The ArtsBridge newsletter is published twice annually by the Allied Arts Council of Lethbridge- once in the fall and once in the spring. The newsletter builds awareness on the arts in the Lethbridge and area community. It profiles local artists, groups, events and facilities and often examines the history of the arts in Lethbridge. The publication features contributions from local writers, photographers and artists and is available at no cost to the public.
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Transcript
advancing the arts in Lethbridge
A publication of the Allied Arts Council of Lethbridge (AAC)
m e m b e r s h i p h a s i t ’ s b e n e f i t s
artsadvancing the galleries
aas art services
architecture cccommunity culture
ddance
ffestival
g
hheritage
lliterary arts
mmusic
pphotography
t theatre
vvisual arts
A n n u a l G e n e r a l M e e t i n gMarch 23, 2010
Bowman Arts Centre 7pm
ARTSBRIDGE 1
Congratulations to our City Coun-
cil for stepping outside of the com-
fort zone and moving forward on an
exciting project to rejuvenate the
downtown core. Plans are underway
to expand Galt Gardens to create an
Arts Co-Campus that will house the
approved Community Arts Centre
and the potential Performing Arts
Centre. This exciting development
could not come at a better time.
It is a new year and an opportunity
for all of us to step out of our com-
fort zones and enjoy Lethbridge’s arts
scene. You may be surprised by what
you find, and if the Event Calendar
at the back of this publication is any
indication, you certainly will not run
out of options.
A diverse and talented pool of artist
are flourishing right here in our own
backyard. It is important to nurture
and support these emerging artists.
Lethbridge has a long history of gen-
erating talent we can be proud of. It
is often the case that artists will get
their start here and then move on to
larger communities and success on a
greater scale. Interviews with danc-
er Tara-Jean Popowich (page 8) and
visual artist David Hoffos (page 10)
demonstrate just that. We are also
a community that attracts perform-
ers like Leeroy Stagger and Dave
McCann read “The Evolution of an
Artist” (page 15).
Art is not meant to be exclusive,
there is always something for every-
one, be it an evening out at a live
music venue, read “Two Households”
(page 12), or attending the sympho-
ny, a play, or a gallery opening.
The hidden gems and endless poten-
tial of our community is inspiring. I
encourage you to explore.
Suzanne Lint
Executive Director
director’smessage
Spri
ng/
Sum
mer
201
0PublisherAllied Arts Council of Lethbridge318 . 7 Street SouthLethbridge, AB T1J 2G2T: 403.320.0555 F: [email protected]
Administration
Suzanne LintExecutive Director
Jana MacKenzieOffice Services & Finance
Lindsay MeliCommunications
Vanessa Eagle BearReception
Programming
Claire HattonEducation & Facility Services
Darcy LoganGallery Services
Board of Directors
PRESIDENTBarb Cunningham
VICE PRESIDENTRon Brown
TREASURERMike Thiel
SECRETARYElizabeth Songer
DIRECTORSChristopher Babits Carolla ChristieShirley DeBow Rick GillisTyler Gschaid Les OstrowskiIan Randell David RenterKim SieverGloria Torrance
For additional copies contact the AAC office.
No part of this publication may be reproduced without the written consent of the publisher.
1 ARTSBRIDGE
The Allied Arts Council would like to thank the following for making ArtStage Act II on January 16, 2010 a tremendous success!
stage
2 ARTSBRIDGE
ARTSBRIDGE 3
Artistic Director: David Mikuliak
Stage Manager: Nancy Grahm
Sound Production: Rob Warburton
Media Production: Jim McNally, George Gallant, Fergus Raphael
Host: Jeff Carlson, Erica Hunt
House Band: Sludge Sheldon Arvay, Guitar; Rod Kornelsen, Drums; John Malcolm,
Guitar; Dave Mikuliak, Keyboards; Don Ponech, Bass; Kevin
Wood, Guitar/Lead Vocals
Drama Nutz: Improvisational TheatreDavid Gabert, Stefan Rumpel, Nathan McCowan, Mark Spracklin
Kathleen Milliken, Shannon Mills, Lisa Mulgrew, Andrew Neild,
Katie-Anne Papizzo, Jason Ragan, Brendan Rosenow, Jocelyn
Schulz, Charissa Seutter, James Skierka, Rachel Sinnott, Carmen
Specht, Natalie Stronks, Megan Wittig
Platinum: Val & Flora Matteotti
Gold: Deltec, Ferrari Westwood Babits, Lori G. Andreachuck, Q.C., Precon
Silver: Advance Glass & Aluminum, Douglas R. Lint, From the Grape-vine, Kubik & Company, Lethbridge Musical Theatre
Bronze: D.A. Building Systems, Barrie & Marion Broughton, The De-Bow Family, Amy Dodic, Rod & Martha Draffin, C. Dunford Consulting Inc., John & Barbara Fisher, Godlonton Reality Co., HanTech Engineering Ltd., Tracy Hembroff, Integrity Dental, Lethbridge College, George Lomas, KPMG, McIntyre Ranch Co., Peggy Mezei & Robert Moffat, Chet & Sharon Mook, Peak Productions, Playgoers of Lethbridge, Dan Shapiro, Southern Alberta Art Gallery, Studio Celeste, YPM (Chartered Accountants)
Student Ticket:Classique Dancewear, Express Coffee, From the Grapevine, Gary W. Fong Prof. Corp., Claire Lint, Val & Flora Matteotti, Naturistas, Nicholai, Sous Chef, The Studio, Ultraviolet Eye WearOur thanks to these partners for making it possible for youth, with an interest in the arts, to attend tonight’s performance.
Special Thank You: Joy Ackerman, Marion Broughton, The Commercial Fac-tory, Laurie Cottingham, Deborah Duncan, Adam Elder, Terri Fortunaso, Laurie Gregory, Impact Sound Systems, Lethbridge Audio/Visual, Lethbridge College Communication Arts, Claire Lint, Jill McNally, Megan McNally, Ian Randell, Gloria Tor-rance, Yates Staff, Maria Zappone
Thank you to our sponsors
4 ARTSBRIDGE
The Allied Arts Council is working to improve arts facilities in Lethbridge.
The Arts Re:Building Together Campaign, a grass roots initiative to raise
awareness and support was developed to address the inadequacies of:
the Yates Memorial Centre, the Bowman Arts Centre and the Southern Al-
berta Art Gallery (SAAG). In 2007 the Finance Committee of City Council
approved several arts capital projects for inclusion in the City’s Ten Year
Capital Plan. These initiatives are successfully moving forward. In the
spring of 2009, the City of Lethbridge assembled a Performing Arts Centre
Steering Committee to oversee a needs assessment and master planning
process for a possible Performing Arts Centre.
p o s s i b i l i t i e st r e n d s
ARTSBRIDGE 5
A consulting team with an international reputation comprised of Theatre Projects Consultants
(TPC), Webb Management Services, Inc. and Threshold Acoustics LLC. have been tasked with outlin-
ing the needs of a new Performing Arts Centre. Their recommendations will be presented to Coun-
cil, who will use the comprehensive data to make an informed decision on how to proceed with a
Performing Arts Centre.
Duncan Webb of Webb Management Services, a management consulting practice for the develop-
ment and operation of cultural facilities whose clients include local governments, colleges and uni-
versities, non-profit arts organizations, development agencies and other entities exploring cultural
development, provides insight into the needs assessment for Lethbridge. Webb says there are four
sets of issues that must be considered when assessing the needs of a new Performing Arts Facility
in a community.
“Number one, is there a potential audience for new facilities? We often ask if there is a propensity
in capacity in the market to support additional programs and new facilities.” The second issue ac-
cording to Webb is what is the level and nature of demand on the part of the facility user, “what is it
that artists and arts organizations want, that educational programs need and what’s the potential
associated with touring programs. Are there promoters and impresarios wanting to bring in tour-
ing programs to the market and if so what kind of space does that need?” The third concern is the
existing supply of facilities; Webb says they try to identify what is missing. And the final issue is from
a broader prospective, Webb asks “what are Lethbridge’s goals around things like economic devel-
opment, cultural tourism, creating new educational opportunities, recruiting businesses to come to
the community and how do those issues shape our recommendations?”
Webb indicates that in Lethbridge, “there are significant demands for facilities that are not being
realized.” He goes on to say that all of the recommendations may not be affordable at first so new
facilities could be developed incrementally over time.
Audience trends and expectations play an important role in determining the choices communities
make and the way they develop facilities, says Webb “old boundaries between the high art and the
popular are disappearing. Buildings now respond to a great range of programs and tend to attract
audiences and stay busy because the size of the traditional performing arts audience is not grow-
ing but in order to make these buildings work they have to support a wider range of programs than
that. Secondly, audiences want to know more about what they’re coming to see and they want
to have the opportunity to talk and share about that experience. There’s a much more important
social element today.”
Webb says audiences need more stimulation and an outlet for their own expression, “people are
much more interested in looking for a means to express themselves creatively so buildings are
much more likely now to include spaces for arts education.”
Technology is also having a profound impact on buildings, he says “new technologies are bringing
different kinds of programs into these buildings, so programs where you have electronic media
and live performance mixed up together in performances. The video gamers are coming into these
buildings with live music and the opportunity to create sort of interactive video games, multi-play-
er, interactive games.”
Webb’s goal is to think of ways to return more control of the experience to the audience by giving
them options and opportunities to come in and out of the space as they choose to and to do other
things while watching a performance, he says, “we haven’t solved this but I suspect that this is going
to be a very significant issue in the years to come.” AB
Audience
trends and
expectations
play an
important role
in determining
the choices
communities
make and the
way they
develop
facilities.
I believe that children are born musi-
cians and that their experiences will
dictate whether they will in fact be mu-
sical. This makes sense when you think
that almost all children, from a very
early age, are drawn to music. These
little Mozarts hum or dance at every
opportunity, just waiting for the chance
to harness their natural gift.
Research in the area of early childhood
music exposure has been consistent:
music and the brain can make magic!
There are many benefits to exposing
your child to music; aside from sim-
ply harnessing a child`s talent, you are
actually fostering development. You
will find a plethora of tips, from head-
phones over a pregnant tummy, to mu-
sic and movement classes shortly after
birth, but it all leads to one conclusion:
music exposure is beneficial.
So, regardless of what profession you
think your children might pursue, music
will help get them there. Will your child
be a future engineer? Well, early expo-
sure to music significantly improves
spatial-temporal reasoning, which is
the ability to think ahead, see patterns,
sequences and manipulate images. Or,
how about a brain surgeon? As your
child learns a musical instrument, the
amount of somatosensory cortex de-
voted to the fingers is increased, so
those intricate surgeries will be a piece
of cake.
You will also find articles and studies
indicating that exposure to music and
movement is proven to strengthen a
child’s language and literacy skills (af-
terall, syllables are rhythmic!), social
and emotional development and pub-
lic speaking skills – say hello to the next
world leader!
You may also decide to pursue private
music lessons, which will have many
advantages as well. Even as you listen
to the not-so-melodic sounds of your
child as she practices that beginner’s
version of Beethoven’s Ode to Joy, you
will remember that her musical educa-
tion – wrong notes and all – is for a good
cause. You will see discipline learned
from daily practicing, and a sense of
personal achievement felt when a
piece of music is mastered. You’ll note
the ease with which your child learns
to read words because she can already
read music. And more than that, she will
know how to play an instrument!
So where can you start? Research shows
that the best learning environment is
in the home, and incorporating music
into your daily routine is easy. This can
be as simple as dancing in your living
room; it will not only stimulate the ves-
tibular system, promoting increased
balance and coordination, but will fos-
ter a unique bond as your child associ-
ates one-on-one parent time with fun,
musical play. Or on a road trip, try tap-
ping or clapping a steady beat along to
whatever is on the radio. The ability to
keep a steady beat will be a skill she’ll
use as she dribbles past the defense in
the zone championships.
And, if you`re bored with music, try ac-
tively listening to your neighborhood
sounds; a dog barking can be a fun
“guess its size” game (she’ll learn that
pitch relates to size) and this will trans-
form your child into an analytical lis-
tener. You can also play rhyming games
- how many words (real or silly) rhyme
with your name? - or identify the first
sound in a word, and try to find other
things that start with the same sound,
fostering phonological awareness and
setting your child up for reading suc-
cess.
The bottom line is, while you may not
remember all of the research behind
the benefits of music, like the emo-
tional and social development, balance
and coordination, precision and mo-
tor-control, spatial-temporal reasoning,
increases in manual dexterity, analytical
listening skills, phonological awareness,
language and literacy skills, confidence
and public speaking skills, increased
discipline, unique bonds, a sense of per-
sonal achievement, and self-expression
and creativity, what you will notice is
that involvement in music is something
your child will love – and that is just as
important! AB
Give your Child a Healthy Dose of Musicby
Bre
eann
e F
ulle
r, P
iano
Ins
truc
tor
and
Lic
ense
d K
inde
rmus
ik E
duca
tor
for
the
Uni
vers
ity
of L
ethb
ridg
e C
onse
rvat
ory
of M
usic
Research in the area of early childhood music exposure has been consistent: music and the brain can make magic!
6 ARTSBRIDGE
ARTSBRIDGE 7
a substantial inven-
tory of work that, for a
variety of reasons, will
likely remain so for
some time. Let’s just
refer to it as Van Gogh
Syndrome, though
few if any will ever
gain that artist’s post-
humous fame.
It can be said with-
out reservation that
most visual artists
(at least the ones I
know) certainly don’t
make art for financial
gain. Thus, it could be
said that the issue of
whether a communi-
ty supports its artists
or not is moot. That
would be approach-
ing the whole matter
from a completely
wrong perspective.
Let’s, instead, view it
from the community
point of view. In some
ambiguous way there
is a symbiotic rela-
tionship that exists
between visual artists
(and probably other
bo
ard
blo
gVirtually every visual artist that I know has in his or her
possession a substantial inventory of work that, for a
variety of reasons, will likely remain so for some time.
Let’s just refer to it as Van Gogh Syndrome, though few
if any will ever gain that artist’s posthumous fame.
It can be said without reservation that most visual art-
ists (at least the ones I know) certainly don’t make art
for financial gain. Thus, it could be said that the issue
of whether a community supports its artists or not is
moot. That would be approaching the whole matter
from a completely wrong perspective.
Let’s, instead, view it from the community point of view.
In some ambiguous way there is a symbiotic relation-
ship that exists between visual artists (and probably
other artists as well) and the communities in which
they practice their art. That relationship goes some-
thing like this:
1. Visual artists are generally pleased when they do sell
their work. It is, after all, very real confirmation of accep-
tance, but it’s not necessary. What is important is that
these artists are recognized within their communities
as such and are people who contribute to the cultural
enrichment of their community.
2. Because a community, in general, can appreciate
that it has practicing, accomplished artists in its midst
there is a level of support for these artists, and the arts
in general, that elevates the community to something
more than just a nice place to live. Truly, what separates
a mediocre city from a great one is the level to which it
supports its arts and its artists.
The question is, then, where does Lethbridge rank? As
artists, we would always like to see “better”. We’d like
to see more galleries, have more exhibits, more artists
working in studios in the city core and a more wide-
spread embrace of what we do and how we contribute.
If we are practical we can put it on a 1 to 10 scale, and
as far as cities our size go, we’d truthfully have to give
ourselves at least a 7 ranking, and working towards
boosting that number higher.
As a member of The Burning Ground artist studios in
downtown Lethbridge, I regularly experience firsthand
the appreciation our community has for what we do.
We welcome visitors to our studios every week and
without exception they leave much richer and more
appreciative than when they arrived. Many visitors have
no idea of the breadth of the visual arts in Lethbridge
and are quite blown away to discover these alcoves of
practicing artists all over the city.
If I were to interject one comment at this point, it would
be this—it is rare that an artist is not a welcoming,
engaging person, not to be viewed as aloof or unap-
proachable. Do not be intimidated. Visit a studio when
you find one, drop into a gallery at any opportunity.
You will be richer for it, and you will, by your participa-
tion, be enriching your community. Art is certainly not
something to be feared, yet surprisingly I have often
seen people pause at the entrance to a gallery or the
door to an artist studio, hesitant to cross that threshold.
Don’t be.
Lethbridge has an enviable reputation as a city that
values its arts and its artists. Are we there, then? Have
we arrived? Hardly. We are not Santa Fe of the North
nor Seattle of the Prairies. The work done by those who
promote and advance the arts in this city has been
monumental. However, the work doesn’t end. Ad-
vancement of the arts requires vigilance, tenacity and
an ongoing sense of stewardship.
In that time this city can count on its visual artists to
continue making their art. From time to time Leth-
bridge will produce a visual artist of national or even
international reputation. For every one of those, there
are legions of artists who are inspired to make art sim-
ply for arts sake, needing only to know that they are
contributing something special to their city and that
this contribution is appreciated. AB
scrollby Rick Gillis, Visual Artist and Allied Arts Council Board Member
Van Gogh SyndromeGive your Child a Healthy Dose of Music
Research in the area of early childhood music exposure has been consistent: music and the brain can make magic!
8 ARTSBRIDGE
H o w d o y o u e n c o u r a g e a p p r e c i a t i o n o f t h e a r t s b y t h e m a s s e s ?
Well one way is to produce a com-
petitive reality TV show where some
of the most talented dancers in the
country come together to show-
case their talents, and compete to
be crowned the best – but don’t just
allow the experts to determine the
outcome, open it up to the audi-
ence and allow them to engage in
the process; not only exposing them
to the art form but also deepening
their understanding and interest.
ARTSBRIDGE 9
Popo
wic
h ac
cept
ing
a ke
y to
the
city
of L
ethb
ridge
, fo
llow
ing
her
win
on
SYT
YCD
Can
ada.“I’ve never been surrounded by so many
people who just love what they do so much...”
This phenomenon has made So You Think You Can Dance Cana-
da and shows like it very popular and is helping to deconstruct
the notion that the arts are exclusive. SYTYCD Canada has given
many dancers opportunities they may not have otherwise have
had. One such dancer is Lethbridge’s own Tara-Jean Popowich
who was crowned Canada’s favourite dancer in Season Two.
It’s probably safe to say that a year ago you would not have
recognized the name Tara-Jean Popowich, but since her win on
the show it is safe to say you probably not only recognize it but
have had the privilege of seeing her talent in action. The Allied
Arts Council sat down with Tara-Jean to find out about her jour-
ney from Lethbridge raised dancer to a national star.
“There’s no way that I’d be where I am if I wasn’t from Leth-
bridge,” Popowich says matter-of-factly, her charisma filling
the room despite her small frame, as she sips coffee across the
table.
Her face framed by her trademark fedora she explained how
her early dance training was paramount to developing her
technique, “Growing up, we did ballet a lot and that’s the foun-
dation of dancing. You have to train as much as you can as a
kid to make sure you have that muscle memory, because as you
grow up it’s way harder to become more flexible, to become
better at turning; so to get your childhood base as a dancer is
the most important.”
If you know even a little about Popowich’s story, you probably
have heard that her mother has been a driving force in her suc-
cess. When asked why she started dancing the answer is sim-
ple, “my mom put me in it.” Later she elaborated when asked
about her mentors, “My mom, she’s a single mom, I don’t know
how the heck she did it, I’m still just so mind-boggled how she
made me successful, it’s all because of her for sure.”
Mom and some true determination played a part in her success.
Popowich says all dancers go through struggles and when she
was about fourteen it got extremely difficult for her, “I thought I
could quit dance and find another path and find another dream
in life, but I pushed through it.” Pushing through and gaining
experience all over North America, Popowich has insight into a
variety of dance communities including Montreal, Vancouver
and L.A., and she says that everywhere is completely different.
“Ballet in the states isn’t strong but they have really solid hip-
hop, and their styles are really updated.”
With all that she has experienced it doesn’t take long to real-
ize that appreciation is something Popowich is bursting with.
Popowich talks about her time on SYTYCD Canada and says
that Canadian dancers have a lot of respect for each other, “I’ve
never been surrounded by so many people who just love what
they do so much, it was really overwhelming at first, when the
top twenty had our first meeting and sitting there realizing
how much talent is in one room right now and how much love
they have for what they do, it was just amazing. It was really
nice, it was like a complete family.”
This family extends to the talented choreographers that Popo-
wich had the good fortune of working with on the show who
gave her opportunities to explore a variety of genres she was
less familiar with. She says she will continue to work with many
of them in the future and anticipates a move to Toronto and
then other centers including New York, however she will always
make time for Lethbridge. “I’ll always come back and teach
master workshops and make sure that the kids are still grow-
ing as dancers and know what’s out there in the world.”
As Popowich continues her journey she is sure to inspire those
who have the privilege of meeting her, whether it’s over a cup
of coffee or watching her dance, or what she describes as “mov-
ing art”. AB
“There’s no way that I’d be where I am
if I wasn’t from Lethbridge.”
10 ARTSBRIDGE
finding your placeAn Interview with David Hoffos
‘Parlour’, a window gallery started by David Hoffos, featuring work by artist Len Komanac
by Frater Tham, an artist who maintinas a studio practice in downtonw Lethbridge
When I was asked to write about maintaining a studio practice in Lethbridge, I immediately
thought about award-winning artist David Hoffos. Hoffos has an extensive and successful
career, both nationally and internationally. While he has presented his work in many major
Canadian cities, and at some of our most prestigious galleries, Hoffos has always maintained
his home and studio in Lethbridge, where he has developed strong ties with the community.
ARTSBRIDGE 11
You can get something out of your own community first, and perhaps that can launch you into a larger sphere.
you
r pla
ce
I was able to catch up with David Hoffos, via telephone, in Dawson City, Yukon, where he was
participating in an ‘artist-in-residence’ program and developing new work to be presented
at the Cultural Olympiad in Vancouver. I proceeded to ask him a series of questions about
the challenges and benefits of making Lethbridge a home-base.
My first question, asked in order to sate my own curiosity, was about the advantages of bas-
ing a national career in a smaller city like Lethbridge. “There are a number of advantages
to living in a smaller centre.” Hoffos responded. “Its cheaper to live than in a bigger city,
you can find a studio a lot easier...and you can afford more and your money goes further.
That’s the big advantage. Its also easier to get your running around done, making your daily
routine much less complicated than it would be if you lived in a larger city”. An interesting
and practical point, which gave me pause to wonder about time constraints for an artist
who is confronted daily with urban sprawl and rush-hours. Smaller centres can be effective
bases because the art-world is becoming, in Hoffos’ words, “an increasingly interconnected
world.”
I was curious as to his opinion about basing a successful career in a smaller centre like Leth-
bridge, rather than moving to larger cities like Vancouver, Calgary or Toronto. His reply, aside
from a discussion about the importance of networking, was an insightful series of com-
ments about connections and community; “...as time goes on there are people there, men-
tors and teachers, that I’ve known for close to twenty years. If I were to move now, it’s not
that I would be starting from scratch because I’ve built a career and practice, but I wouldn’t
have that immediate sense of community that takes time to build.”
David then shared a cogent point with me, and one he attempts to share with a younger
generation of emerging artists, “One of the things I always recommend or suggest to stu-
dents when I’m traveling, and I’m often traveling to smaller places like Dawson City for in-
stance, is to use the resources where you live and not abandon those because you think
everything is going to improve by moving to a bigger place. I try to make them aware that
they have an option, and don’t automatically have to make the choice to move away. You
can get something out of your own community first, and perhaps that can launch you into
a larger sphere.”
My final question to David was about younger artists choosing to stay in Lethbridge, and
whether this community was a place that could nurture their careers. His response was
optimistic, and nostalgic about his own early opportunities at the SAAG and Trianon, “I think
Lethbridge does a good job of nurturing emerging artists...There are local opportunities
of varying levels, including opportunities at the Bowman, various speak-easy galleries, and
window spaces like Parlour that I set up a few years ago. So I think there is a chance for an
artist who is emerging to get some initial notice.”
While David’s insights were positive, his final comments tempered them with an urgent and
practical warning for artists, “I’m not so sure about sustaining a practice strictly within the
confines of Lethbridge. It is still on the shoulders of artists to get their work out beyond the
City somehow, and how that happens is a little more mysterious...grant opportunities, ap-
plying to artist-run-centres and traveling to residencies. While Lethbridge is a great place to
base yourself, it doesn’t solve all your problems. It would be pretty hard to make a living as
an artist if you just stayed in Lethbridge.” AB
If I were to move
now, it’s not
that I would be
starting from scratch
because I’ve built a
career and practice,
but I wouldn’t have
that immediate
sense of community
that takes time
to build.
“
”
12 ARTSBRIDGE
householdstwo
both alike in dignity, in fair Lethbridge where we lay our scene...
Pho
tos
by S
tuar
t M
uelle
r P
hoto
grap
hy
ARTSBRIDGE 1
households both alike in dignity, in fair Lethbridge where we lay our scene...
...but unlike Shakespeare’s tragedy there are no grudges or mutiny here,
just the sweet sound of thriving live music.
We tap into a lot of different audiences
in town and age groups.
”“
Yes, but also true. Henotic Restaurant and the
Slice Bar and Grill are two major players in
our city’s music scene. These two downtown
spots are working in tandem providing night-
ly shows covering a wide range of talent and
genres to an eager audience.
“There are more and more people that are
becoming fans of live music in Lethbridge,”
says Slice owner Jesse Freed. Both he and Ja-
son Beacock, owner of Henotic Restaurant, say
that the diversity of the audience’s taste in this
community is growing, and people are more
interested in independent music. “A lot of peo-
ple when they think of live music they think of
going out and listening to a band play their fa-
vourite songs that they hear on the radio and
that’s not really something that we or Henotic
have pushed,” Freed says.
Beacock says he has brought on a full time
promoter for Henotic to let people know they
are going to have a blast when they come
down, even if they have never heard that par-
ticular type of music before. “We tap into a lot
of different audiences in town and age groups.
We get the university crowd, we get the rock
crowd, we get the garage crowd and it’s all
over the place.”
The enthusiasm and support for original music
is generating endless opportunities for local
talent, especially emerging artist who would
otherwise not have a platform. “There are lots
of bands that came right from nothing to what
they are now in Lethbridge... playing gigs reg-
ularly,” Freed says.
dramatic?
ARTSBRIDGE 13
This dedication is also building partnerships
and mentoring opportunities for artists that
may not have otherwise have happened Freed
says, “you start seeing more people that may-
be didn’t know each other before kind of start
to work together and it helps the music scene
in general when some of the talented people
in this town get together with some of the
people that are developing and help them out
a little bit.”
Another unique collaboration that is occur-
ring from time to time is between the actual
venues themselves. Freed and Beacock both
say they have a mutual respect for what one
another is doing and occasionally they join
forces to produce events with a performance line-up that appeals to wide
variety of tastes. The convenience of the two locations, practically book
ends to the soon to be site for the Community Arts Centre on third avenue
and seventh street and the newly renovated Southern Alberta Art Gallery,
is helping to create a cultural corridor that lends itself to foot traffic and an
exciting energy that Lethbridge may not be accustom to.
An atmosphere with this kind of positivity and creativity is inciting initia-
tive, Beacock says the centre of culture in a city is downtown and his goal
is to help downtown Lethbridge really takeoff. “Lethbridge is just on the
verge of being a really awesome city and expanding, you know it’s not
small town anymore.” The calibre of entertainment is high and definitely
something to be proud of. “There’s so many good things going on here,”
Beacock says, “it blows me away everyday and when I think that I know
everybody that’s here and playing somebody else will walk in the door.”
With these two live music venues taking the charge this cultural momen-
tum is underway. The potential is limitless, Freed says “It’s good to see
some of the people that have been doing it (music) a long time being able
to find a home in Lethbridge that is satisfying to them and they are still
able to go out into the rest of Western Canada and play shows and help be
ambassadors to Lethbridge music.” AB
An atmosphere with this kind of positivity and creativity is inciting initiative“ ”14 ARTSBRIDGE
LS: You moved to Lethbridge from Calgary a little while back, how do
you find the transition from a major city to here and how do you find
the music scene different if any?
DM: Any jump in location is hard. Calgary is a major player in the
world economy and that brings a lot of easy money to the music
community. I miss that sometimes. I miss being close to an airport. I
miss my friends. Calgary’s always been good to me. But as far as big
cities go, I’ve always kinda found them cold and distracting. Calgary’s
no different. If you’re not careful you’ll wake up with a tiny, shrunken,
corporate grinch heart. Lethbridge feels good - it feels like I’ve come
home.
LS: I think this is your 3rd studio album, you decided to record in
Nashville TN, what prompted that decision and what affect did it have
on the songs and the sound of this record?
DM: I had my list of producers I wanted to work with: Jack White, Bud-
dy Miller, Colin Linden, Larry Campbell, Will Kimbrough, Eric Roscoe
Ambel, etc. Buddy was busy till 2011. Charlie Sexton and Ethan Johns’
management blew me off with hundred thousand dollar offers? The
Canadians didn’t even get back to me? Time alignment was such a
huge factor. I wanted this project to be about chasing the heart of
American music. Where it comes from? Why it exists? I wanted to ex-
periment with the idea of geographic influence. When it came down
to the music, I wanted to see how, or if at all, New York, Los Angeles,
Austin or Nashville would affect the final outcome of the songs. So
when Will Kimbrough called and said he was into the songs, and had
a studio picked out in East Nashville, that’s when it all fell into place.
A lot of my favorite recordings were cut in Nashville. It has such a wild
musical history, a real strange magic. You could feel it right off, the
South - the idea that this place is one of the mythical origins of the
Blues, Country and Rock and Roll. You can’t help but let that kinda
stuff just seep into the music.
LS: What Role did Will play as the producer, did he change much of
what you brought to him?
DM: Will has released a pile of great recordings himself so he knows
music firsthand - besides working with major level guys and staying
grounded on the indy scene. He’s an amazing in-demand Guitar Side-
guy, Songwriter, Session player and Producer. He’s worked with Rod-
ney Crowell, Todd Snider, Mavis Staples, Jimmy Buffet, Garrison Starr,
Matthew Ryan, and Josh Rouse - including producing a Grammy-
nominated record by Adrienne Young, and Todd Snider’s East Nash-
ville Skyline which he co produced with Todd. He has such a deep
grasp on Americana roots music scene. After talking to him over the
phone I was excited to work with him.
He’s a pretty humble guy and his musical intuition is so incredible.
We burned 12 hour days away for two weeks and at the end of it we
walked away with the record we wanted to make. It wasn’t tyrannical.
He didn’t change decisions. He didn’t change arrangements. He let
us find the feel and helped us build on that. And above that he made
us laugh. He’s got a wicked, fast paced sense of humour and he really
helped us keep it light in the studio. Finding a studio environment
that fostered creative output is sometimes tough. He lined us up with
Elijah Shaw at the Toy Box, which was incredible. He brought out a pile
of gear for us and he offered us a list of studio players including Pedal
Steel Legend Al Perkins (Gram Parsons, Manassas), and he even tried
to hunt down retired piano legend Hargus Pig Robbins for us. All in all,
he helped us make the best record we could make.
LS: With “Dixie Bluebird” your voice seems stronger and more defined
than ever, do feel the same way? What gives?
DM: That’s the evolution of an artist, I guess. You keep building, refin-
ing and redefining yourself. When you’re involved in projects that in-
terest you, and you commit your full ability towards that journey, you
just find more strength in the act of creating. Your art, your life, your
voice... or whatever - it just becomes stronger. That’s how it was with
“Dixie Bluebird” for me. I knew what I wanted and committed. AB
Dave McCann is the latest full time musician to move to
our little piece of heaven out on the prairies. Dave’s had a busy
year with the release of his third studio Album “Dixie Bluebird”
His latest offering saw Dave and his band do the Canadian un-
heard of and head south to Nashville to record with Rodney
Crowell sideman Will Kimborough. The result is an 11 song
masterpiece that invokes the spirit of early Whiskeytown and
a Twangier Wilco. As far as Canadian roots music goes “Dixie
Bluebird” is a strong candidate for album of the year.
The Evolution of an Artist
By Lethbridge based singer/songwriter Leeroy Stagger
ARTSBRIDGE 15
Anyway, it’s making better use of imagery
to say, “My grandpa was the son of a son
of a son of a farmer.” It practically forces
you to picture four generations of farm-
ers in dusty blue overalls with their backs
to the wind, and sprigs of alfalfa peeking
out from between their sun-chapped lips.
[See what I mean about imagery?]
Anyway, he was a farmer, and I am noth-
ing like him.
For example, I am addicted to Diet Dr. Pep-
per, but I never saw my grandpa drink any-
thing but tap water and two percent milk...
and the occasional mug of hot honey-lem-
on water, for his gout—or was it his diabe-
tes? Regardless, he drank it, and I couldn’t
imagine why anyone would swallow such
fowl-tasting stuff, but he did, and that was
that.
My grandpa made his living by rising well
before dawn, tilling and plowing and raking
his fields under the scorching Arizona sun,
and selling his harvest for profit. In fact, he
worked so hard and so long in those infi-
nitely dusty fields, that at the age of fifty-
four, he was hospitalized and diagnosed
with the lungs of an eighty year-old chain
smoker, yet he had never in his life touched
a cigarette. Or a cigar. Or a pipe. Or a joint,
for that matter (he despised all smoking
equally). He was a hard, hard worker, and
that is an understatement.
By
Cam
ille
Fairb
anks
My grandpa was the son of a son
of a son of a farmer. I could’ve
just said, “My grandpa came from
a long line of farmers,” but that
would not have produced quite
the same effect. It would have
been a cliché, and my grandpa
was anything but a cliché.
Him and Me and Then and Now
16 ARTSBRIDGE
ARTSBRIDGE 17
I, on the other hand, take any chance I can to cut corners and create less work for myself. Oh, I do
what needs to be done, but nothing more, and usually less, if I can get away with it. I have the lungs
of a woman in her mid-twenties, just as they should be—or should they be? I would make a ter-
rible farmer. My pitiful crops would never make it to market because I’d spend too many mornings
cocooned in bed, convincing myself that the plants could last just one more day without water.
My grandpa was out of bed and already working by five in the morning; I don’t even function
properly before noon.
I am pampered—I have eight or nine “signature” scents. Maybe even ten. Body sprays, mists, per-
fumes, I’ve tried them all. I am consumed with such an enormous desire not to stink that a licensed
psychiatrist might very well diagnose me with an obsession. I never hesitate to buy a bottle of
perfume that claims it will make me successful, sophisticated, secure. Obviously, if a manufacturer
could bottle success and sell it, it would be much more expensive than anything I could afford, but
still...I try. That’s one thing I have in common with my grandpa—perseverance.
By contrast, though, I can honestly say I never hugged my grandpa a day that he didn’t smell like
Bag Balm or Vick’s Vapor Rub, and chickens. Bag Balm and chicken coops—that was his cologne.
L’essence de farmer. The Bag Balm was for his cracked and calloused knuckles. Naturally. Me? I use
gallons of lotion to avoid ever having cracked skin in the first place.
My grandpa valued hard work, valued a firm handshake, valued a dollar. He didn’t graduate from
college and didn’t encourage any of his kids to do so, either. My mother, the oldest of six children,
decided she would graduate anyway. She went to college and she loved it and she became a
teacher and married my dad who also valued education and worked as a teacher and together
they created my older sister who is a teacher, too, and here I am.
I will never be a teacher, not if I can help it.
I attend classes at the university. I’m majoring in English. Presently, “student” is the biggest slice of
the pie chart of my identity, and if my grandpa were alive, he wouldn’t care a lick about that. He
would write me letters and ask me about my family, my husband, the weather, my church, my job,
my summer plans, my health—he would care about me—but it would not occur to him to ask
about my classes.
Interestingly enough, I am not hurt by that assumption. Obviously, he’s dead, and it’s only my
own mental workings that have decided he wouldn’t care about my education, but it’s more than
that—even if it were true, even if he were alive and proved me right and didn’t ever ask about my
classes, I still wouldn’t feel bad. I wouldn’t mind because I wouldn’t blame him. In fact, I would very
much agree that school is for sissies and I’m wasting my time and it’s all very dreadful to sit in these
English classes and read about The Great Ones when I could be being great myself. I totally agree.
But there’s a catch. There’s always a catch:
If I were an existentialist, I wouldn’t care about school with its grades, or jobs with their paycheques.
I wouldn’t really even need to care about my grandpa. If I were an existentialist, I wouldn’t have to
be anything—I would just be.
But I learned that bit about existentialism in
school. So. There it is. I don’t want to care about
university, but how can I make light of all the
school that constructs who I am? I don’t want
to sit through classes, but how can I make it as a
writer if I don’t? I have so much to say, so much
I want to do with my time outside of copying
notes from my professors’ lectures, but those
lectures are vital now to my greatness later.
Would my grandpa agree? No, probably not. But
that’s the thing about time: it changes people.
His father probably thought that it was foolish
to move to Arizona from Idaho just for some girl,
but in Arizona, my grandpa made his fortune, he
made his family, and he flourished.
And I can’t imagine myself as an Idaho farm-girl
anyway.
So here I am, in school. I’m writing these words
about Ibsen, Munro, Hemingway, Yates, but
none of them mean anything to me. I write my
essays because I must—it is a means to an end.
It’s important, yes, but not really. This—writing
this, these very words—this is important.
[That was rhetoric. I learned it at school. My
grandpa might not care about school, and I
might not, either; but I’ll graduate, because
without it, I could not have written this.]
In my head, I am not in school and I’m not
snowed in and I’m not in Canada. It’s sum-
mer and I’m in Arizona—hot, and glorious. My
grandpa looks at me with those eyes that can
only be described as crinkly, and he pats my
shoulder with that solid hand, that wrinkly hand
whose skin has lost its elasticity, and so, when
pinched, stays standing in a little mound for
fully thirty seconds before finally settling back
down to its natural state, and I miss him. AB
Camille Fairbanks was born and raised in the desert of
Mesa, Arizona, so nothing could have come as a bigger
shock than uprooting her life and moving to Southern
Alberta, Canada. She is currently pursuing a degree in
English from the University of Lethbridge; her hilarious
experiences there inspire Archives of Our Lives, a
Canadian-American Young Married College Student’s
Humour blog, which she updates regularly at
www.archiveslives.com.
My grandpa valued hard work, valued a firm handshake, valued a dollar.
Phot
o by
Ste
war
t Mue
ller
When most people speak about Muriel
Jolliffe, they generally refer to her as “a
force to be reckoned with.” I certainly
agree that she was an extremely force-
ful exponent of quality artistic endeav-
ors throughout her lengthy profession-
al career as dancer, teacher, examiner,
and choreographer. Her commitment
to her art and to her community was
bountiful, and because of that many in-
dividuals and organizations will be for-
ever grateful to her. Dancing careers of
various kinds have opened up for many
of her former students, and I’m sure
that they all now appreciate the demands for perfection which she
placed upon them. Yes, Muriel was somewhat volatile – her students
often felt her wrath, but they also were captivated by her wonderful
sense of humor. Her laughter was contagious. She would often regale
listeners with the wild and wonderful things her students would say
or do. Let us not forget the tremendous amount of joy which she gave
to large numbers of people who were audience to the many presen-
tations which she presented or in which she was involved.
Organizations such as the Lethbridge Musical Theatre would prob-
ably not exist today if it had not been for the foresight of Muriel Jol-
liffe, Dick Mells, and Albert Rodnunski. In 1964, with the support of
the Lethbridge Symphony, these artists decided to stage two succes-
sive musicals. The huge success of these productions reestablished
musical theatre as a major artistic activity in the city. Shortly thereaf-
ter, Lethbridge Musical Theatre became an independent organization
committed to presenting at least one musical annually. Muriel’s work
as choreographer for at least twenty of LMT’s productions added
significantly to the professionalism of those shows. Critical viewers
would characteristically comment that LMT shows were equal to, if
not better than, professional shows that they had witnessed. Muriel’s
marvelous sense of humor was on display for all to witness when she
took on the role of Pappy Yokum in LMT’s 1966 presentation of Lil Ab-
ner. Although I was not in that show, I had the thrill of being in many
of the shows choreographed by Muriel, and I continuously marveled
at the fact that she could map out movements on the spot and then
remember them so much better than
those of us who had to perform them.
In 1966, Muriel and Dick Mells con-
vinced the Allied Arts Council (and
later, LMT) to sponsor summer musi-
cals so that youth in the community
would have something interesting to
do during the long summer months.
Muriel choreographed eight of the
thirteen summer musicals which they
produced. The young people involved
with these productions were ecstatic
about these opportunities. At that
same time, Muriel (together with other members of her family) decid-
ed to give Lethbridge audiences a new experience by staging English
Christmas Pantomimes. This again provided excellent opportunities
for her students to gain valuable stage experiences, although they
generally played supporting or chorus parts. The “Pantos” provided a
wonderful holiday gift for the whole community throughout the pe-
riod 1966-1979 and in 1985! Certainly, the community received these
riotous offerings with the greatest of pleasure.
As mentioned earlier, Muriel occasionally appeared on stage. I par-
ticularly remember her portrayal of Essie in The Playgoers’ 1966 pro-
duction of You Can’t Take It With You, in which she was given dance in-
struction by my character, Boris Kolenkhov. From then on, she would
jokingly tell people that I had taught her everything she knew about
dancing.
I have barely touched the surface when describing the many con-
tributions which Muriel made to the artistic life of Lethbridge and
area. So very much else could be said about her influence on dance
instruction, her organization of dance festivals, and her respect as a
dance examiner and adjudicator, but I believe these are generally
acknowledged. I can only conclude from this short resume that her
contributions excelled in both quality and quantity, and that she
deserves some form of official community recognition for her many
splendid efforts. AB
In Memoriam: Muriel JolliffeA Community Treasure
18 ARTSBRIDGE
By George Mann
Individual Members:
Karen Bremner
Laurie Cottingham
Ye-eun Her
Lindsay Horrocks
Maria Fawn Livingston
Colleen McNary
Pat Neufeld
Bryanna Papp
Jesse Plessis
Allied Members:
Cultural Appreciation Society of Alberta
Lethbridge Community Taiko Association
Associate Members:
Buggy Barn Studio & Gallery
Yoga/Pilates with Ali
Lifetime Members:
Doris Balcovske
Van Christou
Karen Kay
Clare Malmberg
New Members: Sep 21/09 – Feb 16/2010
AAC membershipCONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION
support the arts
NEW MEMBER RENEWAL
Name
Business (if applicable)
Address
City
Province
Postal Code
Telephone
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Website
Allied Organization $75*
Artist $25*
Associate $75*
Friend to the AAC $15
Family Friend to the AAC $25
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CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE
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*Inclusion in 2010/2011 AAC Arts Directory
The Allied Arts Council (AAC) is a registered not-for-profit organization with
the mandate to advance the arts in our community. The AAC supports artistic
endeavours that enhance the quality of life for individuals and our community.
The organization is supported by its members, corporate and private donations
and annual fundraising activities. Support is gratefully received from:
1 ARTSBRIDGE
calendar of eventsMARCH
Ammena Dance Company . . . . . An Explosion of World Dance and MusicMarch 6, 7 – 9pmYates Memorial Centre
Empress Theatre Society . . . . . . Concert VI Centre Stage Series 2009-2010: Pavlo Emmett LopezMarch 1 & 2, 8pm Empress Theatre, Fort Macleod
Galt Museum & Archives . . . . . . Seniors ProgramWednesdays through to May 26, 2-3pm
Saturdays at 1pmWeekly through May 29, 1-2pm
Treasures & CuriositiesArtistic Treasures & CuriositiesExhibitions run until May 20, 2010
Slap Shot and Hurry HardExhibitions run until Mar 21
Café Galt: The Looming Crisis for Public Collections, Josephine MillsMarch 24, 7pm (Doors Open at 6pm)
Lethbridge Artists Club . . . . . . . Beginner’s Watercolour Class with Val PetersonMarch 18 - April 8, 6:30 - 9pmBowman Arts Centre
Italian Style Calligraphy Class with Linda Baines. . . . . . . . . . . . . . . . . . March 24 - May 5, 6:30 - 9pm (no class April 7)Bowman Arts Centre
Lethbridge International Film Festival . . . . . . . . . . . . . . . . . . . . . . March 8 – 13Lethbridge Public Library Theatre Gallery
The CreationMarch 29, 8pmSouthminster United Church
Mueller Art Gallery. . . . . . . . . . . . Julie Duschenes: New WorkExhibition Runs March 13 - April 24Opening March 13, 7 - 11pm105 8 St. So.
New West Theatre . . . . . . . . . . . . . The Attic, the Pearls & Three Fine GirlsMarch 4 – 13Sterndale Bennett Theatre
Southern Accord Chorus. . . . . . . Hearts in a Chord – A Tune of Two CitiesMarch 13, 7pmCollege Drive Community Church
Southern Alberta Art Gallery . . Looking for DonkeysBy Nanna Debois Buhl Exhibition runs March 13 - April 25Opening Reception March 13, 8pmTemporary Location 324 – 5 St. So. Manga OrmoluBy Brendan TangExhibition Runs March 13 - April 25Opening Reception March 13, 8pmTemporary Location 324 - 5 St. So.
U of L Faculty of Fine Arts. . . . . . Unidentified Human Remains & the True Nature of LoveBy Brad FraserMarch 4 – 6, 8pm March 6, 2pmDavid Spinks Theatre
Spring Sing - U of L Singers and Women’s ChorusMarch 6, 8pmSouthminster United Church
U of L Collaborative Piano/Guitar: It Takes TwoMarch 12, 7pmGem of the West Museum, Coaldale
Works on paper from the U of L Art Collection Curators: Museum Studies internsExhibition Runs March 12 – April 9Opening Reception March 12, 8pmU of L Main Gallery
Life is a Dream by Pedro Calderon de la BarcaMarch 23 – 27, 8pmUniversity Theatre
Glory and Grandeur - U of L Wind Orchestra & special guests March 26, 8pmSouthminster Church.
UPcycling Show & SaleApril 22, 10am-9pmGalt Museum & Archives Café Galt: Earth Day Panel DiscussionApril 22, 7pm
Café Galt: Jewels of The Prairie with June FlanaganApril 22, 7pm (Doors Open at 6pm)
Lethbridge Artists Club . . . . . . . Acrylics - Intermediate Level Class with Jackie CardinalApril 15 - May 20, 6:30 - 9pmBowman Arts Centre
Lethbridge Handicraft Guild of Weavers, Lethbridge Artist Club, Textile Surface Design Guild, Oldman River Potters Guild & Chinook Woodturning Guild . . . Bowman Spring SaleApril 24, 10am-4pmBowman Arts Centre
Lethbridge Artists Club. . . . . . . . Chinese Brush Painting Workshop with Siew MakMay 1 & 2, 10am - 4pmBowman Arts Centre
Lethbridge Artists Club . . . . . . . Techniques & Strategies in Watercolour workshop with Anne HavardMay 15 & 16, 10am - 4pmBowman Arts Centre
Lethbridge SymphonyOrchestra. . . . . . . . . . . . . . . . . . . . . Ranges of BrassMay 10, 8pmSouthminster United Church
Kids Choir PerformanceMay 26 & 27, 7pmSouthminster United Church
Mueller Art Gallery. . . . . . . . . . . . Kathleen Moors: Covenant SeriesExhibition Runs May 2 - June 26Opening Reception May 1, 7-11pm105 8 St. So.
New West Theatre . . . . . . . . . . . . . The Tooth FairyMay 5 – 8Yates Theatre
Oldman River Potters Guild . . . . Spring Pottery SaleMay 1, 10am – 4pmBowman Arts Centre
march
april
may
of
ARTSBRIDGE 1
Playgoers of Lethbridge . . . . . . . Regional One Act Drama FestivalMay 1, 7pm Sterndale Bennett Theatre
Southern Alberta Art Gallery . . Brian GoeltzenleuchterExhibition Runs May 1 - June 20Opening Reception May 1, 7 PMTemporary location 324 – 5 St. So.
Art’s Alive and Well in the SchoolsExhibition Runs May 2 - June 20Opening Reception May 2, 1pmTemporary Location 324 – 5 St. So.
Southern Alberta Artist Association . . . . . . . . . . . . . . . . . . . Alberta Community Art Clubs Association, Southern Zone ShowMay 15 & 16Arm Navy and Airforce Veterans Club403.328.9942
U of L Conservatory of MusicFeel the Beat’s Carnival of the AnimalsMay 18 & 19, 10am & 12pm
CellofestMay 21-23
U of L Faculty of Fine Arts. . . . . . 1940’s Big Band Jazz - Features David Renter’s ContemporaryJazz Works Orchestra (Historic Lethbridge Festival)May 1, 8pmSouthminster United Church
“We’ll Meet Again” - Music faculty and students (Historic Lethbridge Festival)May 4, 7:30pmLethbridge Public Library
JUNE
Galt Museum & Archives . . . . . . Museum Community Day – Blackfoot ShirtsJun 5, 10am – 5pm
Our ancestors have come to visit: Blackfoot ShirtsExhibition runs June 5-August 29
Get Outta Town Bus Tour: Waterton Wildflower FestivalJune Date TBA
McGill Blvd. Music and Arts School . . . . . . . . . . . . . . . . . . . Open HouseJune 12, 4-7pm260 McGill Blvd. West
Mystique Images and Evolved Productions Presents. . . . . . . . . . Inshala III - Gathering the Tribes - An Ever Evolving ExperienceJune 11 - 13Fish and Game Park - Fort Macleod
Southern Alberta Art Gallery . . Trudy SmithExhibition Runs June 25 - September 5Temporary Location 324 – 5 St. So.
Cal LaneExhibition Runs June 25 - September 5Temporary location 324 – 5 St. So.
Southern Alberta ArtistAssociation . . . . . . . . . . . . . . . . . . . Pack-Up-and-PaintJune 14 – June 16Canyon Church Camp, Waterton National Park
JULY
Galt Museum & Archives . . . . . . Museum Community Day – Canada DayJuly 1, 1-5pm
Get Outta Town Bus Tour: Writing On StoneJuly Date TBA
Southern Alberta Art Gallery . . House Tours and TeaJuly 24, 10am – 3pmLocation TBA
U of L Faculty of Fine Arts. . . . . . Drama & Art Camps July 5 though Aug. 20
AUGUST
Galt Museum & Archives . . . . . . Get Outta Town Bus Tour: Hutterites & HistoryAugust Date TBA
New West Theatre . . . . . . . . . . . . . Music-Comedy Revue ShowAugust 6 – August 28Yates Theatre
Summer Theatre CampsDates TBAYates Theatre
U of L Conservatory of Music. . . Southern Alberta Vocal Experience (SAVE)Teen Program: August 8-14Senior Program: August 13-21University of Lethbridge
june july
august
calendar of events
A m m e n a D a n c e C o m p a n ya m m e n a d a n c e . c o m
E m p r e s s T h e a t r e S o c i e t ye m p r e s s t h e a t r e . a b . c a
G a l t M u s e u m & A r c h i v e s g a l t m u s e u m . c o m
L e e r o y S t a g g e r & T h e W i l d f l o w e r s l e e r o y S t a g g e r . c o m
L e t h b r i d g e A r t i s t s C l u b4 0 3 . 3 2 8 . 6 2 7 6
L e t h b r i d g e H a n d i c r a f t G u i l d o f W e a v e r s , L e t h b r i d g e A r t i s t C l u b , T e x t i l e S u r f a c e D e s i g n G u i l d , O l d m a n R i v e r P o t t e r s G u i l d & C h i n o o k W o o d t u r n i n g G u i l d 4 0 3 - 3 2 0 - 5 7 7 1
L e t h b r i d g e I n t e r n a t i o n a l F i l m F e s t i v a l 4 0 3 . 3 2 8 . 2 8 5 4
L e t h b r i d g e S y m p h o n y O r c h e s t r al e t h b r i d g e s y m p h o n y . o r g
M c G i l l B l v d . M u s i c a n d A r t s S c h o o lm c g i l l m u s i c a n d a r t s . c o m
M u e l l e r A r t G a l l e r ys t u a r t m u e l l e r . c o m
M y s t i q u e I m a g e s a n d E v o l v e d P r o d u c t i o n s P r e s e n t sm y s t i q u e i m a g e s . c a
N e w W e s t T h e a t r en e w w e s t t h e a t r e . c o m
O l d m a n R i v e r P o t t e r s G u i l d4 0 3 . 3 2 9 . 3 9 3 6
P l a y g o e r s o f L e t h b r i d g e4 0 3 . 3 2 7 . 1 9 4 7
S o u t h e r n A c c o r d C h o r u s4 0 3 . 3 8 1 . 4 7 7 7
S o u t h e r n A l b e r t a A r t G a l l e r ys a a g . c a
S o u t h e r n A l b e r t a A r t i s t A s s o c i a t i o n4 0 3 . 3 2 8 . 9 9 4 2
S p i r i t - i n - M o t i o n Yo g as p i r i t i n m o t i o n y o g a . c a
U o f L C o n s e r v a t o r y o f M u s i cu l e t h . c a / f i n e a r t s / c o n s e r v a t o r y
U o f L F a c u l t y o f F i n e A r t su l e t h . c a / f i n e a r t s / e v e n t s
