and a founding member of Synectic Assembly—an Artificial Intelligence focused art collective. Upcoming: Milton is part of an 18-month Artistic Leadership Residency with the National Theatre School (Canada); his work on the asses.masses video game project recently received the prestigious National Creation Fund and premiered in Buenos Aires in February 2023; along with Patrick Blenkarn, he will be doing a self-directed residency in South America (February-April 2023) as well as continuing work with Darren O'Donnell, Alice Fleming, and a dedicated group of young people at the Humboldt Forum in Berlin over the next few years. www.miltonlim.com Instagram: @miltonlim About asses.masses: Labour, technophobia, donkeys, and sharing the load of revolution: asses.masses is a long form participatory performance that follows the epic journey of unemployed asses as they navigate the perils of a post-Industrial society in which they've been made redundant. At its core, asses.masses is a custom-made video game designed to be played on stage by a live audience. Brave spectators take turns each night stepping forward from the herd to seize the means of production and become the player. There are no instructions. It is up to the audience and their self-elected leaders to make decisions and play out their version of the game. Cheeky, political, and best described as Animal Farm meets Aesop's Fables retold by Franz Kafka, Karl Marx, and Sonic the Hedgehog, asses.masses puts the control(ler) in its audience's hands and asks them to discover the space between the work that defines us and the play that frees us. www.assesmasses.work Tickets to asses.masses at the Theatre Centre: https://theatrecentre.org/event/asses-masses-23/ Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

Jah'Mila is a

Ian Cusson celebrates deep questions and despises stereotypes. is In this episode, you'll hear the sought-after Indigenous (Georgian Bay Métis Community) and French Canadian composer share a candid conversation with host Khadija Mbowe, digging into his experiences of privilege, shame, and one anecdote of sweet, swift, cosmic justice.  Chapters:[00:00] Introduction [02:49] Métis community influence on Ian's artistic approach today [10:00] Navigating indigenous heritage and Western religion will be a lifelong process  [16:50] The privilege and shame of being "white-passing"[25:16] Becoming better by making art  [34:23] In-depth lightning round bonus! Music from this episode:Ian Cusson, "Le Loup de Lafontaine," world premiere performance by Alexander Shelley & NAC Orchestra as part of the Móshkamo Festival which marked the launch of the National Arts Centre's Indigenous Theatre department. Le loup de Lafontaine was a National Arts Centre Orchestra commission as part of the Carrefour Composer Program, made possible by the Canada Council for the Arts. Ian Cusson, "Where There's a Wall,”  Song-cycle for voice and piano with text by Joy Kogawa. Performed by Krisztina Szabó, voice and Rachael Kerr, piano. Recorded at the Canadian Music Centre, Toronto on November 14, 2019, by John Gray.Ian Cusson, "Of the Sea," a co-production with Obsidian Theatre Company and Tapestry Opera. Libretto by Kanika Ambrose, Directed by Philip Akin, Conducted by Jennifer Tung. Links from this episode:Métis Nation Yvette Nolan Katherena VermetteMore on Ian's Louis Riel re-doBANFF Indigenous Classical Music GatheringThe Philadelphia Orchestra's HearTOGETHER series is generously supported by lead corporate sponsor Accordant Advisors. Additional major support has been provided by the Otto Haas Charitable Trust.

The first ever fully live described play took place at the National Arts Centre. Ottawa Community Reporter, Kim Kilpatrick has the details (0:00). Orientation & Mobility Specialist Mark Rankin chats with Oran McAllister, Client Engagement Officer at NaviLens (12:35). Is it an offense to be offensive? We talk about an interesting case from Quebec that explores this question with Danielle McLaughlin on Know Your Rights (27:22).

Black Canada Talking™ is a live online event that provides Black Canadians opportunity to give their takes and POVs on stories that are of importance to them. On the February 5, 2023 episode of Black Canada Talking™ our guest was Sarah Onyango. The topics that Sarah talked about were: – The death of Tyre Nichols by five disgraced Memphis Police Department officers – The US military has shot down a Chinese high-altitude balloon after it drifted off the East Coast near the Carolinas – The kerfuffle over Black Out Night at the National Arts Centre in Ottawa You can contact Sarah Onyango via: Email Visit The Dr. Vibe Show™ at https://www.thedrvibeshow.com/ Please feel free to email us at dr.vibe@thedrvibeshow.com Subscribe to The Dr. Vibe Show™ YouTube channel here Please feel free to “Like” the “The Dr. Vibe Show” Facebook Fan Page here God bless, peace, be well and keep the faith, Dr. Vibe 2020 Podcast News Award Winner – Canadian Ethnic Media Association 2018 Innovation Award Winner – Canadian Ethnic Media Association The Dr. Vibe Show™ At “The Good Men Project” One of the first Brand Ambassador's – Cuisine Noir Magazine Dr. Vibe – Producer And Co-host of Black Men Talking On WJMS Radio Dr. Vibe on HuffPost Live – August 2, 2013 2013 Black Weblog Awards Finalist (Best Podcast) 2012 Black Weblog Awards Winner (Best International Blog) 2012 Black Weblog Awards Finalist (Best Podcast) 2011 Black Weblog Awards Finalist (Best International Blog and Best Podcast Series) Black Blog Of The Day – Black Bloggers Network – June 23, 2011 Twitter Twitter hashtag: #DrVibe The Dr. Vibe Show™ – iTunes The Dr. Vibe Show™ – Spotify Dr. Vibe Media – You Tube The Dr. Vibe Show™ – Stitcher Radio The Dr. Vibe Show™ – TuneIn Radio The Dr. Vibe Show™ – Google Play Music The Dr. Vibe Show™ – iHeartRadio The Dr. Vibe Show™ at Anchor Linkedin – The Dr. Vibe Show™ Instagram The Dr. Vibe Show Facebook Fan Page

The Trudeau Government has made a lot of promises about reconciliation. As the Minister of Crown-Indigenous Affairs, Marc Miller's job is to follow through on them.In this live conversation, Minister Miller talks frankly about his successes and failures in the role. He also talks about his own background, including his childhood friendship with Justin Trudeau, his time in the military and learning to speak Mohawk. This episode was recorded live at the National Arts Centre in Ottawa. 

This past week in Canada, a controversy erupted around the National Arts Centre's plans to reserve an upcoming theatre performance for Black audience members only, with many questioning why any organization would want to open the door for racial segregation, in any form. (And indeed, since this podcast was recorded, the NAC has issued an updated press release, indicating “everyone is welcome at all our shows.”) It's the latest example of a movement that, as my guest on today's program argues, presents itself as progressive — when in fact, its ideas are deeply regressive. Andrew Doyle is a British broadcaster, writer, and comedian. He shot to fame with his satirical Twitter account, Titania McGrath, but has since become known for hosting the GB News show Free Speech Nation. His latest book is The New Puritans: How the Religion of Social Justice Captured the Western World. You can find Tara Henley on Twitter at @TaraRHenley, and on Substack at tarahenley.substack.com

The CBC gets the whole legacy media to rally against Alberta Premier Danielle Smith with a story based on anonymous sources and emails that their journalists never even glanced at before publishing their story. To make matters worse, the state broadcaster doubled down, refused to retract their story and ran another story attacking Smith. Next on the show, the National Arts Centre in Ottawa plays the segregation card by inviting a “Black-only” audience to their latest theatrical showing. It's not racist, it's inclusive!! Lastly, a woman at the Globe and Mail seems to think that the life of a husband is so great that she can't help but want to become one too. Yes, women can be husbands too apparently. Tune into Fake News Friday with Andrew Lawton and Sue-Ann Levy on True North! Learn more about your ad choices. Visit megaphone.fm/adchoices

What does it mean to be a status Indian in Canada? Douglas Sanderson (Amo Binashii), a professor at the University of Toronto Faculty of Law and a member of the Opaskwayak Cree Nation, answered this seemingly straightforward question in his keynote speech at our 50th anniversary gala. Explaining the processes of losing and gaining status in his family and the policies made to disempower Indigenous people over the last century, Sanderson paints a powerful portrait of how public policy shaped his life and that of Indigenous people across this land.   Sanderson's words are followed by a stirring poetry performance from Greg Frankson (aka Ritallin), a leading Black Canadian poet and editor of AfriCANthology: Perspectives of Black Canadian Poets (2022). Frankson's work in this selection continue the theme of inequality.  This episode of the podcast is a recording of Douglas Sanderson's keynote speech and Greg Frankson's poetry from November 23, 2022 at the National Arts Centre in Ottawa.

As the UN's Climate Change Conference takes place in Egypt, Paul talks to Susannah Pierce, President and Country Chair at Shell Canada, about the green energy transition. Susannah talks about how Shell intends to reach net zero, concerns around greenwashing, and why reducing the carbon tax may actually be bad for business.This episode was recorded live at the National Arts Centre in Ottawa.

Loops pedals.  Viola.  Art.  Music.  Empathy and Connection.  Kathryn Patricia is sharing about all of these art forms today as we discuss blending music and art, sound journals, growing connection in our community and expressing our emotions through music. Links Website: kathrynpatricia.com Instagram: @kathrynpatriciaviolist Kathryn Patricia Music Invite Kathryn Patricia into your classroom virtually or by video!  Check out masconline HERE. Kathryn Patricia's Bio: Hailing from Canada's Capital region, Loop pedal violist, composer, and educator Kathryn Patricia Cobbler has crafted a singular niche in improvisation and classical performance. She obsesses over creating uniquely arresting soundscapes, whether in solo recitals, composing for theatre, performing at art installations, and more. A recipient of one of Ottawa Arts Council's Emerging Artist awards, she has been featured in Canada's most notable Concert Series, including Chamberfest, Music and Beyond, NUMUS Music Festival, and the Ottawa New Music Creators' Analogue Series to name a few. ​As a seasoned performer, speaker, presenter and workshop facilitator, Kathryn has given masterclasses at Carleton University and was a speaker for the Canadian Network for Arts and Learning Convergence Conference.  As a performing artist and educator, Ms. Cobbler is an artist on the ​MASC Artist roster​ and Teaching Artist at the National Arts Centre.  As a composer, Kathryn has been featured in the Boston based Concert series, ​Castle of Our Skin's ​Black Composers Miniature Challenge, which resulted in the world premier of her piece A Home Called ‘Wander'. Kathryn continues to be inspired by the next generation of composers and improvisers,  having served as an adjudicator for the Canadian Music Showcase and NUMUS Emerging Improvisor competition.  Kathryn Patricia's most recent multidisciplinary collaboration was through an  artist in residency with the Ottawa Dance Directive composing and collaborating for the premiere of Dream & True North envisioned and choreographed by Elizabeth Emond-Stevenson. ​Initially a visual artist, Kathryn sees the world through shape and line—a vision that has laid the groundwork for many of her musical creative projects. Kathryn's current explorations of the loop pedal have led to the development of her workshop/concert, Sound In Living Colour, where she draws connection between the technical use of the paint brush and her viola bow, guiding her listeners through a music inspired painting experience. After switching to music as her artistic path, she would receive degrees in viola performance from Western University (B.M.) and the University of Ottawa (M.M.). Ms. Cobbler has also performed as an orchestral musician, appearing within the Toronto Symphony's Trans-Siberian Orchestra, Ottawa Symphony Orchestra, and the Ottawa Jazz Orchestra. A native of Windsor, Ontario, she makes her home in Ottawa. She performs on a viola by luthier Sibylle Ruppert and a Boss RC-30 loop pedal. Afternoon Ti Instagram:  @highafternoonti Website:  jessicagrant.org

Canada's Prime Minister Justin Trudeau pitches the country as a leader on climate and says it is on track to reduce emissions 45% by 2030. The reality is different. Canada has the second highest per-capita CO2 emissions in the G-20, its oil industry is booming, and its emissions remain persistently high. On this week's episode of Zero, Trudeau joins Zero host Akshat Rathi to discuss when Canada's emissions will start to fall for real, and how it can achieve its climate pledges when its economy and politics remain so tied to oil and gas.  This conversation was recorded live at the National Arts Centre in Ottawa at an event hosted by the Canadian Climate Institute and the Net Zero Advisory Body. Read a full transcript of this episode, here. Zero is a production of Bloomberg Green. Our producer is Oscar Boyd and our senior producer is Christine Driscoll. Thoughts or suggestions? Email us at zeropod@bloomberg.net.  For more coverage of climate change and solutions, visit https://www.bloomberg.com/greenSee omnystudio.com/listener for privacy information.

Soprano Sharon Azrieli has enjoyed international success with leading organizations such as the Canadian Opera Company, Orchestre Symphonique de Montréal, and the New Israel Opera, among others. Sharon created the Azrieli Music Prizes for the Azrieli Foundation in 2014 and is devoted to arts education and philanthropy. She is a director on the board of the Azrieli Foundation, and concurrently sits on the boards of several other philanthropic organizations including National Arts Centre of Canada, Orchestre Classique de Montréal (where she holds the title President Emeritus), McCord Museum, the Canadian Vocal Arts Institute, The Opera Cares Foundation, the America-Israel Cultural Foundation, Sharon Azrieli Foundation for the Arts as well as on the honorary board of Camp Tutti and Camp Kinneret Biluim. Join Sharon as she discusses the importance of arts education in her native Canada and beyond. Learn more about about the worthy causes discussed in this episodes and how you can donate and/or help: Azrieli Foundation El Sistema USA Connect with Sharon: Website: SharonAzrieli.com  Facebook: @sopranosharonazrieli Instagram: @sharonazrielisoprano YouTube: @Sharon Azrieli Connect with The Broadway Gives Back Podcast: Facebook: @broadwaygivesbackpodcast Instagram: @broadwaygivesbackpodcast Twitter: @broadwaygives Hosted & Executive Produced by Jan Svendsen and co-produced & edited by Jim Lochner. A proud member of the Broadway Podcast Network. Special thanks to Dori Berinstein, Alan Seales, and Kimberlee Garris from BPN; Julian Hills from The Bulldog Agency; and Eric Becker from Broderick Street Music. Social Media Manager for Broadway Gives Back: Olivia Cull. Learn more about your ad choices. Visit megaphone.fm/adchoices

Roman Waschuk spent more than three decades in Canada's foreign service, beginning in Moscow in the final years of the Soviet Union, and ending as Canada's Ambassador to Ukraine from 2014 to 2018. He is currently Ukraine's Business Ombudsman, a role he began shortly before the Russian invasion. He talks to Paul about how the invasion has changed Ukraine, how it's changing Canada, and how it might yet change Russia. The Paul Wells Show is produced by ANTICA, in partnership with the National Arts Centre and the University of Toronto's Munk School of Global Affairs and Public Policy. It is published by the Toronto Star and iPolitics. Our founding sponsor is TELUS and the title sponsor is Compass Rose.

"Until I came here, I'm not sure I understood the depth of the problem," says David L. Cohen, the new U.S. ambassador to Canada. Cohen is talking about the "breach of trust" between Canada and the United States in recent years, a mutual suspicion that skyrocketed during the Donald Trump presidency and hasn't recovered. Paul Wells talks to Cohen about restoring trust, working together on energy and climate, and how Cohen became the second-base coach for his son's T-ball league.  The Paul Wells Show is produced by ANTICA, in partnership with the National Arts Centre and the University of Toronto's Munk School of Global Affairs and Public Policy. It is published by the Toronto Star and iPolitics. Our founding sponsor is TELUS and the title sponsor is Compass Rose.

Dennis Garnhum was hired as the Artistic Director of the Grand Theatre in 2016; a move that was a coming home for Dennis. Growing up in London, his theatre career began at the Grand with a role in Antler River at age 13. Since his return to London, Dennis has created several new programs: COMPASS New Play Development Program, 100 Schools educational outreach, and 1000 Seats community initiative. He also launched a new partnership with Sheridan College's Canadian Music Theatre Program that partners with the Grand's High School Project. Dennis' career has taken him across North America, directing plays, musicals, and operas at a number of companies including Vancouver Opera, National Arts Centre, Shaw Festival, Stratford Festival, Tarragon Theatre, Royal Manitoba Theatre Centre, Florida Grand Opera, American Conservancy Theatre (A.C.T.), Bard on the Beach, Pacific Opera Victoria, Belfry Theatre, and Neptune Theatre. His co-adaptation (with author Cathy Ostlere) of Lost – A Memoir was nominated for a 2012 Governor General's Literary Award. Grand Theatre Website

This week's guest is Star Trek's first blind actor, Bruce Horak.  Bruce is originally from Calgary, Alberta where he trained in theatre and Improvisation. Horak lost over 90% of his eyesight to Retinoblastoma, a childhood cancer.  He has worked for over 25 years as an actor, writer, musician, composer, and painter, often creating work which addresses vision-loss, perspective, and perseverance.  His one-person shows have taken him all over the world.  "This is CANCER" premiered in 2006 at the Summerworks festival in Toronto, and went on to be performed over 1000 times earning awards from coast to coast. "Assassinating Thomson" premiered in 2013 and has been produced nearly 800 times.  The    National Arts Centre, Common Boots Theatre, The Blyth Festival, and Manitoba Theatre Centre are just a few of the spaces to present his work. He can be seen in Star Trek: Strange New Worlds     for Paramount Plus as the blind alien engineer, Hemmer. When not creating new works and performing onstage, Bruce devotes his time to painting.  More can be seen at http://www.brucehorak.com/ A full text transcript of this episode can be found at https://pennyforward.com/penny-forward-transcript-s2022e9-where-no-blind-actor-has-gone-before-pt-ii/ The Penny Forward podcast is about blind people building bright futures one penny at a time. Listen by asking your smart speaker to play the podcast, “Penny Forward”, searching for “Penny Forward” using your favorite podcast app, or by visiting pennyforward.com/podcast.

This week's guest is Star Trek's first blind actor, Bruce Horak.  Bruce is originally from Calgary, Alberta where he trained in theatre and Improvisation. Horak lost over 90% of his eyesight to Retinoblastoma, a childhood cancer.  He has worked for over 25 years as an actor, writer, musician, composer, and painter, often creating work which addresses vision-loss, perspective, and perseverance.  His one-person shows have taken him all over the world.  "This is CANCER" premiered in 2006 at the Summerworks festival in Toronto, and went on to be performed over 1000 times earning awards from coast to coast. "Assassinating Thomson" premiered in 2013 and has been produced nearly 800 times.  The    National Arts Centre, Common Boots Theatre, The Blyth Festival, and Manitoba Theatre Centre are just a few of the spaces to present his work. He can be seen in Star Trek: Strange New Worlds     for Paramount Plus as the blind alien engineer, Hemmer. When not creating new works and performing onstage, Bruce devotes his time to painting.  More can be seen at http://www.brucehorak.com/ A full text transcript of this episode can be found at https://pennyforward.com/penny-forward-transcript-s2022e8-where-no-blind-actor-has-gone-before/ The Penny Forward podcast is about blind people building bright futures one penny at a time. Listen by asking your smart speaker to play the podcast, “Penny Forward”, searching for “Penny Forward” using your favorite podcast app, or by visiting pennyforward.com/podcast.

Science isn't just facts and theories about the universe. As Aaron Collier's one-person play, Frequencies, shows, science is also experienced on an intimately personal level through our senses. Nahlah Ayed moderated a panel inspired by Frequencies at the National Arts Centre's Theatre and Physics Symposium in November.

We had a discussion with violinist Jonathan Crow. Jonathan Crow has been Concertmaster of the Toronto Symphony Orchestra (TSO) since 2011. Jonathan has also performed as a soloist with most major Canadian orchestras, including the Montreal, Toronto, and Vancouver Symphony Orchestras; the National Arts Centre and Calgary Philharmonic Orchestras; the Victoria, Nova Scotia, and Kingston Symphonies; and Orchestra London, under the baton of such conductors as Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent Nagano, Mario Bernardi, João Carlos Martins, and Gustavo Gimeno.

Are you an actor with questions on what it takes to "make it" in Hollywood? Are you a Canadian with questions on how it's like to make the jump across the border to chase your dreams? Do you wonder if you made the right decision to lead the artist's life instead of having a more "stable" job?Tyler Ham Pong knows how you feel. Tyler is an actor, writer, and producer, having started performing at a young age, first appearing onstage as Lorenzo in The Merchant of Venice at the National Arts Centre in Canada. In addition to training at the Lee Strasberg Theatre and Film Institute, he produced Moony Mercury (theatre), producing the award-winning Two Days 'til Dawn (theatre), and producing the short film Sawaru, winning me a Best Actor Award at the Asian American International Film Festival's 72 Hour Film Shootout. He's also writing and producing a web series called, "Roommate Chronicles," which is streaming on YouTube. Currently based in Los Angeles, Tyler is the owner/operator of Kill the Pig Productions .In this episode, we discuss: his decision to quit university to pursue acting in New Yorkhis process to work legally in the U.S. as a Canadian why being "ambiguously diverse" led him to create his own projectshis experience working on reality shows, including "Toddlers & Tiaras"how he encouraged others to keep creative during the pandemic his interest in philosophy and quest to answer, "Why are we here?" through his work how he deals with wondering if he made the "right" decision to be an actor the best poutine in Los Angeles Connect with Tyler: Instagram - www.instagram.com/tylerhampongTwitter - www.twitter.com/tylerhampongYouTubehttps://www.tylerhampong.com/Join the DO YOU community: https://www.instagram.com/doyoupod/https://www.facebook.com/groups/196063679296832Keep up with Brianne: https://www.instagram.com/briehogan/https://www.facebook.com/briannehoganwriterVisit Brianne's website: https://www.briannehogan.caRead my newsletter NOT RELATED TO HULK HOGAN: https://briannehogan.substack.com/ Support the show

'I look for stories that are not there just to educate people. If I tell a really good story and it happens to be about the global crisis, about global warming and about the effects on community, if I get your heart, then you're gonna go forward and look at other things, you're gonna start doing some research. It's like, I wanna look at and so to me, I always tell people, tell a really good story and get them on your side, and then they'll go and do their own work. As opposed to like, these are the seven things that are happening in the world right now, due to global warming. When people feel that they, they immediately start going to their shopping list or the things that they're gonna do, or if they feel they're being lectured but if you tell them a really good story, they're gonna be engaged in the story they're gonna, their heart's gonna be in, they'll have a nice little cry or they'll get angry and they'll, they'll walk outta that theatre and they will feel empowered to do something or maybe empowered to read something or to reach out to an MP and say, I gotta do something.'eith Barker is from the Métis Nation of Ontario and is artistic director of Native Earth Performing Arts in Tkaronto. He is the winner of the Dora Mavor Moore Award and the Playwrights Guild's Carol Bolt Award for best new play. He received a Saskatchewan and Area Theatre Award for Excellence in Playwriting for his play, The Hours That Remain, as well as a Yukon Arts Award for Best Art for Social Change.He's a kind, generous and thoughtful person. I met Keith while we were both working at the Canada Council in the mid 2010's. We reconnected at the National Arts Centre's 2019 Summit on Theatre and Climate Change presented at The Banff Centre. Our conversation touched upon indigenous theatre, the impact of telling a good story and the impact of placing artists in spaces with community members, telling their stories and talking about the crisis ands includes excerpts from e92 santee smith - about SKéN:NEN and interconnectedness and e44 bilodeau - the arts are good at changing culture. There were many memorable moments in our conversation. This quote in particular resonated with me: To me, artists being right in on the conversation, being present and actually pushing the agenda is absolutely the thing we need to be. That's where we need to be. Too many politicians and policy and all that stuff. You're watching that stuff fail right now and to put artists in spaces with community members, telling their stories and talking about the crisis… that's happening and engaging people, that's the power of theatre and that's the power of art. That, to me, is the thing that's gonna push people to make changes or to start talking or to enter into dialogue. Because right now we have a left and a right that isn't gonna speak. They don't like each other. They don't like their politics, but you get them in a room together and they actually break bread and start having food. They realize that both their kids go to the same school. They both drive the same car. They both love hockey. You know, if we start finding those connections through art, then they they're gonna engage. And it doesn't matter if it's an indigenous artist telling that story or you know, another, IBPOC person or anybody else. If you're telling a good story, people are gonna be engaged and, and it'll compel you to wanna do something.I also have a special treat for you in the last 5 minutes of this episode. You'll hear near the end of my conversation with Keith that I accepted to produce a radio version of his APOLOGY, MY play which was commissioned by the 2021 Climate Change Theatre Action (CCTA) project. You'll hear my son Riel playing a political advisor and my wife Sabrina Mathews playing the Prime Minister of Canada. Big thanks to Riel and Sabrina for this powerful reading of the play and big thanks to Keith and Climate Change Theatre Action for permission to produce this amazing play that anticipates a future we can still avoid.Note: Here is the APOLOGY, MY play by Keith Barker, performed by Riel Schryer and Sabrina Mathews as a stand alone audio file:This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal event from December 8 to 10, 2021 in Toronto.The others are:episode 90 is a conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 92 is a presentation (including audience questions) by Santee Smith from the National Cultural Policy and arts in Response to Climate Change panelepisode 93 is a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94 is a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelepisode 95 is my conversation with CPAMO Executive Director Charles Smith and artistic programmer Kevin Ormsby from a keynote address including excerpts from their conversation about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationLinks mentioned in this episode:https://nac-cna.ca/en/cycle/climatechangehttps://www.conscient.ca/podcast/e44-bilodeau/Script of APOLOGY, MY by Keith Barker(published with permission of the author) This play came out of exchanges I've had with my uncle over the years. He is a fervent climate change denier who believes it is a hoax drummed up by lefty pinkos. This play is me writing out my disillusion by imagining a revelation about the climate crisis through the eyes of a Prime Minister who finds himself (or herself) on the wrong side of history.I'm sorry. I truly am.You can't say that.Why not?You're making it personal. Don't do that.It's an apology.You need to think bigger picture here.Fine…On behalf of the country--The country, the people, whatever you want to call them, are not the ones who aresorry, the government is.…On behalf of the party--Whoa whoa whoa, it's not one party's fault, it's every party's fault. Got it?(Prime Minister sighs)Mr. Speaker I stand before you today to offer an official apology.There you go.The denial of climate change is a sad and regrettable chapter in our history.I like the chapters – That was a sad chapter. This? This is a new chapter.In the last hundred-and-fifty years populations were introduced to widespreadelectrification, internal combustion engines, the car, and the airplane.Sweet. Keep it in the past, stay away from the future.This massive shift to fossil fuels exponentially increased material prosperity andmeasures of well-being. But we were wrong.We're never wrong.It was a mistake.Mistakes are just as bad as being wrong. Neither will get you votes.It was regrettable.Mm, better.We are past the tipping point of climate change. Now we must deal with the fullconsequences of government failure.Way too negative.Now we must deal with the consequences of inaction… and a multi-generational cultureof denial to maintain the status quo.Cut the last part.I think we need it.And I think we don't. Keep going.…Unprecedented warming cycles have melted the ice caps, causing the mass extinctionof species. The acidification of the oceans has destroyed the majority of marine andmammal food chains. The occurrence of extreme weather events has vastly increased assea levels continue to rise.You can't say all that.People already know this.Then why are we saying it again?Because it's true.Truth is overrated.Then why am I even giving this speech?Because, politically it's a smart move if we do it right. It also makes you look like aPrime Minister--I am the Prime MinisterYeah, well, you know what I mean.I don't think I do.Listen, don't focus on the small stuff. You need to ignore your instincts. Whateverfeels right, is wrong. You won't win this if you repeat mistakes.Don't put this all on me.Says the guy who stood up in the House of Commons and denied the existence ofclimate change on the same day scientists announced the Arctic Circle was ice-free.They did that on purpose to make me look bad.What, melt the Arctic Circle?You know what I mean.I don't think I do.You really think you can fix this?What do you think?You always answer a question with a question?Only the dumb ones.Right…Where were we?Somewhere between mass extinction and extreme weather conditions.…Today, we recognize the denial of climate change was wrongNot wrong but -Regrettable.Beauty.I've already said regrettable...Yeah, and you're going to say it a hundred more times so get used to it.…The fossil fuel industry actively misled the public and is largely to blame for theinaction on climate change with capitalism being the driving force.Don't say the C word.Why not?You can't be seen placing the blame on industry.Just over a hundred companies are responsible for 71% of all the Global GreenhouseGas Emissions.That is debatable.Not if we're using science it's not.Wow, and where was this guy a few years ago?I am trying to make up for my past mistakes.And that my friend is how you kill your political career.I need to say this.No, you don't. You're talking to the base. Card carrying members. They voted for youbecause of your ideology. You can't just bait and switch these folks. Do that and youcan kiss the election goodbye.You're right. Thank you for that.For what?It didn't really hit me until you said my words back to me.What'd I say? Sorry, I've said a lot.Mass extinction.Oh come on. I'm just trying to get you re-elected here.This isn't about politics anymore.Everything is about politics.Sorry, but I need to do this.Let me do my job here. I'm a fixer, it's what I'm paid to do. Fix things. And if you want this fixed Mr. Prime Minister, then you need to start listening to me pronto. Do.  Not. Apologize. These altruistic feelings are fleeting. Trust me. You think you've found some clarity, but you haven't. And when those feelings pass, and they will pass, you will regret having made a decision in a moment of weakness. You understand me?Perfectly. I think you need to go.You're making a big mistake.Maybe, maybe not.Let me help you.No, I think you've helped enough. Now if you'll excuse me, I've got a speech to write.Last chance… Really? Fine, it's your funeral… You know what? I wasn't going vote foryou anyways.Aww, you broke your own rule.And what is that?Don't make it personal.END *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Ellen Chang-Richardson is a poet, writer and editor of Taiwanese and Cambodian Chinese (or Chinese Cambodian) descent, whose writing has appeared in The Fiddlehead, Vallum Contemporary, and Watch Your Head, among others—including Room, which you'll hear about coming up. Hege A. Jakobsen Lepri is Norwegian-Canadian translator and writer. She had her first story published in English in 2013 and has since chosen that as her writing language. Lori Sebastianutti is a writer and teacher and former managing editor of the Fertility Matters Canada blog. She has published in The New Quarterly, The Hamilton Review of Books, and Nurture, which you'll hear all about in this episode. Angela Wright is a writer, historian, and political analyst based in Toronto, Canada. Her creative nonfiction has appeared in Catapult, The Fiddlehead, The New Quarterly, and The Brooklyn Quarterly. She has performed her poetry in venues across the United States and Canada, including at Canada's National Arts Centre. These are four writers who actively submit their work, who persist at it and who publish. Among what they have in common is that they each found their “lane” in writing, and that lane gave them the traction to publish in lit mags and succeed by their unique definitions of “success” for their writing. They didn't necessarily start out in their lane, so you'll hear from them about finding that sweet spot, that place where what they are writing and where they are submitting fit.

Tending to the needs of celebrities at the NAC provides joy-filled challenges for one volunteer.

Haui      "Haui's voice is layered: as male, as queer, as mixed-race, as black, as curious. His scope is vast: as director, as actor, as visual artist, as interpreter....His questions are endless. We need his art, his artistry and his voice." Kimberley Rampersad, Associate Artistic Director of Shaw Festival HAUI is a mixed media artist & activist who eschews categorization. His work explores themes of race, gender and orientation while blurring the lines between theatrical and cinematic mediums. He has worked in a number of roles from directing, video/projection design, visual arts and performance for some of Canada's leading arts organizations including CBC, Canadian Opera Company, National Arts Centre, Stratford Festival and the Shaw Festival. He recently released his feature-length film debut entitled Mixed↑ produced with Jack Fox and in association with OUTtv. Career highlights include: Assistant producer and stills photographer for Métis/Dene filmmaker Marie Clements' feature film Red Snow available now on CBC Gem; directing his award winning short film C'est Moi which has screened at some of the leading African diaspora film festivals worldwide. Upcoming he is writing his first full-length operatic work Aportia Chryptych: A Black Opera for Portia White supported by the Ontario Arts Council and the Canadian Opera Company; designing at the prestigious Luminato Festival in 2021; teaching and acting in theatre and film all while developing a new television series. He is currently an artist-in-residence with Wildseed Black Arts Fellowship (Black Lives Matter Toronto) bridging arts and activism. For more information head to haui.ca “Haui Davis – Howard, or “Haui”, as he positions himself, is a highly intelligent, witty and talented young man with a huge repertoire of skills...this is an exceptionally professional young man who will make his name, and soon, with a vengeance. His talents are wide-ranging– and unique.” Martha Henry; Order of Canada, Order of ON; Hon LLD, PhD, DHum, DFA.  ***Head on over to Creatrix Compass and explore our many offerings from free inspiration to get your creative juices flowing to creativity classes to creativity coaching and life coaching for creatives.  It can all be found at: https://www.creatrixcompass.com Your donation helps us continue to spread creativity throughout the land.  Thank you! https://www.paypal.com/donate?hosted_button_id=2PM3V82XDS7GA  Music: Good Friends Inc by Jonathan Boyle 

'SCALE (Sectoral Climate Arts Leadership for the Emergency) is a national round table for the arts and culture sector to mobilize around the climate emergency. A few months ago, you and I, and a few others were all having the same realization that while there was a lot of important work and projects happening at the intersection of arts and sustainability in Canada, there lacked some kind of structure to bring this work together, to align activities, to develop a national strategy, and to deeply, deeply question the role of arts and culture in the climate emergency and activate the leadership of the sector in terms of the mobilization that needs to happen in wider society. SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.'Judi Pearl, e59 conscient podcast, OttawaJudi Pearl is currently Associate Producer, Artistic Projects for English Theatre at the National Arts Centre and a board member for The Only Animal. Previously, she served for ten years on the board of the Professional Association of Canadian Theatres. A passionate environmental activist since her teen years, she is honoured to be a part of the inaugural Coordinating Circle for Sectoral Climate Arts Leadership for the Emergency (SCALE), an emergent national hub dedicated to developing strategy, aligning activities and activating the leadership of Canada's arts and culture sector in the climate emergency. She is grateful to live and work on unceded Algonquin Anishinaabe territory, nestled between the Rideau Canal and the Rideau River.I first met Judi while I was working on greening activities for the Canada Council for the Arts. Judi was doing similar work at the National Arts Centre and we collaborated on a number of projects. I then had the privilege of working with Judi to set up SCALE, where we both put our organizational skills to use and enjoy taking the climate emergency bull by the horns. Judi's positive and ‘can do' spirit is remarkable and contagious. I was uplifted by our walk by the Rideau River in Ottawa and think you will be as well. I would like to thank Judi for taking the time to speak with me, for sharing her passion for theatre and the environment, her deep commitment to climate justice and her exceptional skills as an organizer and eco arts leader. For more information on some of Judi's work, see https://nac-cna.ca/en/englishtheatreLinksMichael E. Mann, The New Climate WarOutrage & Optimism PodcastDavid Maggs' Art and the World After This *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

The guest on episode 7 of 'A Body's Language" is Guillaume Côté.Guillaume Côté was born in Lac-Saint-Jean, Québec and trained at Canada's National Ballet School. He joined The National Ballet of Canada in 1998 and became a Principal Dancer in 2004. In 2013, Guillaume was also appointed Choreographic Associate.With The National Ballet of Canada, Guillaume has danced most of the principal roles in both the classical and contemporary repertoire. He has created a number of lead roles in ballets by James Kudelka including Ferdinand in An Italian Straw Hat, Prince Charming in Cinderella and Will in The Contract (The Pied Piper). He also created the role of Romeo in Alexei Ratmansky's Romeo and Juliet and performed the role as a guest artist with The Bolshoi Ballet in Moscow.Guillaume is in great demand as a guest artist at major ballet companies around the world, such as Teatro alla Scala, English National Ballet, The Royal Ballet, American Ballet Theatre, The Mikhailovsky Theatre, The Hamburg Ballet and Stuttgart Ballet. He also performed in Kings of the Dance, Gala des Étoiles, Stars of the 21st Century, The Vision of Manuel Legris, Roberto Bolle and Friends, The Hamburg Ballet's 40th Anniversary Gala and the 44th Annual Nijinsky Gala for Hamburg Ballet Days as well as many other international galas. With English National Ballet, he created the role of Gene Kelly in Derek Deane's Strictly Gershwin.Guillaume is an accomplished choreographer, musician and composer. His choreographic works for The National Ballet of Canada include Venom, Enkeli, Dance Me To The End of Love, Body of Work and Being and Nothingness. Awards for his choreography include the Audience Choice Award for Best Choreography at The International Competition for The Erik Bruhn Prize for Enkeli and third prize at Ballet Society Hanover's 25th International Competition for #24. He debuted his first full-length ballet, Le Petit Prince, during the National Ballet's 2015/16 season and created Dark Angels in 2017 for the National Arts Centre. Most recently in 2018, he created Frame by Frame, in collaboration with Robert Lepage.In 2012, Guillaume choreographed and starred in the short film Lost in Motion which was presented at Toronto's International Film Festival. The sequel, Lost in Motion II, was released in 2013 and was featured at the Dance on Camera Festival in New York City in 2014. He won a Gemini Award in 2007 and the Galileo 2000 A Life for Music Prize in 2008 for Moving to His Music: The Two Muses of Guillaume Côté. In 2012, Guillaume was awarded La médaille de l'Assemblée nationale du Québec, a prestigious award from the province of Québec for his work in the arts. Mr. Côté is also the Artistic Director of the Festival des Arts de Saint-Sauveur, one of the largest summer dance festivals in the country.

Art can speak to people in meaningful ways that really does call on us to respond to this differently. So wherever you are, anywhere in the world, you will almost certainly have some kind of creative cultural allegiance and how do we use that in a purposeful way is a critical question for us all…alison tickell, conscient podcast, october 2019, ottawaMeet UK musician and climate change activist and CEO of Julie's Bicycle Alison Tickell.Alison is a colleague and friend who I first met at the National Arts Centre's Summit on Theatre and Climate Change in April 2019. She is CEO of Julie's Bicycle, a UK based charity that supports the creative community to act on climate change and environmental sustainability. Julie's Bicycle believes that the creative community is uniquely placed to transform the conversation around climate change and translate it into action.I had the pleasure of going for a walking interview with Alison on parliament hill in Ottawa on October 26, 2019. I asked Alison how the arts contribute to environmental awareness, about the relationship between art and the public and the work of Julie's Bicycle. We then got into a philosophical conversation about art, life, Buddhism and many other things as we descended the stairway from Parliament Hill to the shore of the Ottawa river...  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Growing up in the Bronx in New York City, Louis Di Bianco faced many threats from gang members. He learned that he could avoid trouble by looking the part, and telling a good story that got others into a more favorable mood. These skills translated into a 40 year career as an award nominated stage and screen actor who has performed with Chazz Palminteri, Christopher Walken, Armand Assante, Harvey Keitel, Christian Slater and Tim Allen. Now Louis is the host of the Change Your Story, Change Your Life podcast and teaches actors all the skills, secrets, and the mindset to win acting roles at their on camera auditions. Watch this episode for profound spiritual insights from a talented actor who has lived his life as many different characters. FREE GIFT: On Camera Audition Mastery Course for just $20!! Email Lou for a discount code and mention Soul Nectar Show LISTEN: Change Your Story, Change Your Life Podcast http://changeyourstorypodcast.com/ More about Louis Di Bianco Louis Di Bianco is a storyteller. He is a teacher, an actor, and a marketer; each of those roles is defined by storytelling. Louis believes that every human being is consciously or unconsciously a storyteller. Professionally, Louis is an award nominated stage and screen actor with more than 40 years of professional acting experience. He has performed in theaters internationally, including a tour of Canada, France, Belgium, and Scotland with the award winning National Arts Centre of Canada's production of the classic play, Woyzeck. His 79 screen credits include Boondock Saints II, Boss of Bosses with Chazz Palminteri, Vendetta with Christopher Walken, Gotti with Armand Assante, Crime Spree with Harvey Keitel, Who is Cletis Tout? with Christian Slater and Tim Allen, and the Academy award winning, Moonstruck. He has just created an online course that teaches actors all the skills, secrets, and the mindset to win acting roles at their on camera auditions. It is called On Camera Audition Mastery; it is offered on udemy.com. He is the host of a podcast called Change Your Story, Change Your Life. Connect with Louis: Change Your Story, Change Your Life Podcast http://changeyourstorypodcast.com/ Web   http://www.louisdibianco.com/ Facebook   https://www.facebook.com/louis.dibianco Instagram  https://www.instagram.com/loudibianco/ Twitter   https://twitter.com/LouisDiBianco LinkedIn https://www.linkedin.com/in/presentationpower/   YOUR GUIDE TO SOUL NECTAR – KERRI HUMMINGBIRD SAMI I love mentoring women to rewrite the story of their lives through inner transformation, connection to essence, remembrance of purpose, and realignment to authenticity and truth. If you don't want to settle for anything less than a life of passion and purpose, book a Discovery Call and let's talk! Schedule today! http://bit.ly/2CpFHFZ FREE GIFT: The Love Mastery Game, an oracle for revealing your soul's curriculum in every day challenges. http://www.kerrihummingbird.com/play Do you lack the confidence to trust yourself and go for what you want? When you take actions towards your dreams, does self-doubt infect your certainty? Do you find yourself distracting and numbing while also feeling something is missing inside? Do you feel disrespected and like your wisdom is being dismissed? Do you have a hard time asking for what you need? You may benefit from healing the Mother Wound and reconnecting with the Divine Mother for love. Find out more at www.motherwoundbook.com You may be a member of The Second Wave, here to uplift human consciousness from the inside out by healing patterns of suffering that run through your ancestry. Find out about “The Second Wave: Transcending the Human Drama” and receive a guided meditation at www.thesecondwave.media READ an Excerpt from the Award-Winning memoir, Awakening To Me.