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Tickets are available for the New Edinburgh Players\’ production \”The Liar\” by Pierre Corneille adapted by David Ives. This is the benefit performance for the Crichton Cultural Community Centre. Some background on David Ives\’s adaptation.
Thursday, April 19th, 2012
Show starts at 7:30 p.m.
MacKay United Church (39 Dufferin at MacKay)
You don\’t have to be a Vietnamese boat person or a Chilean fleeing Pinochet or a child from the Holocaust to realize that Canada has the space to absorb you and not only that, to transform you, writes Adrienne Clarkson
Adrienne Clarkson, The Ottawa Citizen
believe there is room for all of us in Canada because so many of us share the same kind of experiences. These experiences have been so powerful that they have become our background – our shared background. Whether we are Jewish, Christian, Muslim, black or white, if we lost everything and then were taken in and became citizens of Canada, we have found that this country has the space for us all. And by \”space,\” I don\’t mean just physical space; I mean the space in the collective consciousness of every Canadian.
When I was growing up in Ottawa in the \’40s and \’50s, it was a small city of fewer than 100,000 people. There were a half a dozen public schools and a half a dozen high schools. It was really a small town. We had a familiarity with the people we lived among, and although our family, the Poys, came out of the blue into the cold Ottawa winter of 1942, we too became part of this small city.
It was a time of war, rationing, and limited housing as the city swelled with the bureaucracy necessary to guide a government in a wartime situation. I remember the temporary buildings that covered the grounds where the National Gallery now stands and around the Supreme Court. There was always a feeling that somehow this little city was able to cope with everything; and our family benefitted from that.
2:39 pm in Festival News
Taking a closer look at local artists in the Capital Region
Tour the world’s great capitals, and it becomes apparent that they share two key traits. First, their residents are unselfconsciously proud of their culture. Second, these capitals are bold in showcasing art and ideas, in supporting artists who celebrate their nation and in allowing them the stage when they wish to question the “sacred tenets” of what that nationhood means. Great capitals engage their artists and citizens, celebrating the diversity of their creations.
In the past 20 years, the population of Canada’s capital has reached a critical mass that makes it possible for cultural entrepreneurs to develop world-class blues, jazz and chamber music festivals; the National Gallery of Canada and the Canadian Museum of Civilization can count on crowd support for blockbuster international exhibitions; the National Arts Centre has outdone itself with its ongoing “Scene” series of regional artistic exhibitions; and our key cultural buildings are architectural showpieces. Yet, in 2011, our capital city still lacks a certain zing.
Read more on the Canadian Geographic website: Capital culture
Amen Jafri, Canada Arts Connect Magazine
If you flipped through the average Ottawa tourism brochure, you would be hard-pressed to find anything mentioning the burlesque performances and poetry slams that regularly sell-out in the city. You might learn, however, that in 2010 Ottawa was named the IFEA World Festival & Event City. Ottawa takes pride in its year-round festivals. Approximately 50 exist to-date, with new ones springing up every few years.
Why so many? According to Barbara Stacey, Executive Director at Ottawa Festivals, it’s because Ottawa’s unique environment – its diverse culture, its many partners (federal/provincial/municipal, NGOs, corporate, etc.) – simply opens up the opportunity. Loretto Beninger, an Ottawa researcher and academic who has extensively studied the city’s arts policy, offers an alternative perspective. She says the city uses an antiquated 1950s model to support local arts, narrowly defining what “culture” means: it’s either “people pirouetting in tutus or people throwing paint on a canvas.” Under this model, festivals are prized because “[they’re] temporary, [they’re] intense and [they’re] for a limited time period…a bit like the circus.”
Read more on the Canada Arts Connect Magazine website: Festival City
Chris Cobb, The Ottawa Citizen
Doucet concedes that “arts haven’t been on the radar” during this campaign but promises to do his best to elevate the issue into something more than the traditional election afterthought.
He will be announcing his specific cultural platform later in the campaign — leaving the best till last “because it’s the closest to my heart” — but hints that one plank will be a “Spaces and Places” policy that addresses the lack of rehearsal and development space for all arts groups.
A Jim Watson campaign spokesman said the candidate had no arts policies to announce just yet and the Larry O’Brien campaign didn’t respond at all.
What the arts community dreads is a slate of new councillors who see the arts as a frivolous activity pursued by elites who should fund their own theatrical, artistic and musical pleasures.
Full Article: The struggle to get arts ‘on the radar’