Come on out to take part in (as poet or audience member) this high-spirited battle of words and wit! Slammers should come prepared with 3 original pieces of less than 3 minutes each. No props, no nudity. Audience members, come prepared with snapping fingers and a good pair of lungs. We’ll start with a community stage – feel free to bring a song/monologue/poem/rant to share. Doors 7pm All ages $5
Born in the midst of Ontario’s disappearing forests and spreading cities, Jenny Berkel has always had a deep awareness of changing landscapes and the tenuous thread by which we live and love. Her pursuit of formal education against this backdrop was interrupted to appease her appetite for the bracing instruction of travel, pen and paperback. Then, seeking the uncluttered desktop of the Prairies, Berkel packed her suitcases and guitar into a Greyhound two cold winters ago and landed in Winnipeg.
Fold in part wanderlust, love adrift and a grievous family loss. A year later, Berkel had two handfuls of new material, which came together to form her debut full length collection, Here on a Wire. Produced by Matt Peters (Royal Canoe and The Waking Eyes), this debut is a collection of eleven stark and haunting songs that draw their substance from a blend of personal experience and collective history. Alternately sad and hopeful, the songs are awash with quiet images of ghosts, dreams, lost love, and cityscape.
Centering around the lilt of Berkel’s emotive lyrics, Here on a Wire features a brooding and delicate arrangement of cello, upright bass, French horn, slide guitar, organ, and percussion. With Jenny’s deep and smoky voice winding its way through these rich layers, the album stands as an arresting collection of “haunt folk.”
Come on out to take part (as poet or audience member) in this high-spirited battle of words and wit!
Saskatoon has one of the most revered slam poetry scenes in the country, consistently turning out highly polished and innovative work by some of the most loveable poets on the planet. This year’s team is no exception. It consists of Brent Chappell, Brendan Flaherty, Francie Millar, Ahmad Majid and Danielle Altrogge. They will deliver a feature set including team and individual poems.
The evening will also feature our regular monthly slam. Slammers should come prepared with 3 original pieces of less than 3 minutes each. No props, no nudity. Audience members, come prepared with snapping fingers and a good pair of lungs.
Time permitting, we may also have a community stage – feel free to bring a song/monologue/poem/rant to share.
We thank the Department of Canadian Heritage for their support of this series.
Whether performing to thousands at the Royal Albert Hall or the lucky few who made it inside the packed past capacity speakeasy, C.R. Avery is a unique, raw and dynamic performer. At once a beat-box poet, punk piano player and outlaw harmonica player, he has the rare ability to sing poetic verse while beatboxing simultaneously while pounding the piano and adding harmonica like a plot twist.
Learn how he does it in this spoken word writing and performance workshop, offered for free as part of Culture Days. The workshop is sponsored by Word Up Wednesday (Creative City Centre), The Vertigo Series, and Cathedral Village Arts Festival.
Email email@example.com to register.
Also: See C.R. perform as the featured artist of the 2013 CVAF Culture Days Poetry Slam, Friday Sept. 27, 7:30pm at The Mercury Café
Street F.A.I.R (Festival of the Arts in Regina), September 27 – 29, FW Hill Mall/City Square Plaza/Victoria Park, FREE!!!!!
The Creative City Centre in partnership with Regina Downtown, The Saskatchewan Filmpool, Articulate Ink Press Inc., The Dunlop Art Gallery, The University of Regina Conservatory of Performing Arts and The Sunday Art Market is excited to present Street F.A.I.R (Festival of the Arts in Regina)! Street F.A.I.R will take place from September 27 – 29 as part of Saskatchewan Culture Days. The festival will offer an array of activities for all ages and interests and is FREE to all! Check out some of our great events below. We can’t wait to see you there!
Friday, Sept. 27
11:30 AM – 1:30 PM
FW Hill Mall
Street performance walking tour! Come experience some of Regina’s weirdest and most hidden talent!
Exquisite Corpse Scroll Drawing
Saturday, Sept. 28
Dunlop Art Gallery (at the Regina Public Library, Central)
Explore the current exhibition The Substitute and the Absence by artist collective Zot’z*, then contribute your creativity to the community mash-up scroll drawing!
Print-Your-Own Culture Days T-shirt
Saturday, Sept. 28
Articulate Ink Studios, 2nd floor Creative City Centre (1843 Hamilton St.)
Learn how to use a screenprinting press to print your very own t-shirt, dazzlingly designed by Articulate Ink!
Get Down Downtown
Saturday, Sept. 28
8:00 PM – 12:00 AM
1900 block Scarth St. (outside O’Hanlon’s)
Liven up Regina’s downtown this Saturday night by getting down with DJ Natural Sympathies and friends! Accompanied by exciting footage from Saskatchewan filmmakers, projected onto a giant screen.
Family Arts Fest
Sunday, Sept. 29
UpStage at The Centre featuring Willow Road by Wendy Lockman, October 5th, Doors at 7:30, Free Will Donation
The Creative City Centre in partnership with the Saskatchewan Playwrights Centre is pleased to present our newest series ‘UpStage at the Centre’. This Staged Reading series premiers on October 5th and will feature and further develop the work of four promising Saskatchewan playwrights. Our first presentation will feature ‘Willow Road’ by Swift Current’s own Wendy Lockman. Eager nurse Kimberly provides care for her literary idol, caustic alcoholic Lee, who is waiting for a liver transplant. As Lee deteriorates physically and mentally, and as feisty housekeeper Martha struggles to keep the whole situation on track, Lee and Kimberly discover unexpected truths about each other and themselves.
After a half day workshop and a full day of rehearsal, Regina actors Kaitlyn Semple, Marianne Woods and Cavan Cunningham, along with Director Kathryn Bracht, will bring the work to life on the Hague Gallery stage. Be there as what was once an idea in a writer’s head becomes a fully developed work of art!
We thank the Department of Canadian Heritage for their support of this series.
It started innocently enough when I stumbled upon a long and detailed facebook discussion thread involving several participants, most of whom were artists. The thread was examining the age-old question: What is art worth and how should artists be paid? The overwhelming majority seemed to side with the opinion that there is no free art; an artist’s work and time are valuable and the assumption that they should be given away for free leads to the death of many burgeoning careers. I read through the thread and thought about all the times I have been asked to sing at weddings and other events only to be met with a shocked expression upon bringing up the subject of payment and I thought: here, here.
The next morning over coffee and my daily facebook addiction, the topic arose again. A friend of mine, currently studying musical theatre composition at NYU, had posted a TED talk by alt-rocker Amanda Palmer entitled ‘The Art of Asking’. Over the course of a 15-minute talk (a must-see for any art lover, regardless of their position on the topic), Palmer compared her experience busking to the way music is available online. She talked about the exchanges she had made on the street – a human, artistic connection in exchange for a free will donation – and how that had inspired her to price her digital music as ‘pay what you can’. If that meant giving it away for free, so be it. She summed it up by saying the solution to the ‘cost of art’ problem was not about making people pay for art but asking people to pay for art. There may be people who scoff and yell ‘get a job!’ as they pass but there will be more who see the real value and will pay what the art is worth. After watching the presentation, I thought back to the nearly 4 months I had spent in 2012 as a busker in Melbourne, Australia. I had managed to feed myself on the money passersby were willing to exchange for the songs I was singing and I thought: She has a point.
A few days later I really got smacked with it. I had been contracted to work as a performer for a set amount of time and money. With less then 24 hours’ notice, the employer asked for additional services which I was unable to provide and so declined. The next thing I knew, I was dealing with an employer who wanted to halve my agreed-upon wage for not consenting to work outside our agreement. After a long, hard meeting over what was fair and what was deserved, I left fully paid but my head was spinning, wondering what in the world I had signed up for when I decided that I wanted to work in the arts. Was this going to be a constant theme in my life? I have always found myself struggling with the idea of what exactly I’m worth as a musician, actor and arts instructor. Am I less of an artist if my passion for what I do gives way to a need to put food on the table? I have always hated the term “starving artist” and tend to respond to it by saying ‘I ate three meals today, all of which I paid for. Thanks.’ but I also do certain gigs for free if the cause is right or the experience is worth it. It’s always been a matter of personal judgement and a personal balancing of the books. So am I less of an artist? Less a contributing member of society? I have to admit, for a moment in the midst of my head-spins I was contemplating law school.
Then, on Thursday night I got my closure. I was traveling through Eastend, SK. and staying the night with a couple of married artists in their eighties. She works in watercolor and he works in stained glass. As we sat in their kitchen chatting over a cup of tea, the topic came up again and I thought that, surely, this couple with decades of experience would have the answer. They didn’t. They’d come up against the question of ‘the cost of art’ their entire lives. They had built careers, they had had their art purchased for good prices, their art was hanging in collections all over the world and yet every now and then they still came across someone who didn’t view what they did as a ‘real job’. Grandparents in their eighties.
I said that that evening gave me some closure on the issue and it really did. I walked away from that night grateful for all of the people around me who know that art enriches their lives every day. It’s a community of people who instinctively know that art is ‘a real job’ and that it encompasses entertainment, sentimental and monetary value. If that community can continue to work and bring value to our larger community as a whole then those people yelling ‘get a job’ as they pass will be vastly outnumbered by those who are willing and excited to support the arts – financially, physically and spiritually.
The Steel Wheels have captured audiences across the country with their heady brew of original soulful mountain music and their deep commitment to roots and community. Based in the Blue Ridge Mountains of Virginia, this dynamic four-piece string band marries old-time musical traditions with their own innovative sound and lifestyle, generating a truly magnetic revival.
The Steel Wheels is an amalgamation of hard work and easy rapport. The band is renowned for their raw energy and chemistry on stage, where they often cluster tightly around a single microphone to adorn Trent Wagler’s unmistakable tenor with bell-clear four-part harmonies inspired by their shared Mennonite heritage. Add to this Eric Brubaker’s lively and evocative fiddle, Brian Dickel’s grounded yet buoyant upright bass, and Jay Lapp’s signature mandolin style, and it’s no surprise that The Steel Wheels have enthralled the contemporary Americana scene.
Thought Beneath Film is a five-piece rock ‘n’ roll band from Hamilton, Ontario Canada. They take their name from an Emily Dickinson poem, which speaks to the unseen interpretations that can be found by looking in a “different light.” With Thought Beneath Film, you can bend your ear one-way and you may hear sterling hook-driven, guitar pop — bend it another and you may discover a band with a penchant for noise-inflicted pop. The myriad of influences and touchstones taken at face value make their music completely relatable, but the initial unseen layers make them their own musical concoction. There is subtly in their directness.
Detours is the first EP from Thought Beneath Film. The title takes a very appropriate moniker considering the sprawling journey the music took to come to completion. The album was re-recorded twice and mixed by three different engineers—all at the request of the band—wanting to make sure the final outcome truly represented what they wanted people to hear. The band is comprised of scene veterans, well-worn touring musicians, and recording engineers/studio owners. This experience has dictated the thought, care and personal expectation each band member expects not only from each other, but also most importantly, the music.
They believe there is no reason to submit a subpar effort on the world. The final version of Detours showcases a band with unrelenting perseverance: Perseverance against a prevailing music industry ideology that “ok” is good enough; perseverance to make a record that doesn’t compromise just to be heard. Detours is a record that’s meant to be heard because it needs to be heard. The group eschews the Dickinson reclusiveness that fostered her creative peaks for a collaborative nature, working with people that understand how to augment their vision. Mixed with Tom Lord-Alge (Weezer, Coldplay, Blink 182) and mastered by Bob Ludwig (Green Day, Nirvana, Foo Fighters), the album is a sonic marvel, a finely tuned machine that has lost none of the human heart. You can feel the musicians coming alive within the songs.
Expect to see Thought Beneath Film on the road and on-screen throughout the year as the band continues its efforts towards a full-length album. And one that will present them in exactly the light they want it to. But remember there is subtly in their directness.
Introduction to Spoken Word Poetry, the Poetry Slam and Lyricism in the Urban Arts Culture. For All Ages.
‘Say Word?!’ is an interactive lecture/workshop, complete with an introduction to spoken word, a brief backtrack on the history of spoken word poetry, from the Harlem Renaissance to the birth of Hip Hop, individual writing activities, fun and hilarious public speaking/stage performance games, and other tools you can use to create your first spoken word poem. This is a great introductory workshop that builds confidence and skill, and always ends with a high-energy open mic session. When I say “Say Word?” you reply with, “Word!”
The youngest Canadian spoken word poet to carry the Canadian National Championship title, Patrick de Belen also has ample experience as a facilitator. He facilitated a modern poetry course “PSL: Poetry is our Second Language” in Toronto’s Kensington Market, and is owner, CEO and lead facilitator of a bi-weekly workshop for youth, “The Process.”
Email firstname.lastname@example.org for more information or to register.