MIXTAPE♥ PURSUIT GROOVES / UNBUTTONED
Jun
4
9:30 pm21:30

MIXTAPE♥ PURSUIT GROOVES / UNBUTTONED

  • The Registry Theatre

This MIXTAPE♥ brings you deep hiphop and electronic sounds from the innovative mind of Pursuit Grooves and the fresh, unfettered R&B/Soul band Unbuttoned. 

CLICK TO BUY TICKETS: Adult 20 / Artworker, Student and Senior 15 / eyeGO 5

We won't say that we saved the best for last, but we're pretty sure that there are going to be some Open Ears fans who might support this opinion. Pursuit Grooves  is a DJ and producer who refused to be pinned down, and definitely is making her own path. Unbuttoned impressed the socks off (almost literally) of artistic director Gregory Oh when he heard them playing live on a Friday night at the ROM. It was the first time, in his words, "I've ever heard a 20 minute R&B track that was so killer and fun, and also sometimes could have doubled as free jazz."

PURSUIT GROOVES


Vanese Smith's sound can be described as "Futuristic Tribal Psychedelics", combining experimental electronic melodies and atmospherics with deep bass rhythms. She has released over 10 diverse albums and has performed her music around the globe in unique places and spaces. 20 years in sonic flight and she's still pushing herself in new directions. Off the stage Vanese creates fantasy inspired images and projections as MO:delic Arts. https://pursuitgrooves.bandcamp.com/

UNBUTTONED

cardboard box drum beats cassette tapes of other people’s conversations reverb upon reverb
a bottle of hennessy that technically still belongs to nas sangria and oysters in williamsburg
the penguin conundrum a very important blimp over london a king charles spaniel
to taste pulse nurture your pride lie on your back and let the stars come to you
patience and skepticism halfway between a screen and spiral bound book
bringing your lounge with you knowing when to fight over a note or two
hackeysack nobody’s chair coming out at the supermarket
afro pick supreme bitch she’s not blue eyed
plants wolves tea and coffee
twenty questions round four
slow down gravity
truth or a silhouette
queer skies
u n b u t t o n ed

- http://unbuttoned.bandcamp.com/

 

READ MORE about Pursuit Grooves

Pursuit Grooves and Broadcasting a Sensory Sequence in Exclaim

Electric Women in Toronto Standard

"Like an epileptic-fit inducing cartoon, Pursuit Grooves’ music should come with a warning label." in Tom Tom Magazine

Introducing Pursuit Grooves in Fabric London.

READ MORE about Unbuttoned 

some of the catchiest, cathartic, and soul-bearing pop we've heard in a while in VICE.

Unbuttoned: The Band You're Guaranteed to Love in The International Passion

Shy Cry is a stunning slow jam in Indie Music Filter

SARAH NEUFELD (w/LEANNE ZACHARIAS)
Jun
4
7:00 pm19:00

SARAH NEUFELD (w/LEANNE ZACHARIAS)

  • St. Andrew's Presbyterian Church

Arcade Fire's Sarah Neufeld tours in support of her new album The Ridge. With opening act the eclectic Manitoban cellist Leanne Zacharias.

BUY TICKETS HERE  Adults 25, Arts Worker 20, Students/Seniors 15, eyeGO 5

Many of you will recognize Sarah Neufeld as a member of the Arcade Fire and Bell Orchestre, but this show taps into Neufeld's independent persona, as a formidable violinist and surprising vocalist. The last time she performed in KW was four years ago with Colin Stetson; they have since recorded an album that was nominated for the Polaris Prize. This show, however, marks the February 2016 release of her new solo album, The Ridge, which has already been remixed by Kid Koala. While still recognizing her early influences, among them Steve Reich, Bela Bartok and Iva Bittova, she goes further afield into her own flavour of minimalism inflected with a stronger rhythmic feel.

Opening act Leanne Zacharias is one of Canada's most eclectic and adventurous instrumentalists. The music she plays on her cello is full of surprises and challenges. Be brave, and tag along on her experimental sonic journey.

SARAH NEUFELD | Violin, Vocals

Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre, and most recently as half of an exciting new duo with renowned saxophonist Colin Stetson. Neufeld began developing pieces for solo violin in a formal sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age. Neufeld counts Bela Bartok, Steve Reich, Iva Bittova and Arthur Russell among the formative influences for her solo work, in tandem with an ear for the textures and sensibilities of contemporary electro-acoustic, avant-folk and indie rock music. Neufeld's debut solo album Hero Brother, released August 20/2013 on Constellation Records, indeed channels all of the above, flowing through shifting atmospheres and oscillating between restrained, stately ambience, emotive études, and raw kinetic energy. Small touches of wordless vocalisation, harmonium and piano supplant the violin in a few places. The album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld's performances captured in a number of locations with sitespecific acoustics, including an abandoned geodesic dome. Neufeld has recently finished a second full length album, to be released in early 2016. It is a body of work that sees Neufeld moving away from Hero Brother's classical minimalism and sepulchral ambience, and into the world of rhythmic pop minimalism. The new album employs more emphasis on vocalizations than Neufeld's previous works; the interplay between Neufeld’s voice and violin has become strongly integrated and narrative. The album also features Arcade Fire’s Jeremy Gara on drums, adding greater layers to the compositions, creating an intense, dynamic atmosphere, and a captivating listen from start to finish. In addition to touring as a duo with Colin Stetson throughout 2015, Neufeld will be touring extensively as a soloist, in support her upcoming sophomore release in 2016. sarahneufeldmusic.com

LEANNE ZACHARIAS | Cello

Cellist Leanne Zacharias is a dynamic interdisciplinary artist known for collaborations with artists of all stripes. Her project Music for Spaces re-imagines public and natural space with sound; recent work includes CityWide: simultaneous recitals by 50 cellists opening the International Cello Festival of Canada, Sonus Loci: a sound installation on ice, selected by Winnipeg’s Warming Huts Art/Architecture competition, and Wheat City Nuit Blanche. An intrepid soloist, she was recently nominated for ‘Best Performer’ by the Austin Critic’s Table for River Measures: a solo series along the Colorado River in Austin, Texas. Numerous premieres include Pat Carrabre’s Prairie Sky for Cello and Symphonic Band, Concerto Laguna –performed from a rowboat - by Travis Weller and recordings with songwriters Christine Fellows, John K Samson, the Mountain Goats and percussionists Ben Reimer and Eric Platz. 2016 includes a new recording project with composer Nicole Lizee and artist residency in Skagastrond, Iceland.

On faculty at Brandon University, Leanne is a popular educator and speaker, with recent appearances at the Winnipeg Art Gallery and Parsons School of Design in New York. www.leannezacharias.com

STEFAN SCHNEIDER | Drums

Stefan Schneider is a Montreal based drummer. After receiving a B.Mus at McGill University he became a founding member of the Juno award winning instrumental group Bell Orchestre along with Arcade Fire's Richard Reed Parry and Sarah Neufeld. 

He has recorded and toured extensively in North America and Europe with bands including Thus Owls, Land of Talk, Jorane, Patrick Watson, The Luyas, Amon Tobin, and Gentleman Reg. He is a founding member of Toronto's Queer Songbook Orchestra as well as part of Richard Reed Parry's new trio project called Quiet River of Dust.

ANTHROPOLOGIES IMAGINAIRES + A.R. MILLER
Jun
4
2:00 pm14:00

ANTHROPOLOGIES IMAGINAIRES + A.R. MILLER

  • The Registry Theatre

BEST INTERNATIONAL PRODUCTION, 2015 Amsterdam Fringe Festival

BUY TICKETS HERE  Adult 25, Arts Worker 20, Student/Senior 15, eyeGO 5

This event brings two intriguing talents to the Registry stage. Gabriel Dharmoo is a composer, vocalist, researcher and improviser. Andrew Reed Miller has created an impressive range of media art, which he combines in performance with his formidable skills as a doublebassist.

Gabriel Dharmoo's Anthropologies imaginaires is a solo vocal performance, which interacts with a video mockumentary. The featured “experts” comment on invented vocal traditions demonstrated by the singer-performer. The music is inspired by various odd and/or isolated vocal expressions found across the world, but revisited through imaginary folklore and experimental extended voice techniques. In a reversal of academic lecture conventions, the subject of analysis and scrutiny is physically present on stage, as opposed to the speakers. Anthropologies imaginaires showcases the virtuosity, versatility and strangeness of the human voice. This wide range of vocal techniques questions the concept of normality by reminding audiences how people across the world use the voice differently to convey their cultural identities and artistic sensibilities. The project deals with questions such as post-colonialism, post-exoticism, cultural extinction, globalization, normalized racism and cultural appropriation in an ambiguous, humorous and disturbing way.

Program for ANDREW REED MILLER

Tribute to James Tenney (1986) by Alvin Lucier
bass with oscillators

Change in Your Pocket (1999) Marc Sabat
bass with amplification and delay

Doors (2016) Andrew Reed Miller
bass with audiovisual interactive system



ANTHROPOLOGIES IMAGINAIRES CREATIVE TEAM 

Script & Musical Composition: Gabriel Dharmoo

Voice & Performance: Gabriel Dharmoo

Video/Sound Collaborators: Ménad Kesraoui

Actors / “Specialists”: Alexandrine Agostini, Paul Neudorf, Daniel Anez, James O'Callaghan, Florence Blain Mbaye, Luc-Martial Dagenais, Catherine Lefrançois

GABRIEL DHARMOO

Gabriel Dharmoo's musical practice encompasses composition, vocal improvisation and ethnomusicological research.

After studying with Éric Morin at Université Laval, he completed studies in composition and analysis at the Conservatoire de musique de Montréal with Serge Provost, graduating with two "Prix avec grande distinction", the highest honour to be awarded. His works have been performed in Canada, the U.S.A, France, Germany, the Netherlands, Poland, Australia, Singapore and South Africa. In addition to winning 6 prizes from the SOCAN Foundation Awards for Young Composers, he was awarded the 2011 Fernand-Lindsay Prix d'Europe composition prize and the Canada Council for the Arts' 2011 Robert Fleming Prize. He is an associate composer at the Canadian Music Centre as well as a member of SOCAN and the Canadian League of Composers.

Having researched Carnatic music with 4 renowned masters in Chennai (India) in 2008 and 2011, his personal style explores the theme of post-exoticism and the interplay between tradition and novelty.

As a vocalist, Gabriel has sung across Canada (Montréal, Québec, Vancouver, Victoria, Banff, Winnipeg, Halifax, Guelph), in Berlin and Köln (Germany) as well as in Amsterdam and Utrecht (Netherlands), with improvisation gigs and his acclaimed multidisciplinary performance project Anthropologies imaginaires. In 2013/14, a development grant from the Canada Council for the Arts allowed him to work with vocalists Phil Minton (UK) and Ute Wassermann (Germany), as well as yodel and overtone specialist Christian Zehnder (Switzerland) and beatboxer Shlomo (UK). Inspired by contrasting vocal expressions in different cultures in time and space, he conceives his voice as both a raw and a sophisticated instrument. His musical language is a blend of diverse classical, avant-garde and traditional elements, mediated by an interest in linguistics and ethno/zoomusicology.

He is currently enrolled in Concordia University's PhD "Individualized Program" with Sandeep Bhagwati (Music - Principal Supervisor), Noah Drew (Theatre) and David Howes (Anthropology of the Senses).  gabrieldharmoo.org

ANDREW REED MILLER | media artist, doublebass

Andrew Reed Miller has worked as a professional musician for over 25 years, playing in orchestras, opera and ballet companies and performing chamber music.
Originally from New York, Andrew now lives in the small city of Saint John, Canada. In the 2000s he began focussing on contemporary and experimental music and developing original compositions. Much of his recent work explores audiovisual media culture and uses interactive electronics and extended instrumental techniques.
He was founder of Motion Ensemble (1998-2014), which premiered many new works and performed at all sorts of venues, including Sound Symposium (Newfoundland), Tonic (NYC), Western Front (Vancouver) and New Music Concerts (Toronto)
He is currently curator of a series of experimental, improvised and contemporary music called Open Arts . Andrew performs on a bass (2002) by Masa Inokuchi.
Miller is principal bass of Symphony NB, Atlantic Sinfonia, has been heard on numerous CBC broadcasts and was invited as guest artist by the NB Summer Music Festival, the Scotia Festival of Music, The Confederation Centre for the Arts (Charlottetown), Ensemble Kore (Montreal) Open Waters (Halifax) and Earshot concerts (Toronto).


Andrew had many student inspirations studying bass in Toronto with the great Joel Quarrington, at the University of Ottawa, the Kent Blossom Chamber Music Festival in Ohio, the Civic Orchestra of Chicago and many other places. More recently he studied Max/MSP/Jitter programming at Harvestworks in New York.

“Miller is a superb player, a master and a creative inventor......” -Stephen Pedersen The Chronicle Herald (Halifax) Jan 17 2011
 

COMPOSERS

 

ALVIN LUCIER


Alvin Lucier (born May 14, 1931) is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University, Lucier was a member of the influential Sonic Arts Union, which included Robert Ashley, David Behrman, and Gordon Mumma.
Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.

MARC SABAT


Marc Sabat is a Canadian composer based in Berlin since 1999. He has made concert music pieces, works with video, and installations with acoustic instruments and, in some recent pieces, computer-generated electronics, drawing inspiration from investigations of the sounding and perception of small number relations (Just Intonation), American folk and experimental musics, Minimal Art.
His work is presented internationally in radio broadcasts and at festivals of new music including the Bludenzer Tage zeitgemäßer Musik, Donaueschinger Musiktage,[1] MaerzMusik,[2] Darmstadt and Carnegie Hall.[3] His works do not fall into a single personal style, but they generally share a crystalline clarity of texture and a seek to focus listeners' perception of sounding structures into a process of musical 'thinking'. Sabat is a frequent collaborator, having worked often with visual artists and other composers, including brother painter and filmmaker Peter Sabat. Other collaborators include John Oswald (composer), Martin Arnold, Nicolas Fernandez, Matteo Fargion, Wolfgang von Schweinitz, and Stefan Bartling.

 

 

MIXTAPE♥ - BERNICE / TENDERNESS / K.YOUNG
Jun
3
8:00 pm20:00

MIXTAPE♥ - BERNICE / TENDERNESS / K.YOUNG

  • The Registry Theatre

Three amazing sets. Bernice - synthy, soulful songs of Robin Dann. Tenderness - hard driving, devotional banger grooves. Katherine Young - sonic landscapes created on bassoon and passed through mechanicals.

BUY TICKETS HERE Adult 20, Artist 15, Student/Senior 15, eyeGO 5

BERNICE

"Pay no mind to the jaded, for there are things new under the sun. Bernice, who is the quicksilver singer-songwriter Robin Dann and her interesting musical company, is novel and reaffirming. Bernice makes fluid, full, ambient and precise sounds, with percussion that is sometimes clanky. No grudges are shown toward harps, synthesizers, violas or even flugelhorns. Her voice is something like a bath  a lighter Meshell Ndegeocello. I haven't a clue what universe Dann came from...but she's welcome from wherever."       -    Brad Wheeler, GLOBE AND MAIL

"Inspired by a stay in France, this indelible song by Toronto's Robin Dann beautifully captures the off-balance circumstance of leaving behind who you were but not yet becoming someone else. As realized by multi-instrumentalist Thom Gill, the melody rarely goes where you expect it to, which helps immeasurably in reinforcing the notion that you're never quite sure where you
stand. " - John Sakamoto, Anti-Hit List, TORONTO STAR

"What we find in the music of Robin Dann and her outfit, Bernice, is that eccentric and ethereal quality that we come to associate with dream-pop, but there are nails and knots to her songs that put them into the very interesting and small company of bands like Beach House and Dirty Projectorsboth of which are a whole hell of a lot more than dream-pop, if theyre that at all. -Sean Moeller, DAYTROTTER

Bernice is Robin Dann (voice & songs), Phil Melanson (drums+electric drums), Thom Gill (keyboard+sequencer), Colin Fisher (guitar+pedals), Felicity Williams (voice) and Dan Fortin (bass). Based in Toronto, they are currently working out plans to release their new record.

www.bernicemusic.com     www.bernice.bandcamp.com

TENDERNESS (Chrissy Reichert)

Toronto's Chrissy Reichert makes off-kilter and looped electronic music as Tenderness with a huge dash of bravado  she samples everything from cats to door-slams and messes with the pitch of her voice incessantly. - Elena Gritzan (Audible Hoots)

tenderness.music.com

Tenderness: Wavelength Interview

KATHERINE YOUNG

“Bassoon colossus.”
--Philip Clark, The Wire

"Seriously bold leaps for the bassoon."
--Peter Margasak, Downbeat

“Comfortable in extremes, Katherine is a rare musician who possesses both the discipline and whimsy to perform in folk, free jazz, and chamber ensembles.”
--Venus Magazine

“The interest doesn't lie so much in the bassoon — though those glorious bass notes did rattle the heart — but how Young clasps Russell's vocal flutter and effortlessly tugged cello in one continuous thought.” 
--NPR.org

"Compellingly weird...."
--Time Out New York

"[T]his terrifying monster of the sea is not without its own peculiar brand of grace and whimsy."
--The New York City Jazz Record

The curious timbres, expressive noises, and kinetic structures of Katherine Young’s electro-acoustic music explore the dramatic physicality of sound, shifting interpersonal dynamics, and associations with the familiar and the strange. As an improviser, Katherine amplifies her bassoon and employs a flexible electronics set-up. She has documented her work on numerous recordings, including recently a duo recording with Anthony Braxton and her installation-performance piece Diligence Is to Magic as Progress Is to Flight created with violinist Austin Wulliman, which came out on Parlour Tapes+ as a stereo recording and do-it-yourself cassette installation box set. She also performs regularly with violist / scholar Amy Cimini in the duo Architeuthis Walks on Land, the members of Till by Turning, and her band Pretty Monsters. Her compositions have been performed by Ensemble Dal Niente, Wet Ink, Talea, String Orchestra of Brooklyn, Spektral Quartet, Fonema Consort, Distractfold, Weston Olencki, and she looks forward to upcoming commissions from Internationales Musikinstitut Darmstadt and the Chicago Symphony Orchestra’s MusicNOW. katherineyoung.info

DODECAPHUNK: K. BRENDERS BIG BAND, w/ALLISON AU
Jun
2
10:00 pm22:00

DODECAPHUNK: K. BRENDERS BIG BAND, w/ALLISON AU

  • KW Jazz Room

Atonal "12-tone" music gets funked up by the Kyle Brenders Big Band. 2016 Juno Award winner Allison Au opens.

CLICK TO BUY TICKETS Adults 20, Arts Workers/Student/Senior 15, eyeGO 5

dodecaphunk vienna cover text copy.jpg

Perhaps no single movement in western music has fractured and divided audiences, performers and composers alike as the rise of serial, atonal music - no more major or minor, and sounding to some like the beep-boops of machines or random noise generation. Dubbed the Second Viennese School by some (or the death of melody by others), Arnold Schoenberg, Alban Berg and Anton Webern abandoned tonality and traditional harmony for the egalitarian symmetry of the twelve-tone scale.

For those (lucky people) who are unfamiliar with the jargon, the Coles notes are here and a video of Canada’s most notorious proponent of serial music, Glenn Gould, playing Webern is here.

Inspired by this great Bad Plus arrangementKyle Brenders has taken it upon himself to arrange a group of these compositions for his intrepid Big Band, based on the theory that everything sounds better with a beat, and there’s no such thing as too much funk. Staunch romantics and proponents of major/minor might find themselves loving these amazing arrangements - “it has a great twelve-note tune, and I can dance to it.”

Opening act Allison Au comes to the Waterloo Region fresh from the Juno Awards, where she took home the award for BEST JAZZ ALBUM with the Allison Au Quartet.

Find new ways to listen and discover how music can bring us all together while we have a funk-filled good time in the intimate Waterloo Jazz Room.

DODECAPHUNK

Allison Au - Alto Sax, Kyle Brenders - Tenor Sax, Nicole Rampersaud - Trumpet, Tom Richards - Trombone, Scott Peterson - Bass, Brandon Valdivia - Drums, Michael Davidson - Vibes


Dodecaphunk plays the music of the Second Viennese school and music of other serial modernists but through the lens of the rhythm and soul of funk. Equally inspired by Webern and Parliament Funkadelic, this contrast in styles has never fully been explored. The music draws its material from the works of modernist masters but is reworked and rearranged to suit the a happier, funky aesthetic.  

 

ALLISON AU | Saxophone

Allison Au is a Toronto-based saxophonist, composer and arranger. 

Since it’s formation in 2009, The Allison Au Quartet has toured across Canada and the U.S. The ensemble recently earned a JUNO Award for their 2016 release "Forest Grove" and also garnered a JUNO Award nomination for their debut release in 2013 entitled "The Sky Was Pale Blue, Then Grey." The group was also awarded the TD Jazz Fellowship Scholarship (2011),The Alfred and Phyllis Balm Scholarship (2012), and The Margareta and Benno Nigg Scholarship (2013) to conduct artist residencies at the renowned Banff Centre.

In 2011, Allison was selected as one of eight international participants for the Metropole Orkest's Arrangers Workshop held in the Netherlands. There she had the opportunity to work with composer Vince Mendoza and The Metropole Orkest.

Since, her work has been featured with Hilario Duran's Latin Big Band (Canada), Grammy-nominated Jazz vocalist Roberta Gambarini, Blue Note recording artist Ruben Hein (The Netherlands), The Metropole Orkest (The Netherlands), The WDR Big Band (Germany), and The Filarmonica 900 del Teatro Regio and Torino Jazz Orchestra (Italy).

Allison has attended the 2010 summer workshop at the School for Improvised Music in Brooklyn, NY under the direction of Ralph Alessi and the 2011 Banff International Workshop in Jazz and Creative Music, under the direction of Dave Douglas. She is the leader of the Allison Au Quartet, which won the 2016 Juno Award for Best Jazz Album.

 

 

 

CONDUCTING THE ETHER
Jun
2
8:00 pm20:00

CONDUCTING THE ETHER

  • Perimeter Institute for Theoretical Physics

A rare opportunity! Straight from Berlin, Carolina Eyck, international theremin virtuoso.

CLICK FOR TICKETSAdults 35/ Senior or Arts worker 20/ Student 15

 

The Open Ears Festival and the Perimeter Institute for Theoretical Physics present:

Conducting the Ether

Pushing the Perimeter, Thursday, June 2, 8:00 pm at the Mike Lazaridis Theatre of Ideas 

From Tesla coils to tales of the theremin, this concert draws its thrills from the electric ether in these remarkable new and older works for chamber ensemble.   2014 Giller Prize-winning author Sean Michaels will be present to read from his brilliant historical novel ‘Us Conductors’ setting the scene for the 1928 beginnings of the theremin – the world’s first motion sensor music instrument.   The program begins with Martinu’s seminal work for theremin and chamber ensemble (1944) and extends to a new work for karlax – a new motion sensor instrument designed by Da Fact (Paris, France) and performed by D
Andrew Stewart.

Since her debut with the Berlin Philharmonic, Carolina Eyck has established herself internationally as the world's foremost theremin virtuoso.  Her stunning technique will be featured in several works including a new work by Omar Daniel.

This concert is presented in partnership with the Perimeter Institute for Theoretical Physics as a part of the innovative Pushing the Perimeter Series.

 

Carolina Eyck, theremin

James Mason, oboe

Gregory Oh, piano

D. Andrew Stewart, karlax

Ian Whitman, bass

Sean Michaels, author

 

Sean Michaels - ‘Us Conductors’ novel (2014) excerpts

Bohuslav Martinu - Fantasia for theremin, oboe, string quartet and piano (1944) 

D Andrew Stewart - New work for karlax and string quartet (2016 Premiere)

Omar Daniel - New work for theremin, tesla coil, organ, and string quartet (2016 Premiere) 

Jan Bilk - ‘stigma integrum’ for theremin and string quintet (2009)

CAROLINA EYCK | Theremin

German-born musician and composer Carolina Eyck is one of the world’s foremost theremin virtuosi. After her debut in the Berlin Philharmonic, she has been invited to the Bohuslav Martinu International Music Festival in Basel, the Davos Festival (Switzerland), the Konzerthaus Berlin, the Großes Festspielhaus Salzburg (Austria), the Teatro Nacional Lisbon (Portugal) and the Palace of Arts Budapest (Hungary). She has given concerts in Poland, the Czech Republic, Luxembourg, Sweden, Finland, Great Britain, Italy, Switzerland, Austria, Japan, Mexico, Portugal, Hungary, Pakistan, Turkey and the United States. These concert tours are also an occasion for Carolina to learn some words of the respective national languages.

During her concert tours, Carolina is especially inspired by meeting other musicians and ensembles. She has collaborated with Heinz Holliger, Robert Kolinsky, Gerhard Oppitz, Andrey Boreyko, Michael Sanderling, Gürer Aykal, John Storgårds, the Berlin Radio Symphony Orchestra, the Bern Symphony Orchestra, the Essen Philharmonic Orchestra, the Brandenburg State Orchestra, the Stuttgart Philharmonic Orchestra, the Lapland Chamber Orchestra, the Heidelberg Symphonic Orchestra and the Mozarteum Orchestra Salzburg. She was guest musician of the Hamburg Ballet performing "The Little Mermaid" by Lera Auerbach in Japan and San Francisco (USA). In 2012, Carolina played the theremin solo at the world premiere of the two symphonies “Mesopotamia” and “Universe” by Fazil Say. Finnish composer Kalevi Aho dedicated a theremin concert to Carolina which she performed for the first time in October 2012.

Besides her engagements in the area of classical and contemporary music, Carolina loves improvising and composing. She was winner of the International Competition for Composers arranged by Radio/TV Berlin-Brandenburg in 2006. Together with her duo partner, the jazz guitarist Vinzenz Wieg, she keeps on discovering new soundscapes and unconventional methods of play. For Carolina, music and painting belong together as she is not thinking in tunes, but in colours when improvising. She puts these colours down on paper whenever she can.

Carolina Eyck seeks to pass on her knowledge about playing the theremin. She published the first extensive theremin method book entitled “The Art of Playing the Theremin”, and has since conducted workshops, lectures and master classes worldwide. Since 2010 she is the artistic director of the Theremin Summer Academy in Colmar, France.

The Pushing the Perimeter Concert Series is a co-presentation with Inter Arts MatrixNUMUS Concerts, Open Ears Festival of Music and Sound and the Perimeter Institute for Theoretical Physics

NAZAR-I TURKWAZ
Jun
1
8:00 pm20:00

NAZAR-I TURKWAZ

  • KWCMS Music Room

This inspiring quartet of singers and instrumentalists will take you to Turkey, Egypt, Greece, the Middle East and beyond! 

CLICK HERE FOR TICKETS: Adults 30 / Stu & Sen 20

OPEN EARS and the KITCHENER WATERLOO CHAMBER MUSIC SOCIETY present:

Nazar-I Turkwaz

Turkwaz is a unique combination of four musician/singers, immersed in diverse traditions from mysterious Sufi devotional love songs, to rousing Thracian dance music. Each performer brings a special flavour to the group. Maryem Hassan Tollar draws on her Arabic language heritage, Jayne Brown and Sophia Grigoriadis bring their Greek background to the mix and Brenna MacCrimmon adds her Turkish roots. They have a long-standing collective interest in Balkan traditions and add Albanian, Bulgarian and Macedonian and whatever else strikes their fancy to their repertoire. The love and respect they have for the traditions they draw from are clear but they are not afraid to arrange the tunes in new and unexpected ways to give them a fresh spin.

Maryem, Jayne and Sophia have worked together before as featured vocalists in world music ensemble Maza Meze. Brenna spent years in Turkey working and touring with diverse musicians including Master Gypsy clarinetist Selim Sesler as Karsilama. Sophia, Jayne and Brenna go way back to when they performed together in Staro Selo – a traditional Macedonian ensemble and one of the first “world music” bands in Toronto. That deep, shared history is what makes their music so compelling. Individually they also have worked in many fields and styles and have numerous Juno nominations, film and recording credits between them.

Turkwaz loves the challenge of working with complicated rhythms and adding harmonies where no harmonies existed before, of exploring the possibilities of drones and melodies and colouring their sound with gentle strings and hand percussion. They deliver their songs with style, heartfelt passion and a touch of humour. 

DOLLHOUSE
May
31
8:00 pm20:00

DOLLHOUSE

  • The Registry Theatre

“Gordon Monahan produces sounds we haven’t heard before.”

                    -John Cage, American composer

BUY TICKETS HERE: General $25 / Stu + Sen $15 / Art Workers $20 / eyeGO $5

“... the wonderfully gamin Bill Coleman ... proved to me that he can coax squirrels out of trees and break hearts even while he makes them soar. In three decades...this ranks as one of the most intimate and moving pieces of theatre this reviewer has ever experienced.”                    

John Coulbourn, The Toronto Sun

In Dollhouse, internationally renowned dancer/choreographer Bill Coleman inhabits an installation created by celebrated avant-garde composer Gordon Monahan. Movement, tap dancing and performance art intermingle with manipulated objects – mechanical and electronic, handmade and found.                  

The result: a 60-minute theatrical disintegration that is not only an eye-opening spectacle but also a unique musical experience. Coleman plays the role of modern fakir, suffering through a symphonic chaos of sight and sound. Disruptive and surprising, Dollhouse walks a unique line between Artaudian theatre and slapstick, with Coleman as simultaneously conductor and instrument.

The performer’s disastrous interaction with this world is a search for meaning in which “I’m alive!” is confirmed with every painful interaction.

Read a review of Dollhouse in The Dance Current.

BILL COLEMAN | concept, dance, performance

Bill Coleman’s work has transcended the usual theatrical settings to include work on Mountain tops, Rainforests, prairies, and construction sites often collaborating with a variety of community groups, including Russian WW11 veterans, Aboriginal communities, fishing villages and ranching communities. His work has been presented at the Tramway in Glasgow, New Yorks Dance Theatre Workshop, Place Des Arts, Montreal, Alexeandrinsky Theatre, St Petersburg, and others.. Most recently Bill collaborated with the legendary jazz band the Sun Ra Arkestra and is featured in OutSideIn a 40-minute 3D to premiere in this years Venice Biennale.

A choreographer for more then 30 years, over the last 10 years Bill Coleman has been experimenting with micro-movement within the body. In his work with dancers, long time collaborator Carol Prieur and others, in Kindergarten classes, open adult workshops and in collaborations with organizations such as National Parks Canada and Department of Psychology Neuroscience and Behaviour McMaster University.

His site-specific series is a bold collection of large-scale works where Coleman proves himself a pioneer in the world of dance. These site-specific performances, often in unusual settings use dance as a means to unite the community within its natural environment. The result is a happening that becomes a celebration of life and community and constitutes, as such, some of the choreographer’s most unusual and exceptional work.

He has performed with among others: The Martha Graham Dance Company, Bill T Jones/Arnie Zane Company, Toronto Dance Theatre, Fondation Jean Pierre Perreault and is a long time faculty member at Centre for Indigenous Theatre.

Bill is co-founder of Coleman Lemieux & Compagnie.

Bill Coleman et son grand «corps d’acteur» — comme on dirait une «gueule d’acteur», typée, racée et expressive — dans une évolution accélérée du simiesque à la claquette à la rythmique merveilleuse. —Catherine Lalonde, Le Devoir (Montréal) 

GORDON MONAHAN | music, sound, visuals

Gordon Monahan’s works for piano, loudspeakers, video, kinetic sculpture, and computer- controlled sound environments span various genres from avant-garde concert music to multi-media installation and sound art. As a composer and sound artist, he juxtaposes the quantitative and qualitative aspects of natural acoustical phenomena with elements of media technology, environment, architecture, popular culture, and live performance.

Monahan began performing in public as a member of various rock bands in Ottawa, Canada (1968-73). Since 1978, he has performed and exhibited at numerous performance spaces, museums, galleries, and festivals, including Hamburger Bahnhof (Berlin), the Venice Bienale, the Secession (Vienna), Haus der Kunst (Munich), Mak Museum (Vienna) The Kitchen (NY), the Walker Art Center (Minneapolis), Merkin Hall (NY), and Massey Hall (Toronto). Early in his career, he specialized as a pianist, performing John Cage’s Etudes Australes, premiering pieces by James Tenney and Udo Kasemets, and composing extended works for acoustic and amplified piano.

Beginning in the late 1970’s, he created sound works using elements of natural forces and the environment, eventually constructing long string installations activated by wind, by water vortices and by indoor air draughts. His work for electronic tone generators and human speaker swingers (Speaker Swinging, 1982) is a hybrid of science, music, and performance art. During the 1990’s he developed an ensemble of multi-functional computer-controlled sound-machines which undergo various transformations in performance and installation environments. In Multiple Machine Matrix (1996-98), a remote-controlled robot enters this environment and pretends to learn how to perform and behave on a public stage.

Recent works include multi-channel sound installations (A Very Large Vinyl LP Constructed in Acoustic Space, 2007), Theremin Pendulum, a chaotic theremin installation (2008), Gamelan Klavier (2009), a composition for gamelan and prepared piano, and a series of long-piano-string installations activated by audio signals.

Gordon Monahan is the recipient of a 2013 Governor-General’s Award in Visual and Media Arts. He won First Prize at the 1984 CBC National Radio Competition for Young Composers, as well as commissions from the Vancouver New Music Society; CBC Radio; Dade County Art in Public Places, Miami; The Kitchen, New York; the DAAD Inventionen Festival, Berlin, the Donaueschingen Musiktage and the Sony Center, Berlin.

Monahan has been Artist-in-Residence at the Banff Centre for the Arts (1990), the Exploratorium in San Francisco (1991), D.A.A.D., Berlin (1992-93), the Western Front, Vancouver (1999), Podewil, Berlin (2002), Kunsthalle Krems, Austria (2006), Museumsquartier, Vienna (2008), and a fellow with the New York Foundation for the Arts (1991).

Monahan divides his time between studios in Meaford, Ontario, and Berlin, Germany. 

DAVID GAUCHER | design

David Gaucher has designed film, television and museums and more than thirty theatre and opera productions. For the Banff Centre, he designed two world premiere operas, Kafka’s Chimp and Zurich: 1916 both of which received high critical praise for their visual aspects. Also of note were stunning designs for Ubu Roi at the NCT and for Le Cygne earning him a Gala des Masques nomination. He was also nominated for the set design of Wit produced by the Centaur Theatre. For his first assignment with Le Théâtre du Nouveau Monde, he created a boldly poetic space forLa vie est un songe. He designed Uncle Vanya, at Lincoln Centre in New York and the Gate Theatre in Dublin, directed by Ben Barnes, with whom he collaborated on Waiting for Godot at the Centaur in Montreal. He also designed Two Noble Kinsmen for the Stratford Festival and Britannicus for Calgary’s Theatre Junction. He recently design costumes and set for Isabelle Panneton’sL’Arche and set for Alexis Martin’s Taverne. He has also created sets for Coleman Lemieux & Compagnie’s Convoy PQ 17, From The House of Mirth and Varenka, Varenka!

PIERRE LAVOIE | environment, lighting

Pierre Lavoie has been active in dance since 1982, first in Toronto as stage manager for most of the city’s modern dance companies, then in Montréal for Les Grands Ballets Canadiens. There he had the great opportunity to work closely with his mentor, lighting designer Nick Cernovitch. Pierre started designing lighting in the 90s for Margie Gillis and has since designed every new work in her repertoire. He also creates lights for many independent modern dance artists in Montreal. Pierre’s versatility is seen in how easily he can sustain both modern and classical vocabulary.

He has designed to rave reviews at Alberta Ballet where he is resident lighting designer, Christopher Wheeldon’s Midsummer Night’s Dream, Val Caniparoli’s Lady of the Camellias, Kirk Petersen’s Othello, Emily Molnar’s Carmina Burana and Jean Grand- Maitre’s Carmen, Cinderella, Romeo and Juliette, the acclaimed Fiddle and the Drum with Joni Mitchell, Love Lies Bleeding with Elton John and Fumbling Towards Ecstacy with Sarah MacLachlan. Pierre has also designed works for the Royal Winnipeg Ballet including Moulin Rouge, Mark Godden’s As Above, So Below and The Magic Flute and André Prokovsky’s Anna Karenina. Other ballet credits include Don Quixote, Swan Lake, Taming of the Shrew and Nutcracker at Boston Ballet; Cinderella at Milwaukee Ballet; a mixed jazz program at Ballet Memphis; King Lear, Amadeus, Phantom of the Opera and Don Giovanni at Atlantic Ballet Theatre of Canada; qoundam at the Royal Swedish Ballet choreographed by Sabrina Matthews. Pierre has also ventured into the world of music where he has designed the lighting for the last three creations of tango music septet Ensemble Romulo Larréa: Homage to Astor Piazzola, Tango for La Milonga and Tango for a Century.

For opera, Pierre designed the world premiere of Facing South in Toronto, Norma and Rigoletto at Pacific Opera in Victoria, Romeo and Juliette for the Opéra de Québec and La Traviata at Opera New-Brunswick. 

 

WHAT WE ARE SAYING
May
29
3:00 pm15:00

WHAT WE ARE SAYING

  • PUC Building

‘”mad crazy bright lights” (Carl Wilson, Zoilus)

CLICK TO BUY TICKETS: Adults $25, Arts $20, Students/seniors $15, eyeGO $5

In an open space filled with chairs, the performers speak and move in a unison where every decision is a group decision but no one knows what’s going to happen next. Is being together possible? They don’t have an entirely satisfactory answer. Nonetheless, they insist on this question as both the figure and the ground of their pursuit – to express how things are, and how they want things to be different. Navigating the potential of absolute failure, what we are saying illuminates the possibility of leaderless togetherness.

What can we say about the present moment – the moment we’re in now, together?

What can we say about our future and how do we say it together?

Using language and movement to explore new perspectives of our world and each other, an assembly of performers responds to uncertainty, potential danger, and possibility in an open performance space.

Co-created by Frank Cox-O’Connell, Ishan Davé, Katie Ewald, Mairéad Filgate, Sherri Hay, Ame Henderson, sandra Henderson, Brendan Jensen, Benjamin Kamino, Alexander MacSween, Liz Peterson, Kimberly Purtell, Nick Rose, Bojana Stancic, Stephen Thompson and Evan Webber

Produced by Public Recordings. Co-produced by Dance4, Festival TransAmériques and Harbourfront Centre’s World Stage in association with The Power Plant Contemporary Art Gallery. Developed in residencies at Dance4, OBORO and Gallery TPW.

PUBLIC RECORDINGS

Since 2003, Public Recordings’ dance experiments have proposed choreography as the tension between the established and the emergent – while their performances have made the remarkable case that dance changes how we imagine the possible. A collaborative operation that conjoins artistic research, performance creation, learning and publication, Public Recordings makes ground-breaking projects that activate the potentials of shared space. Works including/Dance/Songs/, 300 TAPES, relay, what we are saying and The Most Together We’ve Even Been have been presented in Belgium, Croatia, France, Italy, The Netherlands, the UK, Slovenia and across Canada.

Concurrent with its performance projects, Public Recordings provides and facilitates exchange opportunities year-round, in Canada and abroad. These workshops aim to produce artistic research, energize the performance community and widen the platform on which practitioners can share their experience and vision.

ARTIST TALK: TRISTAN PERICH and RYAN MAGUIRE
May
29
1:00 pm13:00

ARTIST TALK: TRISTAN PERICH and RYAN MAGUIRE

  • Open Sesame

Catch this discussion with two of our guest media artists. 

FREE ADMISSION

Meet the fascinating artist and composer Tristan Perich, at the Open Sesame Gallery, where his Machine Drawings will be on display. Ryan Maguire, creator of The Ghost in the MP3 will also be on hand to detail the process of designing and assembling his sound work.

TRISTAN PERICH

Tristan Perich‘s (New York) work is inspired by the aesthetic simplicity of math, physics and code.

The WIRE Magazine describes his compositions as "an austere meeting of electronic and organic." 1-Bit Music, his 2004 release, was the first album ever released as a microchip, programmed to synthesize his electronic composition live. His latest circuit album, 1-Bit Symphony (Cantaloupe, 2010) has received critical acclaim, called "sublime" (New York Press), and the Wall Street Journal said "its oscillations have an intense, hypnotic force and a surprising emotional depth." His works for soloist, ensemble and orchestra have been performed internationally by ensembles including Bang on a Can, Calder Quartet, Eighth Blackbird at venues from the Whitney Museum and Mass MoCA to Sonar and Ars Electronica. He has received commissions from Bang on a Can, Meehan/Perkins Duo, Dither Quartet, Yarn/Wire, and others.

As a visual artist, Perich has had solo exhibitions at bitforms gallery (NYC), Mikrogalleriet (Copenhagen), Museo Carandente (Spoleto), The Addison Gallery (Massachusetts), Katonah Museum (New York), Monster Truck (Dublin), LEAP (Berlin) among others, as well as group shows aound the world. HisMachine Drawings, pen-on-paper drawings executed by machine, were described as "elegantly delicate" by BOMB Magazine.

Perich was a featured artist at Sonár 2010 in Barcelona, and in 2009, the Prix Ars Electronica awarded him the Award of Distinction for his composition Active Field (for ten violins and ten-channel 1-bit music). Rhizome awarded him a 2010 commission for Microtonal Wall, an audio installation with 1,500 speakers. Perich attended the first Bang on a Can Summer Institute in 2002. He was artist in residence at Issue Project Room in 2008, at Mikrogalleriet in Copenhagen in 2010, at the Addison Gallery in Andover, MA and Harvestworks in New York in Fall 2010, and at the Watermill Center in 2012. His work has received support from New York State Council on the Arts, the American Music Center, Meet the Composer and others. He has spoken about his work and taught workshops around the world.

Perich studied math, music and computer science at Columbia University, and received a masters in from the Interactive Telecommunications Program at Tisch School of the Arts, NYU.

 

RYAN MAGUIRE | artist

Inspired by the infinity of the cosmos, the indeterminacy of the subatomic, and the complexity of life, Ryan Maguire explores the boundaries between the natural world, human experience, and the technologies that act as intermediaries between the two. His work is equal parts technical virtuosity and folk humanism, blurring lines between composition & improvisation, sound & video, acoustic & electric, deterministic & stochastic, fabricated & hand-crafted, analog & digital, lo-fi & high tech, and ultimately between poetry & science. He plays stringed instruments and programs computers, molds materials and builds circuits, writes essays and sings songs. Currently a Ph.D. student in Composition and Computer Technologies at the University of Virginia, Ryan earned his B.A. in Physics and taught math before completing postgraduate degrees at the New England Conservatory of Music and Dartmouth College in Composition and Digital Musics, respectively.

LISTENING CHOIR 3
May
29
12:00 pm12:00

LISTENING CHOIR 3

  • DT Kitchener

A magical experience that transforms a walking group into performers, listeners and sonic architects.

This event is PWYC. Sign up at http://goo.gl/forms/aKu2ptaVAp - space is limited. 

LISTENING CHOIR

Project by Christopher Willes and Adam Kinner
Print design by Jeremy McCormick

Listening Choir is a performance that takes participants on group walks through urban spaces. Enacting a practice of group listening, these walks offer a way of encountering the affective landscapes of public settings together, reflecting on broad notions of common space and participation.

Using homemade recording devices participants subtly alter the sounds of the city and perform simple choreographies of listening together. Agreeing to drift without speaking, the group collects recordings of places, objects, language, and ideas within the present environment creating a continually fractured soundscape as each act of recording erases the previous. These recordings are choreographed, listened to, in various ways throughout each walk, evoking the sounds of the immediate past, the sonic dislocation of objects and spaces onto others and the folding of histories and places on top of one another. 

Listening Choir invites making listening itself the thing that is listened to. Trespassing on  traditions like sound-walking and the situationist dérive, the project seeks to conjugate collective and individual ways of hearing, and proposes the act of listening within the urban setting as performative.

"The Listening Choir is hearing things. Our choir is silent and our songs are movements. We hear loud things, and unheard things, what’s been drowned out or quieted, what’s been softened by history; the endless refrain of the city. Some of the loudest things are inaudible, but we live in the aftermath of their force. We’re orienting there, to the loudness and to the aftermath, to the echo and its displacements. But if hearing could be moving, then our songs are wholly unlocated - a way of listening deprived of centrality. Here we propose ten scores of dispersion, ten ways to move together in disarming loudness." 

Listening Choir was originally developed through a residency at Videofag in Kensington Market. 

Adam Kinner lives and works Montreal, Canada. Trained as a musician, he began working in dance in 2011 as a way of experimenting with the radical potentials of the performing body. His work moves across music, performance, choreography, and documentation as it composes the performing body within the matters, affects, discourses, histories and objects of the lived present. His work has been presented in Montréal at Tangente, OFFTA, Studio 303, Usine C, the McCord Museum, SBC Gallery, Leonard & Bina Ellen Gallery and Innovations en Concert, as well as in Toronto, Washington DC, Chicago, New York, Berlin and Rotterdam. Challenging the mandate of individualism, he has sought to develop a shared, collaborative practice with other artists, including Noémie Solomon (Providence, Rhode Island), Ame Henderson and Public Recordings (Toronto), Jacob Wren and PME-ART (Montreal) and Christopher Willes (Toronto).

Christopher Willes is an artist based in Toronto and Montreal. Between music, performance, and visual art contexts his work appears across a range of forms including performances, concert works, installation, site interventions, objects, writings, and ephemera. His practice is broadly concerned with listening and its conditioning in relation to bodies, materials, noise, audio technologies/formats, the built environment, landscapes, public space, psychoacoustics, embodied archives, institutional memory. He has shown recent works at the Music Gallery, The Art Gallery of Ontario, The Rhubarb Festival, Luff Art + Dialog, and Sound Live Tokyo. For the past decade he has been continually active collaborating with choreographers and experimental theatre makers as a sound-maker, performer, and dramaturge, including works with Public Recordings, Dancemakers, Urbanvessel, Small Wooden Shoe, Christine Sun Kim, and Adam Kinner. He studied music at the University of Toronto, dramaturgy, and received an MFA from Bard College NY. He is a 2016 recipient of a Chalmers Art Fellowship.

SURFACE IMAGE
May
28
8:30 pm20:30

SURFACE IMAGE

  • St. Andrew's Presbyterian Church

Rolling Stone's 20 Best Avant Albums of 2014

Doors 8 PM. BUY TICKETS HERE

“Perich’s most compelling and emotionally affective work to date...Chow’s performance is a mind-boggling balance of emotional and mathematical delivery, incorporating the entire sonic spectrum of her instrument and teetering at the limits of human endurance.”       – Q2 Music

This is the first appearance at Open Ears for Canadian pianist Vicky Chow, who currently lives in New York City as a member of the Bang On A Can All-Stars.

Surface Image is a stunning marriage of Perich's inspired electronic aesthetic and Chow's nuanced yet fiercely virtuosic playing. It's a landmark release for Perich, being his first major release focusing solely on his work, as well as his first large-scale piano composition. Chow's dynamic performance is swept up in a sublime flurry of dazzling 1-bit sounds, simultaneously entangling and unraveling over the hour long journey. The line between electronic and organic is artistically blurred, as the simple hand-wired electronics fuse with the individual notes of the piano on the same, expansive plane.

Through a string of groundbreaking works pairing acoustic instruments with hand-made 1-bit electronics, Tristan Perich has transformed the way in which traditional forms of composition can be enhanced and reinvigorated by the aesthetic simplicity of math, physics, and code. 

VICKY CHOW

Canadian pianist Vicky Chow has been described as “brilliant” (New York Times), “a monster pianist” (Time Out New York) “virtuosic” (New Jersey Star Ledger), “sparkling” with a “feisty technique” (MIT Tech) and “new star of new music” (Los Angeles Times). She is the pianist for the award-winning ensemble, Bang on a Can All- Stars, Grand Band, The Virgil Moorefield Pocket Orchestra, and New Music Detroit and has collaborated with other ensembles such as ICE, Wet Ink Ensemble, and the Wordless Music Orchestra. She has performed internationally in Asia, Australia, Europe and North America at venues such as Carnegie Hall in New York, The Barbican Center in London, the Muziekgebouw in Amsterdam, the Tonhalle in Zurich, the Tongyeong Concert Hall in Korea  to name a few. Most recently she gave the North American premiere of Steve Reich’s work ‘Piano Counterpoint’ and the world premiere of John Zorn’s new piano trio titled “The Aristos”, and Michael Gordon’s ‘Ode to La Bruja, Hanon, Czerny, Van Cliburn and little gold stars’ written for Grand Band, and an evening length work by artist/composer Tristan Perich for solo piano and 40 channel 1-bit electronics titled ‘Surface Image‘ written for Ms. Chow.

Her recording of ‘Piano Counterpoint’ was released in September 2014 on the Nonesuch label alongside Alarm Will Sound’s ‘Radio Rewrite’ and Radiohead guitarist Jonny Greenwood’s ‘Electric Counterpoint’. Perich’s ‘Surface Image’ was also released in the fall of 2014 on the New Amsterdam label to much success and was included in the top albums of the year lists such as The Rolling Stone Magazine and Rhapsody. Her performances of Morton Feldman and John Cage were featured on BBC3‘s documentary series ‘The Sound and The Fury’, based on Alex Ross’ book ‘The Rest is Noise’. Her passion for new music has propelled Vicky to work with an A-to-Z of leading composers and musicians such as Andy Akiho, Louis Andriessen, Nik Bärtsch, Michael Gordon, Glenn Kotche (Wilco), David Longstreth (Dirty Projectors), David Lang, Steve Reich, Terry Riley, Lee Ranaldo (Sonic Youth), Julia Wolfe and Shara Worden (My Brightest Diamond). Her next  projects include a piano concerto by American composer Ronald Bruce Smith in collaboration with BMOP,solo piano works by Pulitzer nominated composer Chris Cerrone, Alex Mincek, David Franszon, and Canadian composers Adam Basanta, Fjola Evans, and a new piano/percussion duo work by Vincent Ho.

As an artist frequently broadcasted on WNYC’s Q2 radio, her recorded work can be found on the 'Nonesuch', 'New Amsterdam', ‘Tzadik’, ‘Cantaloupe’,’ Innova’, ‘Hinterzimmer’, and ‘AltaVoz’ labels. Interviews and articles featuring Ms. Chow was published in the Huffington Post, Gramophone, The New York Times, The Vancouver Sun, and many more. In addition to performing, Ms. Chow produces and curates “Contagious Sounds”, a new music series focusing on adventurous contemporary artists and composers in New York City. She receives continuous support from the Canada Council for the Arts and has received grants from the Fromm Foundation, The Yvar Mikhshoff Trust, The Aaron Copland Music Fund, The Vancouver Foundation, and the BC Arts Council.

Originally from Vancouver Canada, Ms. Chow studied at The Juilliard School with Yoheved Kaplinsky and Julian Martin before continuing studies at Manhattan School of Music with Christopher Oldfather. Starting the piano at age 5, she was invited to perform at the age of 9 at the International Gilmore Music Keyboard Festival. She made her orchestral debut at the age of 10 with the Vancouver Symphony Orchestra made her NY orchestral debut appearance at Alice Tully Hall with the Juilliard Symphony performing Bartok’s Piano Concerto No. 1.

TRISTAN PERICH

Tristan Perich‘s (New York) work is inspired by the aesthetic simplicity of math, physics and code.

The WIRE Magazine describes his compositions as "an austere meeting of electronic and organic." 1-Bit Music, his 2004 release, was the first album ever released as a microchip, programmed to synthesize his electronic composition live. His latest circuit album, 1-Bit Symphony (Cantaloupe, 2010) has received critical acclaim, called "sublime" (New York Press), and the Wall Street Journal said "its oscillations have an intense, hypnotic force and a surprising emotional depth." His works for soloist, ensemble and orchestra have been performed internationally by ensembles including Bang on a Can, Calder Quartet, Eighth Blackbird at venues from the Whitney Museum and Mass MoCA to Sonar and Ars Electronica. He has received commissions from Bang on a Can, Meehan/Perkins Duo, Dither Quartet, Yarn/Wire, and others.

As a visual artist, Perich has had solo exhibitions at bitforms gallery (NYC), Mikrogalleriet (Copenhagen), Museo Carandente (Spoleto), The Addison Gallery (Massachusetts), Katonah Museum (New York), Monster Truck (Dublin), LEAP (Berlin) among others, as well as group shows aound the world. HisMachine Drawings, pen-on-paper drawings executed by machine, were described as "elegantly delicate" by BOMB Magazine.

Perich was a featured artist at Sonár 2010 in Barcelona, and in 2009, the Prix Ars Electronica awarded him the Award of Distinction for his composition Active Field (for ten violins and ten-channel 1-bit music). Rhizome awarded him a 2010 commission for Microtonal Wall, an audio installation with 1,500 speakers. Perich attended the first Bang on a Can Summer Institute in 2002. He was artist in residence at Issue Project Room in 2008, at Mikrogalleriet in Copenhagen in 2010, at the Addison Gallery in Andover, MA and Harvestworks in New York in Fall 2010, and at the Watermill Center in 2012. His work has received support from New York State Council on the Arts, the American Music Center, Meet the Composer and others. He has spoken about his work and taught workshops around the world.

Perich studied math, music and computer science at Columbia University, and received a masters in from the Interactive Telecommunications Program at Tisch School of the Arts, NYU.

LISTENING CHOIR 2
May
28
6:00 pm18:00

LISTENING CHOIR 2

  • DT Kitchener

A magical experience that transforms a walking group into performers, listeners and sonic architects.

This event is PWYC. Sign up at http://goo.gl/forms/aKu2ptaVAp - space is limited. 

LISTENING CHOIR

Project by Christopher Willes and Adam Kinner
Print design by Jeremy McCormick

Listening Choir is a performance that takes participants on group walks through urban spaces. Enacting a practice of group listening, these walks offer a way of encountering the affective landscapes of public settings together, reflecting on broad notions of common space and participation.

Using homemade recording devices participants subtly alter the sounds of the city and perform simple choreographies of listening together. Agreeing to drift without speaking, the group collects recordings of places, objects, language, and ideas within the present environment creating a continually fractured soundscape as each act of recording erases the previous. These recordings are choreographed, listened to, in various ways throughout each walk, evoking the sounds of the immediate past, the sonic dislocation of objects and spaces onto others and the folding of histories and places on top of one another. 

Listening Choir invites making listening itself the thing that is listened to. Trespassing on  traditions like sound-walking and the situationist dérive, the project seeks to conjugate collective and individual ways of hearing, and proposes the act of listening within the urban setting as performative.

"The Listening Choir is hearing things. Our choir is silent and our songs are movements. We hear loud things, and unheard things, what’s been drowned out or quieted, what’s been softened by history; the endless refrain of the city. Some of the loudest things are inaudible, but we live in the aftermath of their force. We’re orienting there, to the loudness and to the aftermath, to the echo and its displacements. But if hearing could be moving, then our songs are wholly unlocated - a way of listening deprived of centrality. Here we propose ten scores of dispersion, ten ways to move together in disarming loudness." 

Listening Choir was originally developed through a residency at Videofag in Kensington Market. 

Adam Kinner lives and works Montreal, Canada. Trained as a musician, he began working in dance in 2011 as a way of experimenting with the radical potentials of the performing body. His work moves across music, performance, choreography, and documentation as it composes the performing body within the matters, affects, discourses, histories and objects of the lived present. His work has been presented in Montréal at Tangente, OFFTA, Studio 303, Usine C, the McCord Museum, SBC Gallery, Leonard & Bina Ellen Gallery and Innovations en Concert, as well as in Toronto, Washington DC, Chicago, New York, Berlin and Rotterdam. Challenging the mandate of individualism, he has sought to develop a shared, collaborative practice with other artists, including Noémie Solomon (Providence, Rhode Island), Ame Henderson and Public Recordings (Toronto), Jacob Wren and PME-ART (Montreal) and Christopher Willes (Toronto).

Christopher Willes is an artist based in Toronto and Montreal. Between music, performance, and visual art contexts his work appears across a range of forms including performances, concert works, installation, site interventions, objects, writings, and ephemera. His practice is broadly concerned with listening and its conditioning in relation to bodies, materials, noise, audio technologies/formats, the built environment, landscapes, public space, psychoacoustics, embodied archives, institutional memory. He has shown recent works at the Music Gallery, The Art Gallery of Ontario, The Rhubarb Festival, Luff Art + Dialog, and Sound Live Tokyo. For the past decade he has been continually active collaborating with choreographers and experimental theatre makers as a sound-maker, performer, and dramaturge, including works with Public Recordings, Dancemakers, Urbanvessel, Small Wooden Shoe, Christine Sun Kim, and Adam Kinner. He studied music at the University of Toronto, dramaturgy, and received an MFA from Bard College NY. He is a 2016 recipient of a Chalmers Art Fellowship.

REFUGEE HOTEL WORKSHOP
May
28
3:00 pm15:00

REFUGEE HOTEL WORKSHOP

  • Queen Street Commons

Listen to this reading of Carmen Aguirre's Refugee Hotel, a play that was written to give a voice to refugees around the world.

FREE

A reading of The Refugee Hotel

written by Carmen Aguirre

presented by Aluna Theatre

directed by Beatriz Pizano

in association with the MT Space

More than a dark comedy about a group of Chilean refugees who arrive in Vancouver in 1974 after Pinochet's coup, this play is Carmen Aguirre's attempt to give voice to refugee communities from all corners of the globe.

 
NATIONAL DRONE DAY
May
28
2:00 pm14:00

NATIONAL DRONE DAY

  • Open Sesame

PWYC (suggested: $10)

National Drone Day (droneday.org/) is an initiative of Weird Canada: an annual holiday for drone music with events taking place across Canada. The Kitchener event has been organized by Admission of Guilt concert series (facebook.com/admissionofguilt/)

 

DRONE ARTISTS

Michael Keith and Saab Naryan

Guitarist/vocalist /improviser and player of other strings, Michael Keith’s drive to reinvent and expand his expressive vocabulary has led him to private studies in traditional Chinese and Persian music, and pushed him far beyond his blues and rock foundations. Michael’s current work finds him channeling numerous traditional musics and fusing them with the blues and free improvisation on a small guitar (baritone ukulele) with three strings. He will be joined by tabla player Saab Naryan.

Snake Chuch (Michael Mucci/Ben Grossman)

All bow to Snake Church, avatars of the cosmic drone and Guelph’s newest and scaliest religion based on experimentalism and solid state virtuosity. Helmed by shamen of the dark arts, Ben Grossman and Michael Mucci, Snake Church mixes slithering found video footage with dry and thoughtful guitar drone.

Neil Ballantyne/Ted Harms

Ted Harms and Neil Ballantyne have been combining electronics, synthesizers, miscellaneous noisemakers and double bass as an improvising duo for over six years.  They also organize the Admission of Guilt concert series in Kitchener and Harms is the driving force behind the VOC Silent Film Harmonic.

 

 

WORKSHOP: CHOREOGRAPHIES OF ENCOUNTER
May
28
10:00 am10:00

WORKSHOP: CHOREOGRAPHIES OF ENCOUNTER

  • Open Sesame

A great opportunity for anyone who has interest in creating collaborative interdisciplinary work, facilitated by Ame Henderson and members of Public Recordings.

Workshop fee: $10-25 on a sliding scale depending on what you can afford.

CLICK HERE to register

Credit: Nada Žgank

Credit: Nada Žgank

Choreographies of Encounter

In this workshop shared practices are a site for investigation and encounter between participants.

Theory and practice, talking and making, doing and reflecting are interwoven threads of the process of making. Here, choreography is an expanded form - a flexible set of tools for time-based and relational interdisciplinary work. The workshop studio becomes a laboratory in which participating artists rigorously test their own systems of assigning value and meaning through and with their bodies. Participants will explore a collection of exercises to produce material and activate questions about the borders between sense and sound and physical gesture and utterance.

The workshop is ideal for practitioners from any background who are interested in exploring collaborative, interdisciplinary approaches to creation and investigating choreography as expanded practice.

Public Recordings is a group of experimental artists who work collaboratively - drawing on choreographic strategies, embodied action, language, sound, objects, framing and architectural space - to create a shared language for live performance. Through our ongoing facilitation, we expose our creative process not as something to replicate, but as an invitation to question embodied concepts in one’s work.

Choreographies of Encounter is co-facilitated by Ame Henderson, Brendan Jensen, Mairéad Filgate and Ishan Davé, each bringing their own experience and interests to the processes they create together.

PUBLIC RECORDINGS

Since 2003, Public Recordings’ dance experiments have proposed choreography as the tension between the established and the emergent – while their performances have made the remarkable case that dance changes how we imagine the possible. A collaborative operation that conjoins artistic research, performance creation, learning and publication, Public Recordings makes ground-breaking projects that activate the potentials of shared space. Works including/Dance/Songs/300 TAPES, relay, what we are saying and The Most Together We’ve Even Been have been presented in Belgium, Croatia, France, Italy, The Netherlands, the UK, Slovenia and across Canada.

Concurrent with its performance projects, Public Recordings provides and facilitates exchange opportunities year-round, in Canada and abroad. These workshops aim to produce artistic research, energize the performance community and widen the platform on which practitioners can share their experience and vision.

WALPER SOCIAL feat. DORJEE TSERING and GREG HARRISON
May
27
8:00 pm20:00

WALPER SOCIAL feat. DORJEE TSERING and GREG HARRISON

  • Walper Hotel

Grab a drink at the newly renovated Walper Hotel Crystal Ballroom Lounge and hear Tibetan singer/instrumentalist Dorjee Tsering and drummer Greg Harrison.

COVER $10 or PWYC

Open Ears invites you to enjoy food and drink in the newly designed Walper Hotel Crystal Ballroom Lobby as we celebrate the opening of #OE16. 

This casual night will feature Dorjee Tsering, a Tibetan musician living in exile. He will take you on a guided tour of Tibetan music, performing traditional songs and his own compositions, played on an incredible range of instruments and even involving traditional Tibetan step dancing.

The show will also feature drummer Greg Harrison, who will perform works written for drumset and electronics.

DORJEE TSERING | instrumentalist and singer

Dorjee Tsering, a Tibetan in exile, was born in India. Like his mother, Dorjee developed a passion for traditional Tibetan music which later led him to become a Traditional Tibetan singer and folk musician. After leaving high school, Dorjee joined the Tibetan Institute for Performing Arts (TIPA) in Dharamsala, India, which was founded by Tenzin Gyatso, the 14th Dalai Lama, to preserve Tibetan artistic heritage, especially opera, dance, and music. It was there that he mastered several traditional instruments including the dranyen, piwang, flute, and the yang-qin. He also learned Tibetan opera, and several styles of singing and dance.

After graduating from TIPA, Dorjee became a teacher there, while further pursuing his career by performing throughout India. In more recent years Dorjee has performed at several music festivals in Europe and across Canada. Throughout 2013 and 2014, he delighted North American fans by performing his well-known “One Hour in Tibet” stage performance, in which he invites the audience to feel and experience the beauty of Tibetan culture, as well as the ongoing suffering of his people. In 2015, the Năng CD was released; Dorjee’s first full blown East/West collaboration, featuring some of the finest musicians in Canada. His new band played a sold out CD release concert at the Small World Music Centre in May of 2015.

Currently, Dorjee lives in Toronto where he hopes to remain to continue sharing his sublime, exquisite and endangered culture.

GREGORY HARRISON | Drummer

Gregory Harrison (MMus., BMus.) is a freelance percussionist in Toronto. He has performed with a variety of artists/groups such as Cirque du Soleil, Reuben and the Dark, Video Games Live, R. Murray Schafer, Fred Penner, Mark Duggan, Beverley Johnston, and the Rose Orchestra to name a few. 

As an accompanist, Greg plays regularly for the dance studios of the National Ballet of Canada, Ryerson University, Toronto Dance Theatre, Canadian Contemporary Dance Theatre, and Ballet Jorgen (George Brown College).  He has also been commissioned to compose works for CCDT, Random Acts of Dance (Fringe), Nuit Blanche, Cardinal Carter Academy for the Arts, and Father John Redmond School.

Greg currently plays kit with his electronic groups: Falcon Punch (Blood and Biscuits, UK), b=d, and Monarch of Leisure.  He is also the founding member of the Toronto-based marimba duo, Taktus.  Their debut album Glass Houses for Marimba (Centrediscs) was included in CBC’s Top 10 Classical Albums of 2015. 

Greg also keeps close ties with his hometown Fredericton, N.B., where is regularly performs with Theatre New Brunswick and NB Summer Music Festival.  He also the co-creator of FUZE Fest, an annual contemporary music festival held every August in downtown Fredericton.  

Recipient of many awards, Greg Harrison was granted the SABIAN/PASIC award, granted to one promising Canadian university percussion student.

 

LISTENING CHOIR 1
May
27
6:00 pm18:00

LISTENING CHOIR 1

  • DT Kitchener

A magical experience that transforms a walking group into performers, listeners and sonic architects.

This event is PWYC. Sign up at http://goo.gl/forms/aKu2ptaVAp - space is limited. 

LISTENING CHOIR

Project by Christopher Willes and Adam Kinner
Print design by Jeremy McCormick

Listening Choir is a performance that takes participants on group walks through urban spaces. Enacting a practice of group listening, these walks offer a way of encountering the affective landscapes of public settings together, reflecting on broad notions of common space and participation.

Using homemade recording devices participants subtly alter the sounds of the city and perform simple choreographies of listening together. Agreeing to drift without speaking, the group collects recordings of places, objects, language, and ideas within the present environment creating a continually fractured soundscape as each act of recording erases the previous. These recordings are choreographed, listened to, in various ways throughout each walk, evoking the sounds of the immediate past, the sonic dislocation of objects and spaces onto others and the folding of histories and places on top of one another. 

Listening Choir invites making listening itself the thing that is listened to. Trespassing on  traditions like sound-walking and the situationist dérive, the project seeks to conjugate collective and individual ways of hearing, and proposes the act of listening within the urban setting as performative.

"The Listening Choir is hearing things. Our choir is silent and our songs are movements. We hear loud things, and unheard things, what’s been drowned out or quieted, what’s been softened by history; the endless refrain of the city. Some of the loudest things are inaudible, but we live in the aftermath of their force. We’re orienting there, to the loudness and to the aftermath, to the echo and its displacements. But if hearing could be moving, then our songs are wholly unlocated - a way of listening deprived of centrality. Here we propose ten scores of dispersion, ten ways to move together in disarming loudness." 

Listening Choir was originally developed through a residency at Videofag in Kensington Market. 

Adam Kinner lives and works Montreal, Canada. Trained as a musician, he began working in dance in 2011 as a way of experimenting with the radical potentials of the performing body. His work moves across music, performance, choreography, and documentation as it composes the performing body within the matters, affects, discourses, histories and objects of the lived present. His work has been presented in Montréal at Tangente, OFFTA, Studio 303, Usine C, the McCord Museum, SBC Gallery, Leonard & Bina Ellen Gallery and Innovations en Concert, as well as in Toronto, Washington DC, Chicago, New York, Berlin and Rotterdam. Challenging the mandate of individualism, he has sought to develop a shared, collaborative practice with other artists, including Noémie Solomon (Providence, Rhode Island), Ame Henderson and Public Recordings (Toronto), Jacob Wren and PME-ART (Montreal) and Christopher Willes (Toronto).

Christopher Willes is an artist based in Toronto and Montreal. Between music, performance, and visual art contexts his work appears across a range of forms including performances, concert works, installation, site interventions, objects, writings, and ephemera. His practice is broadly concerned with listening and its conditioning in relation to bodies, materials, noise, audio technologies/formats, the built environment, landscapes, public space, psychoacoustics, embodied archives, institutional memory. He has shown recent works at the Music Gallery, The Art Gallery of Ontario, The Rhubarb Festival, Luff Art + Dialog, and Sound Live Tokyo. For the past decade he has been continually active collaborating with choreographers and experimental theatre makers as a sound-maker, performer, and dramaturge, including works with Public Recordings, Dancemakers, Urbanvessel, Small Wooden Shoe, Christine Sun Kim, and Adam Kinner. He studied music at the University of Toronto, dramaturgy, and received an MFA from Bard College NY. He is a 2016 recipient of a Chalmers Art Fellowship.

 

DRUMnBASS @ COMMUNITECH
May
27
4:00 pm16:00

DRUMnBASS @ COMMUNITECH

  • Communitech Hub

Hear new drumset compositions and drum and bass improvisations from Greg Harrison, plus Ryan Maguire demonstrates the technology behind The Ghost in the MP3.

FREE

(above - amazing cover of Daft Punk by Greg Harrison)

You asked for solo drumset - we're giving you solo drumset. Hear and learn about the intricacies of the drum and bass style from an incredibly creative player. Greg Harrison has a graduate degree in classical percussion but is better known for his experiments with drum and bass, and his explorations that blend cutting edge technology with incredible virtuosic acoustic beats. This show features Monkey Chant by Glenn Kotche (WIlco) - a loose transcription of Balinese Monkey Chant on 'prepared snare drum", and Gregory's own work for drumset, electronics and split-second sampling.

GREGORY HARRISON | Drummer

Gregory Harrison (MMus., BMus.) is a freelance percussionist in Toronto. He has performed with a variety of artists/groups such as Cirque du Soleil, Reuben and the Dark, Video Games Live, R. Murray Schafer, Fred Penner, Mark Duggan, Beverley Johnston, and the Rose Orchestra to name a few. 

As an accompanist, Greg plays regularly for the dance studios of the National Ballet of Canada, Ryerson University, Toronto Dance Theatre, Canadian Contemporary Dance Theatre, and Ballet Jorgen (George Brown College).  He has also been commissioned to compose works for CCDT, Random Acts of Dance (Fringe), Nuit Blanche, Cardinal Carter Academy for the Arts, and Father John Redmond School.

Greg currently plays kit with his electronic groups: Falcon Punch (Blood and Biscuits, UK), b=d, and Monarch of Leisure.  He is also the founding member of the Toronto-based marimba duo, Taktus.  Their debut album Glass Houses for Marimba (Centrediscs) was included in CBC’s Top 10 Classical Albums of 2015. 

Greg also keeps close ties with his hometown Fredericton, N.B., where is regularly performs with Theatre New Brunswick and NB Summer Music Festival.  He also the co-creator of FUZE Fest, an annual contemporary music festival held every August in downtown Fredericton.  

Recipient of many awards, Greg Harrison was granted the SABIAN/PASIC award, granted to one promising Canadian university percussion student.

RYAN MAGUIRE | artist

Inspired by the infinity of the cosmos, the indeterminacy of the subatomic, and the complexity of life, Ryan Maguire explores the boundaries between the natural world, human experience, and the technologies that act as intermediaries between the two. His work is equal parts technical virtuosity and folk humanism, blurring lines between composition & improvisation, sound & video, acoustic & electric, deterministic & stochastic, fabricated & hand-crafted, analog & digital, lo-fi & high tech, and ultimately between poetry & science. He plays stringed instruments and programs computers, molds materials and builds circuits, writes essays and sings songs. Currently a Ph.D. student in Composition and Computer Technologies at the University of Virginia, Ryan earned his B.A. in Physics and taught math before completing postgraduate degrees at the New England Conservatory of Music and Dartmouth College in Composition and Digital Musics, respectively.

THE YELLOW WALLPAPER
May
26
7:30 pm19:30

THE YELLOW WALLPAPER

  • The Registry Theatre

BUY TICKETS ONLINE or Call 519-578-1570: $20 advance, or Pay As You Leave for Enjoyment Received

Proper Slang Productions and Dance at The Registry, in cooperation with Open Ears and InterArts Matrix present:

THE YELLOW WALLPAPER

What would happen to you if you were driven to bury the deepest, dearest part of yourself behind a wall?

In a dark, complex unraveling, The Yellow Wallpaper explores the psychological drama of Charlotte as she succumbs to the pressure of family and parenthood, and deals with the consequences of denying her true creative spirit.

The Yellow Wallpaper is an Interdisciplinary performance piece combining the skills and insights of the collaborators into a complex duet for dancer and actor. Sound designer John Gzowski and media artist Jim Ruxton use an array of tools from analog sound processors to robots to create expressive depth and dimension to the aural experience of the work.

Yellow Wallpaper combines evocative original music, intense drama, highly physical dance, timeless design, and stunning visuals; All elements work in sync to create a human story of love, loathing and denial. 

Says director/choreographer Aplin about Yellow Wallpaper  "Charlotte Gilman’s story The Yellow Wallpaper struck me vividly as a particularly horrifying example of how cultural pressures compel a woman to self denial. In our world, there is always intense pressure for a woman to sacrifice her own desires and ambitions for her family. Fighting that isn’t easy. But fight it we must if we want humanity to thrive. Charlotte's tale is a cautionary one, but also a very personal one. A story how one woman’s sacrifice could cost her everything.”

This new collaboration is comprised of both Hamilton and Toronto based artists;

Julia Aplin’s choreographic work has been performed across Canada and her dance career had taken her across artistic boundaries into theatre, music, design and visual art.  Julia has worked with companies such as Tiger Princess Dance Productions, Urban Vessel, Toca Loca and Theatre Gargantua, Inter Arts Matrix, SoulPepper and Company Blonde. With Dusk Dances, she won the 2014 Audience Choice Award for Inner City Sirens Part 2 and shares a Dora Mavor Moore Award for sound design with John

Anna Chatterton (writer/actor) is a Hamilton based playwright, librettist and performer. Most recent work includes her play Within the Glass (Tarragon Theatre), co-writing and performing in the acclaimed Gertrude and Alice (Buddies in Bad Times Theatre) and her short play Liatorp (Frost Bites Festival). Anna performed her solo show Quiver at Theatre Aquarius as part of their TA2 Studio series, which will be produced by Nightwood Theatre in Toronto in the fall. Anna is a playwright in residence at both Tarragon and Nightwood Theatre. 

Jordana Deveau (dancer) has been an active force in the Toronto dance community for over a decade.  She was a principal performer with Canadian Children’s Dance Theatre and is now pursuing an independent career.  She has trained in Toronto, Vancouver, New York and Vienna, and audiences have enjoyed her performances in the U.S, Europe and across Canada. 

John Gzowski (sound design) is an award winning composer creating music for theatre, dance, film and concert halls. His theatre work has won him 5 Dora Mavor Moore Awards, two for recorded music, two for live performance and one for live foley. His work has been seen in over 200 productions, across the country. For dance, he has written for Dancemakers, Kaeja D’dance, Kate Alton, Michael Sean Marye and Julia Aplin, using instruments, electronics, bicycle bells, homemade instruments, found sound and multi speaker systems. His installation pieces have been shown at the AGO, Nuit Blanche and New Adventures in Sound Art.

Ken Mackenzie (set/lighting/costume design) is a resident artist at Soulpepper Theatre in Toronto. Recent work includes Set Design for Brantwood (Theatre Sheridan), Set and Lighting design: Cowboy vs. Samurai, The Heidi Chronicles. Lighting Design: The Anger in Ernest and Ernestine (Soulpepper), Set and Costume Design for Lungs (Tarragon Theatre, Dora nomination), (Re)birth: e.e. cummings in song - Dora Nomination (Soulpepper) and Set Design for Mr Burns (Outside the March). 

Jim Ruxton (new media design) works as an artist and electronics engineer in installation, performance, theatre, dance and film, based in Hamilton.   He has worked on numerous interdisciplinary projects with a number of artists including Susanna Hood, Fides Krucker, Rae Davis, Max Dean, Philip Barker, Panya Clark Espinol , Cylla Von Tiedamann, Phillip Beesley, Graham Smith and Camille Turner. Jim is also the inventor of ColorWave , a patented lighting technology that is revolutionizing the decorative lighting industry. Jim is also on the board of Centre 3 in Hamilton.

Presented with support from the Ontario Arts Council’s Ontario Dances program, and in cooperation with Open Ears Festival of Music and Sound and InterArts Matrix.

Julia Aplin-choreographer/director

Anna Chatterton- writer/actor

John Gzowski- sound design/composer

Ken MacKenzie-design

Jim Ruxton- media art designer

Jordana Deveau-dancer