Janet Jarrell, Executive Director janet@quinteartscouncil.org
Kodie Trahan-Guay, Communications & Media Director kodie@quinteartscouncil.org
Tonya Sutherland-Stewart, Program Director tonya@quinteartscouncil.org
Andrew Gray, Graphic Designer drewgraymatters@gmail.com
Kim Lidstone, Bookkeeper qac@quinteartscouncil.org
The Quinte Arts Council is a not-for-profit, charitable organization, registration number 107869448 RR 0001. Published by: The Quinte Arts Council, P.O. Box 22113 Belleville, Ont. K8N 2Z5.
Material may be reprinted only with permission. Umbrella is available in digital format through Issuu. The information contained within is believed to be reliable, but accuracy cannot be guaranteed. We do not assume responsibility for any errors and/or omissions related to submitted content.
Message from the Executive Director
Welcome to the Summer 2024 issue of Umbrella Arts Magazine! This issue celebrates creativity, passion, and cultural heritage that continue to enrich our lives.
First, let me thank local photographer Christopher Gentile for the new photo included with this message. Along with Belleville Downtown District and the Bay of Quinte Regional Marketing Board, this is part of a campaign to celebrate the amazing businesses and organizations that make the core of Belleville a destination!
This issue features the 3rd Annual Docs, Dinner & Drinks event. This unique gathering has become a staple in our community, offering a blend of documentary screenings, gourmet dining, and engaging conversations. It’s an event not to be missed!
Our coverage of the Quinte Arts Council’s (QAC) arts education program highlights the incredible work supporting graduating students through bursaries. Since 2002, this program has invested more than $150,000 into the community. We also hear from a few past recipients on how this funding helped make their educational pursuits achievable.
We shine a spotlight on Robert Huffman, an artist whose work continues to push boundaries and inspire. Alongside him, we feature fibre artist Ann Fales, whose intricate and beautiful creations have toured the world and won her many awards. In celebration of milestones, we are excited to mark the 5th anniversary of Andara Gallery. Congratulations to Andy and Tara!
Music lovers will enjoy our articles on Tiny Horse and Jackie Findlay, two musical acts that are making waves with their unique sounds and captivating performances. Additionally, we feature Desirée Botting of the Quinte Ballet School of Canada, whose dedication to dance education is truly inspiring.
Our theatre section includes a review of You used to call me Marie..., a poignant work that explores themes of identity and belonging, that involves our very own Chair, Brit Johnston. This production is a celebration of Métis heritage and promises to be a powerful and moving experience.
A feature section titled ARTrepreneur showcases AMP Visual Media - an amped up collaboration of art and entrepreneurs.
In the film section, we delve into the intriguing history of Tyendinaga with the TVO documentary Boom or Bust, which beautifully showcases the rich history and culture of the Tyendinaga Mohawk Territory. This film is a testament to the power of storytelling in preserving our heritage.
We are proud to announce that Anna Swanson, a past writer in residence at the Al Purdy A-Frame, has made the shortlist for the CBC Prize, with her edgy and provocative Sweetness |מתיקות. In other news, the Napanee Beaver has been sold, marking a new chapter for this historic publication.
Finally, heritage enthusiasts will appreciate our articles on the Griffin Opera House and Sir Gilbert Parker, exploring the rich cultural legacy they represent.
Thank you for joining us in celebrating the arts. We hope you enjoy this issue and find inspiration in the diversity of talent and achievements of our vibrant arts community.
With sincere gratitude,
Cover: Emily Cooper
Back: Emily Cooper
Janet Jarrell, Executive Director
Table of Contents
Quinte Arts Council
Message from the Chair + Umbrella Contributors
Welcome Tonya Sutherland-Stewart as the new Program Director at the QAC
Fine Arts
Robert Huffman paints the beauty of the Canadian wilderness Award winning fibre artist, Anne Fales Andara Gallery celebrates 5 years
Arts Education
QAC grants 7 students bursaries - we hear from 2023 recipients
Music
Check out indie band Tiny Horse Second chances from Jackie Findlay
ARTrepreneur
AMP'd up with Ash Murrell and Brady Rogers
Theatre Our very own Brit Johnston and You used to call me Marie...
Permorning Arts
QBSC Alumnus Desirée Botting
Breaking barriers with Gabrielle Faith Edwards
Film
QAC celebrates the 3rd annual Docs, Dinner & Drinks Tyendinaga culture interrupted in Boom & Bust TVO doc
Literary
Al Purdy Writer in Residence Anna Swanson shortlist CBC Poetry Prize New owners for the Napanee Beaver newspaper
Heritage
The Grand Old Opera Houses of Belleville Celebrating Sir Gilbert Parker
Members and Donors
Artist to Watch
[Sponsor: Bay of Quinte Regional Marketing Board] Fred Rutherford
Tara Wilkinson, CherryBlossomDreams
Message from the Chair
Dear Quinte Arts Council Members and Community,
The vibrant days of summer are upon us and there is much to celebrate. This season symbolizes growth, creativity, and connection – all of which are at the heart of the Quinte Arts Council.
I am pleased to extend a warm invitation to all our members for the Annual General Meeting which will be held on July 16th at 5:00 PM at the QAC Cultural Hub. The AGM is a vital event where we reflect on our achievements, discuss future plans, and welcome your valuable input. Your participation is crucial as it ensures that our community's voice shapes the direction of our work. We look forward to your active involvement and insightful contributions.
One of the highlights of our year is recognizing the exceptional talent and dedication of young individuals through our Student Bursary Program. Congratulations to this year's winners: SarahJade Belley (Bayside Secondary School), Eva McComb (Nicholson Catholic College), Elizabeth Austin Mascarenhas (Nicholson Catholic College), and Christopher Virtue (Quinte Christian High School). These outstanding students have demonstrated not only academic excellence but also a strong commitment to the arts. We look forward to seeing their continued growth and contributions to the sector.
As we continue to champion arts education and programming, we call upon your generous support. This summer, I encourage you to get involved in our activities, spread the word about our mission, and consider making a donation to support our initiatives. Every act of support, no matter how small, makes a significant impact.
Thank you for being an integral part of our journey. I look forward to seeing you at the AGM and celebrating our collective accomplishments.
Warm regards,
Brit
Contributors
Brit Johnston
Matilda Aide
Kodie Trahan-Guay
Gabrielle Faith Edwards
Greg Ceci
Jennifer Shea
Janet Jarrell
Scott Williams
Richard Hughes
Welcome Tonya!
The Quinte Arts Council welcomes Tonya Sutherland-Stewart (she/her) as our new Program Director! Tonya is a heritage professional and a newcomer to Belleville, ON. She holds a B.A. in English and History and is a recent graduate of the Master of Museum Studies program at the University of Toronto.
Tonya has a strong passion for community-related heritage and has worked with several communityfocused organizations, including the Japanese Canadian Cultural Centre, Bruce County Museum and Cultural Centre, the Metropolitan Community Church of Toronto, and The ArQuives: Canada’s LGBTQ2+ Archives.
As a co-founder of the Jackson Park Project, Tonya has developed a deep commitment to community outreach and engagement. This multi-platform not-for-profit explores, memorializes, and celebrates the history of the Emancipation Day celebrations in Windsor, ON.
Tonya is excited to learn about the many vibrant communities that make up the Quinte Region and to support the continued development of arts and culture in her new role. Please join us in welcoming Tonya to our team!
Tonya Sutherland-Stewart
Quinte Arts Council
Highlighting the beauty and significance of the Canadian wilderness
By Janet Jarrell
RobertHuffman, an
established professional artist, has been painting the landscapes and towns of Canada for over 40 years. Born in Belleville, Ontario, and raised on a farm in Thurlow Township, Huffman attended a one-room public school before moving on to Quinte Secondary. His early life in rural Ontario laid the foundation for his deep connection to the Canadian landscape, a connection that has profoundly influenced his artistic journey.
Huffman’s paintings have often been compared to the works of The Group of Seven and Tom Thomson, iconic figures in Canadian art. He acknowledges their influence, noting that their art was the first Canadian painting he knew. “They had painted the country that became my own inspiration, and I was drawn to their direct approach to painting the landscape,” Huffman explains. The Group of Seven and Thomson’s practice of painting on location, often canoeing and camping in the bush, resonated with Huffman and inspired his own approach to capturing the Canadian Shield, a landscape once thought unpaintable.
Over the decades, Huffman has seen his perception of these landscapes evolve. Some of his best-received works depict the small towns and villages of Ontario, places that retain the feeling of an earlier time. “I think it is natural that we want to hold onto a sense of that era, and a painting is a way of doing so,” he reflects. This nostalgic connection to the past is a recurring theme in his work, which often captures the essence of these timeless locales.
Huffman’s distinctive style is characterised by bold use of colour and dynamic brushwork. While his work has clear ties
to Thomson and The Group of Seven, he is also influenced by the broken brushwork and bright colours of Impressionism. This style has been a part of his work since he was young. “I have a small oil painting done when I was about twelve years old that already displays that approach,” he recalls.
After studying at the Ontario College of Art (now known as OCADU- Ontario College of Art and Design University), Huffman spent a decade working as a commercial artist in Toronto. This period was marked by the end of the avant-garde in art, with abstract expressionism and minimalism giving way to conceptual art. During this time, landscape painting seemed to be losing its place as a meaningful art form. However, Huffman’s experience in Toronto led to a determination to follow his own personal path, reinforcing his commitment to landscape painting.
Despite fluctuations in the demand for art, Huffman remains motivated by the challenges each painting presents rather than potential sales. “I am always trying to paint better pictures, and that can often be a struggle,” he admits. His dedication to his craft is evident in his continuous pursuit of improvement and
Belleville
Robert Huffman, HastingsHighlands
Robert Huffman, AlleyintheWinter
his ability to find inspiration in the landscapes around him.
Huffman’s paintings often depict scenes from both rugged bush country and intimate villages. He has a deep connection to both types of landscapes. The fields and old farmsteads where he grew up were natural subjects for him as a young artist, and he has continued to return to them over the years. His father’s roots in Muskoka also influenced his love for the “Near North,” including the small villages and towns along the way. “Some of my earliest memories are of travelling through Algonquin Park to visit my grandparents in Huntsville,” he shares.
When it comes to his painting process, Huffman combines meticulous planning with a spontaneous approach. For the first twenty years of his painting life, he painted only on location (en plein air). Even though he now often uses photographs, his paintings still exhibit that early training working in front of the scene. His process usually involves a careful study of the subject, a loose blocking-in of the main structures, followed by a gradual refining of the image. Huffman tries to keep his initial concept in sight as he completes the work and paints on location from time to time to keep his
palette true and fresh in colour. “I paint every day if possible,” he says.
Huffman often returns to certain favourite places, not only for their visual impact but because of their familiarity. This comfort allows him to relax and usually results in a great painting. He believes that the ability to properly observe the landscape is a skill that continues to develop over time.
In addition to his solo work, Huffman has been part of a community of artists. He met Lucy Manley and many other talented artists through the Eastern Central Ontario Art Association. Poul Thrane
(June 1925 - March 2024), another fine artist from that group, was particularly generous to Huffman in his early days.
Ultimately, Huffman hopes that his attempts to interpret the landscape will resonate with people who have a similar affection for Canada. His art aims to create a connection between the viewer and the natural world, highlighting the beauty and significance of the Canadian wilderness. Through his work, Huffman continues to celebrate the landscapes and towns of Canada, sharing his unique perspective and passion with the world. roberthuffman.ca
Fine Arts
Robert Huffman, Fraser Lake
Robert Huffman, Deer Rock Lake
Robert Huffman, Fields of Gold
Robert Huffman, County Irises
Robert Huffman, Outlet Beach
Robert Huffman, AutumninAlgonquin
A winner in the world of fibre arts
By Matilda Aide
In the world of fibre
art, Ann Fales emerges as an artist whose creative journey is as vibrant and diverse as the pieces she creates. Born in Vancouver, when Fales was five years old, she contracted the mumps, which confined her to her room with little to do. To help the young mind stay busy,
her grandmother gave her an embroidery tablecloth kit, which she cherishes to this day. From that point on, Fales taught herself embroidery and sewing.
Her skills have helped her in many ways. Fales earned a B.A. in Anthropology (University of Washington) and an M.A. and Ph.D in Adult Education and Adult Development and Aging (University of Chicago). “During that time, I sewed for the wives of fellow students to make money through school.”
Her do-it-yourself attitude followed her throughout her life. When she and her husband found their way to Belleville, Fales recalls a time when she “went into a store downtown that sold funky clothing and had fibre art on the wall. There was a piece that had a picture of a swamp on it. I thought about buying it, but then realized I could make that! Though I had never learned quilting. So I took a course at Foxboro Fabrics and got hooked into the quilting world.”
Later in life, Fales and her husband both retired from their academic careers and made their way back to Fales’s home province of British Columbia to be winter caretakers on a floating fishing lodge. “The fishing lodge was in Barkley
Sound on the west coast of Vancouver Island, between Uculet and Bamfield. It is adjacent to the Broken Group Islands which are part of Pacific Rim National Park.” They were there for seven months the first winter, with limited contact and cold nights. Fales found herself picking up her quilting once again. “I gained inspiration for my pieces from the things I saw while out there isolated—whales, wood on the beach—so that was my first art piece.” When they came back to Bay of Quinte area, Fales decided she would focus more on quilting and took the fibre arts diploma course at St. Lawrence. “I didn’t actually get the diploma. I didn’t care; I just wanted the knowledge, not the piece of paper.”
Thomasburg
During that time, Joan Sheppard was an important mentor in the fibre arts group for Fales, and she was able to pick up great techniques.
“The opportunity to express my own images of nature and even thoughts or feelings gets expressed in the art, and I find the vehicle of fibre/cloth/stitch in that form much more appealing than paint or drawing. People ask me what my inspiration is, and I often say it’s the fabric itself. I will get out my storage containers of fabric and play with them. Sometimes a photograph that I’ve taken of nature, but sometimes it’s the fabric that informs the piece.” Fales expresses that when she is creative in other forms, like drawing, she feels too much like a perfectionist—too self-critical.
Fibre art is so personal and real. “You can play with it and feel the inspiration," says Fales. In a world where perfectionism often stifles creativity, Fales finds liberation in the imperfections of fibre art. Here, she can play, experiment, and surrender to the ebb and flow of inspiration without the burden of self-criticism. After all, isn’t that what art is all about?
Fales has taken advanced studies in quilting design, exhibited her work in many shows and has received many awards. She is a member of Quinte Arts Council, Quinte Fibre Artists, Tweed and Area Studio Tour, Stirling Fine Artist, Quinte Quilters’ Guild, Canadian Quilting Association, Prince Edward County Quilters’ Guild and is a current member of Gallery One-Twenty-One.
Fine Arts
ANDARA gallery
By Tara Wilkinson
In the Fall of 2017,
Tara Wilkinson and Andrew Csafordi –then artists and co-owners of three-season art studios and galleries on their County property since 2009 - stood in their driveway looking at an old shed that had become an eyesore. They had long dreamt of building a new, year-round art gallery. “I think it’s now or never. Shall we do this?” she asked. Andrew agreed. They shook hands and officially kick-started their next big adventure.
First, they made a call to the County’s planning office. From meetings to discuss what might be possible; sketches on napkins translated into professional drawings; acquiring permits, then dismantling the old shed followed by a year of construction, each step was nudged along by inspectors and tradespeople who guided the couple.
In May of 2019, they finally opened the doors to ANDARA Gallery, a light-filled, contemporary art gallery showcasing fine art paintings and photography over
two floors. In addition to the space and works of art, ANDARA quickly became known for its colourful exterior art wall.
ANDARA Gallery is now a thriving yearround business, despite having to close for long stretches due to the pandemic. During Covid, Wilkinson and Csafordi wanted to help those struggling with isolation. They installed a 16-foot Christmas tree and festive seating area where families could come and have a free “Holiday Photo in the Barn” in exchange for a donation to PEC hospital’s “Back the Build” campaign. To date, over 2,500 people have been photographed, raising over $30,000.
These efforts – in addition to serving as proud PEC tourism ambassadors to the tens of thousands of visitors to their galleries since 2009; chairing the PEC Arts Trail for the past six years; organizing multi-artist community events (as well as their own exhibitions); and serving on various organizing committees for local art programs and events have earned them several accolades and awards.
Wilkinson and Csafordi were recipients of the Award of Excellence for “Outstanding Contribution to the Arts” from both the PEC Chamber of Commerce (2023) and PEC Arts Council (2015). ANDARA Gallery won a Traveller’s
Prince Edward County ANDARA Gallery - Interior
Tara Wilkinson & Andrew Csafordi
The name “ANDARA” is a combination of Wilkinson and Csafordi’s names - and also recognizes their daughter, Andie. A graduate of Centennial Secondary School’s Fine Arts program, Andie has just completed her 3rd year at OCAD-U in the Material Art & Design program. She was recipient of QAC’s Hugh P. O'Neil and Student Arts Scholarships, and the Governor General's Academic Medal for Highest Academic Achievement at Centennial, in 2021.
Choice Award from TripAdvisor in 2021, placing it among the Top 10% of attractions worldwide. The gallery’s been consistently rated 5-stars on both Google and TripAdvisor, and is a top arts destination in PEC.
In addition to celebrating ANDARA’s 5th Anniversary in 2024 (and the 15th Anniversary of operating their studios and galleries in PEC), they’ve also launched ANDARA STUDIO - offering mini 2-3 hour painting and drawing workshops “on demand” for visitors looking for an art experience on short notice.
The gallery returns as a satellite venue for the PEC Jazz Festival in August 2024, and the 5th Annual “Holiday Photo in the Barn” returns in November and December 2024.
Follow us: F: andara gallery IN: andaragallery
Photos by Daniel Vaughan, Vaughangroup
ANDARA Gallery - Exterior
Andrew Csafordi, Grace
Andrew Csafordi, The Ancient Pulse
Celebrating excellence in arts education
Since 2002, the Quinte
Arts Council (QAC) arts education program has contributed over $140,000, providing support and encouragement for young artists in Hastings and Prince Edward Counties. Each year, the QAC awards six bursaries to graduating secondary school students who are pursuing further education in the arts at a university or college in Canada.
This year, the prestigious Elaine A. Small Bursary has been awarded to Christopher Virtue, a talented graduate from Quinte Christian High School. Christopher has shown exceptional dedication to both music and writing, and his passion for the arts is truly inspiring.
Elaine A. Small, the namesake of this bursary, was a renowned author and singer, celebrated as one of Canada’s best supper club performers during the mid-1960s. Her career spanned decades, and she recently
gained recognition for her award-winning book, Priests in the Attic, a candid memoir set in Toronto during the '60s and '70s. Elaine’s musical memories were deeply intertwined with the Great American Songbook, which inspired her throughout her life. We extend our heartfelt thanks to her spouse, Richard Haeberlin, for sponsoring this bursary.
Christopher Virtue, our deserving bursary recipient, shares his passion for music and writing. He says, “I’ll be pursuing a double major in Music Performance and English Writing at Redeemer University in Hamilton. It is my goal to become a music teacher and inspire my students the same way I’ve been inspired.”
Virtue is also the recipient of the Susan Richarson bursary. Richardson (passed away on May 21st, 2015) was a well-respected member of the Belleville Choral Society for 39 years, including 15 years as the Music Director. She was also a
well-known organist and recipient of a Quinte Arts Council’s Arts Recognition Award and provincial Arts and Culture Award.
Elizabeth “Austin” Mascarenhas: A recent graduate of Nicholson Catholic College, Mascarenhas received a $1,000 bursary from the QAC. She is passionate about selfdiscovery and empowering others through art. Mascarenhas plans to pursue a bachelor’s degree in studio art, followed by a teaching degree, with the goal of becoming a secondary school arts teacher.
Eva McComb: Another graduate of Nicholson Catholic College, McComb was awarded the Hugh P. O’Neil Bursary. McComb has demonstrated exceptional talent and dedication to the arts. She is inspired by her mother, a teacher, and aims to nurture and help others through her profession.
Christopher Virtue
Elizabeth Austin Mascarenhas
Sarah “Jade” Belley: Jade, a graduate of Bayside Secondary School, received both the QAC Graduating Bursary and the Hugh P. O’Neil Bursary. Belley is committed to making a positive environmental impact through her art and plans to share her journey and dedication with Seneca Polytechnic.
About Hugh P. O’Neil
Hugh P. O’Neil (July 10, 1936 – September 14, 2015) was a respected politician in Ontario, Canada. He served as a Liberal member of the Legislative Assembly of Ontario from 1975 to 1995 and held various cabinet positions in the government of David Peterson. Hugh was a passionate advocate for the arts, both provincially and locally, and his legacy continues to inspire and support young artists in our community.
Supporting the Arts
The Quinte Arts Council’s bursary program is a testament to the importance of supporting young artists as they embark on their educational journeys. These bursaries not only provide financial assistance but also recognize the hard work and dedication of students who are passionate about the arts.
Attention, art lovers!
The funding for some bursaries, like the Susan Richardson Bursary, has expired. You can make a difference by donating to the Quinte Arts Council to support the next generation of artists. Let’s keep the arts thriving!
Join us in celebrating these remarkable students and their achievements. Congratulations to all the recipients, and best of luck in your future endeavours!
Sarah Jade Belley
Eva McComb
Hugh O'Neil
We hear from 2023 recipients
Lily Chapman 2023ElaineA.SmallBursaryRecipient
Last year, I was the recipient of the Elaine A. Small Bursary. The Quinte Arts Council’s bursaries are an incredible thing. It helped me access post-secondary education at Queen’s University. I am thankful for the Quinte Arts Council.
This past year has been full of musical joy and adventure. Being able to attend university for the arts has allowed me to challenge myself and achieve things I didn’t know I could.
I had the opportunity to perform at the beautiful Isabel Bader Centre for the Performing Arts multiple times this past year and watched over a dozen concerts. My experience this year has been beneficial to me and has completely solidified my desire to become both a performer and a teacher. It is incredible that the Quinte Arts Council has these supports available for students. The arts are so important to everyone. I wish good luck to this year’s recipients, and I know they will have a wonderful time in post-secondary arts education. Thank you, Quinte Arts Council.
I was the 2023 recipient of the Hugh P. O’Neil Bursary from Quinte Arts Council. I am writing this letter to share my experiences as a first-year student in the joint HBA Theatre and Drama Studies Program (TDS) at the University of Toronto and Sheridan College. This past year was one of great personal and professional discovery, something that was facilitated by the financial support of the Quinte Arts Council Bursary Program.
During the 2023-2024 school year, I had the opportunity to receive both practical, hands-on theatrical training from industry professionals at Sheridan College, while simultaneously immersing myself in classical theatre history from acclaimed professors at the University of Toronto. My continued access to both resources allowed me to progress my knowledge surrounding Theatre and Drama in a well-rounded manner; honing my performance abilities, while furthering my education in such a vast and ever-changing art form. Through scene studies, personal performance projects, and research assignments, my understanding of, and appreciation for theatre has grown exponentially.
Not only have I had the opportunity to pursue more than one approach to theatre, but I have also expanded my horizons by working as a member of production crews. This year, I spent various hours per week in the wardrobe and props departments of Theatre Erindale, the production company for the TDS Program. It produces two shows per semester; the mainstage productions saw Guillaume Corbeil’s 5 Faces for Evelyn Frost, Virginia Woolf’s Orlando,
Kat Sander’s Cockfight, and William Shakespeare’s As You Like It brought to life, within all I had the pleasure of fulfilling crew responsibilities. The work of costume-making/design and development and construction of props, was tirelessly supported by talented industry artists as heads of crew. Beyond simply being onstage, I have come to know and love contributing to the production side of performance. Additionally, my respect and gratitude for both production and backstage members and crews of all departments have only risen after witnessing how integral the commitment of each team is to the success of a production.
Overall, it is with the financial support of the Quinte Arts Council that I have been able to capitalize on the new endeavours and opportunities presented to me in my first year of post-secondary. My experiences during this school year have only confirmed and furthered my passions within the dramatic arts. I look forward to the growth and future discoveries that I will surely make throughout my remaining three years in the TDS Program.
Thank you, Quinte Arts Council!
Sophia Crawford-Kenny, Janet Jarrell
A horse of a different colour
By Greg Ceci Kingston
One listen to Kingston-Based
Tiny Horse should convince anyone with any kind of horse sense of the overall prowess and fortitude of the band’s songs and vocal harmonies. Their eight-track debut album, First Rodeo, is set for a June 14th release, but having already pumped out a five-song demo in 2021 and a Christmas EP in 2022, they’re certainly not putting the cart before the horse.
Originally a duo consisting of vocalists, guitarists, and songwriters Ciara Roberts and Rachel Corcoran, the stable expanded when friends Julia Beattie and Harvey Dolphin bolstered the lineup on keyboards and drums respectively. But hold your horses! Both also help round out their sound by adding more vocal harmonies to the mix. The band describes themselves as, “Soft rock to make you dance and cry.”
Not ones to look a gift horse in the mouth, they’ve made sage choices and built a loyal following, doing it right by grinding out live shows and employing the ears of Brett Emmons to produce the record. Ciara explains, “We have spent the past three years really growing as songwriters and building a community around Tiny Horse, and we feel like the album is a celebration of both of those things. It is important for us to work with someone who believes in our music.”
They certainly don’t spare the horses when it comes to live performances and ensuring the audience walks away buzzing, satisfied, and feeling their unique vibe. Many bands just play gigs. Tiny Horse makes every performance a scintillating show, a big deal, and a pomp production. So what can you
expect when you see Tiny Horse? According to the band, “Their performances are equal parts small-town queer cabaret, 70s folk-rock rapture, and Bowie-ish extravaganza. It’s a proper show with costumes and great songs.”
Tiny Horse is also savvy to the vast changes in the music industry. With the old model gone the way of the horse and buggy and replaced by an even more disconcerting one, Tiny Horse relies heavily on the tried, tested, and true way to amass a following – playing live and delivering mind-blowing performances that connect with audiences.
They definitely don’t flog a dead horse or take part in all the horseplay that is the modern music industry and, like many artists, are left with a bittersweet taste in their mouths while lamenting the devaluation of music. Ciara explains, “I think that people need to value music like it’s not so consumable. Streaming is great be -
cause you have all the music at your fingertips, but artists are not getting paid for it. If you like music, you should be prepared to pay for it and directly support the artist.”
If wishes were horses, beggars would ride, and Tiny Horse is riding high in the saddle, having already shared a stage with the likes of the Glorious Sons at the Leon’s Centre, Begonia at Hillside, and an unforgettable bucket list show at the legendary El Mocambo in Toronto.
It is said you can lead a horse to water, but you can’t make it drink. But when it comes to songwriting, Tiny Horse is never thirsty. Roberts and Corcoran handle the heavy lifting, bouncing musical ideas and lyrics off each other. Once satisfied, they present the song to the rest of the band.
From there, Beattie and Dolphin slather on their own brand of mojo and special sauce, making it so compel -
ling that wild horses wouldn’t drag you away. They’re very proud of the record and explain, “It feels really validating to have an actual body of work that we worked really hard on and are super happy with.”
So keep an eye on this dark horse because they have enough talent to choke a horse. They’re champing at the bit to get this album released, and one wouldn’t be backing the wrong horse by supporting this band.
Any horse trader worth half a salt-lick will tell you straight from the horse’s mouth that a good horse is never a bad colour. Tiny Horse is a great one and always ready and willing to entertain. Roberts elaborates, “If you are an aunt, a queer, a moody toddler, a forty-year-old golfer, or my dad, you’ll probably love our music, so please check it out.”
Second chances & holistic songwriting
By Greg Ceci
It's rare to be afforded the luxury and privilege of do-overs in life, especially later in life. We all have passions, dreams, and goals— sometimes pursued from an early age, sometimes not until we are wiser and more mature. Jackie Findlay’s passion has always been music, and her journey has seen her youthfully chase down those dreams, only to be derailed by life’s challenges. But music transcends all. It is a universal teacher, a loyal companion, a trusted therapist, and a holistic healer for all of life’s trials and tribulations.
Raised in Belleville, Findlay was born destined to sing sweet melodies. In fact, she had her first gig by grade two when a friend invited her to sing with a local church choir. Early on, singing and music were the norm, as Findlay jokingly reflects, “I recall as a child that I was always singing, and I think sometimes it drove my parents crazy! My dad took up the bagpipes for a while, and that drove all of us crazy!”
It was her brother, Ronnie, who introduced her to another lifelong obsession: the guitar. When Findlay was thirteen, he taught her a few chords, and she was hooked, immediately singing along and soon thereafter writing her own material. Eventually, Findlay took formal guitar lessons while enjoying a great support group consisting of two understanding parents and an encouraging music teacher. Her parents proudly paraded Findlay out for house guests to sing and play her guitar.
As her proficiency increased, her music education continued with the widely respected and renowned Eli Kassner of the Guitar Academy. The academy was located in Toronto, so Findlay also began performing at area venues, drawing from musical influences like Joni Mitchell, Carly Simon, James Taylor, and Shawn Phillips. She further immersed herself by studying piano and opera and eventually attended the music program at Queen’s University in Kingston. Findlay honed her tune-smithing skills by attending songwriting workshops
and garnered interest from Nashville publishers for her incomparable songwriting and sound. For a brief time, Findlay also toured with Donna O’Connor and the band Hostage.
Findlay’s approach to songwriting is natural, earthy, spiritual, emotive, and even holistic, but it wasn’t always that way. She had this to say regarding the evolution of her songwriting and creative process: “When I was trying to write hit songs for publishers in Nashville, I would almost always write the words and music together, defining the hook. Now that I’m writing purely for my own enjoyment with no expected outcome, the process is more abstract.”
As can often happen, life-altering events and the mundane vanilla day-to-day grind hindered her dreams. The fire dwindled but never completely extinguished, with the embers patiently awaiting the day to be rekindled and once again rage on—that day has come. Now retired, Findlay has picked up where she
Belleville
left off, overcoming many trying times, formidable obstacles, and one terrible tragedy. After much agonizing and arduous navel-gazing, she’s returned to her first love, reunited with the greatest healer of all time: music. Findlay took all the love, the hurt, the grief, the joy, the pain, and everything in between and poured it into crafting songs and frequenting open stages, as well as songwriter showcases and now, her own shows. Song by song, performance by performance, smile by smile, and tear by tear, she rebuilt and reinvented herself, creating an extraordinarily magical crop of songs.
Her music is best described as alternative folk with classically infused guitar deftly married to soaring melodies and her signature angelic voice. Findlay has tapped into all her life lessons to adopt a spiritually sacred and holistic approach to her music, woven into the very fabric of the songs on her soon-to-be-released, must-have debut album. Don’t miss it!
jackiefindlay.com
by Bob House
Photos
What if you want a
career in film or TV, but don’t want to move to a big city? What if you’re a growing small-town business that needs the expertise of a major agency? What if you’re an organization in a major centre and want your marketing budget to go further, by engaging a team not burdened by big city overheads? What if you’re a couple of talented guys who could make all that happen?
Enter Ash Murrell and Brady Rogers, the restless minds behind AMP Visual Media, a full-service creative agency, and MindFusion Visuals, a cutting-edge video production house with its own fully-equipped studio. Over the last couple of years, Brady and Ash have created a sea of change in the local media landscape.
Paul Papadopoulos, Professor of TV & New Media Design at Loyalist College, describes how he sees the change: "When my students were graduating in 2011, they had no choice; they had to go to Toronto, Vancouver, Montreal, New York, LA. Now, while we have great
AMP’d up!
By Scott Williams
students in those cities, we have a plethora of excellent graduates who are staying right here in town and making shit happen."
Brady echoes this. “There was a shocking number of people who worked in the
industry, who were from here, but not necessarily working here.” Now those same people aren’t just offered great work locally, they’re also paid appropriately. “From the beginning we decided nobody’s getting low-balled,” says Brady. “Any rates our crew could get in Toronto, they’ve got to get here.”
Quinte West
Wages aside, small-town overheads are not the same as Toronto, which the duo say give them a huge advantage over their urban competitors. But they don’t want to just be a more cost-effective resource for big-city clients. A core objective of AMP and MindFusion is to give local companies the same top-tier experience that the world’s biggest brands get with major agencies: top-tier resources, expertise, and opportunities. “They can come to us and get the same kind of respect for their brand,” says Ash.
The relationship between MindFusion and AMP has evolved over the years, but really snapped into focus in early 2023. Clients who are already working with an agency can engage with MindFusion; those without an agency can begin their journey with AMP, which offers clients everything from initial brand identity work, creative direction and marketing strategy, right through to content creation and implementation, even including the nuts and bolts of managing social media streams.
At every stage, helping the client understand and communicate their differentiator – why they do what they do – has in turn become a differentiator for AMP and MindFusion.
“That’s one of the big things Ash brought to the production company,” says Brady. “Not just making the ad, but why we make the ad the way we do, why we make the video the way we do.”
“It’s all about the story the client is trying to tell,” adds Ash. “Brady is all about doing the story justice. He has an unwavering determination to tell the story in the best way possible.”
If all this sounds expensive, the reality is that it can be, and Ash and Brady admit they’re not for everyone. But, recognizing that a high price tag might be an obstacle for some of the businesses they want to serve, they have developed an aggressively-priced new offering: up to two hours in studio plus professional editing time to produce a one-hour podcast and 30 shortform video clips. “For $1,000 the client gets a month’s worth of social media con-
tent,” they say, making great video content “easily accessible to virtually anyone.”
The team uses this approach themselves, regularly posting content that gives insight into their work, showcases local individuals and organizations, and provides the audience with valuable insights they can apply in their own businesses.
Follow @ampvisualmedia and @mindfusionvisuals on Facebook and Instagram, @ ampvisualmedia and @BradyRogersDP on YouTube, and ampvisualmedia.com and mindfusionvisuals.com on the web. Podcasts are available on YouTube and Spotify.
Photos submitted by AMP
ARTrepreneur
Jai Harvey-Wright
A celebration of Métis heritage with You used to call me Marie...
By Janet Jarrell
The National Arts
Centre (NAC) Indigenous Theatre
Production presents You used to call me Marie…, an epic Métis love story of history, romance, and cultural celebration. This remarkable play, produced in collaboration with Savage Society, vividly brings to life the storied past of the Callihoo women from Alberta, weaving a narrative that spans generations and showcases the vibrant traditions of the Métis Nation.
At its core, You used to call me Marie… is a love story. It follows the connected lives of Iskwewo, Napew, and Mistatim ('horse' in Michif) through eight love stories set against the backdrop of the rising Métis Nation across the plains. Each story is a testament to the enduring spirit and resilience of the Métis women, whose lives were deeply intertwined with the fur trade, governance, and community organization from the 1930s to the present day.
One of the highlights of this production is its commitment to inclusivity and accessibility.
The play is more than a historical recount; it is a celebration of Métis song, dance, and cultural identity. The performance celebrates dance and live music, ranging from traditional French fiddle tunes to contemporary country melodies. The incorporation of these musical elements not only enriches the narrative but also serves as a bridge connecting the past to the present, allowing the stories of the Callihoo women to resonate with audiences.
L to R - Aren Okemaysim as Napew, Krystle Pederson (ensemble), Tai Amy Grauman as Iskwewo, Rebecca Sadowski and Cole Alvis (buffalo)
L to R - Rebecca Sadowski, Krystle Pederson, Aren Okemaysim, Tai Amy Grauman
One of the highlights of this production is its commitment to inclusivity and accessibility. A performance was interpreted in American Sign Language (ASL), ensuring that the beauty and emotion of this epic love story can be experienced by a broader audience. This inclusive approach underscores the NAC's dedication to making theatre a space where diverse voices and stories can be heard and appreciated by all.
You used to call me Marie… is more than a play; it is a powerful homage to the Métis community and their rich cultural heritage. It is a testament to the strength and resilience of Métis women, whose stories of love and perseverance continue to inspire. By bringing these tales to the stage, the NAC Indigenous Theatre Production and Savage Society are not only preserving history but also celebrating the vibrant, living culture of the Métis people.
L to R - Cole Alvis as Mistatim, Rebecca Sadowski, Krystle Pederson (in background) & Kathleen Nisbet on fiddle
TQuinte Ballet School of Canada alumnus: Desirée Botting
By Kodie Trahan-Guay
he world of dance
is extremely competitive. Without a supportive environment of teachers who love the craft and want to create nurturing spaces, the dance world can be very intimidating for its inhabitants. The Quinte region is fortunate to have a national dance school, the Quinte Ballet School of Canada (QBSC) in its midst and even luckier to have a QBSC alumnus, Desirée Botting, as the Assistant Artistic Director.
Botting began her dance journey at a young age under the direction of QBSC founding Artistic Director, Brian Scott. She faced financial challenges when beginning ballet training, as it can be costly, but Botting was determined. She auditioned every year, even though her family initially struggled to find funding to enroll her in the school.
“I auditioned for the school a number of times, and my parents, for subsequent years, didn’t let me attend. And of course, as an adult now, I understand that there are financial constraints that just don’t permit those things to happen sometimes.
But eventually, the founding director, Brian Scott, looked at my mother at one of the auditions and said, ‘Stop bringing her. If it’s not now, stop,’” said Botting. “So we figured out a way. I applied for membership through the National Aboriginal Achievement Foundation, and they ended up sponsoring me throughout my time. So I was allowed to come.”
Upon completing the Professional Training Program at the QBSC, Botting went on to the Cecchetti teacher training program so she could pass on her love of dance. Cecchetti training ensures dancers are capable of performing in every style of ballet, a feat for any dancer.
The ability to teach a variety of styles ensures that students who graduate from the QBSC will be able to join any dance company in the world, as they have the necessary skills.
Botting has performed globally as a dancer. She performed with the Cuballet de Vernon in Havana and Toronto’s Desrosiers Dance Theatre, but the passion for teaching has been with her since she completed her time at the QBSC.
“I decided that teaching was more in line with what I was interested in doing because I saw the strength of the school and, at the time, also the weaknesses of the school and thought, you know, I’d like to be a part of moving this and helping and seeing where we can go as we go forward with the school’s future,” said Botting. “And so I took the teacher training program and was just working in the recreational school at the time. And then one summer school, the first summer school, somebody dropped out at the last minute, and they sort of looked at me and said, well, you’ll do. So I started teaching in that summer.”
After stepping away for a bit to raise a family, Botting had a chance meeting with current Artistic Director Catherine Taylor, who invited her to come back
Belleville
and teach as often as parenthood allowed. This has evolved into her current full-time position. Botting was at the QBSC during lockdowns when schools had to close their doors. This didn’t stop the QBSC team from ensuring students had a routine, though.
“Our students still had opportunities to connect in a different way, but there was still a connection. There was still a daily ritual that they were doing, so it kept them open and still involved with something instead of just, you know, stuck in their homes. But at least they had that. It propelled us, I think, to be more creative with how we approach things.”
The QBSC runs year-round programs for dance students, both professional stream and those who want to pursue dance recreationally. They have two yearly performances in the spring and winter.
Join us in celebrating the vibrant world of dance and support the Quinte Ballet School of Canada as we nurture the next generation of talented dancers!
quinteballetschool.com
Photos by Drew Berry
Performing
Breaking barriers
Quinte West
Gabrielle Faith Edwards
grew up in Prince Edward County and has loved performing ever since she was a child. Whether through talent shows, church concerts, or church plays, she always found her way to a stage. As she
grew, she found herself more and more in love with acting. Immersing herself in film and television helped save her life when she was struggling heavily with depression. Drama classes in high school and kids’ plays at Stirling Festival Theatre were outlets for her acting passion. When COVID-19 struck, she practiced her acting by finding monologues online and performing them in her family’s home garage. She always found a way, whether big or small, to be doing what she so very loved.
Through hard work, Edwards graduated high school early, and with her free time, earned an internship at Quinte’s Broadcasting Radio Station, where she hosted on air with the main hosts and performed various tasks, furthering her knowledge of this industry. While she was interning,
she also participated in the 2022 Canadian Model and Talent Convention, where she won Runner-Up for the Self Tape Competition and was called back by several agencies, ultimately signing with her current agency in Toronto, AMI
Artist Management. After being accepted into Seneca Polytechnic’s Acting for Camera and Voice program, Edwards moved to Toronto to begin her journey into the industry. Before she started at Seneca, she was blessed and honoured with the QAC Graduating Student Bursary at Trenton High School, which aided in stepping into her dream and bringing it into reality.
As Edwards continued her schooling, she also actively auditioned for projects through her acting agency, as well as for projects she pursued on her own. Some of her works include commercials for Walmart, Best Buy, Sam’s Club, and Marvel Studios. As she worked on Marvel’s Thor Hammer Commercial, Edwards remembered the director stating that he didn’t want to work on the project unless she was cast.
This was exciting and humbling feedback, which really encouraged her to work hard. She also adds how blessed she was to have been honoured with the Quinte Arts Council Graduating Student Bursary.
Edwards also branched into film and television by doing a few short films such as Buzzkill (2023), Puzzling (2024), Final Decision (2024), and more. She most recently has branched into the voiceover region of the industry, as she has been trained
by one of the industry’s best, Richard Waugh ( The Queen’s Gambit, Schitt’s Creek, Resident Evil). She continues to branch further into voiceover with her agency and by working on animated short films such as Punk’d Pooch (2024) and I Know You Are Strong Enough (2023).
Edwards also loves to model for photographers when she has the chance! Having recently graduated from her acting program at Seneca Polytechnic, Edwards looks forward to her future as she continues to reside in Toronto, continuously auditioning for projects, working in the arts, and looking to further her training and education in acting. She loves doing what she does as it is her true heart’s passion and talent, which she considers a gift from God.
Her ultimate goal is to make a positive change in people through her acting and open more doors in the industry for creative and passionate people like herself.
Performing
Students celebrated in the community
The Quinte Arts Council
(QAC) hosted its 3rd annual Docs, Dinner & Drinks event in April 2024, a sold out celebration that brought together the community to appreciate the art of documentary filmmaking. This year’s event, held at The QAC Cultural Hub, was a testament to the creativity and dedication of students from Loyalist College’s Film, Television, and Digital Content Creation program.
The evening began with a busy reception at The QAC Cultural Hub, where attendees were greeted with drinks provided by Meyer’s Creek Brewing Company. The guests for this gathering were welcomed
by the board chair Brit Johnston who set a warm and inviting tone for the night, allowing guests to mingle and connect in a relaxed atmosphere.
The highlight of the evening was the screening of documentary films entirely produced by Loyalist College students.These films offered a unique perspective on the community, showcasing the world through the eyes of the students. The documentaries were presented at Theatre in the Wings, a venue that provided an intimate setting for the audience to fully immerse themselves in the stories being told.
Among the featured documentaries were Cutting Rhythm, Melted Together , Skating to Success, and Zamboni Driven.
Belleville
Film
Among the featured documentaries were Cutting Rhythm, Melted Together, Skating to Success, and Zamboni Driven. Each film highlighted different aspects of life and community, reflecting the diverse interests and talents of the student filmmakers. The audience was captivated by the depth and quality of the films, which demonstrated the students’ ability to convey powerful narratives through their work.
The evening concluded with a dinner celebration at Dinkel’s Restaurant, where attendees had the opportunity to further discuss the films and forge meaningful connections. This dinner was not only a celebration of the students’ achievements but also a chance to recognize the importance of collaboration and artistic expression within the community.
The event was generously sponsored by Loyalist College, whose support was instrumental in making the evening a success. Special thanks were extended to Mark Kirkpatrick, President of the College, and Marian Henson for their unwavering support. Additionally, the presence of several key individuals from Loyalist College added to the event. These included Sandra Dupret, SVP Students; Jennifer
Maracle, Executive Director, Indigenous Initiatives and Reconciliation; Karen Baldwin, Dean – Media, Business, and Access; Brittany Munro, Acting Associate Dean, Media and Access; and Kristin and Katherine from the Loyalist College’s Indigenous Centre, Tsi Titewaya’taró:roks.
The success of the event was also due to the efforts of Rick Moulton and Paul Papadopolous, who played crucial roles in organizing and coordinating the evening.
The 3rd annual Docs, Dinner & Drinks event was a resounding success, highlighting the talent and creativity of Loyalist College students while fostering a sense of community and collaboration. The Quinte Arts Council looks forward to continuing this tradition and supporting the arts in the years to come.
Photos by Via Abbott
Film
Culture Interrupted
By Scott Williams
In the Artist Statement
on his website, multi-disciplinary artist, musician, knowledge keeper, and longtime Tyendinaga resident David Maracle emphasizes the importance of his ancestry, his Mohawk Haudensaunee roots, and the inspiration he received listening to his Indigenous elders – along with his responsibility to pass that knowledge on to future generations.
Those sentiments are echoed by other community leaders, artists and craftspeople featured in a recent TVO documentary,
Tyendinaga, part of its Crossroads series about communities facing industrial, social and cultural change.
Brandie Maracle is owner of Rez Girl Creations and a maker of traditional ribbon skirts – iconic clothing that has been worn by indigenous women for centuries. Brandie learned the craft from a friend’s mother, and feels keenly the influence of her elders. “I’m just following what my ancestors left me to do,” she says. I’m fulfilling my duty as a Mohawk mother.”
Like David and Brandie, Cheryle Maracle, owner of Randy’s Leather, emphasizes their collective responsibility: “We all hold a piece in keeping our ways, our traditions, who we are.”
Nathan Brinklow teaches the Mohawk language and feels a strong responsibility to his elders. “When I was a kid, there were people who could speak Kanyen'kehà:ka (Mohawk) but I didn't know it. They were just the old people, and it really wasn't until after they were gone that I realized that I should've been talking to these people. I should've been learning from them.”
Respect for Indigenous culture even makes it into the ground-breaking pilot-training program at Tyendinaga-based FNTI, the First Nations Technical Institute. Jo-Anne Tabobandung, Dean of Aviation, says: “We incorporate Indigenous classes and teachings Tyendinaga
where they learn a lot about themselves – and at the same time, they learn how to fly airplanes.”
Throughout the documentary, there is a sense that these efforts have come just in time. Callie Hill, Executive Director of Tsi Tyónnheht Onkwawén:na Language and Cultural Centre, says that in the late 1990s there were probably only a handful of Mohawk speakers –very different from the situation today. “I didn’t want to hear that ‘The last speaker of Mohawk has died’,” she says. Similarly, Janice Brant, founder of the Kenhté:ke Seed Sanctuary is helping pass on the farming knowledge of her ancestors, conserving the seeds and food of her people that otherwise would have gone extinct. Brandie Maracle says that at the time she began making her ribbon skirts, even some of her own people didn’t understand the significance of her work.
The injustices of colonialization are undeniable, and David doesn’t shy away from them, saying colonizers “tried to rape us of our language and traditional ways.” Indeed there is an undercurrent of anger during parts of the documentary, particularly when talking about some of the obstacles the community has had to overcome.
“These are not luxury items: to have safe drinking water, or affordable housing, or a safe road to drive on,” says R. Donald Maracle, Chief of the Mohawks of Bay of Quinte.
“That residential residue almost killed our people across the world,” says David – but the word ‘almost’ is key. Despite the efforts and effects of colonialism, Indigenous culture is culture interrupted, not culture extinguished.
The people of Tyendinaga aren’t defined by anger at the injustices of the past, so
much as by the beauty and richness of the cultural heritage they preserve and nurture. Cheryle says, “We’re coming out of this. We’re still here, we’re still surviving, and we’re still making it.” Brandie adds, “We’re very resilient people. We will always continue to be who we are. We will always follow the path our ancestors left us.”
David speaks of his culture as a living being, saying: “The beauty of our culture is reviving itself right now.”
So what does the future hold? Chief Maracle puts it succinctly: “I think Tyendinaga will become a very prosperous nation. I think our culture will flourish.”
Tyendinaga can be viewed on-demand on the TVO YouTube channel.
ACongratulations to Anna Swanson!
By Janet Jarrell Belleville
nna Swanson, an
Al Purdy A-frame writer-in-residence in 2019, was shortlisted in 2023 for the prestigious CBC Poetry Prize for her poem Sweetness | מתיקות. Swanson (she/her) is a queer Jewish writer and librarian currently completing her MFA at the University of Guelph, and otherwise based in St. John’s, NL/Ktaqmkuk. Her writing delves into themes of chronic illness, concussion, embodiment, queerness, Jewish ritual, Palestinian solidarity, collective liberation, swimming, and survival joy.
Swanson’s first book of poetry, The Nights Also, won both the Gerald Lampert Award and a Lambda Literary Award. Her second book, The Garbage
Poems, is eagerly anticipated and will be published by Brick Books in 2025. Notably, Swanson was also shortlisted for the CBC Poetry Prize in 2015 for her entry The Garbage Poems.
As part of her recognition, she will receive $1,000 from the Canada Council for the Arts, and her work has been published on CBC Books. In addition to her writing, Swanson serves as a poetry editor for Riddle Fence.
From her website in January this year: “When I submitted this poem last Spring, I wanted to wish us all some sweetness for this coming year, during a time that hasn’t been particularly easy. As I write this, in the midst of the unfolding news in
Gaza over the past few weeks, my heart is breaking in so many directions. I don’t know how to look away from the horror of the daily news. I don’t know how to grieve without fear that my grief will be weaponized against Palestinians. I don’t know how to make the violence stop, and I don’t know how to focus on anything else either. I remind myself that solidarity is a kind of sweetness, that we do not stand alone, that another world is possible. May we see a Free Palestine in our lifetimes.”
Anna Swanson’s achievements highlight her significant contributions to contemporary poetry and her dedication to exploring complex and meaningful themes through her work.
Awards :
CBC Poetry Prize shortlist, 2023
Arc Award of Awesomeness, 2022
Sparks Literary Festival Poetry Competition, 2020
Newfoundland and Labrador Arts & Letters Award for Poetry, 2018
CBC Poetry Prize shortlist, 2015
Arc Poem of the Year, Shortlist & Editor’s Choice, 2015
Lambda Award for Lesbian Poetry, 2011
Gerald Lampert Award for best first book of poetry by a Canadian, 2011
Lina Chartrand Award for Poetry (CV2), 2009
PRISM International Student Poetry Contest, First Place, 2007
Bronwen Wallace Award for Poetry, Honourable Mention, 2004
New owner for the Napanee Beaver
By Jennifer Shea
When Adam Prud -
homme began his print journalism career with the Napanee Beaver community newspaper, little did he know he would own the publication 16 years later. Adam took over as owner on April 1, 2024, purchasing the historic business from the Morrison family.
Adam began as a reporter and became managing editor of the newspaper in 2019. His editorial role continues alongside his owner role. He’s learning how to manage advertising, payroll, insurance, and many other business aspects that are new, but he has been fortunate to have supportive family and friends to offer guidance, as well as supportive colleagues.
He certainly never envisioned himself as a business owner, but felt he couldn’t pass up the opportunity. “Once the opportunity came along, I thought that I had
to do this,” he says. “The paper means so much to the community. I hate to think what would have happened if I didn’t take this on. I just felt it needed to stay local.”
The process leading to the purchase of the business happened rather quickly. The Morrisons first presented the opportunity to Adam last fall. After they took the time to walk him though the business, including the financials, Adam consulted with advisors before making a decision.
One of the greatest challenges in the early days of ownership has been balancing the editorial work with the business needs. “I can spend a whole day working on business stuff but not having done any work for the paper itself. There’s got to be content to fill a paper.”
“There’ve been some late nights,” he admits, “but there was always going to be a lot of up-front work; things that had to get sorted out.”
Founded in 1870, theNapaneeBeaverwas acquired by Earl and Jean Morrison in 1953. After Earl’s passing in 1978, Jean carried the business until her passing in 2019 (at the age of 97). Her adult children continued to run the business until selling it to Adam earlier this year.
Feedback from the community regarding this ownership change has been positive. Mike and Mary Hewitt of Napanee took the time to write a letter to the editor with their thoughts: “We are very lucky to have the Beaver remain in operation under Adam Prudhomme. He has put a lot of work into his job as editor – now he will be working twice as hard as the owner, so we will keep our small-town newspaper for the foreseeable future. Let’s all help to keep the Beaver alive.”
The Napanee Beaver is a rarity in the Canadian print media industry. It’s both family-owned and independent (not affiliated with a large newspaper
Napanee
chain). It has a solid weekly circulation of 8,300 and serves Greater Napanee with home delivery, as well as a few other rural locations with papers available for pickup.
Adam has a vision for the future, “I definitely want to be more of a community newspaper in the sense of more contribution from residents in the community. I feel like that’s always been a big part of what the Napanee Beaver is, but that connection with someone in the community who has an interesting story or something to say, a memory from when they were growing up. That resonates with a lot of people.”
Adam’s future vision for the newspaper may well involve the next generation of his family. He has two young daughters, the older of whom is already conducting pretend interviews while she watches her father doing real ones. “It would follow the tradition of the Napanee Beaver, where it’s been family-owned and passed down from generation to generation,” says Adam. “It would be great if that worked out.”
The Grand Opera Houses of Belleville
By Richard Hughes
One of our great
pleasures, which brings us so much enjoyment and happy memories, is live entertainment – be it a rock concert, a classical orchestra or a theatre play or musical. In fact, live performances have entertained the populations throughout history, from the Greek tragedies and comedies, to the Roman plays and even their gladiatorial extravaganzas down to Shakespeare and his Globe theatre and, of course, Broadway’s great shows. Today the choice of live entertainment right here in Quinte covers the full spectrum, but it might be interesting to consider what type of entertainment did our grandparents enjoy?
In the late Victorian period, local audiences would gather at the large and elaborately decorated opera houses which presented a fascinating menu of musical and theatrical performances with large touring troops. The first opera house, located at the corner of Pinnacle and Campbell Streets, seated 1000 enclosed in colourful Victorian decoration featuring an elegant curving staircase leading to sumptuous private
boxes and special seating. This opera house opened in March 1877 and one could imagine the elite of the town of Belleville, population about 9,000, heading out in the late winter chill, wrapped in their rich furs and finery; possibly beginning with dinner at the Hotel Quinte and then the short walk up the street to the opera house.
Opening night featured the Barnabee Concert Company of Boston with a variety show of singers and musicians. This was followed one week later by the Shaghram Company from the Montreal Academy of Music with 30 artists which presented a military drama, supported on stage by the local 15th Battalion of the Argyll Light Infantry.
The opera house brought to Belleville an amazing range of performances on a weekly basis from high opera to Gilbert & Sullivan operettas. Tragically, this magnificent opera house burned to the ground in 1880, just three years after its triumphant opening.
The second opera house, opened in 1884 as the Belleville Opera House, later the Carman Opera House, then the Griffin Opera House and the Griffin Theatre was the epitome of mid-Victorian elegance and extravagance. Located at Church and Bridge Streets, it was built into the hill which allowed for a sloped seating area, providing excellent views from the 1300 seats.
The interior was richly decorated with elaborate frescoes covering the walls and ceiling, colourful woodwork, lavish draperies and extravagant stage background scenery. This rich setting, when the stage was alive with vibrant singing and orchestras or dynamic acting troupes would provide a totally captivating atmosphere for the audiences.
Many of the productions brought classical plays, including The Three Musketeers and The Merchant of Venice; however, it appears the audiences favoured comedy as several plays were described as “comic opera” or “comedy farce”. In 1905, the New York Lyric Theatre bought a comedy play Wang with 70 actors. For lovers of classical music, the Pittsburgh Symphony Orchestra entertained with 53 musicians.
A very different form of entertainment, reflecting the mood of the era, was a military play by the 15th Battalion, Argyll Light Infantry, which brought “thrilling dramatic situations, grand scenic effects …interspersed with rich humor” as described in the newspaper report. It opened with a scene depicting recruiting for India, followed by the embarkation of the troops, and fighting scenes with the Sepoys, including bayonet exercises.
One of the most popular spectacles, that was repeated almost annually at the Griffin, was the world-famous Haverly’s Minstrels. This company toured the U.S. and Canada for several years and always announced their arrival through boisterous parades through the town
before their performances, led by a brass band, animals and the actors.
The Haverly troop and other Minstrel shows brought the music and stories of the black American community; however, the actors were most often white men with their faces blackened. They were referred to as burnt cork minstrels as that was the means of blackening their faces. Later, some genuine black actors and musicians were included. Their 1891 performance was entitled, Uncle Tom’s Cabin which portrayed the life of slaves on the plantation in dancing, skits and music. These shows presented very negative stereotypes of the lives of slaves and the character of the black people and fell out of favour in the early 1900s.
In June, 1913 the Opera House announced a change of policy to focus on vaudeville acts with comedy skits, singing and dancing, along with that new form of entertainment, the moving picture. The following year the Opera House, now owned by the Griffin Amusement Company which had a chain of 21 theatres, announced that they had a contract for a series of moving pictures featuring “The King of Comedians, Charlie Chaplain [sic]” in his Keystone Comedies. Also, at this
time, a second moving picture house, the Palace Theatre, opened on Front Street. Moving pictures were immediate successes with sold out audiences enthralled by giant stars like “America’s Sweetheart” Mary Pickford (born in Toronto), and her husband Douglas Fairbanks. In 1917 Marie Dressler, (born Cobourg) teamed up with Charlie Chaplin to entertain and amaze local audiences.
Through the 1920s the community became increasingly enamoured by the famous Hollywood stars and the flood of silent movies. In 1924 the Belle Theatre opened on Front Street, followed in 1926 by the Capitol Theatre. The shift in entertainment taste through the 1920s led to the Griffin Theatre losing the large audiences required to stage the major theatrical shows concurrent with the expanded competition for movies. The aging Griffin Theatre closed and was demolished in 1933. In 1937, Dr. James Forrester built his residence and practice on the site, currently O’Flynn Weese law offices. In 1938, J.C. McCarthy built a super modern theatre on Front Street featuring the latest invention – high fidelity sound! The new era had replaced the grand old opera house.
Sir Gilbert Parker
By Richard Hughes
The Quinte Region
has been home to several illustrious writers – some born here while others chose Quinte as their home. Among them are authors like Susanna Moodie, Farley Mowatt, Peter C. Newman and Francis Otani and poets like Al Purdy and Wallace Havelock Robb. These are familiar names but there is also an accomplished author who is not widely known locally but whose career and extensive achievements are nothing short of amazing. He is Sir Gilbert Parker.
His beginnings were very average, born in Camden Township, Addington County in 1862, graduated from the University of Toronto and obtained a teaching certificate which took him to schools at Marsh Hill, near Frankford, and then to Bayside. This was followed by an assignment in 1882 at the School for the Deaf in Belleville, where his family was living. Parker found that teaching was not his forte and entered the ministry of the Church of England, becoming assistant rector at St. George’s church in
Trenton. Concurrently, he was appointed lecturer in elocution at Queens University in Kingston.
Parker had his sights set much higher than the local scene. In his heart he wanted to be a writer and for that he knew he would need to broaden his worldly experience and move in the higher levels of Victorian society both to influence possible publishers but also to attract an audience. With all of this in mind, he set off in 1886 to tour the world. He crossed the United States by train, stopping frequently to experience the local cultures. Then on to Hawaii where he was able to arrange a meeting with the native king. He continued to Australia where he achieved success as a lecturer and obtained a writer’s position with the Sydney Morning Herald. In this capacity he traveled widely in Australia and, most importantly, visited the islands of the South Pacific. Again, he soaked up the local cultures and social life which would be material his future writings.
In 1890 Gilbert Parker arrived in London and began writing and establishing himself in higher society. He found that writers were achieving success with stories of the rough characters of the American frontier. He saw an opportunity by drawing on Canada’s stories – the great north, the N.W.M.P., the French Canadians and the pioneers in the West. But he needed more personal experience so he returned to Canada, first stopping to visit his family in Belleville. He then toured the West gathering concepts for his future books. Parker came back to Belleville and gave a lecture at the Opera House on his experiences and then returned to England.
He began writing, drawing on his knowledge of Canada and the colourful characters of the new land and his books drew high praise. He wrote melodramatic stories of romantic fiction with colourful characters and exotic locations, frequently placed in Quebec and Canada’s West. He was on his way to fame and fortune. Through the 1890s,
Parker wrote constantly and became a best-selling novelist traveling frequently to the U.S. and Canada promoting his books and growing his reputation.
In 1900 Parker decided to leap into politics and ran successfully for the Conservatives in the riding of Gravesend. He continued to serve in Parliament for 18 years and was an active member. During the First World War, Parker received a very important assignment to be Britain’s propagandist in the United States to encourage their support of Britain. He set up a secret office to produce propaganda material and, using his celebrity status, he distributed this widely to influential Americans. He traveled across the U.S., made speeches and established personal relationships with American elites. In 1917 the U.S. entered the First World War and Parker’s work was complete.
Gilbert Parker was knighted by King Edward VII in 1902 for his service to Canadian literature and was created a
baronet in 1915. He retired from Parliament in 1918 citing failing health and need for rest. But that did not stop him as he traveled to Canada for a conference in 1920, toured across the country and then went to Hollywood where three of his books were being made into movies. One of these, Behold My Wife, was the story of “an embittered aristocrat” who married a native woman, sent her away, saw the error of his ways and reunited in great happiness. This film showed at Belleville’s Griffin Opera House in March 1922.
Parker’s wife, Lady Amy Parker, a wealthy New York heiress, became seriously ill in 1925 and died in New York in September. She was ultimately interred in Belleville Cemetery. That same year, speaking at St. Thomas Church, Parker commented, “I will come back to this church ….when the time comes to sleep my best sleep under the sod of Canada.” In 1926, Parker again toured Canada and the U.S. and spent time in Belleville, staying at the Hotel Quinte. In
failing health, he spent his later years in London and died there in 1932. At his request, Parker’s remains were returned to Belleville where dignitaries from across the country, including Prime Minister R.B. Bennett, assembled for a massive funeral. He was buried in Belleville Cemetery where his above-theground mausoleum is one of the most impressive in that cemetery.
In March 2017 the Community Archives of Belleville and Hastings County received an amazing offer of Sir Gilbert Parker’s personal papers. Apparently, they had remained in London with his niece, who ultimately shipped them to family members in Los Angeles. The family there contacted the Community Archives and offered the whole collection, 15 trunks and boxes, weighing 650lbs. to the Archives. This priceless collection of personal and political scrapbooks, literary manuscripts and papers along with the steel trunks is now permanently housed here in Belleville.
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Fred Rutherford is a landscape and portrait photographer based in Corbyville. He loves how through photography he can capture the events in a life, both large and small. Photography allows for history and memories to be shared for generations. He believes we are surrounded by natural beauty and interesting people and loves to use his camera to document the world.
“I’ve loved taking pictures my entire adult life. Educated in graphic design, I am always striving for the perfect composition that captures the magic of a moment. I am located in South Eastern Ontario and travel throughout the province.”
