Janet Jarrell, Executive Director janet@quinteartscouncil.org
Kodie Trahan-Guay, Communications & Media Director kodie@quinteartscouncil.org
Andrew Gray, Graphic Designer drewgraymatters@gmail.com
Kim Lidstone, Bookkeeper qac@quinteartscouncil.org
The Quinte Arts Council is a not-forprofit, 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
Dear Members, Donors, and Arts Community,
We are so proud to be able to offer this annual look back at Umbrella 2024 in printed form. As Carol Bauer, former editor and producer of Umbrella, once wrote:
"There have been many programs and services offered by the Quinte Arts Council (QAC) since its inception in 1967. But the most enduring and successful of them all is Umbrella."
For decades, Umbrella has been a pillar of the arts community, documenting and celebrating the rich creativity that thrives in our region. The production of this magazine is a yearround effort—from conceptualization and editorial planning to writing, editing, design, printing, and distribution. As soon as one issue is released, the process begins again, ensuring that the stories of our artists, cultural leaders, and creative initiatives are shared widely.
Our team has always understood the significance of Umbrella and the value it brings to the community. Each year, printed copies were mailed to members and distributed across a vast region—from Bancroft to Prince Edward County, Brighton to Napanee, and all the communities in between. This would not be possible without the dedication of our volunteers, whose efforts make this widespread distribution a reality. One member recently shared that holding a printed copy of Umbrella in their hands was a privilege. We couldn’t agree more.
This magazine is more than just pages—it is a true celebration of the arts, culture, and heritage in Quinte.
However, the continued global paper shortage and rising printing costs put the future of our printed quarterly editions in jeopardy. While we remain committed to producing digital versions, we are actively seeking sponsors to help bring Umbrella to life in print. Community support has always been the foundation of this publication, and we hope to find new partners who share our vision for keeping Umbrella accessible in both digital and print formats.
As we look ahead to 2025, we remain committed to telling the stories that shape our region, championing the incredible talent within our communities, and finding new ways to amplify the voices of artists and creatives. With your continued support, Umbrella will not only endure but flourish, inspiring and connecting us all through the power of the arts.
Thank you for being part of this journey. Here’s to another year of creativity, collaboration, and artistic excellence!
As Paul Dinkel would say “Enjoy!”
With gratitude,
Cover: Gabrielle Faith Edwards
Back: Jaeren G
Janet Jarrell, Executive Director
Quinte Arts Council
Message from the Chair + UmbrellaContributors
QAC welcomes new
Photography
Jacob Côté
Phil Norton
Fred Rutherford
ARTrepreneur
AMP'd up with Ash Murrell and Brady Rogers
Arts Education
PassepArt Program
Film
Tyendinaga culture interrupted in Boom & Bust TVO doc
Luke Sargent
Heritage
Sir Gilbert Parker 1862 - 1932
The Grand Opera Houses of Belleville
The Belleville Model Railroad Club
The Children of Marchmont
Hastings Military Museum - the Armories
William James Savage - Poetry and Prose
Ameliasburgh Heritage Village
Literary
Anna Swanson
The "Napanee Beaver" Newpaper
Courtney Summers
Music
Jackie Findlay - Guitar, singer, songwriter
"Tiny Horse" - Indie Band
Stephen Bruce Medd
Melted Fro -One Man Band, Kanye Calder
Maple Drive
Toni Vani "late bloomer"
Permorning Arts
Quinte Ballet School of Canada Alumnus Desiree Botting
Gabrielle Faith Edwards
Centennial Secondary School
The Lennox Community Theatre - Andy Palmer
Quinte Arts Council
QAC Arts Recognition Awards
In Celebration of memory and pride at QAC - Luisé Cisneros
Members and Donors
Contributors
Tara Wilkinson
Richard Hughes
Ardith Racey
Kodie Trahan-Guay
Greg Ceci
Jennifer Shea
Peter Paylor
Janet Jarrell
Scott Williams
Gabrielle Faith Edwards
Paul Snepsts
Matilda Aide
Board of Directors 2024
Rick Moulton Vice-Chair
Donna Davies Director and Arts Education
Rachael Lidstone Treasurer
Sean Sroka Director and Community Engagement
Andrea Kerr Past Chair
Brit Johnston Chair
Maribeth deSnoo Director and Fund Development
Fred Rutherford
By QAC Team
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.”
Photography
JJacob Côté
acob Côté is a photographer who specializes in commercial photography specifically in architecture, food and people. A professional photographer for over a decade, his work has been published nationally and internationally.
Côté is from a family of photographers, he’s the third generation to be passionate about the artform. He began his craft at a young age using his father’s 35mm Canon AE-1 and hasn’t stopped. Côté enjoys focusing on areas he’s personally interested in, although he’s a professional and is an asset for your marketing campaigns, business image banks and Linkedin headshots.
“As a creative person, being creative is oxygen to me; without it, I'd die,” says Côté. When I'm approached with a new project, I thrive on the challenge, and it drives me to create the best images for you each and every single time.”
jacobcotephotography.com
Photography
Phil Norton
Prince Edward County
Phil Norton’s art -ist statement should be: If you live with curiosity and creativity your life will be the story and legacy you give to the world.
Since 1972, when Norton bought his first 35 mm SLR film camera, he has been a photographic artist. This led him to become a writer and, most of all, a listener, observer and storyteller. After getting his degree in environmental science, he embarked on his career as a newspaper and magazine journalist.
Describing it as ‘nerve-wracking or at times an adrenaline rush,’ Norton has covered many police and Indigenous standoffs and a nighttime ride-along with the US border patrol on the California Mexico
border. Those were the days of manual cameras with low sensitivity film in a low light situation. He ran with the federal law enforcement agents through cactus with only their flashlights and a light beaming from a helicopter hovering overhead.
In the early 2000’s Norton upgraded his skills and moved toward multimedia, studying web and graphic design at Concordia University. He furthered his studies merging still photography with audio and video - his favourite creative process for evoking emotion. Norton performed five times with a symphony orchestra in the United States. Each required months of learning the classical symphony score, producing a series of images with precise timings to accompany the music.
Always independent and learning something new, Norton took an online Masterclass on documentary filmmaking with Ken Burns, a smart phone webinar with a National Geographic photographer, and in March 2023, a news video bootcamp at the University of Oklahoma.
“My thinking times are my creative times. I find my creative mind needs freedom to wander. My many jobs have
included farming, teaching, newspaper editor, stock photography sales, lobbying for the minister of environment, writing on deadline, photographing models for tourism promotion, corporate conferences and leading small group photography adventures to every corner of North America. I have no regrets and look forward to new challenges. I will never retire.”
photographyadventures.net
Photography
Whatif 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, recogniz-
ing 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 short-form video clips. “For $1,000 the client gets a month’s worth of social media content,” 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.
The Power of arts education
By Janet Jarrell Quinte West
The arts were indeed
once thought of as a luxury - young students worked their way through math and science just waiting to pull out their big box of colourful crayons and create. Now, the arts are integral in our schools, they are integrated into everyday learning as a way to teach a variety of academic subjects in a more connected, creative and engaging way.
Music helps solve math problems; creating sculptures leads to a better understanding of architecture and engineering; drama is used to help students learn science. The arts stimulate children's development, creating millions of connections in their brains. The arts make learning more accessible (not to mention more fun!) to those who might not otherwise absorb traditional classroom methods. Young students are exceptionally good with imagination; add the arts and you are building confidence and creating a sense of belonging and pride.
It is that sense of belonging and pride that shines when the arts are used, connecting students with their culture as well as with the wider world. “Art also allows our students to express their emotions by creating unique works, specific to their personalities.” says Moreau.
“The PassepART program represents an incredible bridge between the cultural community, community arts organizations and our Frenchspeaking schools in minority settings.”
Launched in September 2019, the PassepART program is an initiative funded by the Department of Canadian Heritage that has created a partnership between our local French-speak-
ing schools and the Quinte Arts Council (QAC). Participating schools include École Élémentaire Publique Cité Jeunesse and L'école secondaire publique Marc-Garneau. “The PassepART
program represents an incredible bridge between the cultural community, community arts organizations and our French-speaking schools in minority settings.” says Moreau.
Working with cultural facilitator Moreau, you can feel the excitement and pride these schools have in bringing arts experiences to their creative student body. The PassepART microgrants are providing the funding to bring professional artists into the classrooms - the students are exploring new experiences in French through artistic, cultural and heritage activities. All these experiences have a long lasting, positive impact that go well beyond the classroom.
“The contribution of the arts to schools is essential. We are grateful for the PassepArt program and our partnership with Quinte Arts Council. Says Director, Chantal Paquin-McAlpine.
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.
Local editor/director making a mark in the Canadian Film Industry
By Jennifer Shea
Prince Edward County
Luke Sargent grew up
in British Columbia. He was an avid movie fan who would watch a movie on VHS over and over until he knew all the lines. As a teenager in Victoria, his dream of working in a video store came true and when he wasn’t working or in school, he was making short videos with his friends and editing them just for fun. It’s no surprise that Sargent now enjoys a career as a film editor and director.
Travelling through Toronto on a backpacking trip, he fell in love with the city and the film industry opportunities it offered. He moved there in 2004 and
volunteered himself into the industry as an editor. His formal education followed. “In my 20s, I went to the Canadian Film Centre (CFC) and that was really competitive. I didn’t get in the first year, which was disappointing, but also a good thing in hindsight.”
“The next year, I applied with everything I had and I got in. I had a wonderful update to my skills and my understanding of the artistry of filmmaking. The CFC was a great landmark for me because I got to see how bigger shows were made and how creative you can be as an editor when you have all those resources.”
His early editing projects were primarily documentaries. His experience at the CFC led to work in indie films, then he moved into television opportunities. “That’s kind of the golden ticket for anyone in the film business because television is working year-round usually. I joined the Directors Guild of Canada, which is what the editors are under.”
Sargent’s television editing work led him to Bruce McDonald, a well-known Canadian director. For the past 5 years, Bruce has been Sargent’s mentor to introduce him to the art of directing. “There’s new, fresh, exciting energy in directing because I haven’t done very much of it. I see it as an opportunity.”
Sargent compares directing to being the host of a great party. “There’s a bunch of different groups of people. You’ve got to go around and make sure everybody’s comfortable and well-fed, and you’ve got to listen to them all. I’m not the best at wardrobe or makeup or hair. What you do is you bring that team together who are the best and you filter ideas. It’s a balance of trust.”
“As an editor, I look at the story more as a finished thing, so I bring that to my directing.”
In 2018, Sargent directed his first documentary, The Love Songs of Oedipus Rex for CBC Short Docs. He was director, producer, cinematographer and editor.
His most recent directing project was a short farce/comedy/dramedy film produced in The County, Saint Bernard. Sargent and a small crew and cast filmed the project inside a 7 ft. by 9 ft. sauna. It was a challenge. “For me, that was part of the fun,” says Sargent. “This was literally the box I had to play with, the space I had access to.”
The story revolves around Bernard and a midlife dalliance. “I think midlife is funny because we can't sort of help but become hypocrites while grappling with life catching up to the idea of ourselves ... if that makes sense.”
The key takeaways for Sargent from this project: “That a director should be open to listening for better ideas all the time. The clock rules all things on set, so always be hustling and thinking ahead. Also, trust people, treat them well, and when in doubt, trust your gut.”
Sargent is hoping to premiere the short in the County, possibly at The Regent Theatre. He’s also investigating opportunities to show it at film festivals. “Telefilm has a list of qualifying festivals – a short list – if you’ve made something that goes into one of these festivals, then you can qualify for Telefilm funding for a feature film. I’ve been applying to those festivals.”
He and his young family live in Cherry Valley, Prince Edward County now, but Sargent keeps an office in Toronto and does most of his work there.
Lynda Todd Film
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 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
Belleville
Robert Huffman, HastingsHighlands
Robert Huffman, AlleyintheWinter
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 (enplein 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 ob-
serve 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
Robert Huffman, FraserLake
Robert Huffman, Fields of Gold
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.” 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.
Thomasburg
“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
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 Choice
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.
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, TheAncientPulse
Representing Truth & Reconciliation through art in Bancroft
By Jennifer Shea
Robin Tinney is an
Algonquin artist who co-curated two separate art shows at the Art Gallery of Bancroft (AGB) in the fall of 2023: “Truth” and “Reconciliation” in an effort to broaden awareness about both perspectives.
10 years ago, Tinney had curated an art show at the AGB called “Critical Mass” featuring artwork from six Indigenous communities. “I spent the better part of 14 months reaching out to different Algonquin communities and trying to get artists involved. I had no budget at all. It was a matter of asking people for favours.” The show was highly successful, breaking both attendance and sales records at the gallery.
For the fall 2023 shows, Tinney was able to obtain a grant from Indigenous Tourism Ontario. He offered some of the funds to each Algonquin community for
their artists. “Art supplies are not cheap, and these are communities that have very little in the way of excess money. I wanted to make sure that that was not an issue; if somebody needed extra money to buy a canvas and some paints, we could make that happen.”
Tinney decided to separate the exhibits into two so that the messages of truth and reconciliation could be more powerfully received. “I envisioned it as two separate shows to make sure that people understood that it’s not one thing. You have to acknowledge and accept the truth of what happened and continues to happen, and then, how do we fix that? They are two sides of the same coin, but you need to know that there are two sides.”
The works of Indigenous artists were featured in the “Truth” show and non-Indigenous artists in the “Reconciliation” show. The shows ran back-to-back.
Once again, it proved challenging to get Indigenous artists on board for the “Truth” show. Tinney was asking the artists to represent their own perspective of living as an Indigenous person in Canada, and this could be a risky endeavour. “It was asking them to trust me. I wanted to have impactful artwork, but I wanted the artists to be comfortable in what they were creating.”
“In the end, the artwork that was selected ran the gamut from being really in your face pieces to others that were much more tender in what they saw as the truth of living in Canada,” says Tinney.
For the “Reconciliation” show, it was also a bit challenging to generate artworks. “The artists themselves were all in different stages of awareness. There’s very little lived experience in terms of reconciliation. I was encouraging artists to think about it.”
Shank Melinda, TimeImmemorial
Bancroft
Tinney is a carver and, since many of the artworks for the two shows would be paintings, he recruited Algonquin artist (painter) Rocky Green on board as co-curator. The AGB was filled for both exhibits, with 16 artworks in the “Truth” show and 15 artworks in the “Reconciliation” show.
“Bancroft is the quintessential smalltown Ontario hub for many local artists whose exhibited work has usually focused on the apolitical and decorative, mainly landscape and wildlife art,” says Molly Moldovan, AGB chair and head of curatorial. “It might be the last place you would expect to find powerful artistic statements on political hot-button topics.”
“And yet … these two exhibitions broke all attendance records for the AGB’s 41 years of existence, with over 200
attending the opening reception for “Truth” and 125 for “Reconciliation.”
We also had more class visits with students from our region than ever before. The feedback from all attendees was unwaveringly positive.”
Tinney is pleased with the impact of these shows on the gallery, the Bancroft community, the nonIndigenous artist contributors, and, especially, the Indigenous artists who contributed. “I have given some artists an opportunity to actually consider themselves artists. There are now more people in my Algonquin community and other communities who realize they are allowed to express this.”
Tinney is now looking into opportunities to share these two art shows in other communities.
Truth
artgallerybancroft.ca/2023-truth
Truth exhibition artists
Valerie Dawn Chevrier, Aarin Crawford & Trudi Knapp, Sherry Crawford, Lynn Dawson, Diane Hannah, Rhonda Haws, Little Bird, Pamela McElheran, Sarazin Connor, Melinda Shank, Lin Smith, Theresa Soloman, April Warren, Leeann Wilson, and Whitney Area school children
Reconciliation
artgallerybancroft.ca/2023-reconciliation
Reconciliation exhibition artists
Barbara Allport, Ken Balmer, Kelly Beaulieu, Tanya Fenkell, David Ferguson, Carol Giles, Henry Melissa Gordon, Mieke Herman, Carolyn Jongeward, Linda Mackey Lang, Molly Moldovan, Ingrid Monteith, Allan O’Marra, Lynne Vegter and Leilah Nancy Ward
Diane Hannah, GenerationalTrauma
Fine Arts
Lynne Vegter, ScalesofInjustice
Barbara Allport, LifeLost
Celebrating 65 Years
By Ardith Racey Belleville
The Belleville Art
Association (BAA) celebrated 65 years of ‘longevity’ in 2023, and according to Dona Knudsen, what makes it still viable is that “everyone is a volunteer working to create a community of artists.” Located at 208 Front Street in Belleville, the gallery has a goal of selling members' work; however, it’s more about the education and community and less about the commercial push. “The association opened its first physical gallery in 2005, so it’s quite amazing that we’ve been a gallery for 19 years,” says Knudsen, a contributing member.
What’s truly unique about the BAA is that it’s an unjuried gallery. Members pay a small annual fee and are encouraged to submit new original works on a rotational basis. Member Nancy Sherk says that they “currently have about 60 contributing artists and a dozen artisans out of roughly 140 members. Every second Tuesday of the month, there’s a new show. A team of volunteers install the works and try to make the pieces fit together so it’s like looking at a larger painting.” In addition to paintings in various media, the gallery exhibits photography, pottery, jewelry, miniatures, and other artisanal pieces.
In keeping with education and community, the association hosted 15 artist led work shops last year, and those workshops will
continue in 2024. There are studio groups and painting bubbles (a term coined during the pandemic) which meet every week. The gallery space is light and filled with a quiet energy that emanates from the balanced, thoughtful hanging of local art from both new and professional artists.
“The willingness of artists to mentor emerging artists and share resources and ideas is a major factor in the group’s success,” says Sherk.
Art Walks, which began in the early 2000’s, are a great opportunity to explore the downtown Gallery District by visiting the BAA, Quinte Arts Council (QAC), Gallery 121 and the John M. Parrott Art Gallery, located on the third floor of the Belleville Public Library. The four galleries are within walking distance to each other and each is unique with its own history and vibe. This year, the BAA will host the 57th annual juried show “Perspectives” at the Parrott Gallery.
Nancy Sherk
“Several other artists’ groups have formed in the area out of the idea of supporting artists and having members work together. There’s a camaraderie that reaches beyond painting at the gallery. Small groups paint together on a regular basis sharing ideas and skills which has allowed the association to evolve” says Sherk.
Both Sherk and Knudsen are passionate about the BAA and its dedication to art and artists, driven by their desire to enable anyone to showcase their creative work. Throughout the decades, the association has garnered its support and passion from encouraging ordinary people to put their best work out for others to see. “The association began as a group of mostly women - primarily housewives in the 1950’s - who were dynamite ladies – powerhouses. One of the original contributing members, Joan Reive, used to tell the story that when her kids went down for a nap, she would get her paints out.” says Knudsen.
The association has several sponsored locations where they hang artists’ work. Currently, about 350 pieces hang in various venues such as: The Anchorage, Highland Shores Childrens’ Aid, the Belleville Police Station, Sans Souci, Belleville General Hospital and commercial offices.
The downtown gallery is an exceptional venue, open five days a week, solely thanks to the dedication of its volunteers. Whether you're a professional artist, emerging talent, or simply a lover of the arts, we invite you to drop in and explore what the BAA has to offer. bellevilleart.ca
Dona Knudsen
Joan Reive
Briana Godden
Sam Sakr: Around the world and to the County pursuing his passion
By Kodie Trahan-Guay
Sam Sakr has been
creating for as long as he can remember by himself and collaboratively. A graduate from Ontario College of Art & Design University, majoring in Experimental Art and Queen’s University Faculty of Education, Sakr believes his artistic style developed organically but that the schools helped foster a sense of creativity.
“I’ve been creating for as long as I can remember. In my childhood I made marionettes out of cardboard, rockets that nearly set the house on fire as well as a cardboard television with a series of watercolour “stories” in collaboration
with my childhood friend,” says Sakr. “I didn’t really take conscious steps to develop an artistic style. It just developed organically. In terms of education, just being with my peers inspired me to keep going. I feel I really followed my own path within the schools. The schools provided the creative environment and different materials. I did the rest.”
Sakr has lived all over the world. Growing up in Cairo, Egypt and then living in Amsterdam, The Netherlands for a few years before moving to Canada, he feels that living globally has had a big impact on his work.
“My last show at the Parrott Gallery was the Housing Project which is a combination of my journey from Cairo, then a couple of years in Amsterdam before coming to Canada where I have always lived in urban settings until moving to the County. You can clearly see the conglomerate of the chaos of the city juxtaposed on the calm of the rural setting in these fictionalised scenes.”
Having spent his childhood in Egypt, the iconography of Egyptian art has featured in his work, but having spent so much time in so many cultures has left Sakr expressing his feelings of non-belonging through his art.
“In previous figurative work I used Egyptian eyes, drawing on ancient imagery. However, I feel that now I have a foot in several cultures but belong to none,” says Sakr. “You can see this in my images of fish out of water. If I were to describe my work I would say it is expressionistic, naive outsider art.”
A lifelong city dweller, Sakr wanted to pursue the quiet that comes from country living. Luckily Prince Edward County has a robust art scene including the Rednersville Road Studio Tour which Sakr now participates in.
“It was my dream to move to the country. After I retired from teaching high school in Toronto, I was able to realize that dream when I found a home in PEC and a community of artists participating in the Studio Tour.”
The County has been a source of inspiration for Sakr. A mixed media artist he uses whatever materials happen to be on hand. Sometimes that includes materials provided by Mother Nature herself.
“When we first moved here, a windstorm blew down lots of trees so I made a series of sculptures from branches. Unlike the city, here in the County it’s not easy to get rid of old
Prince Edward County
furniture. I turned some old room chairs into a series of towering sculptures by adding branches. Subsequently, a lot of those sculptures blew down in windy Wellington.”
Sakr doesn’t consider himself a professional artist; he believes it’s a passion and a way of being, although one that brings many challenges - but he thinks if you love art you need to support that creativity.
“During my last few years as a high school art teacher I used to warn students who contemplated art careers of the trials and the hard life they could expect. By the same token, I would encourage them to follow their passion. They could not go wrong with that.”
An Illustrator in Transition
By Jennifer Shea
After 34 years work
-ing full-time as a freelance illustrator, Belleville-based Carl Wiens is starting to transition into an exciting new phase of his creative life: He’s spending more time on his own artistic works that will be seen in area galleries.
In the early part of his career, Wiens was part of the design team for a number of companies in Toronto before becoming a freelancer. “When I started out, I worked with ink washes, brush and ink, and pen and ink,” he says. “I did a lot of black and white work, which is good to refine and define what you’re trying to portray.”
A relocation to Picton in 1992 changed his approach. “I was almost forced into working digitally so I could deliver my work by email. I started out doing work in (Adobe) Illustrator, which is vector-based
– simple and clean. I kind of obsess over line work and attention to detail, so I found that a friendly medium.”
Wiens often starts an illustration with pen and brush, then scans it, vectorizes it, and adds further elements digitally. The result is artwork that has a handdrawn feel, but with technical elements. “If you want to define my work, it’s carefully crafted, assembled, built. I really enjoy doing scientific subject matter, and technology has always been a big part of the work I cover.”
Wiens’ work includes illustrations for Sanford Innovation Review, New York Times, SubTerrain magazine, The Walrus magazine, and OnEarth magazine. More recently, his commission work has largely been for academic publications. This seems fitting in that one of his influencers is Rudolph
Zallinger, an Austrian-Russian artist and illustrator whose notable works include The Age of Reptiles mural at Yale University’s Peabody Museum of Natural History.
Glancing through Wiens’ online portfolio, you may be surprised to find a few cartoon-style images. When he was younger, he did a lot of cartooning work and even thought about pursuing it as a career. However, as a student at Western University, he was often asked to draw illustrations for the student newspaper. He enjoyed it and wanted to do more. A post-grad stint at the Ontario College of Art and Design was the last step before he began his career in illustration. He admits that he felt more confident entering a career in arts after his brother, Robert, pioneered the way as a sculptor and painter (Robert is based in Picton).
Belleville
Wiens’ career accolades include having a painting published in American Illustration, a juried annual that’s highly recognized in the field. “It’s one of those life accomplishments, a real honour. It was a giant illustration (5x8 feet), but also a painting. I spent about three months working on it and it was quite challenging.” The painting was completed a couple of years ago, and it marked a point of departure for Wiens.
Since then, his Belleville home features not only an illustration space with desktop, laptop, drawing table, and reference books, but also a painting space (in part of the garage). Wiens divides his time between the two spaces but seems to be gravitating more often to the garage.
“I’ve always listened to other people and responded to their ideas. Now it’s my chance to take my own experiences and put those down in visual terms.”
Ryan Carde, an emerging artist was born and raised in Napanee, a town with a thriving and growing art scene. Carde is an artist who uses the style of NeoExpressionism to express his innermost thoughts onto canvas.
Carde has been interested in art since a young age. He used it as a way to escape reality for a moment and to process his emotions. He took classes while in school but had a hard time sitting still long enough to pay attention.
“Art has always been in my life, but it wasn't till recently that I fully understood the beauty of it.” When the world stopped
due to the COVID-19 pandemic, Carde was diagnosed with ADHD, anxiety, and found out that his father had throat cancer. While this may have stopped some people, Carde says it actually helped him discover his calling and to push him out of his comfort zone.
“It's only been recently that I've discovered what I'm here for and I'm going to continue to push until my voice is heard.. art is my voice.”
Carde is also a musician, like his father who played many instruments and was in many bands but had a passion for drums. Carde plays the bass in Sonic Souvenir. He’s self
Napanee
taught and feels like he has more to learn but it’s a passion for him.
“Art and Music still to this day are very important pieces to my daily activity. It's my therapy. When I paint or play music, for that tiny second all my fears fade away. I become lost in the moment, Both take me to a place mentally and spiritually! I'm at peace!!”
Neo-Expressionism is an art style that uses intense colours and dramatic figural forms and emotive subject matter. Carde loves how it creates a story for anyone to enjoy. It allows people to see things and open their minds to a new level. He tries to create a different story with each piece and wants everyone who views his work to question everything.
“My art is a symbol of issues we face today..and will continue to face: mental health, politics, media, drugs, spiritual awakening. Being able to open your eyes and see beyond what you are told, "We are like fish, trapped in a fishbowl, we cannot see beyond our own eyes" we are all lost beings we just need guidance.”
Carde says he’s always been scared to be himself and to open up but art is allowing him to push past his boundaries and to show the world what he is capable of. He wants to encourage other artists.
“Don't give up, keep going, battle every single day, never put yourself down. Stay focused..push yourself..... Remember we are all here to do something special, you just gotta find it.. stay positive and positive things will happen.”
Fine Arts
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 baron-
et 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 abovethe-ground 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.
The Grand Opera Houses of Belleville
By Richard Hughes
Oneof our great plea
-sures, 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 Wangwith 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.
The Belleville Model
Railroad Club:
It’s like Lego for adults
By Ardith Racey
Anyone who's been
to the Quinte Mall at Christmas over the past 50 years is familiar with the model railroad display.
Kids and big kids love and have loved the snow-covered exhibit with its tiny trains and realistic landscapes. For decades, viewers have imagined horns and bells, the clickety-clack of the wheels on the track, the ‘choo choo’ of the whistle as they ponder the intricacy and art of the train exhibit. It’s mesmerising!
Rick Potter, president of the Belleville Model Railroad Club (BMRC), says “it’s all in the details – it’s the really small things that make the scenes come alive – miniature cows, travellers with suitcases, wooden fences, barns with pigeons on the roof.”
The BMRC celebrated its 50th anniversary in 2023, and they have plans for the future. In fact, Quinte’s 27th Annual Model Railroad Show, a two day event held at Centennial Secondary School in 2023, attracted over a thousand visitors, as well as vendors from London to Montreal, and clubs from Whitby, Coburg, and Brockville. The group spent much of this year working on a new larger travelling layout.
The roughly 25 members share a ‘love of trains and modelling,’ meeting on Tuesday nights at the Bayview Mall. A non-profit organisation with about 20 – 25 sponsors who have their names placed on buildings and train cars, which provide advertising when the group displays their work at other venues.
The layout designs are a group effort. There’s a process of creating the scenery and laying the track which can involve lots
of glue. Potter says there’s a lot of creativity involved and that over the years the parts and technology have changed considerably. “Where we used to be able to only have one train on a track, we can now put ten engines on a track and control them individually, as well as adding realistic sound and visual effects. Good kits are now laser cut which comes with a price and a new knowledge level, and we are also working on becoming more computerised,” says Potter.
Belleville
The space at the Bayview Mall includes a kids’ layout, a Brio layout, and a permanent display which fills a large room and showcases cities and farmland from Toronto to Montreal. The trains run in a continuous loop through Port Hope, Belleville, Kingston and Brockville, and local sponsors have their names on various buildings. School groups, and kids’ groups such as Cubs and Beavers visit frequently and either control or watch the trains loop the tracks.
The BMRC started in 1972 with meetings at various homes and kept going from there, says Potter. At one time they were located at the Air Force Base in Trenton, and later moved to the VIA Train station; in 2010 when the new train station was built, they were forced to relocate. Potter has been with the group for 30 years – he says that the exhibit at the Quinte Mall belongs to the mall, but the group looks after it. He also welcomes anyone to visit the permanent display.
Whether you’re a kid or an adult, there’s something enthralling about the model railroad exhibits that has resonated with us for half a century. Choo, choo. bellevillemodelrailroadclub.ca
Photography by Ardith Racey
The Children of Marchmont
By Richard Hughes Belleville
What is the link
between Charles Dickens and the Marchmont Home in Belleville? The answer is a deep concern for the welfare of the orphaned, impoverished and abandoned children, many from destitute families, forced into the crowded streets of the newly industrialized cities of Britain. Through the mid-1800s Dickens wrote 15 novels. He was not simply writing to entertain the upper classes, but as a perceptive social critic, campaigning for children’s rights, education and reform. The stories of David Copperfield and OliverTwistset in bold relief the terrible state of the teeming urban slums of Britain where thousands of children were doomed to a miserable existence either labouring in factories or derelicts in the streets.
Children eight to ten years of age laboured making match boxes, pasting the sandpaper on the boxes. Other children worked in coal mines and giant factories with long hours and paltry payment. In A Christmas Carol, Dickens lamented that the prisons, Union workhouses and the Treadmill and Poor Laws were still pursuing “their useful course.” The problem of extreme poverty existed across Britain, particularly in the east end of London while the situation in Liverpool was exacerbated by the influx of thousands of impoverished Irish at the time of the Great Potato Famine.
Faced with this disastrous situation, a number of charitable organizations under the leadership of deeply concerned individuals established homes in which
children could receive education and training. Many were relocated to the newly developing countries like Canada, Australia and New Zealand where it was believed they would have the opportunity for a successful life. These individuals devoted their entire lives to this cause. More than 100,000 boys and girls, most between the age of 7 to 14, were brought to Canada between 1860 and 1940 under these programs. The Bernardo Homes brought 35,000 children to Canada. 10,000 children were transported to Belleville to the Marchmont Distribution Home between 1870 and 1925, the boys being placed with local farming families and the girls as domestic workers.
The first small group of children arrived in 1870 under the care of Annie McPherson and were immediately placed on local farms. It was recognized that permanent receiving homes would be required to give the children a place to settle in upon their arrival. That same year, Hastings County, supported by Senator Billa Flint, offered McPherson a home rentfree, the first Marchmont Home, to receive the new arrivals and prepare them for their placements. Marchmont was managed by Ellen Bilbrough. During that year three groups totalling 273 boys and girls arrived. By 1872, the annual arival of
children increased to 371 and the flow of children continued for another 50 years. Farmers were informed of the availability of the children and they applied in large numbers. They were required to sign a contract which indentured the child to the farmer until the age of 18 and included arrangements for wages, clothing, food, shelter and work.
In 1872, the first Marchmont Home on Highland Avenue burned; however, the community came together and a very large and spacious house on West Moira Street was purchased by Billa Flint and other supporters and was furnished by the ladies of Belleville. This building, a wooden structure, was destroyed by fire in 1875 and, once again, the people of Belleville raised the funds to rebuild the home, this time using brick and fire-resistant material.
The struggles were indeed difficult for many. The boys, raised in the tumultuous city streets, often small and undernourished, struggled to adapt to the demanding labor of farm work, frequently under harsh masters and facing tasks beyond their training or physical capability. Conditions of life on the farms were primitive, often with little pay or appreciation. Similarly, young girls, unfamiliar with normal domestic life, encountered rough treat-
ment and extreme work demands in their new homes. Many children endured loneliness, isolation, and often faced prejudice due to their origins when separated from their homelands and familiar places at such a young age.
However, for many home children, their lives in peaceful and secure environments were considered far superior to the impoverished conditions on the streets of industrial Britain, where they were trapped in filth and poverty and constrained by the rigid class system. There were numerous success stories, with former street children receiving a good education and finding love and care in their new families. Many went on to own farms or pursue careers as teachers, doctors, nurses, clergy, tradespeople, politicians, and in other occupations. A significant number also served in the First World War, with many earning commissions and distinctions, and some ultimately returning to Britain.
In the early years, the transportation and placement of children was largely unregulated, in spite of the best intentions of the charitable organizers. By the 1890s, the movement shifted from a religious/ charitable philanthropy to be ruled by government programs, regulations and inspections in both Britain and Canada.
Child welfare laws were enacted, including the creation of the Children’s Aid Society.
By 1925, the original operation of Marchmont had transitioned to government programs, as the pioneers of the movement had passed away. That year, after 55 years and having placed 10,000 children, Marchmont closed its doors. The program was amalgamated into the Bernardo organization. It is estimated that about 11 percent of the current population of Canada are descendants of these home children.
The full story of Marchmont is available in the book, Marchmont Distributing Home,Belleville,Ontario,1870-1925, by James S. Gilchrist through the Hastings County Historical Society.
Belleville/Hastings County
Quinte’s Military history comes alive
By Richard Hughes
In the core of down
-town at the corner of Bridge and Pinnacle, lies a massive fortress-like structure known to locals as ‘the armouries.’ One would think this impressive monument was a key, historical asset to our city, and they would be partly right. It is a magnificent, 114-year-old building with a distinguished history; but it is far from being a historical monument. The Belleville armouries is home to an active
Canadian Armed Forces Reserve Infantry Unit - the Hastings and Prince Edward Regiment. It is home to one of our community’s greatest heritage assets - the Hastings and Prince Edward Regiment Museum.
Visitors are able to examine its diverse and comprehensive displays of military dress, weapons, equipment, photos and documents, and most importantly, listen to the museum curator and volunteers knowledgeable descriptions and stories behind the objects.
This museum brings to life in a tangible way the honourable history of our community as it lived through some of its darkest hours. The displays are a testament to the contributions of our own young men and women of Hastings and Prince Edward Counties who gave up the comforts of home and family to enlist and fight great battles in distant places. Our community’s military history goes back to the militias of the early 1800s, particularly
the War of 1812, culminating in the formation of the H&PE Regiment in 1920. Our regiment gained the most battle honours of any Canadian infantry regiment in the Second World War.
The museum plays a vital role in our community by fostering pride in our Regiment and its achievements, while also deepening our understanding of both our historical facts and cultural heritage. It presents a link from the roles of our citizens in some of the most important periods in world history to our community today in
the 21st century. When you can see items from the prisoner-of-war camps and hear their stories, it can be moving. To stand beside the horrific German machine gun of the type that mowed down thousands of brave soldiers is emotional and makes us stop and think.
When you observe items from the prisoner-of-war camps and listen to their stories, it evokes deep emotions. Stand-
ing beside the horrific German machine gun, the type that killed thousands of brave soldiers, is emotional and prompts us to pause and reflect.
There is a lighter side to the museum relating to the mascot of the Regiment. As the story goes, the original mascot, a massive pewter figure named Little Chief, was quietly “recruited” late one night from the roof of the Canning Factory in Prince Edward County. The mascot accompanied the Regiment overseas. It was lost during the ill-fated Battle of France and the evacuation at Dunkirk in 1940. A large and stately mascot was carved by Abe Patterson of Pembroke and presented to the Regiment in August 1941. It was duly named Chief Petawawa-Much and enjoys special status with our Indigenous peoples. It was smudged by the Mohawks of the Bay of Quinte and taken to the Landing In Sicily day on July 10, 2023 (a day that commemorates the regiment's landing on 10 July 1943 at the beaches at Pacino, Sicily.)
Young people derive particular value from the museum, as the versions of history they've encountered in films, videos, or books take on a whole new perspective when presented physically before them; a reality and a close association with our community, right here in Quinte. It ensures not only a more accurate understanding of history but can inspire young people, arouse curiosity and motivate learning.
Standing before the centre-piece of the museum, the large display model of the Regiment’s battle at Assoro during the Battle of Sicily in July 1943, and hearing a volunteer relate the story of one of the greatest achievements in Canadian military history, is awe inspiring. We have heard many stories of the bravery, sacrifices and daring of soldiers on the battlefield. This Regiment scaled the sheer, 2800-foot mountain at night, in total silence, carrying heavy packs to attack a heavily armed German installation at the summit and achieve their great vic-
tory. These were not just nameless soldiers, they were our soldiers from the towns and farms of Hastings and Prince Edward Counties, affectionately called “plough-jockeys”. The museum brings it all vividly alive.
The Hastings and Prince Edward Regiment Museum is a priceless treasure and a visit is a fully enjoyable and entertaining experience. It opens our eyes to the amazing people and events that form the heritage of our community.
The Hastings and Prince Edward Regiment Museum is open on Tuesdays 10 a.m. – 4 p.m. year-round and also on Wednesdays and Thursdays 1-4 p.m. from May 24 to November 11. Entry is free of charge and through the main armouries door on Bridge Street.
Richard Hughes is the President of the Hastings County Historical Society
William James Savage: history through poetry
By Richard Hughes
The arts community
in the Quinte area has long been enriched by talented musicians, actors, painters, and writers. Their performances and creations have greatly enhanced our quality of life, providing countless hours of entertainment and cultural enrichment. It's intriguing to consider how many highly skilled and talented individuals, beyond those whose works have garnered regional acclaim, have chosen to keep their talents hidden, known and appreciated only by their own families.
One glowing example was recently brought to light by the great-grandson of William James Savage whose poetic works had gathered dust on a shelf for almost 100 years. The story of Savage, which is now being revealed thanks to his descendants, is remarkable. Equally captivating are his poetic works, both in style and content.
Who was William James Savage? In many ways he was a very average person of the Victorian age. Born in Norwich,
England in 1879, he left school at the age of 10 and went to work. Savage married in 1902 and with their first child, the young family emigrated to Canada in 1906. His devotion to his new country and the enduring love of his homeland led him to enlist in the military for service in the First World War at the age of 37.
But Savage was by no means an average person. Throughout his life he closely observed his physical surroundings along with the people and events that crossed his path and these clearly impressed and touched him deeply. While some would document their observations and opinions in a journal or diary, Savage displayed a distinct creative nature by expressing his observations on paper through poetry.
His writings began with stories from his childhood in England, his family, teachers, local farmers, the adventures of a young boy, all set out in colourful, poetic terms. Of his school days he wrote:
“‘Twas there I went and in its turn arithmetic I had to learn. Geography and grammar too were tasks allotted me to do. Those days with pleasure I recall we’d climb upon the old school wall. Eat berries from the laurel shrub as if we’d been deprived of grub. The sweetest apples we could find were situated just behind the picket fence”
What was life like for the Savage family when they arrived in Belleville in the early 1900s? Savage wrote about searching for employment:
“He read the want ads one by one until one caught his eye. Which at the bottom bore these words “No Englishman need apply.”
“His paper then he laid aside, and wandered down the street. The people looked him up and down, who he would chance to meet. Two men stood by a hotel door, whose noses and faces were red. And just as he was passing by, one to the other said:
“Another god durned Englishman, whose just arrived in town. To get work that we should have and keep the wages down. They never work in England so they ship them out of there. And dump them down in Canada to be a nuisance here.”
But Savage was not deterred by this negative reception as he wrote in 1915, singing the praises of Belleville:
“I am happy and content for some pleasant times I’ve spent in old Belleville since I claimed it as my home”.
In those days, Front Street stood as the bustling, vibrant heart of the community, a fact not lost on Savage as he wandered its length. His keen observations captured the essence of each business and the diverse characters he encountered, vividly depicted in his colorful commentary. He starts at the Upper Bridge:
“Now, there is Moore who has monuments, marble and stone. For those who
have left us for regions unknown. Fitzgerald cleaning and pressing next door, Will patch up your trousers if they should be tore. Next there is a laundry run by two brothers called Lem. If your garments need washing, just take them to them.”
This vast collection then remained with Savage for almost 50 years until his death in 1964. Ultimately, they were placed in the care of the Community Archives of Belleville and Hastings County. The next chapter in this amazing story occurred in 2019 when Robert Presland of Ottawa was searching his family history and noted that great-grandfather, William James Savage, had gone off to the First World War at the age of 37. This intrigued him; he wanted to find out more about this person.
Through his family, he learned that his great-grandfather had written extensive poetic works and these were preserved at the Community Archives. Mr. Presland contacted the Archives
and was able to obtain copies of the handwritten documents. Amazed at what he found – not just poetry but a first-person, eyewitness to his great-grandfather’s life 100 years ago. He undertook the transcription of the “sometimes tortuous handwriting” of his great-grandfather’s works and ultimately, he published them. His book, William James Savage Walk With Me, From 1890 to World War Poetry and Prose, presents, in 161 pages, almost 50 stories of Savage’s life from early days in Norfolk, England, through the First World War and daily life in Belleville, with Savage’s distinctive sense of observation and good humour flowing through his own poetic style.
This book is available at the bookstore of the Hastings County Historical Society in the Community Archives, 2nd Floor, Library Building and online at hastingshistory.ca, 161 pages $15.
Ameliasburgh Heritage Village: A respite from the wineries
By Ardith Racey
Today Prince Edward
County has over 40 wineries, but this was not always the case. The county has always been an agricultural hub, and in the 1930’s and 40’s when it was called “the Garden County of Canada”, there were 77 canneries in operation. The history of the canneries forms only a fraction of the extensive memorabilia that featured at the Ameliasburgh Heritage Village.
Janice Hubbs, curator of the ‘Village’, is a storyteller who has learned the stories of the county through donations of local artefacts – the place is now more than a museum – it’s a themed grouping of replica buildings brimming with history that offers a reprieve from the wineries and beaches for which the County is better known. Tucked away in the village of Ameliasburgh and situated close to Roblin Lake, the ‘Village’ offers a fascinating look at life in the late 19th and early 20th centuries.
In 1968, the Ameliasburgh United Church was designated by the community as a museum: it was formerly a Wesleyan Methodist Church built in 1868
and which boasts the “highest steeple in Prince Edward County. It now houses everything from quilts to old pianos, as well as a ‘barn loom’. Over the years, additional buildings have been added – there’s a furnished log cabin, several display barns that showcase old buggies, sleighs, and farm equipment, an operational blacksmith shop, a carpenters’ shop, maple syrup and beekeeping buildings, and an impressive engine house that houses a huge flywheel once used to power the Hancock Lumber Co mill in Carrying Place. Two of the build-
ings were constructed from limestone taken from the crumbling Roblin’s Mill which was originally built in 1842.
In addition to the donation of “so many old things”, local support for the ‘Village’ has been extensive. The ‘Honey House’ is one of those buildings which was moved to the site in 1978 via support of the Quinte Beekeepers Association. The ‘Log Cabin’ is an original cabin from Ameliasburgh Township which was reassembled on site in 1969 with support of the Loyalist Timber Framing company.
Prince Edward County
Hubbs estimates that in addition to about 15 school group visits, roughly 7,000 people visit the site annually, “usually on days when they can’t go to the beach.” There’s a strong sense of community that values agriculture as a way of life evident in each of the buildings’ exhibits. Hubbs dresses in period costume each day and tries to make the school tours engaging and interactive but leaves the ‘tourists’ to self-guided meandering.
With the occasional support of a student in the summer, Hubbs has single-handedly created a venue that is sure to fascinate history buffs, agriculture enthusiasts, as well as anyone interested in taxidermy. The Devries Natural Heritage Collection is an impressive preservation of the biodiversity of the area which was supported, in part, by the Parrott Foundation. The collection contains hundreds of lifelike representations of birds, mammals, and fish which were created by the late Jake Devries. It’s truly something else!
So, if you’re looking for a respite from the county’s wineries, beaches, and art galleries, a few hours in the ‘Village’ will ignite your sense of heritage.
Congratulations to Anna Swanson!
By Janet Jarrell Belleville
Anna 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 NapaneeBeaver
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 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.”
Napanee
Literary
Bookbans are increasingly becoming a problem across North America and Belleville born author Courtney Summers has been feeling the heat.
A lifelong storyteller, Summers turned to novel writing when she was 18 and her debut novel, Cracked Up To Be, came out in her early 20s. She felt like novel writing was the best fit for the stories she wanted to tell, having first tried her hand at screenwriting.
Her books are in the Young Adult (YA) genre and focus on very dark topics; things that can happen in the real world, but when they do the people who are involved with them are turned into characters on the news, keeping people from seeing the humanity behind issues. Summers has brought humanity to the page with her fully-formed depictions of girls and women experiencing traumatic situations.
Summers found that the books she read as a teenager had a lasting impact on her and believes that in writing for teens, she has a responsibility to help them understand the world.
“We all have different parts of ourselves that make us uncomfortable, that we’re not willing to look at and particularly writing for teens you want them to know it’s ok to have these aggressively angry thoughts, to feel disconnected from the world, to not feel sure about yourself,” says Summers. “There’s that kind of darkness and you put it against the larger, more brutal darkness of the world and you want to explore the complexities and the conversations you’re having with your identity.”
It’s been a tough past few years and Summers uses her writing to address those problems. Not just to focus on tough topics, but to help inspire people.
“It’s a challenging time to be a human, in your skin and living your life and I just
Reading, writing and fighting anti-intellectualism
By Kodie Trahan-Guay Belleville
want to address those challenges in the extreme. There’s always a kernel of truth, something that can be applied in our day to day existence,” says Summers. “I actually hope what it does inspire in people, is an instinct to be kind and empathetic, to meet these challenges with the best part of themselves. To fully engage in our capacity to be good we have to confront the parts of ourselves that are not so great.”
As many of her books deal with dark topics they have faced controversy. In Indiana, USA there is currently a motion to move many YA books to the Adult sections of bookstores and libraries, making them harder for the intended readers to find. Summers’ most recent release I’m The Girl is a book currently facing much backlash for its content. The book is the story of Georgia and how she is trying to navigate a world with a power structure meant to control and oppress.
“I’m The Girl was specifically written to give teenagers access to language and experiences that they might not have safe spaces to talk about, to internalize, to understand what is happening to them,” says Summers. “It’s a book that is deeply ingrained in the perspective of a 16-year-old protagonist who is being groomed by a Jeffrey Epstein avatar and she doesn’t understand what’s happening to her but as a reader you understand that dissonance is very upsetting, very unsettling and the more you feel that opposing tension the more you start to realize the machinations that are in place to hurt young women who are vulnerable and who really want to believe and better their circumstances.”
Summers believes that banning stories from people will only cause further harm. One reason storytelling was created was to pass on lessons, to teach and help instruct people so they could safely navigate the world, but when a story is difficult or dark, some may be inclined to ignore or get rid of it.
“People don’t like that these stories, first of all, exist in reality. They think fiction should be an escape, but it can also be a place to empower yourself by worrying about these things that we keep hidden,” says Summers. “We do not employ the tools to educate young girls about what’s out there and how to identify these kinds of warning signs. We lean on whisper networks and not everyone has access to whisper networks and I think it’s really important that books can be a tool to help teens very safely understand that the world that they’re operating in is not always so kind.”
Book bans and book restrictions are a form of censorship that happens when people, the government or other organizations remove or restrict access to books in schools, libraries or bookstores because they object to the content of the books.
A problem globally, but especially in the United States, book banning and restriction prevents access. If a young person is going through a distressing situation they are not as likely to find material that could help them. However, Summers has hope as many people are actively working against book banning.
“What I’m really heartened by is the response against these moves, how quickly everyone is rallying to vocalize and stand up against this kind of soft censorship. It does go a long way to destigmatizing books that have been put in this position and it helps spread word about them.”
Courtney Summers books are available everywhere books are sold. To learn more about the award-winning author visit her website, courtneysummers.ca.
John M. & Bernice
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
Second chances & holistic songwriting
By Greg Ceci
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 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-tobe-released, must-have debut album. Don’t miss it!
jackiefindlay.com
Photos by Bob H ouse
Belleville
Music
Bob House
A horse of a different colour
By Greg Ceci
One listen to Kingst -
ton-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 fivesong 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 buzz-
ing, 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 because 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 compelling 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.”
Songwriting, RollingStone and Avril Lavigne
By Greg Ceci
Stephen Bruce Medd
is a widely known and reputable local songwriter from Napanee who has been crafting songs and spinning stories for as long as we can remember. Originally an exploration geologist in some of the most remote and awe inspiring locations in Canada, he's become a local historian who is most celebrated for his golden voice and repertoire of finely crafted historical ballads and spiritual folk songs. This year marks the twenty-fifth anniversary of his debut album The Quinte Spirit, in which Medd first flexed his songwriting muscles, mentored an aspiring Napanee singer, and was a catalyst in launching her career into the stratosphere of international superstardom.
Medd's first two albums, TheQuinteSpirit and My Window To You feature multiple singers but the three songs written for and performed by a then 15-yearold Avril Lavigne garnered the most attention. Medd's poignant and timeless TouchTheSky from the first record was the tune that set the wheels in motion. In 1996, along with Avril's father John Lavigne, as well as good friend Clifford Trott who's daughter Stephanie was also a featured vocalist, the three musician friends set out to record an album. David Archibald and Duncan Holt rounded out the creative team for both projects, which Lavigne later used to shop around the industry and land a deal for her first CD.
Medd realized her talent and professionalism when they hit the studio to record TouchTheSky. She calmly strolled in and
on the very first take, nailed a stunning and memorable performance that to this day sends chills up the songwriter's spine. A random man filming their performances at the CD release in Kingston ended up serving as Lavigne's first manager. She quickly outgrew Napanee and in 2002 recorded her first album Let Go as she spread her wings for flight. In the liner notes, she thanked Medd and his team for believing in her. People began showing up on his doorstep from England, Germany and the United States and he reflects on that exhilarating period of time shortly after Lavigne hit it big, “I had people all over the world contact me. Rolling Stone magazine interviewed me in my kitchen. Even my kids were on YTV because Avril babysat them. Exciting times for sure.”
Medd draws from many influences including Gordon Lightfoot, Pete Seeger, the Beatles, as well as traditional English and Irish folk. Now a seasoned and highly respected songwriter, recording artist and performer, those early times taught him plenty about his craft and the music production process. Medd explains the songwriting impetus from his first two albums, “I was strongly influenced by the praise, worship and gospel music that Avril's parents were listening to at that time, but the forest and the outdoors are my church and much of my lyric writing is driven by a love and wonderment for nature.”
Medd is set to re-release TheQuinteSpirit later this year, with an accompanying
concert in the works as well. It's true that Lavigne put Napanee on the map (she was honoured with a star on Canada’s Walk of Fame in 2023) but it is Medd who remains and continues to draw divine guidance from the area's rich history and scenery. The Quinte Spirit has truly stood the test of time, something all songwriters hope for. To be remembered and leave a legacy. Medd has done exactly that as he gazes in the rearview mirror with humility and fondness, “I’m quite proud to know the opportunities I gave Avril helped in her early development. We were all one link in a chain of several links that helped Avril along.”
Search for Stephen Bruce Medd music to view his catalogue, catch a live performance, purchase his music, as well as view those magical videos with Avril in which a star was born.
Napanee
Melted Fro – One Man Band
By Greg Ceci Tweed
Jai Harvey-Wright
Kanyeis one of music's best kept secrets. No, not the Kanye you're thinking of, rather Kanye Calder of Tweed. Calder is the one man songwriting, guitar slinging and melody singing musical force behind the band that is Melted Fro.
The band came together in 2013 and wrote and rehearsed for a full year before hitting the local scene. They test drove their newly minted songs and put them through the paces on a local tour before recording their first album in 2014. The band experienced several line up changes but being a multi-instrumentalist and the main songwriter, Calder eventually took over all duties and continued to record as Melted Fro.
The material is best described as alternative music steeped in rock and blues. Calder's main influences include Queens Of The Stone Age as well as two blues giants, giving him a special affinity for slide. “I play a lot of slide guitar and that all started with listening to Johnny Winter and Elmore James.”
Calder has ten albums of material under his belt, along with an additional release from his side project, Cain Alley. The first video he shot made the
airwaves and featured all the women in his family dressed up as witches. Calder explains, “I wrote a halloween inspired album, the main single Candy Apple Heart was featured on Global news. It was really exciting because it was my first time directing a music video.”
Calder's dad bought him his first drum set when he was seven and his uncle Blair gave Calder his first guitar at ten. However, his most ardent fan was an unlikely one.
His family have been crucial in his evolution as a musician and songwriter, with unwavering sup-
port from his entire clan, including both parents and his step-father. Calder's dad bought him his first drum set when he was seven and his uncle Blair gave Calder his first guitar at ten. However, his most ardent fan was an unlikely one. Calder notes, “My grandma who passed away a few years ago, was a big supporter of the band, even at 75 she would let a rock band play in her basement, stay over after gigs and feed everybody.”
Now, live shows are fulfilled by adding his favourite area musicians Cameron Raynor on drums and Kent Bryanston on bass. Calder explains, “Melted Fro has always been a power trio and the guitar and vocals are the main melodic catalyst.”
Like all songwriters, converting art into financial gain is the big challenge – even for artists like Calder with an extensive catalogue. He laments, “Streaming services should pay artists better. On paper, it seems great to give artists the platform to endlessly upload music but in reality,
music has been devalued on a grand scale since the digital age.”
Despite overwhelming industry barriers, there's no backing up or backing down for Calder. He promises that 2024 will see a new Melted Fro album, as well as another side project. He may only be one man, but he's talented and driven with a second sight and wisdom to see the forest through the trees.
Rain Fice
Jai Harvey-Wright
Music
Maple Drive – CanadianMade,Eh!
By Greg Ceci Belleville
Our country consists of many things including polite people, hockey, toques, loonies and May two-four. Canada is also steeped in great music and Maple Drive aims to represent The Great White North with their own brand of Canuck Rock. In fact, the band moniker pays homage to our
the home grown bands that came before them.
The recent pandemic permitted many folks time to pause and reflect. Drummer Jay Carroll and vocalist and rhythm guitar player Kent Allin are life long friends and filled the downtime jamming in Allin's basement. Lead guitar player
and vocalist Jay Kerr happened to overhear one of their jams while at the neighbours and hopped on board. A serendipitous meeting in a parking lot gave them bass player and vocalist Collin Parr to round out their line up.
Their sound was born from 1990's and early 2000's Canadian rock.
They share the daunting load required of bands today and approach decision making in a true democratic fashion. Everyone has a role, a voice and everyone is heard. Their sound was born from 1990's and early 2000's Canadian rock. More specifically the Big Shiny Tunes CDs, The Tragically Hip, Sam Roberts, Matthew Good, Big Wreck and the Sheepdogs. Best described as beat oriented, edgy riff rock, Maple Drive released their debut album in early 2023
garnering attention and radio play on several stations. Many songs were conceived on a weekend getaway sequestered at a cottage and quickly snowballed from there to a full album released on both vinyl and streaming platforms.
Songwriting for Maple Drive is directly tied to what's going on in the band's lives. Allin explains, “InTheGrey is about understanding that the world is not always black and white and the richness of life is in the grey. FadedGreenand New Heights are little nods to our wives and our lives. Spot Where No One Knows is about the little moments in life and the secret places that make it unique and special. AllTheirChildrenis really our only political song. It has been described as our call to action song.”
Carroll functions as manager, marketer and promoter for the band. Parr serves the role of technician for set up and live sound. Kerr is essentially the band's musical director and Allin jokes that he just likes to show up and have fun! As with most artists, those closest to them have played a huge role in encouraging
and supporting the band. The group notes, “Our friends and family are the reason there is a band in the first place. They have been the driving force to the continued successes we have.”
There's no denying the future looks bright for Maple Drive with goals to release a sophomore album, open for
a big name act and tour outside of the Quinte region. One thing is certain. Maple Drive are unabashedly Canadian and they're coming on strong like a warm Chinook wind.
So, like don't be a hoser eh - check them out!
Tony Vani - late bloomer
By Greg Ceci
N ot all musicians
flower early in life and like many before him it took Tony Vani time to blossom into one of the most respected and beloved musicians in the region. His was a journey that was marred with much self doubt and earnest soul searching.
The son of Italian immigrants, Vani spent an introverted childhood feeling awkward and out of sorts. Having a learning disability, he abandoned scholastics early and headed west to find himself. It was in a Vancouver club he had an epiphany that solidified his trajectory when he saw master harmonica player Charlie Musslewhite. Arthur Baxter, another pivotal figure out west, encouraged Vani and convinced him to join his band. That was the first of a slew of bands spanning his music career.
Playing in ensembles gave the selftaught Vani confidence and foundations in guitar, vocal, harmonica and performance to play any style of music including funk, reggae, rock and jazz, but his heart will always bleed blue.
Vani was also the brainchild behind the first annual Belleville Blues Festival.
Vani remarked, “I especially dig playing the blues. There is something raw and earthy about it that really appeals to the inner soul. It saddens and excites me at the same time.”
Belleville
Like many experienced performers, Vani endured unappreciative crowds, shifty venue owners, musician's cliques and little or no pay. Through it all, Vani flourished by writing, producing and releasing five albums with another on the way, as well as opening for rock band Dr. Hook and performing at the Kingston Blues Festival. He has written over a hundred songs and his partner Debbie Hoskin helps with lyrics. Vani proudly beams, “Debbie is an amazing singer and musician in her own right but is now retired”
Eventually returning to scholastics, he emerged as an educator. Vani notes, “My training and background in education is broad. My degree is in Social Development Studies and in addition, I have four certifications in relation to my work with students with intellectual, emotional and developmental exceptionalities.”
Although now officially retired, Vani continues to work privately with adults with exceptionalities and often uses music to bridge the gap. He also continues to nurture relationships with former students by periodically taking them on fun outings and activities.
Vani was also the brainchild behind the first annual Belleville Blues Festival. Forever modest, he's quick to downplay his role and defer praise to Carol Feeney - who according to Vani, did all the heavy lifting. An ongoing blues festival is a fitting legacy for a bluesman who loves developing and encouraging a new generation of musicians.
He is enjoying retirement with his loves Debbie and their six poodles, who he calls his muses. He practices every day and gigs for the sheer love of entertaining a crowd. His advice to other musicians, “Practice, practice, practice. It takes ten thousand hours to master your voice or instrument.”
Deeply rooted in the blues, Vani is a perennial performer pedalling an infectious smile and stage presence who also softly serves his community and humbly inspires an entire music scene.
AnnaFraiberg is a marketing professional by day and an avid adventurer/local explorer in her spare time. She rarely leaves the house without her camera, “Just in case.” The best photos always come out of the most unexpected moments.
Content created in collaboration with the Bay of Quinte Regional Marketing Board
Quinte Ballet School of Canada alumnus: Desirée Botting
By Kodie Trahan-Guay
The 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 and
Belleville
teach as often as parenthood allowed. This has evolved into her current fulltime 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
Berry
Photos by Drew
Performing
Breaking barriers
Gabrielle Faith Edw-
ards 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.
Quinte West
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
Centennial Secondary School Arts Program Enriches Students’ Lives
By Kodie Trahan-Guay
High school is a
time to explore who a person is and what their passions are. Centennial Secondary School has a program for students interested in exploring their passion for the arts. Led by educator Kelly Carrol,l the arts program offers streams for visual arts, music and drama.
Carroll has been teaching at Centennial for 19 years, most of that time has been in the Arts department. She knows how important the arts are for students.
“The arts nurture empathy, cultural understanding, and innovation. They are vital for enriching lives beyond academia and shaping well-rounded individuals who can navigate the world with imagination and sensitivity. I particularly enjoy teaching in an environment where I can collaborate and co-teach with my colleagues, as it allows for a richer and more diverse learning experience for students. Working together with fellow educators enhances creativity, promotes professional growth, and ultimately benefits the entire school community.”
Carroll says that the Arts Program helps to enrich students’ education. It also builds a sense of belonging, at a time when many students are looking to find their place in the community, the arts can provide that home.
The arts program gives students the opportunity to immerse themselves in the arts year-round. They will audition for a major (the artistic discipline the student will focus on for their time during school). The program expands after the first semester to allow students to focus on additional art forms as well and in twelfth grade students can take additional classes like theatre production, drawing, painting, photography, and com-tech to broaden their experiences. Currently the program has space to accept 25 students per discipline.
“Students should choose this comprehensive arts program for the opportunity to share classes with like-minded peers in an inclusive environment,” says Carroll about the program. “They can engage in arts education year-round, and benefit from a wider range of
course offerings in various artistic disciplines. This unique environment fosters creativity, collaboration, and personal growth, providing an unparalleled experience for students dedicated to pursuing their artistic passions.”
Students are able to pursue a “Specialist High Skills Major in Arts and Culture”. This is a ministry funded program that enables students to pursue certifications and a co-op in the arts field, helping to further their prospects for employment after graduation. Carroll doesn’t want students who don’t want to pursue a career in the arts to feel like they can’t join in the program.
“This program is not exclusively for students aspiring for careers in the arts. It is open to anyone interested in the arts, creativity, and collaborating with like-minded individuals. Whether students aim for a career in the arts or simply enjoy expressing themselves creatively, this program provides valuable opportunities for personal growth, skill development, and exploration within the arts and culture realm.”
Belleville
Check out Centennial’s website to learn more about when and where auditions will happen.
Tara Geall is an arts student currently completing a co-op at the Quinte Arts Council. A twelfth grader who is in the drama major, Geall believes that the program has changed her life for the better.
“The Centennial Secondary School Arts Program got me through my entire highschool career, without it I have no idea where I’d be today. I’m graduating in just a few months so I’ve had some time to reflect on what the last four years of my life meant, where I have been, and now where I’m going; this time has allowed me to realize that I most definitely wasn’t always the biggest fan of school and used to count the days until graduation. Now that it’s almost here it’s so overwhelming. Mixed emotions of happy it happened, sad it’s over, and this feeling of what’s next? The Arts Program was an escape from reality on my worst days, and some memories that I’ll never forget on my best.
In grade 9 we filmed LawandOrder with a fun spin of the characters all being from children's stories, Grade 10 we did 9 Worst Breakups and Centennial Tonight, Grade 11 was 16 In 10 Minutes or Less and finally my last show in Grade 12 with the program Annie Jr., each show has taught me something new and developed my skills as an actor as well as who I am funny enough playing other people tells you a lot about yourself. To put it lightly and with no exaggeration, it changed my life.
I was accepted into the program in 2020 as a drama major, some of my best friends to this day I had met in the very first class. To me the Arts program helped me through some of the hardest years of my life, from the ages of 14 to 18 you really begin to flush out who you are and have to figure out your path in life, so to have such a warm and supporting community like that helps with personal growth. Over the last four years I have learned, laughed, cried, and sweated for the arts program and I wouldn’t change a thing.”
Jack Brown
Emma Little Performing
The Lennox Community Theatre: Where stage & history knit community
By Ardith Racey
What keeps a village theatre
group going for almost 90 years? Andy Palmer, Secretary of the Lennox Community Theatre group in Selby, ON, credits the group’s founding members, as well as the community’s generosity and passion for theatre. Palmer’s been personally involved with the group for 27 years as an actor, playwright, and board member.
“The group goes back to 1937 and has existed in a variety of locations,” says Palmer. Its home today is a quaint, brick, former Methodist church, built in 1875, and although the lancet windows have been painted over, the space has a strong spiritual essence. The church later became the Richmond Township offices which were relocated in the late 70s, after which it was leased to the group for a nominal fee. In the early 90s, the group began fundraising for renovations, and with the help of a ‘Wintario’ grant, the volunteer labour of community members, which included inmates of the Quinte Detention Centre, the church was trans-
formed into a theatre. Its 80 maroon seats (with vintage wooden arms) were purchased from a movie theatre in nearby Deseronto. A sophisticated lighting system (with a travelling spot) was added, as well as a sound system which is rarely used given the excellent acoustics of the space. When the township became part of Greater Napanee, the group purchased the building in 1998.
“We try to have a finger on the pulse of what our viewing community would like to see, and we encourage multi-generational interaction and participation at every level – on stage, backstage, with administration, costuming, sets, lighting, sound,” says Palmer.
They do four or five productions each year, which adds to more than 120 shows, and although they’ve done musicals such as Godspell, and serious works such as A Walk in the Woods and Wait Until Dark, they try to stay with works that are lighter, as well as at least one large cast production that includes children and teens. In fact, Avril Lavigne starred in a production of Charlie Brown when she was eleven years old.
Over the years, they’ve done several Nunsense series, Christmas pantomimes such as Cinderella and A Christmas Carol, as well as dramatic plays such as Proof, Steel Magnolias, The Sunshine Boys and Educating Rita. They use Canadian playwrights as much as possible: their most recent production last September was Norm Foster’s The Ladies Foursome (they did
the male version of the same play twenty years ago) directed by Chris Newton. Local playwrights such as John Corrigan, Richard Linley, Michelle Dorey Forestell have been strongly featured. Auditions are open to all and “almost always the actors are local,” says Palmer, who has been in at least 37 different productions. The seven-member board decides on the play.
That this theatre has survived for so long is due to its community support. Its founders (Ron MacPherson, Wes & James Alkenbreck, Judy Dowling, William Smith), together with the staunch support of people such as Jean Morrison (former owner of The Napanee Beaver) have pillared a tremendous loyalty. The local drugstore – Gray’s IDA – acted as their ticket agent until just before COVID. Tickets can now be purchased online on their website.
Given the group’s mandate to be as inclusive as possible, together with a very dedicated band of volunteers – the backbone of every community theatre – and a history of support that knits together the Selby community, theatre in this village is very much alive, collected and connected.
For tickets and more information check out: lennoxtheatre.ca
Performing
An evening for The Arts
By Matilda Aide
"An evening of fantastic
music , daring acrobatics, beautiful ballet- that is a taste of what the attendees witnessed at the 29th annual Arts Recognition Awards on October 13th, 2023.
Previously held during the Mayors Luncheon, the QAC kicked things into gear this year, turning the Arts Recognition Awards into a fundraising gala held at The Grand in Belleville. The event raised $42,000 for the QAC Arts Education Bursary program and the publication of Umbrella Magazine. The night honored seven deserving winners and highlighted some amazing talent here in the Bay of Quinte; The Dan Douglas Band, Quinte Ballet, Quinte Youth Theatre and The Impish Grins dazzled the crowd throughout the evening!
“The Arts Recognition Awards are a chance for the community to come together to witness the extraordinary talent here in the Quinte region,” says Janet Jarrell, Executive Director of the Quinte Arts Council.
“We are on the flipside of a few years of isolation and quiet; it was time to celebrate together and honor the recipients of this year's awards, while raising funds for arts education, and enjoying a fantastic lineup of live entertainment.”
Our community has nominated seven recipients for their artistic excellence, cultural leadership or contribution to the arts in the Quinte region.
Dan Douglas “TheMusicalCommunityBuilder”
Dan Douglas is a musician who has been performing and honing his craft for over four decades! He has a passion for passing on the love of music to others and has been a music instructor, clinician and adjudicator for Drum Corps and marching bands across North America. He performs both jazz and commercial music and is a member of Quinte Symphony. He founded the jazz band, The Dixie Demons, who perform across Ontario and recently had a sold out show at the Belleville Club.
Hannah Georgas “CanadianIndieRockstar”
Hannah Georgas is relatively new to the Quinte region. A Juno nominated Indie musician with a passion for community she is already making waves here. She recently completed an international tour performing her latest album “I’d Be Lying If I Said I Didn’t Care”. Nominator Sam Brady says “Hannah is an incredibly talented Canadian music icon and she's giving back to her new community through her time and efforts.”
Michelle Hauser “TheCreativeSpace-Maker”
Michelle Hauser created the non-profit Harmony Lounge and Music Club in Napanee. It is a youth-oriented program that provides mentorship, a gathering space, and professional-quality music lessons for high-school-aged students from Greater Napanee and surrounding area as well as employment opportunities for high school students and other members
Photography by Travis Kerr
Gabrielle Edwards,
of the community. Hauser developed the program after observing the effects of isolation and anxiety due to the pandemic on high school children.
Carlyn Moulton “InternationalGallery”
Carlyn Moulton is the owner and curator at Oeno Gallery. About Oeno Gallery’s impact on the arts community nominator Dana Charles says, “This year, Oeno Gallery celebrates its 20th Anniversary and its history of enriching the local arts community with monthly gallery exhibitions, artist talks, community events, and the Sculpture Garden, which sees 30,000 visitors a year. Carlyn has established relationships with art buyers worldwide, garnering an international reputation and furthering the growth of the local tourism industry.”
Randy Stewart “TheMusicalForce”
Randy Stewart is a singer songwriter who works and plays throughout the Quinte Region. Nominator Ron Marshall says Stewart is a musical force in the region. “He just wrapped up a year where he organized over 40 musical events around the region that put more than 120 musicians in front of an audience,” says Marshall. “Randy performs solo on stage regularly and in a variety of venues, from bars and coffee houses to outdoor stages to concert venues.”
Christina Taylor “TheMentorofMovement”
Christina Taylor is the Board Chair at the Quinte Ballet School of Canada and a dedicated volunteer to arts organizations in Quinte, including the Quinte Symphony. In a letter of support QBSC Board member Dan Atkinson says “She is a continuing supporter of arts and
culture in our community and puts an extraordinary amount of time and effort into helping organizations both as a Board member and as a volunteer. She is a wonderful credit to our community.”
Sarah Winn “The Artistic Powerhouse”
Sarah Winn is a well-respected member of the Quinte arts community both as an artist and as a supporter of the arts. She is always willing to donate her time and expertise in order to support the arts community. She has taught several classes over the past year. Many know Winn thanks to her impressive feat “The 100 Day Project” that has been shown two years in a row in the QAC Cultural Hub.
These fantastic individuals have dedicated their lives to the arts, through sharing their talent, teaching and supporting others to flourish. The QAC is proud to honor each of them. From attendees to sponsors the night would not have been a success without the generosity and participation of everyone involved. With a special acknowledgement to Ralph Johnston who donated $10,000 at the evening for the arts!
Thank you to the event sponsors Elexicon Energy, McDougall Insurance and Financial, Ralph Johnston, The John M. & Bernice Parrott Foundation, and The City of Belleville and a special thank you to emcee Dug Stephenson and local artist Mark Armstrong for designing the awards.
Dan Douglas and friends
Impish Grins
QAC Board Members and Staff
Quinte
In Celebration of memory and pride at QACLuisé Cisneros
By Janet Jarrell
In celebration of Bay
of Quinte Pride, the Quinte Arts Council and local artist Luisé Cisneros presented a powerful and heartfelt art installation that honoured our 2SLGBTQ+ community members who have passed away. The exhibition ran from June 1st to July 12th, 2024.
The installation itself was a traditional ofrenda—a Mexican altar celebrating the lives of those who are no longer with us. This installation was more than an art exhibit; it was a collective memory and celebration of lives, a poignant reminder of the ongoing struggle for 2SLGBTQ+ rights, and a space to pay our respects.
The public was invited to be part of this touching tribute by submitting photos of loved ones. At the opening reception, a special performance by the artist, Luisé Cisneros, took place. This exhibition was a moment for us to come together to remember, celebrate, and continue the fight for equality.
This initiative was proudly supported by the City of Belleville.
Luisé Cisneros (ze, hir) is a non-binary Mexican-Canadian artist who explores hir identity as an immigrant with a mixed-race heritage and hir relation to the Mexican diaspora living in Toronto. Ze raises questions of body politics, confronts stereotypes of gender bodies and their relations with these cultures.
Ze uses materiality for its physical qualities, their socio-political context, places of origin, and connections to the land. Most materials ze uses have a history of production in which the process takes place in many parts of the world, centering the piece in a geopolitical system of diaspora that ze is in.
Ze raises questions about social structures that are part of the colonial legacy that have affected them such as toxic masculinity, gender
performativity, language legacy, and racial bias. The narratives in these works are not only to bring awareness of what is happening living in between lands with a fragmented identity, but also with the debt that Luisé has towards hir ancestors, hir community, and hir voice. Hir intention with hir art practice is to both criticize the barriers, discrimination, and violence faced by those who share hir BIPOC (Black, Indigenous, Persons of Colour) diaspora, and 2SLGBTQ+ identities and to celebrate our experiences, traditions, and self-worth as diverse peoples and to further raise awareness about the issues we face.
Luisé hosted an artist talk welcoming the community to the QAC Cultural Hub. This was an opportunity to further explore the ofrenda, explain each intricate detail as it was displayed, and to answer questions the community may have about this awareness installation.
This installation was not just an artistic endeavor but a profound act of remembrance and resistance. It won Luisé the Craft Ontario ‘Community Award.’ The installation underscored the importance of community, the power of collective memory, and the ongoing fight for equality and justice. By honouring those who have passed and celebrating the resilience and diversity of the 2SLGBTQ+ community, this initiative left an indelible mark on all who experienced it, inspiring continued advocacy and solidarity.
Quinte
Business Members
91X Loyalist College Radio
Advanced Electrolysis Laser
Armstrong Glassworks
Back to One On-Camera Actos Scene Study
Brady Clark Advisory Group
Chisholm Lumber
Comedy Country
Cracked Glass Design
Elevation Audiovisual
Empire Theatre
Hawkins Cheezies
Loyalist College
MB deSnoo Consulting Services
McDougall Insurance & Financial
Melt Studio and Gallery
Mind Fusion Visuals Inc.
Mr. Print Canada Inc
Oeno Gallery
Ontario Dance Academy
Peggy deWitt Photography
Quinn's of Tweed
Quinte Ballet School of Canada
Quinte Broadcasting LTD
Quinte Humane Society
Quinte West Chamber of Commerce
Sabrina Jovic and Stan Claus
Starboard Communications
Stone House Marketing Solutions
The Lion's Club Belleville
The Smokin' 116 Bistro and Bar
Young Imaginations
Your Creative Junction
Premier Arts Benefactor - $5,000 +
Bay of Quinte Regional Marketing Board
Canada Council for the Arts
City of Belleville
John M. & Bernice Parrott Foundation
McDougall Insurance Brokers Ltd.
Ontario Arts Council
Ralph Johnston
Shawn Newman
Trillium Foundation
Premier Arts Supporter - $1,000+
Richard Haeberlin
Ross McDougall
Sam Brady
Shawn Newman
Terry Richardson
QAC Partner - $300+
Janet Jarrell
Jenny Woods
Kerry Munson
Linda and Roli Tipper
Richard and Marilyn Hughes
Rick Moulton
QAC Benefactor - $125+
Chisholm Lumber
Dan & Cathy Atkinson
Don DeGenova
Hal and Olive Wilson
Kim and Glenn Lidstone
Leo and Mary Jo Fortin
Linda and Garry Gray
Linda Mazur-Jack
Lyle and Sharon Vanclief
Maribeth DeSnoo
Raymond McCoy
Ren & Michiel Duinker
Susan Nurse
QAC Patron - $25+
Beverly Pulver
Bob and Cathy McCallum
Bonnie Coldham
Charlotte Dafoe
Christina Ann Taylor
Donald Desaulniers
Eileen Tobey
Elizabeth Mitchell
Emebet Belete
Geoff Webb
Heather Gentry
Jackson Marilyn
Jana Busse
Janice Brant
Jeanette Arsenault
Jennifer Chanter
Joanna and Peter Hoekstra
John Smale
Joyce Pond
Judith McKnight
Julie Brown Hale
Kim Lidstone
Leo & Mary Jo Fortin
Linda Mustard
Lola Reid Allin
Lynda Wheeler
Rachael Tracey
Ross Barnett
Ted Yao
Trevor Pross
Victoria McCulloch
Donations in Memory of Howard Pulver
Mary Black
Joan Burgess
Carol Casey
Kathryn Weston
Donna Knox
David and Mary Milne
Sharon Reid
Mary Tubbs
Linda Grimson
Pamela Dingle
Maureen Kostal
FredRutherford 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.”
