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Mollie Kaye

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  1. Modern day minstrels, the Banquo Folk Ensemble is about to release another CD. BASKING IN THE PACIFIC NORTHWEST’S balmy insistence that October is still summer, I’m on the patio of the Steamship Grill on Belleville Street, anticipating my lunch meeting with Amy Reiswig. You know her as a veteran writer for Focus who adroitly covers local literature (alas, you’ll find her farewell contribution in this month’s edition), but did you know this multi-talented woman’s musical sideline has her wearing Elizabethan gowns and rockin’ out on potato slicers as a professional percussionist in an ancient music band? Personally, I need to know a lot more about all of these hijinks, so with the glorious, sunbathed Inner Harbour as a backdrop, I impose on Amy to reveal the behind-the-scenes info on Banquo, Victoria (and Mayne Island)’s very own folk ensemble specializing in collaborative, creative riffs on ancient tunes. Their latest CD, Whither Are They Vanished, is set to be released at their November concerts, and though only one member has been there from the start, this tight band’s joyful devotion to making ancient music a living, breathing thing through their playful, toe-tapping shows hasn’t wavered in 20 years. Banquo, l-r, back: Eric Reiswig, Lael Whitehead, Bill Jamieson. Front: Gwendolyn Jamieson, Amy Reiswig Amy is one of many musicians who have been part of the Banquo family over the years. Keeping the band alive has been easy; the group’s passionate founder, sibling Eric Reiswig, is a skilled multi-instrumentalist and seasoned performer who attracts a steady parade of top talent to the group. Eric grew up in Montreal (as did Amy), and moved to Victoria in 1996, then founded Banquo in 1998. The deft and handy musician plays (and builds) a smorgasbord of sound-makers, including bagpipes, cittern, mandolin, dulcimer, recorders, whistles, flute, hurdy-gurdy, vocals, and percussion. I recall encountering Eric at Irish music sessions when I first moved to Victoria in 2004— it was always a delight to have the plaintive notes of a skilled Uilleann piper lending some much-needed texture to that vast sea of fiddles. A veteran performer of Irish traditional music, Eric’s “jam session” sensibilities are a large part of Banquo’s creative process in making their music. The arrangements are not assiduously historic; neither are their instruments (or costumes, for that matter). Their process is organic, Amy says, “melding the Irish session with the classical…historical interest and quirky weird instruments, playing everything by ear and seeing what bubbles up in that soup.” It’s a savoury soup indeed. Listening to Banquo’s latest recordings elicit several types of giddiness in me, from revelling in a thick, lush wood, surrounded by nymphs singing in a forgotten tongue, to laughing with a bunch of tipsy troubadours at a 13th-century watering hole. This ease of musical escape can only be facilitated by great chops. Banquo’s five musicians are so skilled, one can go along with whatever visions, pranks or diversions they offer. And let’s face it, by virtue of their timbre alone, some of these medieval—and found—instruments Banquo throws into their Macbethian cauldron are simply hilarious. “I’ve played a kitchen slicer,” Amy confesses. I ask her if the slicer happened to be a mandolin. We laugh. “No, it’s kind of like a knife, like a wavy potato chip. I’d hold it by its handle, and it made a sound like a wooden fish or frog, but ping-ier because it’s metal. A lot of what we do is serious, but we have a playful side…we’ve used bird whistles, [a “moo can”], other things. It’s always an adventure.” This amalgam of playful spirit and stellar musicianship is what attracted Bill Jamieson to the group four years ago. Bill founded the Ancient Music Society of Victoria, and is, Amy says, “our most historically inclined member.” A scholar and French horn player with a classical background who also plays in A Great Noyse, a group of symphony woodwind players performing ancient music on historically accurate instruments, Bill had to shuck off some of the rigour of those other idioms to join in with the fun and frolic of Banquo. Is the looser, interpretive approach sometimes just too much for him? “We’ve informed each other’s approaches and languages; it’s a great collaboration that way. Bill did get concerned at first about historical accuracy, but it brought us up in our level. Ultimately, it wasn’t about what was appropriate. It’s about what sounds good…we like to put percussion on it, and a bottom end, and rock out sometimes.” Banquo’s costumes on stage follow a similar spirit. “We have the tickle closet at Eric’s house,” Amy reveals with a smile. “Shirts, skirts, bodices, vests, coats, circlets, belts—there’s quite an array, with lots of mixing and matching going on.” This melange of elements can conjure regal lady and nobleman, troubadour and fool. “[It’s] not historically accurate, it’s just a way to participate in that time. Sometimes I love wearing a beautiful gown, sometimes I just want to wear something multicoloured and a little bit crazy, like a joker.” “One of the things we love to do is remind people that old music is not stodgy music,” she says. “People are constantly reinterpreting it, making it relevant, and having fun. When we played at the Folk Club recently, watching people dancing in their seats was such a thrill.” When the group convenes, either on Mayne Island or in Victoria, it’s always in a room full of instruments. “We joke that we all have a bad case of GAS: Gear Acquisition Syndrome…if you play something on a different instrument, it has such a different mood.” All five in the group contribute vocals, but Lael Whitehead and Gwen Jamieson are featured. “Gwen studied at the conservatory with Nancy Argenta, and Lael is endlessly writing countermelodies. The tunes come out in a new line, never before heard…but sounds for all the world completely right for it. Lael and Gwen bring very different vocal traditions; when they sing together, it’s so beautiful.” These two ethereal, pure sopranos weave many beguiling textures on the CD, evoking ancient scenes. “We try to take people out of time,” Amy explains. The Banquo mission is to transport their audiences to “a time when music was more important, when gathering around music was what people did…it was part of life. We want to remind people that music is a community builder. It’s brought us together—that’s what we want to create for those two hours.” The bells of the carillon tower suddenly burst through the air as we wind up our lunch on the deck. I shiver with delight, knowing I’m sharing that moment with all the other people in town who happen to hear it. Yes, Amy is right. Music is a community builder, and it’s so worth gathering for. Banquo Folk Ensemble’s 20th anniversary concerts and CD release: Sat, Nov 17, 3pm, St Andrew’s Anglican Church, Sidney; Sun, Nov 18, 3pm, Oak Bay United Church; Sat, Nov 24, 2pm, St. Mary Magdalene Anglican Church, Mayne Island. Tickets at Munro’s, Ivy’s Bookshop, Tanner’s and at brownpapertickets.com. Also see www.banquo.ca. Mollie Kaye is a writer, musician, communication specialist and community builder who also tries to embrace the joy—and hilarity—in all things.
  2. Mollie Kaye

    Bringing musicians home

    Performance venues are desperately needed—what about your place? IN NOVEMBER 2004, I was new in town, and needed a favour. I approached a couple I’d recently befriended at a James Bay Irish music jam and asked if they could provide overnight accommodation—and host a concert—for international Irish music stars John Doyle and Liz Carroll. Their lovely home had a spacious living/dining area, under-utilized in-law suite, and close proximity to acres of free parking. I knew it would be the ideal venue for a house concert, but I had to talk them into it. Fourteen years, dozens of concerts, and many a snack tray later, they’re still hosting shows and developing personal connections with some of the best folk and roots musicians in the world. Because they now have far more requests from musicians than they can accommodate, I’ve changed their names for this piece; I’ll call them Stu and Claudette. It wasn’t just their house that made them ideal hosts: sociable, upbeat, generous community-builders, they were avid music fans who were eager to connect their own young, aspiring roots musicians with world-class players (it was fortuitous, Stu says, that my initial “ask” was to host Liz Carroll, who just happened to be one of their kid’s major idols; Carroll also provided some free lessons). Claudette’s altruism, though, is the main reason she and Stu open their home for house concert parties—up to a dozen a year—while making zero money from the effort. “I think about the costs for musicians to do any kind of live touring. It’s nuts. We all take vacations; we know what that costs. Accommodation, food, travel, ferries, cars…if I can give a little back, that’s why we’re doing it.” She enjoys having musicians stay overnight, and finds the whole experience, on balance, quite fulfilling. “Once the concerts are in process, it’s pretty magical, to have live music like that in our house. People do talk about how it’s imbued these walls with warmth.” She looks back on the years of connections and friendships made, the music they’ve enjoyed, and is glad I “spotted” them as a venue. “We are so fortunate to have a big house that we can do this in, with parking nearby. We had never even thought of it; we didn’t know these things happened.” They happen, but they need to happen more. Acoustic musicians are suffering from a desperate lack of places to play. Victoria bassist, vocalist, and songwriter Oliver Swain, who performs throughout Canada, confirms this. Are there enough venues? “God no. It’s devastating. It’s so bad in Victoria. It’s crisis times. House concerts aren’t necessarily going to fill the void…but it could definitely be part of a solution,” he says, and tells me that house concerts now make up a full 30 percent of his live performing schedule. “I think there are a lot of people who would love to do this, but it’s just getting the word out.” Oliver Swain A 2016 Music Canada report warned, “No one can predict how long BC’s pipeline of young talent will persist when it is so hard for them to earn a living.” Just google “live music venues disappearing” and you’ll see that cities in BC, across Canada, and throughout other countries are all sounding the alarm. In their heyday, live music clubs were the hotspots here; even a small city like Victoria supported dozens of them. Now Hermann’s, the last club of its kind here, teeters on the brink of extinction. In this era of Netflix and youtube, high rents and restrictive licensing, the numbers just aren’t crunching in their favour. Enter house concerts. “They’re some of my favourite environments,” enthuses Swain. “My music naturally lends itself to that intimacy. I bring my own small PA…I set it up, and I’ll have impeccable sound, beautiful sound, in a small place.” The fact that the musicians get 100 percent of the proceeds means the income generated by a 30-seat house concert at $20 a head is sometimes more than playing a larger venue where there are rental, sound, and promotion costs. Victoria-based guitarist and songwriter Stephen Fearing relies on touring for the bulk of his income, now that streaming music sites have eradicated the predictable income CD sales once generated. House concerts, he says, account for maybe a fifth of his shows. “It’s a gig, CD sales, they feed you, and they put you to bed. Win, win, win, all around,” he says. Early-week fill-in house concerts are lucrative for him. “The net is greater than you would have made at a club, which is bizarre. It’s a very old tradition that’s coming back into vogue: performing for the gentry. It’s been there for generations.” Like Swain, Fearing enjoys the intimacy of these shows, but acknowledges drawbacks for performers too, especially those accustomed to the professional distance created by a brightly lit stage. “You can make a really strong connection with the [hosts]…because you’re literally in their house—with all the good and bad that goes along with that,” he says. “The connection with the audience can be intimate, or it can be awkward. There’s no smoke and mirrors. It’s stark as stark can be…sometimes it’s negative, with annoying distractions to overcome. It can be a very positive or a very tiring experience.” To mitigate the awkwardness, Winnipeg-based Home Routes offers house concert touring support services for both musicians and hosts across Canada. Tim Osmond is artistic director and a co-founder. “There’s so much talent in this country, and hardly any places to play,” he explains. “We started this non-profit to represent artists and try to get them more work. We line up 12 living rooms or community spaces over a two-week period; we offer artists a block of work, not just one show.” Hosts are vetted, and sign up for a season of six concerts over eight months. “You invite your friends, your crowd, your neighbours; it’s all people you know in your house,” Osmond explains. Now that I have a larger place again, I could experiment with offering my living room as a venue for musicians—take a little overflow from Stu and Claudette, perhaps. I grew up as the daughter of a cellist, and our house thrummed with live, professional music; I realize I’ve been longing to have that conviviality, community, and culture in my own home again. And although they will always maintain a certain aura of privacy, house concerts are coming out of the closet, as evidenced by this item on a January 2018 Vancouver Sun “things to do this week” list: House Concert—VSO musicians performing a wonderful evening of violin and piano music in a cozy living room at UBC, location to be revealed after ticket purchase. Or in Focus last November, when Karel Roessingh was promoting his latest CD, Birdsong in the Parkade, via house concerts. Writer and musician Mollie Kaye encourages others to consider hosting. To connect with musicians, contact Oliver Swain at oliverswain.com or visit homeroutes.ca.
  3. Mollie Kaye

    Coming full circus

    Aerialist Kaelyn Schmitt plans to ignite the circus arts scene in Victoria. I PLUG THE METER ON HERALD STREET and head into the Union Pacific. Winding my way past the people and pastries I spot a young blonde woman who must be Kaelyn Schmitt, sitting quietly with her latte. The only giveaway of her profession—aerialist, acrobat, and founder of Ignio Circus Company—is her unusually strong-looking shoulders. I wonder if anyone else in the cafe realizes she’s capable of amazing feats—flipping, contorting, and suspending herself by one foot from a trapeze, flying through the air. Like Elastigirl from The Incredibles, Schmitt looks like a regular person, but has hidden superpowers. She spends six months of each year in Europe, performing at hundreds of shows for rapt audiences. But her goal is to base her personal and creative life in her beloved hometown, and help establish Victoria as a centre for circus arts. Kaelyn Schmitt (Photo by Warren Zelman) Growing up, Schmitt didn’t dream of running away and joining the circus, but that’s how it turned out. All four kids in her family were extremely athletic; she started competing as a gymnast at age 10, training exhaustively and travelling far and wide. “Like any kid, I wanted to go to the Olympics,” she recalls. “At 14, I started to realize I wouldn’t be going.” The repetitive requirements to perfect the same moves wore her out. “I loved gymnastics,” she says, “but I just wanted to keep learning acrobatics, new tricks. That’s not the way it works—you do your routine.” When Schmitt “retired” in grade 11, she went from “25 hours a week of training, to ‘what do I do with myself now?’” Like most teens, she partied on the weekends and got into trouble here and there. To stay active, she played rugby, and started working as a gymnastics coach. She found out about circus school in grade 12, and something clicked. She would train, audition, and get accepted into a class of 30 students at the intensive, three-year circus college École Nationale de Cirque (ENC) in Montreal. Since graduating from ENC, Schmitt has performed as a professional trapeze artist for 10 years in 27 countries. Though it’s been exciting and rewarding, she yearns to put down roots and be closer to her family here. At 29, she also knows she’s got about five years left of doing daily shows on a trapeze for months on end “or I won’t be able to walk when I’m 50.” To make her living here, though, she must create a professional context for herself. Not a lot exists in Victoria, as far as contemporary circus goes. “There’s Cirque du Soleil every year or two years, but not a lot of professional shows for people to see,” Schmitt observes. Contemporary circus, in her view, is a mix of dance, acting, and acrobatics, offering opportunities for myriad artistic collaborations and thought-provoking social commentary. “I think it’s extraordinary, and I want to share it and make it more accessible on Vancouver Island.” Schmitt was behind the scenes of the launching of two brand-new circus schools here. Island Circus Space (ICS) at 625 Hillside, which she co-founded with performers Jake West, Lisa Eckert, and Coral Crawford, offers classes for students aged 6 through adult, and aims “to build a contemporary circus infrastructure for Victoria.” Because of her overseas commitments, Schmitt advises and teaches at ICS, but can’t be consistently present for all the practical aspects of running the business. She is grateful to Eckert and Crawford, “talented, hardworking women, who did incredible job of setting up a beautiful space.” Then there’s the Victoria Centre for Circus Arts (“The Rising”) at 1047 Langford Parkway, offering classes for everyone from toddler to adult. It was founded by Sarah Scheunhage, who shares Schmitt’s passion to bring circus arts to her hometown after performing worldwide. “It’s super exciting,” Schmitt enthuses. “Now there’s two places in town for people to learn…and we can grow that community. Both are excellent schools, with excellent teachers. They’re really well-set-up, safe environments, very professional.” Last winter in Berlin, stationed as a performer and artistic supervisor of a long-running show, Schmitt saw a performance at a theatre she’d once performed in. “I wasn’t impressed,” she says, “but before I can talk down someone else’s work, I should try it myself—do a whole show. So I thought, ‘Let’s bring circus to Victoria, let’s build a circus community here in Victoria. I can perform, and also build the [production, direction and management] skills at the same time, to be ready for when I can’t perform anymore.” Schmitt founded her brand-new production company, Ignio Circus, to create cutting-edge, contemporary local circus shows. In early July, Ignio (Latin for “ignite”) is offering their first production, “Eyes Up,” examining smart-phone culture and how we connect with each other. International performers are being brought in to join Schmitt and other local artists and musicians. “Often we use technology as a vehicle for communication, but when we take it away…there is awkwardness and beauty,” she explains. “Each of us has an inner desire to connect…it’s becoming a lost art, face-to-face interactions. ‘Eyes Up’ is exploring what it is to be human, what it is to communicate with technology, and without it.” Working with youth, Schmitt has found that circus arts provide powerful healing for many emotional issues. “Circus is physically denying what you think is possible,” she says. “Everyone has similar potential from birth to do something physically extraordinary. Circus is a neat little reminder to push the limits of what you’re capable of.” Some of the troubled or disabled kids she’s coached “couldn’t catch a beanbag, and had been written off by society.” Soon, though, they learned to juggle, even though “they thought they were never going to accomplish anything physically.” While they had a slower learning curve, it was “profoundly humbling to witness them progress, to see how much confidence and enjoyment they had learning. Circus is a powerful tool.” On Saturday, August 11 at 7:30pm, Ignio Circus is staging “The Open Hearts Gala” at the Metro Theatre to support NEED2, a Victoria nonprofit providing live online chat and in-person suicide prevention support every day through counselling, workshops, and education to youth in grades 8-12. The evening will showcase international circus professionals along with new local talent, offering an “awe-inspiring evening” of acrobatics, magic, comedy, music, and dance. All proceeds benefit NEED2 Suicide Prevention Education and Support. All-ages tickets are $25 and available at www.ticketrocket.com beginning July 3. In 2004, performance artist Mollie Kaye relocated to Victoria. As the then-mother of two young children, she was disappointed there wasn’t a circus school here. She is delighted this is now being remedied.
  4. A BC biologist and artist wants his work to draw attention to what is here…and what is missing. SOMETIMES ABSENCE can give us a clearer vision of the truth than what is present. Scientists extrapolate from what is missing as much as from what is there; artists create impressions of life that supersede reality by choosing to omit certain details. Sculptor Guthrie Gloag is both an artist and a scientist, and in 10 full-scale wildlife pieces he’s offering at his second solo show at Madrona Gallery, he uses descriptive and narrative aspects of absence to create his imagery and telegraph his message. If we encounter an animal in the wild, we don’t need to see every individual hair or claw to fully experience its energy and character; when we see an array of driftwood shapes on a beach, we know that it’s wood without seeing the entire tree it came from. To create his sculptures, Gloag carefully selects beach-sanded fragments of cedar and fir, which are inventoried and assembled in a months-long, improvisational process. Using decking screws and drills to affix the unaltered wood fragments to each other, his works gradually come to life as solutions to his self-created, organic visions, resembling three-dimensional “puzzles.” There is no set plan or armature, only layers upon layers of evocative shapes that begin to describe an animal’s presence. His sculptures are a dance of abundant detail and lack of information, forcing the viewer’s brain to create the impression of surfaces, details, and aliveness. "Coastal Wolf" by Guthrie Gloag “I have learned as I’ve built my process that sometimes the absence of a piece of wood is beneficial; to create negative spaces is just as important,” says Gloag. “The hollow is there, and the shadow creates an animal’s eye for the viewer.” The realistic size of his work is also an integral part of the experience. “I try to stay true to scale; I find that it creates a presence…for the viewer. There may be some exaggerations, like extending legs to enhance a sense of movement, but I try to stick to scale.” The relative size of each animal, as compared to a human viewer, is a visceral experience for Gloag, who depicts only subjects he has observed directly, sometimes during his field work as a biologist. Guthrie Gloag The allegiance to realistic scale means that when he depicts a subject like a grizzly bear (and yes, he’s been near enough to one in the wild to say it made him “feel small”), there are certain logistical issues, like door widths, transportation vessels, and sheer weight—Gloag is up for all of it. “It’s a challenge I love…the process of conceiving something in my mind and then setting forth to make it in three dimensions, I find immense joy in it.” He learned the hard way with his first Grizzly piece, which couldn’t be removed from his Vancouver apartment without being disassembled. Now on Bowen Island, Gloag and his young family live in a home that includes a 600-square-foot studio he uses for sculpting; he’s enjoying that it has double French doors. The largest sculpture Gloag created isn’t in a gallery, or part of someone’s private collection; it’s in the woods, “somewhere in BC,” far off the beaten track, where the artist intends for people to come across it incidentally. The 14-foot-tall mastodon is, for Gloag, a message about extinction and preservation, and a labour of love. He completed it “under cover of winter” a year and a half ago, the seasonal rains ensuring he would be largely undetected as he backpacked 100-pound loads of thousands of driftwood pieces to the site, assembling a massive, one-ton sculpture that has gotten coverage on CBC and become a destination site for the adventurous. I ask whether the sculpture has been disturbed by those who manage to find it. “It has been a test of humanity, and so far, humanity has passed,” Gloag reports. “People have been very protective of it. They love the sentiment of it; it’s a message of conservation. People are interacting with it, and leaving it as it is.” "Black Bear" by Guthrie Gloag As a child growing up in North Vancouver’s Deep Cove, Gloag says the ethic of conservation got woven deep. “I was always in nature, in the wilderness, identifying birds with my mom, going out in the boat with my dad. The intrinsic importance of nature was instilled in me from a young age.” While he didn’t identify himself as an artist, “Art has always been a necessity; to build, to create.” The young Gloag made fantasy figures out of clay and built forts in the woods. As a UVic student earning his degree in biology and environmental studies, he was “looking for a creative outlet. I tried stone sculpture, but was not very good at it. I tried painting as well.” During a vacation with his wife on Galiano Island in 2011, he assembled a life-sized driftwood sculpture of a deer on the beach, and “it kind of clicked. Sometimes people say, ‘I’m not good at art,’ but you just need to find your medium.” Gloag started out sculpting with only a passion to please himself, and a self-assigned mission to comment on both the majesty and fragility of wild creatures. He left his sculptures right where he made them, letting others anonymously encounter them on the beaches or hiking trails. He started to notice, though, that his efforts were getting “collected,” and when Madrona Gallery owner Michael Warren ended up at Gloag’s home for a casual dinner party, conversation immediately turned to finding him a wider audience and developing his career as a professional sculptor. “He wasn’t even at a point where he was considering there would be a market for his work,” Warren says of the fortuitous meeting. “As soon as I saw it, I was blown away, as far as the impact of it and how it’s constructed. For me, it immediately connected all the dots of this place—the material that he’s using is of this land; the subject matter he’s creating are all animals he has experience with in his biology and conservation work; and the aesthetic, his own personal style, connects with the roughness and the feel of this place so well.” Gloag’s work has indeed found a wider audience, and his pieces are now part of collections all over the globe. Response has been so positive that many are waiting their turn to have “right of first refusal” on his sculptures as he completes them. The ten pieces in the Madrona Gallery show will no doubt be snapped up, but it’s worth taking some time to be in the presence of these “animals,” created by an artist who is reverently conjuring the majesty of a particular animal’s presence—while starkly commenting on the increasing absence of wild things in our region. “Instinct,” works by sculptor Guthrie Gloag, June 2-16, opening reception 1pm–4pm Saturday, June 2, Madrona Gallery, 606 View St. More info at madronagallery.com or 250-380-4660. Mollie Kaye is a visual artist who grew up with a biochemist mom and a biophysicist dad. She appreciates the creative and scientific sensibilities that Gloag brings to his work. CBC Arts' 2017 video about Guthrie Gloag:
  5. Local artists’ studios rarely seen by the public offer a glimpse into a disappearing world. IT MAY NOT OCCUR TO THE TOURISTS and locals walking among Chinatown’s storefronts, but there’s a whole community of people living above the grocery stores, furniture shops, and restaurants. Many have called this quirky neighbourhood home for decades; a disproportionate number of them are artists. What originally drew them was cheap rent and a charming, decayed-around-the-edges aesthetic; what’s held them is the sense of solidarity and survival as rapid gentrification prices them out. On a rainy April afternoon, I visit the 700-square-foot, brick-walled studio space shared by husband-and-wife artists Denise Nicholls and GJ Pearson. Their tiny home floats above the Herald Street shops like a lucid dream someone had about a Tim Burton movie starring Alexander Calder. “It’s the opposite of minimalist,” quips Nicholls, a graphic designer who creates jewellery and paintings under the name Firehorse Designs. A floor-to-ceiling collection of their friends’ art on the walls is lit by two enormous windows. Pearson’s intricate wire, fabric, and found-object sculptures—some with motors—which he refers to as “toys,” perch atop most surfaces, float suspended from the ceiling, or are mounted to the walls and shelving that hold books, tools, and boxes of materials. “This space is what I’ve always wanted to live in,” says Pearson, as we drink home-brewed kombucha and cozy up with the studio’s two cats on an intimate grouping of upholstered furniture. The historic building, originally used as meat lockers, feels secure to him as a rental; it was re-done in the late ’90s. “We’re not in any danger of being renovicted, because it’s new-ish,” he says. Before choosing the space “on a whim,” the couple lived on the family farm in Central Saanich; Pearson had a separate studio—a barn—that was twice the size of their current home. He doesn’t miss anything about it. “I’m much happier in this space. I love being next door to Opus [art supplies], we’re across the street from great coffee shops, we have a community of artists, and I don’t have to have a car anymore.” I ask Nicholls what visitors’ general reaction is when they see the place. “They don’t know where to look first,” she says. “It’s a series of vignettes; there’s probably 100 places you could look and see something.” As Pearson works on what resembles a small Viking ship at his desk, I try to take it all in, and fantasize about the artist’s life I might have had. “We live like children,” Pearson admits. Nicholls concurs. “I’d always wanted to live in Chinatown since I was a little kid. I love living surrounded by the things that we make, and the things we’ve collected from other artists.” The couple considers themselves fortunate to have gotten into the rental market when they did, but Nicholls says, “We’re trapped here. I mean it’s great, because I love the space,” but she does find the size limitations restrictive at times. She says they could never afford a larger unit at today’s rates. “More and more gentrification is starting to happen in the neighbourhood; it’s kind of like a switch went off, as soon as the Union Building went up, and now all the buildings are falling to developers.” The units that are currently being developed are truly tiny, Pearson says. “If this place had been renovated now instead of 20 years ago, it would be half the size,” he says. “Basically, you’d have one window, and that would be it. The new standard is 250-400 square feet, just enough room for your laptop and a fold-down bed.” “Or,” says Nicholls quietly, “to run an airbnb.” A few minutes later, she slips away to do just that—to supplement their income and remain, for now, in the hidden, eroding artists’ colony of Chinatown. To see more of Pearson’s drawings and kinetic sculptures, see gjpearson.com; Nicholls’ work can be purchased at firehorsedesigns.bigcartel.com. Mollie Kaye is Focus’ arts editor.
  6. Mollie Kaye

    Cuarteto Chroma

    Four musicians are Canada’s—and Mexico’s—first graduate-level string quartet. IN THE BOWELS OF THE BUILDING that houses UVic’s music department, I traverse corridors where scores of students rehearse in tiny, individual practice rooms. A muted cacophony of discordant trumpet, piano, and flute is punctuated by a soprano trilling through a Handel aria. They’re all making music—in different keys—within a few feet of each other, but they’re not playing together. Each privately hones their own skills, achieving individual excellence on their chosen instrument, hoping to earn a degree in performance. I’m here to meet two violinists, a cellist, and a violist—all from Mexico—currently enrolled in the University’s graduate music program. They’re practicing together, in one room, as a group. Instead of working toward individual degrees as soloists, they are earning their masters in performance as a string quartet. When Cuarteto Chroma (Chroma Quartet) began their studies here last fall with UVic’s resident string quartet, The Lafayette, it was the first time in Canadian history that a group of players entered a graduate music program to earn a collaborative performance degree. Cuarteto Chroma (l-r): , Ilya Gotchev, Manuel Cruz, Felix Alanis, Carlos Quijano I find the four men of Chroma playing together in a quartet-sized room, instruments in hand, going over new repertoire. Each of them has uprooted his personal and professional life in Mexico to come to UVic and earn this degree as an ensemble. They’ve now successfully completed their first year, will head back to Mexico for the summer, and return for their final year of study in the fall. Already, they have had a vital and positive impact on the school community and the local music scene, playing at Hermann’s with the Ryan Oliver jazz quartet performing chamber music concerts in unexpected places. Their graduate journey is requiring equal parts sacrifice, hard work, shared vision, and conflict resolution skills. “I got married in 2015, and the quartet started in 2015,” says Chroma cellist Manuel Cruz. “So, I got married twice.” The group chuckles. “Being in a string quartet is like being married— except instead of having sex, we have music,” quips violist Felix Alanis, and an uproar of hearty laughter fills the room. Someone mutters that music can be better than sex, and there’s more laughter. Clearly these guys have excellent rapport, but it’s not all fun and harmony in every moment, Alanis admits. “You travel together, you eat together, you rehearse together—you fight together. It’s hard, because even though you want to play music with these other people, it doesn’t mean that we really think the same. All the kinds of fights you can have about little things—or big things—always happen.” Just like any marriage, I say. “But with three people,” quips violinist Carlos Quijano. More laughter. Music history is littered with the corpses of bands, projects, and quartets that fizzle out, amicably part ways, or violently implode. “What happens to our quartet happens to every quartet,” Alanis says. “We are friends, but it’s always tricky to keep that friendship after the rehearsal.” Surfing the tides of conflict, the group agrees, is perhaps more important even than musicianship, and they couldn’t have asked for better advisors and mentors than the Lafayette string quartet, who have weathered it all—and are still playing together after 31 years. Alanis says Chroma members are awed by, and grateful for, the four women advisors’ wisdom, perspective and counsel. “It really helps us when we can ask them, ‘What do you do? How do you manage that?’” Ann Elliott-Goldschmid, Lafayette violinist, thinks Chroma has all of what it takes to become a world-class string quartet; that’s why the group was accepted into the program. As solo string players, she says, “They are really, really good.” As a quartet, they have “a real ‘sympatico’ quality about them…they’re really remarkable—wonderful, generous people, extremely empathetic. They listen really carefully, are respectful to each other and everyone around them, and they have embodied a beautiful way of communicating with each other.” What a quartet needs in order to truly gel and achieve the highest level of excellence, she says, is time together, “to hone their skills, to learn each other’s strengths and idiosyncrasies, to read all of that nonverbal communication that goes on in a string quartet.” “They have really given up a lot to come here,” she continues. “Two of them are fathers; the amount of dedication that they have to each other, to go through what they’ve gone through to make this a priority in their lives...I’ve learned enormous amounts from working with them, in terms of the discipline they have. I’m humbled by them.” These particular men are “the archetype of who we want for the program. They’re each individually strong; they are wonderful role models for the other graduate students and undergraduates; they work hard…I can’t say enough about how great that has been for everybody at the school.” Chroma plays a couple of short pieces for me: an intense, dark movement from a Schubert quartet, and a lush, heart-rending arrangement of “Somewhere Over the Rainbow.” The small, carpeted room gives nothing back acoustically, yet their renditions sparkle and snap with complex, technical beauty—and a whole lot of soul. I say I’ve never heard a string quartet play a show tune. Alanis says they are always eager to experiment and explore. “We try to be as open as possible,” he says. Violinist Quijano adds, “In Mexico, people like classical music, but they haven’t had a lot of contact with quartets,” and by offering many different genres, including Latin American and familiar melodies, more listeners can connect with their music. The sense of inclusion goes both ways, and all the musicians of Chroma report that Victorians have been welcoming and enthusiastic. Violinist Ilya Gotchev, who was born in Bulgaria, then studied and worked in Mexico—and also Brussels—finds British Columbia delightful, but the high cost of living is a challenge. “Fortunately,” he says, “we have a scholarship through the University. It helps.” Elliott-Goldschmid says the greater community reaps many benefits from having Chroma in town, but unfortunately, their scholarship is not as generous as she would like. “We need donors…and more funding for our music students; UVic is not a wealthy school.” She says Chroma’s long-term professional sustainability hinges on their versatility as performers. “They are fabulous, because they can do it all—they can play late Beethoven, Brahms, tango—and pull it off. They really are the ‘real thing.’ We’re trying to attract those kinds of students, who have the talent and open-mindedness to do it all.” She says she regrets that as a young player she didn’t have that same kind of broad spectrum of repertoire. “I feel like [The Lafayette string quartet has] learned so much from them.” As Chroma shape-shifts into an orquestra tipica and plays an Astor Piazzolla tango for me, I can hear all of their individual passion, technical prowess, and expert give-and-take. I can just see the dancers punctuating the musical phrases with precise feet and romantic flourish. After the penultimate bar, the shared effort, rhythmic pulse, and pleading voices of the strings is released. Four smiles of satisfaction now greet each other over four bows poised in unison as the last chord fades. Cuarteto Chroma will perform in a free public recital on September 28 at 8pm in the Philip T. Young Hall at University of Victoria. They’re also looking for some music-loving Victoria homeowners who would like to host chamber music performances. To contact them, and for a list of their upcoming performances, see cuartetochroma.com. Mollie Kaye spent some time in solo practice rooms as an undergraduate soprano, but is happiest, like the members of Chroma, performing in a group. She sings with The Millies, a vocal trio.
  7. Mollie Kaye

    Dana Statham

    Painter circumnavigates Vancouver Island DANA STATHAM has packed a lot into the last year, most of it living—not painting. She’s very early into an artistic career that doesn’t, at this point, feel like one to her. The amount of time she’s been able to devote to her creative endeavours isn’t as much as she’d like, but she also fears making art into something she does to pay the bills. Right now, she makes her living doing something entirely unrelated, but has a designated studio space developing in the home she recently purchased and is renovating with her new husband. Stylistically, if artists E.J. Hughes and Maud Lewis had a “love child,” it could very well be Statham. An auto-didact like Lewis, she imparts both joy and reverence into her acrylic-on-canvas coastal imagery with the detail, sophistication, and draftsmanship of Hughes. Response to her work has been very positive; she sold out her most recent shows on Hornby Island, where she’s spent a lot of time and which she loves to paint. She’s eager to see how Victorians will receive her work. "Mystic Beach" by Dana Statham, 24 x 36 inches, acrylic on canvas I congratulate Statham on her past success; she demurs. “There’s something so unique about Hornby; it’s so many people’s ‘happy place’ and haven—they want any piece of it they can get…to take home with them.” Yet when she was painting arctic scenes during her time in Nunavut, “even that, people related to, and were excited about, so I don’t know...capturing the sense of place is what people love and connect with.” Dawn Casson, owner of The Gallery at Mattick’s Farm, says it’s more than just the subject matter of Statham’s pieces that her clientele is eagerly queuing for. “I’ve already got people asking if [her pieces] are available for sale before the show.” When she says that they have to wait until the pieces are hung, “They say, ‘I’ll be phoning you at 10am on the 26th, then,’” Casson recounts with a chuckle. “We’re very excited about her pieces,” Casson continues. “I can’t wait to see what they look like hanging on the walls…it’s just going to be stunning.” She discovered Statham’s work the modern way—on Instragram—and tracked the artist down to see if she’d be interested in having a show there. Statham, whose bike commute to her work at Saanich Peninsula Hospital took her past Mattick’s Farm, says, “I would pop into the gallery, and it was like [Casson] had curated all of my favourite artists into one spot,” so she felt she “would be in good company. I was happy to say yes.” "San Josef Bay" by Dana Statham, 36 x 24 inches, acrylic on canvas While Casson would have loved to create a solo show for Statham, this past year of life, work, moving, renovations and marriage all meant just seven pieces to display. To create a full show, Casson has partnered Statham with painter Wendy Oppelt, a veteran of the gallery whose loose, lively, “macro-impressionist” painting style serves as a foil to Statham’s meticulous, graphic compositions. Statham says of her seven paintings, “I plotted them all on a map,” and they ended up being a “circumnavigation of Vancouver Island…from the very north end at Cape Scott Park, to the Lochside Trail, Mystic Beach, Tofino…it happened to work out that it was a coastal exploration.” In the past, she would paint from imagination, but now works with photographs “to get the subtleties right.” While she knows people will likely be familiar with the vistas, she does take “a heavy dose of artistic license to tweak a composition…I try not to get too tied to a photo; it takes the fun out of it.” Paintings by Dana Statham and Wendy Oppelt, The Gallery at Mattick’s Farm, March 26-April 22, Monday-Saturday 10am-5:30pm, Sundays 11am-5pm. Opening reception April 14. 1-4pm. 109-5325 Cordova Bay Rd, 250-658-8333 or thegalleryatmatticksfarm.com. Mollie Kaye is Focus Magazine's arts editor.
  8. Zelda Dean sees theatre as a way to break down barriers. MY FIRST ENCOUNTER WITH ZELDA DEAN is at the old brick Congregation Emanu-El Synagogue on Blanshard. She’s enthusiastically welcoming people who have come to see the Neil Simon play she’s directing. A friend of mine in the cast invited me, and I’m feeling pretty disoriented. “There’s a theatre in here?” I ask incredulously. Black curtains and a simple stage are set up in a room with about 80 chairs. Although my expectations are not high, I get a surprisingly wonderful evening of inspiring theatre, and I’m intensely curious about Dean and her tiny, synagogue-based company, Bema (pronounced “BEE-ma”) Productions. We arrange to meet on a sunny Thursday afternoon, again at the historically significant synagogue, which was consecrated in 1863. This time, I get to see both Dean and the theatre in their day jobs: she is the synagogue’s office manager, and the theatre looks like a smallish cafeteria, adjacent to a commercial kitchen. I shake my head, marvelling at how the space was so cunningly transformed. She explains that a congregant—after hearing Dean confidently quip that she could easily create a “black box” theatre in the space and stage performances there—stepped up with some cash and said, “Okay, do it.” Zelda Dean (Photo by Tony Bounsall) This is the magic—and mystery—of Dean, a small but mighty force to be reckoned with. The spry, elfin woman in her mid-70s has an enthusiastic, can-do twinkle, and clearly, her wheels are always turning. As we chat, I can almost hear the sound of the gears. She comes up with a vision and inspires people to help her realize it; wherever she is, big things get done. When she was asked to handle the congregation’s administrative tasks, she saw “they needed a tough old bird.” A fierce advocate for the synagogue and their generous, progressive initiatives in the community, their funding shortfalls served as her inspiration to create Bema Productions, whose ticket revenues directly support Emanu-El and other Victoria non-profits. Dean isn’t just any office manager. She has a long, successful history in the performing arts, and was a major part of expanding the Calgary theatre scene. She and her husband helped found that city’s largest community theatre, and in the 1980s, they created two successful dinner theatres that ran for over 11 profitable years, employing “most of the union actors in Calgary.” Completely unsubsidized, the industrious, creative couple fortified the city’s cultural offerings and launched the careers of many Canadian performers. The couple retired from their stage-based endeavours in the ’90s and relocated to Victoria to be near their adult daughter who was on her own with young children. Dean then focused primarily on family, and says, “I thought my theatre career was finished.” Between amateur and professional productions in Calgary, she had produced and directed 110 plays. “It was a great run, I had lots to be grateful for…I let it go.” Dean was approached a decade ago to fill the position of office manager, and “be the hub of the wheel here.” The grandkids were older, so she said yes. Her work showed her “how much good the synagogue was doing, but the place is not rolling in money.” Then came the congregation’s 150th anniversary. She got pulled into an arts committee, “kicking and screaming,” to create six public events for 2015. One of the six events was a small original theatre production, a collaboration with UVic. “It rekindled a little flame that I thought had gone out, and I started to think, ‘What could I do? They’re always struggling for money…I’m a professional director, entrepreneur…I can make good theatre; I can find good people.’” Find them she has. Bema’s production of Old Ladies Guide to Survival won Best Drama at the 2016 Fringe. Professional actors often take parts in Bema casts as unpaid volunteers, enjoying what one reviewer called “detailed, sure-footed direction…parsing mood shifts and embracing the steely drama beneath the jokes.” The company’s upcoming summer play is the Canadian premiere of Kalamazoo, a drama (with funny moments) about a mismatched couple, written by Mel Brooks’ daughter Michelle. The April production, Lessons, is also a drama, and another Canadian premiere, written by Wendy Graf. Dean wants to entertain, and yet hopes all of her productions will make a difference. “I don’t want to lecture people, or pound them on the head with it. I want to make them laugh, cry…think about something maybe they haven’t before.” For 17 Stories, Bema’s inaugural production, Dean commissioned a script from award-winning Canadian playwright Caroline Russell-King; she wanted a piece that addressed grief and loss. Seventeen people were interviewed about different kinds of losses: pets, jobs, family members. “It was almost overwhelming,” she recounts. “I had six actors who portrayed 65 characters in 17 different stories. The audience was blown away.” In Hebrew, the word bima means “altar,” and Bema’s name is an homage to the sanctuary where some of its performances take place. While this theatre company isn’t a religious thing, its core group of volunteers are synagogue congregants. With only about 1000 identified Jews in Victoria, the vast majority of Bema’s growing audience is gentiles who probably wouldn’t have otherwise ended up inside the building (unless they’re touring the historically significant landmarks downtown). Once inside, she hopes everyone can appreciate well-produced plays whose messages transcend any creed or ideas of separateness. Dean must have déja vù; her earliest theatrical organization efforts were in 1960s Calgary, at a time when Jews were not allowed to join the country clubs. As one of a handful of people collaborating with a transplanted rabbi and his wife to create community theatre productions that brought Jews and non-Jews together—onstage, backstage, and in the audience, “we set out to get more people into a synagogue, to see ‘hey folks, we’re all the same. You’re not going to get hit by a lightning bolt as soon as you walk in here.’” With Bema, she says, “I want to use plays that say something that’s of value, in an entertaining way, and I want to open the doors of the synagogue.” Bringing diverse people together to perform and to watch is only part of the picture. Bema is also channeling resources to non-profits. The 12 performances of their last show, Neil Simon’s Prisoner of Second Avenue, brought in 1100 people. “We raised $8500 profit for the synagogue for their programs, and six non-profit shows where each charity raised $1000,” Dean says proudly. “People believe in what we’re doing, so they are generous with their time, energy, and creativity. We’re a joyful company to work for; the thank-you letters blow me away.” Among many charitable initiatives, Congregation Emanu-El supports families in need through the Burnside-Gorge Community Centre, creates birthday parties at Our Place, and sponsored a Syrian refugee family. As someone over 25 years younger than Dean, I’m humbled by her seemingly boundless energy and productivity, but I can tell working hard is her happy place. “People ask, ‘Why are you doing this? You’re 76 years old’…I have to. Creative people have to create; we can’t not.” She’s no martyr, though. “I’m giving, and I’m receiving. If we don’t get something out of what we’re giving, we can’t do it for long. I get tremendous satisfaction out of creating a piece, and knowing it is a benefit to others…As artists, we have to be getting something out of it for ourselves. I feel grateful that I have this opportunity to do what I love doing, and at the same time make a difference, helping to make the world a better place.” Bema Productions presents Lessons, written by Wendy Graf, directed by Zelda Dean. April 12-22 at Congregation Emanu-El, 1461 Blanshard. Tickets available online through ticketrocket.com or call 250-382-0615. Mollie Kaye can only hope her own work as a performer and writer is, in some small way, making the world a better place.
  9. until
    From Ireland To Italy Yariv Aloni, guest conductor March 17, 2018 | 2:00pm Dave Dunnet Community Theatre, Oak Bay PROGRAM: Schubert - Symphony No. 8 'Unfinished' Stanford - Irish Rhapsody No. 1 Rossini - Overture to William Tell Bizet - Carmen Suite (selections) TICKETS: $22 adults; $18 seniors; $10 students Long & McQuade; Munro's Books; Ivy's Bookshop; Tanner's Books, The Shieling, and at the door. Purchase online: www.civicorchestraofvictoria.org Soak up some afternoon classics before you head out on the town to celebrate the Patron Saint of Ireland! Our guest conductor for this concert, Yariv Aloni, studied conducting under the tutelage of the Hungarian conductor János Sandor. Aloni has received praise for conducting "impassioned, inspring" and "magnificently right" interpretations of major orchestral and choral repertoire. Reviewers alos describe Aloni as "a musician of considerable insight and impeccable taste." The Civic orchestra is always delighted to have the opportunity to work with such a master of orchestral craft. Last year at this time, Aloni and the Civic Orchestra took us on a journey through the Scottish Highlands and over the border to the lovely county of Shropshire to perform Butterworth’s Shropshire Lad. Our journey ended in jolly old London town with a performance of Eric Coates London Suite. Now in 2018, our itinerary is a little more ambitious with musical encounters in Ireland, Spain, Italy, and Vienna. Our first destination is Vienna where we will perform Schubert’s Symphony No. 8, known as the “Unfinished”. Composed in 1822, only the first two opening movements are orchestrally scored, with a third movement Scherzo only partially complete but so “unfinished” that it is rarely performed. We then travel to Dublin, birthplace of Sir Charles Villiers Stanford, to hear the first of his seven Irish Rhapsodies and to tip our hats to the patron saint of the day - the performance being on March 17. This work is based on the beautiful "Londonderry Air" with "Danny Boy" presented in various guises throughout and it quickly became the most popular of Stanford's seven rhapsodies. Rossini's Overture to William Tell highlights snippets from an opera that has all the dramatic makings of a great Hollywood romance. The opera was the last of the thirty-nine operas Rossini wrote. Featuring soloistic moments from several instruments, this overture displays some of the incredible musicians this community orchestra enjoys having in its ranks. The finale or course is widely recognized, having been made famous by The Lone Ranger. Finally we arrive at two suites of orchestral music drawn from George Bizet's 1875 opera Carmen. For most of the 20th Century, Carmen has been standard repertoire for opera audiences, much loved and admired for its brilliance, despite the fact that at the time of its premiere it was considered a failure! Carmen is an excellent place to end this musical journey, or at least stop for a rest - we will jump right back into opera at the end of May with our next performance, An Afternoon at the Opera, narrated by local musical treasure and opera afficionado, Robert Holliston.
  10. Mollie Kaye

    Orchestrating a life

    Conductor Yariv Aloni lands, learns, and leads in Victoria. THE CUSTOM-DESIGNED MUSIC SPACE Victoria conductor and violist Yariv Aloni and his cellist wife Pam have added to their cozy, mid-century home nestled at the foot of Mt Tolmie is a “wow,” but it isn’t fussy. After we descend a staircase and traverse a dim hallway, the spacious room, featuring vaulted ceilings and huge windows, seems to come from nowhere. Brilliant, warm, open, and full of unexpected treasures, it is much like Aloni himself, who inspires these same descriptors as a musician and leader. His unexpected journey—from a humble kibbutz in Israel, to where I encounter him now in this magnificent room—was, he says with a smile, “serendipitous.” Aloni is perhaps best known here as the conductor of both the Greater Victoria Youth Orchestra (GVYO) and the Victoria Chamber Orchestra (VCO). He’s had both of these gigs for over 30 years combined, which speaks volumes about his skill and strength in the role. High-level amateur groups can be very tricky to manage. Players who aren’t drawing a paycheque from rehearsals and performances are motivated solely by their love of music. If he fawns, flatters, or bores them, he’s sunk. If he overwhelms or paralyzes them with fear, likewise. Within realistic boundaries, he inspires them to push their edges and achieve excellence. At the end of every successful concert, he leaves them with the sense that they, not he, accomplished great things. Yariv Aloni If this sounds simple, I can assure you: it is not. In the world of conducting, or any type of leadership, it is the stuff of genius. The brilliance Aloni brings to his role in this community came through fortuitous connections and opportunities at just the right moments. When happily and humbly articulating the highlights of his development and career as both an instrumentalist and a conductor, punctuating phrases with laughter and smiles in his enthusiastic, Hebrew-accented English, he gestures with his hands as if working marionettes from above—indicating that a larger force was at work, orchestrating every nuance of his musical path. In the communal 1960s kibbutz Aloni called home during his childhood in a rural part of Israel, musical training was deemed a luxury, and not offered to everyone. Aloni’s parents were musicians, but they didn’t decide how and when he and his three musical siblings would be educated. Children were tested to ascertain what strengths they had; 8-year-old Yariv’s assessor decided he had “a good ear,” and gave him a violin instead of the coveted piano lessons he’d seen his older sister receive. “All I wanted was to play the piano…and I was devastated,” he says, chuckling heartily. “But then I got the violin, and I was very intrigued.” Still enormously upset about not being given piano lessons, the determined boy taught himself to play on one of the kibbutz’s communal instruments. “That showed them, a little,” Aloni says slyly. As a teenager, Aloni was introduced to the viola, and says, “The moment I started playing it, I found my voice. Instead of playing notes, I started playing phrases, and started playing music. Instead of words, it was sentences.” As a player in the regional kibbutzim youth orchestra, he had the joyful new experience of performing music “that you can’t play alone.” From there, he discovered chamber music, “and then the world just opened, it was like an explosion.” At 19, he and three other teenagers formed a string quartet at Isaac Stern’s newly-founded Jerusalem Music Center. “The quartet changed my life; we started doing concerts, we went abroad, we met many great players that came to give master classes…The Guarneri Quartet came to listen to us,” he says, and arranged for them to study at the University of Maryland. Like many successful young string players, they ended up amicably parting ways, and Aloni was immediately snapped up by Penderecki, a Wisconsin-based Polish quartet looking for a viola. In 1991, they were invited to be quartet-in-residence at Wilfrid Laurier University in Waterloo, Ontario. Far from his culture of origin, Aloni says he surprisingly felt more comfortable. “I was a bit like a fish out of water in Israel,” he admits, saying the tendency to “say exactly what you are thinking all the time” in that culture didn’t really jive with his sensibilities. Europe had its attractions, but he was always aware of being “other;” in Canada, he felt he belonged, even as a “foreigner.” At a festival he organized in Waterloo, Aloni met his wife Pam, the cellist in the UVic-based Lafayette String Quartet. If they wanted to live together, one of them would have to bow out of their group. We all know which one did: the Lafayette has celebrated over three decades with continuous personnel, and Aloni sees his move west as another fortuitous decision. “Everyone I was meeting said, ‘Welcome to Victoria!’ It was kind of shocking to me, especially after the years in the US, and even Israel. There had been a sense of community there, but never as strong as I had felt it in Victoria…things just started to unfold for me.” After relocating here in 1994, he was offered the opportunity to conduct the VCO, and gamely took on the challenge, even though he “hardly knew how to conduct.” After a year or so, he says, “I kind of ran out of knowledge.” He scanned the horizon and saw that acclaimed Hungarian conductor János Sándor had landed at UVic as Artist-in-Residence and Conductor of the University of Victoria Orchestra and Chorus. (Sandor subsequently was also appointed Music Director of the Greater Victoria Youth Orchestra, where Aloni became the associate conductor, then successor after Sándor’s death in 2010). Immediately after seeing Sándor conduct, he said, “That’s what I want.” He approached the maestro and requested instruction; Sándor said he had never taught conducting, but agreed to try. What followed was over a decade of edification and mentorship. “He became really almost like my father,” Aloni recounts tenderly. “What this man gave me was everything I knew about conducting…Most people study for two years, and then you start conducting, and you learn as you go. But I had the privilege of working with him and conducting at the same time for more than ten years…It was a wonderful relationship.” Sándor inspired Aloni to revel in the leadership and coaching role of working with youth and amateur adult players. “I get to know a lot of musicians, not just my colleagues in the symphony or at UVic. There’s a whole bunch of amazing musicians and players who don’t do that for a living…they’re as dedicated as professionals…they do it really because they love it, and that’s an incredible blessing, to work with people like that.” In March and April, Aloni will be conducting two concerts with the GVYO, which features the best players in the region, ages 13 through university. “They’re an amazing orchestra. I think most people in town would be incredibly surprised. People who have never heard the orchestra, before they come to the hall, they may imagine a school orchestra,” but, at times, he says, “if you close your eyes, you don’t know who’s playing. They sound as good as anyone, at least to my ears,” Aloni says with a proud smile. “I may be a little biased.” Aloni is able to achieve the highest levels of musicality with his players because he seems to have extracted every ounce of learning and compassion from his own challenges and triumphs as a person and as a musician. He has humility, but is not self-effacing; he is eager to take responsibility for his mistakes; and he can celebrate his achievements as his own, without excluding others and the roles they have played in facilitating them. Sitting in a comfortable chair, talking about his good fortune to do what he loves, he marvels at how every experience, in retrospect, fits together, as if it were all arranged just for him. After spending time here in this surprising, well-planned space on a sunny Victoria morning, it does seem meant to be. Greater Victoria Youth Orchestra, conducted by Yariv Aloni, March 11 and April 29, 2:30pm, Farquhar Auditorium. $10 - $25, UVic Ticket Centre, 250-721-8480, www.tickets.uvic.ca, Victoria Chamber Orchestra, conducted by Yariv Aloni, April 27, 8:00pm, First Metropolitan United Church. $15-$20, Long & McQuade, Ivy’s Bookshop, or at the door. 250-598-1966 or victoriachamberorchestra.org. Mollie Kaye was also raised in a musical family, and loves that Yariv Aloni remembers attending a workshop in the 1980s given by her violinist uncle, Tom Kornacker.
  11. Mollie Kaye

    #MeToo: what next?

    Could a victim-centred approach be a better fit in cases of sexual harassment and assault? TRUMP, WEINSTEIN, MOORE, FRANKEN, THE RCMP…Every hour, it seems, more are added to a dizzying list. But remember the 2014 Dalhousie Dental School case, where “gentlemen” students waxed horrific on Facebook about their over-the-top, sexually violent predilections? The men were initially suspended. Then some of the female students referenced in those ghastly posts said they preferred a restorative justice process—an approach that involves facilitated dialogues and co-created, positive-action agreements—rather than university sanctions or criminal indictments. The media was outraged. Talking heads rolled. How dare these women demand some namby-pamby, non-punitive process, when the overwhelming public consensus was that the offenders must be expelled? Oh, the irony. Women finally come forward to break their silence around the near-ubiquitous sexualized aggression woven into our workplaces, only to be silenced again in a “justice” where “authorities” dole out punishments. Victims’ needs and input are not just ignored, but derided: “Ladies, these men have offended you. Now step aside, and let Law and Order restore your honour and make you safe. Your offending male classmates will not get a wink and a nudge; they will be destroyed for their transgressions. This is how we will make things better for you—it’s fear of punishment that prevents bad behaviour.” Except it doesn’t actually work that way. Even the death penalty does nothing to deter violent crime. A Public Safety Canada study concluded that “compared to community sanctions, imprisonment was associated with an increase in recidivism…longer sentences were associated with higher recidivism rates.” So why are we in such a rush to punish—to lock people away, fire them from their jobs, and put them on registries—especially in cases where sexualized aggression is involved? Shouldn’t we listen to victims, and support what they think should happen next? I SPEAK WITH A RESTORATIVE DIALOGUE FACILITATOR in Victoria who has worked on sexual assault cases (and for confidentiality reasons, declines to be identified). She tells me about a man who had committed rape. His lack of empathy was noticeable, but so was the fact that he genuinely didn’t understand sexual assault. The restorative justice process transformed his attitudes: “He was just floored by what women have gone through…how this plays into the bigger social fabric. He had never learned any of that. [He wondered] ‘Why don’t they teach this to us in schools? Why didn’t anyone teach us about consent? This is probably the most important thing I will learn in my life, and I didn’t know it.’” The facilitator tells me, “He made drastic changes in his life…It was really impressive to see him transform—in his thinking, in his behaviour, in his demeanour…the person who walked [in] a year later was not the same person. It was phenomenal.” In certain cases, the facilitator notes, “whatever things [offenders] have gone through in their own lives, they have closed themselves off. It is absolutely possible to help those people open up again and start feeling and start empathizing, and I’ve seen that happen.” At Restorative Justice Victoria, I ask Complex Case Manager Jessica Rourke if she believes restorative approaches can be successfully applied to local sexual harassment or violence cases. (Disclosure: I am a volunteer facilitator at Restorative Justice Victoria, though like other volunteers I am not insured to handle such cases there). She says “Yes,” and that from her perspective, “Most sexual assault victims want two things: for the offender to know how extensive the negative impact of their behaviour was, and to walk out of there feeling confident that he is not going to do this again, that he is not going to [harm] someone else.” But, she asks, “how are you going to know that? What do you need to feel [confident about] that—what does that look like for you?” Restorative dialogues, when offered, she says, answer those needs and questions, and are what many victims say will bring them a sense of safety, healing, respect and hope. So why do we reflexively insist on punishing offenders, without victim input? If it’s agreed that the long-term solution to sexual aggression is for men to become more empathetic and self-aware, are we serving that goal by limiting victims’ recourse to only the punitive courts or the shaming media? To develop empathy, offending men must hear from the women who have been affected by their actions, and understand the devastating impact they’ve had. Rourke has observed that the criminal justice system isn’t optimal for this: “There’s no room for ‘could you learn from this and change? Could you become a better person? Could you repair some of the harm you have caused?’” The victim, too, is sidelined. “The State is now the victim, it’s the State vs the Offender—your experience is now taken away from you…you’re a spectator.” The offending Dalhousie dental students expressed gratitude for their experience in the restorative justice dialogue with their female classmates. They wrote, “We learned that saying sorry is too easy. Being sorry, we have come to see, is much harder.” They realized that it was not only their female classmates, but future patients and the larger community who were traumatized, and added, “We deeply regret if this has made even one person more reluctant or afraid to access the oral health care they need and deserve.” Though university sanction guidelines called for expulsion of the men, the women in the Dalhousie dental class who participated in the restorative justice process were always adamant in their desire to graduate alongside their male classmates. “We are a part of a generation in which inappropriate sexualization is more common and widespread than ever before and we have become used to this,” they wrote. “More than [simply accepting the male students’ apology], though, we have seen the men learn why they are sorry, and what that requires of them.” THE TSUNAMI OF REVELATIONS IN THE MEDIA has helped illuminate both the nature and extent of sexual harassment. In Canada, we learn, $100 million is being set aside for a possible 20,000 harassment claims within the RCMP. Over 30 percent of Canadians surveyed in a recent federal government report say they have experienced sexual harassment at work. Of those, 94 percent are women. An Insights West poll, released December 6, found that 50 percent of Canadian working women experienced some amount of sexual harassment in the workplace—though more than 40 percent of victims felt they should “handle it on their own” rather than report the behaviour, fearing for their jobs and seeing no palatable choice for meaningful resolution within the current landscape of options. In a December 5th New York Times article by Nellie Bowles, businesswomen were asked about the widespread revelations of power abuses, and the sometimes swift and draconian consequences meted out to the offenders—without due process or dialogue with their victims. Most agreed that “a reckoning for the sexual misdeeds of men in the workplace was a long time coming. But ask the question ‘What do we do about it?’ and the answer has become as wide ranging, nuanced and intensely personal as the offenses themselves…Most of all, many women are wrestling with how this reckoning will work in practice: Who is the judge, who is the jury and what evidence is admissible.” Gillian Lindquist, executive director of Restorative Justice Victoria, agrees there isn’t a one-size-fits-all, punitive approach that can be applied meaningfully in sexual aggression and harassment cases, especially if significant time has passed since the incident. She feels more could be done to bring nuance into deciding consequences such as firings or being placed on a registry. “If you committed this assault 15 years ago, it has a huge impact, but have you changed? There hasn’t been any discussion of this. It’s just, ‘Boom, you’re gone.’ Maybe some of the women do want that, but maybe some of them don’t. I haven’t heard of a single case where someone has asked them.” Most of us would agree that victims’ needs and desires should be integral in justice outcomes. Research tells us that perpetrators of sexual aggression are more likely to change course when they understand the direct impact they’ve had, and are given constructive actions to take, rather than simply being shamed or punished. If the criminal justice system isn’t currently set up to serve either of these goals effectively, and the government isn’t providing alternatives, the community needs to step up and provide a container in which these dialogues can occur. Successful restorative dialogues in sexual aggression cases like the one at Dalhousie Dental School require funding for facilitators with extensive professional training. Neither the criminal justice system nor any of the (largely volunteer) restorative justice programs here on the Island offer consistent victim access to such resources. Until funding is provided for a new, parallel system, which would provide supported dialogues between offenders and victims, many offenders will be subject to disproportionately harsh, unproductive punishments, and victims will continue to endure the demoralizing, demeaning process of proving—to the media or the courts, “beyond a reasonable doubt”—they have been harmed. “Wouldn’t it be amazing,” posits Rourke, “to have survivors of sexual assault creating the system?” Writer Mollie Kaye is a volunteer facilitator at Restorative Justice Victoria, and believes that empathy-based, victim-centred dialogues are far better than punishment as a strategy to restore trust and heal communities.
  12. One of Canada’s most acclaimed songwriters plays Victoria—his new home. WHEN I SIT DOWN WITH acclaimed Canadian singer-songwriter and guitarist Stephen Fearing, the first thing I want to know is how he ended up living in Minneapolis 35 years ago. Knowing what a hotbed of songwriting talent it’s been, I wonder if this Vancouver-born, Ireland-raised son of musicians made a calculated, early-career decision to put himself in close proximity to Prince, Tom Waits, and the legendary First Avenue nightclub (also, it was my home for awhile). As we sip steaming beverages on a rainy morning at Discovery Coffee, the tall, lanky, bespectacled Fearing tells me no, it was way more random than that. In his final year of high school, he became fast friends with a kid named Paul who arrived in Dublin as a foreign student from Minnesota. “He was a classic midwestern Minnesotan young man, and because I was born in Canada, there was a tenuous connection,” he laughs. When they graduated, Paul asked Fearing what he planned to do next. “I didn’t have a clue, so I went to visit him in Minneapolis.” Stephen Fearing (Photograph by Mark Maryanovich) After witnessing the empowered life young adults were enjoying in America (“freedom personified”), Fearing turned his visit into a two-year stay. He was a cultural novelty and social success as an “Irish guy.” In Minneapolis, he had his first girlfriend, paid cheap rent, got odd jobs under the table, and played his first gigs—in the myriad coffeehouses scattered around the Twin Cities. Without realizing it, he’d landed in something of a singer-songwriter’s paradise, a “perfect place…a great place to start doing what I’ve done.” Escaping “financially depressed” Ireland during the dark, punk-rock Thatcher era was a primary goal of many young Dubliners in Fearing’s generation, and Minneapolis was indeed a fortuitous place to land, given the overall trajectory of the music industry. “What I didn’t understand in Minneapolis was that I was getting this great education in live performance,” a skill set so essential—now more than ever—to his ability to support himself as a modern-day musician. “[Performing] is what I love to do, and as much as I love making records, I don’t make my living from that.” Sellout crowds have been a hallmark of Fearing’s 2017 North American and European tour. The music business, he says, has had an inversion: Artists used to make recordings in the studio, and tour to support the sale of those albums. Up until a few years ago, he explains, it was “the record gets airplay, and people buy it in quantities so that you don’t have to tour—touring was a loss leader so they could sell more records; a way to visit the territories and get the DJs on side.” Now, he says, “it’s the other way around; the record gets me a little bit of attention, so when I play live, I can get an audience. The only way for me to make a living is live work.” Fearing’s most recent solo recording, Every Soul’s a Sailor, is his ninth. It is beautifully written and produced; highlights include the crooning, swoon-worthy title track, and an Arlo Guthrie-esque political rant on Trump, called “Blowhard Nation.” The entire album has garnered impressive critical praise. “I love making records. I love going into the studio and spending hours and hours tweaking stuff.” The trouble, he says, is that the care he takes doesn’t necessarily translate into people hearing what he intended for them to hear. Digitization, compression, and distribution through streaming sites like Spotify means “it ends up on somebody’s iPad, crushed down into a tiny file that sounds like crap. There’s no way around that, except to fly around on airplanes, and have a carbon footprint as big as Sasquatch.” His upcoming performance in Victoria will require minimal carbon; he will traverse a few blocks of Foul Bay Road to get himself and his guitar to UVic’s Farquhar auditorium to play with bassist Rob Becker and drummer Leon Power. Fearing and his family moved to Oak Bay a couple of years ago from Halifax, and the change has been a good one, he says. Between performing on the road and madly renovating the heritage home they bought, he hasn’t experienced a whole lot of the social landscape. Closer proximity to family, he says, coupled with economics, inspired the relocation from east to west, but as he’s getting to know this place, he likes it a lot. Twenty-first century Victoria has surprised him in many ways; the artisanal startup businesses—and the youthful passion making them succeed—impress him. “I lived in Vancouver, and I would never have moved to Victoria back then. It was this provincial, snooty place where your parents went to have a holiday. That is so no longer the case…the hipster, gen-Y or whatever it is thing is pretty impressive, how people are drilling down and reinventing the wheel. I grew up where milk was delivered in horse-drawn wagons…pre-superstores, pre-even-large-grocery stores. There was the butcher, green grocer, baker—people here are rediscovering and reinventing that, with small businesses making the best coffee, the best prosciutto, the best pizza—wrapping it all up in ‘this amazing paper [their] friend makes up-Island out of rice husks,’” he says with a laugh. Fearing, a founding member of the Juno-winning band Blackie and the Rodeo Kings, is something of an artisan himself—a crafter of lyrics and melodies that rely heavily on low-tech, old-world, time-honed skills. “What I do is quaint,” he says. “I play and sing. I’m more connected to the minstrels of the court than what’s being played on the CBC top 20. Change is happening very quickly, everywhere…I keep thinking if I hang in long enough, there’s a sort of ‘geezer factor’ that comes along,” he laughs, alluding to the older songwriters who enjoy a resurgence of popularity when the young and hip rediscover them. He’s certainly made himself relevant with his “Blowhard Nation” song, written in the earliest days of Trump’s efforts as a candidate. “I don’t wanna live in a blowhard nation / With a king in a tinselly crown / When the whole thing wobbles and the wheels come off / You know what’s gonna go down,” goes the opening line. “At the time, Trump seemed like a loud-mouthed distraction,” Fearing recalls. “I thought, ‘Why am I writing this song, they’d be insane to elect him, he’d never become president, there’s no way.’ I couldn’t believe the arrogance of this person, and thought I might pull [the song] out now and then…I’d say to the crowd, ‘Remember him?’ Maybe I’d play it once a year…But then Trump became leader of the Republican Party, and then he got elected, and holy fuck, I thought, ‘I’m gonna be singing this song every day for the next two years—or four years.” Fearing’s face dissolves into an all-too-common grimace of fear and exasperation. “I just can’t imagine four years.” Happily, Fearing’s next four years will surely include more touring and performing, since audiences keep enthusiastically gathering to hear him do his thing. The BBC calls him “without a shadow of doubt, one of the best songsmiths on the planet. Quality albums…stunning shows.” As long as he can carry on, he says, and manage the physical demands of being on the road, he’ll continue to do what he loves most—what he learned to do so very well in the coffeehouses and restaurants of Minneapolis back in 1980. Stephen Fearing and his trio will perform in the concert “Every Soul’s a Sailor,” Sunday, January 28, 7:30pm, Farquhar Auditorium, UVic. Tickets: student/alumni $28, general $38, University Centre Ticket Centre, tickets.uvic.ca or 250-721-8480. Writer and singer Mollie Kaye, who performs with The Millies, lived in Minneapolis for 15 years, starting in 1989. She played in many of the same venues Stephen Fearing did.
  13. Mollie Kaye

    Christopher Butterfield

    UVic’s School of Music turns 50 with one of its first grads at the helm. BACK IN THE 1960s, when the University of Victoria’s music program was in its infancy—and classroom space at a premium—there was a fortuitous juxtaposition of audio and visual, one that birthed a fundamentally collaborative community. The physical spaces may have improved and expanded, but the prevailing spirit of the place is one that supports cross-pollination of the disciplines, leading to the boosting of creative potential that launches graduates on paths toward fulfilment and success. “When I was a student, we didn’t have a music building; we were at the end of the education building, right across the hall from the visual arts department,” says Christopher Butterfield, a composer, professor and current director of UVic’s School of Music. “We all hung out together; it always made me fond of an interdisciplinary approach.” Christopher Butterfield (Photo by Ken Straiton) Butterfield took his first classes in the music department in 1969, but recalls with a laugh, “I bombed completely—flunked out.” He went back a couple of years later, more prepared to participate in the new program. “It was kind of an amazing place; there were incredible teachers here, we did wonderful stuff. I remember the four years I spent as a student being a very happy time. I don’t think the school has fundamentally changed,” he says, even though enrolment in the department has nearly doubled, and ample classroom space allows for full encapsulation of the musicians and composers. The journey that led Butterfield from cradle to captain of the University’s music department had both visual arts and musical components, but music was consistently the predominant expression of his own creative spirit. “When I was at school, I learned a lot about visual art, and hung out with a lot of artists—I married one at one point,” he laughs. “I think it’s important for people to know about other disciplines; they have a lot to teach a composer about form, time, structure. We need all the help we can get, so it’s useful to look at things outside music: architecture, poetry, film, cooking, whatever.” Like many musicians of his generation, he started out in an atmosphere of fierce rigour and harsh exactitude—the polarity of the free-wheeling, “anything goes” 60s and 70s arts paradigm. When that openness was offered to him at UVic, it built on his foundation of solidly-won skills, and Butterfield is cogent of the fact that now, in the post-hippie digital age, some particular skills can’t be glossed over; they are essential to supporting the creative process. “I teach first year composition, and have for 25 years. We don’t use computers; we use pencil and paper. It’s like drawing; it’s good to be able to draw from the subject and sketch, sometimes your pencil goes off in funny ways, you say, ‘I wouldn’t have done that if my hand hadn’t gone to sleep…’ You have to have some real knowledge of instruments in order to compose successfully, that’s what it boils down to. It’s not a matter of picking out any note and plunking it down; you have to get there from somewhere, and you have to leave there and go somewhere.” Butterfield advises his composition students to “know the common sense of the instrument” they are writing for, and “what works and doesn’t work. The only way around that is to work with instruments, work with people, get them to show you things. Ask about range—can you get from here to there? It never ends, you never get to the end, figuring out what will work and what will not.” UVic, Butterfield explains, is somewhat unique in being exactly the sort of place where composition students and student musicians can learn from each other this way, by working collaboratively—where composers can delve deep into how to play instruments, and musicians can have fresh opportunities to apply their artistry to new, exciting, creative work. “It’s always been part of the culture of the school that you can get your peers to play your pieces. That isn’t always the case in other [schools].…it’s something that contributes hugely to the spirit of the place. What the composers are writing can be pretty demanding and challenging, and the [student musicians] get right in there and do it.” His students can trust that he knows whereof he speaks, since his credentials and successes have contributed to the arts far beyond the confines of UVic. His stage, chamber, vocal, and multimedia works have been performed across Europe and North America. He studied as a boy chorister with Sir David Willcocks at King’s College, Cambridge from 1961–66; earned his bachelor’s of music in composition with Rudolf Komorous at the University of Victoria; studied at the State University of New York; and co-founded a rock group and did performance art. He was resident composer of the Victoria Symphony from 1999 to 2002, and his works are recorded on the Artifact and CBC labels. In 1992, he was appointed assistant professor of composition at UVic, and in January of this year, became director of the UVic School of Music. I ask if this recent ascendance to such an enormously significant leadership and administrative role has impacted his experience on campus. “To say it’s different would be an understatement,” Butterfield says wryly, but, “I have extraordinary people in my office. That’s the pleasure of it. In the administration end of things, they’re all way smarter than I am. They save my bacon daily.” Part of agreeing to the director post was taking on the happy—but behemoth—task of coordinating of the School of Music’s 50th anniversary festivities. The musical programming aspect is clearly Butterfield’s “happy place,” and he is especially excited about the “big concert” scheduled for early December. “We thought we’d go to town on performing—have lots and lots of performances, mostly using alumni who we would bring in to do recitals and concerts, and that has worked really well,” he enthuses. To celebrate their 50th anniversary, from December 1-3, the school will be having their first-ever reunion, and the December 2 Gala Concert evening’s scale is magnified by that context. Maestro Timothy Vernon will conduct the UVic Chorus & Orchestra in G. F. Handel’s Utrecht Te Deum, Hindemith’s Symphonic Metamorphosis, and Beethoven’s Coriolanus Overture. School of Music faculty pianist Arthur Rowe and trumpeter Merrie Klazek will appear as soloists in Shostakovich’s Piano Concerto No. 1 for Strings and Trumpet. “That’s a big show,” Butterfield comments. “It’s kind of exciting to have Tim here to do it with us…Tim’s in the amazing place of having this opera company [POV] for the last 25 years; it’s an amazing thing to have in a town like this.” Butterfield's greatest satisfaction, he says, comes from seeing UVic graduates go on to shine. “I’m passionately interested in…what happens to students I might have taught here…It’s amazing what’s being done by people who used to go to school here.” To name just a few: Gordon Wolfe (BMus ’93) is Principal Trombonist with the Toronto Symphony Orchestra, and teaches the country’s top young brass players at the Glenn Gould School. Cassandra Miller (BMus ’05) is an artistic director, composer, and winner of the 2011 Jules-Léger Prize for New Chamber Music. Elsewhereless, a chamber opera composed by Rodney Sharman (BMus ’80) with libretto and direction by Atom Egoyan, has been staged over 35 times in several countries. A recent facebook page set up for alumni got inundated with positive recollections naming the specific qualities of collaboration, connection, and community that Butterfield himself revelled in as a student—and continues to foster as an instructor and school director. “[This school] seems to generate its own community,” he says. “People are definitely part of the thing in a larger way than just coming to classes.” UVic Chorus & Orchestra Gala Concert, December 2, 8pm, Farquhar Auditorium, UVic. Cake reception follows. $10 for alumni (ONECard required), $25 regular, $20 seniors, $10 students. www.finearts.uvic.ca/music or 250-721-8480. Victoria writer and musician Mollie Kaye enjoys collaboration and community-building as the soprano voice in The Millies, an a capella vocal trio.
  14. Mollie Kaye

    The Bills, decade three

    The beloved Victoria-based Canadian roots band continues to evolve and thrive. CHRIS FRYE AND I meet at the Discovery Coffee shop Downtown. As I walk in the door, I recognize his tall, lanky frame immediately, even though he’s way in the back by the sugar-and-cream station. We take our beverages into the quieter, next-door space, sit down at a big, dusty wooden table, and I ask him about The Bills—how they formed, how they keep it alive, and where they see themselves heading as they enter their third decade. Although The Bills are technically a “Victoria-based band,” only two of them still live here in town, and there are precious few local gigs these days. (In 1998 you might have seen them at Pagliacci’s.) In September, the three current members of the band’s 1997 founding roster will join with three who got away to perform a 20th anniversary concert. The jovial, energetic Frye plays guitar and sings lead, as he did from the start, and his fellow enduring Bills veterans are Marc Atkinson on mandolin and guitar, and Scott White on upright bass. The current roster is rounded out by Victoria fiddler Richard Moody and Vancouver multi-instrumentalist Adrian Dolan. The Bills: (l-r) Scott White, Marc Atkinson, Richard Moody, Chris Frye, Adrian Dolan Atkinson and White formed the Juno-nominated group in 1997. “They decided they wanted to do something acoustic,” Frye says. “I was actually a guitar student of Marc’s, and there was a bass student of Scott’s—Oliver Swain—who Victorians will know…and another guy named Paul Dowd, who was a guitar student of Marc’s as well.” Atkinson,White and Dowd abandoned their familiars in order to diversify the instrumentation of the group. “Marc started out playing this tiny little keyboard accordion that he had. Scott picked up the fiddle—even though he was a bass player and hadn’t played much, if any, fiddle. I was playing guitar and singing, and Ollie was playing bass. Paul picked up the banjo.” Since most of them were learning as they went, “It was a place to workshop, and to grow our musical palette,” says Frye. “We all just dove into this thing to learn together. ‘Let’s pick up the greatest acoustic music from anywhere; anything you hear, bring it to the band, and we’ll start learning it.’” Local music lovers flocked to hear what was then called “The Bill Hilly Band.” (After a few years, they shortened it to “The Bills,” which, Frye says with a laugh, “we had been calling ourselves internally anyway…we call each other ‘Bill’ still, to this day. If you say ‘Bill,’ you know at least one of the other four members of the band will respond.”) Early on in their successful first year, White landed a job in Germany, playing bass for a Cirque du Soleil production. This inspired the band to undertake a nine-week busking tour of Europe (and inspired Atkinson to shed his extra accordion pounds by taking up the much-lighter mandolin). “We played on streets from Strasbourg to Copenhagen to Prague…Venice, Berlin…we really gelled as a band,” Frye recounts happily. “We learned so much music together. We were just there to play. We’d wake up in the morning, we’d learn some new music, then we’d go down and try it out somewhere.” Big-city busking was the purifying fire that helped them distil their first big hits. “That instant feedback you get in a busking environment is really valuable,” Frye explains. The band quickly purged any numbers that were duds, and refined the ones that gathered crowds and tips. As they got hired to do paid gigs indoors, they brought along the riveting presence and repertoire they’d developed through trial and error on the unforgiving street-corners of Europe. Returning to Victoria, bolstered by their overseas success and determined to grow, the band took on fiddler and “great experienced showman” Calvin Cairns to fill the slot left open by White, who remained in Germany. “We realized we got this thing that’s happening—it’s acoustic music, high-energy, playing global anything we hear…it might be African or Brazilian or the British Isles, eastern Canada…we put it all together in this melange that was just really exciting.” Their first album, The Bill Hilly Band, came in 2000, Frye says, and included a few of their own compositions (today, it’s all original material, penned predominantly by Frye, Atkinson and Adrian Dolan) plus some “super original arrangements,” and included the band’s signature improvisational style. Having picked up three new young string players, the Bills were now a sextet, the white-hot incarnation that hit the road and toured the Canadian festivals, putting The Bills squarely on the national musical map. The Bills, Frye says, think of themselves as a rock band as much as a folk band. “In our hearts and in our minds and in our ears, and what inspires us” ranges from Led Zeppelin to The Beatles to Django Reinhardt. The latest record, Trail of Tales, has a more “pop and rock” sound, he says. “There’s even secretly some drums on this record,” he adds with a diabolical grin, “and we never had drums before…don’t want to tell anybody we did that, but there it is, on the record.” While roots will always flavour what The Bills create, “One of our goals as a band is to keep working on something that people might someday identify as a ‘West Coast sound,’” Frye says. “‘Early 20th century roots music from the West Coast of Canada’ is our objective.” A fingerstyle guitar instrumental on the latest album is called “Pebble Beach,” named for a secret spot on Hornby Island, which is Atkinson’s current home. This sense of place is important to Frye. When it comes to penning lyrics, “I have always been very interested in where we come from. Stories from here…imagery that’s very ‘Southern Vancouver Island’ or ‘British Columbian.’” Nominated for another Western Canadian Music Award (“Best Roots Record” this year; they won “Entertainer of the Year” in 2006), The Bills are independent, self-produced, and book their own gigs. “It’s pretty interesting to run a band in the 21st century,” remarks Frye, “there is so much access to everything so easily, electronically. There are a lot of really good bands out there; the competition is tougher than it’s ever been.” This drives them, he says, but not to tour constantly; it’s now quality over quantity, and they savour their opportunities to convene. “We won’t have seen each other for a month or two, we land in Heathrow and say ‘hi everybody!’ at the airport, and off we go to do the tour, and then we jet off again. It’s kind of a fun way to live. It’s like we’re some secret underground espionage folk squad.” The Bills—20th Anniversary Celebration at Alix Goolden Hall, Friday, September 22, 7:30pm. Tickets: $30.50 with some discounts available. 250-386-5311 or ticketfly.com/event/1529046 Victoria writer and musician Mollie Kaye sings with The Millies, a secret underground espionage vocal trio.
  15. Suzanne Snizek wields her flute as a weapon against bigotry and suppression. WE'VE ALL SURELY LEARNED the history lesson: Professionals in the arts and sciences, the “intellectuals” and “creatives,” get suppressed—or eradicated—by authoritarian regimes and despotic leaders. Those people who can extrapolate, interpret, question and rebut are seen as a tremendous threat to the lockstep, unthinking allegiance the fascist government requires. Needless to say, whatever the “subversives” are producing—books, paintings, plays, musical compositions—must be buried or destroyed. Add in a centuries-old ethnic bias, and those creators and intellectuals are conveniently cast as “enemies.” So it was with the learned and artistic Jews in Germany, Austria and Eastern Europe during the era of the Third Reich. Many talented and accomplished refugees fled to “friendly” countries like Canada, the US, and Britain. They were not necessarily welcomed with open arms, but grudgingly accepted, and only after “extreme vetting.” Even if they were permitted to resettle, they were still suspect, subject to discrimination, and, at times, segregated and interned without warning. It’s precisely this type of bigotry, and the suffering and mayhem it causes in innocent people’s lives, that awakens award-winning flautist and UVic faculty member Suzanne Snizek’s passion for social justice. A longtime activist, she has built community around and raised her voice against the unjust detentions and horrific torture meted out in the name of “national security.” And she has found a way to combine that passion with her accomplished musicianship. Suzanne Snizek (Photograph by UVic Photo Services) Snizek has performed on flute with such diverse notables as the National Orchestra of Taiwan, the Moody Blues and Roger Daltrey. She also served as co-principal flute of the Bel Canto Opera Company of Philadelphia. Now, as a professor, Snizek augments her teaching of flute performance with academic research and musical recordings that unearth and resurrect the “forgotten” works of composers who were suppressed in the first half of the 20th Century. It was during doctoral studies at UBC that she first figured out to combine her passions. Most doctoral flute candidates choose something fairly tame and flute-related for their thesis, but the petite, soft-spoken Snizek didn’t fit that mould, and initially felt somewhat adrift. “Some people know what they want to do; I did not. My first year of study, I had no idea what I would do. I wanted to choose a topic that had larger ethical questions,” she says. “I didn’t think I could sustain interest in a research area that was just narrowly about the flute. I love to play the flute, I love to teach the flute—but I don’t love to talk about the flute, necessarily,” she says with a laugh. Snizek says she stumbled upon her research topic “by accident, like most things,” coming across the work of a composer who’d been in a British internment camp. “In 2006, I started looking at this. I was so ignorant about this; I didn’t know there were British internment camps,” she explains. “In 1940, [the British government] decided to intern all ‘foreign national aliens,’ including Germans and Austrians. Overnight, they went from ‘protected refugees’ to being arrested and interned indefinitely.” “They were seen as suspicious because they were from those ‘enemy’ countries,” Snizek continues. The British back then, like the US today, perhaps, “didn’t quite seem to understand the nature of the war they were fighting: ideology, not national boundaries.” So 70,000 people were interned, about 90 percent of them Jewish refugees. “The intention of the camps was not to exterminate people, but it was a place where they would be held because they were ‘under suspicion.’ It was a huge blow psychologically to people who had lost everything, and had just gotten their footing again. You can imagine how devastating that would have been.” Snizek says her research into the impact of the internment on the musical landscape was breaking new ground, and it generated a lot of excitement. “In 2008, musicians hadn’t really looked at the British internment at all. There were historians who’d looked at it in a general view; lots of work had been done on that, but no one looked at the music and musicians specifically. That was my doctorate. Because it was unusual, and no one had looked at that aspect, I was invited to Cambridge in 2010 to give a paper.” This past May, Snizek received a REACH Award at UVic. These awards “celebrate the extraordinary teachers and researchers at UVic who are making an impact in the classroom and beyond,” according to a University press release. Most of what Snizek teaches at UVic is performance, “which means I’m responsible for teaching all the flute lessons,” she says. She also teaches the integrated performance seminar, and coaches chamber music. Part of Snizek’s mission is to perform and record the suppressed music she unearths. “The problem [for composers is that] it’s almost as if you have one window of opportunity to get your work out,” she says. “If you miss that window, it becomes difficult, if not impossible, to get it disseminated and performed.” To help remedy this situation for at least a few composers, Snizek recorded five works last summer, all formerly suppressed. “One of them is by Weinberg, a trio, a great piece. It’s only been recorded a couple of times. There’s a lag between what scholars are looking at and what the average flute player is playing. Recording helps…nudge that process along a little bit.” Snizek says the recording was the product of 12 musicians from both within and outside the University, as well as several UVic colleagues who donated their time and talents as performers and producers, including recording engineer Kirk McNally. Funding was provided by the Jewish Federation of Victoria and Vancouver Island, and a University of Victoria Internal Research and Creative Project Grant. There will be an opportunity to experience the intersection of Snizek’s academic research and flute performance on Saturday, July 15 at 2:45 at the University of Victoria School of Music (Phillip T. Young Recital Hall). Snizek and UVic theorist and pianist Harald Krebs will present three works, one of which is a solo flute piece by Günter Raphael, a composer identified as a “half-Jew” by the Nazi regime. As a result, Raphael lost his position at the Leipzig Conservatory, and his work was banned by the Third Reich. Snizek and Krebs recently performed together in Germany. This presentation at UVic will be by donation. Writer Mollie Kaye sings with The Millies, a Victoria-based trio.