DIANA PANTON: AN INTERVIEW WITH THE CANADIAN JAZZ SINGER ON HER JUNO-WINNING CD “RED, HER LATEST CD “I BELIEVE IN LITTLE THINGS” AND ITS 2016 NATIONAL PARENTING PRODUCT AWARD

James Strecker: Much has been written about the uniqueness of your voice and its emotional flexibility and truth with a lyric, so let’s ask you yourself to describe your voice and how you use it -in language that feels right to you. Did you develop the vocal qualities you have over time or did your voice and style feel natural as they are now right from the start?

Diana Panton: A voice is as much a part of your body as your spirit and as such, I think that it is natural for the voice to develop over time, just as a person develops both physically and spiritually. That said, I think my style and approach to music has been very consistent over the years. I’ve always tried to sing with honesty and I think that was evident even on my first solo release. I first started performing with a large 25 piece ensemble, but I’ve always felt smaller musical combinations are a better fit for my voice, hence why I opted for a trio for my debut album.

JS: How exactly did you get into singing jazz, what happened, and when was that?

DP: I heard a lot of classical music in the house growing up. My dad enjoyed Bach, Beethoven and Mozart, so this was what got played on the music system, which belonged to him. There was, however, an evening, when I was about 17, when he played a record by Ella Fitzgerald. I expressed such a keen interest in this music that my dad revealed a hidden collection of jazz records that had laid dormant in this house since before I was born. It was a surprise for me to learn that my dad had been a big jazz fan. Since that day, he has rarely played his classical LPs and now almost always listens to jazz.

JS: What are five major events in your development and career that made you the jazz artist you are today?

DP: 1. The just mentioned discovery of Ella Fitzgerald’s music in my dad’s record collection, followed by weekly visits to the public library where I discovered Billie Holiday, Sarah Vaughan and others and lots of original sheet music.
2. Attending the “JAZZ Camp” in Northern Ontario where I was able to do a workshop with the wonderful Canadian jazz singer Ranee Lee. Phil Nimmons gently pushed me on-stage for my first jazz performance in front of a live audience. I recall bassist Steve Wallace and trombonist Dave McMurdo paying me a compliment afterwards that really helped bolster my confidence.
3. My several years as vocalist with the Hamilton All-Star Jazz Band under the direction of Russ Weil. I had the opportunity to perform with budding young jazz artists, such as Adrean Farrugia and David Braid with whom I would go on to collaborate in smaller group settings. The HASJB took me on my first trip to Europe to perform at various festivals, including the Montreux Jazz Festival in Switzerland. We also opened many shows for professional artists, including Trudy Desmond with Don Thompson as her bassist.
4. I met the legendary Don Thompson backstage after an opening set with the HASJB. He suggested I attend the Banff Centre for the Arts where Norma Winstone was the vocal instructor. There, Don and I had the opportunity to perform at the famed “Blue Room” and this prompted an invitation from Don that we record together. I didn’t take him up on his offer until about ten years later, but since then, Don has appeared on all of my seven recordings to date, along with the fabulous Reg Schwager on guitar.
5. On a subsequent visit to the Banff workshop, I studied under the great bebop singer Sheila Jordan. Sheila has been an inspiration to me ever since. At 87, she is still touring solo all around the world. Despite some hard times during her career, she has never given up or lost her love for music. She solidified in me the belief that all I need to do as a singer is just be myself and keep singing.

JS: You’ve had some jazz biggies in your corner all along, people like Sheila Jordan, Don Thompson, Yusef Lateef, and others. Which support meant most to you and how did it influence you?

DP: All of the above-mentioned supports meant a lot to me for different reasons. I am a largely self-taught jazz artist and it really helped to encounter some key artists -who know what they are talking about- along my path to assure me that I was heading in the right direction. All of them just told me to be myself and never change that, but they gave me the reassurance that I was doing the right thing.

JS: Tell us about your Juno-winning CD “Red.” How personal do you get in this recording and did you ever surprise yourself, or are you more a singer on top of her craft who can create the moods she wishes?

DP: Conceptual albums that create a mood have always been of great interest to me. Sinatra was an expert in this field and provided me with some inspiration. From the moment I had the idea to record the pink album -a collection of songs about new love- I knew there would eventually be a RED album, a collections of songs about a serious love relationship. I wanted RED to be an unapologetically intense album that avoided trite love songs. I don’t think the album was a surprise to me, though it may have been to some listeners. I created the album fully aware that it might not appeal to a mass audience, but the artist in me was compelled to make it regardless. Of course, it was lovely for it to be acknowledged with a JUNO award in Hamilton, my hometown.

JS: I really enjoy listening to the musicians you had with you on the CDs, with their sophisticated chops and seemingly instinctive feel for supporting you musically. Tell us about them.

DP: I have been blessed to record with phenomenal musicians. Don Thompson is always the first person to hear my secret conceptual ideas and song selections. We have a mutual admiration for many of the same songs which makes our collaboration very organic and fluid. Don has also encouraged me to write lyrics to some of his beautiful compositions. He lends his multiple talents to our recordings as arranger, bassist, pianist and vibraphonist.
Reg Schwager is another exceptional musician who has appeared on all of our CDs. From the first recording, I knew that Reg was something special. We never met or rehearsed before heading into the studio. After a simple “hello”, we began recording and after two takes we moved on to the next song. His instinctual feel of where we wanted to go with a song was quite remarkable. Don and Reg formed the basis of our trio and we have since toured the world together.
We have been fortunate to have some wonderful guests join us over the years – for example, we invited horn player Guido Basso to solo on pink. His humour and expression were perfectly suited to the mood of that album. For RED, Phil Dwyer’s saxophone playing added emotional intensity and passion appropriate to the theme. There have been many other wonderful guests who have joined us – all specially chosen for their ability to enhance the chosen theme. Most recently, the cellist Coenraad Bloemendal added some lovely atmospheric playing to “I Believe in Little Things”.

JS: What makes a good jazz accompanist and how does such a person affect what you do vocally? What exactly does a good accompanist give you as a singer?

DP: An excellent accompanist is a humble player that doesn’t always need to be centre stage. Great listening skills are paramount, as well as the ability to engage in a musical conversation that is free to unfurl as it goes along. If there is a good musical relationship between the singer and the accompanist, there is an unwavering feeling of support and trust that, no matter what happens, everything will be all right. When I work with great accompanists, such as Don and Reg, I feel most free to be myself artistically. Nuances, emotions and spirituality are enhanced and heightened by this musical exchange and this is when magical things can happen.

JS: One of my favorite cuts in “Red” is the duet with Harrison Kennedy. Will you be recording any more duets together and did you have as good a time doing this one as it sounds? What’s one of your favorite cuts on “Red” and why is it so?

DP: Harrison Kennedy is a fantastic vocalist. Our first duet appeared on the Christmas Kiss album singing “Baby It’s Cold Outside”. Our voices matched up so nicely that we decided to record again together on the RED album. Glad you enjoyed that track. The fun you can hear on this track was totally real -everyone in the studio was laughing and having a great time recording this song. Of course, it would be nice to record with Harrison again, so we’ll see what the future holds. Aside from the aforementioned track, another favourite off the RED album is “The Island,” a gorgeous song by Ivan Lins with lyrics by Alan and Marilyn Bergman. This is an intense song lyrically that perfectly sums up the intent of the RED album.

JS: How natural to you is the compelling image you’ve established for yourself on your CD covers? Are you creating an image or are you simply being yourself? Who did the photography and design for you?

DP: I’m very involved with all the cover work for my albums. I always propose the conceptual idea and clothing/hair/makeup for the shoots based on what the theme of the album requires. I often think about album artwork at the same time as I select the tunes. I always try to be myself, but in truth I’m not always comfortable in front of the lens. That said, a good photographer can pull good photos out of me. The RED album was photographed by talented Hamilton photographer Jose Crespo. I always make the final selection on what photos get used in consultation with my sister, mom and close friend, because they know me and know what the best representation of my true self is. For the final design layout, I work -closely with a graphic artist. You may notice I have taken different approaches with my various album covers; however, I’m a multi-faceted person, so each cover is a true representation of myself.

JS: Your latest CD is “I Believe in Little Things” and it’s both a collection of favorite children’s songs and just as much a fine jazz album. Why and how did this CD come into existence?

DP: I had a number of moms emailing to tell me they had favourite songs from my existing repertoire that they would use to put their children to sleep. This spurred the idea to create an album with young listeners in mind. I also wanted the album to appeal to adults as well.

JS: “I Believe in Little Things” is very successful in Japan, Taiwan, and Hong Kong, to name a few, so, first of all, how do you explain your popularity in Asia and, secondly, are there any ways in which Asian audiences differ from North American or European audiences?

DP: It’s always difficult to fully ascertain why something is successful or popular with a particular audience. That said, I have noticed that my audiences in Asia seem to enjoy calm, quiet music that relaxes the mind and my music is a natural fit for this kind of listener. In addition, there is a larger CD and Vinyl buying jazz market in Asia. Fans in Asia are more likely to invest in a collector’s edition album and thus hard copy sales are stronger than in the North American market where downloads are becoming more and more popular.

JS: Tell us about three songs on this CD that mean a great deal to you and why is that so?

DP: I have a soft spot for A.A. Milne’s -author of Winnie-the-Pooh- “Halfway Up the Stairs” as I like the simplicity of the duo instrumentation and I like the lyrical message reminding us to enjoy the process rather than always focusing on the end result. Kids often do this naturally, but some adults need to be reminded to stay in the moment. “Sing” is a favourite from my own childhood and it was fun to give this song a jazz treatment. It was extra special to be able to speak directly with the son of Joe Raposo, composer of the title track, who was pleased we would be doing a jazz version of his father’s song “I Believe in Little Things”. The Sesame Street songwriter was interested in exposing children to a variety of different musical genres and he would often write songs with jazz, funk, Brazilian influences.

JS: You do some lyrics in French on this album -which seems natural since you teach French at Westdale High School- but I’d like to know what you enjoy about singing lyrics in French as compared with singing lyrics in English.

DP: It’s always a treasure discovery when I find good French lyrics to a song we hope to record. I really enjoy singing in French. The consonants seem softer than English and thus are very singer friendly. Portuguese is also a beautiful language for singing, but sadly I don’t speak this language. Fortunately, I learned French at school, so it does feel more natural to sing in French because I know what I’m saying so I can really tell the story.

JS: What is the hardest thing about being an independent artist nowadays, one who records and does many gigs each year?

DP: I think the shifting landscape of the music industry is the most unpredictable part of being an indie artist these days. One wonders, with the advent of downloads and now streaming, if CDs will become obsolete within the next decade. The vinyl market is experiencing a renaissance, but this is still a niche market. Without CD sales, it will become more and more difficult for indie artists to fund future projects with the declining revenue from hard copy sales. Unfortunately, streaming sales don’t amount to much, even if the music is reaching a larger audience.

JS: What do the next twelve months or so look like in terms of your musical career?

DP: I have some interesting gigs coming up, including the gala fundraising event at the Hamilton Art Gallery. I’ve had the opportunity to collaborate with several art galleries this year, which combines two of my interests, music and art. I will be appearing at festivals in Orangeville and Waterloo. There is a possible tour of Japan this summer and I’m really looking forward to being a guest performer at Writer’s at Woody Point in Gros Morne National Park this August in Newfoundland. I intend to record a new album at the end of the summer.

JS: Any advice for younger singers who would like to do what you do?

DP: Be yourself. The primary goal should be to make music because it brings you joy. The other stuff requires diligence, hard work and some luck. It doesn’t hurt to have a secondary source of income aside from performing, because making CDs is costly.

JS: What’s the importance of jazz for you and for our culture?

DP: Jazz brings me joy and solace. I feel better when I listen to jazz and when I sing. Jazz enhances my life and I would like to think that my contribution to the genre enhances the lives of others too.

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DIANA PANTON: THE JAZZ SINGER’S AWARD-WINNING CDS “RED” AND “I BELIEVE IN LITTLE THINGS” – A REVIEW

One tends to believe Diana Panton when she sings. In a prevailing cultural environment of massively marketed popular singers who strain for effect in whining or blaring a single attitude, Panton the jazz singer gives a solid impression that what she truly feels is what she sings, that what she feels is what you get. She mines both adult and child experience for their shades of emotion and her voice suggests that she knows deep within the feelings she sings.

Where others in the popular music realm may vocally assault, she instead draws the listener into what seems a personal world. She does so with inherent ease, unforced nuance in both style and meanings, and an unaffected and natural presence. She sings quietly because she has private things to say and we lean forward to hear the feelings revealed.

Panton has a distinct up close way with a song that’s hers alone, delicately rich and subtle, and full of implied wistful longings and sometimes an almost impish delight. She inhabits a song as a secure yet understated expression of intimacy, not as one simply singing a lyric and swinging inside a tune, but as one feeling her way through complex and what often registers as untested emotions. In what seems to be her private world, we sometimes feel unsure if we should be listening –are we listening to some else’s diary?

Panton floats on a delicately felt lyric and then floats imperceptibly away at the lyric’s end. Her musical lines are ethereal yet sexy in the way she slowly savors them. We hear the flavours of a life lived and felt deeply and still finding its way. Panton’s singing has the quality of a quiet gaze out the window –okay, that’s what I’m doing as I listen to “Red” -and she delivers what seems a mix of hope and personal damage done, subtle as smoke. She seems in the process of discovering her feelings as she sings them.

Panton doesn’t push the beat usually, but pulls back into an airy sensuality, one that discreetly aches and still searches. She holds back as if gathering her thoughts and her feelings. And she seems to be actually finding her feelings, which gives a sense of newness to the singing, one of fresh realizations on very personal terms. We think we understand these, but then they elude us as another vocal line tapers off into a personal world.

I suggest upping the volume a bit to hear and swim inside Panton’s many lightly but assertively-etched vocal shadings. But not too loud, because hers is a crack small group of top musically-potent musicians backing her and they do know how to step forward with assertive chops. Did I say backing? Well, actually, this is a very integrated group of voice and instruments, each one decidedly individual yet blended fresh and smooth into an instinctively realized mix. They string out their solos one to the next like phases of someone breathing, often gently.

There’s one of many beautiful cases of seamless in “Alice in Wonderland” – on “I Believe in Little Things”- where Don Thompson moves in on a run first taken upward into flight by guitarist Reg Schwager. Up we go with Schwager and then, when he stops, Thompson backtracks on the progression, changes a few of the upward steps, and then continues on keyboard. It’s an almost imperceptible musical delight –and there are so many of these on both CDs. I replayed even just that one brief sequence a number of times to again sit back in my pleasure and check it out again.

It makes sense that Panton has made an album of “children’s” songs, one rich with a sense of awe in face of newly experienced everyday things. Such is also what she conveys in “Red” –a person not new to the world but new to each feeling she feels in this world. We thus enter the personal realm of both a child and an adult, albeit one created in some classic and popular songs by adults who do know their craft with creative expertise -although they are, well, still adults, not kids.

But kids do get an enticing dose of genuine jazz in this CD, to be sure. And what makes this music equally true for everyone, whatever the age, is Panton herself. It’s not here a singer expressing what she imagines children feel, but instead an adult expressing what she herself feels. In fact, while listening to “I Believe in Little Things” I was pleased to notice myself having feelings I sometimes, unfortunately, put aside. I was happy to realize again that the child in oneself is not meant to age or go away. Let’s be real with ourselves –all of ourselves, these CDs seem to say. Let’s be real with others –adults and children- in this world of ours we are trying to understand.

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DIANE ESTHER ON LIFE AFTER INCEST: AN INTERVIEW WITH THE WRITER, CONSULTANT, ACTIVIST, LECTURER AND POET WHOSE BOOK “OUT OF INCEST” IS NOW IN ITS 10TH PRINTING……..PARTS I & II

James Strecker: We have so much to talk about regarding a very difficult subject which you know first-hand –incest. Okay, then, up to knowing you had to write a book, what happened in your life?

Diane Esther: I didn’t meet my father until I was 5 years old. I was born after he had gone to England in the 2nd World War. My mother told me how my Daddy was going to come home one day and we’d all be so happy. My first memory of him was on the evening he returned home. He had to stop beating my mother to come to the couch and hit me – I was crying hysterically. He continued beating her until finally she ran into hiding on the eve of their 50th wedding anniversary.

My brother was born a year after my dad’s return, and Mom did her best to keep Dad away from both of us. She tried to find reasons for me to take my little brother away from the house; she’d send us by bus to get something from a store. When my brother was only about 6, she’d have him go down the street to a friend’s house for as long as possible, to keep him away from my dad.

When I was 11, my father began sexually abusing me. Mom was working all day and my Dad was home, as he didn’t have a job. I had to come right home after school to begin making supper. I’d sneak into the house, hoping not to wake him up. One day he was there, waiting in his chair. Thus began 3 years of abuse. After the first molestation, he simply said: “Now, we won’t tell Mom about this, honey; it will be our little secret.”

When I turned 13, it took me 3 hours on a Saturday morning to finally find the courage to tell my mom what had been happening with Daddy and me. I only told her because I believed I was pregnant and I knew that she would eventually see my stomach grow and the secret would be out and I’d be in bigger trouble.

Her first response was: “Are you sure you aren’t imagining this, honey?” I finally convinced her that it was true and she took two days to decide what to do. She told me she was too afraid to leave him, saying he’d find us and kill her, so she put a lock on my bedroom door, and told me not to let anyone in. Now, instead of coming home from school to prepare supper, I walked to where Mom worked, and we came home together. For the most part, this saved me from my dad’s abuse. However, whenever I became ill and stayed home from school, he simply told me to ‘open your door, Diane’, and he got me again. I knew who had all the power. To this day, I have not told my mother about those times, as I knew it would still hurt her.

So many times I wanted to tell someone else my secret. I felt like I was bursting at the seams and needed to get it out of my belly. It threatened to literally vomit out of me. Throughout school, I had no close friends; I thought everyone could see there was something wrong with me and wouldn’t want to be with me. Once in a while a girl would let me walk with her, if she had no one else to walk with. I called myself their ‘spare tire’. One such day I tried my best to broach the topic of my abuse. I thought I was saying things that she would take a cue from and she’d ask me just what I meant. Obviously, my conversation had gone all around the perimeter of the subject because she didn’t ask. My secret stayed firmly inside until I told a psychiatrist when I attempted suicide at age 25.

The need to tell became a scream in my head. I so desperately wanted to talk, to write, to cry out, to share the garbage I stuffed inside, but there was no safe place or person. I had decided, on the day that I attempted to get it out with my friend, that no one wanted to hear. One day I began to write little thoughts on little scraps of paper and hid them away. At no time did I dare write of the abuse itself; I just couldn’t seem to put that on paper. But my feelings needed to escape. It was enough for the time being to scribble on tiny bits of paper – but one day I’d write my book and get the ultimate relief.

JS: How and why did the idea for a book about your sexual abuse form in your mind?

DE: My secret and my horror and shame were all kept stuffed down in my stomach and in my mind. I so needed a way to vomit them out to be rid of them. At age 11, when I began scribbling words on paper and squirrelling them away, I surprisingly felt a tiny bit of relief. The need to write soon became addictive.

Books had been my comfort all through my life. I could hide in the stories and forget my Mom’s bruises and my black secrets. I would even prop up a book in front of me while my Dad was abusing me from behind. Though I couldn’t have told you what the words said or what the story was about, it helped to focus me a little away from the here and now. Words were my relief.

In high school, I began writing random stories and asked my English teacher to evaluate them. They weren’t for any class project, I just wanted to write – anything. And they certainly weren’t about my abuse. Oddly enough, one story came back with the remark: “a little gory, Diane?” Only then did I realize that I always wrote stories that had someone suffering great violent tragedies and I came to their rescue. A little telling for my role in later life, I know.

Twenty five years later, after I completed my therapy, one of my own counsellors asked me to co-run groups for survivors of abuse. My connection to these women was immediate; they felt safe with me, as I was ‘one of them’. They didn’t have to explain their pain; it was as if we had lived it together. When they spoke of their own poor self-esteem, I would assure them that this was so very common amongst survivors. When they confided their need to commit suicide, I told them that most survivors of sexual abuse attempt it, since it was the only way out of our pain that we could find. After a while, I wondered if they thought I was a phoney and was just saying these things to placate them. It then occurred to me that if I had written a book, I could say to them: “Just look at page 26 – yes, we all feel like we’re in a black hole!” This could help them to understand that they are not alone in their thoughts and feelings in this world, that they are not crazy. My book and I could stand witness to their reality.

JS: How did you feel about putting out something so personal in public?

DE: At age 44, I was itching to tell the world about abuse and how it ruins so many lives. I wanted to tell survivors there really was hope and to help therapists, doctors, friends, families, to see the ugliness of our abuse. For so many years I had to fight and claw my way over mountains of misinformation when trying to find someone knowledgeable to help me stay alive and work through my ‘leftovers’ from abuse. When I came out the other end, I hated the thought that other survivors should have to battle and fight and search for help all alone.

My decision to go public came the very week after I had confronted my parents about my secret. I had kept it all inside for those all of those 44 years. My father had never known that I had told my mother, as she made us keep the secret as ours. My mother had never been made aware that her role in keeping me in the house with my father and having to hug and kiss him in order to make us look like a normal family was killing me inside. I came away from 3 hours of giving all my burdens back to both of them – where they belonged – and I felt powerful for the first time in my life. I knew when I left their house that I had to start making people listen and to tell them that there was a way out of abuse.

The day I chose to go public came through a serendipitous opportunity at a seminar on abuse that I wangled my way into. Before 150 professionals – social workers, police officers, teachers, and others – I stood up at question period and announced my name and said that I was a survivor of sexual abuse and I wanted them to know how difficult it was to get help for us. The rape crisis centre and women’s centre had 18 months waiting list for groups, which was shameful. I said I was thinking of putting an ad in the Hamilton newspaper and just say: ‘come to my house and we’ll talk’. All 300 eyes had suddenly shifted towards me, in disbelief that someone had actually talked of her sexual abuse in public. In 1984, very few people were healed enough to say it out loud.

At the lunch hour, a reporter from the Spectator came to me and said: “I’ll save you the cost of an ad, if you’d let me do an interview with you.” I took a deep breath and say OK. Within a few days, my picture was on the front page and a 2 page article told my story.

Having taken that first huge leap to be in the public eye, I knew I would write my book. I just didn’t know how to make that happen yet.

Allow me to add here that completing therapy should not to be confused with completing my growth as a survivor. I’m always finding new places in which to make change. The difference is that now I don’t need to put myself down or hate that I’m not perfect, and I have the means to move forward to make even more progress in the road out of abuse.

JS: What exactly did you do once you decided to do a book? What did you go through in order to write such a difficult book? Tell us –using that dreaded term- about your creative process that brought the book into existence.

DE: Knowing that I desperately wanted to write a book filled me with panic. I didn’t know how to start; I didn’t have that much confidence in myself yet to think that I could write it alone. I’d only written high school stories, what did I know about a real book? But, I had heard of an author in Hamilton and decided to beg him to do it for me. I searched out James Strecker, phoned him and asked for an appointment. I was so shocked and elated that he would see me – imagine me, talking to a real author! He was my only hope.

I took a bundle of my mixed-up scraps of paper and notes, handed them to him and said: “Will you please write my book? I don’t care if you put it in your name, or as a ghost writer, or with me as co-author. I just really need it to get out there.” He said he’d think about it and let me know. An agonizing week later, he called and said: “I won’t write your book.” Gasp! Then: “But I’ll teach you to write and you’ll write it yourself.”

For three long years, through endless cups of cappuccinos, James dragged me along. Each page came back from him with more lines crossed out than not. Many months in, I began to despair and doubted myself more than ever. Then came a ‘Eureka!’ day. James suddenly recognized that my writing style simply didn’t fit well for prose – it looked like poetry. As I transferred each piece from prose, the poems felt like they wrote themselves -with tons more editing by a very patient James, of course. But there they were, the words I needed, perfectly describing the filth and turmoil I had felt inside and the long journey to life after abuse.

JS: In what ways was it difficult to write your book?

DE: As I described above, the first challenge was finding my own mode of writing. Once that became clear, this new path let in the joy and despair that I imagine every author feels – the high of finding that one word, the despair in re-reading and thinking it’s garbage. Well, I prefer to think that most of us go through that process.

The style of therapy that I had been so fortunate to find had taught me a process that allowed me to go inside my head and body in order to re-feel the emotions of each age I wanted to write about. With James’s tutoring beside me, I seemed to be able to discover that girl/wife/mom voice I needed to convey.

JS: I was asked once during an interview if writing the book was a therapeutic experience for you. What would you have answered, since I’m sure you’ve been asked this question many times?

DE: Writing the book as I chose to do, in first person, present tense, would have taken me to a bleak, desperate place, if I hadn’t dealt with my past so thoroughly in therapy. Every poem had me living those moments of a horrific childhood over and over, in minute detail. The therapy I had experienced had already led me back there and taught me how to dig my way back out again. The re-telling of the days and nights in my book would have been overwhelming for me if I had not completed that process. I did want the reader to be right in the moment with me, at each stage of life. I felt that it wouldn’t have had the same impact if it was describing what had happened in the past tense. Writing the book was definitely not an exercise in healing for myself, it just felt like the most effective way to take the reader into the life of every survivor of abuse.

JS: The book is now in its 10th printing and a few printings ago you added a whole new section of poems. Why did you do so?

DE: The original book ended in 1998, with me at age 58. By 2011, many new challenges and changes in my life had occurred, and there were many more thoughts and words I now needed to put out there. Some of the new poems talk about the past that I hadn’t included in the first edition. I also needed to let survivors know another lesson I had learned in that interim: that because we’ve completed our therapy, we’re not necessarily finished growing and will need to keep using those skills we learned as our life goes on.

JS: One sentence I’ve heard a number of times from you, long after the book had been published, is, “I want to make some changes.” Why do you sometimes feel the need to change the poems and not leave them as they are?

DE: I guess hind-sight really is 20-20. Reading the book over the years, I have found a couple of new ways of expressing myself. In some cases, a line just felt that it needed a word or two changed, mostly for better impact and understanding. In others, something just didn’t seem to be as clear as I had thought.

One small example is the poem entitled: ‘Sword Fighting’ – in therapy, I say to my husband: “No! I refuse to wash on Mondays.” Someone at one of my lectures asked me to clarify that line; it was confusing for her. I smiled as I realized that I was describing an era when we housewives did our laundry every Monday. I changed the line to read: “No! I refuse to do laundry on Mondays.” I guess I needed the right jargon to fit the current decade.

JS: Your book has been on several courses at McMaster University for quite a number of years. What are all the ways that students respond to your poems?

DE: When I look out at my audience, I can see the impact quite clearly reflected in many of their faces. Most of the students have read my book and are aware of the intense feelings it will evoke when I speak. Thankfully, the Professor has previously given permission for those students who would find the presentation too difficult to skip the lecture. As I talk of the psychological implications and the results of abuse on children as they grow, I see faces red with anger, to the point of rage, for the injustices in our -and possibly their own- lives. Many are holding back tears; disbelief is evident by shaking heads. Most of the students look right in my face, but I see so very many who will bury themselves in their books and i pads. I believe this is their way of taking themselves away from this recitation that is so difficult to hear. I am painfully aware that in this class of 500 students, there are dozens of survivors of abuse, both male and female. I inwardly praise them for using whatever means they need to protect themselves from this hard topic.

JS: You’ve told me many times how, after the end of each of your reading-presentations, students line up to talk privately with you. What do they say and what do you say?

DE: They talk of their own abuse, of a friend’s abuse, or ask how to help someone or get help themselves. Sometimes they need me to expand on something I have said. I have had many people confide in me about their abuse and say that I am the first and only person they have ever told. My heart swells to know that they now have found this one safe place to whisper their secret yet it breaks as I hear their anguish.

I do my best to assure them that there is a way out of abuse and if I made it, so can they. I have already spoken of the years of self-doubts that survivors of abuse live with. I’ve described the family dynamics and power division that puts the child at the bottom of the barrel, the years we spend searching for the way to heal and grow into the person we were meant to be if we had been born in the house next door.

Quite often I have a student who has brought their mother or a friend to hear me speak, and they come to introduce themselves. These are the people who are usually working through their own trauma and needed to come together for the information I’m providing. Sometimes the student tells me that when she finally broke her silence and told her mother about her abuse by her uncle or grandfather, her mother confided that he had abused her as a child, as well.

The majority of those who come to talk to me praise me for my bravery in speaking out. I find that so sad.

I have been speaking to classes for 32 years, and the class still find it a source of wonder that someone can be so public about their abuse and they consider me to be brave. I would rather that I was ‘old hat’ and that I am just repeating what they’ve known and have heard for decades – that my book and my presentation were obsolete. Thirty-two years later, and nothing has changed regarding the exploitation and abuse of children that still remains unspoken in society.

JS: What should a person who has been or is being sexually abused do about it? What should people who suspect that sexual abuse is going on do?

DE: The road ahead of a person who is ready to do something about their abuse may be a hard and lengthy one, I’m afraid. There are rape crisis centres, women’s shelters and centres, but so often there is a waiting list for therapy or groups. In order to provide information for this question, I went to Yellow pages and attempted to follow numerous links that are listed in Hamilton, for help. I found that 5 of the links provided were not in service.

I e-mailed The Women`s Centre at Interval House, Hamilton, and they replied that they have a group that explores the topic of living through an abusive relationship. They offer individual counselling but none of their services specialize in therapy for child sexual abuse survivors.

There is the Sexual Assault Domestic Violence Care Centre that provides services covered under OHIP. http://www.hamiltonhealthsciences.ca/body.cfm?id=281
These services are at the General Hospital and the Juravinski Hospital in Hamilton and McMaster University Medical Centre: (905) 521- 2100 ext. 73557 Business Hours only. I telephoned them at 4:30pm for further information regarding counselling and got their voice mail. I left a message which was returned the next day. I missed that call, and as of two days later, I’ve left 2 more messages that haven’t been returned.
Additionally, I found the SEXUAL ASSAULT CENTRE, SACHA at 75 MacNab St. South, 3rd floor, Hamilton Ontario L8P 3C1 PHONE 905.525.4573 For 24-hour crisis support please contact SACHA (905) 525-4162
I do not know the types and calibre of services from these organizations.

Because abuse, especially sexual abuse, is still kept secret, there is very little opportunity for people in any of the helping professions to learn exactly how to deal with a survivor in crisis. It is a catch 22 situation: we can’t talk about it, so nobody learns how to help us ‘get out the other end of abuse’, thus we fall further and further into despair and still can’t talk about it.

If one suspects that sexual abuse is happening to a child, do not hesitate. Tell the authorities immediately. Call Police, Children’s Aid or other Child Protection Services. The mandate in Canada is that when an abuse is reported, it must be investigated. I have had several battles when reporting abuse of children and three Children’s Aid offices told me that their mandate is that they cannot investigate without evidence. Just what evidence did they expect me to gather? No one will witness the abuse going on because it’s always behind closed doors. They were wrong. They must investigate even without evidence.

If a child has confided in you, your first response must be: “I believe you. I want to help you. I will be with you and keep you safe now. You are safe now.” Then follow through. Don’t stop making those calls and don’t leave the child’s side until she or he really is safe and protected. This all sounds the natural thing to do, but it will be difficult. You will face obstacles, such as I did when trying to get help. As I mentioned earlier, the danger is not in pulling families apart, the danger is in the child not being heard and taken from harm.

If the person is an adult, your response should be very similar: “I believe you. I want to help you. Do you want me to go with you and be with you while we find a safe place? You can talk to me anytime.” Say these things only if you mean it. It will be a long journey with that person and this cannot be solved quickly. Her -or his- abuse didn’t begin and end in a week or month and her healing work may take years. You may get tired of hearing about the issues; you may think that she isn’t working hard enough; you may believe that she’s just asking for pity; but I promise, as tired as you are, she is 1,000 times more weary of fighting. There may be calls in the night, on weekends, and when it is not convenient for you. Perhaps it will help to remember that you may be literally saving her or his life. Statistics tell us that 84% of child sexual abuse victims attempt suicide. Find your limits and talk about them with her. Help her find the services and a hot line that can take your place if you aren’t able to be with her.

JS: One woman I know who was sexually abused was told by her father to live with it. What do you say to people who tell you to get over it?

DE: People often use one or several pat and hurtful phrases when a survivor talks of their difficulties in life after abuse. If I had a nickel for every time someone said to me “just pull yourself up by the bootstraps,” or “but after all, he is your father,” or “it’s all over now, just forget about it and move on,” and most often: “you must forgive and forget in order to have peace” and these comments come from family and friends. We would love to forget about it. Most survivors spend years hearing these comments and thinking that ‘maybe they’re right, there’s something wrong with me that I can’t just forget or forgive, I must be so rotten that I can’t stop thinking and feeling this way.’ I know most people who have never lived through abuse just cannot fathom the depth to which it affects a person’s entire life and persona. Maybe they think they are being helpful, but I call their admonishments one thing: re-victimization. I hope that everyone reading this answer will make a decision to eliminate those comments from their vocabulary and calmly tell your friend: “I can’t begin to imagine what your life is like. Is there any way I can help?” And then just be with them and listen. One day, after much therapy, that person may be able to explain it properly to you, and they will move on in life on a healthier path.

When you speak of the abuser’s comments, I’m not surprised. I have worked with several survivors who in some way tried to confront their perpetrator, and were rebuffed each and every time. Sometimes I think there is a hand-book for abusers, their defences are so similar. The first time I confronted my father, when I was 44 years old, I told him that I remembered what he did to me as a child. He replied that “I just looked at it as a lesson in sex education.” The next time I told him that I was coming to talk and get all of my abuse out in the open with him and my mother, he said: “I’ll just deny it, just say it was your imagination”. As for “this will be our little secret” – that one would be at the top of the list for perpetrators responses.

The prime example of denial was on a TV show with Phil Donahue. He had on his show the father who was the abuser, the daughter he abused, and his wife. The father had admitted his guilt, he and the family had received therapy, and the daughter had forgiven him and they were now a happy, healthy, open family. During the interview, the father said all the right things, how he was ashamed and contrite, took the blame for tearing the family apart, and was now cured because of the therapy. The audience applauded his honesty and his recovery. In the final moments of the show, Donahue asked the father to give his advice to the fathers of daughters in the audience. He said: “Never let your little girl get into bed with you.” The audience applauded him again.

I admit to wanting to confront the family, Donahue and the entire audience: Did they not understand that he had just given the responsibility for his actions to a little girl? That he could only resist being a pedophile if the child didn’t come to his bed? And that their therapist could accept that level of completion and consider the family cured? And his daughter and her mother bought into his rationalization?

My cousin was abused by her father and my father and many other men over her childhood. When she finally confronted her father, he said: “but you climbed into bed and called me your ‘sweetheart’.” Blaming the victim; much easier than taking responsibility for his own actions.

I have worked with adult male abusers and heard all of the same rationalization from each of them. When a survivor is not healed enough to realize that their predator must try to shift the blame, it can be devastating. One woman who came to me didn’t think she should really be in the group for abused women. Her father had just sat on the side of the bathtub and soaped her all up, front and back, when she was aged 8 to 15. Survivors of so-called subtle abuse don’t realize that there are repercussions in later life. This woman was afraid to bathe her young daughter but didn’t know why.

JS: What about the accusation that you are milking your experience for your own benefit?

DE: The benefit to me over the past 32 years has been the fact that a lot of people have listened and learned so much more about the effects of child abuse, and how to help someone, than they would have if I had not put myself and my book out there. The moment I decided to speak publicly about my abuse, I calmed my fears by repeating a new mantra: ‘NOBODY should ever have to go through this alone’. I hope one day there will be survivors who come in contact with someone who heard me speak or read my book, and who now has a better understanding of what their needs are. I have admitted to being excited when I see so many people walking away with a clearer understanding of survivors. I’ll continue doing so until I can’t talk anymore, even if it is called milking it.

JS: How does an eleven year old feel as she waits for her daddy to molest her?

DE: Are there any higher impact words than terror; heart-stopping fear; panic to the bone? I wish I could find the way to express what is inside us. I made my way from school, a mile away from home, living these pounding senses every step. There were no friends to distract me; it was just me and my pulse getting harder as I got nearer to the house. I couldn’t stop living the last time he did it; I couldn’t stop visualizing the back door, leading through utility room, leading through kitchen, leading through living room -and to his chair. But one day he wasn’t there. Relief almost had me sagging to the floor. Until he called me to his bedroom. Now a new trail led to my horror. Try to conjure up the very worst fear you have faced in life; now try to put words to it as you re-lived it 5 days a week for 3 years. Oh, but in summertime there was no long walk of anticipation because it was waiting there the minute I awoke. Now I re-lived it all night long, waiting in a sweat for morning. I tried begging God to make it stop. I tried putting every blanket in the house, even my Mom’s old winter coat over my head, trying to keep out the images. Nothing worked. Nothing made it quit. Maybe putrid is a good word for the feeling.

PART II

JS: Your life has been very difficult, having your sexual abuse, a marriage that ended, an adult son who needs your constant attention, and your own physically painful condition to live with. Tell us about each of these, other than the abuse, and how each has played out as a factor in your life.

DE: My life seems to have been lived in sections, some of which you mention. Each of the stages was linked to and marred by my abuse as a child. Until age 55, when I left my marriage, my rock-bottom self-esteem permeated every one of my phases.
I left my father’s house at age 20 to get married. I had spent my teen years pining for a man I thought would rescue me and bring me everlasting happiness. I never had an inkling about the sad ways in which my next 34 years would be lived. It seemed to make my husband happy to put me down and deny me whatever might make me happy, even kind words. As I saw him waiting for me down the church aisle on our wedding day, I thought to myself: “this man will never make me happy.” I knew I could never do any better and walked towards him.

He made me cry almost daily, and I believed that I deserved the put-downs and insults. Many years into our marriage, I’d meekly try to tell him that he’d hurt me; he’d just huff and walk away or say he was just kidding.

Therapy for my child abuse spelled the demise of my 34 year marriage. As my self-esteem began to grow, I could no longer keep my eyes closed to his emotional abuse. It took many years and many failed attempts before I felt strong enough to hold my own against his denials. I finally told him that I was aware that I had changed the roles in the middle of our marriage, and I was no longer the Diane he consented to wed. I at last convinced him to go to marriage counselling with me, but he fired 3 therapists in a row– they were calling him on his abusive behaviour so he walked away. In the end, he refused to go any further in therapy and I chose to end our marriage.

Our first son was born after a difficult pregnancy, when I was 23. He has been diagnosed with everything from retarded to developmentally disabled, to autistic, to cerebral palsied, to pervasive developmental delays, and has epilepsy. Through fighting for help for him, I found a tenacity that I had never had before. Hundreds of programs, professionals and exhaustive routines had taught me not to take no for an answer, at least regarding his needs. I suspect that newly found drive had carried over into my own quest to seek out the right people and programs for my own healing and to not quit until I found what I needed.

When I sought out help for my abuse after yet another suicide attempt, the psychiatrist explained for the first time that child abuse would have many ramifications later on. I was shocked and delighted to hear this news. I had no idea that abuse as a child would be affecting me as a grown woman, since, after all, it was all over now. Since I knew where my problems came from, I could go home and be all better because there finally was a reason for my crazies. He didn’t tell me to make another appointment so I carried on alone for another 9 years.

My next attempt at suicide led me to a different psychiatrist. I told him on my first visit that I had been sexually abused as a child, because I knew one must tell one’s psychiatrist everything. I went to this man for 7 long years, and we never spoke of my abuse again. He actually thought he could fix me by teaching me how to be a better housewife and cook.

One day I saw an ad in the newspaper for a class on Assertiveness Training and wisely decided I could use some of that. I asked my psychiatrist for his permission to go to the course and thankfully he approved. That was the last time I saw him. The class was taught by a woman who knew a therapist who used what my husband called ‘hocus-pocus’ theories. Her methods were, indeed, unorthodox for the time: role-play, Gestalt, imagery, and other modes as she saw fit. This was to be 18 months of the hands-on work that I wish every survivor of abuse to experience. This was the spring board to the rest of my life Out of Incest & Abuse.

The physical pain I now endure doesn’t seem to be a blessing. It certainly makes every move a challenge and affects my life in quite a negative way. I am learning yet another life lesson: it’s OK to take one day at a time and not lament the days that seem to be so unproductive. Notice the word ‘learning’ – that means still working on it. I will not let it stop me from my lectures and am hoping to find a way to use blogs and YouTube to continue to reach out to people who want to learn more about child abuse.

JS: What effect does previous sexual abuse have on a marriage?

DE: There are likely as many ways that sexual abuse effects marriage as there are marriages. I know women who are called: cold, frigid, non-sexual. I also know some who are highly over-sexed. When a little child is sexually abused, they are sexualised at an early age and this can run the whole gamut of outcomes.

In my case, I was very shy, and not only in regard to sexual activity. It wasn’t that I was afraid of men – I was afraid of both men and women. Afraid because I felt inferior to them intellectually. With my husband held so high on the pedestal I placed him on, naturally I was afraid to displease him in every way. I responded sexually in a non-aggressive, what would be considered then, a normal manner. It was in the 60’s, after all. He was as inexperienced as I was, so our sex lives were satisfactory to both of us.

For many years, the physical act of intercourse threatened to take me back in my mind to the days with my father. I quickly learned to repeat the mantra: “this is not my father, this is Al; this is not my father, this is Al.” The words kept me in the present, at least.

The major effect my abuse had on my marriage is explained in the previous question. I was so sure that I was stupid and he was so very smart that I let him run roughshod over all of my feelings and emotions. He soon learned that he had all the power and felt it was his right to please only himself at my expense.

Sadly, these positions we held in our marriage extended to our sons. I allowed him to be the absent father. Early in our marriage, when my boys were aged 1 and 2, my husband moved us to Detroit, Michigan, with no discussion with me beforehand. We spend 8 years there, where he worked 7 days a week, 12 to 14 hours a day. And I thought this was the way a marriage worked: he was the big important bread winner and I was the dutiful meek housewife keeping the children quiet and away from him when he came home tired. As he rose to prominence at work, these roles became more engrained in each of us. Neither of us stopped to look at the impact this would have on our sons later in life.

JS: Care to comment about the helping professions? In fact, please evaluate how they succeed and how they fail in helping people who have been sexually abused.

DE: It has been a lot of years since my involvement with the therapeutic community. When I speak to the classes, I hear from my audience that there is still a wide range of expertise – and lack thereof – in therapy being offered. Sexual abuse survivors are most often expected to partake in talk, or cognitive therapy. While this method certainly has its place, it is usually not enough for survivors of abuse. We also need more hands-on types of work. We need to express ourselves more physically, in a safe, controlled setting, with a knowledgeable practitioner. I have taken part in several styles, easing into them with delicate guidance from my counsellor: from talking to little Diane on a pillow, to beating up my father on a big cushion, to confronting my mother on her role in my abuse. I don’t hear about those forms of therapy being widely used for survivors, and I wish there were more places for counsellors to learn these methods. Unfortunately, if we are able to find a person who provides these very unique and powerful styles of therapy, there is almost always a fee for service. This puts these methods and people out of reach for most of us. Survivors are once again left to battle alone.

The other issue I have with some therapists is their lack of understanding of the depth of harm that was done to the child. They actually have grown impatient with their clients because of what they perceive as lack of progress. One young woman had attempted suicide for the 3rd time. Her therapist told her: “You always lean towards suicide, don’t you?” Another was told that her therapist of several years couldn’t treat her anymore because she was so ‘negative’.

Again, I must mention that the understanding of the inner workings of a survivor is not often taught in schools, because there aren’t enough of us who can talk about what we carry inside, so there are very few books that delve into those black holes. But I wish they’d listen and look a little harder in order to find new ways to help us.

JS: Do you also deal with male victims or survivors of sexual abuse? While we’re on the choice of words, which should we use –victim or survivor- and why?

DE: Several years ago I was asked to work with both adult and adolescent male offenders of abuse. This was at Thistletown Regional Centre in Toronto. The programs they offered there were originally for young offenders who had been caught abusing children, most of whom were their own sisters or step-sisters. Over the course of their therapy, the boys confessed that they had also been sexually abused. Therefore, the Centre was mandated to report the men who perpetrated abuse against these boys. They then began running therapy groups for the adult men as well. It was soon realized that the non-offending parents and the siblings and victims of the boys were in need of support groups, as well, as their lives had been turned upside down by the incarceration of spouses and sons.

Thus, I began workshops for the boys who were both abusers and abused, as well as the adult men, plus the women and siblings groups. I was so impressed with the calibre of treatment for every one of these groups. While working with the young offenders, I took hope in their progress. I saw that the majority of the boys were really making great strides in their work. As I worked with the adult offenders, I didn’t get a sense that many of them were serious at making change. They still did a lot of blaming, denying and they reminded me of the man on Phil Donahue’s show: talking about progress but trying to turn it around to the victim.

My sense of the words ‘victim’ and ‘survivor’ has changed over the years. In the beginning of my own therapy, I thought of myself, and called myself, a victim. Slowly, over the course of years, I preferred to be thought a survivor. Perhaps each individual needs to use the term that they feel fits them better. I automatically follow their lead, but in my speaking and writing, I use the term survivor -who deserves that description better than one who has lived through hell and is still able to put one foot in front of the other, even if the footstep is wobbly?

JS: How did you feel about yourself at age eleven and how do you feel now? Why the change?

DE: I’ve mentioned my own nicknames I called myself at 11 – right through until age 44: ‘a piece of shit under my father’s shoe’ and ‘a spare tire’. I couldn’t look anyone in the face. In school, I’d bribe kids with my desserts just to have them around my desk for five minutes. I assumed that every friend I had was just killing time with me until someone better came along. I did all the contacting, even in my adult life. I felt the need to keep connections with people who should have remained just a passing acquaintance. I visualized myself running down the street, wrapping my hands around people’s legs and begging them to be my friend.

The change came slowly, as I went through my therapy. It didn’t come in one fell-swoop, it had to grow – I had to grow. I went through life with the feelings of a 13 year old, even to age 44. This isn’t unusual, by the way. It is proposed that a survivor of child abuse stops growing emotionally at the age at which either the abuse ends, or becomes its most traumatic. For myself, I thought I was pregnant at age 13, told my mother, and she attempted to protect me, so the abuse was only sporadic afterwards. Therefore, my abuse became its worst at 13, and almost stopped at 13. I was aware of all the above child-like behaviours; I just couldn’t stop them from happening.

As I grew emotionally in my group work, I learned how to like and then love the 13 year old Diane. Another trick I learned in therapy, I used to love red licorice as a kid; so whenever I had to do something scary as an adult -even to the point of being petrified to go to a lawyer’s office to sign a will- I carried a piece of licorice in my pocket and would touch it to remind myself that I was there for little Diane and I would protect her when she was scared. Slowly, my therapy helped ‘her’ to grow into adulthood with confidence and appropriate behaviours.

JS: Tell us about one of your poems that means a great deal to you and explain why it does. Feel free to quote, if you wish.

DE: Only one? There are two that are equal in my heart, and for completely opposite reasons. The first poem in the book, Definitions, was written after I thought the book was complete. After 3 years of slogging, I decided it was done at last. I sat on my deck in the sun and tried to relax. Something kept niggling at my brain and wouldn’t stop. I tried pushing it away, but eventually I said out loud: “Oh, alright!” I went to my typewriter and the poem rushed out of my fingers onto the paper all by itself. Seems I had subconsciously worried that there would be some people who could read my book and just not ‘get it’, meaning the truth and the depth of the impact that sexual abuse has on a child’s life. I wanted to hit them between the eyes with a piece that they would not be able to ignore or deny. It is a vicious piece, for which I do not apologize. This is the life of a child victim, like it or not.

The poem that ties for my favourite is: Life Present.and here’s a quote: “Life. I choose Life. I pursue Life. I missed you, Life. Before I knew we could be friends, I missed you.” How exciting; I could love life at age 54. This is the present I wish for every survivor. I wish them a life free from tears and fears, no matter what age it begins. And I am living proof, at age 75, that it can be done and that it is worth the struggle and whatever time it takes: “Sorrow? I feel none. I search my heart over and find not one regret to whittle away our today.”

JS: I’m sure you hear many accounts of sexual abuse from many people. If you don’t mind, please tell us about a few that have troubled you most.

DE: The ways and means that perpetrators invent to abuse are way beyond believable – to the point that society really does not want to hear about them, as much as the victims don’t want to live them. Turning away and not reading or listening will truly be adding to a victim’s anguish. We need you to listen, to believe, and to walk through our reality with us. If it makes you sick, try living it daily.

There are three ugly, too true stories that I will relate here.
1) The 12 year old girl comes home every day after school to find her older brother and three or four of his friends waiting for her – she knew they would be. The brother charges them admission. They enjoy themselves by first raping her, then they play the contest they had invented: insert a broom handle into her vagina and measure how far each of them could lift her off the floor. Winner gets bragging rights.

2) The little 6 year old girl cringes as her Sunday ritual begins with Mom lowering the blinds in the sun porch. 6 men arrive and take their seats around the room. These men include my father, her father, her father’s 2 friends, her uncle and her cousin’s husband. They each rape and pass this little girl around the room, twice. Mom ignores her cries and goes about doing her household chores.

3) My cousin was sexually abused by her two brothers for many years. It was actually a family affair: Mom and Dad were the leaders, and they had begun abusing the little girl by age three. They also abused their sons, and taught the boys to sexually abuse their sister. This went on for many years.

When these 3 cousins were grown, one of the brother’s two teenage daughters confided in their auntie that their father, her brother, had sexually abused them most of their lives.

This man had divorced, remarried and now had 2 new little babies. His teenage daughters were so afraid of him, even though they had left his home, that they would not speak up or add their own charges. My cousin was so petrified that he would also assault his two new little ones that she decided to charge her brother with her own abuse, in the hopes that Children’s Aid Society would investigate his current family. She prayed that they CAS would remove the children from him and take them to safety.

The court case was long and brutal for my cousin. After some time, her brother was convinced to plead guilty to lesser charges, in exchange for a lighter sentence. So he admitted in court that he had sexually abused his sister for many years.

Upon this admission, Children’s Aid went to his home and spoke with the two little children – they were only 2 and 3 years old at the time. The father was removed from his home for the weekend while the examination occurred. The outcome was that the social worker found no evidence of abuse and allowed him to return to his family the same day.

He was given 3 years probation plus 3 years mandatory counselling in mental health plus 3 years in a group for pedophiles. He did not spend one day in jail.
An aside: this cousin was the little girl who lived in dread of Sundays in the sun room.

JS: What do you feel we should do about the sexual abuse in our society? And what about the misconceptions about sexual abuse –how should we handle these?

DE: Believe it or not, we could eradicate all child abuse in our society. Here is a poem from my book that should give each and every one of us the clue on how to do that:

LONG STORY SHORT

Reads like fiction:

Little boy
born unwanted,
out of wedlock,
beaten, abandoned.

Teenage boy
impregnates girlfriend.
Denies his son.

Young man
has a daughter.
Breaks his wife’s spine.

Grown man
rapes daughter
and niece and who knows
how many more.

Old man
charged with rapes
after 31 years.
Pleads not guilty.

Guilty man
blows out
his brains.

Not fiction:
My father’s obituary.

They say it takes a village to raise a child. Our villages choose to turn their backs on anything that smacks of ‘something doesn’t seem right in that family.’ They are all so afraid of getting involved, whatever that means to each of them.

An example from my own life: my picture and article had been in the Hamilton Spectator shortly before I attended my 30th High School reunion. Over the course of the evening at the reunion, I spoke with 3 men I went to school with and who lived near me as we grew up. Everyone was talking about their lives, where they worked, what they were doing now. To each of these 3 neighbours, I mentioned having written a book on abuse. One man simply turned and walked away, saying: “Ooh, I can’t talk about that.” The other two each put their hands up against their faces; one said: “You know, I thought something funny was going on in your house,” and the other: “I always thought there was something wrong between you and your father.”

The 9 year old girl in me wanted to screech:  “WHY THE HELL DIDN’T YOU DO SOMETHING? WHY DIDN’T YOU SAY SOMETHING! I would have given the world to have someone tell an authority of their suspicions and either taken my father away or taken me to a safe home.

I mentioned earlier here that many times the organizations that exist to protect children do not follow through properly. They don’t wish to disrupt the family. They worry that an innocent person might be harmed by an investigation. They don’t seem to realize that the danger is not in causing an innocent person some grief; the danger is in allowing a vicious, perverse individual to have free access to a helpless child.

Years ago, there was a program in some Ontario kindergartens that was teaching those little ones how to identify an ‘uh-oh’ feeling in their tummy. They were taught that those feelings could mean they were scared or uncomfortable with someone or something going on around them. They were advised to go to someone safe to talk to and tell about it. What a wonderful way to allow children to listen to their gut instincts.

Wouldn’t it be perfect for each and every one of us: neighbours, friends, relatives, acquaintances, to listen to their ‘uh-oh’ feeling inside when we hear or see something unusual going on in a child’s life? And then to act upon it?

What if teachers look at their kindergarten class today and realize that one in every three little girls and one in every 5 little boys sitting there are going home to be abused? What if my father’s teachers had not turned away at his bruises and black eyes when he was 5? We know that approximately 33% of abused boys will become abusers. Since we’re aware of this fact, it is the shame of society that we chose to ignore the signs that stare us in the face every day. We are the adults who have the power – why are we so afraid to use it to protect our little children?

If we keep in mind what I have written about, in my book, and said in this blog; if we chose to leave our misconceptions behind and remember exactly what child abuse looks like and feels like, and believe that the ramifications of those heinous acts do last for the rest of the child’s life, perhaps we wouldn’t be so hesitant to take the side of the children. I know it sounds like Nirvana, but we really could stop abuse in its tracks by taking the scary steps of identifying, reporting and taking every abused child to safety. With appropriate intervention and therapy, these children would be allowed to grow up into healthy adults who have no propensity for abusing others. We can break the cycle of abuse – we can fix this.

JS: I know you have a great deal on your plate, but what are your plans for your immediate and distant futures?

DE: As always, I want to continue to speak out. There are more avenues now than I’ve had in the past: blogging, face-book, video blogs. I’ll continue lecturing on courses at McMaster and hopefully, energy permitting, expand that to other Colleges and Universities. Reaching more people through my book is also a dream.

At age 75, I don’t dwell on the distant future – I’ll accept and use up every year that arrives, take a deep breath and keep on talking.

JS: I almost forgot, one last question: “I loaned a copy of your book to a woman who had suffered sexual abuse in her family and she felt that Out of Incest was negative and just dragging up horrible memories that were best forgotten. ‘So what good does this book do?’ she asked. ‘It doesn’t give us any hope.’ What is your response?”

DE: Out of Incest & Abuse is designed to take the reader through the child’s life, from her horrible youth, right through the years of struggle, and to be with her into her growth in therapy. These early poems certainly are the difficult ones to read. In these pieces, we see her attempts to forget those days and forge on alone. It is soon evident that trying to stuff it all away is not working, as witnessed by several suicide attempts by age 40. She, too, wishes she could just forget the wretched past. Believe me, every survivor of abuse has tried their best NOT to drag up the memories.

The hope begins with her first step at seeking help, in an Assertiveness Training group. This is where we begin to find the positive messages and that glimmer of joy. She knows that she must move on from standing still and letting waves of black, smothering shit from her past engulf her for the rest of her life. At age 40, she knows that trying to forget is not getting her anywhere except to more suicide attempts.

Read and watch as her newly found hutzpah and daring allow her to take the first hesitant steps at moving forward by confronting her past realities – that is the way therapy works. With a trusted, knowledgeable and compassionate guide, she begins to feel movement forward. After each tiny move, there is elation, in spite of the mess she must look back into first. She wants to take another and another and another. A good therapist will never leave her in a despairing moment; they will find a way to celebrate the progress made, no matter how tiny, knowing there will be more good days ahead as they work together.

My way of completing my journey out of incest was to confront my parents, as described in the book. Each survivor will find their own needs and methods, and I have been with many of them as they performed their own ceremony or celebration at the end of their road. And not one of the people I’ve been privileged to accompany on their way would wish that they had stayed with their memories inside. The risks were worth the rewards, a thousand times over.

Whenever I give someone my book, whether they are a survivor of abuse or not, I tell them that it is not a nice, fireside read. It is a difficult book to read from the beginning, where the bleakness may be overwhelming. It was a wonderful survivor who told me that when she read it, after about 4 pages she threw it across the room. Good for her, looking after herself. She later went to it, picked it up and started reading from the back to front. That way, she was hearing and feeling the power-taking days and the positives that came about due to the healing in therapy.

I thought that was brilliant, and that is exactly what I tell my students and audiences, and anyone who will be reading the book. Perhaps your friend may find hope in the poems that follow the survivor through those clearly empowering days as she moves into a life free from the ‘left-overs’ of abuse.

JS: We have to end here and there is still so much to talk about, so, since I got to ask one last question, is there anything you yourself want to add that we should know?

DE: I’ve mentioned survivors who have had multiple abusers and how common that is. I never did tell my mother about my abuse at the hands of my great-grandfather, my brother and my minister. In my mind, these were rather inconsequential incidents compared to my dad’s daily abuse. When I was that young, I could put those molestations to the very back of my mind and they became little niggling secrets that I could almost ignore.

When I was a child, little girls wore pretty dresses, which made it easy for my great-grandfather to sit me on his lap, on top of his erection, so he could fondle me in secret. I didn’t know that was what it was called then, of course, I just knew it didn’t feel good. On top of that, we were actually sitting about 5 feet away, opposite my great-grandmother as she lay in her casket, with family and friends all around. Thankfully, that was the only time he managed to get to me.

My minister used to have us little girls into the manse for tea – one at a time, of course. There, he’d fondle us as his wife was at the church making preparations for Sunday’s service. I didn’t know for many years that I wasn’t the only one. Eventually, someone told on him and he was shipped to another parish.

My brother was known by all the girl cousins as having WHT -that’s Wandering Hand Trouble. As my older cousins warned me, “Don’t get too close to him or he’ll grab a handful -of breast.“ A couple of times he took me to into a culvert that was surrounded by trees, within shouting distance of people passing by on the sidewalk. But I didn’t dare shout while he had me fondle his penis and he played with my genitals. About the third time this happened, I did manage to run away and walked up behind some people and stayed with them for several blocks.

I relate these stories here to help people understand that very seldom is a child abused by only one perpetrator. If we’ve lived a life that included any form of abuse, we begin to take on the persona of a victim. I hate to put it that way, but sadly, that is the truth. I walked to school and home, looking down at my feet. I was the girl who played alone at recess, twirling my arm around the flagpole. If we pretend that a potential abuser was looking over that playground to find a victim, don’t you think he would choose a girl like Diane, rather than a bouncy, hollering, in the middle of the group little girl? We were just so easy to abuse.

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BRETT DEAN: THREE MAJOR WORKS BY THE CONTEMPORARY AUSTRALIAN COMPOSER, VIOLIST AND CONDUCTOR ARE FEATURED AT THE TORONTO SYMPHONY’S 2016 NEW CREATIONS FESTIVAL. HERE HE DISCUSSES EACH WORK AND HIS CREATIVE LIFE.

Photo by Pawel Kopczynski

James Strecker: The Toronto Symphony’s New Creations Festival this year features your Viola Concerto, your Trumpet Concerto, and a suite of excerpts from your 2010 opera Bliss. I’d like to give our readers the special privilege of hearing the composer’s insight into each creation.
To begin, you are a long-established violist, so please tell us how having a profound knowledge of the viola helped you in exploring the creative potential of a concerto form.

Brett Dean: There is, of course, some precedent for the viola/composer link. Mozart, Mendelssohn, Dvorak, Hindemith, Britten all played the viola. It’s in the engine room of the music making, an unusually useful position from which to observe music’s workings. That goes for solo concerti as well, albeit a challenge to make the engine room the main focus of attention.

JS: Did the nature of the instrument ever limit your compositional ideas? Did its unique qualities suggest new such possibilities?

BD: It is true that it’s not the natural solo instrument, being so in the middle of everything. But I was taken by the idea of making something uncharacteristic and counterintuitive about a viola concerto: it’s virtuosic, fast and high, skittish at times and even somewhat playful. These are things that one doesn’t normally link to the viola! It’s so often considered mournful and slow!

JS: Your Dramatis Personae for Trumpet and Orchestra has its Canadian Premiere with the TSO. The piece has been programmed internationally and received with critical enthusiasm, so I’d like to hear your own take on it. What is your intention in this work and what should a listener new to it expect to hear?

BD: This is very much a work about personalities. In the first instance, it’s a homage to the remarkable musical personality of Håkan Hardenberger and his extraordinary relationship with his instrument for which he has almost singlehandedly established a new repertoire. But beyond that, the soloist is involved in a theatrical journey, a playing of roles from defiantly heroic and alone through to thoughtful and reflective and finally trying to establish connections with others and within the orchestra, even physically by changing positions and allegiances.

JS: Your opera Bliss is based on Peter Carey’s novel in which Harry Joy dies and then comes back to life and sees much about his existence that is undesirable. I can’t help but suspect that this was much fun for you to compose. Is that the case? Also, what did you learn from creating the opera Bliss that you can take into your future works?

BD: Peter Carey’s Bliss was indeed enormous fun to get to grips with in sound, again an amazingly theatrical experience. It’s a wild tale full of colourful characters and bizarre occurrences. Being my first opera, the learning curve in writing it was of course substantial, especially in terms of dimensions and architecture but also through the experience of working closely with singers, learning about their craft, different voice types and personalities, etc. Invaluable experience for any composer!

JS: What are the events in your past that shaped you into the creative individual you are today? Are there any people in your past who helped to make you who you are as an artist?

BD: Studying in Australia was wonderful in that I was stimulated by people who had an open, undogmatic approach to classical music; inquisitive and not swayed by any particular tradition or the expectations of a particular school of thought. I was very fortunate to receive important guidance from György Kurtag when I was embarking more seriously on my compositional path and of course the fifteen years I spent in the ranks of the Berlin Philharmonic’s viola section were irreplaceable!

JS: You were a violist in the Berlin Philharmonic from 1985 to 1999, first under Herbert von Karajan to ’89 and then under Claudio Abbado. How would you compare the two in how they approached an orchestra and how they approached music?

BD: Wow, they couldn’t have been more different. Karajan was of course quite frail and elderly by the time I started there, though with a galvanising personality and look which could instil quite a deal of fear, even at that age. Music went his way and there simply were no questions about it. Abbado was much gentler, quietly persuasive in his striving for some kind of communal awareness of the beauty of what it was we were playing and achieving unity through that; an altogether different approach.

JS: How did having Von Karajan and Abbado as your conductors later influence your approach to conducting?

BD: Well, one gets rather spoilt in an orchestra like the Berlin Phil. Not only Karajan and Abbado, but also the encounters with Kleiber, Solti, Haitink, and of course the ongoing relationship with Simon Rattle have been constant sources of inspiration, not only as approaches to conducting but their approach to music per se. For sheer organisational skill and virtuosity, Seiji Ozawa conducting Messiaen with us in about 1986 or 87 remains a career highlight. And Claudio Abbado remains the most aesthetically satisfying conductor I’ve experienced and it will probably remain a life-long desire to have anything remotely of his expressive hand movements rub off on me!

JS: You were mostly self-taught as a composer, which is quite an achievement. How did you do it? What were the advantages of doing it yourself? Any disadvantages?

BD: It was really just about keeping one’s ears open and learning from every situation I found myself in, be it orchestral, chamber music, improvising – which is how I got most bitten by the compositional bug. The advantage I’ve felt over the years is through maintaining a performer’s sense for how a piece “feels” to perform. The disadvantage of being an autodidact is that I’m not really up on compositional theories and processes; I tend to do my own thing and find my own solutions and can feel somewhat bemused by the “science” of composition.

JS: I hope this makes sense. A number of authors have told me how it’s almost impossible to take their writing into another language and approximate a work’s original idiom. In this vein, I wonder if you have a similar experience when a work you have created is then taken over by another conductor or musician whose background and sensibility differ from yours. Does a work of yours in this case translate sufficiently true to your intentions for it or do you have to simply hope for the best and live with the result?

BD: Interesting question. I think it comes down to the initial notation of the work and how clearly you can get your intentions across so that it can be understood and realised whether you’re present in the rehearsal room or not. Personally I have learnt much from others’ approaches and questions. Even mistakes or misunderstandings can be enlightening and can open up other possibilities. On the odd occasion I’ve rewritten something because of a misreading which I have preferred to my original thought!

JS: You have said that melody gets “a bad rap in some circles of new music nowadays” and I would love to hear more on this issue. Do we have dictatorships in the musical world that say “You may” and “You may not?” If so, what damage do they do?

BD: I think we live in a relatively open, non-dogmatic time as far as approaches to new music are concerned nowadays. Having said that, I live in Germany which tends in its Darmstadt and Donaueschingen niches, to hold on to certain ideals of what one “may” or “may not”, the other example perhaps being France and whether something is “IRCAM-approved” or not. As far as advancing thought about what music can be, I find these institutions have provided enormous stimulus and technological advancement which is always a good thing. But their “politburo” aspect can have something dictatorial about it which I find somewhat narrow and dispiriting. I like to think music shouldn’t be determined by “rights” and “wrongs” but of possibilities.

JS: In your experience, what are the dangers of using a computer in composition? What are the advantages? How long did it take for you to work out an acceptable relationship with your computer?

BD: Over a period of some years I feel I’ve learnt how to use a computer for notation on my terms, but it took a while for me to be sure of who was in charge. It’s a well-trodden path, that one on which a computer can provide quick fixes and easy solutions, and it can be far too convenient, even seductive to go down. This is something that especially younger composers need to be wary of.

JS: What of Brett Dean do we find in the music you compose? If we hear the music, do we then know the man?

BD: I’m an Australian who has had a largely classical music, performance-based training background as a string player, have lived in Europe for much of the past 30 years, worked in one of Europe’s great tradition bound orchestras yet got into composing largely by improvising and making film soundtracks together with a Sydney born rock musician, mostly in bizarre clubs in West Berlin in the mid to late 80’s. In composing, I draw inspiration from all manner of sources, many of them far of a social or socio-political nature. I think all of these things can be heard in my music!

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HARRISON KENNEDY: A CHAT WITH A BLUESMAN WHOSE PAST INCLUDES FOUR YEARS WITH CHAIRMEN OF THE BOARD AND WHOSE PRESENT INCLUDES A 2016 JUNO NOMINATION

James Strecker: Harrison, your CD ‘This Is From Here’ has been nominated for a Juno as Best Blues Album of the Year. As its creator, what do you especially like about the album and what about it satisfies you the most?

HK: As a creator, I especially like seeing those friends and dog! On my CD “This Is From Here” I have many sweet memories of my times with them.

JS: You have a long list of songs you have written and I wonder what it is that makes a good song.

HK: True, I do have a long list of songs, but what makes a good one, I do not know. Some I have written in minutes, others took years.

JS: How did the musicians on ‘This Is From Here’ contribute to the recording?

HK: The musicians, all pro’s, were given a basic template and allowed to express their creative feel.

JS: I’ve read that you’ve played with a number of major musicians in your time, people like Stevie Wonder, B. B. King, the Stones, and the list goes on. Could you tell us about the ones who meant a great deal to you?

HK: I can only say that it was surreal being in their company. Each one gave me so much to digest as an artist.

JS: While we are at it, please describe briefly at least five key experiences or people from when you were a wee lad to today that made you the musician you are.

HK: Lonnie Johnson, Jackie Washington, Billy Holliday, the Wades, the Washingtons -and my mother. They all got absorbed into my sponge-like mind when they visited my home in Hamilton.

JS: You grew up in Hamilton when a lot of great musicians used to pass through town and gig here. What are some of your favourite memories about these musicians?

HK: Lonnie was a great all-round guitar player, Jackie had this ability to remember everything. My mother had an awesome voice, so did many others.

JS: You talk affectionately of Jackie Washington so, for our readers, please tell us who he was.

HK: Jackie was a genius. He brought many of the folks I mentioned to our home. Everyone loved him.

JS: A few months ago I saw you become annoyed with the music being played at a local restaurant. Granted some of it was thoroughly clichéd and not much more than loud, but please tell us what is good about current popular music and what is bad about it.

HK: What’s good about current music is that the artists are making some money. What’s not good is that I ain’t. I have my tastes in music but I can’t knock success.

JS: If a young musician were to ask you how to succeed in creating and performing music, what five things would you advise?

HK: Number one, get an education, go as far as you are able. Two, read the bios of other artists. Three, four and five, practice, practice, practice. My mother advised me as a youth that the only place success comes before work is in the dictionary.

JS: How often do you surprise yourself as a musician and how do such surprises happen?

HK: My greatest surprise comes every time I finish writing a tune, and that varies.

JS: You play a number of instruments, so please tell us what makes an instrument special to you?

HK: Vocals are my strong suit.

JS: You have been nominated many times for awards and I wonder what effect do being nominated and winning awards have on a musician. Are awards always a good thing or do they have a negative side to them?

HK: Nominations hopefully mean jobs. They mean many things to musicians, and I am grateful each time I get a nomination for my music. It means those who know music, dig it.

JS: Tell us about the award you won in France last year and what it’s like doing gigs in France compared with gigs in Canada.

HK: l love France, and Dixie Frog records are my European distributors. The award was equivalent to a Grammy. I work more there than in Canada and that has got to change. Hopefully it will.

JS: I was playing your CD ‘High Country Blues’ yesterday and certainly admired and enjoyed your versatility, your inside track on the blues idiom, and your range from blues to soul to gospel to R&B. But I also heard some shades of a crooner and song stylist in the mix as well, so might we expect a CD of standards as with Willie Nelson’s Stardust from you?

HK: Perhaps, James. (laughter)

JS: A number of musicians have given me very disturbing accounts of their being black in our society. Do you care to comment on your own experience?

HK: No.

JS: What aspects of your essence as a human being do you bring to your music?

HK: I just write and sing what I can honestly deliver on stage. And that runs the gamut.

JS: Your partner of many years is the award-winning jazz singer Diana Panton, so I wonder how having two major musical players under one roof works out. Care to comment?

HK: No, we are private people.

JS: What’s on your musical agenda for 2016?

HK: I am working on my next release and looking forward to some gigs with the band I recorded with on “This Is From Here.” And having chats and coffee with my buddies at Williams.

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WHERE SCIENCE AND ART DANCE TOGETHER: AN INTERVIEW WITH ARCHAEOBOTANIST, TEACHER, ARTIST, AND RENAISSANCE MAN RUDY FECTEAU IN MOTION

Says Strecker: Several years ago I met Rudy Fecteau and began an ongoing conversation with him on many subjects -with one overlapping onto another or implying another or confiscating another. Some of these are subjects discussed in the interview that now follows. Think Leonardo painting the Mona Lisa and also doing the plans for a flying machine and proceeding to other areas of study, and then let us begin:

James Strecker: Okay, to begin, what does an archaeobotanist do and why do you, yourself do it? What got you interested in archaeobotany in the first place? Which takes the lead – the archaeology or the botany?

Rudy Fecteau: An archaeobotanist analyzes carbonized plant material from archaeological sites. This includes pre-contact, contact and Euro-Canadian sites. I have also identified palaeo-environmental material from the northern climes of Western Canada for a palaeo-environmentalist. The reason I am in the position to study the past in a different way is fortuitous. As an unemployed archaeologist in the mid 1970’s, I obtained employment as a typist for the botany department at the Royal Ontario Museum in Toronto. I was told that the job would last about four weeks but I completed it in three days (I could type!). Dr. McAndrews then had me work on sorting through and identifying charred wood and seeds from a late 16th century Huron/Wendat site near Woodbridge, Ontario interestingly called the Seed site. That was forty years ago and, even though I’ve had other jobs in the meantime, I have continued to do this work for the archaeology community during evenings, holidays and vacation time. Since I spent much of my time in archaeology focusing on plant material, I started doing less field work and more lab work. As I aged and damaged my knees, it became much easier to do the lab work than the field work.
It is during my retirement years that I have been able to fully establish myself as an archaeobotanist with all its attendant responsibilities of analysis, report writing, article writing and academic and public presentations. And I can get paid!

JS: You’re an intriguing combination of interests. You also paint, you write, you photograph, you cook, you create means of presentation, you’re an obsessive teacher, and who knows what else? Please explain these and other activities you choose to have in your life and how they work together.

RF: The basic point is that, in spite of being retired for eight years, I don’t know what I want to be when I grow up. Over the years I have sketched, drawn cartoons, and made illustrations of plants, etc. A decade or more ago I took the first of several watercolour courses at DVSA. A gift of a digital SLR camera led me to take some photography courses there as well. During another period of unemployment, I spent a lot of time at the elementary school in Toronto where my wife was teaching. I enjoyed this so much that I enrolled in a two-year teacher training course – on my 50th birthday! After graduation and three years of supply teaching, I got my first class – two weeks after my wife retired! During my retirement years I have learned how to bake and usually bake cakes, cookies, scones etc. for others since we really should not be eating those things.
Since I am one of the very few folks in Ontario doing archaeobotanical studies, I felt that it was important for me to inform as many people as possible about this less well known field of studies. Therefore, I have taken advantage of any opportunity to speak to public or academic groups about my work.

JS: As an artist and photographer, what appeals to you in creating a visual image? What are all you considerations as you make such a creation?

RF: I see the extraordinary in the ordinary. My experience assists me in making decisions about composition, lighting, exceptionality, etc. Often a story unfolds in front of me, whether it is something in the natural world or when I am working with people in a solitary way or in groups or just wandering through an event. My artistic creations often take on a life of their own and I just follow instinctively. I have been planning a piece of art that makes connections between my work as an archaeobotanist and the peoples I have been studying for the past forty years. I have selected subjects which are meaningful to native people and my studies.

JS: Seeds. You seek them out and even hunt them down because, I take it, they are such rich indicators of our historical process. Fill us in about the importance of seeds past and present.

RF: Seeds are an indicator of plant use by people of the past for food, whether native or agricultural, fuel, cordage, housing, tools and medicinal purposes to name a few. This kind of information is not available with other aspects of archaeological research. Another interesting aspect of studying plants from the archaeological record is that we are able to study the origins and diffusion of cultivated plants, both here in the New World and the Old World.
Seeds of native plants are a rich source of proteins, carbohydrates, fats, vitamins and minerals crucial to a balanced diet. Identifying plants from seeds, nut shells and wood provides us with an increasing knowledge of how people survived here in Ontario for the last 7,000 or more years. Identifying small bits of wood, for example, allows us to make statements about the importance of certain trees used for fuel and to examine changes in forest zones. Seeds and nut shells that we find allow us make statements about the availability of these plants and the seasonality of sites.

JS: Seeds are so small, so how exactly do you find them? How do seeds have impact upon how you visualize the world in your art?

RF: Because of the small size of the seeds, many of them are not readily visible. Archaeologists have to process archaeological soils using water flotation techniques which separate plant material from the soil before sending the resulting small parcels to me for examination. This technique reduces the volume of material to look through by 95%. Soil samples are taken from important site locations {garbage heaps, hearths etc.} and then ‘floated’ in water to separate the charred plant material from the soil. Materials that float are collected, dried, and packaged as the ‘Light Fraction’. This includes tiny seeds, nut shell and all manner of corn elements that includes cob segments, kernels, stalk fragment and ‘cupules’ {small pockets that contain the corn kernels on the cob}. Larger materials that sink, ‘Heavy Fraction’, include nut shells, charcoal and sometimes uncharred wood. The archaeology community generally sends me Light Fraction samples to analyze because they will provide the most botanical information. From time to time I have also examined Heavy Fraction and Screened material. This often provides additional botanical information and I have even identified a wooden bead from screened material from a 2,500 year old site in the Mississauga area.
After the field separation techniques have provided me with material to examine, I may have to further separate the material in a series of different sized sieves to make it easier to find seeds. That done, I identify seeds, nut shell and wood fragments based on their microscopic features. I look at their size, form, surface pattern, shape, and where they are attached to the plant. These characteristics all help me make an identification, with confidence, of most of the botanical material.
To answer the second part of your question, it is these characteristics that waft through my brain and comingle with those wonderful things going on in the right side of my brain. In some of my spare minutes I will commit pencil, pen and ink to paper to render my own impressions of these invisible patterns that only a few people in the world have privy to. So much to do, so little time. I am looking for a forty hour day so that I may have more time to do all the things I would like to do.

JS: Whatever you are doing, the process of finding out endlessly seems essential to you. How does such inherent need to explore and find out manifest itself in the activities you do?

RF: I guess that I am basically curious. I find that, if I am listening to music, drawing or painting or walking around taking pictures, I want to understand the process behind wherever my interests take me. Often I see the extra-ordinary in the ordinary. I see patterns everywhere.

JS: Tell us about maybe five or your discoveries of any kind that have been essential to your development, especially in the overlap of the sciences and the arts.

RF: One of the interesting things that I have noticed over the years is that I have a capacity and enthusiasm for learning new things. This ability has led me to where I am today. My academic career had me in university in my late twenties, early forties and early fifties. When I finished my master’s studies at York University, employment in archaeology was not forthcoming so I worked for Northern Telecom as an installer and thoroughly enjoyed it. I learned quickly how to do intricate wiring jobs. The temporary 90 day job lasted three and half years. After I left Nortel, I found out that I had been viewed by them as a valued worker.
When I was unemployed in my fifties, I took on a volunteer position at my wife’s school that led to teacher training studies at the Institute of Child Studies in Toronto. My interests in the arts were valuable while working with children or adults in the classroom because I was able to create activities and workshops. Before I even applied to teachers college, I gave workshops in archaeology and archaeobotany to elementary and high school teachers and I provided a two day mini-course in caricature and cartooning for the Gifted Program based on my collection of cartoon and cartoon history books. Immediately after getting my teaching certificate, I travelled to elementary and high schools around south central Ontario doing presentations for the Ontario Archaeological Society.
While I was teaching, I gave a paper at a symposium. I was one of two people using slides – I had back up overheads in case the projector didn’t work. The other presenter using slides and I were amazed at the Power Point presentations given by the students and other young people. Once I retired and found that people wanted me to give presentations to various groups, I realized how convenient it would be for me to learn it. So, I set about learning to use Power Point.
Since many of the materials I study are very small, I need to use a microscope. However, that makes it awkward to show a group of people what I see. I needed to have photographs to illustrate these things in my presentations. I had lenses for my camera to assist me in photographing some of the larger material, but, microscopic items were beyond my ability. Enter Richelle Moynahan of Wilfrid Laurier University and her brand new computer operated microscope which was capable of photographing minute particles. She needed materials to allow her to develop facility with this equipment and asked an archaeology professor if he knew anyone with materials which she could use for practice. As a result, I have photographs of a number of microscopic seeds which I have been able to use in reports and presentations. Subsequent to this, McMaster University opened the Sustainable Archaeology Lab in the Innovation Park facility. Catherine Paterson, the Operations Manager, has even newer equipment which she has used to photograph many more botanical items for me. More recently, Paul Racher of Archaeological Research Associates Limited invited me to use a new camera/microscope at his company in Ancaster. I have been going there for ‘Photo Phridays’ for several weeks and collecting a number of new images for my reports and presentations. As a result of my teacher training and years in the classroom, I think I have become a better ‘explainer’ with regard to talking to groups or individuals about all my interests.

JS: The notion and limits of time seem essential to your life and your thinking. Tell us about how you yourself experience time and how we as humans must adjust are concepts of time.

RF: Basically, the problem is that there is not enough time for all the things I want to do. As a result I am always having to leave one thing to go work on something else. This can be frustrating because I feel that some things get neglected. It would be nice if I didn’t have to sleep.

JS: You seem to be constantly turned on by the world you experience. Please explain this state of being, how it has impact on your creativity, and you manage to function among others who take life for granted and are not as inspired by life as you?

RF: I find that most everything is interesting and exciting. This allows me to be able to see how things can be connected and interpreted. I find that I tend to be drawn to people who have similar interests. Those people who don’t feel the same way tend to avoid me because they don’t want to be lectured at so I don’t have to worry about having to deal with them.

JS: What is the essence of teaching and learning?

RF: Sharing! Encouraging others to question and explore. Showing others the fun of learning.

JS: Tell us about your connection to native communities and how such contact has affected you as an artist and as a scientist.

RF: Despite being involved with pre-contact and contact sites for many years, I didn’t actually meet any First Nation folks until about twelve years ago. After that I volunteered to be part of the Monitor/Liaison training at both Six Nations of the Grand and the Mississaugas of the New Credit. Subsequent to that, I was invited several times to participate in the Historical, Cultural and Educational Gathering at New Credit which included elders, artists, story tellers, doctors, historians, archaeologists…
I’ve also enjoyed taking pictures at a Six Nation lacrosse game and of dancers in full regalia at both Six Nations of the Grand, Museum of Ontario Archaeology in London, and Mississaugas of the First Nation Pow Wows. Some of the photographs have been used by my wife for mixed media and water colour paintings. Since my retirement we have met many First Nation folks of different ages, casually and in the classroom, and appreciated being treated as elders by younger members of the communities.

JS: Which of your senses do you enjoy most and find the most rewarding? Why is this so?

RF: Sense of humour, because I enjoy that state of mind. I remember fondly when I was cartooning that I was always drawing with ‘punning’ intention. I often find that a sense of humour goes far when meeting people and can relieve tension in a new situation – especially mine. Close behind is a sense of curiosity.
Now that I am retired and working on being a lay-about (no time yet) I am reading about science on purpose. When I was younger I did not have the opportunity to finish high school and because I was taking technical subjects I missed out on English, physics, chemistry etc. I find the exploration of physics, astronomy and cosmology so fascinating and interesting. I have read and continue to read this aspect of science in my spare minute. I use that minute wisely.

JS: You suggest an interesting past, one that among other things includes figure skating and playing the five string banjo, so tell us about all the interesting things you have done, especially interesting stuff that you might not include on a CV.

RF: After being taken out of school after grade 11, I got a job as night messenger at CN Telecommunications in Toronto. This introduced me to some cat-sized rats in alley ways around the Union Station area while I was delivering inter office communications or going for coffee for the staff. My younger sister was involved in roller figure skating in Mimico at that time. She encouraged me to get involved as well during my free time. Eventually at CN I became a teletype operator and took over as a shift supervisor when I was 21. The introduction of a computer system in the late 60’s led to my first bout with unemployment. I noticed that U. of T. was going to accept adult students who did not necessarily qualify for admission. After taking a summer course in English at U. of T. and an effective reading course at York, I was admitted to U. of T. when I was twenty-six. I took a variety of general courses which might make me more employable. One of the last courses I took was field archaeology which led me to completely change my idea of what I wanted to do after school. I worked on various sites for the ministry which administered archaeological work. This took me out of Toronto and to various locations in north central Ontario and to university in Winnipeg for a few months (where I was exposed to the banjo).
Once I had developed skills in archaeobotany, I was hired by the Museum of Indian Archaeology in London to work on a site in Pickering which was the proposed area for the new (and later extinct) airport. This was the first large scale excavation in Ontario that used bull dozers to remove top soil. I collected and floated soil samples then packaged the resulting float residues for study. During this time I became involved with the Ontario Archaeological Society in London. Many years later I received the Society’s highest honour, the J. Norman Emerson Silver Medal for my contributions to the society and archaeological education.
I always enjoy visiting museums, art galleries, botanical gardens and archaeology sites wherever we go. One time at a museum on Cape Cod, I went to the washroom then found an archaeology lab where I was busy chatting for some time until my wife finally found me.
Throughout my life I have enjoyed reading. This has included comic books, science fiction stories and science and art magazines. I had amassed a large collection of cartoon and cartoon history books which eventually was donated to the Dundas Valley School of Art. I was exposed to stories and books aimed at elementary school students while I was teaching and found that I enjoyed many of them. Many science fiction, fantasy, and children’s stories have been made into films which I have also found enjoyable and have collected.

JS: How in your experience do the arts and science impact one on the other?

RF: Science focusses on patterns and organization. For instance, seeds and charcoal all have patterns that are species specific. This is what allows me to identify the archaeobotanical items which are sent to me. Art, whether it is visual or auditory, has to do with perceiving and reproducing those patterns as well as developing patterns which might not actually exist.

JS: I know you love science fiction, for one, so how about you describe some of you favourite films, books, and TV shows of any genre and tell us why they interest you. How do they influence you as a scientist and an artist?

RF: Yes, I enjoy science fiction. Some favourites are Forbidden Planet, The Day the Earth Stood Still, War of the Worlds, Star Trek, Star Wars, Jurassic Park… I enjoy watching science programs such as Cosmos, The Nature of Things, Nova, Nature etc. on television. The Choir, other concerts, and documentaries about arts and artists are also of interest to me. I like to see how people develop characters, plots and settings. The crossover between actual science and science fiction is interesting as is the visual art associated with it and the music used as background. I enjoy the use of animation and computer generated graphics in these films. In the reports which I prepare, I use charts and graphs to illustrated and explain my findings.

JS: Let’s use whatever personally meaningful criteria you have for creativity and ask you this: “How exactly are you creative?”

RF: My creativity has been with me since I was a wee lad. I remember copying comic book covers in detail with class mates at a young age. I can still recall copying several Walt Disney comic book covers which my father did not think I had done freehand but had actually traced it. I continued to play with drawing and sketching much of what was around me, especially trees and plants. I have kept this interest up during my whole life, but not seriously. I never seemed to have enough time.
Whatever it is I am doing – baking, taking pictures, drawing, painting – I try to modify, alter and change it according to how I react to elements of that specific endeavour.

JS: Why should all people care about archaeobotany? Why should all people care about the arts?

RF: Archaeobotany tells us stories of the environment and how it affected and was modified by those who lived before us. We can see how use of plants from the environment led people to the development of agriculture. It helps us to see that they were much like us.
The arts show us the heart and imagination of people, how people dealt with communication and with the spiritual. There is something intrinsically special about being creative, about telling stories, portraying life as it is and how it could be.

JS: What projects are you working on at this moment and why these?

RF: On January 21st a group of seniors from the Misssissaugas of the New Credit are taking a bus trip to our house. I will be presenting a power point presentation that includes a 7,000 year perspective of plant use in Ontario. I will also focus on plants with medicinal properties to illustrate the availability of these plants to their ancestors.
In mid-January I begin an art course at the Dundas Valley School of arts to work on current art projects that illustrate a connection with plants from the archaeological record and how they connect with my understanding of the spiritual world. This current project has also been nurtured by my interest in native painting, especially ‘Woodland’ painting.
I am also involved with analysis of plant material from an early 17th century Huron/Wendat site in Simcoe County. This is being done for Gary Warrick and Bonnie Glencross at Wilfrid Laurier University. This project is the largest I have been involved with for the last several years. It incorporates examination of carbonized seeds, nut shell fragments and wood from more than a hundred samples. What is unique about this project is that all the material is from four middens {garbage heaps}. This is the first time I have had material to analyze from a detailed archaeological context. The archaeologists have provided material excavated in 10cm levels from each midden. This will enable me to identify plants in each level. I will then be able to compare and contrast each midden and level in detail.

JS: Do you ever sleep?

RF: Yes! I generally need about seven hours a night with occasional afternoon naps. I have even been known to have my “afternoon nap” at 11 am – if I had been working down in the ‘dungeon’ from 3 or 4 am. I often miss about a half of evening TV shows because I nod off. I am often motivated to get up during the night to attend to creative notions that come to me in dreams or on current projects.

JS: Tell us about your working space, why it serves you well and how you might improve it.

RF: “The Dungeon” was a section of the basement that my mother-in-law had finished so that I would have part as workspace and my wife would have the other for a studio. However, my work managed to spread out and take over the entire space. In fact, it has started sneaking into the main part of the basement as well. In the dungeon, I have a section for microscopy, a computer/monitor/printer table, several tables for layout space, a storage closet and LOTS of book shelves. Other folding tables are put into use when I need extra layout space for a project. More space and better lighting would be an improvement as well as consistent heating.

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GEMMA NEW: AN INTERVIEW WITH THE NEW MUSIC DIRECTOR OF THE HAMILTON PHILHARMONIC, ASSOCIATE CONDUCTOR OF THE NEW JERSEY SYMPHONY, FOUNDER AND DIRECTOR OF THE LUNAR ENSEMBLE, PRINCIPAL CONDUCTOR OF CAMERATA NOTTURNA, AND GUEST CONDUCTOR EVERYWHERE

James Strecker: One of your mentors, Gustav Meier, once told me that he took exception to a remark made by Leonard Bernstein, I think it was, that when he was conducting he felt like the composer of a given work. So how, in your opinion, does a conductor balance personal expression and responsibility to the composer’s intention?

Gemma New: From what you’re saying, I’m not sure Bernstein was implying that he expresses music differently from the composer’s intentions. Perhaps Bernstein was commenting on the process of learning a score. We are often trying to get inside the mind of the composer, to understand the composer’s creative process.

Mr. Meier was my teacher for two years at the Peabody Conservatory, and I greatly cherish the time I had studying with him. He took great care in teaching the details in the score. Every part, every line, needed to be felt or shown.

JS: As a conductor, how exactly do you connect with a work in order to lead an orchestra in its presentation to an audience?

GN: The general score-learning process is analysis (the what, how, why), learning the musicological background of the composer and work, deciding upon the interpretation for the concert at hand, and figuring out how to achieve this interpretation.

JS: Several conductors have told me that listening to recordings of a given work can interfere with one’s interpretation of it. What is your view?

GN: There are many influences on one’s interpretation: score study, playing it on the piano, researching the composer and background of the work, working on the piece as a cover conductor, rehearsing and performing the work as an orchestral player or as a conductor, receiving feedback from players, dealing with the physical realities of the space you will be using, life experience, as well as listening to recordings. Many great influences to lead one to a strong interpretation!

JS: You have a number of conducting positions and I wonder if a young person came to you for advice as to how to become a conductor of quality, what five things would you stress to this person?

GN: You need to work hard, study the music deeply and meticulously. You need to manage your time responsibly. Be comfortable with who you are, that way you can better focus on working with others. I’ve always found I work considerably better when I’m relaxed; find a way to turn off the high nervous energy. Remember that your instrument is not an object, it’s a large team of highly talented and driven human beings.

JS: How did being born in New Zealand affect you as a musician and as a conductor?

GN: I had a great childhood in New Zealand, rich in classical music. People sometimes say to me that because New Zealand is a small and remote country, they suspect we might not be in touch with the classical music tradition, but this is not the case. We have international stars visiting all the time, many professional and youth orchestras throughout the country, and many of our teachers and professional musicians are world class.

JS: I am quite blown away by very active and widespread musical life you live, so please tell us something about the demands and pleasures of each of your current musical positions, how many gigs each one involves, and your other musical activities. What do you love most about your musical life? Is there any danger of spreading yourself too thin?

GN: My schedule is actually quite normal for a conductor. I love the variety of music, ensembles, cities that I encounter throughout the year. It is always a real treat to work with the LA Phil, as I am this week. I look forward to bringing experiences and ideas from LA to Hamilton.

JS: You started as a violinist, so where does playing a violin fit into your present life? How does being a violinist influence how you conduct and approach an orchestra?

GN: I started playing the violin at a young age, soon after joining youth orchestras, and later professional orchestras. This experience has helped me understand players’ needs and point of view. Plus, I feel very comfortable working with the string section!

JS: What’s it like nowadays for a female conductor in the international world of classical music?

GN: Being a female has never seemed like a hurdle nor a benefit for me. I started conducting at a young age, and realised quickly that this was my most natural way of expressing, and contributing to, music.

JS: You’re the founder-director of the Lunar Ensemble in New York, a group that commissions and performs new works of classical music. What’s the difference for you in approaching a new score and one that is a staple of our musical canon?

GN: The Lunar Ensemble is based in the culturally rich city of Baltimore, MD, though we do often travel and perform in other States. We work on many new pieces by emerging and established composers. Often the composer is with us, and we work closely with them in rehearsal to make sure the piece is performed the way they envisioned.

JS: When you conducted Beethoven’s 6th in Hamilton last year, I heard elements I hadn’t noticed before, which put the symphony, to some degree, in a new perspective. How often does it happen to you that, when you approach a work to conduct it, you find things that other conductors hadn’t revealed to you? How does having to conduct a work make you see it in a new light?

GN: There are many delightful underlying rhythms and inner voices in Beethoven’s symphonies, especially that 2nd movement of the 6th. Whenever I am preparing a program, I take my score and start where I left off. New ideas, new perspectives happen all the time.

JS: Since you are the HPO’s new musical director, perhaps you could explain all the things a person with this position does.

GN: As Music Director of the HPO I will, in collaboration with HPO musicians and staff, lead the artistic vision of the orchestra. We want audiences to be inspired by the concert experience, and to be moved by the music. Practically speaking, I lead this vision by programming the seasons, rehearsing and performing with the orchestra, and engaging with the audience on and off the podium.

JS: Inevitably one sees a sea of grey heads at concerts –or plays, for that matter- and I wonder what you might do to bring young people to classical music. Can this be done without gimmickry or selling out the music?

GN: Our product is excellent and exciting performances of powerful, live orchestral music. Diluting this wouldn’t make sense, it is our strongest asset. I think there are three things we need to focus upon here – spreading the word so that younger people are more aware of the concerts, getting all who walk in the doors to feel welcome, and providing extra-musical events for those want a better understanding of the music. The HPO staff and musicians are doing a tremendous job with this already, and I’m really proud to become part of their team.

JS: With such a very busy and demanding life, how do you keep healthy? What do you do about stress?

GN: Each of equal importance: get enough sleep, stay warm, eat healthily, exercise.

JS: I get the feeling that you have a lot of plans, in some stage, for the musical scene in Hamilton. If they are in a form that you can discuss at present, could you tell us what some of them are?

GN: I cannot wait (but I will have to wait…) to tell you about the 2016-17 season!! The Artistic Advisory Committee and I have been spending these last few months programming this season and I am so excited to be presenting these programs with the HPO for Hamilton.

JS: Why is classical music important?

GN: Society acknowledges the importance of physical exercise and eating healthily, but what about mental and emotional health? What about the need to express feelings without words, the need to relax and take your mind off the stresses of everyday life, the need to be creative and to dream, the need to be inspired by something that is greater than yourself? Classical music does all this. Orchestras especially are the great example of what humanity can achieve when united. Alone, we cannot achieve an orchestral performance, but together we can create something beautiful and powerful.

JS: Thanks, and I’m very glad to say ‘Welcome to Hamilton.’

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THE INTERVIEWER GETS INTERVIEWED: JAMES STRECKER, THE PROPRIETOR OF THIS BLOG, JAMES STRECKER REVIEWS THE ARTS, IS INTERVIEWED BY AUTHOR, EDITOR, CONSULTANT, AND DEPTH PSYCHOLOGIST VALERIE HARMS

Valerie Harms: James Strecker has reviewed and posted articles on the arts in this column since 2010. Having been a recent subject, I thought it would be of interest to switch sides and ask him questions. After all, he has written ten poetry collections, edited many books, been a college professor in the arts for 30 years, and founded a small press. His own creativity deserves the spotlight. So let’s begin…

Valerie Harms: Have you lived in Hamilton or Ontario your whole life? How has place affected your creativity?

James Strecker: I was born in St. Boniface Manitoba, lived on a farm in Beausejour for four years, and at one point almost died from swallowing a piece of metal. We then came east for some months in Washington D. C., and then to Hamilton ever since. And, yes, place has always affected my creativity, since one’s location either feeds you or starves you, and Hamilton did both. Until recently, Hamilton has been an industrial town, but having Toronto nearby allowed me exposure to international figures in the arts. I also went looking, as a teen, for every artistically hip individual in Hamilton’s coffee houses, where I distributed the folk music periodical I produced, hung out there with Peter, Paul and Mary, learned flat-picking by meeting Ramblin’ Jack Elliot, and Buffy Sainte-Marie sang me a new Dylan song from Greenwich in her dressing room. We once had Sonny Terry over for supper and I also met Pete Seeger with whom I then corresponded many years until he died a while back.

VH: Since you too are experienced as a consultant and user of Ira Progoff’s Intensive Journal Method, let’s touch on five major stepping stones in the formation of your existence.

JS: Okay, but as you know one’s life has many such steppingstones and these are off the top of my greying head.
1.Born into a working class and second generation from Europe family, had something of an unsettled life in which I had to create my own world. But my dad did get me drawing and, because he played the accordion, interested in folk and country music. Meanwhile, my mother took me to filmed operas from Italy, especially those with Beniamino Gigli and Tito Gobbi, and I did fall in love with soprano Alda Noni in Traviata. I finally found a recording of hers in Milan many years later.
2. Married to Margaret and marriage, when one is ready and able, helps one to grow and to grow up in many subtle ways. We’ve been deeply connected since, when in university, we met at an evening of scenes from Greek tragedy. Since then we have laughed a lot together. And she got me to go to Europe the first time and I’ve never stopped since.
3. My first cat, Pee Wee, and through her I developed a deep bond with other than human animals. This connection with all living beings is essential to who I am and determines how I see the world and how I behave in it.
4.When Sir Ernest MacMillan conducted Sheherezade in Hamilton and I, on a school trip, heard the enchanting violin solo and saw the light reflecting magically on its surface and had unique feelings of wonder that are impossible to express adequately.
5. My first published poem, and in a prestigious journal, was about my mother’s uncle who had died. He was a man I had loved. It made me see the need for honesty and truth in creation, both of which every creator struggles to find.

VH: Is writing poetry your highest calling? In what way do your poems come to you?

JS.I don’t have a hierarchy of callings and am subject to the perpetual process of making sense of being alive in this world. Often one bleeds in some way and the blood coagulates into a poem. Sometimes life sings and then takes expression in a page of stanzas. Parts of poems commute through my brain every minute of every day, and whole poems arise because I look at humanity being petty, very cruel, and smugly stupid, and have to say something. Often enough, humans are beautiful as well, but it’s not enough to balance the sadistic things that too many people do. How can it be?

VH: Your book of poems Beside the Hemlock Garden: On Lives and Rights shows deep sadness about human’s treatment of each other and other animals. What prompted this collection?

JS: It continues a previous book on animal rights, Recipes for Flesh, and because the publisher made a mess of Hemlock, I now have gathered all my animal and human rights poems into a “selected” book for which I am seeking a publisher. Ingrid Newkirk and Gretchen Wyler have endorsed this book. Recipes began in Paris where, one evening, I walked past all the restaurants with carcasses in their windows and I walked down Rue St. Denis where groups of men were staring with both hunger and contempt at the prostitutes, and I had recently read a book by Hans Ruesch on experiments on animals which really pulled me down into despair. I stood on a bridge to watch the sun descend behind Ile de la Cite and to gather my thoughts and once back at the hotel began to write poems which kept coming for three solid weeks when I got back home. It was just me, my typewriter, several cartons of Gauloises and Gitanes, and my despair.

VH: Some of your poems inspired compositions by classical composers and a jazz singer. Is it gratifying to see your work taken on by others?

JS: It proves the poems can be singable. In fact, I’m almost now finished a collection of my new and old song lyrics I’ve written, so a bug has indeed been planted. But my reactions to these words set to music vary -and usually they are positive- because one hears one’s work living a different if somewhat foreign life. It does help if the composer makes it so one can understand the words.

VH: Given how you have interviewed so many artists and musicians, you must get a special inspiration from them? Can you describe how other creative people spark a flame in you?

JS: I’ve been interviewing major players in the arts since high school, I think Brownie McGhee was the first, and for the book on creativity which I’ve just finished writing, I interviewed 244 creators in many art forms from 47 countries. We spoke the same language, one of creativity, so let’s say they kept my flame burning, each in a different way.

VH: You compiled at least one book of poems inspired by other creators — Chasing the Muse: Poems on Creators — ranging from Oscar Petersen and Julian Bream to Neil Young and Pete Seeger. Are you glad that you can write your own poems in addition to reviewing performances?

JS: I usually make notes of some kind at a performance or exhibition and feel almost naked without a pen in my hand at such times. But making notes does offer a kind of intimacy with a given art, a doorway to imagination, a gathering of raw material for later use, although I recently went to several performances and just swam in the music. I was forced to simply be and to let the art work me over. And it really did.

VH: You seem equally sensitive to classical as well as jazz and blues music. When did this passion begin?

JS: Classical when as a kid I saw filmed operas and later on discovering Beethoven and Bach and Dowland and and and. When I was five, I think, my dad brought home a gramophone which we couldn’t afford in those tough times, but I then heard records of Wilf Carter and tons of polkas. When my older brother brought home recordings of people like Louis Armstrong, Bobby Hackett or Jelly Roll Morton, I discovered jazz. I have also sought out musicians from around the world and their music in concerts and on records, so Mikis Theodorakis and Ali Akbar Khan, for examples, are now a vital part of my life.

VH: I am jealous….B.B. King wrote an Introduction to your book of poems Routes. Oscar Petersen wrote in his Introduction to Black that you can “carry the reader further into the jazz player’s soul.” Was that a thrill?

JS: Yes, it was. In part it meant that I had written about blues and jazz in a way that the absolute masters in those musical forms could connect with what I had written. But it also got into another dimension beyond thrill and into connection, all of which it’s hard to describe. With B.B. and Oscar –with Dizzy Gillespie as well- we talked about personal things too, you see. I did get personal with many people I interviewed. But I did love having B. B. spontaneously read my poems on ballet to me and I loved having Oscar write on my record jacket “to a critical voice that I respect.” Hell, talk about validation!

VH: You seem able to bring your life experiences together as themes in your poetry books. Corkscrew combines people with places. What do you want us to take away from this book?

JS: I want the reader to feel and think deeply as a result of reading anything I write. If they are causing damage to people and other kinds of animals I want them to stop. If I can waken their joy in life, I hope I can bring out more joy, more insight. If they are cruel fuck-heads, I want the writing to punch them in their pointless, damn faces.

VH: A lot of your poems are laments for animal abuse, vivisectionists, and consumers of meat products. At what point did you become a vegan? What’s your response when out at a restaurant with other people?

JS: My wife and I backpacked in Europe for five months in ’69-’70 and lived often on cheese on baguette sandwiches, so the switch to being a vegetarian was a natural path when we returned to Canada. I became a vegan maybe 35 years ago for the same reason that I didn’t want animals to suffer or die so needlessly because of me. And I try not to sit at a table where dead animals or animal products are being eaten. One of the great ironies of my life is that some of the people I trust most are not vegetarian –at least not yet- and they are otherwise certainly decent and giving people.

VH: You pursued an M.A. in drama. Did you act or did the experience mainly give you a special perspective on theatre?

JS: After my M.A. in Drama, I never got to use it, except as a reviewer and writer about the arts. At one point, I did some acting, even a little Chekhov, and ran the lighting for several productions. Of course, I do all my acting in day to day life, like everyone else, no? That M. A. year, I did have an elective course with Marshall McLuhan and got to know him a bit later when I attended his Monday night sessions at his Centre for Culture and Technology. I think he wrote a letter of reference for my first teaching job.

VH: You are equally adept at talking on a sophisticated level with musicians, singers, actors, directors, and writers. How does that accomplishment make you feel?

JS: As a writer about the arts, it’s my job to explore people and creativity with skill and I have worked hard to be worthy of my subject. Other than the fact that I have to know what I am talking about when I do my interviews, it is a real buzz to have great artists say they had never before thought of what we were discussing. So they too are learning, running with the ball of new discovery. But when I interview someone like Judi Dench or John Banville or Steve Reich or Ravi Shankar or Terry Gilliam or Jeremy Irons or Jonathan Miller, I know I have to be as close to their level -in several ways- as I can. It really was an encouraging inspiration when, after just my first interview, Marcel Marceau told me that my book on creativity was going to be “a very important book.” He thus raised the bar and I had to keep leaping high. He also sent me a letter or two in which he made all sorts of his drawings. One fave story is that an award-winning actress once told me, when I gave her an analysis of her performance, that I was better than her coach. I do plan to coach creative people when these writing projects I’m now finishing are done.

VH: Tell us about your sculpture?

JS: I went through a period of making large welded metal sculptures and of these I created a memorial sculpture to Marshall McLuhan and a memorial sculpture to Glenn Gould. A photo of the latter one can be found on the site of the National Library of Canada.

VH: What was most rewarding about your long career as a college professor?

JS: Education is a big subject and I have strong feelings about the destruction of curiosity and spirit and imagination that we advocate and allow in our schools. One relevant thing, Marshall did tell me once that “the content is the user” and that became my premise in offering a class situation. I leaned more toward students learning than teachers teaching. Students who were into introspection had an interesting time while those who weren’t sometimes hated my class and sometimes hated me, I suspect.

VH: You have received many honors for your contributions to the arts. Which have been the most satisfying and why?

JS: Well, I received the City of Hamilton Arts Award in ’93 when they awarded only one a year, and of course I do note that in my blurbs. But, like many, I find awards of any kind distasteful in how they depict one work as better than another. Apples and oranges, you know. I’ve interviewed hundreds of creative people for three of my books and many of these also hold that awards are arbitrary, driven by chance as much as anything else including ignorance, and ridiculous in how they are determined by tunnel-visioned individuals or irrelevant factors.

VH: I know that your life has seen an uncommon number of deaths. How has that fact affected you?

JS: Each death made me deal with it. Once, when I was interviewed by Peter Gzowski about my book Black, I remember saying that each meaningful death was a test of one’s ‘spiritual knowledge’, and so it is. When my mother died I spent five hours with her open-mouthed corpse in her room, gathering her stuff, writing her obit for the daily paper, feeling numbed out, and that whole experience stays with me. So does sobbing my guts out over cats I’ve loved so much who have died or a friend who won’t be physically present in my life any more. I’ve certainly sobbed while writing obituary poems on a number of occasions. But I didn’t realize, until Peter pointed it out, that I wrote so much about death, even in a book about jazz musicians. Come to think of it, Dexter Gordon’s wife shared a poem I wrote about him when he died with a lot of people, I am told, and I heard she had it read at his memorial. When my friend and collaborator Harold Town died, I read my tribute poem to him on Peter Gzowski’s program and over a hundred people wrote requesting a copy, so that felt comforting to share our loss through a poem. So when you have a death and write about it, you can’t accept bullshit as much as before in writing and, yes, in people.

VH: Care to talk about dealing with long-term illness?

JS: I’ve had daily pain of fibromyalgia for eighteen years and that was an existential experience at the most fundamental level until I learned to choreograph my energies. I’ve covered all this in an article in this blog titled Fibromyalgia and Living with Pain: A Writer’s Account and it can be found at http://jamesstrecker.com/words/?tag=fibromyalgia . Living with pain certainly cut into my productivity as a writer, for a time, and until I learned to control or live with the pain, I had very bad periods just trying to do day to day things. I also went through a period of depression –maybe four years- and often my judgment was preoccupied with pain, which got me into undesirable situations which I should have, as they say, avoided like the plague. But I did learn again to really dive into a book and once again get it to the level I desired. I learned so much, sometimes unpleasant stuff, about myself and others, so thank you pain, you have taught me well. I now try to work out at the gym twice a week and that really lifts my spirits, even if my body then aches for two days. I’ve also enjoyed giving workshops, consulting, and being interviewed again.

VH: What do you do when you get discouraged? And by contrast, what does a good day look like?

JS: Although I have thought seriously about what euthanasia and suicide mean to oneself and the few people who actually do care whether one lives or dies, I also have a strong desire not to fall into any degrees of discouragement and I do have parts of my life that immediately make me happier. I often, when facing a no, find another route that says yes. I’m also learning, finally, not to undermine myself in so many possible ways. Therefore, a good day is the one I’m living. Life interests me and I treat each encounter with another person as a potential for improvisation. Unfortunately, this doesn’t mean that we aren’t part of a really fucked up and destructive species. Some people are obsessed with getting you if you don’t watch out, no matter what all those best-selling life-affirming books say. The truth is that I love living and some people for no reason don’t want me to.

VH: What’s your favorite comfort food?

JS: I’m a vegan and I find brief comfort knowing that my meal hasn’t required a death or abuse of another life.

VH: What are seven essential things that you have learned to be of most value over your lifetime?

JS: Oh, Valerie, you are making me work! Okay…
-To try to be open emotionally, physically, intellectually, and spiritually, but, at the same time –and this is hard- to be discerning.
-To take people for what they are and not for what I want or need them to be. Once, as a guest lecturer, I told a class of journalists the following: “People are full of shit. You are full of shit and I am full of shit and once you understand what that means, you’ll be fine.” At the break, half the class left and half stayed.
-To live in the world but also to live in my heart at the same time. Hard to do.
-Hang out with cats and learn from them until I am, at least briefly, more than just a limited human.
-Buy my wife chocolates or some favorite dessert at the right time.
-Don’t look to others to understand me since what they see is projection.
-Avoid assholes at any cost, although being an asshole has become de rigueur nowadays it seems.

VH: Who have been the five most influential people in your life — and why?

JS:-My wife because through her I find that love can grow richer and wiser over time and she has helped even a tight-ass like yours truly to lighten up a bit
-my parents because, although they came from either a very hard poverty and slave-like working conditions or, on the other hand, emotional abuse, they kept on going with instinctive determination…and they did expose me to much
– Ira Progoff because his Intensive Journal Method gave me a place to articulate and negotiate my way through my inner world…because Ira leaned to evocative and intuitive psychology and not analysis, he helped me to accept life as process with which we had to learn to live
-Marshall McLuhan because, as I said in my tribute poem to him when he died, he “riffed on academia” and thus gave me new dynamic ways of experiencing so many fields of study that other academics made lifeless and restricted….I read most of Marshall’s long, long reading list on so many subjects and some of those books are still with me in some meaningful way
-finally, the next person I meet

VH: Tell us about your cats. Any favorites?

JS. I love our cats and love to look into their eyes face to face and have that profound communication or connection when it happens……Favorites? All of them, of course. Each is an individual with a personal life and a unique inherent value. I talk to them every day and learn from them. I’ve just noticed that our cat Charlie is drinking from my glass of water, by the way.

VH: You once said that your wife, Margaret, takes them in. How long has she been doing that?

JS: Since she took in a stray cat in our first months of marriage and called him Simon. She is now the chairperson of our SPCA board and rescues dozens of cats herself each year, and works with Trap-Neuter-Return to decrease the number of feral cats who freeze outside in winter.

VH: What is the secret for your long marriage?

JS; We want to be together, we care deeply about each other, we try to give each other space, we enjoy each other a lot, we respect each other, we have lived through very difficult periods and got through them, and, I suspect, because in recent years I’m the one who does most of the cooking.

VH: As you age, do you have an urgency to catch up with your projects? Tell us about the creativity book you’ve been working on.

JS: That’s what I’m doing right now. My book on creativity with its 244 persons interviewed is done, my book about learning to write is well into a final edit, my selected poems on animal rights are ready to go, and I am now into a major edit of my collection of new poems and my collection of song lyrics. And get this: I have two ideas for projects as a spinoff from the book on creativity. I want to know what all these projects will finally be, yes.

VH: When I’m gone, what do you hope people remember?

JS: I’m not sure, but I don’t know if I really care. Let’s face it, once you commit to animal rights and to human rights, to human potential as a route to enlightened beings and to the arts as a manifestation of our exquisite creative potential, you realize how deeply ugly in attitude to others some people are, how willfully shallow they are, how indifferent they are as a matter of course to things that matter profoundly to other living beings of any species. Very few people have even the smallest inkling of what another human or any being is about, so if they remember you, you have often become a fiction, too often a self-serving one. Moreover, too many humans just blindly want to win, whatever that means and whatever the cost, and don’t want to be disturbed on their route to that end. Thus, we are now facing extinction because we do not want to know what in sum we really are, we don’t want to change. Meanwhile, the floods and plagues and starvation and heat are lining up to have a word with us, and they certainly have no interest in our illusions of prolonged consequence.

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LAURA CONDLLN (NOT CONDLIN): AN INTERVIEW WITH THE ACTRESS (NOT ACTOR) PLAYING DOCTOR THOMAS STOCKMANN IN IBSEN’S CLASSIC AN ENEMY OF THE PEOPLE ….AT TORONTO’S TARRAGON THEATRE FROM OCTOBER 7 TO NOVEMBER 1

James Strecker: To start, please give me a few reasons why a Canadian audience of today should see a production of Ibsen’s An Enemy of the People from 1882.

Laura Condlln: I think this story and this production will especially resonate with a Canadian audience right at this very moment because we are right in the thick of a Federal Election. I think the play has the potential to provoke and politicize an audience, and the themes invite the audience – both figuratively and literally – to debate about our society.

JS: What to you is noteworthy about this specific production at the Tarragon?

LC: It’s a stimulating and thrilling piece of theatre that explodes through the ‘fourth wall’ in a way I’ve never experienced before.

JS: An actress who once did an Ibsen run on Broadway later told me something like this: Ibsen can be a difficult playwright to act because his plays have a lot of dialogue and are inherently weighty in atmosphere, thus they have a somewhat claustrophobic effect on all concerned. What would you say to that?

LC: I’m sure that’s true – Ibsen even reads that way off the page. However, our production is an extremely free spin on the original Ibsen text, and so it allows for great freedom and flexibility.

JS: Speaking and acting Ibsen……what adjustments and new approaches, if any, does each require on your part for this production?

LC: Our text is a translation by one of Tarragon’s playwrights in residence Maria Milisavljevic, based on an adaptation by Florian Borchmeyer. The original production was directed by Thomas Ostermeier at the Berlin Schaubühne Theatre. Our production is directly adapted from, and inspired by, that production. I mentioned before that this is an extremely free spin on the original Ibsen; the story, themes, rhetoric and relationships have roots in the original Ibsen, but this production is very contemporary. The text, the set, the costumes and the concept catapult us directly into 2015.

JS: In that vein, which playwright’s lines do you enjoy speaking most and which playwright has given you the most rewarding characters to act?

LC: It’s so difficult to choose a favourite! When I’m in a classical piece, I’m so happy and I think it’s the best; when I’m in a contemporary piece I’m so happy and think it’s the best. I’m easy to please. I love what I do, and feel so lucky each time I get to go on a journey inside a story. I’ve never met a character I didn’t like: some have darkness, and some light, and some are much more challenging to understand and get inside of than others, but ultimately it’s all rewarding.

JS: One thing I’ve appreciated about your acting in the past is how you can present a richly textured character to an audience as, at the same time, you imply a character’s inner world and thus make the audience come to you and be involved. Could you say a few words about what you try to achieve as an actor in a role?

LC: That’s so kind, thank you. I only ever want to do my best to represent what, and who, the playwright has written in the most real way I know how.

JS: Okay, the inevitable question. You’re a woman playing a guy, Doctor Stockman, indeed the main character, so is that a big deal? Or is it simply a case of sex-blind casting as we see in colour-blind casting elsewhere?

LC: Absolutely a case of Sex-blind casting. And why not? The play can absolutely support it. I am so grateful for the challenge and the opportunity, and must thank Richard Rose, the Artistic Director at the Tarragon and the director of the show, for having the idea and the faith to put a whole new lens on the production; and for inviting me to be a part of it.

JS: What do you bring of a woman’s physicality and sensibility to your role and what of a woman do you suppress or downplay in order to do Doctor Stockman?

LC: In this production, the character of Dr. Stockmann is a woman. It hasn’t occurred to me to heighten or hide anything to do with my femininity. For me, her gender is not the focus, the Dr.’s brain is my main focus because it’s her centre. She is ultra-focused – obsessed in fact – on her research and her work. She is thinking, thinking, thinking all the time. For me, she’s just a human being on a quest for the truth.

JS: In these difficult times for serious arts, could you tell us why theatre matters to you and why you give your life to it?

LC: Wow. That’s a big question that I’m not sure I can give proper due diligence… but I think that theatre is an expression of a basic human need to communicate, to connect, and to create meaning through narrative -we all do it, instinctually, as children – and this need brings people together. People – often strangers – gather together in one place for a couple of hours to share, witness, and contemplate a story – and hopefully are changed or affected in some way. In an age when most of our communication happens in front of a screen, when we are becoming more and more isolated and individualized, I think that this gathering function is, in and of itself, something that matters.

JS: You’ve worked in a number of theatrical companies, so please tell us what one tends to learn from other actors while performing with them. How does acting with others change an actor?

LC: Each time I join a new ensemble, there are always actors in the room by whom I am immediately humbled and inspired. I am constantly learning about generosity, rigour, patience, play, humour, empathy and compassion -which I hope makes me not only a better actor, but a better human.

JS: If you had to describe three people or situations that helped you to develop most as an actor, who or what would they be?

LC: Seana McKenna, Albert Schultz and the love of my life, my wife Jane Gooderham.

JS: Are there any mistakes that younger actors tend to make and, if so, what can they do about these?

LC: I think that sometimes the hunger for work can easily take a turn into ambition for success. I feel it’s important that all actors stay wide awake in the world and keep entitlement at bay, but humility and generosity close.

JS: You have a long list of credits at Stratford and I wonder several things: How does it feel to be an actor in this renowned company? Does the Festival’s past matter to you as an actor? How does an actor make life easier while living for a good part of the year in a small Ontario town with a demanding schedule to fulfil?

LC: I loved my time at Stratford, and will always have a deep affection for the company. And we love the town so much, we make our home there!
A repertory company is my favourite structure to be a part of, and though the schedule is indeed very busy and demanding, it is terrifically fulfilling. It’s great to have all the characters and narratives bouncing around in my head, begging for attention, and to juggle so many things at the same time. Not only that, I’m very happy rehearsing – I could rehearse forever – so rehearsing shows from March sometimes through until September was never a problem for me. And yes, the Festival is rich with history and tradition, and I feel very strongly that we should honour what came before us – not to be stuck in the past, but to know it and respect it. Especially with Shakespeare’s canon. He only wrote so many plays, so when they come around again and again, and you look back to see who played those parts before you, it feels as if you are part of a beautiful and hearty family tree.

JS: I missed your episode of Murdoch’s Mysteries and am now seeking it out, but what is it like doing a guest gig in this popular program?

LC: I had a wonderful time. And Yannick Bisson couldn’t be nicer or more welcoming.

JS: What does life in theatre have in store for you after this run at the Tarragon?

LC: Not sure exactly, but I look forward to the adventure.

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THE ARTS THIS FALL IN TORONTO-HAMILTON PART I

A look at the fall seasons of arts organizations in the Toronto-Hamilton area -in 6 questions

THE HAMILTON PHILHARMONIC ORCHESTRA

1.What is your name and connection to this organization?
Tara Bryk, Manager of Marketing and Development

2.How is your organization important to Canadian culture and to culture in general?
The Hamilton Philharmonic Orchestra (HPO) supports Canadian culture through the hiring of Canadian artists, and the performance and commission of Canadian works. This season in particular highlights the essence of Hamilton and the vastness of Canada’s artists and music scene.
The HPO welcomes Canadian guest artists Janina Fialkowska, Ian Thomas, the Canadian Brass and Katherine Chi, along with Music Directors of other Canadian orchestras including Bernhard Gueller, Ivars Taurins and Eric Paetkau. The HPO is also thrilled to present Canadian works from composers Robert Rival, Kelly Marie-Murphy and our own Composer-in-Residence Abigail Richardson-Schulte.
In addition to our mainstage concert series at Hamilton Place, new programming such as the annual What Next Festival of New Music and the free HPO Gallery Series bring the live orchestral experience to a broader range of people. As a key contributor to culture in the Greater Hamilton Area, the HPO is an important part of this community.

3.Please give me 3 to 5 highlights of this coming fall season and tell us why each one will be special.
*Opening Night: Chopin & Beethoven, September 19, 2015: The first concert of a season is always special and this concert is no different. Canadian pianist Janina Fialkowska performs the music she’s best known for, Chopin’s Piano Concerto No. 1.
*A Life in Song: Ian Thomas and the HPO, October 17, 2015: Ian Thomas started his career as a member of Tranquility Base, a group-in-residence with the Hamilton Philharmonic Orchestra in the 70s. We’re thrilled to have the Hamilton native return to his hometown in this world premiere of his work with live orchestra.
*In Remembrance: Songs of Courage and Honour, November 7, 2015: This year marks 70 years since the end of the Second World War in Europe. An annual tradition at the HPO, this evening of music honours our community’s military personnel and families.
*Totally Mozart, November 28, 2015: This all-Mozart program explores three distinct styles of this ubiquitous classical composer – an overture, a symphony and a concerto.
*Home for the Holidays with the Canadian Brass, December 19, 2015: The world-renowned Canadian Brass return to their hometown in this annual concert of popular holiday hits.

4.What’s the best way to get tickets? Do you have a discount policy of some kind?
Tickets are available online at hpo.org or through the HPO Box Office by calling 905-526-7756. The HPO offers single tickets starting at just $17 and concert packages from $64. Group rates are also available. Please contact the HPO Box Office for more information.

5. Please give me three words that best describe what your organization has to offer.
Classical. Masterful. Contemporary.

6.What are the age groups of people who buy your tickets and what do they say about your organization and its cultural offerings?
The HPO audience varies greatly in age and interest. At each performance you will find new concertgoers, subscribers who have attended for decades and everyone in between!
Through the Young Patrons Circle, the HPO provides opportunities for audience members under 35 years of age to get involved with their city’s professional symphony. Now in her second year, here’s what Olivia has to say about her experience with the HPO’s Young Patrons Circle. “I think it is a great program and I was very happy with my subscription last year! The seats were great and I liked as a young person being able to support a local arts organization. I also think that by making this affordable for young people it allows them to be able to renew each year and it starts a lifelong commitment to going to symphonies.”
The HPO is also very fortunate to have long-time subscribers like Betty, who have made the HPO an integral part of their lives. Betty shares, “I’ve been a happy subscriber for 69 years. Ever since I was able to pay for my own subscription. I was just a little girl then but I’ve always taken to classical music. Your concerts over the years have played a very important part of my life. I hope the Philharmonic will continue for many years so that others can enjoy it too.”

SINFONIA TORONTO

1.What is your name and connection to this organization?
Nurhan Arman, Music Director and Conductor

2. How is your organization important to Canadian culture and to culture in general?
Sinfonia Toronto contributes to Canadian culture and to the art-form immensely. It has commissioned, premiered and recorded many compositions by Canadian composers. It tours nationally and internationally promoting Canadian performers and Canadian music.

3. Please give me 3 to 5 highlights of this coming fall season and tell us why each one will be special.
As a chamber orchestra we are mobile and able to serve the GTA. This year we are presenting four Downtown Concerts at Glenn Gould Studio and three North York concerts at the Toronto Centre for the Arts. We look forward to many premiere performances by Canadian and international composers. We will be performing with several nationally and internationally acclaimed musicians. One of Poland’s finest violinists Marta Magdalena Lelek will make her Canadian debut with us on December 11. Also a winner at the Arturo Toscanini International Conducting Competition Jan Milosz Zarzycki will make his Canadian debut with Sinfonia Toronto guest conducting the November 12 concert. Our opening concert on October 24 will feature the amazing Canadian pianist Dmitri Levkovich who is enjoying a brilliant career in Europe as the recent winner of the German Piano Award. He’ll be playing Beethoven’s 1st Piano Concerto and we’ll be playing the North American premiere of Canadian-Russian composer Airat Ichmouratov’s Chamber Symphony No. 4. Our in-school educational programs ‘Concert Under Construction’ are one of my personal favourites.

4.What’s the best way to get tickets? Do you have a discount policy of some kind?
The best way is purchasing them online from http://sinfoniatoronto.com We have regular discounts for seniors and students. Our ‘First-time Subscriber’ offer is probably the best classical music value in Toronto. Occasionally we announce special single ticket sales on all our social media platforms.

5.Please give me three words that best describe what your organization has to offer.
Excitement, inspiration, creativity.

6.What are the age groups of people who buy your tickets and what do they say about your organization and its cultural offerings?
We are pleased that Sinfonia Toronto audiences come from a wide range of demographics. They are from every corner of GTA and some neighboring cities. Average age is probably about 40. Our active social media presence has clearly contributed to the audience’s wide mixture.

THE PLAYERS’ GUILD OF HAMILTON

1. What is your name and connection to this organization?
Dan Penrose, President of the Board of Directors

2. How is your organization important to Canadian culture and to culture in general?
We are the oldest continuing community theatre in North America, run entirely by dedicated volunteers. As such, we feel a desire and obligation to offer our experience and knowledge to the burgeoning Arts scene in Hamilton and area. We provide a high standard of theatre to the theatre-goers in the community and offer both mentoring and needed venue space to emerging artists of any media at a “no risk” cost to learn and practice their craft. We are a source of entertainment, a resource to other groups and recognized leaders in Hamilton’s Arts community.

3. Please give me 3 to 5 highlights of this coming fall season and tell us why each one will be special.
*Our annual Open House (unfortunately held on Sept 12th) celebrated our 140th season. We opened our doors to an interested public for guided tours of our 1878 building along with entertainment, costume and art displays, food and prizes and all at no cost.
*Sept 18th through Oct 3rd is our first production by Canadian playwright, Norm Foster. The play showcases some seasoned and some new talent to our audience and fulfills our desire to present Canadian content.
*Nov 27th through Dec 12th is play number two, a new Christmas themed comedy, murder mystery around the detective legend, Sherlock Holmes. The play brings together actors from Hamilton, Burlington, Brantford and Oakville in this delightful play.
*October 17th we will be hosting a legitimate and active ghost hunting group to investigate and verify the long-standing belief that our 137 year old building is home to a number of spirits.

4. What’s the best way to get tickets? Do you have a discount policy of some kind?
Best way is to reserve at 905 529 0284 or online and www.playersguild.org
We offer discounts to groups as well as discounts or complimentary tickets to students and young artists depending on perceived need.

5. Please give me three words that best describe what your organization has to offer.
Entertainment, resources and mentoring

6. What are the age groups of people who buy your tickets and what do they say about your organization and its cultural offerings?
Our main demographic is over 50 and most of those are repeat patrons. They love us and are very dedicated to our group. We are developing more younger patrons and see a growing number of 30 to 50’s coming to our shows.

TARRAGON THEATRE

1.What is your name and connection to this organization?
Richard Rose, Artistic Director of Tarragon Theatre since 2002.

2. How is your organization important to Canadian culture and to culture in general?
Tarragon Theatre is one of Canada’s most important arts institutions. For 45 years, Tarragon Theatre has created, developed and produced new plays by home-grown artists as well as significant works from the world stage, vitally contributing to the important legacy of a Canadian culture. Since its founding, over 190 works have premiered at Tarragon and over 500 scripts have been created and workshopped, receiving 34 nominations and 11 wins for the Governor General’s Literary Award. Tarragon received the 2012 Premier’s Award for Excellence in the Arts in recognition of producing and developing leading edge and thought-provoking Canadian Theatre, both nationally and on the world stage.

3. Please give me 3 to 5 highlights of this coming fall season and tell us why each one will be special.
Tarragon’s 2015/16 season features plays by 7 playwrights who are new to Tarragon audiences
*We are opening our season with international sensation Blind Date, a ‘spontaneous theatre’ event created by Rebecca Northan that sees a brave audience member act out a blind date live on stage with her each night.
*Hit-show An Enemy of the People is back by popular demand from the 2014/15 season, featuring an all new cast including Laura Condlln in the lead role of Dr. Stockmann (formerly played by Joe Cobden).

4. What’s the best way to get tickets? Do you have a discount policy of some kind?
Tickets are available at http://tickets.tarragontheatre.com or by calling 416-531-1827, with discounts for seniors, students, arts workers, and patrons under 35 years of age. If you fall into the latter two categories (under 35/arts workers), visit www.tarragontheatre.com/tarragon22. We also have $15 Rush Tickets on sale two hours prior to every performance, in person at the theatre, subject to availability.

5. Please give me three words that best describe what your organization has to offer.
New Canadian plays.

6. What are the age groups of people who buy your tickets and what do they say about your organization and its cultural offerings?
Tarragon’s season will appeal to people of all ages. At every production, we have subscribers who have been visiting our theatre for 45 years, and new audiences visiting us for the first time. In the words of a 15-year subscriber: “Tarragon continues to present creative, provocative theatre.”

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