The Red Hut

Theatre Creators' Reserve

2009-01-03T08:27:00.002-05:00

Cahoots is now accepting applications!

Deadline: January 31, 2009

To apply, please prepare the following:

Vision: Your letter or statement of intent, including any previous development
Project: A proposal and/or script excerpt
Info: Biography and/or résumé
Support: Video/audio for non-text based submissions only
OAC forms: 3 copies of the form available from the OAC page.
SASE: Please include enough postage to cover the material you wish returned. All other material will be recycled.

Please note there is a 45 - page limit to the entire application.
Submissions by email or fax will not be considered.

Send by mail or drop off to:

Cahoots Theatre Projects
174 Spadina Ave. #610
Toronto, Ontario
M5T 2C2
RE: THEATRE CREATORS' RESERVE

Recommendations will be determined based on the scope and scale of the proposed project, artists’ past history of creation and the feasibility of the artists’ workplan.

Any questions regarding the program, please contact us at
info@cahoots.ca or by phone at 416-203-9000.

Lost treasures

2008-08-27T15:45:00.002-04:00

There’s something tremendously exciting about discovering a ‘lost’ play. I was at The Shaw Festival last week and got a chance to see their excellent production of Githa Sowerby’s The Stepmother.

Hearing the voice of a woman playwright from 1924 writing about her own time was like finding a jewel from an forgotten civilization: it was both a signifier from the past and something of inestimable value today.

The reason I was in Niagara-on-the-Lake was very much connected to the idea of finding buried treasures. Last November, Cahoots was at The Shaw for a two week Playwriting Retreat. It was back then that Cahoots first pitched the idea of working together with The Shaw to expand their canon to include works from Asia, Africa, and South America that were written during Shaw’s lifetime.

Jackie Maxwell, the festival’s artistic director, responded very enthusiastically to the proposal. It’s clear from works like The Stepmother that she is very much committed to expanding people’s idea of what is the festival is all about.

Esther Jun and I sourced a number of fascinating plays for Jackie and company dramaturg Joanna Falck to consider for a modern adaptation. It was a treat to read through some unknown gems like Rabindranath Tagore’s The Post Office, Lao She’s Teahouse, and the major works of Chinese dramatist Cao Yu. (His 1937 play Wilderness is reminiscent of the epic vision of some of O’Neill’s masterpieces.) Translations tend to age poorly so some of these works are ripe for a talented playwright to re-adapt.

Last week, Joanna, Jackie and I discussed some of these works and we’re continuing to move ahead with a very exciting collaboration – one that will introduce new voices and new faces into a much-beloved institution.

I’m excited not only by the possible opportunities for diverse artists but also by the way this collaboration will bring new vitality to an important era in theatre history. So many of the themes of early twentieth century drama still resonate with us now in this new century: the rise and fall of empires, the role of the individual in society, the insatiable appetite of commerce.

And yet, virtually all of the voices we’ve heard from this era have been male and Eurocentric. What has been missing in this discussion are the perspectives from “the rest of the world”. Not surprisingly, in rediscovering some of these voices from the past we can draw remarkable parallels to the present. Then, as now, the story of the emerging world is incomplete without hearing all its voices.

More on the Race Card

2008-08-11T15:36:00.000-04:00

Anna Quindlen in Newsweek has some interesting insights on how people use race and the allegations of racism as a wedge. An excerpt:

Using the term "race card" as a pejorative is almost always meant to promulgate the big lie that takes hold everywhere from the workplace to the classroom: that black men and women commonly use race as a bludgeon and an excuse, and that they will always blame failures or disagreements on racism.

No Middle Ground (or, A Corollary to Godwin’s Law)

2008-08-11T13:15:00.003-04:00

In a previous post, I alluded to two major barriers to having meaningful, constructive dialogues about race. I wrote about one: the failure to distinguish between individual and collective acts of racism.

The other barrier is the absence of useful language to describe gradated acts of racism. We tend to describe racism as an either/or proposition when, in reality, racist behaviour acts upon a continuum.

The American journalist Julian Sanchez recently wrote a wonderful post titled Everyone’s A Little Bit Racist (which, coincidentally, is my favourite song from the musical Avenue Q) on his blog. Here, he describes what I’m talking about far better than I can.

Is it possible to be so opposed to racism that it becomes more difficult to root out racism?

Just follow me for a second here: What image springs to mind when you think of “racism”? A Klansman burning a cross? Adolf Hitler? George Wallace barring the schoolhouse door? Images like these are iconic, easy to invoke, and extreme. They remain current because they are potent illustrations of where racism leads; their ugliness, their repugnance, is manifest.

There are still, of course, sectors of American society where the crude racism of the epithet and the noose is casually accepted. But, happily, this sort of thing is largely beyond the pale in polite company now. And this makes it beguilingly easy to conclude: “Well, I don’t go around slinging racial epithets or fuming with hatred at this or that group. Therefore I can’t be one of those awful people. Why, some of my best friends…”

But the variety of racism more common today is more subtle than that, and in a way more pernicious for it, since the overt bigot is unlikely to wield much social power. It’s the subliminal reaction of the manager looking for a new cashier who, for some reason he can’t articulate, just doesn’t think the minority candidate seems quite trustworthy enough. It’s this person who we most want examining his own attitudes. But to do that means being prepared to start from the difficult premise that even he—educated, urbane, kind, and so on—may indeed harbor racial biases. Like Hitler! Like a Klansman!

Now, there’s an obvious way around this, though it should make us uncomfortable for different reasons. We could make a point of talking about race bias and stereotyping in a more gradated way. At one pole is the Klansman. At another, there’s that “typical white person” who is more guarded and alert walking past a black guy at 1am on 7th and V than he would be walking past a similarly-dressed white person.

The discomfort here comes from the thought that allowing these gradations entails licensing some forms of racism—regarding them as understandable, even acceptable. And for very good reasons, this is not the kind of conversation we want to have: “So, is this particular instance bad racism or sorta-understandable racism?” There are whole modes of thought we just want to be entirely beyond the pale.

Sanchez makes a number of excellent points. We don’t have the words to describe the vast middle ground that exists between the actions of a Klansman and the minor racist transgressions that almost everyone commits.

Consider for a moment that the term racist can be (and has been) used to describe all of the following situations:

While on the sidewalk, a person of colour comes towards you and you automatically steel yourself because you think he’s a panhandler.

An illegal immigrant working as a domestic is systematically abused and exploited by her employers who threaten her with deportation.

Although you’re a fourth-generation Chinese-Canadian, an elderly white woman prefaces asking you for directions by saying in a loud, slow voice: “Excuse me … do … you … speak … English?

A black teenager is dragged to death from a pickup truck by a group of whites.

A light-skinned Indo-Canadian actor auditioning for a role is told by the director (who is also Indo-Canadian) that the production is looking for “a darker-skin South Asian”.

There is clearly no moral equivalence between these acts and yet we apply the same generic term to descibe them. And though we have tried to use somewhat nebulous terms such as ‘culturally insensitive’ to describe less serious offenses, most discussions tend to escalate to the terms ‘racism’ or ‘racist’ all too easily.

In the process, we rob these words of their power. If we keep throwing around the term ‘racist’ injudiciously, it will cease to have meaning. Which really sucks because it’s a highly useful word to describe, you know, actual racists.

The classic example of devaluing words, of course, is the Hitler Card. Here’s an individual who was responsible for six million deaths and yet, any act of aggression invites a comparison to Der Führer. (Here’s the latest.) Godwin’s Law states: As a Usenet discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one.

I think we need to create a First Corollary to Godwin’s Law which goes: As a discussion about cultural diversity grow longer, the probability of an allegation of racism approaches one.

The ways things are going, it’s not hard to imagine future conversations sounding like this:

A:
Such-And-Such is a real racist, you know.

B:
He is?

A:
Totally, dude.

B:
Now, do you mean a real real racist? Or racist like a that last time you called that guy a racist and we all stuck up for you but then it turned out you’d never even met the guy and we all looked like douche bags racist?

A:
No dude, I mean a real real racist. A TOTAL racist …

B:
TOTAL? Wow, that’s serious, dude …

To avoid ridiculous situations like this, we need to hold each other accountable when one of us starts taking complex issues and stripping them of nuance. So let me start by pointing out a recent, egregious example of public Godwinning.

I call out … me.

In the fourth last paragraph of this recent post I stated that racism could be proven by evidence such as:

a letter to the country club chairman asking to kick out all the Jews, an “I [heart] Rush Limbaugh” bumper sticker, a KKK discount card (10 per cent off lawn crosses!)

See what I did there? In my zeal to make the standard for calling someone a racist high, I set the bar impossibly high (and got in a few cheap laughs in the process). Shame on me. Of course, it’s not that simple to define a racist. We’d all be lucky if it were that simple. Please call me on my bullshit when I do stuff like that. We can win this war through truth and reason and we don’t need to resort to specious arguments.

Despite the error of my ways, I still maintain that calling someone a racist, like the Hitler Card, is a nuclear option that we should reserve for those times when it truly deserved.

Conversely, to anyone who is reproached for cultural insensitivity, please try not to respond as if you are being branded a racist. Even if a charge of racism is ultimately easier to defend, no one is served by overreaction. A sense of proportion will prevent situations like this.

Let’s find ways of discussing the vast middle ground and prove Godwin wrong.

Beyond the Pale

2008-08-11T13:05:00.003-04:00

Dear friends,

This is the first official entry in a continuing series of essays called Beyond the Pale (a title I freely admit I stole from Yvette Nolan’s excellent drama anthology – pick up a copy, if you don’t have one). I suppose technically, it’s the third entry since the impetus for these essays was an unfortunate incident which I’ve commented on twice previously.

And yet, I’ve chosen to start afresh because I’ve said just about all I’ve wanted to say about the aforementioned incident. I may occasionally refer to it in future posts for the purpose of illustration but I also intend to refer to other correspondences as well as to past productions, arguments, controversies – basically, a variety of things that have enraged and enlightened, discouraged and inspired me in my sixteen years as a professional theatre artist.

Let me start by explaining what I’d like to explore and discuss in Beyond the Pale. First, the underlying belief that informs every single essay is:

Canadian Theatre systemically discriminates against many worthy artists from diverse backgrounds and it is the duty of all artists to correct this historical imbalance. Theatre is bigger than any one of us and no one has the right to stifle its fundamentally inclusive nature. Making our Theatre more inclusive is not only morally correct, it is vital to the survival of the art form we love.

That’s my version of the Prime Directive. I’ll be coming back to it time and time again.

I imagine that the vast majority of you reading this agree with the Prime Directive (my version not Starfleet’s). If that’s the case, I’m delighted because it means that we’ve already discovered some common ground. And one of the central themes of Beyond the Pale will be that we can make lasting change if we start by finding common ground. Conversely, I will passionately argue that the petty invective and personal attacks that sadly seem endemic to most discussions of diversity work in direct opposition to the Prime Directive.

Now, of course, the Prime Directive calls for us to correct a historical imbalance and here’s where many of us will diverge in opinion. What are the best ways of achieving this? Why has change come so slowly? What are constructive and destructive ways to discuss discrimination? Why is it so damn hard to get people to agree on what discrimination is?

Beyond the Pale will be my attempt to answer some of these thorny questions. I don’t claim to have all the answers. Change will come collectively which means we need to share our thoughts and state our grievances in order to move forward. I encourage you to join the discussion through the comments link at the end of each blog. (Please keep it civil!)

In this series, I’ll try to refer back to art and theatre as much as possible because it’s far too easy to get bogged down in politics and forget why we’re doing this in the first place: because we all love telling stories on stage.

I’ll also do my best to fight my more pedantic impulses and keep the tone light and quasi-entertaining. Hey, it’s gonna be a long journey so we might as well have some fun along the way. Onward!

Racism vs. Institutional Racism

2008-08-07T12:29:00.012-04:00

Hi all,

As I mentioned in an earlier post, I had a lot more to say on the topic of race in the arts. Turns out in writing this, I have even more to say. (I believe I promised three follow-up blog entries after this one.) Stay tuned...

Jovanni

*************

Why make a distinction between the actions of an organization and the culpability of its members or, indeed, its leader? Because it is essential that we not confuse racism with institutional racism. They are not the same thing! Our tendency to conflate these concepts is one of of the two biggest barriers in having any constructive dialogue about race and the performing arts. (I’ll discuss the other barrier in a separate post.)

So what is institutional racism? The term was introduced by black nationalist Stokely Carmichael in the late 1960’s. Though it was initially coined to describe the systemic exclusionary policies of government agencies and universities, it is equally applicable to the performing arts. Carmichael defines institutional racism as "the collective failure of an organization to provide an appropriate and professional service to people because of their colour, culture or ethnic origin".

Note the most important word in that definiton: collective. I’ll come back to this in a moment. First, I like to provide a concrete example of institutional racism in the theatre – one that clearly illustrates the difference between individual and collective racism.

In 2003, there was a global initiative called the Lysistrata Project. To protest the Bush Administration’s illegal invasion of Iraq, theatre artists around the world were encouraged to stage local readings of the classic Aristophanes anti-war comedy. There were several readings that took place in Toronto, one of them was a rental at Factory Theatre where I worked at the time. I remember going to see a rehearsal and being quite shocked to see sixteen Caucasian performers on stage.

What’s so shocking about this, you might wonder? Well, there was nothing in the artistic vision of this particular rendering that situated it in a culturally specific time or place. In other words, there was no reason to justify casting (or excluding) performers from a specific background. Given this, it’s not just strange to see an all-white cast, it’s a near-statistical impossibility. On this note, I’m going to put on my math geek hat. (It’s an embarrassing little beanie hat with a propeller on top. I rarely don it publicly for obvious reasons.)

Let’s create an idealized model where we’re casting our version of Lysistrata and we bring in an equal number of Caucasian and non-Caucasian performers. In our Platonic model, there is no talent gap so, statistically, there is a 50-50 chance that any Caucasian performer will be cast in our play.

But wait, you say. Even though the number of non-white citizens in Toronto is approaching fifty percent, there are way more Caucasian performers. Fair enough. Or, rather, unfair but undeniably true.

Also, is it right to assume there is no talent gap? Whoa. Talk about a powderkeg issue. Let’s leave that one alone for now; I’m going to dedicate yet another post to address it.

So, given the one undeniably true fact and the one contentious yet-to-be-debated supposition, we’ll readjust our odds so that a Caucasian perfomer has an 80% chance of being cast over a performer of colour. What do you suppose the odds are of having an all-white cast of sixteen? Even with the odds overwhelmingly tilted in the white actor’s favour, the probablity of having sixteen out of sixteen performers being Caucasian is just 2.8%.

Now let’s bring the Caucasian’s likelihood of being cast down to just 70% (still pretty good odds). The chance of casting sixteen Caucasians drops down to a tiny 0.33%.

Finally, let’s go back to our crazy, bong-induced Utopia where Caucasians and non-Caucasians both get cast exactly 50% of the time. The probability of seeing an all-white cast of sixteen are now a miniscule 0.0015%. That’s one time in 65,536. Even the Harlem Globetrotters’ opponents won more often than that. Hell, if you offered me 65,535-to-1 odds, I’d even bet on the Leafs winning the Stanley Cup.

So how did this happen? There must have been some nefarious agenda to shut out performers of colour to buck such incredibly low odds. And yet, there definitely wasn’t. I personally knew most of the sixteen performers. Some were (and are) very good friends. To call any of them racists would have been preposterous – certainly as preposterous as labelling Jackie Maxwell a racist.

So if the individuals in the collective were not racist how did this blatant act of exclusion occur? Here’s where we see the difference between racism and institutional racism – remember our Black Panther friend Stokely Carmichael?

In the case of this particular Lysistrata production, it was fairly obvious how the collective was formed. The links between artists were clearly delineated: X went to theatre school with Y who was at a summer festival with A, B, and C who was going out with D and so on and so on.

Two points can be gleaned. The first: Like tends to like. Nothing surprising here – we have a natural tendency to surround ourselves with the familiar. If we as artists always work within our tribes or divide ourselves according to race, there is no logical reason to assume that we will easily break out of our comfort zones and collaborate with one another. (A little corollary which I’ll expand in yet another post: it’s for this reason above that I’m slightly troubled by the way many mainstream theatre companies are choosing to “add diversity” to their programming. At Warehouse Theatre or Cardamom Theatre, the season typically looks like: White Show, White Show, Brown People, White Show, White Show. This cultural apartheid just perpetuates the Like tends to like cycle. More on this another time.)

The second point is much more important: A group of people who are individually virtuous and full of good will can sometimes do collective harm. This does not necessarily make them bad people.

This concept simultaneously liberates and implicates. It says that while no one person is to blame for institutional racism we all bear a collective responsibility to (if I may borrow Yankee-speak) make our unions more perfect.

For example, I’d like to assume that no one reading this is a proponent of torture or illegal detention. And yet, there’s a growing amount of evidence that the Canadian government – in the name of its citizens – has been guilty of extraordinary rendition and the suspension of habeas corpus. So as citizens, that sort of does make every single one of us torturers. Does that make us all evil? I can’t answer that. I’m not even sure it’s helpful to answer that. I only know that collective wrongs get amended by collective good will. Branding individuals as being good or evil can actually get in the way of creating collective good will.

This is why I am so adamant about not confusing the institution with the individual. If you think that the Shaw Festival is a racist institution, fine, make your arguments to support your claim.

But calling its artistic director a racist is an entirely different matter that you’d best not put in print unless you have real evidence. This is evidence: a letter to the country club chairman asking to kick out all the Jews, an “I [heart] Rush Limbaugh” bumper sticker, a KKK discount card (10 per cent off lawn crosses!). Merely running the Shaw Festival – whatever you may think of it – does not constitute evidence that an individual is a racist. If that’s all you’ve got, it’s a shameful and harmful claim to make in public.

More importantly, these kinds of careless individual attacks work at cross-purposes with the ultimate goal: making the arts more just and representative. A less temperate individual than Jackie might have used Bobby’s letter as a rallying cry to justify the perpetuation of an antiquated artistic vision. (Just think back to the Refugee Hotel incident or the Kimberly Glassco lawsuit.) A lot of exclusionary practices can be shielded under the rubric of artistic prerogative. If anything, we should be thankful that she has chosen to take the high road in responding to these charges.

I’ll finish by reiterating my point in the previous post: we don’t need these counter-productive distractions. Let’s find our common ground. To culturally diverse artists, I’d like to reassure you that many of the artistic directors of our larger institutions are aware that they do a poor job of representing minorities. We not only have a right, we have an obligation to question their programming decisions. But let’s stop giving them hateful labels – especially the ones who are trying to make a difference.

To the artistic directors I ask, what are you doing to override systemic discrimination in your organizations? Have you consulted with anyone in the diverse sector? Is the composition of your staff and your board diverse? Making change is tough. It’s a lot tougher if we don’t treat each other with respect.

An open letter to the membership of INCLUDE

2008-08-07T10:11:00.005-04:00

Here's my response to a open letter that Bobby Del Rio wrote to the Shaw Festival's artistic director Jackie Maxwell on August 5, 2008.

You'll notice that I'm not providing a link to the original note. The reason I'm not doing this is that I believe it contains slanderous accusations which I've no desire to perpetuate. I sent my response out yesterday after a considerable amount of editing. In this post, I've included hyperlinks that reference the additional material I trimmed.

*************************

I was very disappointed by Bobby Del Rio’s open letter to Jackie Maxwell. I believe that it contained unfounded accusations that are damaging to individual reputations and to our collective desire to make the performing arts more inclusive.

I reject the notion that Jackie Maxwell is a racist. I have known her for more than ten years and nothing in my experience has led me to suspect any racist leanings on her part. Frankly, it depresses me to even have to put this down in print.

Branding someone a racist is no small matter. It is an extremely serious accusation that has led to lawsuits and job dismissals. The taint of racism can tarnish reputations for years. Thus, an accusation of racism must be held to a high standard of proof.

On what basis does Bobby call Jackie a racist? If it is based on personal history, I believe we are entitled to specific examples – otherwise, the charge is merely scurrilous. Is it based on third-party testimony? If so, I think that fails the standard of proof and more care should be exercised before applying harmful labels.

If, as I suspect, Bobby claims Jackie is a racist based not on her personal actions but on how he perceives her leadership of the Shaw Festival, I would like to offer examples that contradict his assessment.

In November 2007, the Shaw Festival opened its door to Cahoots Theatre Projects for a two-week playwriting retreat. They very generously housed almost twenty artists over a two week period. They provided the use of their rehearsal facilities and green room. They came to our readings and went out of their way to make us welcome. I came away with a strong feeling that the Shaw recognizes it can and should do more to open its doors to artists of all backgrounds. I sensed tremendous good will on their part to embrace diversity.

And even if one disagrees with my assessment, it is unfair and irresponsible to extrapolate the actions of the institution and ascribe any sort of personal bias or bigotry on Jackie’s part. What exactly has she done to deserve this sort of treatment?

I’m also saddened by the letter’s tone of confrontation because I feel it undermines some valid discussion points. For example, Bobby talks about the urgent need to seek new audiences. While I feel his pronouncement “ … YOUR COMPANY WILL GO BANKRUPT” is an oversimplification, I agree with its basic premise: theatre audiences are aging and must be replaced with younger patrons. Many young Canadians are first- or second-generation immigrants so it’s imperative that theatre make itself relevant to people from diverse cultures or it will languish. The ad hominem attacks also distract us from the many excellent questions that Andrew Moodie raised in his original Facebook posting.

I’m slightly puzzled why Bobby elected to take such a hostile stance in his letter. I’ve known him to be a pretty thoughtful person and his passion for inclusivity is unquestioned. So why assume a posture guaranteed to alienate? I’d like to give Bobby the benefit of the doubt and assume that he intentionally wanted to play agent provocateur or that he was willing to be a lighting rod for criticism in order to foster spirited discussion. Because if these were not his intentions, the accusations in his letter are flat-out ignorant. And since he speaks as the representative of an anti-racism movement, we appear ignorant by association.

Personally, I’m not interested in being part of a movement that uses character assassination as a means to an end. Bobby, I hope you do the right thing and either clarify your statements or offer Jackie an apology for the undeserved slight.

To those of you who know Jackie, I urge you to drop her a note of encouragement. I can’t think of a worse nightmare than having a thousand people told I’m some sort of bigot. If you disagree with Bobby’s actions, let him know. If you think I’m full of it, let me know.

But please, above all, let’s keep the discourse civil and be sparing with the R-word. There’s enough anger and divisiveness in the air and it’s not helping us achieve our ultimate goal: to transform our cultural institutions into a reflection of modern Canada.

Sincerely,
Jovanni

Christine Brubaker on break

2008-04-15T20:04:00.000-04:00

One of the things I love about being out here in Newfoundland is the opportunity to work with actors and singers I haven't met before. The quality of talent out here is pretty stellar. There are really impressive musicians in this cast.

In our band of fourteen, there are only three of us from out of province. Soprano Mia Mansfield is playing Glynis (Daniel MacIvor's character) and she hails from Bridgewater, NS. She is a recent grad of the theatre program at Sir Wilfred Grenfell College and actually performed in the initial student production of FEAR OF FLIGHT while she was there.

The other mainlander (as we're called here) other than Mia and myself is Christine Brubaker. Though we've never worked together, I've been a big fan of Christine's for some time now. It's a delight being in a show with her.

Other than being an exceptional performer, what blows me away about Christine is that she's brought along her SEVEN-week old baby Arlo to St. John's. Jill Keiley's amazing mom Mary looks after Arlo while we're rehearsing. Believe it or not, this isn't the first time that Christine has toured with a newborn. Here's a short interview with Christine during a break.

And here's Arlo, the cutest member of the FoF family:

Authentic Canadian Theatre ... Continued

2008-04-15T10:37:00.004-04:00

In Cahoots' January 2008 Newsletter, Jovanni shared his recent thoughts on cultural diversity and the Canadian soul, initiating a flurry of thoughts, opinions and new ideas from the community of friends it reached! Below please find Jovanni's initial message, this follow-up message, as well as a message from Beverly Yhap, Cahoots' founder.

Please join-in in this discussion by adding comments below! We'd love to hear and talk about what you think!

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From Cahoots' Newsletter, April 2008
By Jovanni Sy

In January, I wrote an article for our newsletter that suggested the phrase ‘culturally diverse theatre’ had become more limiting than empowering. Much to my surprise, the essay struck a chord with many of you; we received close to two dozen responses. First, thanks to all of you who took the time to respond. Your comments are very much appreciated.

The majority of the responses were short supportive notes. There were others, however, who disagreed with my thesis and explained why in well-reasoned terms. One of them was Beverly Yhap, the Founding Artistic Director of Cahoots. Bev kindly agreed to write a response for this newsletter which you’ll find here.

Words of support are always great; respectful dissent, even better. But there were a few responses I found disturbing. These letters of ‘support’ seemed to miss the point of what I saying and went something like this: “It’s great that Cahoots is finally getting past the whole diversity thing. After all, theatre is theatre.” Well, no, it isn’t.

Let me clarify something right off the top: Cahoots is by no means altering its artistic mission of creating theatre that reflects the rich diversity of our country. (So please don’t expect our next season to include a Rodgers & Hammerstein musical and some play with four middle-aged white people in a cottage in the Muskokas.) I was not suggesting that Cahoots’ mandate was becoming somehow irrelevant—the scope of my argument was limited to the language used to describe that mandate.

The point I was raising was that if the art Cahoots produces is consistent with one of Canada’s core values—namely, multiculturalism—why do we insist on qualifying what we do with nomenclature that sets us apart? In other words, if we are part of the mainstream, shouldn’t we act accordingly? And shouldn’t this transition begin with the way we describe ourselves?

The use of the term ‘culturally diverse’ began as much-needed celebratory language—a cool oasis in a desert of Eurocentric theatre. But as the work of Cahoots and our sister companies proliferates, has the term become a millstone? Has it become more marginalizing than celebratory?

In my January article, I used the example of the term ‘lady doctor’ as an illustration of how inclusive language can, with changes of time and circumstance, become exclusive. This time, I’d like to offer a more concrete example of how words confer or remove power.

In February 2007, Cahoots (with Modern Times and Theatre Passe Muraille) produced Bobby Theodore’s translation of Ahmed Ghazali’s The Sheep and the Whale, an epic drama mounted with seventeen performers. In keeping with the play’s themes, our cast’s ethnic origins spanned all parts of the globe. I found it quite thrilling to see them fanned out taking their curtain call at the end of each performance. Obviously I wasn’t alone. Three separate reviews pointed out how exceptional it was to see a show that looked like modern-day Canada.

At the same time The Sheep and the Whale was running, Tarragon mounted their outstanding production of Wajdi Mouawad’s Scorched (translated by Linda Gaboriau). Much of the play’s action takes place in an unnamed Middle Eastern country engulfed in civil war. To the best of my knowledge, the cast of ten had no actors of Middle Eastern descent.

Scorched was easily one of the best shows in Toronto’s 2006/2007 season and I’m delighted that Tarragon is remounting it. But while we were being praised for reflecting Canada’s pluralism, I never read a single word pointing out that Scorched, as excellent as it was, represented a bold experiment in cross-cultural casting. In other words, a predominantly ‘white’ cast portraying Arabs was so ‘normal’ that it didn’t even merit comment. Personally, I find nothing offensive in casting Caucasians as Arabs because, ultimately, I think theatre must be driven by imagination.

What I do find offensive, however, is that artists from visible minorities are held to a different standard. If I were to produce, for example, a Martin McDonagh play with African- , Native- , and Asian-Canadians, there would inevitably be some reviewer asking, “They’re clearly not Irish. What did they mean by this? What kind of political statement were they trying to make?” And, of course, the answer would be that I’m making the same political statement as with Tarragon’s casting of Scorched: none whatsoever. And yet I constantly get asked this question while other producers do not.

I point this out not as an indictment of any particular theatre company. Scorched is a good illustration simply because it was running simultaneously with The Sheep the Whale. There are dozens of other examples I could have chosen. The fault lies not with those exercising their free artistic expression, but with our own willingness to accept what is ‘normal’ and what is an exception to the norm.

Which brings me back to the point of language and how it defines what the default culture is. Often, it’s the absence of language that confers the dominant status. Even more ironic is the ability of language we think of as positive to effectively place an asterisk on something of worth. To diminish when it intends to augment.

As lovely as it was to be publicly praised for the United Colours of Benetton feel of The Sheep and the Whale, I would gladly trade places so that our show’s multiculturalism went unnoticed while Scorched got praise for its edgy and daring use of non-traditional casting.

One of the main principles of chess is that whoever controls the middle of the board controls the game. Culture is no different. And language has the insidious ability to define who controls the centre. The praise for The Sheep and the Whale was hollow insomuch as it complimented us for doing what everyone should be doing: representing the world as it is in 2008. How perverse is that? It’s like praising your dinner guest for not stealing your silverware.

My fervent hope is that we reject language that labels ourselves as ‘the other’. Let’s stop ceding the middle of the board. And, while we’re at it, let’s politely point out when other guests are pinching the silverware. Because our silence makes it acceptable.

Fear of Flight

2008-04-11T19:45:00.001-04:00

Hi everyone,

I'm in St. John's, Newfoundland rehearsing a brand new show called FEAR OF FLIGHT. FoF is the brainchild of Jillian Keiley and Robert Chafe of Artistic Fraud of Newfoundland.

FoF is an a cappella opera for fourteen performers set on an airplane. The piece is woven around scenes and monologues written by—get ready for this—Robert Chafe, Denise Clarke, Marie Clements, Bryden MacDonald, Daniel MacIvor, Bernie Stapleton, Judith Thompson, Guillermo Verdecchia, and David Yee. Ninety-five percent of the show is underscored by a glorious score composed by Jonathan Monro.

I'm tremendously proud that Cahoots is a co-producer on the world premiere of this piece. And I'm equally excited to be performing with this amazing theatre company and with a visionary director like Jill Keiley.

Every now and again I'll be posting some video blogs of our journey. Here's a video from day four of rehearsal:

And here's the in-flight magazine prop I'm talking about:

Obviously, I'm not the only one challenged by the prop. Here's soprano Julia Halfyard:

Authentic Canadian Theatre ... Continued

2008-04-11T16:07:00.003-04:00

In Cahoots' January 2008 Newsletter, Jovanni shared his recent thoughts on cultural diversity and the Canadian soul, initiating a flurry of thoughts, opinions and new ideas from the community of friends it reached! Below please find Jovanni's initial message, his follow-up message, as well as this message from Beverly Yhap, Cahoots' founder.

Please join-in in this discussion by adding comments below! We'd love to hear and talk about what you think!

---

What We Talk About When We Talk About Diversity
By Beverly Yhap, Founder of Cahoots Theatre Projects

I would be the first to acknowledge I’m a product of colonialism. I was a child in Trinidad in the sixties. I remember the Queen arriving to grant Trinidad & Tobago independence. It was a big deal for a small island wannabe nation. I was eight or nine, but I have this memory of a motor car with royalty inside. The last time I was in TT in 2001, I found the words to the national anthem forming a lump in my throat in spite of myself. I stubbornly identify myself as West Indian against the evidence I am inescapably Asian.

What does this personal preamble have to do with diversity? Perhaps because of my tenuous grasp at monoidentity — in the form of white-washed Canadian federalism championed by the two solitudes conundrum — I was slow to enter into the painstaking process of self-discovery whose watchword is diversity. Case in point: when I started Cahoots back in 1986, my first and only goal at the time was to create Canadian theatre “that stretched the boundaries of theatrical form,” whatever that was. It never occurred to me to situate myself — to consciously deconstruct and articulate my identity as a woman of colour — within the company.

If, as Laurie Anderson observes, language is a virus, the diversity bug was just incubating in ’86 and there were many different varieties. In 1990, Cahoots held a conference called Write About Now! for and about playwrights of visible minority. Djanet Sears urged us to be “pig-headed.” Lenore Keeshig-Tobias challenged the right of a white woman to chair a conference for writers who weren’t white. Arguments around authenticity, equity, majority and invisibility led to the adoption of people of colour as a more self-defining touchstone, less an applied checkbox label.

In the 90s the diversity epidemic took hold. Not just forums and discussions, but aggressive outreach — recruitment of qualified “coloreds” to diversify the ranks of predominantly white organizations — became de rigeur. Diversity became the flavour of the 90s to the extent that it spawned a backlash against political correctness. Credentials were tilted at, insecurities about tokenism played upon, and general queasiness about inclusion as cornerstone policy began to set in.

In the new millennium, it’s fashionable to look back on the squabbles of the past few decades with a kind of smug ascendancy. To see the struggles of the near past — the missteps, doubts, tongue-tied articulation — as unseemly, deeply uncool. As if to say aren’t we past all that diversity crap? Do I still need to identify myself with a hyphen? Isn’t Sandra Oh a star and isn’t that Obama dude in the States preaching unity anyway, so what’s all the fuss with diversity already?

Wouldn’t we all like diversity to go away. Wouldn’t we all like to be just folks going about our business without having to point out the obvious visual or aural disclaimers? Can’t we give race and ethnicity a rest? Aren’t we — like the beer commercial used to claim — all Canadian?
Or are some more Canadian than others? Does having a hyphen to your existence make you more or less Canadian? Does dropping the hyphen make you lighter and brighter? Does it make you more of a phony, a sell-out? Or are you just opting to opt out of a discourse few Canadians of pallor outside Québec really have to indulge in?

Come to that, do you have to be Canadian, or can you just live here and work, keep your head down and basically just be an immigrant? (Or, better yet —if the moniker fits —in the words of a recent Toronto City Councilor, a “hard-working Oriental.”)

Me, I kept my head down for years. I was good and colonized. But Write About Now! and the collapse of my marriage broke down the studied erasure. By 1991 I finally came to trust, to feel grounded enough in this country that I could claim real citizenship. And that meant being fully Canadian: hyphens, masks, fears, accents, colour and all.

For me, diversity isn’t a choice. It isn’t some credo I espouse because I have to or because it’s expected of me, or because if I don’t do it no one else will, or because other people need to hear it from me. Diversity isn’t clothing, it’s skin. It doesn’t come off or wash out or go out of fashion. It just is. And we can argue about it, talk it down, wish it away or begin to recognize just what we mean when we say it doesn’t matter, that diversity’s passé, that it only applies to people of colour. When we talk about diversity, let’s please really yes talk about diversity.

Authentic Canadian Theatre ... Continued

2008-04-11T15:37:00.003-04:00

In Cahoots' January 2008 Newsletter, Jovanni shared his recent thoughts on cultural diversity and the Canadian soul, initiating a flurry of thoughts, opinions and new ideas from the community of friends it reached! Below please find Jovanni's initial message, his follow-up message, as well as a message from Beverly Yhap, Cahoots' founder.

Please join-in in this discussion by adding comments below! We'd love to hear and talk about what you think!

---

From Cahoots' January Newsletter

By Jovanni Sy

Since I'm writing this on the Feast of the Epiphany, it seems appropriate to share a recent epiphany of my own.Last month, Cahoots took a group of artists for a wonderful playwriting retreat in Niagara-on-the-Lake. I met a number of people there who had never heard of our company before. And so, I gave the description of Cahoots that I recite by rote: "We develop and produce new Canadian plays that reflect our cultural diversity." I must have repeated this a dozen times but something about the thirteenth recitation just didn’t sound right.

For the first time, I wondered: why do I say “reflect our cultural diversity”? For the first time, those four words seemed strangely superfluous. I’m not that suggesting that cultural diversity isn’t important. Quite the opposite: cultural diversity is so intrinsic to the Canadian soul that my description felt tautological.In other words, doesn’t it make more sense for us to describe Cahoots simply as “a company that produces new Canadian plays”? In saying this, we are by definition saying that we are culturally diverse because Canada is culturally diverse. At least that’s what the most recent census and my own two eyes tell me.

Doesn’t it make more sense for, say, Unnamed Theatre to describe itself as “The place for Canadian theatre if Canada looked like Norway”? Or for Theatre Incognito to say “Our stage looks nothing like your life”? Perhaps the Redacted Festival should change its website to “Proudly celebrating the deceased white male playwright.”

Now, I don’t want to sound dismissive of these mandates. Indeed, many of my artistic heroes are Caucasian men mouldering in their graves. The point I’m trying to make is that these companies don’t feel compelled to describe their artistic missions in exclusive language. What do I mean by exclusive language? Let me share one of my favourite examples.

When I was growing up (and here I beg your indulgence: I’m turning forty this year so I may be prone to expressions like “when I was growing up” that make me sound like Grandpa Simpson), it wasn’t uncommon to hear people refer to “lady doctors”. Although there were a number of female physicians in the 1970s, they were rare enough that people felt obliged to add the qualifier “lady”. Thankfully, in the 21st century, if you were to say “lady doctor” people would look at you strangely, as if you had had a mind fart and forgotten the word OB-GYN. At a certain point, the term outlived its usefulness.

Which leads me to my New Year’s resolution. I think “reflect our cultural diversity” may have outlived its usefulness. I think its use may, in fact, undermine the bedrock notion that Canada is a land of many peoples. This year, I resolve that when people ask me what Cahoots does, I will say that we produce authentic Canadian theatre. I wish you a happy and creative 2008.

Cahoots in the Pacific Ocean

2008-03-20T14:36:00.001-04:00

CAHOOTS PLAYWRIGHTS RETREAT @ NIAGARA-ON-THE-LAKE & SHAW

2007-12-04T14:21:00.000-05:00

As told by Esther Jun

Sunday, November 25, 2007

So with minor hiccups we have arrived and settled into Niagara on the Lake!

Jovanni Sy and Wendy Lee picked up me, Tara Beagan and Nina Lee-Aquino at Factory theatre and we headed off on a lovely crisp clear day. The ride was fairly quick with lots of talk of the theatre going on in Toronto. It even inspired Jovanni to put on the Sweeney Todd soundtrack, which was Tara’s favorite moment no doubt. After a quick detour over an unknown bridge and a trip to Shoppers for supplies we arrived at the main house. It’s a bit creaky and very old, but it has a certain charm. We then all headed out to check out Nina’s place (which is very cute complete with piano), than Tara’s (a bit far from Shaw but more modern with working heat!) We went back to the main house to get Jo’s keys and do some grocery shopping. I suddenly felt extremely ill and puked on the front steps of the house! Yeah Esther! Welcome to Shaw! So I stayed behind and tried to feel better. The house was freezing and I was woozy. When Wendy came back we tried to watch some TV but we have no cable (damn, but probably useful). Wendy and I had fun trying to get a good picture with the bunny ears and watched Family Guy. Dave the caterer came and set up the food. Slowly the house was warming up and becoming quite cozy. Jo, Nina and then Tara arrived and we had out first gourmet meal together. Procsuitto and hearts of palm, rare beef on crostini appetizers, roast pork loin with pear jus, roasted fall veggies and a harvest fruit pie we barely crammed in. If this continues, we shall all be quite fat. It was a great evening just getting to hang out and meet people. Nina’s heat was not working, poor thing, and she just played the piano in her “salon” for heat. Marjorie Chan and Ruth Madoc-Jones were to arrive at around 10:30pm, but were denied access to the bus twice, even though they had tickets. People going to NYC had priority. So they decided to try the morning bus.

Monday, November 26, 2007

In the morning Wendy went to pick up Ruth at the bus station but no Marjorie as she had slept in. At 10am we meet at the Stage door and had a quick tour with Jerry. Wendy had to leave and get Marjorie in Toronto as she was denied access AGAIN, due to lack of receipts?!!! Marjorie was livid with the lack of customer service and rightly so!

At Shaw we had our laptops set up for wireless and then we all parted ways. I have a lot of reading to do for Jovanni. I am helping him to do research for his new play about food and where it comes from. Plus, I will be a sounding board for his ideas- he likened me to a psychiatrist, without offering advice. It is such early days he just wants to get the ideas to the page I think.

Shaw green room is the only place most of us have access to internet unfortunately (except Marjorie and Ruth who have somehow lucked out with free Wi-Fi!) and I hate lugging this laptop around.

Did a quick peek into some shops and found a nice variety of British food stuff. There is also tons of touristy stuff to look at. Perhaps I can get some Christmas shopping done!

Everyone arrived at the main house at 6:30pm a little soggy from a downpour. We had lovely bruschetta in the living room caught up on things. Moved into the dining room and feasted on Asian coleslaw, sea bass and stir fried veggies. It was delicious. We had fun scaring Nina about our ghost stories and started a wonderful conversation on the “Canadian” theatre model and is it outdated? Is there distinctly “Canadian Theatre?” I say yes to both points. We moved to amazing chocolate mousse and then into the living room, where we talked about TnT, the Rockettes and all sorts of silliness. It was a really lovely evening and everyone left quite full and in good spirits.

Tuesday, November 27

I had a rough night sleeping due to spooking myself out about this very old house. I finally gave up around 9am and got up. Enjoyed my new Greaves jams and finished reading one book for Jo. I went out for a walk to enjoy the cold sunshine and see the sights. Niagara-on-the-Lake is beautiful! The houses that back onto the lake are truly picturesque. Meeting with Jo cancelled. He was out for a walk and I think he was in a good place and wanted to roll with it. Went to theatre to do some photocopying of readings for Jo and check emails. Talked with Nina about theatre, women and children. It was a very touching conversation and has convinced me that women are still dealing with a lot of prejudices in this industry- and not just from male counterparts. Women have made great progress but there is still a long way to go to achieve equality. I went back home to do more reading. I am starting to feel the need to get out and create my work anyway I can. I am surrounded by these amazing artists and feel inspired to start creating something!

Dinner was lovely again even though we were down one as Nina has left for a few days. Chicken Cacciatore, which David insisted was curry, an eggplant Parmigiano, couscous, and pecan pie. It was a funny evening as we discussed crazy TV shows, but Marjorie’s “Meerkat Mansion” won hands down for the most ridiculous yet sublime. You could tell writing mode had kicked in for everyone as most people headed out early to get back to work. Tara seemed to be in “the zone” and said she feels pressure as she is now very close to the family of the subject she is writing. She feels obligated to them to do a good job. Ruth stayed for the finale of “Dancing with the Stars,” or tried to, but it was so dragged out and was OTT, that she decided to go home after an hour. We had fun though dreaming of swirling skirts.

Wednesday, November 28

Had another rough night trying to sleep. I think it is the absolute silence that is scaring me. It seems “heavy” with history and I am freaking myself out with mind games.

Finished the third book and went to Shaw to photocopy it all for Jovanni. We meet up there and went to the Prince of Wales Hotel for afternoon tea. It was delightful and decadent considering how well we have been eating. We talked about my notes and then talked about food for 2 hours! I went back to Jovanni’s and picked up more books(!) and then back to Shaw where I caught up on emails. Back at the house I decided enough of food and read an old script of Madness in the Square. I am looking very forward to hearing a reading!

Dave arrived with the food and stayed for a drink. He is a very interesting man…More talk about food and Las Vegas. We talked about The Drawer Boy, and how Michael Healy stepped in for the free show. We were all disappointed to have missed a special moment of what is sure to be Canadian Theatre history. When he left we moved to dining room and had veggie lasagna with Caesar salad. Just the right proportions this time! Talk turned to sports and Jo seemed quite glad to some more “manly” conversation. We also discussed Ruth’s time working the night shift with stolen buses and Marjorie’s days at Madison Square Gardens and the ACC. For dessert we stayed in the dining room and had baked apples with nuts and raisins that I simply had no room for.

Sunday, December 2, 2007

I’m back from Toronto! Lots of snow made life a little difficult but finally made it. Met Michael Rubenfeld, Tara’s boyfriend who is really nice and adds a new energy to the group. Leanne, Jovanni’s wife, and Richard and Eponine were also part of the group. I think everyone was really excited our scheduled field trip and a break from the writing. Marjorie, however, decided to keep working. Nina as well wanted to continue to write but Shaw was closed so she decided to join us.

We started off to Chateau des Charmes winery with Nina and family following behind in their car. The place is a bit more secluded than the other wineries and housed in a very big stone mansion. The tour was informative and fun. We had lots of fun sampling different Rieslings and bought quite a few bottles. I think everyone was slightly buzzed from the wine and it was nice not be talking “shop.” After a few circles (basically Jovanni thinking he was going the wrong way but not) on the road we made our way to the chocolate place. Not really a factory or a tour but they talked a little about how they coat everything and anything in chocolate and offered us alot of samples. We were all quite high on sugar after awhile. We made our way back to town and everyone took a little siesta. Back for dinner which seemed a little quiet. Leanne was sick unfortunately, and Wendy went off to pick up Michaela, so there were less people. I’m sure everyone also had had a sugar crash. Eponine as always was our main entertainment. How can someone be so cute??!! She and Michael have a new show they want to take on the road called “Eponine and the Jewish Actor.” Michael and Tara waited for Michaela’s arrival and we watched TV. When Wendy returned with Michaela we all sat around and watched Desperate Housewives.

I really envy everyone’s close working relationships. They all seem to be quite comfortable with each other’s process.

Monday, December 03, 2007

Today is grey and windy! That makes only one day of sun here, but it is a lot warmer than Toronto.

Lots of problems with the internet at Shaw, so after running some errands with Wendy, most importantly picking up booze for the next week (and armed with my new wine knowledge), I have settled at the Irish Harp, enjoying Guinness in front of the fire. I have learned that Jovanni is a bit frustrated with his progress. I have recommended scotch and the fireplace. He has said though, he works better under pressure, so with 2 days till a public reading he should be quite prolific the next little while!

Dinner was quite nice with lots of people. Everyone seems to have made progress with their pieces and seemed to be happy with where they are. Ruth and Marjorie are busy preparing for the arrival of actors tomorrow and Tara and Michaela were in the rehearsal room today.

We had black bean chicken, egg foo young and vegetable fried rice. It was all very tasty, although not quite Chinese. The best though was the apricot bread pudding. A bit soggy for some, but how can you go wrong with milk soaked sweet bread? Yum-yum

Most people went early as there is a lot to prepare for; I waited for the actors to arrive. Nina decided to spend the night, to stave off the cold and haunted spirits. The actors arrived safely and in good spirits. They had lots of questions and a great energy. I can see the next couple of days will be lots of fun and good for the playwrights to get out of their heads and see their work come to life.

Tuesday, December 04, 2007

There seems to be excitement in the air. By the time I reached Shaw I ran into Jovanni who seemed to have made some progress. He was in the library and decided to do away with video and to keep things very simple. He seemed a little less stressed then yesterday. Down in the green room I met Michael who was on his computer. The Madness of the Square people were about to do lunch they seemed to be quite happy and excited to be here. Marjorie and Ruth also seemed energized having actors to work with. Wendy was running around doing a gazillion little things for tomorrow. We also discussed the set-up for the green room. Tara, Michaela and their sound designer Andy Moro, who just came up for the day came into the green room for lunch as well and they too also seemed in good spirits.

After lunch and lots of photocopying for me, I snuck into the rehearsal rooms to take some pictures with the digital camera that hates me. Marjorie and Ruth were doing table work with everyone, discussing the events of the play. Tara, Michaela and Andy were doing the same talking more about structure I think.

Nina was back in the green room working away. She seems to be on a roll right now and enjoying herself.

Later Wendy had to take Andy to the train station so I set up for the big dinner. John Ng came over quite early so we sat around and chatted.

Soon everyone arrived and it seemed a little like a family reunion, it was a very full house! There was a spinach dip for appetizers which disappeared quickly. For dinner we had pork in a vindaloo sauce, rice, cucumber salad, an amazing mango chutney and coconut rice pudding. It was pretty tasty! Most people were in the living room, but myself, Marjorie, Keira, Jovanni and later Ruth sat in the dining room and discussed Keira’s new job at Stratford. The topic moved on to the model of new playwriting. Marjorie, though used to the model, feels perhaps having a workshop with actors for only one day and then doing a public read may not be the most effective thing for a playwright. Having more time with actors, for example to work through the text and then read each scene, would be more beneficial as opposed to her just trying to fix things in time for the public. Keira mentioned how at Stratford they are working to develop a better model and how they were defining exactly what a reading, workshop, and commissions are. They also discussed how to get the audience more involved in new play development. Keira mentioned the Raw Raw festival at CanStage being a useful model for her and how she enjoyed it.

Overall, there was lots of good conversation, fun, laughter and satiated theatre artists by the end of the evening. Most of the writers went home early, while the actors stayed around a little longer and chatted. I don’t think they could actually move. There was a real sense of community and anticipation in the air.

Wednesday, December 5, 2007

The big day went off very smoothly with the exception of some bad traffic for our poor Toronto counterparts. I was in rehearsal with the Madness of the Square cast most of the day, as I was reading stage directions. I don’t mind reading stage directions as it is pretty important for a reading and as Ruth said, a bad reading of stage directions could ruin things. Maybe she was just trying to make me feel useful! It was unfortunate that we did not have more time. After lunch, we only had an hour and a half which we basically used just to get through the stage directions. I think it would have been much more useful to the actors and Ruth if they could have gotten another reading of each scene in. Which goes to what Marjorie said yesterday about this model of play development. And why is it, for all the money in the world and beautiful facilities are rehearsal rooms still freezing cold?

Either way, the reading went quite well. We had some Shaw membership people who I saw during the reading and they seemed very enthralled. We did have to postpone the start for about 20mins waiting for the Toronto people. They still had not made it by the time we started however, and they sheepishly snuck in about half way through. Traffic!! Hamilton!! Argh!!

We moved into the green room afterwards for appetizers and drinks. After many kudos and congratulations, most of the Shaw people left except Jerry and Joanna. We also had Ann-Marie from Magnetic North, Andy McKim and Marc Bendavid. There of course were the Cahoots office crew and all the actors. It was great. The food was really delicious. It was a Thai theme with green curry, pad thai and stir fry, and I was very impressed, although David once again was a little weird. He seems to have a vendetta against vegans…Dessert was flambé bananas in the sweetest sauce I have every tasted.

Jovanni got up and read his work on “Taste of Empire.” I think he used his model from the Dim-Sum festival but it was much more researched and fleshed out. It was very funny and engaging. We all really enjoyed it, especially the part were he postulated what if the east had taken over the world as opposed to the west. As the crowd was 90% Asian, it went down well. It took forever to move people out as they were having a great time, Tara recommended going to The Irish Harp for post drinks which I valiantly tried to get people to do. We finally just left as the Cahoots crew ended up having a bit of a meeting. At the Irish Harp we just sat around recovering from the long day and once again full bellies. It’s not done yet though. I am looking really forward to Quilchena….

Thursday, December 6, 2007

Today seemed so much relaxed since the big showing was over. After lazing about I went to Shaw to return some books I had taken from their library. I read some shorts by Shaw and found a few that I really like and am considering for Summerworks or Fringe. I sat in on a little of the rehearsals for Quilchena. I marvel at Michaela and Tara’s abilities and obvious connection as artists. Tara is very soft spoken but very clear and precise with her direction. Michaela just has amazing instincts. I really cannot wait to hear this piece! Jovanni was just observing. I am starting to realize dramaturgy is really whatever you can offer to the writer to help out and I think everyone works differently. Andy joined later in the afternoon and was just in rehearsal doing his own thing, asking or showing things to Tara as he went along (or so it seemed). They all seemed so very comfortable with each other. I think having your designer in there as much as possible is a great idea. They all seemed to be in synch with each other.

At 3:30pm everyone else met up in the green room for our American shopping trip. Flannery, Ruth, Marjorie, Jovanni, Wendy and myself piled into the minivan while Nina and family led the way in their car. At the border, there was no line-up. We waited maybe 5 mins. Jovanni moved one stop sign too close to Richard’s car however, and the border guard went a bit nuts. He started screaming at us to move back. Richard said he had his hand on his firearm! It was a little scary and we were a bit terrified as we pulled up to him. He asked us lots of questions but we made it through. Sheesh! Power-trip…Richard who was in front of us, said when the guard starting yelling the look on Jovanni’s face was priceless. He had trouble not laughing. Luckily, with the ever adorable Eponine in the back of their car, the guard calmed down.

We hit the outlet mall very shortly after. We entered the monstrosity tentatively. Richard and Nina wasted no time getting to business. The rest of us had a snack at Wimpy’s Burgers. Then we all headed off in different directions. It was quite large but I bumped into random people at different intervals. I was not too impressed with stores or the prices. Except at the Umbra store which had insane doorcrashers and deals. I had given everyone permission to hit me if I tried to buy shoes. Luckily violence was not necessary as I avoided the shoes stores at all costs.

After an hour and half I went back to the meeting place. It took forever to get everyone back- at least an hour as people went off again to shop. I ended up getting my ass kicked on Jovanni’s new travel scrabble board. He is a serious player, and well, my first word was “one.” You can imagine how fast downhill it went from there. Everyone got some good stuff without spending too much money. Marjorie won the prize for most spent, but only cuz she bought a gorgeous new leather bag.

Next on the list was to find a bar with good buffalo wings. We got directions from this store called “Lids” on this great bar called Judy’s. Turns out the bar was ACROSS the street from the mall yet we went about 15 mins out until Richard stopped and asked someone for directions. Sigh!

The bar was quite the experience. When we walked in EVERYONE there just stared at us. Evidently, a large group of Asian people is a rarity. We settled near the back and ordered a great deal of unhealthy bar food. It was pretty tasty, in that not healthy way. One couple walked into the bar from the back and I could see this gentlemen just staring at us. He came back a few minutes later and said “WOW, you never see this many Asians here! Where are you guys from. I mean your heritages?” We were a bit flabbergasted as this is the second time on this trip someone has asked us this. We tried to be polite but no one was really saying anything. He finally left, I think a bit miffed at us but oh well!! We enjoyed clogging our arteries immensely and it was ridiculously cheap. When we walked out, it was unbelievable how everyone stared HARD at us. There were more people at that time, and it was like we were aliens. I shake my head…

The border crossing back was easy, although Nina and Richard had a little duty to pay. We took the scenic way back from Niagara Falls and it was stunning, with giant old houses and huge trees lining the way. It was a great day. I had a sense of family.

SAMPRADAYA and Lata Pada present Mythili Prakash in a Bharatanatyam Solo

2007-10-03T12:13:00.000-04:00

We are delighted to present Mythili Prakash in a stunning solo performance of bharatanatyam in “Stree Katha”. This riveting work, accompanied by four invited musicians from India, explores the untold stories of the three tragic stories of the Ramayana: Keikeyi, Shurpanaka and Sita... We invite you to discover the roles of these significant women from the Ramayana and their link to contemporary society, from an artistic perspective.

Mythili Prakash, whose dance has been described by India’s leading dance critic, Leela Venkataraman as "Simply Sparkling…a Bharatanatyam delight…

“…it was the dancer’s inner fire that spoke. The strikingly bold stances…after electrifying movement, the chiseled beauty of the araimandi and toe-heel kudittu-metta, all executed with such joy and passion sprang from the obvious fountain of youth and agility. But what of the interpretive skill where Mythili’s capacity for internalization carried everyone on a magic carpet, the entire space charged with emotion”

Date and Time: Sunday October 14, 2007 at 4 pm.
Venue: Meadowvale Theatre, 6315 Montevideo Road, Mississauga, ON
Tickets prices: Adults $25, Students & Seniors $15

Call (905) 607 8454 for tickets and information.

Just Theatre Tour Coordinator

2007-09-17T12:51:00.000-04:00

CONTRACT OPPORTUNITY

Position: Just Theatre Tour Coordinator
Organization: Ontario Council for International Cooperation
http://www.ocic.on.ca

Position Type: Contract
Date posted: September 11, 2007
Duration: October 2007 - March 2008
Deadline: September 21, 2007 - 12 noon
Location: Toronto, ON

Background:

The Ontario Council for International Cooperation (OCIC)
is a coalition of Ontario-based voluntary organizations
committed to achieving global development in a peaceful
and healthy environment, with social justice, human dignity
and participation for all.

Reporting to the Executive Director, the Just Theatre Tour
Coordinator will be responsible for helping to develop,
undertake and evaluate all aspects of a pilot school-focused
theatre project, to be launched in January 2008.

The ideal candidate will be a dynamic organizer with
proven experience facilitating projects with diverse
stakeholders. S/he will have creative ideas, strong
communication skills, and knowledge of international
development issues. As a key member of a small staff
team, s/he must be able to work independently on a variety
of tasks, and to motivate others to participate.

Responsibilities:

* Further developing a database of and relationships with
educators, school boards, teachers federations and the
Ontario Ministry of Education to promote the tour and
other global education resources and opportunities;
* Liaising with key stakeholders (above) and serving as the
primary contact person with the actors/theatre company
throughout planning, implementation and evaluation of the
project;
* Creating appropriate communications materials and
website content to promote the tour;
* Assisting in the development of a workshop to follow
the play;
* Promoting and booking the tour to schools;
* Implementing a media/outreach strategy;
* Assisting with the development of the tour schedule and
overseeing tour logistics (such as renting vehicles and
booking hotel rooms, where necessary);
* Driving equipment, props, actors and other materials to
schools, on time, throughout the tour;
* Introducing the play and representing OCIC at schools;
* Facilitating the workshop with students and teachers in
schools, where requested;
* Documenting best practices/lessons learned;
* Assisting with follow-up activities, such as synthesis of
evaluations, preparation of financial and final report items;
* Responding to tour-related and general telephone, email
and fax inquiries, as assigned;
* Providing support to OCIC public engagement activities,
including the OCIC Global Citizens Forum (October), the
Kaleidoscope Real World Video Challenge (from October)
and International Development Week (February), as
assigned.

Desired Experience, Skills and Qualifications:

* Valid drivers license, excellent driving skills and comfort
driving a van loaded with equipment and actors;
* Knowledge of international development issues
(especially child labour, fair trade and global citizenship);
* Minimum of 2 years experience working with
international development organizations;
* Demonstrated group facilitation and public presentation
skills;
* Demonstrated experience in public
awareness/engagement with youth;
* Demonstrated experience coordinating activities and
events;
* Knowledge of global education resources;
* Ability to build relationships and work as a team player
with diverse stakeholders;
* Interpersonal and cross-cultural communication
strengths;
* Detail-oriented with ability to organize work, set
priorities, meet deadlines, monitor progress towards goals
and track information;
* Excellent computer skills (MS Word, Excel, internet, e-
mail);
* Enthusiastic and creative;
* Bilingual (English & French) an asset;
* Knowledge of GTA-area schools and experience driving
in the GTA an asset.

Salary: $15.00 per hour / 28 hours per week

To Apply:

Interested applicants must submit a cover letter, resume, the
names of two references and a writing sample of no more
than one page (such as a press release of an upcoming
theatre tour, or an invitation to participate in a project)
to info dontspaam ocic.on.ca* by 12 noon, Friday, September 21, 2007.

Please note Just Theatre Tour Coordinator in the subject
line.

Interviews will be conducted October 4th or 5th. The Just
Theatre Tour Coordinator position will ideally commence
immediately thereafter.

OCIC is an equal opportunity employer and is committed
to hiring individuals who reflect the diversity of Canadian
communities. As such, we strongly encourage First Nations
people and people of colour to apply and self-identify in
their cover letter. While OCIC appreciates the efforts of all
applicants, only those selected for an interview will be
contacted.

*Note: e-mail addresses above (if any) have been masked to reduce spam.
To form the correct address, rejoin the two blue portions, separated with @

Date posted to GoodWorkCanada.ca: Sep 12 2007

Disclaimer: GoodWork/People & Planet does not verify the accuracy of the above information. We also do not screen, approve or endorse the organizations or individuals involved. It is the responsibility of the reader to confirm important details and assume all risks. Please take suitable precautions before and during employment, a contract or any other arrangement.

Canada Can and Should Do More

2007-09-06T15:49:00.000-04:00

Embassy, September 5th, 2007
NEWS STORY

Advocates Urge Canada to Get Active on Burma

Instead of China-Burma relations, conference-goers last week discussed Canada's role in the Asian nation, calling on the Harper government to back up its talk of change with actions.

By Lee Berthiaume

Burmese political leaders and pro-democracy advocates said Canada can and should do more to help spearhead change within the military junta-ruled country by pushing for dialogue along the lines of North Korea's six-party talks and establishing a country-specific aid program at CIDA.

The leaders and advocates were in Ottawa for a two-day conference, the first of its kind in Canada, to discuss the role China is playing in the Southeast Asian country that is also known as Myanmar. However, much of the dialogue instead focussed on Canada's role.

The meeting came the same week the junta staged a brutal crackdown on protestors who were upset over a fivefold increase in fuel prices. Government forces are reported to have beaten up the demonstrators, jailed 41 of them, and hired thugs to break up any new protests.

Conference participants, including officials from the National League for Democracy-Liberated Areas (NLD-LA), a political party that operates in the Thai-Burma border areas and abroad, and exiled Burmese activists, drafted a declaration that called "on Canada, ASEAN, the European Union, the United States of America, Russia and Burma's neighbors, to convene a multi-party talk similar to Six-party Talks on North Korea, to facilitate reforms and a transition."

They also called on Canada and the international community to "urgently address the deteriorating political, economic and humanitarian situation in Burma," and on Canada itself to find an effective way to support the empowerment of civil society and democratic development in Burma."

In a presentation on Aug. 30 to those assembled, Conservative Deputy House Leader Scott Reid said the Canadian government remains committed to pressuring the military junta to release political prisoners, halt human rights violations and embrace democracy.

"Under Prime Minister Stephen Harper's leadership, the government of Canada remains firmly committed to promoting democratic reform," Mr. Reid said.

Since the Burmese military took control in 1988, Canada has imposed sanctions on the country, implemented visa bans on senior military officials, and repeatedly voiced its concerns over the junta's poor human rights record and draconian measures to clamp down on pro-democracy efforts.

Mr. Reid highlighted the sanctions and bans Canada has placed on the junta's leaders, and said the government believes the international community must work together to address the situation.

"Canada actively encourages other nations, particularly Burma's immediate neighbours, to press Burma's rulers to take concrete steps towards genuine political dialogue with the opposition," Mr. Reid said, adding Foreign Affairs Minister Maxime Bernier "is a strong supporter of an uncompromising stance on the Burma issue."

"It's only through the kind of principle shown by Prime Minister Harper and Foreign Minister Bernier that we can expect the international community to successfully pressure the regime in Burma to make real changes."

Canada 'Well-Positioned' as Mediator

Tin Maung Htoo, executive director of the Canadian Friends of Burma, which organized the conference, welcomed Mr. Reid's comments, but said statements are not enough.

"I sincerely hope the government of Canada will be more proactive, especially under Prime Minister Stephen Harper's leadership," he said. "Issuing statements and condemning those atrocities and crackdowns on peaceful demonstration is encouraging for people inside Burma. At the same time, we should show something tangible for support of these people."

Harn Yawnghwe is the son of Sao Shwe Thaik, who was the first elected president of Burma when it became a republic in 1948. Mr. Thaik died in prison in 1962 following a coup, and Mr. Yawnghwe has since moved to Canada where he has worked as an advocate for democracy in Burma.

"As Canadians, we are too modest," Mr. Yawnghwe told participants on Aug. 30. "We say we are too small a country, that we can't do anything."

However, Mr. Yawnghwe said Canada is well positioned to facilitate talks between the military junta and its neighbours to resolve the situation. The idea of such talks is not new, and has been forwarded by such people as Michael Green, a former advisor to U.S. President George W. Bush.

The situation in Burma represents a security threat to the region, advocates said, adding that it appears China is opening its eyes to the need for a resolution in the country to ensure instability doesn't spill over into its borders.

Earlier this year, China hosted a secret meeting between a key U.S. diplomat and junta officials in Beijing, which the advocates took as a sign of China's willingness to play a constructive role in Burma.

If India, Bangladesh and key members of the Association of Southeast Asian Nations–of which Burma is a member, can be brought on side, as well as the United States, a political resolution is possible, Mr. Yawnghwe said.

Mr. Yawnghwe acknowledged that Canada has placed sanctions on Burma–though at least one Canadian mining company continues to operate in the country, supplying much-needed cash to the junta–but real sanctions through the United Nations aren't possible because Security Council approval hasn't come to pass.

"So you have to take another angle," he said in an interview. "We've [proposed talks] several times, but no one has wanted to take it on."

It would take political capital to kick-start such talks, Mr. Yawnghwe said, but the potential for success is there, and Canada could "become a leader on the world stage again."

Special Aid Program Urged

Those comments were echoed by Nyo Ohn Myint, head of the NLD-LA's foreign affairs committee and a former aid to detained Burmese leader Aung San Suu Kyi.

"We'd be very happy if Canada mediates the situation," Mr. Myint said.

Mr. Myint said Canada is well suited to persuade the military junta, Burma's neighbours, including China, and other groups to hold talks to resolve the ongoing problems plaguing the country. The United States, he said, is not well regarded by the junta, and Scandinavian countries like Norway, which has championed talks in Sri Lanka, have openly supported the opposition.

Participants also called on the Canadian government to establish a specific aid program to Burma. The country is noticeably absent from CIDA's long list of development partners, and Mr. Yawnghwe said this is the result of the Burmese pro-democracy movements own success.

"We lobbied in 1988 for it to be cut off," he said.

The two men said CIDA does run some humanitarian projects along the borders, specifically where refugees are living in Thailand and Bangladesh, but that money is often scraped together from other places or regional funds and there is no dedicated funding.

A Department of Foreign Affairs and International Trade document available online notes that "Burma-based projects are limited and are only supported when they meet the requirements set out by [Ms. Suu Kyi] that assistance be accountable, transparent, and reach the intended recipients."

Mr. Myint said Canada needs to spend more on long-term projects like strengthening civil society, and improving education and health systems.

He acknowledged there is a great deal of controversy surrounding all aid to Burma. Some believe donor countries should only fund projects in the borderlands, while others say money for civil society groups toiling in the country are also needed.

Both men felt any and all aid, as long as it didn't go directly to the junta, makes a difference.

"Helping refugees, applying diplomatic pressure, that's really needed and really appreciated," Mr. Myint said. "But we need more concrete moves from Western countries."

Makhampom Theatre Laboratory

2007-09-06T15:26:00.000-04:00

This is a fantastic theatre organization in Thailand. I was able to work with them briefly in Chiang Dao -- they do great professional work in Bangkok, as well as work in hilltribe communities and Burmese refugee camps... Wonderful people.

-ulla

Makhampom Theatre Laboratory

a 14-day intensive theatre laboratory training in Thai theatre and intercultural performance

October 22 – November 4, 2007

Likay – Thailand’s traditional popular folk theatre (4 days)

* Vocal forms * Verse composition * Character types

* Movement and gesture standards * Clowning * Improvisational aspects

Intercultural Theatre (4 days)

* “Let the Body Talk” (movement-based text) * Image theatre

* Ensemble movement and sound improvisation

* Environmental theatre * Multi-lingual dramaturgy

Theatre Devising (3 days)

* Thematics and performance research process * Group devised scenario making

* Simultaneous dramaturgy

Performance at the Bangkok Theatre Festival

* Travel to Bangkok and perform at the opening weekend of the festival

At the Makhampom Living Theatre

Ban Dong village, Chiang Dao town, 75 km north of Chiang Mai, in northern Thailand

and the Bangkok Theatre Festival, Bangkok

Who Should Come?

* Performers, actors, directors, dramaturges, dancers, anyone with performance experience and an interest in ensemble performance, inter-cultural theatre, and Thai or Asian theatre.

* There are a minimum 5 and maximum 10 places available for international participants, with another 10 places allocated for Thai participants.

For enquiries/registration:

Email inter@makhampom.net or makhampom2@hotmail.com

Fax + 66 2 6168474

Price AUD $1,750 (conc. $1,500) (does not include flights)

For further information about the programs, and our internationally renowned trainers, Pradit (‘Tua’) Prasartthong, Pongjit (‘Jon’) Saphakhun, and Richard Barber, please visit

www.makhampom.net

The PTC Colony on Granville Island

2007-08-20T11:52:00.001-04:00

CALL FOR SUBMISSIONS

The PTC Colony on Granville Island

November 16-26, 2007

The PTC Colony is an annual play development intensive operated by Playwrights Theatre Centre in Vancouver, BC, open to professional Canadian playwrights. The 2006 Colony included Jason Bryden's The Dissemblers, slated for production by Touchstone Theatre in 2008, and Trina Davies'Waxworks, winner of the 41^st Annual Alberta Playwriting Competition. Entering its second year, the Colony will provide a group of five playwrights-in-residence with a dedicated creative context, dramaturgical resources and a company of actors to read their work at intervals throughout the seven day colony. The focus is on the individual development of each playwright's work as well as the creation of a unique supportive and productive community of playwrights, directors, dramaturgs and actors. Playwright/novelist Don Hannah ( Ragged Islands) joins PTC Executive Director Martin Kinch and Associate Dramaturg Heidi Taylor as Colony dramaturgs. Participating playwrights must be available for full-time residency during the Colony and will receive accommodation, a meal allowance and, where necessary, travel to and from Vancouver. See below for application guidelines and more information.

Application Guidelines:

Application Deadline: September 5, 2007

Notification Date: September 17, 2007

Applicants must submit:

1) A completed application form along with a cheque or money order payable to Playwrights Theatre Centre to cover the application fee:
$25 for PTC Members / $50 for Non-Members.
Please note: The $50 application fee for non-members includes a year-long PTC Membership.

2) A copy of the current draft of the play you propose to work on during the colony. Copies must be unbound on 8 1/2" x 11" paper. Times or Courier 12-point font is preferred. Bound, three-hole punched or stapled scripts cannot be accepted.
Please note: Submissions by e-mail or fax will NOT be accepted. Hard copies only.

3) A letter outlining the developmental history of the play and what specific elements the playwright intends to focus on and develop through the colony.

4) A playwright's resume.

The successful plays will be selected based on recommendations from an advisory committee made up of Playwrights Theatre Centre artistic staff and Canadian theatre professionals.

Submit completed applications to:

PTC Colony on Granville Island
Playwrights Theatre Centre
#201 – 1398 Cartwright Street
Vancouver, BC V6H 3R8

DEADLINE FOR RECEIPT OF APPLICATION PACKAGES:

Wednesday, September 5, 2006, 5:00 PM,
Please allow enough time for your submission to reach the PTC office by the deadline. We will not accept applications submitted via e-mail.
For more information, contact Heidi Taylor at 604-685-6228 or heidi@playwrightstheatre.com.

The 30th Rhubarb Festival

2007-08-20T11:40:00.000-04:00

Buddies in Bad Times Theatre announces a call for submissions for

THE 30^th RHUBARB FESTIVAL

February 20 – March 2, 2008

Festival Director Erika Hennebury

RISK RIOT REJUVINATION

Buddies is seeking submissions for the 30^thincarnation of the country’s oldest new works fest. Curated by Buddies’ Associate Producer, Erika Hennebury, Rhubarb is an annual festival of new, original, innovative contemporary performance.

DEADLINE: 5pm, Fri, Sept 14, 2007

SUBMISSION GUIDELINES

Rhubarb is a partially curated, but primarily submission-driven festival. Submissions are reviewed by a selection committee composed of Erika Hennebury, Festival Director, David Oiye, Artistic Director, Jim LeFrancois, Producer and Associate Artists Ed Roy and Moynan King. Criteria for this year’s festival are strongly in the realm of experimental, devised, innovative contemporary performance. Although script-based submissions will be accepted, Buddies strongly encourages submissions which are more experimental in nature. Rhubarb seeks submissions from contemporary theatre, conceptual dance, performance art, new media, installation art and welcomes new hybrids of live performance as well as cross-disciplinary experiments and collaborations.

THE 2008 RHUBARB FESTIVAL STAGES

The 2008 Rhubarb Festival seeks proposals for the following stages:

The Cabaret: performances up to 25 minutes in length, for a fixed, raised proscenium stage

The Chamber: performances up to 25 minutes in length, for the Buddies Mainspace

The Mini-Stage: 1-5 minute performances or installations for a small audience in a

*small space

The Solo-Stage: 1-2 minute performances or installations for a single audience member, in a *very small space

Environmental & Late-Night: happenings, interactive installations and other ancillary performances and 5-minute late-night Cabaret performances

* for venue specifications or further clarification, contact Erika Hennebury

Submissions may include (but are not limited to):

Short plays, collective creations, conceptual dance, performance art, new media, installation art, opera, music theatre, new hybrids of live performance as well as cross-disciplinary experiments and collaborations.

Submissions must include:

∙ a copy of the completed application form

∙ a copy of your project description (1 page)

∙ a copy of your script or performance synopsis (25 min max)

∙ a copy of bios for your artistic team

∙ a copy of a brief history of your work or a company history (1 page)

∙ a copy of any support materials

The Deadline:

The deadline for all submissions is:

5:00pm Friday, September 14^th2007

late submissions may not be considered

submissions post-marked up to Sept 14 will be accepted

The Details:

2008 Rhubarb Festival Application is available on our website: www.buddiesinbadtimestheatre.com

Proposed performances may be no longer than 25 minutes in length.

Proposals submitted in a format longer than 25 minutes may not be considered.

Works submitted must be new, never previously produced and original.

Submissions must submitted in hard copy only and must be accompanied by and 2008 Rhubarb Festival Application form (available online).

Please keep a copy of your submission.

Fax or email submissions will not be accepted.

Please mail or drop off submissions to:

Erika Hennebury, Rhubarb! Festival Director

Buddies in Bad Times Theatre

12 Alexander Street, Toronto ON M4Y 1B4

For further information please contact

Erika Hennebury, 416-975-9130 x40

erika@buddiesinbadtimestheatre.com

Canada Denies Visas to Burmese Groups

2007-08-20T11:38:00.000-04:00

By The Irrawaddy

August 17, 2007

Burmese living in Bangladesh, Japan, India and Thailand are facing difficulties obtaining temporary visas to attend a Burmese policy conference in Ottawa, according to the conference organizer.

The Burma policy consultation conference which will be held August 29 to 30 in Ottawa is in jeopardy as many Burmese working on human rights, democracy, labor and women's issues in countries in Asia were invited to attend but might be denied entry to the country.

Around 25 prominent Burmese working to restore democracy in Burma were invited. Two Burmese who are former members of the Communist Party of Burma and who now reside in China were also invited. It is unknown whether they will be allowed to leave China.

The conference organizer told The Irrawaddy that Canadian members of parliament, officials from Foreign Affairs Canada, ambassadors to Canada, representatives of Canadian civil society organizations, representatives from Canadian Burmese communities and pro-democracy organizations in Canada will also attend the conference.

Conference organizers have sent appeal letters to Canadian officials to intervene. So far only two Burmese have been granted visa.

Tin Maung Htoo, the conference organizer and executive director of Canadian Friends of Burma based in Ottawa, told The Irrawaddy that Canada’s visa application process is extremely inflexible and difficult.

The process is "unreasonably stringent for some applicants, in this case Burmese citizens and other citizens we invited," he said. "Even compared to the United States, Australia and European countries."

"This is very unfortunate and an apparent contradiction to what Canada proudly claims to be strong support of the Burmese democratic movement.”

Canadian aid organizations such as Canada Fund and the Canadian International Development Agency support Burmese refugees and Burmese groups along the Thai-Burmese border.

Last year, Dr Cynthia Maung, a Karen doctor who has won international humanitarian awards and was featured as an "Asia Hero" in Time magazine, was denied a visa at the Canadian embassy in America. Thanks to the intervention of Canada’s immigration minister, she was finally allowed in. Her Mae Tao clinic in Mae Sot receives assistance from CIDA.

According to Tin Maung Htoo, when Burmese applied for visas at Canadian embassies in Asia, a number of impolite incidents occurred.

He said that he sent an appeal letter to Stockwell Day, the minister for public safety in Canada, on August 15.

In the letter obtained by The Irrawaddy, he said: “A number of our guests’ visa applications have been turned down by Canadian embassies in Thailand, Japan and Bangladesh. Such decisions made by immigration officers in Bangkok, Dhaka and Tokyo are in contradiction to the Government of Canada's stance in support of the Burmese democratic movement since 1988. Immigration officers do not seem to understand the complexity of the ongoing people’s struggle in Burma, as well as Canada’s staunch support.”

Similar appeals and requests for intervention were also sent to Diane Finley, Canada’s minister for immigration and citizenship.

According to senior members of CFOB and Burmese who were not granted visas in the past, Canadian immigration officials have stated that visas could not be issued to an individual who lived in another country without lawful permission. It is considered too high of a risk for Canada to issue visas to such applicants.

Tin Maung Htoo’s said the incident has offended the applicants. He said the CFOB repeatedly assured the embassies that the applicants' expenses and return tickets were taken care of, but the embassy staffs did not take the assurances seriously.

A CFOB member said Canadian immigration officials are concerned that Burmese who visit Canada will overstay in the country and won’t return to Burma or the countries where they are currently living.

A Burmese activist who lives in Mae Sot said he did not want to complain about the visa restrictions. However, he felt that his rights were violated.

“They (immigration officers) were not satisfied with many things, including my financial status and my travel history and background," he said.

In a related issue, an international women's conference scheduled to meet in September in Montreal has invited Burmese and Karen women to attend. They are also having problems obtaining visas.

CAHOOTS WELCOMES TARA BEAGAN AS PLAYWRIGHT-IN-RESIDENCE

2007-08-01T15:28:00.000-04:00

On August 1, Tara Beagan joins Cahoots Theatre Projects as its Playwright-in-Residence for the 2007/2008 season.

Tara is an accomplished actor and playwright. Her first play, Thy Neighbour's Wife, was nominated for three Dora Mavor Moore Awards, winning one for Outstanding New Play. Her second play, Dreary and Izzy was produced by Native Earth Performing Arts in 2005. She was part of Tarragon Theatre Playwright's Unit 2006, as well as Nightwood Theatre's Groundswell Festival 2006. She has begun work on a new collective at the Centre for Indigenous Theatre where she will be playwright-in-residence for the 2008/09 season. Much of her writing strives to bridge the two worlds she inhabits culturally—Thompson River Salish and Irish Canadian.

With Cahoots, Tara will be developing her play Quilchena which is based on harrowing, real-life events that took place in the B.C. Interior in 1978. In the Nicola Valley, Monica Jack went missing thirteen days shy of her thirteenth birthday. In Quilchena, Tara writes of a community mourning Monica as they imagine her into adulthood. Seventeen years later, Monica returns to her people as they sleep, to bid them goodbye.

Tara joins a list of distinguished writers who have worked with Cahoots over its twenty-year history. Playwrights such as Marjorie Chan, Rahul Varma, Daniel David Moses, Betty Quan, Florence Gibson, and Guillermo Verdecchia have all had works developed or produced by Cahoots. Cahoots is committed to nurturing artists and plays that reflect the rich cultural diversity of this country.

“We’ve all been huge fans of Tara’s remarkable voice,” says Cahoots Artistic Director Jovanni Sy. “I am delighted to welcome Tara to the Cahoots family and I look forward to exploring Quilchena with her.”

Cahoots extends its gratitude to the Ontario Arts Council for supporting Tara’s term through its Playwright Residency Grant.

For more information please contact:

Ulla Laidlaw

Communications & Outreach Coordinator

Cahoots Theatre Projects

(416) 203-9000

ulla@cahoots.ca

Carlos Bulosan Theatre Play Creation Unit

2007-07-31T10:48:00.000-04:00

Call for Submissions

Carlos Bulosan Theatre

Play Creation Unit

The Carlos Bulosan Theatre’s (CBT’s) mandate is to reflect on social issues affecting the Filipino and broader community. CBT is also committed to creating innovative work that reflects a vibrant, new generation of Filipino-Canadian artists. CBT seeks to encourage and develop Filipino-Canadian writers, performers, and other artists within the community.

The CBT Play Creation Unit is a novice play creation program. It introduces participants to various approaches to making theatre. Through regular workshops and sessions with professional theatre artists, we help participants identify, cultivate and explore their creative voice. Each member will create a 10-15 minute piece of theatre that will be presented in CBT’s annual showcase of new work Tales from the Flipside at the end of February 2008.

Submission Guidelines:

A letter of interest outlining why you would like to be part of the program, including an idea you would like to develop into a piece of theatre
A 1-2 page submission of creative writing (this can take the form of dialogue, poetry, prose, short story, etc.)

The Play Creation Unit begins meeting September 2007 through to January 2008.

The deadline for submissions is August 3, 2007. Submissions can be sent by email to: info@carlosbulosan.com . Submissions by mail should be sent to: Carlos Bulosan Theatre, 167 Augusta Avenue, Toronto, Ontario, M5T 2L4

rAiz'n Ensemble Program

2007-07-31T10:26:00.000-04:00

AUDITIONS

for

rAiz’n ensemble program

b current

Thursday, August 23, 2007 at 1:00-5:00 pm

Call Back: Saturday, August 25, 2007 1:00 – 4:00 pm

Maria A. Shchuka Library

The rAiz’n ensemble is an established component of the company’s wider rAiz’n the sun training program. Now in its 9^th season, the rAiz’n ensemble program enters a new 3 year-cycle in September 2007, and runs until August of each season. Auditions for entry into the program this season are now open.

During the course of the program, ensemble members will participate in part-time workshop series and classes, customized apprenticeships, mentoring, networking opportunities, peer collaboration, and hands-on work in the company’s productions, including the annual rock.paper.sistahz festival.

The program is for career-oriented individuals with interests in performance, creation, design, writing, directing, and/or producing, who are looking to continue honing their craft and accessing a direct springboard into the work arena.

Facilitators and mentors who work with the rAiz’n ensemble are professional artists, alongside the program lead, b current’s Artistic Director, ahdri zhina mandiela.

Booking a slot in the audition can be made by calling 416-533-1500. For the initial audition on August 23, applicants are required to present any kind of performance piece (2 – 5 minutes) and/ or present a work activities portfolio. Applicants selected for call back will engage in a workshop session on August 25.

For more information, please contact:

Chiaki Nemoto

General Manager, b current

720 Bathurst Street, Suite 402, Toronto, ON M5S 2R4

Tel: 416-533-1500

Fax: 416-533-1560

Cell: 647-839-3332

E-mail: gm@bcurrent.ca

Website: www.bcurrent.ca

ALAMEDA THEATRE COMPANY: An Avenue for Latin Voices

2007-07-21T09:01:00.000-04:00

2007-2008

CALL FOR SUBMISSIONS

1ST ANNUAL

2008 DE COLORES FESTIVAL OF NEW WORKS BY LATIN-CANADIAN PLAYWRIGHTS

Alameda Theatre Company, Canada's premiere professional Latin Canadian theatre company, invites submissions from established and emerging playwrights for our first ever Latin Canadian playwright’s festival: THE 2008 DE COLORES FESTIVAL OF NEW WORKS.

The festival will focus on providing developmental support for works in progress by pairing the chosen playwrights with professional dramaturgs from Toronto’s theatre community. This year’s festival dramaturgs are the award- winning director and playwright Guillermo Verdecchia (Bloom, The Noam Chomsky Lectures, Insomnia, Fronteras Americanas to name a few) and Stephen Colella, Dramaturg at Lorraine Kimsa Theatre for Young People.

Our mandate is to provide opportunities to Latin Canadian theatre artists and playwrights and to build audiences for their work. We envision that Latin American arts and artists will be embraced by a broad Canadian community that is aware of, understands and respects the Latin-American Canadian experience.

Scripts selected for the 2008 De Colores Festival of New Works will receive dramaturgical sessions from January to June 2008, a short workshop and staged reading in June 2008 and will automatically be short-listed for production in our upcoming seasons. Selected playwrights will be contacted by December 2007.

Deadline for submissions: October 15, 2007

GUIDELINES:

1. Scripts must be Canadian, original, un-produced works of 60 to 120 minutes in length.

2. Playwrights must be citizens or landed immigrants of Canada.

3. We will NOT accept more than one submission per playwright.

4. All themes are encouraged. Plays need not have specific Latin American themes or characters, but playwrights must be of Latin American origin, as the goal with this festival is to develop Latin American voices in Canada. (Even if you do not speak any Spanish, if you identify yourself as Latin American, Hispanic, Latino, Spanish or a mix of these, we encourage your submission.)

5. Cast size should preferably be no more than 5 characters.

6. All plays must be in English OR translated into English before the start of the festival.

7. Please include a one-page synopsis with the theme, plot, length of play, character breakdowns and any doubling possibilities.

8. Please also include a title page, with playwright’s name, name of play and contact information.

9. Submissions must be in hard copy only (emails will NOT be accepted), typed or word-processed, one side, loose page and minimum 11-point font on white paper. All pages must be numbered with the title of the play on each page.

10. Please do not submit original copies. If you wish to have your scripts returned, please include a SASE with the correct postage.

Please note:

Playwrights whose scripts are selected are encouraged to attend the festival in June. An honorarium will be provided to writers for the playwright unit and festival, however travel is the responsibility of the artist.

Please submit scripts to:

2008 De Colores Festival of New Works

ALAMEDA THEATRE COMPANY

966A Dundas St. W.

Toronto, Ontario

M6J 1W5

For more information regarding the 2008 De Colores Festival of New Works please email hola@alamedatheatre.com or call (416) 428-7638.

WWW.ALAMEDATHEATRE.COM

Justice for Burma’s Students: 45 Anniversary of July 7th Commemoration

2007-07-06T14:36:00.000-04:00

On March 2^nd, 1962, the dictator Nay Win and his military generals took over power from the elected representatives of Burma. This coup provoked the first well-known vigorous student uprising against the dictatorship.

On July 7th, over 300 courageous student activists were killed as the students’ union building was demolished by dynamites. In addition, over 200 student demonstrators were gunned down inside the Rangoon University campus. Although the massacre occurred 45 years ago, the spirit for justice and democracy has lived on.

Here in Toronto, the Burmese Students’ Democratic Organization - Canada (BSDO) is holding an event to commemorate the 45th anniversary of July 7th massacre.

Special guest speaker - Mehn Robert Ba Zan

Mehn Robert Ba Zan was a 1962 student activist, and has taken a leader of the Karen National Union. He is also a leader of Karen communities in North America, based in Minnesota, working in support of community development and democracy movement for Burma.

There will also be host speakers from Toronto. We will sing revolution songs and play traditional live music with powerful drums. Everyone is welcome.

Time: 7 pm on Saturday, July 7th, 2007
Location: Burmese Python’s Soccer Club
430 St. Clarens Avenue
Toronto, Ontario

Space limited, first come first serve basis
Foods and refreshment provided

Free Admission

Contact information at 416-533-1906

OneLight Theatre Auditions

2007-06-29T09:22:00.000-04:00

OneLight Theatre is auditioning women for its new play, The Veil, which tells the story of Khanoom, a Persian princess who journeys from Iran to Europe and back and experiences 20th century history from a unique vantage point.

There is one part available for a woman between 20 and 30 years old; strong skills in voice and movement are essential. The actor must be available from October 1 to December 10 and must be able to rehearse and perform in Halifax and Toronto.

Please send resume and head shot to:

Attention: Artistic Director, Shahin Sayadi
PO Box 1603
Halifax CRO
B3J 2Y3

Or by email to: shahin@onelighttheatre.com

The Veil is a OneLight Theatre production in association with Mermaid Theatre of Nova Scotia, Neptune Theatre and Harbourfront Centre.

OneLight Theatre contracts artists under the Canadian Theatre Agreement.

2007-05-03T12:36:00.000-04:00

AUDITION NOTICE

2007-05-03T12:35:00.001-04:00

AUDITION NOTICE

A.C.T. Productions is holding auditions for its upcoming production of ‘R&J: Brampton’. The play is set in Brampton, based on the Shakespeare classic; this new adaptation is a comedy that speaks to the cultural differences in modern society. Rehearsals start June 18; performances are in late July at the Rose in Brampton.

Director Peter van Wart and playwrights David Carley & Glenda MacFarlane are seeking a diverse cast.

Audition Date: Friday May 11
Location: Rose Theatre Studio
1 Theatre Lane
Brampton
Times: 10am-2pm
Requirements: Prepare 2 pieces, 1 contemporary, 1 classical
Submissions: Send headshot and resume to:
Robert Woodcock
Brampton Theatre Office
R&J Project
150 Central Park Dr.
Brampton, ON
L6T 2T9
or: robert.woodcock@brampton.ca
Deadline: Friday May 4

My Chop Sockey Love Affair (redux)

2007-04-24T12:56:00.000-04:00

With an upcoming reading of my play THE FIVE VENGEANCES coming up on Sunday May 6, I'd like to republish this blog post which first appeared on the The Red Hut on November 27, 2006:

My love of kung fu movies began in the mid-70s. In the days before DVDs and VCRs, this meant going down to now-defunct Chinatown movie houses like the Pearl, the Shaw, and the Golden Harvest.

As a seven year old, I marvelled at the seemingly superhuman abilities of performers such as Gordon Liu, Ti Lung, Philip Kwok, and, of course, Bruce Lee (already elevated to legendary status just a few years after his death). Thirty years later, I have clear memories of their amazing speed, agility, and precision. I also remember that back then, they were the only people on a movie screen who looked liked me.

The Five Vengeances is my theatrical homage to the heroes of my youth. It is a free adaptation of Thomas Middleton’s The Revenger’s Tragedy now retold in the style of a kung fu movie. The Five Vengeances retains the Jacobean flavour of the original play and adds high-flying kicks and chop-sockey sound effects performed live as our actors fight on-stage.

It should come as no surprise that Jacobean tragedy and kung fu fighting form a harmonious union. First, revenge is a central element in both forms of storytelling. In plays such as The Spanish Tragedy, The Changeling, and The Jew of Malta; and films such as The Five Deadly Venoms, The Crippled Avengers, and The Bride with White Hair, we see recurring themes of vengeance, betrayal, murder, and cruelty.

Also, kung fu cinema lends itself well to stage adaptation because it actually derives from theatrical forms. Chinese opera typically presents great feats of athleticism, acrobatics, and martial arts. Many Hong Kong kung fu stars emerged from the ranks of Peking opera rather than through fighting schools. Legends such as Jackie Chan, Sammo Hung, and Corey Yuen were all disciples of Master Yu Jim Yuen at the Peking Opera School in Hong Kong. Though Bruce Lee studied Wing Chun at an academy, his father was a Cantonese Opera star.

Here’s why I love the conceit of using kung fu conventions on stage: it allows one to present extraordinary people with extrordinary conflicts. In the beginning, all theatre was like this. We wrote about exclusively about gods and heroes and how they warred with other gods and heroes. Centuries later, we figured out that ordinary people could have extraordinary problems and that’s what we wrote about. Fast forward a few more hundred years, and the age of naturalism was born where we wrote about ordinary people with ordinary problems.

With The Five Vengeances, I’ve attempted to return to a mythological world where people can be propelled through the air, bare hands can stop swords, and virtue can defy insurmountable odds to conquer evil. Our heroes and villains all have extraordinary powers and their conflicts are literally life-and-death affairs.

If this adaptation is starting to sound somewhat earnest, rest assured that The Five Vengeances retains what good ol’ Wikipedia calls “the earthy—even obscene—style, irreverent tone, and grotesque subject matter that typifies Middleton’s comedies”.

If you enjoy kung fu movies, Jacobean Tragedy, Grand Guignol, or you basically like your drama over-the-top (like Knots Landing, for example), come and check out Cahoots’ workshop presentation of The Five Vengeances. The details of when and where are below.

It’s got kung fu, it’s got sex, it’s got Englebert Humperdinck. What more could you ask for?

***********************************************************
CrossCurrents Festival 2007 presents a reading of

THE FIVE VENGEANCES

written and directed by Jovanni Sy
dramaturged by Guillermo Verdecchia

featuring: Ella Chan, David Collins, Darrell Dennis, Kevin Hanchard, Michelle Latimer, Paul Sun-Hyung Lee, Richard Lee, Keira Loughran, John Ng, Jordan Pettle, Julian Richings, and Camilla Scott.

Factory Theatre Studio
125 Bathurst Street
PWYC admission

ONE-NIGHT ONLY!!
Sunday May 6 at 8:00 p.m.

WEDA Presents...

2007-04-04T09:56:00.000-04:00

Over two months, a group of 6 Burmese women living in Thailand and I (a Canadian woman) developed a piece of theatre. Each woman had come to Thailand at a different time and for a different purpose, but all were involved in some way with the Burmese organization where I worked. Some were teachers, one a seamstress, one worked in a shop. They all shared being Burmese, and female, in Thailand. It is from these similarities that they developed the trust to explore their differences and unique stories.
We began without a strict agenda. The table was left open for the women to write about what was on their minds, rather than the issues that perhaps I was most interested to learn about. It is always both more truthful and interesting to listen to what people will say when you give them the opportunity to speak on their own rather than to prompt a voice that a speaker does not have a need to express.
The piece was written in part collaboratively, as the shared situation of being a Burmese Woman in Thailand provided a supportive outlet for exploration for the women. Other stories are unique to the individual woman. Some scenes were written on paper, and others were written while being improvised on their feet. The collage of the scenes explore what life is like now for this group of women, and includes the imbedded influence of their pasts in Burma, as well as the interaction of their future hopes with their present lives. The play was performed for office staff and community members.
This play was written with much dedication and hard work, in English. I believe this demonstrates these women’s willingness and immense effort to communicate their stories with a larger audience. There are stories existing in the lives of every person in Burma, and the current situation in Burma makes it nearly impossible for these stories to escape. Some stories do – by illegal border crossings and dangerous passages on the part of those who carry these stories. A smaller percentage of these stories manage a longer life-span, should the carrier have the courage and be in a position to tell their story. As listeners, I believe we must undertake a responsibility at this point to use our voices to carry on this momentum.

--
Examples of some of my favourite scenes are:
1. Police Scene (being caught without identification cards... This scene was done 3 times, with different endings)
2. Drunk Boyfriends
3. Reluctantly Eating Thai Food
4. Demonstrating how to sew a Burmese blouse
5. Travelling the world
--

Announcing Our Raffle Winners for the Sheep and the Whale

2007-03-25T00:17:00.000-04:00

Ok you can stop holding your breath - These are our big winners of The Sheep and the Whale raffle!

Gift Basket Winners:
Kimberley Gibbeu- Book Basket
Robert Verdecchia- Book Basket
Barbara Yip- Red Tea Box Winner

Survey/ Book Draw Winners:
Karen Thomas
Aaron Rothermund
Jaqueline Karsemeyer
Karl Buchmann
Dave Tufts

Big thanks to The Red Tea Box and Random House for their donations to The Sheep and the Whale raffle.

Ritual Sacrifice: The Sheep and the Whale & Marjorie Chan's newest, Nanking Winter

2007-03-08T00:34:00.000-05:00

Oh, It's always nice when a head of state sanctions the collective denial of atrocity:)
Read on re. Japanese Prime Minister Shinzo Abe's recent remarks about what the article meekly calls "the rape of Nanking" - and others more accurately describe as a holocaust...

http://www.thestar.com/article/187793

It's interesting that the word "holocaust" (from the Greek holokauston) originally meant a sacrifice totally burned by fire; it was used in the translation of I Samuel 7:9, "a burnt offering to God." It has since come to mean large scale atrocity - or destruction - the catastrophic annahilation of people...
Somehow humans have always had complicated relationship with the idea of the "sacrifice" - the notion that we MUST destroy some, in order to protect some others, which underlies so much of the rationale for routine plunder and games of state....

I'm guessing it goes like this? "Some must die or suffer -
for reasons unknown,
or known to few,
maybe on behalf of others,
but mostly for reasons just inexplicable...."

Kind of cool to note that the theme of sacrifice seems to play central role in the archetypes that populate The Sheep and the Whale...it shows up in the ritual sacrifice of the slave/sheep; and in the contrasting ideal of the doctor/Whale.
And next year, we can look forward to grappling with Nanking Winter, the new play from Marjorie Chan. Inspired by real-life events, it explores the lives of those affected in the past and the present by the Nanking Massacre of 1937 when the Japanese invaded the then-capital of China. It will premiere in February 2008.

Check-points

2007-02-20T12:15:00.000-05:00

Traveling by bus from Bangkok to Mae Sot....

8 hours and 3 or more check-points. The bus stops, Thai police get on and check your identification. A caged-truck waits outside. Express to the hands of the Burmese military.

My work college sitting beside me, a Burmese women who has been living legally in Thailand for 6 years, had her passport SCRUTINIZED at every check point. Meanwhile, my visa could expire in a week, and I never even had to pull it out of my bag.

I felt really frustrated by this - it became really predictable at every check-point. I suppose it mimics what happens in airports with "random" security checks. But it's just blatant discrimination. My college was irritated, pulling her passport out, waiting, understandably nervous, despite it being legal. It's no different from the treatment she gets every day in Thailand really - people are constantly questioning "what are you doing here?" in one way or another - they just don't always ask to see her passport for the answer.

There's two sides of it. When the police ask for her passport, they're both making sure she's legal, and telling her they don't like her here. If they liked her, they wouldn't look for this "legal" excuse to get rid of her.

Making sure she's legal. She is. She doesn't just have papers, work permit, but a passport too. But even if she didn't... is she really illegal? I would really like to question this. We all wear t-shirts at work that say "No human being is illegal." I believe that. How could she be illegal here - how could anybody in their right mind send her back to an un-safe place. Legal and illegal are set up to separate right from wrong, are they not? How can doing the legal thing open a door for something terrible to happen (I'll be less vague: something terrible = forced labor, imprisonment, torture). How can it be legal to allow that to happen?

It can't be. It's just that they don't like her. I hate to believe it but it's obvious everywhere - in every construction of the society, in the wages, and in the actions and reactions of too many of the Thai people (not all, of course not all...) But the discrimination is wide-spread and more or less accepted. People don't hide it like we do in Canada (pronouncing I'm not racist to hide our racist actions and attitudes). My landlady is a great friend of mine here, but today I hated the look of disgust on her face and the words she spoke when I told her I was moving out and into my Burmese friend's home.

I confess that sometimes I am disheartened by this "land of smiles".

Burmese Women's Voices

2007-02-20T11:47:00.000-05:00

Altsean Burma (Alternative Asean Network on Burma) publishes a book yearly filled with stories written by Burmese women. It is produced in Burmese (to be shared among other Burmese women) and in English (to be shared with the international community). Typically, Altsean sends out for submissions to organizations across Thailand (and abroad) - an opportunity for Burmese women of all ethnicities to tell their stories.

This year, Altsean Burma brought in an Australian professor, Janie Conway-Herron, to do 3 workshops on writing skills for interested women. The workshops were held in Chiang Mai, Mae Sot and Sangklaburi. I was lucky enough to be accepted to attend in Sangklaburi in the role of a woman supporting the work of Burmese women.

The group in Sangklaburi consisted of 10 Mon women from the Mon Women's Organization.

Through their work, many of the women are accustomed to writing structured and informative articles. Technique wise, Janie had them write first in 3rd person, then in 1st person, or in 2nd person and then talk about how each felt different. Many of the women spoke about how they began to feel when they wrote in1st person...

It's scary as hell to share anything personal, never mind something traumatic. They were all brave enough.

Last year's publication contains a series of poems by women in a Burmese jail. Aung San Su Kyi (winner of Nobel Peace Prize), through certain contacts, managed to arrange to have these women write poems by carving the script on plastic wrap, folding them small, and smuggling them out. The necessary secretive nature of that shows just how powerful writing can be. All of the women at the workshop understood this - they felt the strength in their voices and were so appreciative of being taught skills in how to use it. Their commitment and dedication to their cause is tremendous.

They will all have to use false names, and be taken off our group email when they go back inside next month.

The book will be published in June 2007 and is available to order by contacting altsean@altsean.org. I'll bring some home too.

Border Zones: Fronteras Burma!

2007-02-20T11:07:00.000-05:00

Mae Sot, Thailand, is a town situated right on the border of Thailand and Burma. Last week, 4 of us from GHRE (an NGO supporting Burmese migrant rights in southern Thailand) took a trip up to Mae Sot in order to do some research - to speak with other NGOs with similar mandates to our own and share ideas. There are 21 NGOs in Mae Sot working to protect Burmese people, which gives a sense of the extreme need in the area. The city's Burmese population is higher than its Thai population.

Not that that means the Burmese migrants are in any sort of power position.

The border: There is a bridge to cross the river - one side is Thailand, the other Burma. For a foreigner, it costs 1000Baht (apprx. 30$) to cross on the Thai side, and then 500B on the Burmese side to enter into Burma (and they keep your passport). If you are Burmese, you can obtain a day-pass paper into Thailand for 150B.
OR
You can jump over the fence and climb down the wooden ladder and take an inner tube across for 6Baht. Or if you don't mind getting wet you can wade across... quite shallow this time of year. That's free.

Wierd thing is, that there's a tank with 4 or5 Thai military infront of the bridge - to stop illegal entrance, of course. They apparently are all ill with severe neck disorders that prohibit them from tilting their heads down to see those hundreds crossing casually by inner tube throughout the day.

The reason for this negligence is of course, that Thailand needs the cheap labour. A burmese migrant working in a rubber plantation is paid about 150 (women) to 180 (men) Baht per day. Minimum wage for Thai workers is set at about 250. In factories, the women are paid as low as 40 Baht / day - (and are essentially prisoners as their employers hold onto their papers. If they go to the market without them and are stopped by police, they are arrested and sent back to Burma. Most only risk going as far as across the street.)

The other reason is that the police are corrupt. They're not paid enough and so arrest Burmese at will and demand bribes (usually around 5000Baht).

Standing on the edge of the river, it's easy to observe what's happening and comment - what a fascinating place... that this is happening here... right here... that I am watching this... What an interesting place. But the luxury of being observer, or researcher, or philosopher on the situation is really impossible because the difficulties for Burmese are simply too present.

We were brought first to a community of Burmese squaters. They don't own their land, and they make minimal amounts of money by collecting garbage, paper and plastic, and selling it to the factories. They have nothing. They were hungry. I'd never actually seen poverty that extreme. We were visiting in order to observe their nursery.... but instead we sat down to listen to the villagers. The night before, at about 4am, the Thai police (or military... they weren't sure... uniforms they didn't recognize) arrived and ransaked their homes. They took everything... earnings, necklaces, if there was 5 baht (33Baht=1$) they took it. Stealing from the poorest of the poor. They also arrested 100 people and took them away, back to Burma, in a caged-truck.

One woman explained to us that they took her 3 sons. Her sons were born in Thailand and have never been to Burma. She was worried that they wouldn't know how to live, how to protect themselves in Burma. The military could easily find them, suggest to them a good job - with food and pay - and they would easily follow and be forced then to join the military.

Nobody tracked who was arrested, and nobody knows how to find them.

How we treat refugees

2007-02-09T13:12:00.000-05:00

Our upcoming production of The Sheep and the Whale looks at one of the most relevant issues of our time: the systemic neglect and abuse of refugees. Although the play's action takes place in Gibraltar, it is important to remind ourselves that refugees are presently being mistreated within our own continent. Here is an article on recent occurrences.

After reading it, if you are wondering what you can do to make a difference, visit Amnesty International's excellent site for more information.

________________________________________

Home-Grown Gitmo
By William Fisher
t r u t h o u t | Guest Contributor

Friday 09 February 2007

The Bush administration's penchant for privatizing virtually all government operations has combined with the current furor over border security to create another perfect storm - this time for suspected illegal immigrants.

These thousands of people held in detention under the aegis of the US Department of Homeland Security - increasingly in privately-owned jails - are failing to receive timely medical treatment and adequate food, being subjected to frequent sexual harassment, and having their access to lawyers, relatives and immigration authorities improperly limited.

These are among the findings of the DHS inspector general, based on an audit of the US-owned and operated Krome Service Processing Center in Miami, a facility in San Diego operated by the Corrections Corporation of America (CCA), and local jails and prisons in Berks County, Pennsylvania, and Hudson and Passaic counties, New Jersey.

But critics of the agency called the report disappointing, contending that it watered down recommendations and ignored the most serious allegations of abuse collected since June 2004, which they said included physical beatings, medical neglect, food shortages and mixing of illegal immigrants in administrative custody with criminals.

Mark Dow, author of "American Gulag: Inside America's Immigration Prisons," a scathing expose of detention facilities, goes further. He says the Inspector General's report "has helped ensure that, for now, the mistreatment will continue."

The reason, he says, is the IG's recommendation that the DHS agency responsible for the detention of immigrants, the Immigration and Customs Enforcement agency (ICE), police itself.

"That is telling the agency responsible for the mistreatment of its prisoners, and whose own inspections are deficient, 'ensure that periodic oversight and inspection procedures are in place to address compliance with the Detention Standards.' The [IG's] report neglects to mention that ICE has refused to promulgate its detention standards as regulations because they would then be, at least theoretically, legally enforceable," he says.

He adds: "The bottom line is that 'auditing' without truly independent enforcement is meaningless."

In response to the IG's report, more than a dozen national organizations have filed a petition with the DHS to create enforceable regulations governing detention standards. If the federal government agrees to the request, DHS will promulgate binding standards for the safety, health, and conditions for thousands of detainees around the country.

These advocates, who include the American Friends Service Committee Immigrant Rights Program, the American Civil Liberties Union of New Jersey, the Center for Constitutional Rights, and the Seton Hall University Law Center for Social Justice, believe DHS regulations governing detention standards will ensure effective protection of detainees' human rights. Their petition "highlights our unconscionable detention system. The reality is that county governments vie for lucrative contracts with the federal government to warehouse non-citizens without any binding standards of care."

Among the most significant issues raised in the IG's report was that detainees face significant hurdles when attempting to make complaints about their conditions of confinement. It further points to the current ineffectiveness of ICE's own annual inspections of detention facilities. "The report exposes gaping holes in the protection of detainee rights. We cannot trust the jail officials to address detainees' concerns, and we cannot trust ICE to effectively review the jails' practices."

Since 9/11, many of the detention centers for immigrants have been privatized and are being run by such companies as CCA and Florida-based Wackenhut. According to Corporate Watch, in 1999 the feds farmed out less than three percent of beds - but seven years later, the number had reached almost one in five.

The boom in privatized prisons began shortly after the 2001 terrorist attacks, when the Department of Justice rounded up thousands of "Middle Eastern-looking" immigrants and detained many of them for months, abusing many, treating them as criminals, and denying them access to lawyers.

A 2003 report by the DHS Inspector General forcefully condemned the treatment of immigrants inside various jails in its report, "The September 11 Detainees: A Review of the Treatment of Aliens Held on Immigration Charges in Connection With the Investigation of the September 11 Attacks." Infractions included routine abuse of basic prisoner rights, mental and physical abuse, denial of health care and medical treatment, prison overcrowding, and a lack of working showers and toilets.

None of those held were ever charged with a terror-related crime. Some were deported for immigration violations.

Privatized detention facilities have grown apace amid the clamor for a crackdown on alleged undocumented immigrants. Contracts for these new jails flowed to the private prison industry despite many previous allegations of mismanagement and scandal.

Detainee advocates accuse prison companies of cutting corners in training guards and in providing basic services. The government has done little to regulate prison administration, but has sanctioned exploitive labor practices and rip-off telephone costs for inmates.

For example, a former detainee in a CCA facility in San Diego testified that "The guards would scream and shout at us as if we were little kids. If we would ask them to stop, they would threaten to lock us down for a few days, which would happen constantly. Three people being locked in a two-man cell, in a 12 x 7 room. This happened a lot; sometimes as punishment for the actions of one or two inmates, the other 105-115 detainees would suffer."

Often, he added, "detainees would be missing money on their accounts, which I was recently told by a detainee who keeps in contact with me was being stolen by the staff, according to [an] OIG investigation. We would get underserved during meal times. When we complained to the unit manager she would say that we were given the right amounts, which in my opinion was the appropriate portion for a ten or eleven year old. Some of the guards and staff would curse at us. They would purposely lower the televisions so we couldn't hear them, just to mess with us. During our free time, they would take their time turning on the phones so we wouldn't be able to call our families. Just to be cruel."

CCA's revenues have increased substantially since 9/11. The company calculates that its expenditure of $28.89 per inmate per day allows it to make a daily profit of $50.26 per inmate.

The Bureau of Immigration and Customs Enforcement (ICE) continues to award lucrative contracts to CCA and its competitors. CCA runs the 300-bed Elizabeth Detention Center in New Jersey and the 1,216-bed San Diego Correctional Facility, as well as having landed new prison contracts with the Kentucky Department of Corrections, the state of Kansas, and the Florida Department of Management Services.

Wackenhut has also shared in the private prison boom. Before 2001, Wackenhut, like CCA, had been at the center of serious inmate-abuse scandals: Guards were caught having sex with underage inmates, there were routine reports of extreme mistreatment of inmates, and there was even a disproportionately high level of deaths in their facilities.

After a CBS Television report exposed the repeated rape of a 14-year-old girl at a Wackenhut juvenile jail and two guards were found guilty, its CEO said, "It's a tough business. The people in prison are not Sunday-school children." Still more worrying was Wackenhut's record with inmate-on-inmate killings. In 1998-1999 alone, Wackenhut's New Mexico facilities had a death rate of one murder for every 400 prisoners. For the same period in all US prisons, the rate was about one in 22,000.

Wackenhut's most public response was to change its name to the GEO Group. It continues to win lucrative government contracts.

The corrections industry has routinely argued that privatizing prisons dramatically lowers costs. But a 1996 US General Accounting Office report concluded there was no clear evidence supporting this contention.

Prison companies do have certain advantages over other corporations: They are able to save large amounts of money on labor practices that would be illegal under any other circumstances. Inmate jobs in all prisons pay a pittance, but immigrant prisons are even worse. Because DHS guidelines mandate that non-citizen prisoners cannot earn more than $1 per day, the company gets janitors, maintenance workers, cleaners, launderers, kitchen staff, sewers and grounds keepers at almost no cost.

Author Mark Dow says, "It isn't politically popular to speak up for alien inmates, but Congress has a responsibility to establish independent oversight of the ICE detention system. Congress should hold hearings on ICE detention - with meaningful follow-up." It should "Create a statutory-based ombudsman's office or independent oversight body outside the Department of Homeland Security. It must have subpoena power as well as authorization to make unannounced inspections of all facilities holding ICE detainees."

"Eventually, the very nature of our immigration detention system must be reexamined. We take it as a given that a visa violator, or an asylum seeker, or a thirty-year lawful resident who has paid taxes but committed a non-violent misdemeanor decades ago, should be strip-searched, dressed in a prison jumpsuit, and denied contact with her children."

Or, as summed up by Mary Shaw of Amnesty International USA, "While the US immigration system has always had its faults, it has become much worse since the attacks of 9/11. Many of the people who enter this country are fleeing persecution in other countries. They come here to seek asylum. We must not confuse these victims seeking refuge with those who would enter this country to do us harm. The US has every right to protect its borders. However, immigration policies must not make it harder for victims of human rights violations to find protection in the United States. We need to honor our country's commitment to protecting the persecuted."

The toxic brew here is a smorgasbord of a prison system without regulations or meaningful oversight, a Congress that has been AWOL on its abuses, a mainstream press that, with a few exceptions, has been silent, a multi-million dollar private prison industry, an administration eager to use it, and a prisoner population with no votes.

With those ingredients, don't expect to hear much about America's most secretive prison system any time soon.

William Fisher has managed economic development programs in the Middle East and in many other parts of the world for the US State Department and USAID for the past thirty years. He began his work life as a journalist for newspapers and for the Associated Press in Florida. Go to The World According to Bill Fisher for more.

March 1st: Art as Political Force - The Sheep & The Whale Talkback with OLIVIA CHOW

2007-02-07T09:46:00.000-05:00

The Red Hut

On March 1st, we're holding a talkback for the Sheep and the Whale with MP for Trinity-Spadina, Olivia Chow! Olivia Chow has been a staunch advocate of the arts in her riding, and she joins us after our show on the night of March 1st, for a chat session on Art as Political Force & and Art and Political Activism. This is one not to be missed if you want in on the political dialogue that shapes your immediate environs.

Info:
The Sheep & the Whale
Theatre Passe Muraille
Play Showtime: 8pm-9:45 pm
Art as Political Force Talkback with Olivia Chow: 9:45 pm
Social Time & Drinks: 10:15pm

Borders and Art

2007-01-19T10:39:00.000-05:00

Working on The Sheep and the Whale has got me thinking a lot about borders. I remembered this series of graffiti images from UK artist Banksy. Have a look.

Veronica speaks out!

2007-01-08T17:09:00.000-05:00

Today, we bring you a guest blogger! Veronica is one of the talented young people involved in Crossing Gibraltar, Cahoots' training program for refugee youth. You might recognize her from the article about the program in The Star. She, along with 5 other youth will be joining the cast of The Sheep and the Whale which begins rehearsal today! Stay tuned for more blog entries from our fabulous chorus!

My First Day
by Veronica

After several surgeries in my body all of them in my right side, because of my medical condition, I did not expect in my entire life that I would be participating in a theatre. I tell you why? First of all I am from Colombia, In Colombia is very hard, if you have a disability like me. To get a program like Crossing Gibraltar, they want perfect people. Was disappointed with that, but in Canada is different why? Because people have respect for each other, here I found peace, also opportunities. Before this program I was an insecure person, my self-confident was destroyed. One day my friend Linden gave me all information about Crossing Gibraltar, also she recommended me that it would be excellent for me; she knows everything in my life, she is a great support for me, she encourage me to go to Cahoots Theatre.I invited my best friend Julliette, she is from Colombia too, the reason why I told her is because I was afraid of being alone in theatre, she was afraid too, but no more that me, both decided to go on Saturday.

I am going to tell you the first day: That day Julliette and me took the subway to Dundas West, we were on time (for me is very important to be punctual) but that day was DISASTER for both. The streetcar had an accident so we arrived one hour late, I told Julliette that we begun very badly the first day; Marjorie opened the door, we were tired we did everything to be early but we could not. That first day I was excited, I wanted to be there, I asked Marjorie if they would have any problems with me because I could not move very well, she answered that it not a problem, at that time I thought that I was trying to prove myself, that I have a talent, I am youth person, I have many qualities to express to other people.

RIVERS, SHARKS AND TREES by Shahin Sayadi

2007-01-01T10:49:00.000-05:00

[From Jovanni:] Today I received an extraordinary e-mail from Shahin Sayadi, the gifted Artistic Director of OneLight Theatre in Halifax. With Shahin's permission, The Red Hut reprints his essay in its entirety.

On Saturday, a day before the end of 2006, I called my sister in Tehran, Iran, to see if she had heard the news that our father’s murderer had been executed. She had not. In fact she wasn’t much interested. Only then I realized that I was not much interested, either. Why were we not interested in such news? And if we were not interested, why am I writing about it?

Arvand Rood, the Persian name for the river which, according to some others, is the Shat ol Arab, runs behind my paternal city of Khorramshahr, on the very tip of the Persian Gulf. It forms part of the border that separates Iran from Iraq. My Father, his parents and their parents were born in Khorramshahr. Myself, along with my mother and my siblings were born in Abadan, twenty minutes south of Khorramshahr, along the same river and border to Iraq. Every Friday, my mother would take my sister and I to Khorramshahr to visit our grandparents. They lived in an old house that, to a child, was somewhat scary and mysterious. Not a big house but big enough for a six year old to find a lot of hiding places. Beside my grandparents, my two great-grandmothers also lived in that house. The yard—where my grandma Zahra would barbeque lamb kabobs for us—had two very tall and very old trees in it; this yard was my main playground. Every time we were there I would try to climb these two trees and every time I would fall down and hurt myself and get in trouble. When I was ten, I finally succeeded in getting to the top of the date tree and from there, after eating a bunch of half-ripened kharak dates, of course, I remember looking around and seeing, on the horizon, the outskirts of a city. I asked my mother, who was standing below, praying loud and hard that I would not fall, where that city was and she said it was Basra, in Iraq.

Six years later, in the year 1980, Saddam Hussein Tekriti went on Iraqi national television and ripped to pieces a treaty that was signed between Iraq and Iran in 1950 to recognize that Arvand Rood was Iranian territory. He then declared war against Iran.

Saddam wanted to take my river. That river was full of sharks. My river, my sharks and my tree.

On 27 Shahrivar 1359 of the Iranian Calendar (September 18, 1980) Saddam’s jet fighters bombed my city of Abadan and the war had officially started. On that day only 21 people died in Abadan. The first day of the war. One of the dead was my father. The Iraqi ground troops had started moving towards Khorramshahr, crossing Arvand Rood and in less than a week they were walking over the ruble of my grandparents’ house and destroying my date tree. I forgot to tell you that at the foot of that date tree, there were two shrubs. One a green fig and the other a black fig. The black one was, and still is, my most favorite food. The fig trees were gone too. I remember the day that my grandparents, with only their birth certificates in their pockets, slippers on their feet and the clothes on their back came to our house. They did not know, yet, that their only child, my only father, had died.

Saddam, backed by many of the countries in the region, along with Europe, Russia and, of course, the US, went on killing hundreds of thousands of my people, causing displacement of over five million of my country’s men and women, and testing—yes testing—chemical weapons on Kurdish women and children.

But, we took back Khorramshahr and yes, Arvand Rood is still Arvand Rood.

A few years ago I took my wife to visit that house, well … I mean where once the house stood. And in a couple of weeks we’re going to visit the same rubble, but this time with my daughter. What do I tell the four year-old about the house? Does anyone know? How do I explain to her what happened to the date tree? Since she’s a big fan of the Shark Boy and Lava Girl, I’m certainly not going to tell her about what happened to the sharks.

Saddam was prosecuted for crimes against humanity and he was hanged quickly. Why? When are we going to hear from Saddam why he attacked my country, why he used chemical weapons on innocent Iranian children, and if he was just doing his job who was he taking his orders from? Yes, that is why Saddam was executed so quickly. My judgment was that Saddam should have had a much longer prosecution and perhaps a life sentence. Evil cannot be answered with evil. What I got for the New Year was nothing more than justice the American way. GWB is trying to fix my house because, apparently, he is more skilled in the upkeep of my river, in the health of my tree and in the way my sharks swim. So if that was justice, you can see why my sister and I are not so interested.
.........................
شاهین صیادی
Shahin Sayadi
Artistic Director
OneLight Theatre
902.425.6812

114 Burmese arrive in Khuk Khak

2006-12-06T01:57:00.000-05:00

On December 5th, a small boat filled with 114 Burmese refugees landed on the shore of Khuk Khak in Thailand. The men (aged 10-54) had left Northern Burma (very tip, nearly Bangladesh) on November 16th. They left Burma to avoid forced labour for military construction, forced porter work, land confiscation, and forced evacuation of their homes. They had all contributed money to purchase the boat and travel together. They had anticipated that the trip would take approximately 10 days, but the motor on their boat broke part way through the journey, making their journey longer than anticipated and depleating their food supply. One of the men was injured on the journey, some had contracted disease, and many were weak. On the morning of the 5th, at about 4am, they met a Thai fisherman at sea who directed them to the coast. They arrived at 5am and walked up to the street, looking for work.

Thoo-chit, the Burmese director of Grassroots Human Rights and Education Development was out jogging by the market when he met them, all 114, sitting outside the market. He said that in fact he was quite scared -- they are muslim and currently in the south of Thailand there are brutal disputes with muslims. He said he thought they were Burmese, and suspected that they were just taken out of jail to go down to the south to fight. Others were scared too; Thai people were closing their shutters, and several called the police. Thoo-chit approached them and found that they were Burmese, and learned they had just arrived off their boat. They hadn't eaten in 10 days, so he distributed some food. Some Thai people did as well.

The police arrested them and took them to the prison in Takuapa (about 30km from here). Thoo-chit went as well to help to translate. They will be moved from this prison to the border where they will be investigated by the police. They will stay in the Thai prison for 2 weeks maximum. During this time, Grassroots will ensure they have food and religious needs taken care of. Then they will be deported back to Burma and handed over to the military regime. Thoo-chit stated that: "I strongly believe that if they are deported back to Burma they will undergo severe punishment and torchure."

One man who lives closer to the water than we do was awaken by the men early in the morning, and so he knew where the boat was. He picked us up and took us to see it and to take some pictures to publish. The one above is about 100 plates scattered all across the beach.

No Soccer This Week

2006-11-28T00:05:00.000-05:00

About a month ago, the Burmese in the area put together a soccer team. They approached us foreigners and urged us to put together a team as well. We did, and we've been playing every saturday. We lose by less and less each time!

The Burmese asked us, because the Thais wouldn't play them.

But this week, the Thai military government made a law that does not allow more than 5 foreigners to gather together in public. They said "foreigners", but they meant Burmese. And so no more soccer.

My Chop-Sockey Love Affair

2006-11-27T13:23:00.000-05:00

My love of kung fu movies began in the mid-70s. In the days before DVDs and VCRs, this meant going down to now-defunct Chinatown movie houses like the Pearl, the Shaw, and the Golden Harvest.

As a seven year old, I marvelled at the seemingly superhuman abilities of performers such as Gordon Liu, Ti Lung, Philip Kwok, and, of course, Bruce Lee (already elevated to legendary status just a few years after his death). Thirty years later, I have clear memories of their amazing speed, agility, and precision. I also remember that back then, they were the only people on a movie screen who looked liked me.

The Five Vengeances is my theatrical homage to the heroes of my youth. It is a free adaptation of Thomas Middleton’s The Revenger’s Tragedy now retold in the style of a kung fu movie. The Five Vengeances retains the Jacobean flavour of the original play and adds high-flying kicks and chop-sockey sound effects performed live as our actors fight on-stage.

It should come as no surprise that Jacobean tragedy and kung fu fighting form a harmonious union. First, revenge is a central element in both forms of storytelling. In plays such as The Spanish Tragedy, The Changeling, and The Jew of Malta; and films such as The Five Deadly Venoms, The Crippled Avengers, and The Bride with White Hair, we see recurring themes of vengeance, betrayal, murder, and cruelty.

Also, kung fu cinema lends itself well to stage adaptation because it actually derives from theatrical forms. Chinese opera typically presents great feats of athleticism, acrobatics, and martial arts. Many Hong Kong kung fu stars emerged from the ranks of Peking opera rather than through fighting schools. Legends such as Jackie Chan, Sammo Hung, and Corey Yuen were all disciples of Master Yu Jim Yuen at the Peking Opera School in Hong Kong. Though Bruce Lee studied Wing Chun at an academy, his father was a Cantonese Opera star.

Here’s why I love the conceit of using kung fu conventions on stage: it allows one to present extraordinary people with extrordinary conflicts. In the beginning, all theatre was like this. We wrote about exclusively about gods and heroes and how they warred with other gods and heroes. Centuries later, we figured out that ordinary people could have extraordinary problems and that’s what we wrote about. Fast forward a few more hundred years, and the age of naturalism was born where we wrote about ordinary people with ordinary problems.

With The Five Vengeances, I’ve attempted to return to a mythological world where people can be propelled through the air, bare hands can stop swords, and virtue can defy insurmountable odds to conquer evil. Our heroes and villains all have extraordinary powers and their conflicts are literally life-and-death affairs.

If this adaptation is starting to sound somewhat earnest, rest assured that The Five Vengeances retains what good ol’ Wikipedia calls “the earthy—even obscene—style, irreverent tone, and grotesque subject matter that typifies Middleton’s comedies”.

If you enjoy kung fu movies, Jacobean Tragedy, Grand Guignol, or you basically like your drama over-the-top (like Knots Landing, for example), come and check out Cahoots’ workshop presentation of The Five Vengeances. The details of when and where are below.

It’s got kung fu, it’s got sex, it’s got Englebert Humperdinck. What more could you ask for?

***********************************************************
Humber Theatre in association with Cahoots Theatre Projects
presents a workshop presentation of

THE FIVE VENGEANCES by Jovanni Sy

directed by Guillermo Verdecchia & Jovanni Sy
composer/sound design by Richard Feren
fight choreography by Richard Lee & Kara Wooten
set design by Jackie Chau
lighting design by Bonnie Beecher
costume design by Sarah Armstrong
choreography by Anita Majumdar

Humber Studio Theatre
Lakeshore Campus, Colonel Samuel Smith Park Drive
(Kipling Avenue south of Lake Shore Boulevard West)

Performance dates and times:

Tue Nov 28 @ 8pm
Wed Nov 29 @ 8pm
Thu Nov 30 @ 8pm
Fri Dec 1 @ 8pm
Sat Dec 2 @ 2pm
Sat Dec 2 @ 8pm

Please call (416) 675-6622 x 3080 to reserve tickets

Conversations with Burmese Migrant Workers in Thailand

2006-11-22T09:57:00.000-05:00

Earlier this week I visited my Burmese friend Atcha – she works at the human rights office for the Burmese (Grassroots) up the road. I’d interviewed her because I wanted to understand the situation in Burma. When I visited her this week I asked if there were other people who I might be able to talk with. She told me I could come along on Wednesday (today), because she was going to survey migrant workers about why they left Burma, as part of a report for the UN.

I slept in, unfortunately, because I have a terrible cough that keeps me up at night, but goes away after the sun rises, allowing me to sleep well into the morning. Pal, a friend from Australia who speaks exactly the same language as me when it comes to doing this sort of work (and is completing a fascinating degree in social inquiry) called me and woke me up, asking where I was. I got on my bike and rushed to the centre. We forgot that we were working in Thai time though… and our 10am pick up happened at about 130.

It was a long road trip, and Pal and I weren’t even sure where we were going or what we’d accomplish during the day… could we even ask questions to the workers or did they not speak English? Would Atcha and Pupu be willing to translate for us – to support our research – or would we listen in on their work? We didn’t really care what would happen. On the drive down, we asked a lot of questions about Burma…

Then we got on this road… and I thought, holy smokes, I have never been on a road like this in a place like this. We were going into the rubber plantation. The road was bumpy as hell and lasted 10 minutes, weaving and winding, and very possible to go over the edge. I trusted our driver – even though I never introduced myself to him the whole day, never made eye contact, never said hi… he kept to his role. He took off his shades at one point in the day and I sort of saw his eyes and face in the rear view mirror.

So our first stop was the little protected community in the middle of the rubber plantation. There was a learning centre there (a tiny outdoorish building) on the top of a hill. Kids inside. Two teachers, each teaching from opposite sides of the class on white boards that didn’t really erase. They were cool teachers though, making the kids laugh and stuff. But didn’t mind stopping class to do the surveys with Pupu. Atcha and Pal and I went into one of the homes and sat on the floor with a mother. Atcha said we could interview her and she would translate for us. It was fun – people came in and out, giving us pepsi, hanging out listening in on the window sill, in the doorway.

We didn’t ask her name… She is from Mandali and has been in Thailand for 4 years. Back in Burma she worked for a small company, but the salary was too small to support her family. Her and her husband contacted someone about coming to Thailand. Here, she saves her money and sends it to Burma. She wants to go back to Burma, and hopefully will in about one year – when she saves enough money. Here, she works as a teacher, and her husband works on the rubber plantation.

Her journey to Thailand should have taken 1 week, but they were halted in ktown (lookup?) for a month. Their broker took their 6000B and took off, without completing his side of the deal, so they needed to work odd jobs in this border city before they could pay another broker to take them. They crossed in a boat to Ranong with 10 other people. It was about 6 months after they arrived in Thailand that they were able to contact their family to let them know that they arrived safely and were working in Thailand.

We tried to ask her about the political situation in Burma, but she didn’t really understand. She talked about forced labour that was happening to men in her village for road and dam construction, but it was hard to grasp if this was happening to people she knew… She came for higher wages – economic reasons. She says that now she is in Thailand, she can see that there are problems with the way of life in Burma. She says that here, even the poor people have tvs. She can see the standard of living is really nice here, and she said that now she can see that Burma needs international help, and needs a democracy.

I looked around her place at that point. It’s a tin can with a concrete floor – but it did have a tv, huge speakers, loads of cds, a vcd player, a jug of clean drinking water, a religious shrine, nicely decorated. Paper posters up on the wall – of weird things! Pop stars, I think. Haha!

Her and her husband are illegal – as are most of the migrant workers – and so they stay in this little community in the rubber plantation. They have safety here – their thai employer has a responsibility for them. I asked if they have any community with the Thai people and it seems that she feels a safety with the thai manager – but the Burmese and thai don’t work the same job. No thai person works the same jobs as the Burmese on the rubber plantation – the thais are the managers. She said the work is very hard. They work 7-11, lunch 11-12, then again 12-3, and it’s difficult work. Her work in Burma was easier, she said, in an office, but the wages were not nearly as good. Here, men make 140B/day, and women 130B/day (and don’t get me started on lower for wages for women is apparently ok  ). In Burma, she was paid 2000Jaz/day but would spend it all. Here, she can save half of her wages. I gather they are quite lucky with their manager. The girls have been telling me that there exist serious problems for the migrant workers in Thailand because they are not always given their wages… and if they stop showing up to work because they aren’t getting paid, their managers call the police – and then they are deported back to Burma. Common procedure.

She has a cute daughter who had mixed emotions about the pepsi we were putting in her mouth. Her mother said she wanted her daughter to go back to Burma, and go to school.

We said thank you in Burmese when we left, and everyone got a big kick out of that! Haha! Gi su timaray!

I started to feel like the work at Grassroots is totally valuable because it’s about human rights. And so often here at the tsunami volunteer centre we all question our position as westerners here helping… are we imposing western solutions… all sorts of questions… but I think when it comes to human rights, there is no such thing as a cultural division to look out for.

Back in the truck we started we all got a little goofy ‘cause we were all trying to speak Thai. Realized I’ve got a lot in common with the Burmese… we neither of us can speak Thai! It does rather show the power of the Burmese communities here that they live here and never need to learn it. The girls said that only a few, if they stay here for years and years learn some Thai. But usually they live in these hideout spots like the rubber plantation communities, and really don’t have the need.

Next stop was Safari Island! A tourist elephant riding place, and a hotpot for Burmese workers, training the elephants. We goofed off at first, had ice cream, watched the monkey-on-leash do tricks (Atcha grabs me and jokes “animal rights ne?”). The Burmese were all dressed in blue uniforms for their work and they all followed us as a group out to the back of the park and we sat on the ground to do the surveys that the girls had prepared. We were just interviewing one guy, but everybody else gathered around. The man, from Mandali, left in 2003 because of lack of work and a concern for his family. He came to earn more money to support his family. Back home he worked on a bus as a ticket-taker. The government forced him to leave his home because his family had a skin disease, so they were forced to leave the city and move out to the country side.

I think that the workers wanted to get home, so they told us to come with them and do the interviews at their home rather than in the back of the park. I think that’s what happened ‘cause we got back in the truck and drove the long way around (they were on motor bikes so just drove on the wrong side of the road). There were about 3 homes in the middle of a field – and then another 3 homes a bit further over. And a few elephants behind the homes (chained??). The houses were built from wood and plants. We sat on the porch and everyone sort of listened in. Different than surveys back home. No closed doors… no asking for confidentiality. No informed consent sheet. Sometimes one person would do the first half of the survey and someone else would finish it. One of the girls would sometimes hit the person they were surveying to get them to pay attention again if they got giggling with the others.

The girls asked the questions of the survey and wrote the answers, translating for us as they went along. We threw in the occasional question too, and people were happy to answer. One man said he’s been here for 7 months. Came to avoid forced labour and heavy taxation. He couldn’t feed himself and his family. Back home he was a farmer. On his way through Burma to the border, he had a lot of trouble, was stopped many times at many check points and had to pay a lot of money. 12 others from his village were doing the same thing along side him.

As a farmer, he was forced to grow cotton. Then he was forced to sell the cotton to the government at a cheaper price. Then he was evicted from his home so the government could begin a development project on that land – a dam. That’s when he decided to leave Burma. Others left with him because of money, lack of work, to avoid forced labour and other human rights abuses. He said that the army would try to force them to be soldiers. If they refused, they would be beaten and tortured. He knows people from his village in this situation.

Another man, from Pyee Bew township, Mandalai Division, came in June 2006 after 6 days of traveling. He talked about problems with his ID card. It seems that in Burma, you have a birth certificate and a student card until you are 18. They you apply for a citizenship card. But this costs a lot of money (although the price seems to be dependant on your situation). Without a citizenship card, you can’t travel outside the province. People are arrested if they don’t have this card.

As much as I was saying before that you didn’t need to shut a door to talk about these things with the people, you could tell it wasn’t a breeze. The best I can describe the way people were talking was that they weren’t really breathing when they were talking.

I asked if they were happy to be in Thailand. They said no, not happy. But the income was their reason for being here. They are saving up to go back to Burma. Then I asked (finally) what I was dying to ask: …but aren’t you scared to go back? Are you nervous about the forced labour. They said yes, yes they are scared. But their family is there.

Their journey across the border involved them laying on the boat, covered in a sheet. They said they couldn’t breath. 5000B/person to the broker.

I’ve got the names of the towns near where they crossed, but I’ll have to look them up. Small places though, Pupu said.

I asked if they felt like their country needed international help. (I asked this a bit for myself – do you want my help? My country’s help? Tell me if you think there is trouble that needs fixing here. I see trouble… but do you? Do you just want to me stay away?) I noticed when Pupu translated she said ‘tsunami’, comparing I think the amount of international help that the tsunami received. They all nodded their heads. Yes. International help. Help. They mentioned education for the kids. And health care – they say there are a lot of diseases in Burma: HIV, TB, Malaria.

The reception that I felt as a foreigner was much different from the Burmese than I usually feel from the Thai – perhaps because we’re both outsiders – albeit in very different ways. Noticeably a different relationship though.

Ming Glaba (good day), for now.

Visa Run

2006-11-21T04:34:00.000-05:00

A visa run to Burma is popular for Thai tourists. A few hours on the bus, a quick boat ride, a crisp American 10 dollar bill, and you're over and back the border like it was as easy as crossing the street. Easy, if you can ignore that you have this priviledge of jumping back and forth, while you watch the security screens showing people handcuffed laying on the floor, and truckloads of illegal burmese refugees caught at the border.

Of the 10 dollars you give to cross into Burma, only to return into Thailand, 4 goes directly to the military.

Not that I'm necessarily recommending a stay in Burma. It's hard to stay in Burma without supporting the military government. The hotels are government owned, the tourists attractions, the transport. And it's a terrible thing to support. These toursits attractions were built by forced slave labour... people picked out of their homes and forced to work for no pay, building nice roads and tourist attractions so other people can live comfortably in their country. There are many websites that talk of boycotting travelling to Burma altogether. I have a Burmese friend here who suggested that travelling to Burma is important - to talk with the people, and help to spread an education to the world about what is happening in their country. But responsible travel to Burma would be essential. I refuse to give a single dollar to the military.

James, a Burmese friend who works in a shop along the main road here, and who I sit out with chatting most evenings, often talks with me about his country. He always has his burmese/english dictionary with him (his english is really strong - much stronger than my burmese!) and the first thing he learned how to say in english that he wrote in the front cover of the book is:
"I really hate the military control in my country."

Press Release

2006-11-21T04:13:00.000-05:00

Thai fisherman, a Crown Prince, and 50 Countries build a better future for villagers.

What takes a Crown Prince, 52 nationalities, a swamp, tools galore, a ton of hot dirty builders and the brains of fishermen?

The answer is of course the Ban Man Chaow village and it is now complete! Thanks to the widest array of people, classes and cultures ever assembled in Thailand. These fishermen had been forgotten after the Asian Tsunami of 2004 when the Governmental and Non Governmental Organizations (NGO) support went directly to previous homeowners, leaving the worst off worser off.

This group did not wait for handouts! They took control and banded together, created a co-op and attracted the attention of the Crown Prince of Denmark, NGOs the world over, and new skills the local people didn’t know they had!

The Rent Homes Group, established in response to the neglect of this group after the Tsunami by the villagers (fishermen) themselves. The results have been tremendous and with 50 homes built each for less than $3000 US each, no mean achievement! This project was built on the sweat of over 50 nations, not least the Thai’s who led every stage themselves.

This spirit of international co-operation with a Thai leadership has proved so successful that there is a project now as a result a new village in the making, called Ban Naem Cem 2. Here the first stone has just been laid to build a town which is again sustainable and just what the people want.

This project is about empowerment, the people here have come from nothing to earn something they can call their own. There are opportunities for people of all nationalities to volunteer and use there skills on the new town to build a better future for the poorest people who were affected by this tragic event.

If you would like to volunteer over the next year and want to have the experience of a lifetime, please contact the Tsunami Volunteer Centre in Khao Lak Thailand on our website. www.tsunamivolunteer.com or via email Sheila@tsunami.com
--
by ulla laidlaw and jack bradley
--
And a little commentary.......
Nam Khem is finished!!....anyone..? anyone..?

We wrote up this press release, because we thought that this mattered. It mattered that there were people still living in temporary housing after 2 years. Did everybody know this?? Was everybody ok with this?? I didn't know it... and I'm not really ok with it either. But it surprises me that "the world" doesn't know that help is still needed, and it surprises me that "the world" doesn't hear about the accomplishments either. About 2 weeks after I arrived, I went to a ceremoney at the boatyard - 50 fishermen received the papers for their boats. That's a big deal! It takes a lot to build 50 boats. And last week, we finished a village - that's a big deal too! My north american brain turned on and wondered about the media... there wasn't a radio station, a journalist, a video cam to be seen (only a whole lot of digital cams that the kids kept stealing and running around with). It would have been a wonderful thing to film, to show "the world." I had spent several weeks laying floors, building walls etc. on this site and part of me spent the whole time thinking it was a little bit dreer.... just houses, that's it, build on a swamp, with a dusty road between them. But the evening that we celebrated it's completion, the community felt so alive! Kids dressed up dancing traditional dance, parents cooking for the foreigners, and everyone dancing. ....but I do wonder why nobody notices... and it scares me a bit because Nam Khem 2 is starting this week, and the initial work is hard. Laying foundations for the homes, in the hot sun, on a piece of land with no shade. I've had a few times where despite the fact that we're all keeping eachothers' spirits up, there are moment when I feel like I need help. It's hot, it's late in the day, I'm tired and why are there only 6 of us here today? Can't someone else help to mix this cement... It's far from every moment I feel that, but it does happen, and in those moments I get a little scared at the enormity of the project ahead. We've got to build another 50 houses, from scratch... and I'd like a few more people to come and help out. So at times like that, I wish there was a bit of media who would still follow a story 2 years later.

And that gets me started a bit on other things.... because Thailand's doing pretty good! This town has really woken up in the last few weeks... the tourists are really coming back and businesses are happy. I'm complaining about 50 families in temporary houses (and I don't want to belittle that), but Indonesia was far worse hit than Thailand and hasn't seen nearly the same sort of response. (Which almost shames all volunteers here...why are we here and not where we are really needed). And then there's Burma. Which apparently wasn't hit. Which reported 60 deaths.... did the wave just stop on the Burmese coast? But no one can even go to help there. Hush, hush, hush about Burma.

Catch Upcoming Toronto date with Suba Sankaran and Autorickshaw

2006-11-20T00:32:00.000-05:00

The Red Hut

hey all,

Take note, it's a busy fall season for Dora award winning sound designer on Bombay Black, Ms. Suba Sankaran. She's performing all over the place with Autorickshaw - including an upcoming tour of India. You can catch the band live in Toronto; that's this month...on November 18. You can get full details on tour plans etc at http://www.autorickshaw.ca.

here are the short specs:

Concert:
Saturday November 18, 2006 at 7:30 pm
The ARC Theatre (Academic Resource Centre)
University of Toronto at Scarborough

Tickets (Reserved):
$12 Adults
$10 Students and Seniors

Box office:
http://www.utsc.utoronto.ca/%7Ecultural/music.html

Autorickshaw will be premiering a new composition, ‘Simhanandana’, by master drummer Trichy Sankaran, (commission supported by the Ontario Arts Council).

A New CD is in the final stages of production and is entitled, ‘So The Journey Goes’, with a release planned for the new year.

So The Journey Goes features autorickshaw with some very special guests:
Kevin Breit-guitar
Mark McLean-drums
Trichy Sankaran-mrdangam
John Gzowski-guitar
George Koller-dilruba
Dylan Bell - wurlitzer
And a seven-piece horn section from the Hannaford Street Silver Band

Call for Submissions for all you Interdisciplinarians!

2006-11-03T13:27:00.000-05:00

The Red Hut

Anyone interested in collaborative, interdisciplinary projects should really take a look at this commissioning project through FRESH GROUND NEW WORKS (Harbourfront Centre)...

Here are the deets:

The deadline for the Call for Submissions for Fresh Ground 2007-2008 (Stage One) is Friday, December 1.
You are encouraged to take a look at the criteria and please contact me or the contact given with any questions.

http://www.harbourfrontcentre.com/noflash/submissions/submissions.php

Modern Times Brings you Visual Art!

2006-11-03T13:00:00.000-05:00

The Red Hut

Modern Times continues to stretch its boundaries and now takes us into the visual arts. Read on re. Modern Times bringing us the compelling contemporary work of Iranian visual artist Aydin Aghdashloo:

From November 2nd to 16th, 2006, Arta Gallery in association with Modern Times Stage Company will be presenting the works of celebrated Iranian artist, Aydin Aghdashloo, in his North American premiere. Aydin is regarded as one of the most important and influential Iranian artists. He is an authentic visionary who has created unique and wondrously compelling paintings. Aydin’s work is also regarded as the illustrated history of Iran, both ancient and contemporary.
For more information about the event and Aydin Aghdashloo, please check the Modern Times Stage Company website:http://www.moderntimesstage.com/upcoming.html

more time, you writer types

2006-10-31T13:20:00.000-05:00

THEATRE CREATORS' RESERVE

DEADLINE EXTENDED to November 15, 2006!!

Cahoots Theatre Projects is a theatre recommender for the Theatre Creators’ Reserve. This program allows artists time and support to work on new creations by applying to theatre companies who in turn recommend funding from the Ontario Arts Council.

Please consult the OAC's information page for more details.

Artists interested in applying for this year's program are asked to review the Cahoots’ mandate. In keeping with our mandate, preference will be given to artists that reflect Cahoots’ core beliefs and values. Cahoots strongly encourages submissions from artists working in non-text disciplines, or with diversity of practices and approach.

To apply, please prepare the following:

1. Vision – your letter or statement of intent, including any previous development
2. Project – a proposal and/or script excerpt
3. Bio/Resume
4. Support – video/audio for non-text based submissions only (VHS or any standard digital formats)
5. Ontario Arts Council forms – 3 copies of the form available from their site.
6. SASE – with enough postage to cover the material you wish returned

(Please note there is a 40 - page limit to the entire application.)

Send by mail or drop off to:

Cahoots Theatre Projects

174 Spadina Ave. #610

Toronto, Ontario

M5T 2C2

RE: THEATRE CREATORS' RESERVE

Recommendations will be determined based on the following factors: scope and scale of the proposed project, artists’ past history of creation and feasibility of the artists’ workplan.

Any questions regarding the program,
please contact Marjorie by email or by phone at 416-203-9000 x3.

Refugee All Stars

2006-10-27T00:24:00.000-04:00

Hot Docs is pleased to co-present the Doc Soup and Hot Docs' hit THE REFUGEE ALL STARS (Guinea, Sierra Leone, USA; 2005; 80 min) on Saturday, November 11 at 2 pm.

In the wake of Sierra Leone's brutal decade-long civil conflict, THE REFUGEE ALL STARS tracks a spirited band of exiled musicians living in a refugee camp in Guinea who make music to entertain fellow refugees and salve the wounds of war. Driven from their homes in Freetown, the band members endure unspeakable atrocities, witnessing the murder and mutilation of family members and friends at the hands of the vicious Revolutionary United Front.

Part of the Regent Park Film Festival, running November 8-12.
All films will be screened at the Nelson Mandela Park Public School, 440 Shuter Street. Admission is FREE.

Sea Gypsies in Thailand

2006-10-23T08:11:00.000-04:00

One of the groups in Thailand that lost the most in the tidal wave was the Monken also known as the ‘Sea Gypsies’. Sea Gypsies are an indigenous fishing people who have occupied the Andaman coasts of Thailand for centuries. They speak their own language and worship the ocean and Mother Nature. Traditionally, the Monken’s lived on boats during the dry season and emerge on land during the monsoon season. They survived on goods that they collected from the ocean such as fish spear shells, sea cucumbers, and lobsters. The Sea Gypsies have been affected greatly by the tsunami; they lost their houses, boats and belongings, as well as their civilizations. Despite the destruction of their homes there were only 42 tsunami casualties among the Moken communities. This is said to be because they knew the tsunami was coming due to their close relationship with the ocean.

More recently and especially after the tsunami the Monken people have been forced to live on land in villages which are poor and dirty. There are very few (roughly 500) Monken that still live on the ocean leading a nomadic life-style. The Monken face many problems with this shift into Thai civilization.

They are yet to be recognized as Thai citizens partly because of the dreadfully slow approval process and sometimes because of a nationalistic bias against them. In order to gain citizenship they have to prove that they were either born in Thailand or have been residents for at least 10 years. The lack of citizenship (for those who want it) has left thousands of Monken battling hunger, disease, and poverty alone without state help. They are also unable to own land if they are not citizens.

As the Monken ‘assimilate’ into the Thai culture they begin losing their own. Their way of life is changing but they are caught somewhere in the middle. Their livelihood is becoming an issue as governments are acquiring the Monken’s traditional hunting grounds in order to build resort developments and aquatic national parks. Besides fishing the majority of people in these communities have little employment opportunity nor information about viable jobs options. They are often seen as unsophisticated and unlawful drifters who need to be ‘assimilated’ into mainstream society. Moken people are now a marginalized group with little status or recognition in the community. The Monken have also been exploited in the mist of Thai civilization. The island elite and business owners pay the gypsies a pittance for their fish as well as their work on resorts and national parks. They also offer the Monkens high interest loans that they must take in order to buy their own boats.

The government tries to draw the Monken children into school, but almost 30 percent of children drop out of school after 6th grade (even though completion on 9th grade is mandatory) in order to help their parents’ fish. They face many problems in schools. As Monkens are seen as lower class many teacher and students discriminate against them making school life a hardship.

A Weekend of Free Workshops with Art for Real Change

2006-10-20T23:42:00.001-04:00

The Red Hut

Take note of a whole weekend of free workshops below!

ART FOR REAL CHANGE
BRINGS YOU A WEEKEND OF
FREE WORKSHOPS!

RESPONDING: PERFORMANCE ART, EXPLORING ISSUES REFUGEES FACE
SATURDAY OCTOBER 28th, 2006
12:00 P.M. - 1:30 P.M.
PARKDALE LIBRARY DOWNSTAIRS, 1303 QUEEN ST. WEST
Julie Lassonde, in association with FCJ Refugee Centre (Toronto) will lead participants as they work with fabric and physical movement to explore barriers, recognition, and connections.

FORUM THEATRE
SATURDAY OCTOBER 28, 2006
2:00 P.M. – 4:00 P.M.
PARKDALE LIBRARY DOWNSTAIRS, 1303 QUEEN ST. WEST
ALL AGES ARE WELCOME
Interested in a creative exploration of social justice issues through theatre? Join expert forum theatre instructor Jessica Bleuer in this fun, challenging, and thought-provoking community action.

· BREAKDANCING: ROOTS CULTURE AND BEATS
SUNDAY OCTOBER 29th, 2006
2:00 P.M. - 4:00 P.M.
PARKDALE LIBRARY DOWNSTAIRS, 1303 QUEEN ST. WEST
ALL AGES ARE WELCOME
Nylda Gallardo will lead this workshop exploring the moves, beats, art and culture of breakdancing.

THE RIGHT SPIN: THE ART, POLITICS AND BUSINESS OF DEEJAYING IN THE CITY
SUNDAY OCTOBER 29th, 2006
1:00 P.M. - 3:00 P.M.
QUEEN WEST ARTS CENTRE, 100A OSSINGTON AVE.
The facilitator will guide you through the equipment, terminology, audio basics, gear and gigs of DJing.

Register at owens.veronica@gmail.com or call 416-538-4637
ARCfest - Toronto's Social Justice Arts Festival runs from Oct. 22nd -29th
For more information on these workshops and other ARCfest events visit our website
www.arcfest.org

Katherine Duncanson Voice Workshop Fall 2006

2006-10-20T23:38:00.000-04:00

The Red Hut

We're very happy to report that the fabulous Katherine Duncanson will be hosting another voice workshop just around the bend. Here are the details:

5 Week Series-Fall 2006
Mondays Oct 30, Nov 6, 13, 20, 27
6:30 to 9:00

Cost: $230. Which includes the 5 group classes plus one private lesson
to be taken during the 5 week period.

Suitable for New and Continuing Students.
Limited to 12 participants.

The Darling Building
96 Spadina (north of king, south of Adelaide)
The InterGalactic Collective Studio
8th Floor. Studio 802.

Please enroll by email or phone.
kat2@total.net
416 971 8671

A Professional Development for artists of any discipline, designed to reveal, develop and integrate vocal, movement, musical, rhythmic and imagination skills. Class work will be generated through the use of improvisational scores, as well as existing music and text in a co-creative, safe and playful manner.

Katherine Duncanson is an interdisciplinary performer, vocal director, music educator and creative facilitator. One of Toronto's most prolific performers, she has collaborated with Toronto's finest dance artists, composers, actors, writers, visual artists, musicians, magicians and clowns. She has been a member of the interdisciplinary performance collective, Urge, since 1995.

As well as teaching privately, Katherine has given voice and movement workshops coast to coast. For many years Katherine taught Music for Dancers at York University and the School of Toronto Dance Theatre.
She is also a certified Reflexologist and Kundalini Yoga Instructor.

welcome fresh blood

2006-10-11T10:43:00.000-04:00

We have a new volunteer in office - Marie Barlizo, a talented playwright and producer from Montreal. She is currently working on our screening of the documentary by reknown Hong Kong company theatre du pif's community theatre project. The screening will be followed by a panel discussing the role of theatre in the community. It'll all happen as a part of the social justice arts festival ARCfest on October 26, 8pm at the SPIN Gallery.

Here is Marie in a meeting with ARCfest founder and general theatre guy extraordinaire Josh Bloch. They are pointing at the ARCfest postcard which is oh-so-snazzy. Don't you agree?

Check out their website for all the exciting happenings!

Theatre Creators' Reserve

2006-10-11T10:35:00.000-04:00

Cahoots is now accepting applications for Theatre Creators’ Reserve!

Deadline: November 1, 2006

Cahoots Theatre Projects is a theatre recommender for the Theatre Creators’ Reserve. This program allows Ontario artists time and support to work on new creations by applying to theatre companies who in turn recommend funding from the Ontario Arts Council. Please consult the OAC's information page for more details.

For the 2005-2006 season, Cahoots was pleased to recommend funding to the following artists:

Byron Abalos – Brown Balls
Camellia Koo – non-perishable
Soraya Peerbaye – tell
Bea Pizano – The Communion
Michael Rubenfeld and The Suck and Blow Collective – Suck and Blow
Guillermo Verdecchia – Secure

Artists interested in applying for this year's program are asked to review the Cahoots’ mandate. In keeping with our mandate, preference will be given to artists that reflect Cahoots’ core beliefs and values. Cahoots strongly encourages submissions from artists working in non-text disciplines, or with diversity of practices and approach.

To apply, please prepare the following:

1. Vision – your letter or statement of intent, including any previous development
2. Project – a proposal and/or script excerpt
3. Bio/Resume
4. Support – video/audio for non-text based submissions only (VHS or any standard digital formats)
5. OAC forms – 3 copies of the form available on their site.
6. SASE – with enough postage to cover the material you wish returned

(Please note there is a 40 - page limit to the entire application.)

Send by mail or drop off to:

Cahoots Theatre Projects

174 Spadina Ave. #610

Toronto, Ontario

M5T 2C2

RE: THEATRE CREATORS' RESERVE

Recommendations will be determined based on the following factors:

scope and scale of the proposed project
artists’ past history of creation
feasibility of the artists’ workplan

Any questions regarding the program, please contact Marjorie or by phone at 416-203-9000 x3.

literary lights

2006-10-11T10:27:00.000-04:00

Cahoots Theatre Projects' honourary chair Wayson Choy (All That Matters) joins an exciting line up of authors reading from new works in progress:
Nigerian Nobel laureate Wole Soyinka
Azar Nafisi (Lolita In Tehran)
Miriam Toews (A Complicated Kindness)
MG Vassanji (The In-Between World of Vikram Lal)
Ann-Marie MacDonald hosts.

Called Uncensored, the gala benefit isfor PEN Canada, an association of
writers and supporters formed in 1926 to defend freedom of expression. It's part of the International Festival Of Authors running Wed, Oct 18 to 28 at Harbourfront in Toronto.

Tickets for readings: $20 & $35.
Gala tickets: $175.
7pm readings; 8:30pm
cocktail reception with authors and live auction.
Friday, October 20.
Convocation Hall.
31 Kings College Circle. Call (416) 978-8849.
For more info, go to PEN Canada.

i like my actors organic

2006-10-03T12:28:00.000-04:00

ORGANIC ACTOR
Acting workshop

Led by Victor Mora
In this workshop the doers develop the essential elements of organicity that will give them the opportunity to confront themselves with their body-life in the present-moment. Having unblocked the body, the flow of emotions and feelings are organically free. Victor Mora has been a professional working actor, director and acting teacher for 25 years. He has trained with Vladimir Pechkine (Russia) Augusto Boal (Brazil) Pina Bausch (German)Stanislaw Scierski (From Jersy Grotowski’s Theatre Company) Miguel Ponce (Cuba-Venezuela)

CONTENT
Physical exercises
Psycho-Physical exercises
Vocal resonators
Improvisations
Physical actions system (Stanislavski-Grotowski)

BRING LOOSE CLOTHING

WHEN: October 10 to October 26 /2006 (6 classes)
Tuesdays and Thursdays 5:00 pm to 7:00 pm

WHERE: Studio 145. 1173 Dundas St East at Carlaw
(From Pape station takes bus 72 southbound to Dundas st east)
FREE PARKING

Cost: 100.00

To register: (416) 6546276 or azuldot@hotmail.com

f.o.o.t papers?

2006-10-03T12:21:00.000-04:00

2007 Festival of Original Theatre: Dissolving Borders
Graduate Centre for Study of Drama,
University of Toronto
February 15-18, 2007

We invite papers and artistic presentations that examine themes surrounding intercultural performance for the 2007 Festival Of Original Theatre: Dissolving Borders. This conference and performance based festival sets out to interrogate the concept of intercultural performance by creating a forum for discussion between theatre practitioners and the academic community while addressing the ever- expanding definition of culture and the question of what constitutes a cultural group in theatre.

Topics may include, but are not limited to:

Intercultural performance in Canada.
Defining Culture: What constitutes a cultural group in theatre.
Case Studies on Intercultral theatrical process and the performance of difference.
Multi versus (or in relation to) Inter culturalism- as well as issues of intra and trans culturalism.
The constructions and contestations of difference in theatre/ performance.
Borders/ liminal spaces in intercultural theatre.
Pedagogical/ practical strategies for considering cultural plurality and understanding diversity.
The Dissolving Borders conference and festival provides a forum for scholars and artists to engage in discussion through papers, performances, talk -backs and panels. We encourage submissions from graduate students.

If you are interested in proposing a paper or presentation please send a 200-250 word abstract by October 24, 2006.

Submissions may be sent by

e-mail to: foot.graddrama@utoronto.ca
mail: 2007 Festival of Original Theatre: Dissolving Borders
Graduate Centre for Study of Drama
University of Toronto
214 College St.
Toronto, ON
M5T 2Z9

Are We Really So Fearful?

2006-09-26T17:15:00.000-04:00

By Ariel Dorfman
The Washington Post

Sunday 24 September 2006

Durham, North Carolina - It still haunts me, the first time - it was in Chile, in October of 1973 - that I met someone who had been tortured. To save my life, I had sought refuge in the Argentine Embassy some weeks after the coup that had toppled the democratically elected government of Salvador Allende, a government for which I had worked. And then, suddenly, one afternoon, there he was. A large-boned man, gaunt and yet strangely flabby, with eyes like a child, eyes that could not stop blinking and a body that could not stop shivering.

That is what stays with me - that he was cold under the balmy afternoon sun of Santiago de Chile, trembling as though he would never be warm again, as though the electric current was still coursing through him. Still possessed, somehow still inhabited by his captors, still imprisoned in that cell in the National Stadium, his hands disobeying the orders from his brain to quell the shuddering, his body unable to forget what had been done to it just as, nearly 33 years later, I, too, cannot banish that devastated life from my memory.

It was his image, in fact, that swirled up from the past as I pondered the current political debate in the United States about the practicality of torture. Something in me must have needed to resurrect that victim, force my fellow citizens here to spend a few minutes with the eternal iciness that had settled into that man's heart and flesh, and demand that they take a good hard look at him before anyone dare maintain that, to save lives, it might be necessary to inflict unbearable pain on a fellow human being. Perhaps the optimist in me hoped that this damaged Argentine man could, all these decades later, help shatter the perverse innocence of contemporary Americans, just as he had burst the bubble of ignorance protecting the young Chilean I used to be, someone who back then had encountered torture mainly through books and movies and newspaper reports.

That is not, however, the only lesson that today's ruthless world can learn from that distant man condemned to shiver forever.

All those years ago, that torture victim kept moving his lips, trying to articulate an explanation, muttering the same words over and over. "It was a mistake," he repeated, and in the next few days I pieced together his sad and foolish tale. He was an Argentine revolutionary who had fled his homeland and, as soon as he had crossed the mountains into Chile, had begun to boast about what he would do to the military there if it staged a coup, about his expertise with arms of every sort, about his colossal stash of weapons. Bluster and braggadocio - and every word of it false.

But how could he convince those men who were beating him, hooking his penis to electric wires and waterboarding him? How could he prove to them that he had been lying, prancing in front of his Chilean comrades, just trying to impress the ladies with his fraudulent insurgent persona?

Of course, he couldn't. He confessed to anything and everything they wanted to drag from his hoarse, howling throat; he invented accomplices and addresses and culprits; and then, when it became apparent that all this was imaginary, he was subjected to further ordeals.

There was no escape.

That is the hideous predicament of the torture victim. It was always the same story, what I discovered in the ensuing years, as I became an unwilling expert on all manner of torments and degradations, my life and my writing overflowing with grief from every continent. Each of those mutilated spines and fractured lives -- Chinese, Guatemalan, Egyptian, Indonesian, Iranian, Uzbek, need I go on? -- all of them, men and women alike, surrendered the same story of essential asymmetry, where one man has all the power in the world and the other has nothing but pain, where one man can decree death at the flick of a wrist and the other can only pray that the wrist will be flicked soon.

It is a story that our species has listened to with mounting revulsion, a horror that has led almost every nation to sign treaties over the past decades declaring these abominations as crimes against humanity, transgressions interdicted all across the earth. That is the wisdom, national and international, that has taken us thousands of years of tribulation and shame to achieve. That is the wisdom we are being asked to throw away when we formulate the question - Does torture work? - when we allow ourselves to ask whether we can afford to outlaw torture if we want to defeat terrorism.

I will leave others to claim that torture, in fact, does not work, that confessions obtained under duress - such as that extracted from the heaving body of that poor Argentine braggart in some Santiago cesspool in 1973 - are useless. Or to contend that the United States had better not do that to anyone in our custody lest someday another nation or entity or group decides to treat our prisoners the same way.

I find these arguments - and there are many more - to be irrefutable. But I cannot bring myself to use them, for fear of honoring the debate by participating in it.

Can't the United States see that when we allow someone to be tortured by our agents, it is not only the victim and the perpetrator who are corrupted, not only the "intelligence" that is contaminated, but also everyone who looked away and said they did not know, everyone who consented tacitly to that outrage so they could sleep a little safer at night, all the citizens who did not march in the streets by the millions to demand the resignation of whoever suggested, even whispered, that torture is inevitable in our day and age, that we must embrace its darkness?

Are we so morally sick, so deaf and dumb and blind, that we do not understand this? Are we so fearful, so in love with our own security and steeped in our own pain, that we are really willing to let people be tortured in the name of America? Have we so lost our bearings that we do not realize that each of us could be that hapless Argentine who sat under the Santiago sun, so possessed by the evil done to him that he could not stop shivering?

--------

Ariel Dorfman, a Chilean American writer and professor at Duke University, is author of Death and the Maiden.

The Red Hut

Theatre Creators' Reserve

Lost treasures

More on the Race Card

No Middle Ground (or, A Corollary to Godwin’s Law)

Beyond the Pale

Racism vs. Institutional Racism

An open letter to the membership of INCLUDE

Christine Brubaker on break

Authentic Canadian Theatre ... Continued

Fear of Flight

Authentic Canadian Theatre ... Continued

Authentic Canadian Theatre ... Continued

Cahoots in the Pacific Ocean

CAHOOTS PLAYWRIGHTS RETREAT @ NIAGARA-ON-THE-LAKE & SHAW

SAMPRADAYA and Lata Pada present Mythili Prakash in a Bharatanatyam Solo

Just Theatre Tour Coordinator

Canada Can and Should Do More

Embassy, September 5th, 2007NEWS STORY

Instead of China-Burma relations, conference-goers last week discussed Canada's role in the Asian nation, calling on the Harper government to back up its talk of change with actions.

By Lee Berthiaume

Burmese political leaders and pro-democracy advocates said Canada can and should do more to help spearhead change within the military junta-ruled country by pushing for dialogue along the lines of North Korea's six-party talks and establishing a country-specific aid program at CIDA.

They also called on Canada and the international community to "urgently address the deteriorating political, economic and humanitarian situation in Burma," and on Canada itself to find an effective way to support the empowerment of civil society and democratic development in Burma."

Since the Burmese military took control in 1988, Canada has imposed sanctions on the country, implemented visa bans on senior military officials, and repeatedly voiced its concerns over the junta's poor human rights record and draconian measures to clamp down on pro-democracy efforts.

Mr. Reid highlighted the sanctions and bans Canada has placed on the junta's leaders, and said the government believes the international community must work together to address the situation.

"It's only through the kind of principle shown by Prime Minister Harper and Foreign Minister Bernier that we can expect the international community to successfully pressure the regime in Burma to make real changes."

Canada 'Well-Positioned' as Mediator

Harn Yawnghwe is the son of Sao Shwe Thaik, who was the first elected president of Burma when it became a republic in 1948. Mr. Thaik died in prison in 1962 following a coup, and Mr. Yawnghwe has since moved to Canada where he has worked as an advocate for democracy in Burma.

"As Canadians, we are too modest," Mr. Yawnghwe told participants on Aug. 30. "We say we are too small a country, that we can't do anything."

However, Mr. Yawnghwe said Canada is well positioned to facilitate talks between the military junta and its neighbours to resolve the situation. The idea of such talks is not new, and has been forwarded by such people as Michael Green, a former advisor to U.S. President George W. Bush.

The situation in Burma represents a security threat to the region, advocates said, adding that it appears China is opening its eyes to the need for a resolution in the country to ensure instability doesn't spill over into its borders.

Earlier this year, China hosted a secret meeting between a key U.S. diplomat and junta officials in Beijing, which the advocates took as a sign of China's willingness to play a constructive role in Burma.

If India, Bangladesh and key members of the Association of Southeast Asian Nations–of which Burma is a member, can be brought on side, as well as the United States, a political resolution is possible, Mr. Yawnghwe said.

It would take political capital to kick-start such talks, Mr. Yawnghwe said, but the potential for success is there, and Canada could "become a leader on the world stage again."Special Aid Program Urged

Those comments were echoed by Nyo Ohn Myint, head of the NLD-LA's foreign affairs committee and a former aid to detained Burmese leader Aung San Suu Kyi.

"We'd be very happy if Canada mediates the situation," Mr. Myint said.

"We lobbied in 1988 for it to be cut off," he said.

Mr. Myint said Canada needs to spend more on long-term projects like strengthening civil society, and improving education and health systems.

Makhampom Theatre Laboratory

This is a fantastic theatre organization in Thailand. I was able to work with them briefly in Chiang Dao -- they do great professional work in Bangkok, as well as work in hilltribe communities and Burmese refugee camps... Wonderful people.

Makhampom Theatre Laboratory

October 22 – November 4, 2007

The PTC Colony on Granville Island

The 30th Rhubarb Festival

Buddies in Bad Times Theatre announces a call for submissions for

THE 30th RHUBARB FESTIVAL

February 20 – March 2, 2008

For further information please contact

Erika Hennebury, 416-975-9130 x40

Canada Denies Visas to Burmese Groups

CAHOOTS WELCOMES TARA BEAGAN AS PLAYWRIGHT-IN-RESIDENCE

Carlos Bulosan Theatre Play Creation Unit

rAiz'n Ensemble Program

ALAMEDA THEATRE COMPANY: An Avenue for Latin Voices

Justice for Burma’s Students: 45 Anniversary of July 7th Commemoration

OneLight Theatre Auditions

AUDITION NOTICE

My Chop Sockey Love Affair (redux)

WEDA Presents...

Announcing Our Raffle Winners for the Sheep and the Whale

Ritual Sacrifice: The Sheep and the Whale & Marjorie Chan's newest, Nanking Winter

Check-points

Burmese Women's Voices

Border Zones: Fronteras Burma!

How we treat refugees

March 1st: Art as Political Force - The Sheep & The Whale Talkback with OLIVIA CHOW

Borders and Art

Veronica speaks out!

RIVERS, SHARKS AND TREES by Shahin Sayadi

114 Burmese arrive in Khuk Khak

No Soccer This Week

My Chop-Sockey Love Affair

Conversations with Burmese Migrant Workers in Thailand

Visa Run

Press Release

Catch Upcoming Toronto date with Suba Sankaran and Autorickshaw

Call for Submissions for all you Interdisciplinarians!

Modern Times Brings you Visual Art!

more time, you writer types

Refugee All Stars

Embassy, September 5th, 2007
NEWS STORY

It would take political capital to kick-start such talks, Mr. Yawnghwe said, but the potential for success is there, and Canada could "become a leader on the world stage again."

Special Aid Program Urged

THE 30^th RHUBARB FESTIVAL