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重新校准:一看歌剧InReach

安雅·瓦森伯格,这里是文化日

2021年6月29日

MAJE

文化的日子

2021年8月17日

In times of uncertainty, art can be a steadying force. When we marvel at something, whether it is a painting, a turn of phrase or a piece of music, we\u2019re reminded of the human capacity to create and endure. (Chaves, 2020, para. 5).\r\n\r\nNow, more than fifteen months since the World Health Organization officially labeled the outbreak a pandemic, the arts sector has landed on its feet. As creative industries continue to reinvent and reshape the ways people interact with art in virtual contexts, artists around the world are boldly pushing the envelope in terms of impact. As we inch closer to post-pandemic normalcy, creative industries are playing an increasingly significant role in the advancement of sustainable practices and perspectives. To an unprecedented extent, government agencies, NGOs, and other powerful actors are demonstrating strong commitment to artists and the merits of their respective creative practices. _And for what cause?_ Artists wield not only tremendous capacity to inspire sustainable development\u2014but also to imagine, innovate, and create bright and healthy futures.\r\n\r\nAdmittedly, the term _sustainable development_ is both clunky and non-specific in meaning. A concept that transcends disciplinary boundaries, _sustainability_ is perhaps best summarized as unified and disciplined commitment to _both_ present and future populations. In short: how can we adequately satisfy the needs of people today without sacrificing the needs of future generations? Representing a fifteen-year blueprint for collaborative action, [the United Nations Sustainable Development Goals (SDGs)](https:\/\/www.undp.org\/sustainable-development-goals?utm_source=EN&utm_medium=GSR&utm_content=US_UNDP_PaidSearch_Brand_English&utm_campaign=CENTRAL&c_src=CENTRAL&c_src2=GSR&gclid=Cj0KCQjw0K-HBhDDARIsAFJ6UGhcuA87im4evf_9QOFn738updhF4ydFiCp5OHdlQmQRpGfWnCV2zZ8aAuP7EALw_wcB) refer to a series of science-based objectives with a deadline of 2030. [The seventeen ambitious goals](https:\/\/sdgs.un.org\/goals)\u2014which range from climate action to the reduction of inequalities\u2014demonstrate an international commitment to three sustainability pillars: _environmental, economic,_ and _social_.\r\n\r\n![United Nations HQ. Analog \/ digital collage. Ryan Elliot Drew.](assets\/National\/blog\/reorchestrating-our-future\/culturedays-image-3-a_RnnNXf.jpg)\r\n\r\nExploring contested terrain between art(ists) and sustainability, Canadian arts-researcher Dr. David Maggs describes three ways that artists uniquely advance sustainability trajectories. The first, which he refers to as _greening the sector_, involves \u201ccarbon accounting associated with artistic activity\u201d and the deliberate eco-conscious retooling of personal and industry mechanisms connected to the environment (Maggs, 2020). From the recycling of theatrical props and costumes to the cutback of air travel involved in artist tour planning, effective greening of the creative sector requires intuitive and innovative thinking across a multitude of artistic disciplines. Beyond environmental considerations, this model of artist-led _recognition_ and _mitigation of adverse impact_ can be aptly applied within economic and social contexts as well. Regardless of artistic medium, the fruit of impassioned creativity often conveys abstract messaging that _can_ have tangible and measurable impact on society. \r\n\r\nFor the creative sector to truly harness the unifying and transformative power of creative practitioners, it is essential that theatre halls, concert venues, galleries, record labels, festival planning committees, and other leading arts entities develop informed sensitivity to the cultural impacts of presented work. For example: might certain creation or dissemination processes directly or indirectly perpetuate racial, gender-based, or socio-economic divides? Furthermore, how might the thematic content or perceived aesthetic character of a given work impact marginalized communities? Just as creative industries can advocate for progressive environmental policies, conscious effort can _also_ be made to address social and economic injustices.\r\n\r\nThe second way that artists advance sustainability is through the aestheticizing of known scientific information. Built upon the notion that media consumers lack adequate environmental knowledge and\/or key perspectives, the artist might _raise the profile_ of select issues through the crafting of artistic communications. For example: National Geographic has brought considerable awareness to melting glaciers through photography of disrupted northern wildlife. Likewise, demonstrating projected coastline erosion within Atlantic Canada, artist Rilla Marshall debuted an installation in 2014 that illuminated Charlottetown, Prince Edward Island\u2019s imminent loss of land to the ocean. Featuring a series of intricately placed pegs along the shore, onlookers were exposed to future realities incompatible with their points of observation\u2014land soon to disappear beneath the waves (Murchie, para. 9).\r\n\r\nThirdly, Maggs articulates his vision of artists as conceptual engineers. Beyond simply advocating for awareness of sustainability principles, artists can act as innovators and leaders of positive change. Speaking to environmental concerns, what Maggs refers to as _reauthoring the world_ involves:\r\n\r\n> turning to art to explore meanings, identities, and purposes beyond carbon economies. Here, the goal is not to inspire and support climate art that carries \u201cthe message\u201d to diverse communities, but to embolden communities to find their own climate visions through the aesthetic. (Maggs, 2020).\r\n\r\nIntimately connected to respective creative processes, there remains a great deal to be learned from the ways that artists engage with and resolve internally-defined problems. No doubt, environmental, economic, and social pillars of sustainability require creative solutions to complex and ever-evolving issues.\r\n\r\n![Teatro Monumental. Analog \/ digital collage. Ryan Elliot Drew.](assets\/National\/blog\/reorchestrating-our-future\/culturedays-image-1-a_CUwAdL.jpg){.pull}\r\n\r\nA jarring disruption to creative industries across the globe, COVID-19 has presented a tremendous opportunity for artists to reorchestrate the future. Members of the RTVE Symphony Orchestra have since returned to the Teatro Monumental. Museums, libraries, and art galleries are welcoming communities back into shared spaces. And, while many share an insatiable yearning for pre-pandemic comfort and to reclaim what feels like a year of lost time and experience, modern science shows that a bright and healthy 2030 is _only_ possible through collective, urgent, and informed action. Pioneers of the imagination, the artist\u2019s intimate familiarity with creative processes appropriately reflects their capacity to engineer pathways forward. There are very good reasons why the United Nations has designated 2021 the International Year of Creative Economy for Sustainable Development. In designing the post-pandemic world, creative people are among our greatest assets.\r\n\r\n\r\n\r\n\r\nChaves, A. (2020, March 17). In times of crisis, we still need to turn to the arts. The National News. \r\nhttps:\/\/www.thenationalnews.com\/arts-culture\/comment\/in-times-of-crisis-we-still-need-to-turn-to-the-arts-1.993920\r\n\r\nMaggs, D. (2020, July 20). Art, after virus: Seven questions for a sector on the edge. The Philanthropist \r\nJournal. https:\/\/thephilanthropist.ca\/2020\/07\/art-after-virus-seven-questions-for-a-sector-on-the-edge\/\r\n\r\nMurchie, J. (2014, October 27). A Walk Through Charlottetown\u2019s Art in the Open 2014. Visual Arts News. \r\nhttps:\/\/visualartsnews.ca\/2014\/10\/a-walk-through-charlottetowns-art-in-the-open-2014\/ \r\n\r\n_I dedicate this short article to those who would accompany me to the Teatro Monumental: Anna, Jessica, Ryan, and Taya. We learned many valuable lessons during our symphony excursion._\r\n\r\n_I would like to acknowledge that this short article was researched and written on the traditional and unceded territory of the Mi'kmaq people._\r\n\r\n\r\n\r\n\r\n**This article is part of a [special blog series](\/\/www.statestpizza.com\/en\/blog\/re-imagine-series) featuring writers and creatives from across Canada (and beyond!) with stories that both highlight and celebrate Culture Days\u2019 2021 theme, RE:IMAGINE. Explore more stories below.**\r\n- [The Road Less Travelled: Three artists reimagine success and career](\/\/www.statestpizza.com\/en\/blog\/the-road-less-travelled) by Linh S. Nguy\u1ec5n\r\n- [Arts in Motion](\/\/www.statestpizza.com\/en\/blog\/arts-in-motion) by Aaron Rothermund\r\n- [Reimagining Public Spaces: The Share-It-Square in Portland, Oregon](\/\/www.statestpizza.com\/en\/blog\/reimagining-public-spaces) by Laura Puttkamer\r\n- [Refresh: How a Year on Instagram Redefined Artistic Communities](\/\/www.statestpizza.com\/en\/blog\/refresh-artistic-communities-on-instagram) by Eva Morrison\r\n- [RE:PURPOSE](\/\/www.statestpizza.com\/en\/blog\/repurpose) by Mike Green\r\n- [Recalibrating: A Look at Opera InReach](\/\/www.statestpizza.com\/en\/blog\/recalibrating-opera-inreach) by Anya Wassenberg\r\n- [Reimagine\u2014How the Disability Community Accesses the Arts](\/\/www.statestpizza.com\/en\/blog\/reimagine-how-disability-community-accesses-arts) by Rachel Marks\r\n- [Reimagining Community and the Workplace of Theatre](\/\/www.statestpizza.com\/en\/blog\/reimagining-theatre) by Nat\u00e9rcia Napole\u00e3o\r\n- [Helm Studios flips the for-profit music model to empower artists](\/\/www.statestpizza.com\/en\/blog\/reimagine-helm-studios) by Aly Laube\r\n- [Curating _INUA_, Canada\u2019s newest Inuit art exhibit](\/\/www.statestpizza.com\/en\/blog\/curating-inua) by Carolyn B. Heller\r\n- [When Less is More: What Theatre Can Learn From a Year in Slow Motion](\/\/www.statestpizza.com\/en\/blog\/when-less-is-more) by Megan Hunt","content_fr":null,"should_publish_at":null,"published_at":"2021-08-09 15:23:21","first_published_at":"2021-08-09 15:23:21","deleted_at":null,"created_at":"2021-07-14 10:20:24","updated_at":"2021-08-12 14:58:00","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

RE:规划我们的未来:通过艺术促进可持续发展

文化日的瑞安·艾略特·德鲁

2021年8月9日

A lot of the time, you're asked to simplify things and make your vision fit into something that settler or white audiences could understand better. And we didn't try to do that.\r\n\r\nAccording to Krista Ulujuk Zawadski, Curator of Inuit Art for the Government of Nunavut\u2019s Department of Culture and Heritage, who is one of _INUA\u2019s_ four co-curators, this show reimagines the exhibition of Inuit art in many ways. Most important, she says, \u201cWe're all Inuit, and it was all Inuit at every level of the project. Our project manager at the WAG is an Inuk, our exhibition designer is an Inuk, our catalog designer is an Inuk.\u201d\r\n\r\n![_INUA_ Curatorial Team. From L-R: Kablusiak, Krista Ulujuk Zawadski, asinnajaq, Dr. Heather Igloliorte. Photo courtesy of WAG.](assets\/National\/blog\/curating-inua\/inua-curatorial-team_dnyDh4.jpg)\r\n\r\n_INUA\u2019s_ lead curator, Dr. Heather Igloliorte, who\u2019s originally from Nunatsiavut (Labrador), is Assistant Professor and University Research Chair in Indigenous Art History and Community Engagement at Montreal\u2019s Concordia University. The other _INUA_ co-curators are Kablusiak, a Calgary-based multi-disciplinary Inuk artist who was born in Yellowknife, and asinnajaq, an urban Inuk artist and curator from Inukjuak, Nunavik, who grew up in Montr\u00e9al.\r\n\r\nTo select works for _INUA_, an acronym for Inuit Nunangat Ungammuaktut Atautikkut, meaning \u201clife force\u201d or \u201cInuit moving forward together,\u201d the curators reviewed pieces from the WAG\u2019s permanent collection and the Government of Nunavut\u2019s holdings. They worked with WAG staff to secure loans of artworks from artists and museums elsewhere. They also commissioned about 15 new works in a variety of media directly from Inuit artists.\r\n\r\n**Expanding the Perceptions of Inuit Art**\r\n\r\nWorking with an all-Inuit team empowered the curators to centre Inuit perspectives, asinnajaq says. \u201cA lot of the time, you're asked to simplify things and make your vision fit into something that settler or white audiences could understand better. And we didn't try to do that.\u201d\r\n\r\n\u201cIf you always simplify things,\u201d she continues, \u201caren't you feeding into making a stereotype?\u201d\r\n\r\nWhen people describe Inuit art, explains Zawadski, \u201cthey might say, \u2018Oh, it's prints and drawings from Cape Dorset. Or it's dancing bear carvings.\u2019 But Inuit art is much more than that.\u201d\r\n\r\n![Krista Ulujuk Zawadski. Photo courtesy of WAG](assets\/National\/blog\/curating-inua\/krista-ulujuk-zawadski_p1EUQ2.jpg){.small}\r\n\r\n\u201cWe tried to represent Inuit art in all forms,\u201d she says. \u201cThat includes LGBTQ+ artists. That includes urban Inuit artists. That includes Inuit from Alaska and Greenland and Calgary. That's something that not a lot of other shows have done.\u201d\r\n\r\nJocelyn Piirainen, the WAG\u2019s Assistant Curator of Inuit Art, who worked closely with the guest curators, says that in addition to carvings, textiles, prints, and drawings, _INUA_ features video, sound, multimedia installations, and other contemporary pieces.\r\n\r\n**Connecting to the Ancestors**\r\n\r\nEach co-curator also selected a work by a family member. These \u201cancestor pieces,\u201d Zawadski says, are \u201cour way of saying, \u2018This is who I am, where I come from.\u2019 Because that's something that we do as Inuit. People always ask you, \u2018Who are your parents, who are your grandparents?\u2019 They want to know where you're coming from, whose family do you belong to.\u201d\r\n\r\nSearching the WAG\u2019s permanent collection, Zawadski found a tusk carved by her great-grandfather Victor Sammurtok. Igloliorte\u2019s ancestor piece is a beaded, caribou-hide bag that her grandmother Suzannah Igloliorte made. asinnajaq chose a pair of fur-clad dolls crafted by her great aunt Elisapee Inukpuk, while Kablusiak\u2019s grandmother Ella Nasogaluak-Brown created _Arnaq & Angun_, dolls wearing traditional dresses from Inuvialuit in the Western Arctic. \r\n\r\n**Why Winnipeg?**\r\n\r\nThe issue of whether this major centre of Inuit art should be located outside traditional Inuit lands has been a contentious one. Yet as Zawadski says, \u201cBuilding Qaumajuq doesn't stop facilities being built in Inuit homelands.\u201d\r\n\r\n![asinnajaq. Photo courtesy of WAG](assets\/National\/blog\/curating-inua\/asinnajaq_suSmm1.jpg){.pull}{.right}\r\n\r\n\u201cIt\u2019s a very good thing to have a facility like this, and there should be more facilities,\u201d asinnajaq agrees. \u201cTo me, it\u2019s not a question of there being one and where should it be on earth. The answer is more.\u201d\r\n\r\nQaumajuq is creating new ways to connect to Inuit, too, particularly urban Inuit living in Winnipeg. \u201cIt\u2019s a big deal to have a building, a very beautiful, special building, that's dedicated to you,\u201d says asinnajaq.\r\n\r\n\r\n\r\n\r\n\r\nBut for Inuit, asinnajaq points out, \u201cIt\u2019s not just our space. It\u2019s our space being hosted in Treaty One territory by all of these nations\u201d in Winnipeg, the city with the largest Indigenous population in Canada. The Qaumajuq team is working on programming to promote engagement between the Inuit, First Nations, and M\u00e9tis communities.\r\n\r\n![Visible Vault, Qaumajuq, the Inuit art Centre at the Winnipeg Art Gallery. Photo by Lindsay Reid.](assets\/National\/blog\/curating-inua\/visible-vault-qaumajuq-the-inuit-art-centre-at-the-winnipeg-art-gallery_DkQyg3.jpg)\r\n\r\nAnd beyond _INUA_, Piirainen suggests, Qaumajuq is holding this massive collection of Inuit art for safekeeping. A key Qaumajuq design feature is the three-story, glass [Visible Vault](https:\/\/www.wag.ca\/art\/visible-vault\/), displaying nearly 5,000 carvings, where Piirainen says everyone \u201ccan feel they are free to come in, walk around the vault, and really see the pieces up close.\u201d\r\n\r\n![Visible Vault, Qaumajuq, the Inuit art Centre at the Winnipeg Art Gallery. Photo by Lindsay Reid.](assets\/National\/blog\/curating-inua\/visible-vault-qaumajuq-the-inuit-art-centre-at-the-winnipeg-art-gallery_jSh6rP.jpg)\r\n\r\n**Reaching Audiences Beyond Winnipeg**\r\n\r\nQaumajuq opened with a series of virtual events to show off its art to audiences across Canada and beyond. \r\n\r\n[An online version of the _INUA_ exhibit](https:\/\/www.wag.ca\/inua-online\/) on the Qaumajuq website enables visitors to walk through the exhibition remotely, and the museum is offering monthly virtual programs highlighting different components of the show. Igloliorte worked with a team of Inuit students to create [_Nagvaaqtavut | What We Found_](https:\/\/www.wag.ca\/inua-online\/#artwork), a multimedia guide that shares stories about some of the _INUA_ works. The WAG\u2019s education team has been offering virtual tours to Inuit students across the north as well.\r\n\r\nBy combining these online tools with in-person visits, Zawadski concludes, _INUA_ \u201cis going to reach far more people than any other Inuit art show ever has.\u201d\r\n\r\n_Cover image: Qaumajuq, the Inuit art Centre at the Winnipeg Art Gallery. Photo by Lindsay Reid._\r\n\r\n\r\n\r\n\r\n**This article is part of a [special blog series](\/\/www.statestpizza.com\/en\/blog\/re-imagine-series) featuring writers and creatives from across Canada (and beyond!) with stories that both highlight and celebrate Culture Days\u2019 2021 theme, RE:IMAGINE. Explore more stories below.**\r\n- [The Road Less Travelled: Three artists reimagine success and career](\/\/www.statestpizza.com\/en\/blog\/the-road-less-travelled) by Linh S. Nguy\u1ec5n\r\n- [Arts in Motion](\/\/www.statestpizza.com\/en\/blog\/arts-in-motion) by Aaron Rothermund\r\n- [Reimagining Public Spaces: The Share-It-Square in Portland, Oregon](\/\/www.statestpizza.com\/en\/blog\/reimagining-public-spaces) by Laura Puttkamer\r\n- [Refresh: How a Year on Instagram Redefined Artistic Communities](\/\/www.statestpizza.com\/en\/blog\/refresh-artistic-communities-on-instagram) by Eva Morrison\r\n- [RE:PURPOSE](\/\/www.statestpizza.com\/en\/blog\/repurpose) by Mike Green\r\n- [Recalibrating: A Look at Opera InReach](\/\/www.statestpizza.com\/en\/blog\/recalibrating-opera-inreach) by Anya Wassenberg\r\n- [Reimagine\u2014How the Disability Community Accesses the Arts](\/\/www.statestpizza.com\/en\/blog\/reimagine-how-disability-community-accesses-arts) by Rachel Marks\r\n- [Reimagining Community and the Workplace of Theatre](\/\/www.statestpizza.com\/en\/blog\/reimagining-theatre) by Nat\u00e9rcia Napole\u00e3o\r\n- [Helm Studios flips the for-profit music model to empower artists](\/\/www.statestpizza.com\/en\/blog\/reimagine-helm-studios) by Aly Laube\r\n- [When Less is More: What Theatre Can Learn From a Year in Slow Motion](\/\/www.statestpizza.com\/en\/blog\/when-less-is-more) by Megan Hunt\r\n- [RE:ORCHESTRATING Our Future: Advancing Sustainable Development Through The Arts](\/\/www.statestpizza.com\/en\/blog\/reorchestrating-our-future) by Ryan Elliot Drew","content_fr":null,"should_publish_at":null,"published_at":"2021-07-15 09:05:57","first_published_at":"2021-07-15 09:05:57","deleted_at":null,"created_at":"2021-07-13 14:00:14","updated_at":"2021-08-13 14:41:53","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

策展“INUA”,加拿大最新的因纽特艺术展览

卡洛琳·b·海勒,文化日

2021年7月15日

Early on I must have seemed like some ultra-persistent grade school child to staff at the Canadian Light Source, which in some ways isn\u2019t that far off, I try to keep in touch with that curious grade 5-6 kid as part of my art practice. \n\nIn 2016, Fransaskois new media artist and sculptor, [Jean-S\u00e9bastien Gauthier](https:\/\/jsgauthier.com\/) (hereinafter referred to as \"JS\"), signed up for a tour of the [Canadian Light Source](https:\/\/www.lightsource.ca\/) (CLS)...and then another, and another...until he was convinced he wanted to make art using the CLS. \n\nThe CLS is a national research facility, one of the largest science projects in our country\u2019s history, producing the brightest light in Canada\u2014millions of times brighter than even the sun\u2014used by more than 1,000 scientists from around the world every year in ground-breaking health, environmental, materials, and agricultural research.\n\n![Digital render mixing 3D scans, CT scans and 3D synchrotron radiation microCT data (2017).](assets\/National\/blog\/artist-scientist-light\/6-sample-and-hold_rBIGyc.jpeg){.small}\n\nThe synchrotron operates by accelerating streams of electrons to 99.99 per cent of the speed of light, fast enough to reach the moon in 1.3 seconds. Giant magnets bend the electron beam, creating a light millions of times brighter than the sun. When directed down beamlines, that light enables scientists to do analysis of physical samples such as plants and engine oil that is more detailed than with any other process, as well as to create images of structures at the molecular level.\n\nTo gain entry to this very exclusive instrument (there are only 40 synchrontons in the world and only one in Canada) JS realized he needed a partner, someone with inside access. He wrote a call for collaborators that was published in the CLS newsletter. Somewhat surprisingly he received numerous replies, but Dr. Brian Eames' response stood out.\n\n[Dr. Brian Eames](http:\/\/eameslab.ca\/) is a researcher at the University of Saskatchewan, College of Medicine, in the Department of Anatomy, Physiology, and Pharmacology, who uses the CLS, imaging techniques, and molecular approaches to study how cells turn into bone and cartilage. \n\nAll it took was one meeting over coffee, where they shared concepts on evolutionary biology and spitballed ideas for using the synchrotron to explore evolution, and they knew they could develop an exceptional collaboration. JS regularly visited Brian\u2019s lab where they continuously discussed intersecting interests and possibilities. Based on their talks, JS drafted grant applications, one of which was accepted by Canada Council for the Arts.\n\n![JS and Dr. Brian Eames looking over the synchrotron.](assets\/National\/blog\/artist-scientist-light\/bio-image-brian-js-1_n0UA3B.jpeg){.overflow}\n\nSince 2017 JS has served as the Artist-in-residence at the Department of Anatomy, Physiology, and Pharmacology, at the University of Saskatchewan and facilities of the CLS synchrotron. No other artist has been granted research time at the CLS with artistic inquiry and aesthetic experimentation as the primary objective. \n\n> Art and science are natural collaborators. In the same way that art alters a perspective, or provides an unexpected revelation, so does science...\n\nCutting-edge 3D synchrotron radiation imaging techniques were used to create an immersive video installation, [_Dans la Mesure\/Within Measure_](https:\/\/vimeo.com\/235157911), which explores developmental biology, evolution, and the complex unity between humans and other life forms (specifically zebrafish, tiny and robust model organisms often used in genetic medical research.) \n\nAnd their collaboration continues. In 2019, JS and Brian created an interactive piece for Nuit Blanche (which was shown at the U of S campus and downtown Saskatoon.) [_Our Glass_](https:\/\/jsgauthier.com\/our-glass) engages viewers of all ages to peer within an hourglass, showing how embryonic development compares among animals with whom we share a close genetic heritage. \n\n![_Still Life_ (after Ernst Haeckel), JS Gauthier, 2017.](assets\/National\/blog\/artist-scientist-light\/04-xrayhaekel-jsg-2017-5x7-72-1-copy_SjYQ87.jpeg){.overflow}\n\nJeff Cutler, past CLS Chief Strategic Relations officer had this to say, \u201cArt and science are natural collaborators. In the same way that art alters a perspective, or provides an unexpected revelation, so does science. Researchers from around the world come to our light source in order to see things differently, and their findings often change how we look at the world. It\u2019s this search for a new way of seeing things that brings art and science together, and that\u2019s why it\u2019s important for us to work with artists like JS. Not only does his work introduce the CLS to a new audience, but he has also challenged us to see our own work differently.\u201d\n\nStay tuned for more as JS continues to redefine contemporary art practices through research, technology, and building bridges across disciplines and people... he recently bought a VR (virtual reality) helmet!\n\n\n\n**This article is part of a special blog series featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of Unexpected Intersections. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Indigenous Storytelling x Digital Media: [_\u201cPeople are Finally Listening\u201d\u2013Indigenous Animation Rises Up_ by Chris Robinson](\/\/www.statestpizza.com\/en\/blog\/indigenous-animation-rises-up)\n- Academia x Creativity: [_Building 21: Make zines, not research papers_ by Greta Rainbow](\/\/www.statestpizza.com\/en\/blog\/building-21)\n- Poetry x (Natural) Environment: [_Listen to the River: An Ode to the Columbia River_ by Saba Dar](\/\/www.statestpizza.com\/en\/blog\/listen-to-the-river)\n- Teahouse x Activism: [Chinatown's Living Room: _The gathering place for a budding activist community_ by Anto Chan](\/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Traditional Craftsmanship x Youth Outreach: [_At the Maritime Museum of the Atlantic, They Build More Than Boats_ by Aleen Leigh Stanton](\/\/www.statestpizza.com\/en\/blog\/building-boats-changing-lives)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-08-18 14:11:09","first_published_at":"2020-06-10 16:39:35","deleted_at":null,"created_at":"2020-06-10 16:24:34","updated_at":"2020-09-29 15:26:18","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

当你把一个艺术家,一个科学家和一个明亮的光混合在一起时会发生什么?

文化日的薇薇安·奥尔

2020年8月18日

Building a boat is a process of thinking, knowing, and doing\u2014of learning and creating, which are the two most important of all human activities. It is not a single big job; it is a thousand little jobs, some of them done over and over and over.\n\n![Getting the hang of things (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture2_fFcp3r.png){.overflow}\n\nDay 1 is over before you know it, and everyone goes home a little sore, but satisfied to see their boat taking shape. By Day 2, with the exterior of the rowboat complete, the builders add the interior frames, seat risers, and seats. In between the major steps there is always more planing, sanding, and tweaking to do to prepare for the big launch on Day 3.\n\nSituated on the boardwalk in the heart of the busy Halifax waterfront, the [Maritime Museum of the Atlantic (MMA)](https:\/\/maritimemuseum.novascotia.ca\/) was searching for a way to open up the doors of its boatshop and become a community anchor. They found it through the unexpected intersection of traditional craftsmanship and youth outreach. \n\n![The museum is at the heart of the Halifax waterfront (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture3_A544gz.png){.overflow}\n\nInspired by the Family Boatbuilding concept introduced in WoodenBoat Magazine in 1998, the MMA\u2019s program is simple: gather a few \u2018families\u2019\u2014whether bound by blood or simply friendship\u2014give each group a kit of pieces for a 12-foot rowboat, and help them put the pieces together in three days. Family Boatbuilding spreads wooden boatbuilding to a wider audience and keep the craft alive and vital.[^note1]\n\n![All hands on deck (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture4_iqT9b5.png){.overflow}\n\nThe [Alexandria Seaport Foundation](https:\/\/alexandriaseaport.org\/), in particular, ran with this idea. They introduced an element of social action, training and employing at-risk youth as apprentices. In the process, they also raised the profile of the movement, publishing Bevin\u2019s Skiff plans for other institutions to use for their own events.[^note2] This is where the MMA found their direct inspiration, and they are not alone. Similar programs have sprung up throughout the Eastern Seaboard and along the West Coast, independently run by an eclectic collection of museums, historical societies, boatyards, and community non-profits.[^note3]\n\nThe MMA built its first two boats in 2014. The next year, three. Then, four. Now, it runs the program multiple times a year in partnership with Mount Saint Vincent University\u2019s Child and Youth Studies program.[^note4]\n\n![In June 2018, Eamonn Doorly the master boatbuilder from the Maritime Museum of the Atlantic in Halifax, led a boat building workshop with students from Pictou Landing First Nation](https:\/\/youtu.be\/7EsIdJwNDKY)\n\nEvery time the MMA runs the program, the excitement on Day 3 feels fresh. By midday, the last quarter knee has been sanded, and each boat christened and ready to launch. Everyone gathers on the floating dock, poised to push their boats into Halifax harbour. They seem a long way from the Day 1 version of themselves. At first, they were reluctant to jump in with hammer in hand, afraid of making mistakes. They soon realized that, in itself, was a mistake. Here, mistakes are celebrated instead of frowned upon\u2014they\u2019re the best teachers. \n\n![Launch day as Theodore the Tugboat looks on (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture5_TxOoWY.png){.overflow}\n\nThe participants now know how to sand, plane, use a bevel gauge, build upside down, and drill straight. They can also translate angles, apply boatbuilding math, tell the difference between types of wood, and identify a transom or a seat riser. Above all, they\u2019ve absorbed craftsmanship as a concept\u2014what Richard Sennet called \u201cthe desire to do a job well for its own sake.\u201d[^note5] And no one is breaking drill bits anymore.\n\nThe MMA\u2019s Building Boats, Changing Lives program is building capacity in practical building skills, traditional wooden boatbuilding, and heritage craft. But they are doing much more than that.\n\nFirst, they\u2019re building up and empowering youth. Through something as subtle as hammering a nail, they\u2019re connecting youth to identity and belonging, through shared Maritime heritage. The type of boat commonly built during Family Boatbuilding, a flat-bottomed skiff, \u201ccan be found anywhere in the Atlantic provinces, not to mention anywhere in the world\u201d and has been historically indispensable for the inshore fishery.[^note6] Amateur and professional boatbuilders alike have built versions of it for centuries in North America.[^note7] These newest boatbuilders coming out of the MMA join a long line of those who have come before. They now have an elemental connection to boatbuilding heritage by literally making that heritage their own.\n\n![The latest links in a long line of wooden boatbuilding tradition (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture6_BfnHfe.png){.overflow}\n\nSecond, and finally, the MMA is building a culture of craftsmanship\u2014one boat and one boatbuilder at a time. It\u2019s a culture that values patience, hard work, the impulse to preserve and honour the past, and good old-fashioned gumption in the face of mistakes.\n\nNova Scotia sailor, boatbuilder, and writer, Silver Donald Cameron once said, \u201cBuilding a boat is a process of thinking, knowing, and doing\u2014of learning and creating, which are the two most important of all human activities. It is not a single big job; it is a thousand little jobs, some of them done over and over and over.\u201d[^note8] The MMA teaches everyone who picks up a hammer or a drill during its program that boatbuilding \u2013 like life \u2013 is just a constant process of fixing our mistakes. While we do not live in an ideal world, we can continue to try and make it one.\n\n[^note1]: The WoodenBoat Show, \u201cFamily Boatbuilding,\u201d WoodenBoat Magazine, accessed May 1, 2020, https:\/\/thewoodenboatshow.com\/family-boatbuilding\/.\n[^note2]: \u201cFutures Handcrafted: About the Apprentice Program,\u201d Alexandria Seaport Foundation, accessed May 1, 2020, https:\/\/alexandriaseaport.org\/apprentice-program\/; \u201cBevin\u2019s Skiff,\u201d Alexandria Seaport Foundation, accessed May 1, 2020, https:\/\/alexandriaseaport.org\/get-engaged\/bevins-skiff\/.\n[^note3]: Some include the Antique Boat Museum in Thousand Islands, New York; the Reedville Fisherman\u2019s Museum in Reedville, Virgina; the Deltaville Maritime Museum in Deltaville, Virginia; the Lewes Historical Society in Lewes, Delaware; TSNE Mission Works in Boston, Massachusetts; the University of New Hampshire in Barrington, New Hampshire; and Eddon Boatyard in Gig Harbour, Washington.\n[^note4]: I helped out with the MMA\u2019s program in 2015 and 2016, helping to build the kits and serving as a small group leader.\n[^note5]: Richard Sennett, The Craftsman (New Haven: Yale University Press, 2008), 9.\n[^note6]: David A. Walker and Wayne Barrett, Small Wooden Boats of the Atlantic (Halifax: Nimbus Publishing, 1990), 10. \n[^note7]: Howard I. Chapelle, American Small Sailing Craft: Their Design, Development, and Construction (New York: W. W. Norton, 1951), 100.\n[^note8]: Silver Donald Cameron, \u201cThe Nine-Year Seminar on Boatbuilding and Life,\u201d in We Belong to the Sea: A Nova Scotia Anthology, ed. Mary Stanton (Halifax, N.S.: Nimbus Publishing, 2001), 88.\n\n\n\n\n\n**This article is part of a special blog series featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of Unexpected Intersections. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Indigenous Storytelling x Digital Media: [_\u201cPeople are Finally Listening\u201d\u2013Indigenous Animation Rises Up_ by Chris Robinson](\/\/www.statestpizza.com\/en\/blog\/indigenous-animation-rises-up)\n- Academia x Creativity: [_Building 21: Make zines, not research papers_ by Greta Rainbow](\/\/www.statestpizza.com\/en\/blog\/building-21)\n- Poetry x (Natural) Environment: [_Listen to the River: An Ode to the Columbia River_ by Saba Dar](\/\/www.statestpizza.com\/en\/blog\/listen-to-the-river)\n- Teahouse x Activism: [_Chinatown's Living Room: The gathering place for a budding activist community_ by Anto Chan](\/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Visual Arts x Science: [_What happens when you mix an artist, a scientist and a very bright light?_ by Vivian Orr](\/\/www.statestpizza.com\/en\/blog\/artist-scientist-light)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-08-05 09:57:42","first_published_at":"2020-06-15 08:59:15","deleted_at":null,"created_at":"2020-06-15 08:40:58","updated_at":"2020-09-29 15:26:05","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

在大西洋海事博物馆,他们建造的不仅仅是船只

文化日的Aleen Leigh Stanton

2020年8月5日

_They know this River will still be here long after we have turned to nuclear dust and blown away, saith the river..._\n>> -_Beholden: A poem as long as the river_, Rita Wong and Fred Wah\n\nRolling from one valley to another, streaming across coarse contours, sometimes surrendering to the whims of winds and pouring rain, other times cutting through the rock-ribbed plains; rivers have always made the most enchanted neighbourhoods. A river\u2019s ample bosom has cradled pioneering civilizations and nurtured childhood memories. Its panoramic views have kindled weary eyes and inspired grandiose dreams, and through centuries its gentle ripples have concocted timeless fables of love and romance. By the virtue of their romantic allure, rivers have always been a recurring theme in poetry and literature.\n\nWhile artists have always, liberally and quite blatantly, borrowed from nature; they have also been moved, time and again, to devote their craft to salvage the very landscapes that enriched their imagination. [_River Relations: A Beholder\u2019s Share of the Columbia River_](http:\/\/www.riverrelations.ca\/), an artistic investigation by a group of creatives from Emily Carr University of Art and Design (ECUAD), is one such venture that delves into the destruction inflicted upon by the \u2018damming and development\u2019 of the Columbia River, in the wake of the renegotiation of the Columbia River Treaty.\n\nRising in the clear waters of the Columbia Lake in B.C. and surging through glaciated Canadian Rocky Mountains, the Columbia River flows through the Kootenay River\u2014the river\u2019s largest tributary on the Canadian divide of the border. It enters the U.S. at the confluence of Pend d\u2019Orielle River in the Washington state, before conclusively disappearing into the Pacific Ocean near Astoria, Oregon. Columbia River is a water wonderland, flowing with ferocious abundance, making it the largest river in North America\u2019s Pacific Northwest region, and a sanctuary for the largest salmon runs in the world.\n\n![The Columbia River. Photo Courtesy of Fred Wah.](assets\/National\/blog\/listen-to-the-river\/columbia-river-fred-wah-1_avhEyr.jpeg){.overflow}\n\nModern civilization has turned rivers into economic powerhouses, plugging them with gargantuan concrete structures to harness hydroelectric power and divert water for irrigation. The Columbia River was subjected to a similar fate, transforming its free-flowing bliss into a curse. A violent flooding spell in 1948 that wrecked the Fraser Valley in B.C, Canada, and the town of Vanport in Oregon, U.S. became the impetus for securing a cooperative development between the two countries. The talks sought to regulate water flows and to capitalize on the river\u2019s enormous hydroelectric capacity, finally culminating into a formal [_Columbia River Treaty (CRT)_](https:\/\/www.canada.ca\/en\/environment-climate-change\/corporate\/international-affairs\/partnerships-countries-regions\/north-america\/canada-united-states-columbia-river.html) in 1964. Canada committed to build three water storage reservoirs in exchange for an upfront payment of $64 million in recompense for extending sixty years of flood control to U.S., in addition to receiving one-half of the estimated hydro-power generation benefits to the U.S, on continual basis. Today, CRT is upheld as a successful example of two countries \u2018sharing the benefits\u2019 through a collaborative transboundary arrangement. Yet, the ramifications the treaty had on the Indigenous peoples and the river\u2019s salmon reserve have become a despicable addendum to the treaty.\n\nThe _River Relations_\u2019 team scrutinized historical and contemporary images of the Columbia River to understand the evolution of its landscape, outrageously interrupted by dams. The most notable output of the project is the image-text poem, published in the form of a book, entitled [_\u2018Beholden: A poem as long as the river\u2019_](https:\/\/talonbooks.com\/books\/beholden), composed by [Fred Wah](https:\/\/fredwah.ca\/), a former Canadian Parliamentary Poet Laureate and [Rita Wong](https:\/\/www.poetryinvoice.com\/poems\/poets\/rita-wong), a poet and an environmental activist.\n\n![Revelstoke Dam, B.C. Artwork by Nick Conbere and Photography by John Holmgren.](assets\/National\/blog\/listen-to-the-river\/revelstokedamreservoir-1_bi2Kz3.jpeg){.overflow}\n\nWah and Wong travelled the entire river stretch, from Canal Flats in the East Kootenay all the way to Fort Astoria, Oregon as a part of their research for the book. \u2018Having lived along the Kootenay River for much of my life I had always felt that the river should be called the Kootenay; that the Columbia was really just a tributary of the Kootenay\u2019, says Wah.\n\nWah believes that the treaty insolently disregarded the \u2018spiritual value\u2019 attributed to the river\u2019s salmon by the First Nations. To them, salmon is the \u2018harbinger of good news\u2019, revered as a gift from the salmon king. They believed that the salmon were actually humans, and at the start of each salmon season, they would transform into fish form on the king\u2019s command. They also celebrated the \u2018First Salmon Ceremony\u2019 to mark the beginning of each salmon season. Even today, certain tribes celebrate \u2018Salmon ceremonies\u2019 with a communal prayer for the salmon to return and inhabit the river again.\n\nThe loss of salmon has chronicled a poignant chapter in the river\u2019s history. Wong was swamped with emotions when she watched Upstream Battle (a documentary by Ben Kempas) \u2018One moment that always stays with me from that film is footage of salmon trying to swim upstream to return to their spawning grounds - and hitting a dam, and trying over and over to get beyond that obstacle - it\u2019s a heart wrenching glimpse into the painful destruction wrought by megadams.\u2019\n\nBeholden is a reflection on the devastation brought on by the damming of the river and focuses on themes of colonization, indigenous rights and mutilation of the river\u2019s ecology. \u2018Most of the language in the poem comes from a struggle between simply describing the river, (..) and finding ways to \u201clisten\u201d to the river\u2019. It was Wah who proposed to write \u2018a poem as long as the river\u2019, in collaboration with Wong. \u2018With him writing along one side, and me along the other, the words came from our experiences along the river\u2019, Wong reminisces about the poem\u2019s origins. \u2018Each of us would write along a shore of the river, from beginning to end, occasionally having our texts cross the river at bridges or dams. Rita\u2019s and my texts were not in conversation as they were written, but, finally, feel tethered to a similar poetic impulse and imagination\u2019 explains Wah.\n\n![Book cover, _Beholden: A poem as long as the river_, illustrations by Nick Conbere and cover image by Genevieve Robertson.](assets\/National\/blog\/listen-to-the-river\/beholden-book-cover-1_bB7z2B.jpeg){.pull .right}\n\nJust like Wah, Wong also let the river \u2018speak to\u2019 her and guide her writing process. \u2018Near the headwaters of the river, I made an offering and asked the river for permission to share the words arising from my journeys along it. I listened and keep listening.\u2019\n\nNick Conbere, a visual artist and an Associate Professor at ECUAD, [skillfully transcribed Beholden on a 114 feet long map of the Columbia River](http:\/\/www.nickconbere.com\/river-relations.html), with Wah and Wong\u2019s share of poems meandering along the river, as if two tributaries spiraling the entire stretch of the river. The poem\u2019s two halves are distinctly recognizable, as Wah\u2019s half has been typeset whereas Wong\u2019s is handwritten, a decision she consciously made. \u2018I felt it was important to stay with the bodily experience of writing by hand and following the river\u2019s contours. It felt closer to the experiential aspect of being along the river (\u2026)\u2019 While the book was shortlisted for the B.C Book Prize, the poem\u2019s winding digital image has been showcased at numerous art exhibitions.\n\n![Rita Wong and Fred Wah, _Beholden: a poem as long as the river_. The Gallery Installation. Photo by Touchstones Nelson Museum.](assets\/National\/blog\/listen-to-the-river\/gallery-installation-1_H8ib2Z.jpeg){.overflow}\n\nAs the two countries renegotiate the Treaty, uncertainty abounds. Would the revision of the Treaty offer a second chance at reviving all that is lost? Only time can tell. Wong reminds us \u2018There are ways to use the land that help to regenerate or heal it \u2026 (the way) Indigenous peoples coexisted with what was here - taking care of it rather than exhausting it\u2019.\n\nToday, many artists romanticize nature as well as assume an advocate\u2019s mantle. Wong believes one way the artists can solicit support for environmental issues is by dwelling on \u2018how to heal our relations with the land and water\u2019, and by imploring the society \u2018to actually care about this\u2019.\n\nThe project has drawn to a close, and the artists have moved on to explore further avenues of nature advocacy. For as long as there is heartache for all that has been lost, I\u2019ll quote Wah;\n\n> _Let\u2019s reach for solace of water to find some deep pool of larger memory that will float us past Savage Island_.\n\n\n\n\n**This article is part of a special blog series featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of _Unexpected Intersections_. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Indigenous Storytelling x Digital Media: [_\u201cPeople are Finally Listening\u201d\u2013Indigenous Animation Rises Up_ by Chris Robinson](\/\/www.statestpizza.com\/en\/blog\/indigenous-animation-rises-up)\n- Academia x Creativity: [_Building 21: Make zines, not research papers_ by Greta Rainbow](\/\/www.statestpizza.com\/en\/blog\/building-21)\n- Teahouse x Activism: [_Chinatown\u2019s Living Room: The gathering place for a budding activist community_ by Anto Chan]( \/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Traditional Craftsmanship x Youth Outreach: [_At the Maritime Museum of the Atlantic, They Build More Than Boats_ by Aleen Leigh Stanton](\/\/www.statestpizza.com\/en\/blog\/building-boats-changing-lives)\n- Visual Arts x Science: [_What happens when you mix an artist, a scientist and a very bright light?_ by Vivian Orr](\/\/www.statestpizza.com\/en\/blog\/artist-scientist-light)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-07-08 13:21:08","first_published_at":"2020-06-04 16:58:40","deleted_at":null,"created_at":"2020-06-04 16:19:23","updated_at":"2020-09-29 15:25:40","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

听这条河:哥伦比亚河的颂歌

萨巴达尔文化日

2020年7月8日

\n\n\n**This article is part of a special blog series\u2014running March-September\u2014featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of _Unexpected Intersections_. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Indigenous Storytelling x Digital Media: [_\u201cPeople are Finally Listening\u201d\u2013Indigenous Animation Rises Up_ by Chris Robinson](\/\/www.statestpizza.com\/en\/blog\/indigenous-animation-rises-up)\n- Poetry x (Natural) Environment: [_Listen to the River: An Ode to the Columbia River_ by Saba Dar](\/\/www.statestpizza.com\/en\/blog\/listen-to-the-river)\n- Teahouse x Activism: [_Chinatown\u2019s Living Room: The gathering place for a budding activist community_ by Anto Chan]( \/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Traditional Craftsmanship x Youth Outreach: [_At the Maritime Museum of the Atlantic, They Build More Than Boats_ by Aleen Leigh Stanton](\/\/www.statestpizza.com\/en\/blog\/building-boats-changing-lives)\n- Visual Arts x Science: [_What happens when you mix an artist, a scientist and a very bright light?_ by Vivian Orr](\/\/www.statestpizza.com\/en\/blog\/artist-scientist-light)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-06-15 09:22:06","first_published_at":"2020-06-04 15:01:52","deleted_at":null,"created_at":"2020-06-04 11:56:37","updated_at":"2020-09-29 15:25:27","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

21号楼:做杂志,而不是研究论文

文化日的葛丽塔·彩虹

2020年6月15日

来见见我们的组织者:里贾纳的Vrunda

文化的日子

2020年2月18日

来见见我们的组织者:皮卡尼民族的昆顿

文化的日子

2020年2月7日,

博物馆作为合作空间

撒母耳Bernier-Cormier

2019年11月29日

边缘上的创新:为北方艺术文化开辟空间

泰勒低音部

2019年9月12日

BC省10年文化日回顾

克里斯汀劳森

2019年9月5日

音乐来抚慰

奥布里•里夫斯

2019年7月10日,

织一件,织一件,放松一点

奥布里•里夫斯

2019年7月3日,

通过艺术重新定义衰老

利亚凉鞋

2019年5月22日,

艺术参与的社会层面

弗雷德里克·朱利安

2019年4月8日

当艺术是最好的良药

利亚凉鞋

2019年2月5日

惊人的相似之处——创意日和文化日之间的讨论

梅根·弗罗麦特卡尔夫

2018年8月24日

\"Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.\u201d\n>>-Jane Jacobs, The Death and Life of Great American Cities\n\n![Gay Village, pedestrian only street, Montreal. Photo by Lisa Yang](assets\/National\/blog\/why-public-spaces-matter\/dsc-01881.jpg)\n\nDuring my undergrad, one course that really struck me was, \u201cUrban Transformations, Affective Cartography\u201d. We studied how urban landscapes are more than just spatial. We looked at how public space, specifically, urban space, affect our physical, psychological, and emotional well-being. I started to become aware of how we behave in everyday scenarios when we are alone versus when we are brought together in situations like public installations, street art, festivals, markets etc. In this blog series, I will look at what can be considered good public space, showcase innovative uses of public space, and hopefully increase awareness of the public spaces in Canada. But first\u2026\n\n# Why does public space matter? \nThere are specific criteria for determining public space. Generally speaking, a public space is a place that is accessible to the public at any time of day, such as parks, beaches, squares, roads, sidewalks, etc. These spaces all serve different functions, and can easily just be seen in spatial terms. Yet with the effort of communities, they can be turned into lively, creative spaces that bring people together. While there are plenty of reasons why public space is important, here are the top five.\n\n**1) It benefits our health** \nEspecially in cities or so-called \u2018concrete jungles\u2019, public spaces such as parks create a relaxing and inviting atmosphere where people can come and decompress from their stressful daily routines at home and work either by relaxing or being physically active. Parks can also mitigate air, climate and water pollution that is all around us. Some of the most well-known urban public parks are Central Park in New York City, Stanley Park in Vancouver, and Mount Royal in Montreal.\n\n**2) It helps build a sense of community, civic identity and culture** \nPublic space alone does not build community. Citizens who initiate and participate in community building activities and events create community through placemaking, or what the Project for Public Spaces calls \u201can effective process that capitalizes on a local community\u2019s assets, inspiration, and potential to improve the quality of people\u2019s health, happiness, and well-being.\" That said, a successful public space can inspire and attract citizens to come together and interact in that space. Compare a park that\u2019s spacious, has plenty of seating space and greenery to attract citizens, versus a dirty, garbage ridden environment that has not been invested in or used wisely. While community can really be created anywhere, there needs to be space that is open and accessible so that community projects can take place. \n\n**3) Has the ability to drive economic growth** \nTake for example Place des Arts Esplanade in Montreal; every year, hundreds of thousands of people come from all over the world to visit the many festivals that take place at the esplanade. Markets, are another reminder that open and shared space drives more traffic and is mutually beneficial for business owners and the local economy through sales, taxes, and increased jobs. In 2002, PPS (Project for Public Spaces) surveyed 800 customers from a variety of indoor and open-air markets around the country. PPS discovered that 60% of market shoppers also visited nearby stores on the same day; of those, 60% said that they visited those additional stores only on days that they visit the market.\n\n**4) Can transform wasted space** \nIn the TED talk, \u201cHow public spaces make cities work?\u201d, Amanda Burden, the former director of the New York City Department of City Planning, provided an example of a degraded waterfront in the neighborhoods of Greenpoint and Williamsburg in Brooklyn. The waterfront was abandoned and nearly impossible to access. Consequently there was little to no traffic or economic activity. It was basically a waste of space in a beautiful city. A group of architects took on the project and transformed the waterfront into a public space filled with green parks and tree-lined paths. Today the space thrives, and even has an excellent transportation system that runs through it. The lesson drawn from this example is that when you create an inviting space, people will come.\n\n**5) Public spaces, if utilized and designed well can give a city character and enhance architectural diversity** \nEspecially in urban environments, where skyscrapers reign and concrete is the main building material of choice, a dash of colour, a community attraction or public art installation can make a huge difference in the city. Consider Bryant Park in New York City, an urban park in the middle of Manhattan. It is a convenient space for employees and tourists alike to take a break and hang out among planted flowers and tree-lined paths. Art installations are another example of how public space can liven up the city. For example, the annual Luminoth\u00e9rapie exhibition of interactive art at Places Des Arts in Montreal, From Here Until Now, in Winnipeg, or Yue Minjun's A-Maze-Ing Laughter in Morton Park, Vancouver. These installations not only complement the city\u2019s landscape but they encourage people to interact with the art pieces and become a subject of conversation.","content_fr":"","should_publish_at":null,"published_at":"2015-09-10 19:45:00","first_published_at":null,"deleted_at":null,"created_at":"2019-06-25 10:30:31","updated_at":"2019-10-04 18:02:58","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

公共空间重要的原因

丽莎杨

2015年9月10日

I was not compelled to consider how we should make the case for the value of the arts but to whom? and why?\n\nHearing both Shawn and Alain speak to many of these arguments, I was not compelled to consider how we should make the case for the value of the arts but to whom? and why? Does \u2018society\u2019 really need convincing that their culture should be valued? While Canadians might be known to have an infamous inferiority complex, to imagine that we don\u2019t value who we are, that we don\u2019t express our cultural and social values openly and often, would be ridiculous.\n\nSo when we debate the value of arts and culture, let\u2019s be clear about whom we\u2019re talking to and why. This debate is not social, but political. And, it\u2019s not about the value of arts and culture in and of itself. It\u2019s about the value of arts and culture as a public good, worthy of adequate government investment to promote an active, democratic and accessible engagement in the diverse expression of our collective identity. It\u2019s also about protecting our sense of identity and belonging as a nation, from the populist, elitist and exclusionary forces of a purely market driven economy.\n\nWhen we reflect back on the origins of our cultural policies, dating back to the Massey report of the 1950's, Canada was cautioned that if we did not publicly fund a collective sense of identity through the arts we would be at risk of becoming more American. This sentiment gave birth to our system of public investment in arts and culture \u2013 a system that is floundering as government investment fails to keep pace with a rapidly growing arts and culture sector that reflects an increasingly pluralistic Canadian cultural identity.\n\nThe challenge is not a simple one, and the answer is not only in the hands of the public sector. However, as governments increasingly see themselves as corporate entities focused primarily on economic goals, we are losing sight of why the arts are publicly funded in the first place. Engagement in arts and culture gives us space to define our shared values, to understand difference, to contemplate our evolution as a society, to facilitate our personal creative expression, to feel a sense of belonging, and to express our unique identity as a nation. These are aims that any democratic government should be eager to support in order to better understand the collective consciousness of the citizens they represent, defend and make decisions for.\n\nBut as economic aims headline our political conversations, making the case for arts and culture has devolved from a principled argument about defending a fundamental public good that contributes to our well-being as Canadians, to an argument about job creation, contribution to GDP and tax revenues.\n\nThere was a time when the role of government (with the help of better-supported non-profits and charities), was to protect the economic, social and cultural well-being of its citizens, providing a kind of counterpoint to profit-driven, private sector interests. As our political system becomes more ideological and partisan, has it also become less representative and responsive? Have our values as Canadians become less and less reflected in government decision-making? Are we, indeed, becoming less Canadian?\n\n> \u201cA nation\u2019s civilization can be measured fairly by the extent to which [its] creative artists \u2026 are supported, encouraged and esteemed by [the] nation as a whole.\u201d\n\nTo defend the arts in economic terms has become a contemporary trend and an unfortunate, but necessary, tactic when speaking to governments about investment. As Massey cautioned us more than a half century ago, this approach is not a sustainable one. He knew then that \u201cA nation\u2019s civilization can be measured fairly by the extent to which [its] creative artists \u2026 are supported, encouraged and esteemed by [the] nation as a whole.\u201d Measured in these terms, how far have we really come?\n\nIf we wish to defend the value of arts and culture in Canada, let's listen carefully to, and consider the role we expect of our elected officials. How do they reflect our values as Canadians? And, more importantly, how will they enable Canadians to express and celebrate our own collective sense of self? How will they invest in our progress? Will they put our collective well-being at the forefront of their agenda? Will they make the case for arts and culture?","content_fr":"","should_publish_at":null,"published_at":"2014-12-01 12:00:00","first_published_at":null,"deleted_at":null,"created_at":"2019-06-25 11:16:39","updated_at":"2019-08-24 10:21:38","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

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