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  2. Curator’s Talk: Myfanwy in Context Thursday July 25 | 7 p.m.Legacy Downtown | 630 Yates St. Lekwungen territory We invite you to join us and guest curator Patricia Bovey for a talk on our current exhibition Myfanwy Pavelic: Mirrored Selves Within and Without! This illustrated talk will address the significance of Myfanwy Pavelic’s art and situate her visual acumen and accomplishments with portraits within the context of several major Canadian artists including Emily Carr, Paraskeva Clark, Vera Weatherbie and Molly Lamb Bobak. No registration required. Learn more about the exhibition here. Image: Myfanwy Pavelic, Raincoat (Self-Portrait), 1987, Gift of Dr. Myfanwy Spencer Pavelic.
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    Baroque Meets ABBA The Victoria Summer Choir presents “Baroque Meets ABBA” directed by Maestro Simon Leung with guests, Die Mahler Quartet. Tickets: $20 each available at Russell Books, Victoria, Ivy’s Bookshop, Oak Bay, Tanner’s Books, S.H.O.A.L Centre in Sidney and at the door. Saturday, August 17 @ 3:00 pm St. John the Divine Church 1161 Quadra Street, Victoria and Sunday, August 18 @ 3:00 pm The S.H.O.A.L Centre 10030 Resthaven Drive, Sidney During the first half of the concert you will hear music by Handel and Vivaldi, accompanied by ‘Die Mahler String Quartet’. After an intermission, we will present a medley of popular music written and performed by the very successful Swedish group ABBA, and heard more recently in the film and musical ‘Mamma Mia’. The Victoria Summer Choir is sponsored by the Victoria Mendelssohn Choir Society.
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    Jam Camp Summer Festival 2019 A week of great jazz performances at St. Margaret’s School and Hermann’s Jazz Club, July 21st – 26th, 2019 Tickets for all events are $20.00 for adults (U-JAM members; $15/Students - Free) and available at our website at www.u-jam.caor at the door. A Series Pass is available for $60.00. Details: U-JAM’s Summer Jazz Festival 2019 will feature a number of special performances, featuring the faculty and special musicians taking part in our Summer Jam Camp. Our theme “West Coast Influences” will reflect on the many contributions to jazz from the left coast of North America, including those that helped create the westcoast cool jazz tradition, including Chet Baker, Gerry Mulligan, Stan Getz, Dave Brubeck to name a few. Sunday, July 21st – Faculty Performance – Hermann’s Jazz Club - drawing on the tremendous wealth of talent from our faculty including Louise Rose, David Flello, Joey Smith, Rob Cheramy and many others. Tuesday, July 23rd – trumpeter Bruce Hurn & Friends - Hermann’s Jazz Club (upstairs) Joining Bruce are Ashley Wey, piano, Louis Rudner, bass, Larry Wheeler, tenor sax, and John Lee, percussion Wednesday, July 24th – vocalist Susannah Adams – Hermann’s Jazz Club (downstairs) with Joey Smith on bass, Damian Graham on drums, and John Lee, piano. Thursday, July 25th - saxophonist Ryan Oliver – St. Margaret’s School Friday, July 26th - Nick LaRiviere – CD Release party at Hermann’s Jazz Club Our Faculty includes well-known musicians and educators including Louise Rose, John Lee, Joe Hatherill, Chris Millington, Monik Nordine, Dave Flello, Linda Gould, Rob Cheramy, Joey Smith, Ian McDougall, Kim Greenwood, Maria Manna, and others. Our theme “West Coast Influences” celebrates the many musicians who collectively created the westcoast cool jazz style, including Dave Brubeck, Gerry Mulligan, Shorty Rogers, Chet Baker, and Stan Getz, to mention a few. This series is made possible through the generous support of the CRD Arts Commission
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    The Gardens at HCP is excited to host the 25th Annual Arts & Music in the Gardens, this August 10th and 11th, 2019. This weekend showcases 3 stages of live music and over 50 local artists, vendors, and exhibitors. The full event program will be available August 1st at www.hcp.ca/artsandmusic Arts & Music in the Gardens is our marquee fundraiser and all proceeds are dedicated to the development of The Gardens at HCP -- named 'Canadian Garden of the Year' at the 2017 Garden Tourism Awards! 2019 also marks the 40th anniversary of the Horticulture Centre of the Pacific and 40 years of connecting people to plants. As always, admission is free for HCP Members. Check that little green card in your wallet to see if your membership has expired, and if so, renew before August 10th to save time at the gate. (Those who renew or purchase new memberships at the event will have their $10 admission reimbursed.)
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    July 15th - 30th, Montreal-based new media artist Allison Moore returns to her West Coast roots to develop a new media arts project based on the Fisgard Lighthouse National Historic Site. Based out of Open Space artist-run centre, Moore’s production residency in Victoria will see her develop a new work that will culminate in a video projection mapping event at the historic lighthouse during proposed for the summer of 2020. Find more information here.
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    July 15th - 30th, Montreal-based new media artist Allison Moore returns to her West Coast roots to develop a new media arts project based on the Fisgard Lighthouse National Historic Site. Based out of Open Space artist-run centre, Moore’s production residency in Victoria will see her develop a new work that will culminate in a video projection mapping event at the historic lighthouse during proposed for the summer of 2020. Find more information here!
  8. You're welcome, and thank you for being publicly engaged! The RMTS's report to its April 30 AGM said that in 2018 capital funds were spent on lobby-area roof repairs, replacing balcony carpets and drapes, a modern fire curtain, new usher jump-seats, more washers and dryers, a video projector and screen, hearing assist upgrades, and improved signage. The survey has been controversial — notably, the RMTS commissioned it only after getting pushback on the changes to the booking policy — but I do agree with the respondents who said that the theatres are well-maintained.
  9. Thanks for the clarification - I wonder what capital assets they purchase each year with that $480,000? That presentation to Victoria Council is pretty bleak, especially the "survey" - I don't consider a survey of 500 random people with a bunch of obviously leading questions to be very indicative of anything (and I am a firm believer in democracy, too - go figure). Full disclosure: I am a 29-year veteran musician of the Victoria Symphony and president of a national organization of symphonic musicians, and I have seen this scenario play out in similar fashion across the country. We all pay lip service to how much our communities value resident arts companies, but we provide terrible infrastructure for them to serve the community from. This whole situation feels like a "renoviction" except that we have only one choice of where to move to next, and the opera and dance companies have no choice. Thanks again for writing this, and bringing the issue back into the public eye.
  10. Thank you for the kind comments. I'm not an accountant, so I can't speak to how the RMTS breaks down its financial statements, but it did state in its presentations to the three owner municipalities that it receives $580,000 annually from them, via the CRD — $480,000 for capital expenses, and $100,000 for its operating budget. See, for example, the second slide in its April 25 presentation to Victoria councillors, at https://pub-victoria.escribemeetings.com/filestream.ashx?DocumentId=36544 A part of the problem may be that this amount of funding has not increased since 1998, when it was established by a bylaw, posted at http://crd.ca.legistar.com/gateway.aspx?M=F&ID=05050a93-239c-43c6-ba73-4a584b165700.pdf. The RMTS is proud that it has not asked for an increase in this funding. Maybe it needs to be increased anyway ... and more municipalities need to pay for the services the theatres provide.
  11. Great article; a really great summary of the situation as it has unfolded. I have one question though: where do you get the figure of $580,000 for the municipal support of the theatre? According to the RMTS's own on-line annual reports, the amount the three municipalities (Victoria, Oak Bay, Saanich) contribute to the Royal is only $100,000, and Victoria alone contributes $350,000 annually to the McPherson Playhouse. Is there another $480,000 coming in some form that doesn't appear on their financial statements?
  12. Thank you for keeping this dreadful waste of money and deceitful behaviour in the public awareness. Our current police force could have had the benefit of the funds instead of keeping an arrogant lout on the payroll.
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    Summer Baroque Feast 10 leading West Coast early music specialists come together in this grand musical tour of 18th century Europe. Come let the enticing sounds of baroque instruments lead you through France, Italy, Austria, and Germany, with a cooling finish by the river Thames with Handel’s Watermusic Suite in G. Music by Chauvon, Biber, Buxtehude, Telemann, Stradella, and Handel, performed by members of Victoria Baroque and Pacific Baroque Orchestra: Soile Stratkauskas, flute; Curtis Foster, oboe; Katrina Russell, bassoon; Chloe Meyers, violin; Christi Meyers, violin; Elyssa Lefrurgey-Smith, violin; Mieka Michaux violin & viola; Nathan Whitaker, cello; Martin Bonham, cello; Christina Hutten, harpsichord Alix Goolden Performance Hall Victoria Conservatory of Music Presented by Victoria Conservatory of Music Summer Academies Tickets: $24.50 regular / $7 students available at the door, and in advance from: https://www.ticketfly.com/event/1872689-vcm-summer-baroque-academy-victoria/
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  15. It’s probably just a coincidence but on July 8, Transport Canada announced its Notice of Proposed Amendment (NPA) - Water Airports. It’s only been 19 years in coming. Citizens and community bodies have until August 22 to provide feedback to the proposed amendment: see https://wwwapps.tc.gc.ca/Saf-Sec-Sur/2/NPA-APM/actr.aspx?id=57&aType=1&lang=eng
  16. Thank you Leslie Campbell and the Focus team for your insightful and informative coverage of issues that affect us all. I appreciate your courage to dig deep and shed light on stories that need to be heard. I'm grateful for people like you and Mariann Burka.
  17. PURCELL - HAIL BRIGHT CECILIA Saturday, August 10 2019 at 7:30PM - Christ Church Cathedra PERFORMERS Alexander Weimann, music director Pacific Baroque Orchestra Suzie LeBlanc, soprano Dorothee Mields, soprano Alex Potter, counter-tenor Samuel Boden, tenor Sumner Thompson, baritone Matthew Brook, bass-baritone PROGRAMME Matthew Locke (1621-1677): EXCERPTS FROM THE TEMPEST Introduction Galliard, Gavot, Sarabrand, Lilk Curtain Tune John Blow (1649-1708): Welcome, Every Guest Matthew Locke: EXCERPTS FROM THE TEMPEST Rustick Air, A Martial Jigge Conclusion Henry Purcell (1659-1695): Hail, Bright Cecilia “Collegial, collaborative music-making of the highest level.” – The Vancouver Sun A Gentleman’s Journal The person of Saint Cecilia and her association with music is shrouded in mystery. She had been venerated among the saints since the fifth century, but only began to be regularly identified as patroness of music in the sixteenth century. The first documented music festival held in her honour occurred in Normandy in 1570. In 1585, Sixtus V established one of the oldest musical institutions in the world, the Accademia Nazionale di Santa Cecilia, issuing a papal bull invoking Gregory the Great and Saint Cecilia as the two saints most prominent in the history of western music. Yet, it was in Protestant Restoration England that the celebration of Saint Cecilia flourished especially colourfully. Between the years 1683 and 1703, the Musical Society of London hosted annual festivities including a service at St. Bride’s Church featuring an anthem for choir and orchestra and a sermon in defense of music, followed by a performance at Stationer’s Hall of a newly composed ode in praise of music. The celebratory ode, a genre of formal lyric poetry borrowed from antiquity, had become extremely popular in the court of Charles II. The times were unsettled; the monarchy newly re-established amid persistent conflicts over succession and religion. The ode served to express political power and loyalty, linking the security of the developing British nation to the king and his divinely ordained authority. Ancient Greece and Rome were often elevated as models for the modern state. Odes written in praise of Saint Cecilia similarly connected English artistic achievement with Cecilia’s patronage and with divine blessing. She became a secular figurehead, conflated with the muses of antiquity. Further, the texts of the Cecilian odes, always commissioned from Britain’s greatest poets, elevated music, particularly the collaborative process of music-making, as a model for the creation of a healthy civil society. Music unified the arts and sciences, involving diverse disciplines from poetry to instrument technology. Ensemble music harmonized the varied timbres and abilities of instruments and voices. Musical composition knit together a range of influences – music theories traced from antiquity, traditions of musical genre and style, the composer’s own inspiration… Emulating, adapting, reworking, or enriching existing music and text was, in fact, privileged over conspicuous originality. Artists situated themselves and their work within community. So, Nicholas Brady’s text Hail! Bright Cecilia (1692) reworks John Dryden’s famous poem A Song for St. Cecilia’sDay (1687), and Henry Purcell’s setting of Brady’s text dialogues with the Ode for St. Cecilia’s Day (1691) composed by his teacher John Blow. Hail! Bright Cecilia (1692) is a kaleidoscopic exploration of the power of music to move the emotions. Purcell uses an exceptionally large orchestra and all sorts of combinations of vocal solos, duets, trios, and choruses to paint the purported universal power and cosmic significance of music and the characters associated with different instruments and musical genres. The piece concludes with a bass duet and chorus encouraging the unity of disparate instruments and human voices with the music of Saint Cecilia and her heavenly ensemble. Matthew Locke’s incidental music for The Tempest formed part of a similarly exemplary collaborative project. During the 1650s, the Commonwealth government forbade spoken theatre, though musical performances remained permissible. Lovers of Shakespeare “operatized” his plays as a way of circumventing the restrictions, and the new genre proved a winning combination of excellent spoken drama with music and spectacle. The most successful of these pieces was the reimagining of Shakespeare’s The Tempest, premiered in 1674. Poet John Dryden and playwright William Davenant revised the play line by line, modernizing the language and incorporating references to contemporary politics and recent scientific discoveries. Matthew Locke provided instrumental music, including the Curtain Tune, a realistic depiction of the storm so central the play’s plot, while Pelham Humphrey, Pietro Reggio, and John Banister all contributed vocal music. Perhaps, amid the fantasy and myth associated with the Cecilia Day celebrations of the seventeenth century, there is a timely reminder for us too about music’s potential to model unity and to create links across the span of history. The hope that Nicholas Brady expressed in his sermon for St. Cecilia’s Day of 1697 remains rather poignant. “Peace then is restored to us within our Walls, Peace, that Banisher of Discord, that Mother of Harmony, that Band of Union to consenting Minds, that Nurse and Patroness of useful Arts and Sciences. And O! That all the several parties in this kingdom, however formerly divided by interest or design, would Resemble the Trumpeters and Singers in the Text! That they were as one!” — Notes by Christina Hutten PURCHASING TICKETS Tickets for the Pacific Baroque Series concerts at the Cathedral can be purchased: Online Here By calling the Ticket Rocket Box Office: 1.855.842.7575 In person: At the Ticket Rocket Box Office (1050 Meares Street) Or at the Cathedral Office (930 Burdett Avenue) And at the following outlets: Ivy’s Bookshop: 2188 Oak Bay Ave Munro’s Books: 1108 Government St
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    MOLTEN Featuring Encaustic works by Alanna Sparanese, Shelley Wuitchik and Lynn Harnish June 24th - July 27th Gallery at Mattick's Farm 109-5325 Cordova Bay Rd, 250-658-8333
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    Surfer’s Paradise: Northwest Coast Surfboards One-of-a-kind red cedar surfboards reimagined by 20 artists, including coast Salish artist Dylan Thomas whose story is in Focus Magazine: Opening reception August 10 at 4pm. Alcheringa is at 621 Fort Street, Victoria. 250-383-8224, www.alcheringa-gallery.com A companion show will run at Brentwood Bay Resort.
  20. Thank you, Ross Crockford, for such an insightful, enlightened piece. I am sharing it far and wide in hopes it reaches the general population of the CRD. It is time to tell it like it is when it comes to the underhanded tactics of the RMTS.
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    BOOM X Belfry Theatre, July 30-August 18 Rick Miller’s multimedia masterpiece BOOM struck a chord with Belfry audiences in the summer of 2015. Picking up where BOOM left off – at Woodstock in 1969 – BOOM X tackles the music, culture and politics of Generation X. Surrounded by stunning visuals, Rick plays more than 100 famous people – musicians, celebrities, politicians – in his own story of growing up and trying to navigate the tangled legacy of the Baby Boom. Presented by: KIDOONS AND WYRD PRODUCTIONS, IN ASSOCIATION WITH THEATRE CALGARY AND THE 20K COLLECTIVE PRESENTS Tickets and information at www. belfry.bc.ca
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    Ho Tam: Cover to Cover The Victoria Arts Council is excited to present a new iteration of this touring survey exhibition of work by contemporary artist, and former Victoria-resident, Ho Tam.Cover to Cover offers a selection of photo, video, artist books, and magazines spanning this artist's career. The exhibition deconstructs Tam's recent book works displaying selected pages and images on the gallery walls connecting with earlier works and installed organically so the images exists as a free flowing collage. His long time investigation into place, memory, queerness, and the body is shown through works that blend together to create a larger installation engaging the breadth of Tam’s artistic production. Special to this Victoria version of Cover to Cover is a selection of work produced by Ho Tam during his residency with the Canadian Forces Artists Program (CFAP), an opportunity that allowed him to travel on a Navy ship for ten days, from Pearl Harbor, Hawaii to Esquimalt, BC. For more information: http://www.vicartscouncil.ca
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    Women Artists Changing Collections: Recent Acquisitions Legacy Gallery, Continuing to July 20 Art by women is egregiously under-represented in most public collections. Get acquainted with emerging and well-known women artists who are changing the Legacy collection; come to question what more can be done. Upcoming events: July 11, 7pm, “From Self Portraits to Selfies: the Psychology of Representing the Self” with Jim Tanaka (Psychology, UVic). July 25, 7pm, Patricia Bovey on“Myfanwy Pavelic in the Context of Canadian Art.” Both free; seating is limited. 630 Yates St, 250-721-6562, www.legacy.uvic.ca
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    Frances Beckow: Draw a Breath Gage Gallery, July 16 - August 3 “Draw A Breath” connects the focus of drawing with the breath work used for calming the mind and body in meditation. The drawings in this show represent the artist’s exploration of the theme that drawing is a calming and harmonious practice. Quiet, peaceful and solitary, the act of implement on surface has the power to take down stress and power up creativity. ReceptionSunday, August 21, 1-4pm. Daily Tues-Sat 11am-5pm. 2031 Oak Bay Ave, 250-592-2760, wwwgagegallery.ca.
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    Sooke Fine Arts Show SEAParc Leisure Complex, July 26–August 5 Celebrating it’s 33rd anniversary in 2019, the Sooke Fine Arts Show is Vancouver Island’s longest-running juried fine art show, and one of the region’s premier summer arts event. The show provides the opportunity for the finest artists from Vancouver Island and BC’s coastal islands to showcase and sell their work. More than 380 works of original island art will be on display in the 17,000-square-foot gallery. Daily artist demonstrations, talks, guided tours, live music, and gift shop. http://sookefinearts.com.
  26. Matriarchs: Prints by First Nations Women Art Gallery of Greater Victoria Continuing to October 6 Research for an earlier exhibit made clear there was a lack of women artists represented in the AGGV collection of First Nations prints. This project,curated by Coast Salish artist Margaret August, offers a way to build the collection and also stronger relationships with the artists. August visitedwith theartists and shares how her own evolution as an artist is guided bythese iconic Matriarchs—includingKelly Cannell, Francis Dick, Lou-ann Neel, Sage Paul, Susan Point, Marika Echachis Swan, and Carrielynn Victor. 1040 Moss St, www.aggv.ca.
  27. July-August 2019 Focus.pdf AN AIRPORT IN OUR MIDST by Leslie Campbell Victoria boasts one of the busiest water airports in the world—some think it’s too busy. DID THE MAYORS OBSTRUCT THE ELSNER INVESTIGATION? by David Broadland Records obtained by FOI leave little doubt that the two mayors hid allegations of sexual harassment raised against Police Chief Elsner. MORE ENTERTAINMENT, LESS ART by Ross Crockford The society running the Royal Theatre aims to make it the region’s hub for commercial live performance. OLD GROWTH IN THE CROSSHAIRS by Judith Lavoie Why is BC Timber Sales, a government agency, at the centre of so many contentious Vancouver Island logging disputes? FUN AND LOAFING IN THE BC PUBLIC SERVICE by Russ Francis Taxpayer dollars are wasted doing things that are unnecessary or wrong—while important records management tasks are routinely ignored. IS OUR IMMINENT PERIL VIRTUALLY CERTAIN OR NOT? by Briony Penn An appeal before the courts should spark debate about whether Trans Mountain is compatible with a stable climate. NOT YOUR GRANDPA’S WILDFIRES by Stephen Hume Climate change is exacerbating forest fires, including—perhaps especially—where the wild meets suburbia. RARE BUT SERIOUS SIDE EFFECTS OF “CIPRO” by Alan Cassels “Floxxed” patients are calling for better consumer drug information. DYLAN THOMAS AND HIS SACRED GEOMETRY GO SURFING by Kate Cino This Coast Salish artist combines traditional training with self-directed studies in mathematics, Buddhism and Islamic art. SUSANNAH ADAMS: JAZZ VOCALIST AND COMPOSER by Mollie Kaye Pushing towards greater authenticity, Adams is determined to write more of her own songs. WATER TORTURE by Gene Miller Parsing the promo material for a new development near the Esquimalt Lagoon. A PLACE OF REFUGE by Maleea Acker A deep and abiding love for ȽÁU,WELNEW/John Dean Park is evident in the stewardship work of volunteer Jarrett Teague. WANTED: REAL TALK IN PIVOTAL TIMES by Trudy Duivenvoorden Mitic There are lessons we need to learn about the meaning of “consultation.”
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