Umbrella Fall / Winter 2020 Vol. 29 No. 3
What’s Under the Umbrella? DocFest 2021 goes virtual o Remembering Michael Rutland o Painting the Essential Workers Mural o
Visual I Performance I Literary I Heritage I Education
A publication of the
TEAM Janet Jarrell, Executive Director janet@quinteartscouncil.org Adam Gray, Creative Director qac@quinteartscouncil.org Fiona Campbell, Communications & Outreach Director communications@quinteartscouncil.org Andrew Gray, Graphic Designer drewgraymatters@gmail.com Kim Lidstone, Bookkeeper accounting@quinteartscouncil.org
Fiona Campbell, Adam Gray, Janet Jarrell. Photo by Ash Murrell
BOARD OF DIRECTORS
MESSAGE FROM THE EXECUTIVE DIRECTOR
Chair Vice Chair Past Chair Treasurer Director Director Director Honorary Director
Andrea Kerr Rick Moulton Jenny Woods Maury Flunder Dan Atkinson Taylor Pender Emebet Belete Lise Lindenberg
The Quinte Arts Council is a not-for-profit, charitable organization, registration number 107869448 RR 0001. Publications mail agreement number 40667523. Published by: The Quinte Arts Council 36 Bridge St. E., P.O. Box 22113, Belleville, Ont. K8N 2Z5 Printed by: Mr. Print, Belleville, Ont. Deadline for the fall issue: January 22, 2021
Umbrella welcomes articles (500 words max.) on or about the arts in the Quinte region, poetry or prose, illustrations and photographs. Material may be reprinted only with permission. Umbrella reserves the right to edit, crop and editorialize all submissions. Members are given space priority. Umbrella is mailed to members and delivered to distribution points throughout Quinte, Prince Edward County, Bancroft, Napanee and Brighton. 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. Subscription Rates: Members – included in your annual membership fee ($12.00 per year) Non-members: 1 year $19.99, 2 years $35.99, 3 years $50.99. International subscription $39.99 per year (all prices include HST).
QAC programs are funded in part by:
The John M. & Bernice Parrott Foundation
Nine months after the first lockdown and COVID-19 is still here. At a surreal time in history when many find themselves questioning the future, our artists continue to be at the centre of creation and healing, providing us with all forms of beautiful art that bring us hope. Yes, many festivals and events were cancelled this year, live performances went virtual, galleries, dance studios and art spaces were forced to rethink how they brought their work to the public. And yet artists forge on, as creative thinkers and as problem solvers. Art continues to keep us connected even through the most difficult and challenging times. Since our last issue of Umbrella, the QAC hosted its first virtual Art Health and Wellness session to connect with artists to see how you were coping. Our Annual General Meeting, while virtual, celebrated our board and team the best we could. We welcomed Andrea Kerr as our new Chair to champion this team forward. (Read her message and the new board welcome on page 36.) And the QAC started offering arts-educator training workshops designed to help artists go virtual. In short, we found ways to be apart together. We are grateful to have the Umbrella to continue to spotlight the talented artists in our community. In this issue we shine a light on Chris Bennett and all of those who supported the Essential Workers Mural, and on TJ Champagne for capturing the entire process. We celebrate Peter Paylor, Robert Tokley and Sandra Randle, each wellestablished artists in this community. We introduce emerging artists Tyler T. Rushnell and fiction writer Jerri Chisholm. We look into the creative worlds of Nick Pujic, voice actor Peter Wood, Old Church Theatre, The Empire Theatre, and learn how Docfest is going virtual. The Quinte Arts Council celebrated 26 years of hosting their Arts Recognition Awards to recognize those who have made a difference in our community. This special celebration was in memory of and dedicated to Michael Rutland. In February we lost a fierce and passionate leader in our arts community, a true advocate for the arts – he is deeply missed. As we stand together, know that we value each of you, your character and your unique voice. You belong to an amazing arts community, and we encourage you to continue being compassionate, caring and connected to each other and the world.
Cover photo: “I remember seeing Frank sitting in his truck watching the protest to save his farm. It was one of those, ‘Should I take this shot?’ moments. I'm so glad I did because I know I captured the emotions he was feeling at that moment.” - TJ Champagne Frank Meyers’ farm in Trenton was expropriated by the federal government in 2013 for an elite training facility. The land still sits vacant. Meyers died in 2019. Cover: Frank Meyers by TJ Champagne
Table of Contents Photo Barn by Sandra Randle
Photography of TJ Champagne
DocFest 2021 goes virtual
The Empire Theatre
Peter Paylor
Photography Sandra Randle on appreciating home through her lens Event photographer TJ Champagne on capturing emotion
2 4
Theatre Old Church Theatre keeps up a good fight Peter Wood on the art of voice acting
6 8
Film DocFest 2021 goes virtual Nick Pujic and Vantage Point Media
10 12
Music Live from The Empire Theatre
14
Fine Art Remembering Michael Rutland: 1945 - 2020 Robert Tokley layers passion into his paintings Christopher Bennett on painting the Essential Workers Mural Emerging artist Tyler Tabobondung Rushnell
18 20 22 24
Literary Jerri Chisholm on writing dystopian fiction during a pandemic Peter Paylor on the creative process of playwriting
26 28
Heritage The impact of the arts on tourism
30
Art Education The challenge of arts education during COVID-19
32
Quinte Arts Council QAC welcomes new Board members QAC Members and Donors
36 38
Photography
Sandra Randle By Fiona Campbell
P hotography
has been a long-held passion for Stirling-based photographer Sandra Randle. “I remember getting a polaroid type camera for Christmas when I was 8 or 9 years old, so maybe that’s how I got my start,” says Randle. “My parents gave me my first SLR camera when I was about 15. A Mamiya MSX1000. I still have it today.” When Randle first started out, she used to shoot a lot of concert photos (back when it was allowed!) and in black and white. She had a darkroom where she would spend most of her spare time developing shots. Then life got in the way, and she had to put photography on the back burner for about 30 years. But then in 2016, newly retired from the printing industry in Markham, she started the next chapter in her life doing the things she always wanted to do: photography and travel. When asked what kind of photographer she is, Randle responds: “I think I’m a
struggling photographer… and a perfectionist. Being creative doesn’t come easily for me so I really have to work at it. Before creating a shot, I ask myself ‘Is this a picture I would hang on my wall?’ In most cases, the answer is ‘No’. So I keep looking for the perfect spot or subject.” Over the past five years, Randle has participated in almost two dozen regional shows and exhibitions. Recent accolades include: three-time finalist at the Colborne Art Gallery Annual Juried Show, Honorable mention at the Whitby Art Show in June, and finalist at the QAC’s 2019 Expressions Art Show. Her photos have been used on three covers of Country Roads Magazine, and she was Runner Up for the Toronto Star’s March photo contest in 2017. Looking at Randle’s online portfolio, there is a certain cohesive feel to her work: stunning landscapes, wildlife, buildings and waterfalls, many with moody lighting and skies. Umbrella, Fall / Winter 2020 - 02
“I’m a moody person so I guess that’s why moody lighting appeals to me. Dramatic clouds add depth and emotion, especially in black and white,” she says. “I love storms. The more intense the better. We have some amazing clouds out here, so it makes for nice added drama.” She adds: “I love travel photography, landscapes, grist mills, old buildings, barns, lighthouses, wildlife.… B.C. and Alberta are my favourite places, although the east coast is beautiful too. The mountains never disappoint.” While COVID-19 has put her travel photography on pause (she and her husband usually take two trips a year), she’s used this time to research old mills, which will be the theme of their next getaway, but also foster a connection here at home: “The pandemic has actually helped me look more closely at my surroundings and appreciate the beautiful places that are right here.” 500px.com/sandra-lee-randle P.2 Top: L'Anse Amour Lighthouse P.3 Top: Storm on the Horizon Bottom: Oxtongue Lake
Photography Umbrella, Fall / Winter 2020 - 03
Photography
TJ Champagne By Adam Gray TJ Champagne is quickly
becoming known as one of the best event photographers in the Quinte Region. His rich, colour saturated images pop with unmistakable energy and style. Champagne started out taking photos of friend’s bands and fell in love with capturing the exhilaration of a live performance. “It's the emotions I capture that I love,” he says. “It's not about the subject for me; it’s about capturing the emotion of the subject or the peak moments of the event.” After he was hired as the event photographer for Belleville’s Chamber of Commerce he found himself in the photographer pits at local events Empire Rockfest, Big Music Fest and WaterFront Festival with big name acts. His portfolio was soon filled with the who’s who of Canadian Rock & Roll, and event organizers took notice of his work. Now Champagne shoots bands like Walk Off The Earth, Snoop Dog and explosive high energy Chinlock Wrestling. While COVID-19 has temporarily cancelled most live events, Champagne has taken his creative work in a different direction, photographing landscapes and portraits. His recent documenting of Christopher Bennett’s (SERNA Custom Artwork) Essential Workers Mural made quite a buzz around town and is featured later in this magazine. [page 22 - 23] whybuyshots.com P.4 Top: Walk Off The Earth Right: Gianni At Scotiabank Arena P.5 Top: Bellevile Waterfront Festival Left: Chinlock Wrestling Right: Chinlock Champion Jessie Mack
Umbrella, Fall / Winter 2020 - 04
Photography Umbrella, Fall / Winter 2020 - 05
How one venue kept up the good fight
Theatre
By Lin Parkin
At the intersection of
Bonisteel Road and Stickles Road just outside of Trenton, Ont., is a historical landmark now known as Old Church Theatre. Originally built as a Methodist Church in 1876, it suffered from long years of neglect. When resident and former CBC-TV host Roy Bonisteel saved it from demolition in 1995, he renovated it and turned the church into a social haven for the rural community. In 2006, his daughter Lesley Bonisteel and her husband Brian Weston bought it from Roy and gave the church new life once again. “It’s a fabulous space, a gem for performances. It has an 18-foot half barrel-vaulted ceiling designed for acoustics,” says Bonisteel. “Every artist who performs here remarks on the great vibe, and we have top echelon performers here, such as Jimmy Bowskill and Carlos del Junco.” In addition to award-winning Canadian artists, the venue has hosted performers from Australia and New Zealand, the UK, and the US.
Although she says their first love is live performances, they take on small film projects for fun. “Like our show The View From Here, a short rant we invite folks to contribute to in front of a green screen. We also have a beer tasting show in the works!” And then COVID hit, but Bonisteel found a way to adapt. “Early this spring, when hosting indoor live events looked bleak, we took a chance on creating an outdoor stage,” she says. “Within days of its completion, the province announced that outdoor gatherings would be allowed if COVID protocols were in place.” She counts themselves lucky: “We were open from June 10 right up until October 3 with our live music, theatre and storytelling series. Many venues do not have the luxury of an outdoor space.” Like most venues that are currently allowed to have limited indoor audiences, Old Church Theatre is moving cautiously, and has implemented their own COVID Umbrella, Fall / Winter 2020 - 06
safety plan, including: improved air flow and filtration, reduced seating, pre-booked tickets only and enhanced sanitation. “Everybody is having tough times these days,” says Bonisteel. “Musicians and performers have been hit especially hard. Think about a touring musician’s lot prior to COVID; many people don’t buy CDs anymore, and we have a whole generation of people who think music should be free, or at least no more expensive than a Spotify account.” “Live performing is all musicians had left and look what’s happened to that. It’s the same with theatre. This is a cornerstone of our culture, and it’s dying,” she says. “My hope is that folks see the value in social gatherings and live performance, now under safe conditions and later when COVID finally makes its exit, and choose to support the arts.” oldchurch.ca P.7 Top: Lynne Hanson is scheduled to perform February 20, 2021. Old Church photos supplied by source
Theatre Umbrella, Fall / Winter 2020 - 07
Theatre
The art of voice acting By Peter Paylor
P e t er
Wo o d i s a
successful voiceover actor based in Trenton, Ont. Even if you haven’t met him, you’ve probably heard his voice on an audiobook, as the narrator of a documentary film, or on television or radio commercials for State Farm or Netflix or Nikon or Volvo. Ask him how he got into voice work and he’ll most likely tell you a story…or two… or three…or five. There’s the one about kissing a girl on the school bus in kindergarten. There’s the one about his
“As voiceover actors, we have to be able to paint a picture using only our voices to convey the story to someone."
grandmother, when he was just 13, urging him to go into radio. There’s the one about a pirate at the McDonald’s in Trenton. There’s the one about being tied up and tangled in ropes, being pelted with golf balls – or, at least, imagining he was – when he auditioned to be the voice of the Kool Aid Man in 2015. Wood will tell you these stories in a voice you could listen to all day. I asked him about the art of voiceover. “Imagine if you were blindfolded or if you walked into a dark room, if the only sense you had was auditory, was hearing. The person who would be talking to you would have to be able to paint you a picture and that picture would have colour and texture to it,” says Wood. “As voiceover actors, we have to be able to paint a picture using only our voices to convey the story to someone. If we were to be doing, let’s say, an audiobook, we would have to bring you into that story so that you could live that story. We would have to bring the words off the page, give them Umbrella, Fall / Winter 2020 - 08
colour and texture and nuance. Whether you’re going to feel scared or whether you’re going to feel happy, it’s all on the weight of our voice and how we choose to paint that picture.” A few years ago, Wood was asked by another voiceover actor for some coaching and he found that he enjoyed it. He’s since coached actors from Alabama, Florida, California, and British Columbia. When I spoke with him, he was negotiating with a new client in South Korea. But what brings him the most joy is the coaching he is now doing locally with 15 aspiring voiceover actors from the region: the Quinte Voiceover All-Stars. “I love it,” he says of the work with the group. “I absolutely adore doing what I do. I know what their path can be or will be. I look at it as a gift. They’re giving me something, they’re filling my bucket, it’s something that I need. For me, to be able to help somebody and see them succeed is probably even more important than succeeding myself.”
Theatre In 2017, Wood added a new dimension to his work by acting on stage in the Village Theatre’s production of One Flew Over the Cuckoo’s Nest. “I can’t thank Mike and Sarah Kirby enough for casting me,” he says. “Before I did that, before I got on stage and actually used my body to do things, I was rather static behind the mic. And what that taught me was to use the space that’s around me, to actually give three dimensions to my voice, that it is okay to move around when I’m voicing. It has paid massive dividends.” Wood has since returned to the stage several times. Now, about those stories…. “I got my very first kiss from a girl on a school bus when I was in kindergarten,” he says. “Her name was Julie Chester and she was enamored with me because I could do Donald Duck, I could speak like Donald Duck.” And there is the art of voice acting. peterwood.ca
TV or Artwork? You decide!
The Frame TV displays your favourite artwork when the TV is off.
SINCE
.com
1983
6 N. Front St. Belleville (613) 962-1333 Umbrella, Fall / Winter 2020 - 09
Film
10th Annual DocFest goes virtual By Adam Gray
Every March swarms
of film lovers fill the streets of downtown Belleville for an all-you-can-eat buffet of documentary films presented by Belleville Downtown DocFest. Passes for the event sell out each year in advance of the festival. DocFest screens outstanding
documentaries from Canada and around the world, plus a selection of must-see films made right here in the Quinte region.
festivals cancelled their events in the wake of the pandemic. The film industry came to a screeching halt. But to coin a cliche, the show must go on.
In 2019 the 9th annual festival drew some of the biggest filmmakers in the country to present their films in-person and engage audiences in Q&A sessions. Notable guests included Daniel Roher director of Once Were Brothers: Robbie Robertson and The Band, Peter Raymont director of Margaret Atwood: A Word After A Word After A Word Is Power, Alan Zweig director of Coppers and Kevin Hearn (of Barenaked Ladies) a central player in the doc There Are No Fakes. Nearly 5,000 seats were filled over the festival weekend and theatres were packed to capacity.
“It’s been truly inspiring to see film festivals move online to continue presenting the films their audiences love,” says DocFest Chair, Holly Dewar, “TIFF, the Sudbury Cinéfest, and Hot Docs all presented their films online and featured absorbing Q&As and virtual live events.”
Since March, theatres across the country have closed their doors and many film Umbrella, Fall / Winter 2020 - 10
The 10th annual Belleville Downtown DocFest will follow in the successful footsteps of other film festivals pivoting to online formats. DocFest’s 2021 film line-up and special live events will be available through a new easy-to-use online platform. Audiences will have longer to watch an incredible selection of documentaries from the comfort and safety of their living rooms. Another
Film bonus: the extended Festival schedule means viewers won’t have to make tough choices between four to five DocFest films all playing at the same time. About moving DocFest online, Dewar says, “We have a deeply passionate audience and tremendous support from our community. Even though the 2021 Festival can’t be the same, we felt we owed it to our loyal audience who look forward to binging on docs each year. The DocFest team is excited to present its first ever online film festival and to once again show important and engaging stories that celebrate life and human dignity.” downtowndocfest.ca P.10 Top: 2020 DocFest opening ceremony Left: Director Daniel Roher P.11 Top: Pexels Right: DocFest audience
Umbrella, Fall / Winter 2020 - 11
“You’re always proud of where you’re from”
Film
B y Pe t e r Pa y l or
Vantage
Point Media House
is a second-to-none television and video production and postproduction facility located above Capers Restaurant in the heart of Belleville’s Downtown District. Specializing in the outdoor adventure sector – fly-fishing especially – when there’s a story to be found in the bush or on (or under) water, there is no one who can capture it on video better than Vantage Point. I recently spoke with Nick Pujic, Vantage Point’s producer and founder, to find out why a world-class facility would choose to come here.
They must have done well. “The phone started ringing with people who had their own shows or productions who said, hey, we’d like to have you guys in and film or edit or both… we’ve been doing that ever since,” he says. Then came March and COVID-19. “Most of our work is not local and the stuff that is local is always exciting because it’s at home, and the current state of affairs aside, 85% of our business would be stateside,” says Pujic. “We certainly appreciate the stuff we get to do around home, especially on the tourism side, because you’re always proud of where you’re from.”
“I grew up in Belleville, I went to school in Belleville, my wife and I just bought a farm just outside of Belleville a year ago,” says Pujic. Vantage Point didn’t come here, it was born here. Pujic was a photographer and life-long outdoorsman with a passion for fly-fishing -- but no video experience – when the World Fishing Network came to him with a proposal: “‘If you’ll produce a television show, we’ll put it on the air.’ Which is kind of huge, right? Which, if you’ve never made a TV show, you’re like, ‘Right, yup, we’ll find a way to make that happen.’ We bought some video cameras at Future Shop, I’m not even kidding with you, and got on a plane to B.C. and we’re like, ‘Yeah, we’re making a fishing TV show. Here we go.’ And, yeah, we did.” Umbrella, Fall / Winter 2020 - 12
Film With that in mind, “When the lockdown first happened, every one of our producers was tasked with producing a project based on their passions and whatever was in reach.” The first of these projects was A Thing of the Past, a beautifullyproduced short documentary, a cautionary tale about the disappearance of brook trout in Ontario waters by Vantage Point’s senior producer Yoshi Aoki. In the film, Aoki recounts a visit to a favourite fishing spot: “My grandpa used to bring us here to fish brookies…I can remember the last brookie we ever caught here…that’s a long time ago now, that’s probably 25 years ago now, but it’s pretty crazy to think that we’re the generation that saw them disappear, and I can remember him telling us…he told us that someday they’ll be a thing of the past.” Another short documentary, The Camp, by Vantage Point’s Brady Rogers will be released mid-November. It’s a personal, heartfelt, and exceptionally moving testament to family told through the lens of the Rogers’ family cottage and hunting camp on Ashby Lake, north of Bon Echo. Again, it’s a beautiful film. There’s a quality to both of these documentaries that’s unmistakably unique to Vantage Point. I asked Pujic for some insight on what that quality might be. “I see it as a collaboration where we have talented individuals who come together, address each objective, whatever it might be, uniquely, and come at it from creative angles that, in the end, achieve the objectives and often exceed them because there’s guys like Yoshi and guys like Brady and others, who will come in and
do what they do and they’re so good at it that we often end up with something much greater than we ever conceptualized.” I asked Pujic what’s next: “I feel like there’s still a lot of stories I want to tell and I have a list of things that I’ve talked about doing for a very long time, but I have not yet achieved or done, whether it’s because of excuses or lack of time, but I’m looking forward to checking off a few of those. And a lot of those have a lot to do with here. Because what I’m finding, the more I see the world because of my career, which has blessed me with the ability to travel everywhere, the more I realize just how much is here…I want to tell those stories through video. I want to have time to do that. I don’t know another place where you can do this. I don’t know of a place you can do more.” vpmediahouse.com Photos submitted by source
Umbrella, Fall / Winter 2020 - 13
Music
Live From the Empire Theatre By Adam Gray
Mark
Rashotte
knows firsthand the catastrophic effect of COVID-19 on the arts community. Rashotte is the owner and operator of the Empire Theatre, whose doors, until recently, have been closed to the public since mid March. A huge slate of concerts, movies, and events, including Summer Music Fest (formerly Rock Fest) were all canceled or postponed. “We decided to shut it down even before the province told us to. We just had to put the safety of our staff, the artists and the public first,” says Rashotte.
While the world ground to a halt, Rashotte continued to go to the theatre everyday. The upstairs recording studio became his office, the 700 seat state-of-the-art theatre became his living room: “Like everyone else, I was on Zoom calls 8-10 hrs a day.” At first, shows were postponed and shuffled from spring to the summer, then fall and eventually into 2021. The livelihood of musicians, crews, technicians and venue staff around the world was turned off overnight. “Normally something just happens to you and you have to react to it; but in the entertainment world, it happened to everybody.
Umbrella, Fall / Winter, 2020 - 14
Everybody is having the same conversation, and the conversation is, ‘Now what are we going to do?’” Within a week, Rashotte and his team at the Empire were spread out across the lobby, figuring out how to answer that question. They decided to refund tickets for anyone that wanted, and they all started throwing out ideas about how to move forward. It didn’t take long before the idea of Live From The Empire, Rashotte’s version of Austin City Limits (the longest running music series in TV history) started to take shape. If the people couldn’t come to the Empire, the Empire would come to the people via live-streamed virtual concerts.
Music
“For years I’ve been wanting to up our game on video and what we can do with it. With the current situation it just became obvious. This is where we need to go,” says Rashotte. “So we invested in a lot of gear. It took us until mid July to get a set up that was working -- that could really show off the work of our incredibly talented technical crew and our theatre.” Before the end of March, Rashotte was on the phone with some of the biggest acts in Canada asking them to come and do a show for an empty room. The response was extremely positive. The first to throw their hat in the ring was Craig Martin of Classic Albums Live. They decided to start with three shows and see how it worked. “Pressing the button the first night, we all had our fingers crossed that it was actually going to work. We knew it had worked for us but was it going to work for everybody else? And it was like, ‘Wow! that was pretty good,’” says Rashotte. “And as soon as that show was done, and every show since, we sit down, debrief, look at the video and say, “How can we make this better?’” Those first three shows were a massive success. Between 500 to 900 people watched the free live show, and that number grew exponentially as viewers Umbrella, Fall / Winter, 2020 - 15
Music
watched the video that was left online for a week and shared through social media. Shows had as many as 15,000 viewers from around the world, some as far away as the UK and Australia. Perhaps most astonishing was the audience, who showed their support by donating to the musicians, crew and venue through an online tip jar. “The generosity of people blows us away… Supporting these artists. And those who can't afford it, that’s OK, enjoy the show. Musicians have been getting paycheques the last 10 weeks, the crews, the venue. Everybody is making a little bit of money, covering off their bills and that kind of stuff. Also knowing that this is just the start. We are going to build like crazy from here.”
be in a venue with a live act. We will keep doing that for as long as we are allowed to do it.”
Live From The Empire is picking up speed rapidly. Classic Albums Live has continued with a new show every Wednesday. In October, worldrenowned The Downchild Blues Band celebrated the release of their new 50th anniversary album release, with a pay-
Now, with eight cameras, a live video switching system, and a 36 track audio recording system, Empire concerts are broadcast live to the internet in stunning HD. Then the theatre began opening its doors to a live (and socially distanced) audience of 50 for select shows: “It adds so much energy to the night, you can see it in the eyes of the people who are watching. They are just thrilled to Umbrella, Fall / Winter, 2020 - 16
per-view concert live at the Empire and a small in-person audience. A slew of big names followed, including Canadian rock icon Gowan. “There are a lot of acts that are coming in, but deals are still being negotiated so I’ll have to keep those under my hat for now.” Also in the fall, Live From The Empire kicked off a new series called Music City
been offered the opportunity to record elsewhere want to come and play here instead. We feel like we are doing good things for the community and the artists, and now, with what we are doing, our community is the world.” He adds, “Hopefully the positive side to this current situation is that people are really going to start appreciating
Each episode is a free 30 minute show with a virtual tip jar where audiences can help support the musicians. Rashotte says, “A lot of the working acts out there play a lot of cover stuff because they have to get the next gig, but they have also spent years writing and recording their own material.” He hopes that the exposure of Music City Mondays with the chance to play on stage with state-ofthe-art lighting and sound will give these artists the motivation they need to take their music careers to the next level. “We want to give them a chance to show their talents to the world and maybe they will get the big break they need.” “I’m thrilled to see the activity in the theatre, thrilled to see that acts that have Umbrella, Fall / Winter, 2020 - 17
what valuable service artists provide us and not take it for granted.” theempiretheatre.com P.14: Top: Mark Rashotte Below: Barb, Chris, Andy, Brandon, Tammy P.15: Top: Live camera feeds Centre: Miss Emily Below: Tony Silvestri P.16: Top: Eagles Classic Albums Live Bottom: Instant Rivalry P.17: Top: Gowan Bottom: Terry, Wayne, Alex
Music
Mondays, featuring the best in regional talent performing original material. Acts include Miss Emily, Tony Silvestri, Instant Rivalry, Strumming Stories, Bentwood Rocker, Chris Caddell (Colin James & Big Rex guitar player), and the Tim Campbell Band. There will even be a special show with Photograph, Rashotte and pal Andy Forgie’s original band from the 1980s with John Paul Murphy and Mark Wilkins.
Fine Arts
“The Whole World Was His Canvas”: Michael Rutland (1945-2020) By Peter Paylor
M ic hae l
Ru t l and
was a great many things - a talented artist, a world-class curmudgeon, a thought-provoking essayist, a passionate activist, a troublemaker, a fiery debater, my friend. He was opinionated and stubborn and contrary and challenging; he could often be difficult to be friends with. But Michael was generous as well, and inspiring and giving and funny, and he was so, so supportive. He is missed today by so many. Born in Darby, England, on October 2, 1945, Michael moved to Brampton, Ont. with his family at the age of seven. At the age of eight, he painted a portrait of his dog and became fascinated with, what he called, “the nuances of living tissue.” He developed a love for sculpture during an extended stay in hospital in his early teens and he graduated from the sculpture program at the Ontario College of Art in 1969. “Capturing the human form and its expressions,” he
once wrote, “is the most difficult of all the disciplines.” His drawings, photographs and sculptures have been shown in galleries throughout Canada and around the world. There isn’t a gallery in the Quinte Region that hasn’t shown Michael’s work. To this day, when artists gather in Belleville, they still talk about his contribution – 52 pieces in all – to the show called Unbridled: A Celebration of the Human Form. Controversial at the time, it was a show that shook up the region’s art scene to the point that it’s still reverberating today. Michael is also known locally for The Children of Hope: a masterful, 15-foot bronze patina sculpture that stands in Connor Park at the corner of Pinnacle and Station Streets in Belleville. A commission from the Rotary Club of Belleville for Rotary’s 100th Anniversary, it is the city’s most significant and prominent work of public art and a treasure that we should be proud of. Umbrella, Fall / Winter, 2020 - 18
In 1996, Michael was at the centre of a group that created the groundbreaking Rivendell Herb Farm near Stirling, Ont., a 45-acre complex with gardens, a tearoom, gallery, studios, and livestock along with a solar powered house and out-buildings. Marilyn Lawrie, who married Michael in 1987, told me that Michael considered Rivendell a piece of sculpture. “The whole world was his canvas,” she said. In recent years, Michael was an outspoken arts activist, lobbying for increased funding and support for the arts from municipal governments, especially in Belleville. He was instrumental in making that happen; it is part of his legacy. A proselytizing atheist to the end, Michael would be the last to suggest that his spirit will linger on opening nights at the ballet and the theatre and at art shows and concerts -- a handsome presence off in a corner, a curmudgeon in red leather shoes. Photos supplied by Marilyn Lawrie
Fine Arts Umbrella, Fall / Winter, 2020 - 19
Layering passion into his paintings
Fine Arts
By Janet Jarrell
R ober t
Tokley was born in
Bannockburn, Ont. in the back seat of his parents Pontiac. As a toddler, he put that same car into gear, fell out of it and ran over himself. His childhood growing up in the small old mining town of Madoc, Ont., is riddled with adventures, accidents and near death mishaps that are almost unbelievable until you talk to his mother. Every time Tokley found himself recuperating, he turned to art; his recovery time was spent drawing and painting. Tokley can tell you about his many adventures, and from each one of them come new excitement, inspiration and a renewed desire to create. After high school, his adventures led him west to Alberta where he spent time working in the oil fields. “While working in the oil sands, I entered a logo contest for the company I was working for and took second place, ultimately changing my views on my ability to convey and express my talent in art,” says Tokley. Then he was injured on the job. He found himself out of work, out of money and homeless, living out of his car and subject to the violence, drugs and alcohol that accompanies life on the streets. “I got back into art, donating a painting of an Adirondack chair for a charity auction. Then a 12′x12′ mural for a non-profit organization who provided housing and support for men with addictions,” says Tokley. Eventually he headed home to Ontario, and spent his recovery time painting. Umbrella, Fall / Winter, 2020 - 20
Fine Arts Art was not only therapy for Tokley, it was also an affirmation. With no formal training, this self-taught artist was quickly well received. His exposure to the landscapes of small, historic towns nestled amidst rolling hills from Ontario to the mountains and rugged terrain of Alberta bring a natural element to his canvas – and like the great Canadian landscape that changes with the seasons, he believes his art, too, is a living, breathing, and changing thing. Tokley’s work is influenced by the Canadian Group of Seven artist Tom Thomson and more recently the Scottish contemporary artist Peter Doig. Not unlike his influencers, Tokley paints wild Canadian landscapes with a brave, abstract and reckless edge. He is bold, pushes boundaries and is not afraid to create his own unique process. He began by thinning his oil paint in individual cups and pouring the liquid onto a flat laying canvas. The thinned oils dry quickly trapping paint in pockets for texture, he then uses the brush for the details. Change for an artist can be risky, says Tokley, but it is also very satisfying. He notes, “being self-taught is a gift in a sense that I am not held down by any specific notions or ideas of how I should be creating.”
He balances his compositions between reality and fantasy, with an intensity that draws you right into the painting. Robert is known to play his favourite rock music while he works, often writing the titles of the songs he was inspired by on the back of the canvas. There is no denying that he layers passion into each piece. roberttokley.com P.20: Top: Shape Shifting Right: Robert Tokley P.21: Left: The Black River Right: Trumpet Clouds Bottom: Bon Echo
Tokley’s work is gaining the attention of art collectors both local and famous. He enjoys “painting pictures for folks who have been influential in one way or another.” His work hangs in restaurants, businesses and private collections. Kevin Hearn, of the Barenaked Ladies, commissioned a scene from his cottage and Tokley is currently completing a painting for Chris Jerricho of World Wrestling Entertainment fame. Umbrella, Fall / Winter, 2020 - 21
Fine Arts
Getting back to gigging The Essential Workers Mural By Fiona Campbell
“It is a piece that shows perseverance through hard times. Not only for essential workers during COVID, but to all who have overcome hardships. It is a tribute to say “thank you” to the essential workers whose positions are reflected in the mural; to show respect for and understanding that they are vital to society and that their sacrifice during this pandemic has not gone unnoticed. Life starts each day with a sunrise: youthfulness, innocence and joy. We can become whatever we want to be, such as doctors, nurses, teachers, firefighters, police officers and more, when we keep that passion for life. And through no matter what, humans are resilient. We overcome and shine through hard times. We all are a phoenix rising. This mural was important to me to give back and say thank you to not only our local essential workers but the world. Personally it was an opportunity for my career to shine. Art "truly" works and my community came together to give me a beautiful canvas to so. It's the highlight of my career (so far) and it makes me happy that this mural shines light to everyone who sees it.” Christopher Bennett facebook.com/sernacustomartwork Photos by TJ Champagne
COVID-19 has highlighted the need for outdoor art – sculptures, installations and murals alike. With all the closures, and many concerned about the risks associated with gathering indoors, murals act as open-air galleries. They are public displays communicating what is going on right now and serve as a legacy for the future. The Essential Workers Mural at 113 Dundas St E, Belleville created during the summer of 2020, was a collaborative effort by the community, sponsors and the artist, bringing us all together while we were apart. It is a celebration of our front-line and essential workers during this pandemic, filling us with gratitude, hope and optimism.
Umbrella, Fall / Winter, 2020 - 22
Fine Arts Umbrella, Fall / Winter, 2020 - 23
Painting the sacred relationship between nature and humanity T yler Tabobondung Rushnell,
Fine Arts
By Janet Jarrell
recently featured in the QAC window gallery, is a 21-year-old self-taught Ojibwe artist. Born and raised in Belleville, Rushnell says he grew up knowing very little about the culture of his community of origin, Wasauksing First Nation in Parry Sound, Ont., so he took it upon himself to learn. “I stay connected to my community through travels when I’m able to and in speaking with cousins and aunties and uncles through
social media. I was able to have my first ceremony this year where I was gifted a Migizi (eagle) feather and it helps me and guides me every day to do well for my community,” says Rushnell. His paintings are inspired by the woodland style that he was introduced to at Trenton High in art class. “I took a great liking to it. I felt it was right for me one day to start doing woodland style because then, I was finding myself as an Indigenous person and had something that gave me strength and a bit more identity.” Rushnell is creating his own signature, unique style with bright colours, images full of nature, symbolism and the message of the sacred relationship between nature and humanity. “We are all connected to nature and it is really important to respect the messages given to us by nature. I’ve been recently trying to learn more teachings about respecting the animals and plants and everything we see in nature whenever we go outside. It’s just a natural connection that I have. We are star people.” When asked what he would like to share about himself, he says, “I would like to tell the art community that Indigenous peoples are still here and we are loving and respectful and have beauty in our culture. I’m Tyler Tabobondung Rushnell, Anishinaabe from Wasauksing First Nations. And my family and friends, and the close community around me, inspires me every day to produce, create and share my culture with all relations. chi miigwech” Instagram: @ty_rushnell P.24 Top: Anishinaabe Fish Left: Baby Thunderbird Explores P.25 Self Portrait
Umbrella, Fall / Winter, 2020 - 24
Fine Arts Umbrella, Fall / Winter, 2020 - 25
Literary
Writing dystopian fiction during a pandemic By Janet Jarrell
Jerri
Chisholm’s bio There were moments lists young adult author, distance runner, when she asked, and chocolate addict to her credit. She grew up with an eccentric father, a large ‘Am I sane?’ Yet, it imagination and a parrot as a family pet. After completing a master’s degree never entered her in public policy, she became a lawyer and lives in Belleville with her family. mind to quit. When Chisholm had her first child, she switched to consulting work to stay home during the early years and yet still keep her foot in the door with the intention of going back to practicing law full time at some point. In theory, this sounds like a solid plan. However, with her first baby, she found it difficult to be a full-time mom and have the time and focus to complete the consulting work as well. She dropped the consulting work. When things got a little easier at home, she turned to writing. It is something she always wanted to pursue, “so it seemed like the perfect opportunity to give my outlandish writing dream a try,” she says.
She squeezes writing into those moments when the kids are napping during the day or sleeping at night. In the first few years she wrote a couple of books. She sent them around to as many agents in Canada as she could find, with little or no response. She went one step further and sent them along to agents in the U.S., but still had no luck with those early books: “They will never see the light of day,” she says. She learned the process from that experience, and what makes for a good story. She also knew this was just the beginning. She began writing Escaping Eleven about four years ago. It took a little over six months to write and then she sent it around to the many agents and again, the no’s started coming in. Umbrella, Fall / Winter, 2020 - 26
Chisholm persevered and she is proud of that. There were moments when she asked, ‘Am I sane?’ Yet, it never entered her mind to quit. From time to time, an agent would ask for partial manuscripts, and that was an exciting, hopeful breakthrough. She admits, “that is all part of the process, and the process is very, very slow.” Then it happened – an agent based in the U.S. made a request for the full manuscript. Chisholm was aware of the ‘slush pile’ of manuscripts that agents all have to get through, so she was prepared for a wait. Finally, the agent read the manuscript, loved it, and was ready to begin negotiations for a deal; but that was when the real work began. The agent wanted to do edits and give some feedback. Chisholm readied herself for some grammar and spelling, but was not ready for the pages of reworks. It was all a little overwhelming, coupled with the fact that Chisholm now had a newborn (her third child) at home. “For the bulk of the pandemic, March through August, I was working on Escaping Eleven edits, a more demanding process than I anticipated,”
Head down, reworks during naps and night sleeping, she was determined to get it done. I was curious how juggling mothering and writing so intensely affected her work: “Well, since Escaping Eleven has quite a bit of violence and some romance, I can’t say my kids were on the forefront of my mind,” says Chisholm. “But of course they always have a presence, and so I was mindful to create a strong female protagonist, along with a diverse cast of characters who aren’t willing to accept the status quo. Values like freedom and equality are central to the story, and since a large chunk of the protagonist’s struggle happens internally, I hope my kids glean that sometimes in life there is no rigid dichotomy between right and wrong, there is no black and white, and working through all that is part of the human experience.
of time to explore plotlines and develop characters. Right now, in the middle of writing Book Three, there are moments when I kick myself. I know exactly how the trilogy needs to end…but getting my characters there after already putting them through so much is challenging.” she says. “There are multiple storylines to wrap up, and yet the third book still needs to feel fresh, which means new characters and new problems to contend with. Plus, I have to make some pretty heavy decisions on who will ultimately live…and who will die!”
She adds: “I never really expected to get published, and all along I assumed I would be back to work as a lawyer by now. Instead I’m doing this, and, I must say, it is far more fun.” jerrichisholm.com
Escaping Eleven, published by Entangled Teen, is available now in hardcover. Signed copies available at Indigo in Belleville.
Literary
she says. “Each round involved substantive shifts in plot, rejigging character development, creating new scenes, and eliminating others. Doing all that with three children at home was trying, at times, just as it was for most other parents out there.”
When asked if living through a pandemic has any influence on dystopian material, Chisholm says, “I distinctly remember back in early March sitting on a beach somewhere sunny, thinking about yoga and food and other lovely things. And then I picked up my phone and saw one Breaking News headline after the other—cruise ships stranded, schools shutting down, borders about to close— and I thought to myself, ’Well, the world is about to end…that happened quickly.’ It was a wakeup call that those farflung, dystopian societies aren’t as farflung as we’d like to believe. So, going forward, dystopian writers are going to have to dig deeper, push the envelope on imagining how horrific things could be… Otherwise, I guess what we’re writing is contemporary fiction!” The publisher was happy with the progress, but had more edits including the change of the cover art. Head down, Chisholm went back to work refining the book. Eventually, the edits were complete and the agent negotiated a deal for a trilogy -- Escaping Eleven went straight to hardcover. “A trilogy seemed like an excellent idea at the front end of the process, since it would give me plenty Umbrella, Fall / Winter, 2020 - 27
Literary
The creative process of playwriting By Lin Parkin
Peter Paylor, who is well-known in the Quinte region for his intricate wood sculptures, also serves a calling to create literary art. “I always identified as a writer first, even when I wasn’t writing,” he says. “I didn’t stop carving when I began writing plays, but I knew I was going to write for the stage from the moment I wrote my first scene.” Since 2015, Paylor has penned 18 plays that have either been produced or are ready for production. For Paylor, writing is an energizing process. “There’s a place every writer knows called “the zone.” When you’re there, it’s hard to think about anything else.”
“Characters just come floating in by themselves, fully formed. They start talking; I write it down.” He notes, “I’m lucky to know so many fine actors. I use their voices when I write. It’s really quite easy. It's the structure that’s difficult.”
“By the time I’m done, I’m done. Until I read it again, and then I want to rewrite some more. There’s an organic cycle that happens once a script is finished, and the play is produced that puts each ‘world’ to bed and sends me on to the next one.” Being self-taught, Paylor says he learns something new with every play he writes, or reads, or sees on stage. On seeing his own words brought to life on stage, he says, “It feels like what Christmas morning felt like as a kid. It’s wonderful. It’s as good as it gets. Still.” Paylor has a fluid work process, either abandoning an idea quickly or seeing it through to the end. This year much of his work has been put on pause, thanks to the pandemic. “I do have a number of unproduced plays now, what with theatres having been closed for so long.” But he says he hasn’t stopped writing, “the pile just gets bigger.”
Umbrella, Fall / Winter, 2020 - 28
Literary He tirelessly works toward the future. “Today, I’m putting what I hope are the final touches on the second draft of a Christmas play – Christmas in Rosewood – which will then go on the shelf until next year. And then I’ll turn my attention to a collaboration with my friend Ian Feltham and others – a stage adaptation of Herman Melville’s Moby Dick with three actors, to be performed in under an hour. I’m excited about it. I can see being in ‘the zone’ for the next couple of months.” On the success of his plays, Paylor is humble. “Success? I’m not so sure about that. But getting involved in theatre has changed my life drastically. It’s an amazing community. Generous and supportive, and creative. I love it.” To learn more about Peter Paylor, visit his profile on Playwrights Guild of Canada and to keep up-to-date on upcoming events, visit his page on Facebook. P.28 Top: Photo by Adam Gray P.29 Top: Photo by Bev Gaulin Left: Peter Paylor
Umbrella, Fall / Winter, 2020 - 29
Heritage
The impact of the arts on tourism By Courtney Klumper/Bay of Quinte Regional Marketing Board
The impact of the arts on tourism is both tangible and intangible. We can measure tickets sold, museum admissions, the number of seats filled at a concert. But it is those intangible aspects, the ones that defy strict measurements, like feelings and memories, that offer a clue as to why we travel in the first place.
Arts and culture could be a primary focus or secondary to another travel purpose, but when combined with other experiences, it is imprinted even more deeply into our memory. Whether your preferences are inclined towards outdoor adventure, culinary experiences or arts and culture, there are a few things all travel pursuits share. First, there is the novelty of being somewhere new, exploring parts that were previously unknown to us. It is invigorating to navigate a new place, learning new street names as you make your way to your next destination, passing unfamiliar faces and landmarks. Second, they feed our appetite -- whether literally or figuratively -- for new experiences. Art and cultural experiences draw people in: they are both personal and emotional. Two people can be at the same show and experience it differently, each leaving with unique memories. Umbrella, Fall / Winter, 2020 - 30
Heritage There’s no doubt that the arts contribute a significant fiscal bonus to our economy. According to Statistics Canada research shared by the Ontario Arts Council, Ontario's arts and culture sector represented close to $26.7 billion (yes, billion with a ‘b’) or 3.5% of the province's GDP and over 300,000 jobs in 2017. That amount represents countless trips to museums, galleries, arts and music festivals, live theatre and other experiences, sustaining local economies and livelihoods. And while the financial contribution can hardly be overstated, what resonates with travellers is a sense of place. Visiting a Mohawk artist at her studio reveals pieces of Indigenous history and tradition. A stroll (masked and distanced, of course) through the Gallery District shows how our surroundings influence the subject of local artists. Seeing a brightly-painted parklet underfoot while traversing the streets of downtown
during a pandemic reminds us of how to find beauty in challenges. While there is much about the future of travel that we cannot predict, it’s undeniable that the way we travel (and where) has changed for the foreseeable future. As of the writing of this article, there are still options for local arts and culture experiences with COVID precautions in place. Residents can explore the Gallery District in downtown Belleville, walk the historic halls of Glanmore National Historic Site, or immerse themselves in our nation’s aviation history at the National Air Force Museum of Canada, to name a few. Robert Stearns, the executive director of ArtsOasis in California, shared that, “Building the creative economy requires building the creative community.” The arts community in the Bay of Quinte region is greater than the sum of its parts, but it’s up to each of us to foster that Umbrella, Fall / Winter, 2020 - 31
community. After all, what is a community but a gathering of individuals -whether in person or through computer screens -- celebrating how our unique, creative gifts form a greater whole. Photos supplied by author
Arts Education
Arts education during COVID -19 On March 12, 2020 the provincial government announced that Ontario schools would close for two weeks after March Break due to COVID-19. And then for months teachers, students and parents were caught in a limbo of uncertainty: when would kids go back? They expected to be home for a few weeks: the lockdown lasted 14.
When students returned to school in September (if they returned at all, as over 2,500 students registered for the new virtual school, the largest in the Hastings and Prince Edward County School Board) it was a very different world than what they were used to: high schoolers would attend four five-week octomesters, studying one subject for the entire day and stay within a single cohort of students, thereby limiting exposure. Schools banned visitors, enforced strict physical distancing restrictions and required everyone to wear masks. All teachers weathered a massive adjustment,
but some, due to the nature of their subject, felt the sting of COVID-19 in unprecedented ways.
The benefits of arts education are well established: beyond cultivating creativity, students exposed to art show increased confidence, improved communication, and enhanced cognition and critical thinking. As arts education is a core part of our mandate, we checked in with several teachers to see how they, and their students, are coping. “Making art with kids has been so good. Imagine doing math all day long. I can’t even,” says Lise Lindenberg, head of the art department at Eastside Secondary School in Belleville. “Being an art teacher is like running a studio instead of a classroom. You teach students a skill in the morning and give them practice time in the afternoon. I was looking at their portfolios and I can’t believe how many projects we completed in that four-1/2 weeks. The difference is they don’t have Umbrella, Fall / Winter, 2020 - 32
By Fiona Campbell
time to master anything because they don’t have long enough to do one thing. But they are being exposed to so many mediums.” That’s not to say that the new octomester format hasn’t created new challenges, even for experienced teachers. Firstly, teachers have had to stretch already tight classroom budgets even farther because supplies can’t be shared between students. Secondly, social distancing has changed the way students and teachers interact. “Usually I teach very holistically - a lot of small groups, sharing and looking at each other’s work, critiquing and back and forth,” says visual arts teacher Tisha Francis of Centre Hastings Secondary School (CHSS) in Madoc, Ont. “Now they can’t work in small groups, they’re not supposed to interact. That’s a huge thing for me to get over.” Even just taking a student's pencil to demonstrate a skill is off limits.
Arts Education And then there is the intensity of planning an entire day of one subject in a way that keeps students engaged, informed and not overwhelmed. “You go home and you prep like crazy for the next day, need to have many many activities to keep them busy,” says Lindenberg. “None of us have taught the same group for more than 75 minutes at a time…. I feel like I’ve already taught a year and it’s only been five weeks.” Francis says that she, like many teachers, is feeling the fatigue: “The kids are tired too. Because it’s so crunched into one,” says Francis. Then there’s the information overload. “That’s a big one. There is no easing up for the subject matter….[So we’re] going outside, taking stretching breaks, making sure we’re all staying healthy - emotionally, physically and mentally. A lot of it doesn’t have to do with curriculum. A lot of it is the other things.”
While visual arts teachers had to reinvent ways of teaching and connecting with their students, music teachers faced even tougher challenges: in late summer, the province mandated that instruments requiring “blowing” wouldn’t be allowed and vocal music would be taught without singing. “In 23 years of teaching I have never experienced anything like this,” says vocal teacher Kim Dafoe at Centennial Secondary School in Belleville. “What I keep having to tell myself: There are so many circumstances that are out of our control, there’s nothing we can do about it. I have these awesome kids in front of me and they deserve the best that they can get.” Teachers are naturally innovative, and so this fall music teachers moved students outside, giving kids the opportunity to sing acapella with body percussion (in small groups two metres apart) and play wind instruments for short periods when Umbrella, Fall / Winter, 2020 - 33
the weather was good. But when I spoke with teachers in October, the question remained: what would happen in the winter when frigid temperatures would make it impossible for instruments, let alone students, to work outside? “What is that going to look like? I don’t know. We’re obviously going to be as creative as we can but there is only so much we can do,” says Dafoe. “Teaching a music class without being able to sing is like teaching an English class with no books. To wrap my head around that… to be honest I haven’t yet. That’s my biggest stressor.” David Reed of Eastside who had 25 guitar students has a different challenge: “They can’t just play a guitar for five hours a day because their hands would be shredded. Then they get to do it the next day.. for 23 more days.” He’s created a new model where he’s split four periods into eight: kids play
Arts Education
two of those periods, and the rest of the day consists of music history, theory, active listening, music in the news and even a rhythm unit where guitar kids work through a snare drum studies using drumsticks and practice pads. “Normally I would have a semester of 88 days with them for 75 minutes in a day, but today we just finished day five, which is like day 20. We’ve had five days of class and they’re already playing four songs of chords in them. It's kind of mind blowing to think of it. Usually it’s two weeks before they’re playing songs of chords. “ In a traditional semester, they’d learn a new song every two days and by exam time students could play 25 songs. “There is no way I can expect them to play 25 songs in 24 days,” says Reed. “The hard thing for me to gauge, because I’ve done it one way for 22 years, is watching the progress and how much I can push them.”
A provincial ban on gathering also means that there are no opportunities for kids to perform. No dances, no community fundraisers, no Christmas concerts or assemblies. No performance field trips. “Performance has always been the outlet, the goal,” says Reed. “Vocal class works on stuff that we sing, band class works on stuff that we play. How will that affect the motivation if we suddenly don’t have anything to work towards? We will still have goals, but that energy in front of playing in front of an audience…that ‘Grandma and grandpa are driving down from Ottawa for the Christmas concert, I’m so excited’ - that’s gone.” Music teacher Jamie Sharpe, who runs the travelling Sound Academy (SA) rock ensemble at CHSS (featured in Spring 2020 Umbrella) had plans to travel to Nashville this past March for the annual band trip. Now he doesn’t foresee any travel before spring 2022. “A parent asked me what was going on with SA Umbrella, Fall / Winter, 2020 - 34
"All of us need a way to navigate tough times and the arts are naturally therapeutic." this year and I said, ‘It’s been put in an induced coma.’ It’ll come back but until a lot of healing has happened, we’re just putting it to sleep,” says Sharpe. “Others have bigger problems, tougher times than worrying about vocal class,” says Sharpe. “But from my perspective, what I’m doing in my little world, these courses and getting kids excited about music is important. For a chunk of them, knowing this was an outlet for their enjoyment, and for their mental health - it was key. That’s probably my biggest source of sadness about the situation.”
“And If they can’t do something that sounds decent it’s not going to push them on to the next unit or assignment,” adds Sharpe. Then there is the question of access: “If we make this big project where we’re building a virtual band and virtual choir, what about the three kids that don’t have internet at home? Am I creating an environment that’s excluding those kids?,” says Reed. “They might have just enough data to read my notes for the history lesson but maybe not enough to stream a video.” With COVID numbers rising across the country, there is a lot of uncertainty about whether schools will be shut down again. “I told the kids upfront: I
don’t know what this is going to look like, you don’t know what this is going to look like. Every day is a new adventure,” says instrumental teacher Blair Yarrington at Centennial. “There is no precedent, no prior experience. With the government changing restrictions, we knew that we could be shut down at any time. I can’t plan more than a day or two ahead of time because I don’t know what is going to happen.” Most teachers felt they were caught off guard in March. Since then, many have adopted a “go bag” mentality - that if school gets shut down on a Friday, they’ll be ready to launch online the following Monday. “It’s all very troubling. The best thing for me is to understand there will be a bunch of fallout from this virus that I have no control over,” says Sharpe. “And it’s an effect that I’m going to feel for a while. But the importance of music for me and for kids is not going to go away.” Umbrella, Fall / Winter, 2020 - 35
Regardless of the intense pace, “pivoting” and new ways of doing almost everything, all teachers agree that the benefits of an arts education to students makes all of the hard work worthwhile. “My motto is art is therapy,” says Francis. “Especially in times of stress, being creative and having an outlet is super important. All of us need a way to navigate tough times and the arts are naturally therapeutic.” Adds Lindenberg: “Art allows [students] to focus on something other than this other ‘big thing’. And it’s a nice thing to focus on… If you can teach them foundational skills that they can develop, it helps them to focus on those and not all the other stressors.”
P.32/P.33 Photos by Luke Hendry P.34/P.35 Photos by Dave Reed
Arts Education
One option that’s been bandied about is moving to virtual jam sessions and concerts. We saw a lot of that during lockdown, but there’s a huge learning curve for both teacher and students: “I’ve got to learn how to do that, get the tracks from the kids and put it all together into something presentable, while still teaching all my classes,” says Reed.
Quinte Arts Council
Andrea Kerr
Rick Moulton
Taylor Pender
Emebet Belete
QAC welcomes new board members This year, under the
direction of the ever changing COVID-19 protocols, the Quinte Arts Council held its Annual General Meeting virtually in late August. Although this feels a little late, we wanted to acknowledge those who have contributed to the Board over the last year, those who have moved on to other endeavours and welcome some new faces to the table. The Board and Team would like to thank Debbie McKinney for her outstanding contributions. Over the years, Debbie has been the Chair of many Holiday Home Tours for the QAC, she worked tirelessly at fundraising details and volunteer engagement and was a champion on our fundraising events. Thank you,
Debbie, for your years of dedication to the Quinte Arts Council and we wish you all the best in your many new adventures. We wish to thank Heather Cockerline for her time as secretary on the board. Although your term was short, we look forward to welcoming you back to the table soon. The Board, Team and the entire arts community welcome Andrea Kerr to the helm. Past-Chair Jenny Woods handed over the gavel to Andrea at the AGM. Andrea, who has served on the board since 2014, is the former Learning Support Coordinator for the Arts, Libraries, Literacy, and Technology at Hastings and Prince Edward District School Board Umbrella, Fall / Winter, 2020 - 36
By Janet Jarrell
supporting Arts Education in Kindergarten through to Grade 12. She worked to connect classrooms to local artists, and facilitated opportunities for students to participate in gallery visits, cultural events, and performances in our community. She is currently teaching grade six. "The Quinte Arts Council Board of Directors and Team are stronger than ever. We have slowed down and turned inward to reset our priorities and ensure that our work is impactful. I am proud to say that we are advancing, promoting, supporting and cultivating the arts and culture for all the artists and communities within our ‘umbrella,’” says Kerr.
Dan Atkinson
Maury Flunder
Lise Lindenberg
We also welcome Rick Moulton as Vice Chair. He graduated locally from BCI&VS, and has a diploma from Seneca College, a B.A. from Queen’s University, a B.Ed. from Nipissing University and an M.Ed. from Queen’s University. As a secondary school teacher Rick taught Visual Art, Stage Design, Computer Art and Communication Technology. At Loyalist he taught numerous media courses in Art and Design as well as Photography and Art general education courses. Fun note: he also plays blues harp in a rock band. We welcome Taylor Pender as Secretary. She graduated from Nicholson Catholic College before obtaining her Bachelor of Arts (Honours) from Queen’s University. She recently graduated from the Bora Laskin Facult y of Law and
awaits licensing accreditation from the Law Society of Ontario. Taylor is currently employed at Henderson Williams LLP, where she worked both prior to and throughout law school. She has volunteered with many not-for-profit organizations, both administratively and handson at various charitable events. And finally, we welcome Emebete Belete as Director. She is an artist and educator who was born in Addis Ababa, Ethiopia. A graduate of the Addis Ababa Fine Arts School, she received her BFA (Honours) and B. Ed from Queen’s University. She has exhibited in Ethiopia, Zimbabwe, France, China and Canada. She uses pastel, oil and acrylic, collage and mixed media to create images that Umbrella, Fall / Winter, 2020 - 37
reflect her experiences growing up in Addis Ababa, and living in Canada and Asia. Her work can be found in private and public collections around the world. She is the recipient of Ontario Arts Council Exhibition Assistance Grant, and the Artists in Communities and Schools Projects and Artists in Education OAC Grants, which she uses to teach students in her local schools in the Bay of Quinte. Continuing on the Board we have: Jenny Woods, Past-Chair Dan Atkinson, Director Maury Flunder, Treasurer Lise Lindenberg, Honorary Director Thank you all for helping us keep arts on the table – our local arts community is in good hands!
Quinte Arts Council
Jenny Woods
Quinte Arts Council
QAC Business Members and Donors Premier Arts Benefactors
The John M. & Bernice Parrott Foundation The City of Belleville McDougall Insurance & Financial Brady Clark Advisory Group – CIBC Wood Gundy – Quinte Branch Clearview Training and Consulting
Premier Supporters Maurice Rollins Lynda Wheeler Audrey Williams
Partners
David & Theresa Boyd Elaine A. Small & Richard Haeberlin Janet Jarrell Ross McDougall Mary-Lynne Morgan Rick & Elizabeth Rolston Linda and Rowland Tipper
Benefactors
Bob Blanchard Barry Brown & Gary Magarrell Hans &Lenneke Buré Leo & Mary Jo Fortin Linda and Garry Gray Laurel Hoard Diana & Manfred Koechlin Suzanne Lowther Paul & Judith Niedermayr Susan Nurse Ron and Betty MacDonald Ray McCoy Vera Morton Mary O'Flynn Lola Reid Allin Douglas and Mary Wilson Hal and Olive Wilson
Patrons
Dan & Kathy Atkinson Mary Bould Janice Brant Judy Bridle Julie Brown Hale Jennifer Chanter Chisholm Lumber Don DeGenova
Kerri Denyes Shirley A. French Maxwell Gower Claire Grant Marilyn Jackson Jen Keilty-Friesen Brian & Lynn Knudsen Alan Langabeer Ann Lawrence Peggy Dymond Leavey Liberty Tax Service - Shirley French Kim & Glenn Lidstone Lise Lindenberg Suzanne Lowther Troy Maracle Bob and Cathy McCallum Ian McFarlan Tim McKinney Judith McKnight Elizabeth Mitchell Linda Mustard Richard Reid Christina Taylor Wendy Tice Tracy Vanslyke Jenny Woods
Business Members
About Framing Advanced Electrolysis LASER Arts on Main Gallery Picton Bay of Quinte Regional Marketing Board Belleville Downtown District Benton Fry Ford sales Brady Clark Advisory Group – CIBC Wood Gundy – Quinte Branch Campbell's Orchards Capers Restaurant Cavan Art Gallery Chisholm Lumber City of Belleville Comedy Country Debbie McKinney Remax Quinte Ltd. Dinkel's Restaurant Export Grill Funk & Gruven A-Z Hastings County Historical Society Henderson Williams LLP - Barristers and Solicitors Impacto Protective Products Umbrella, Fall / Winter, 2020 - 38
Liberty Tax Service Lions Club of Belleville Malcolm Brothers Ltd. McDougall Insurance Brokers Ltd. Mr Print OENO Gallery Ottawa Valley Models Paulo's Italian Trattoria Peggy deWitt Photography Peter Smith Chev Olds Cadillac Ltd. Quinn's of Tweed Fine Art Gallery Quinte Broadcasting Co. Ltd Quinte Business Accounting Services Quinte Gardens Quinte West Chamber of Commerce RE/MAX Quinte Ltd. Red Ball Radio Ltd. Reid's Dairy Research Casting International Sandra Lee Randle Photography Starboard Communication Stirling Festival Theatre Inc. The Belleville Intelligencer Thomas Estevez Design Tim McKinney ReMax Quinte Tipper Financial Services W.T. Hawkins Inc. (Hawkins Cheezies®) Welch LLP, CA Wilkinson & Company LLP
Member Groups
Art Gallery of Bancroft Arts Quinte West Belleville Art Association Belleville Downtown DocFest Belleville Public Library Belleville Theatre Guild Belleville Weavers and Spinners Bridge Street Church Brighton Barn Theatre CJLX-FM Loyalist College Radio Command Performance Choir Commodores Orchestra & Bay City Band County Art Workshops Festival Players of PEC Glanmore National Historic Site Hastings and Prince Edward Regional Chorus Hastings County Historical Society HPEDSB
QAC Business Members and Donors John M. Parrott Gallery Kingston Symphony Association Later Life Learning Loyalist College Marmora Friends of the Library Prince Edward County Arts Council Prince Edward County Chamber Music Festival Prince Edward County Jazz Festival Quinte Ballet School of Canada Quinte Film Alternative Quinte Fibre Artists Quinte Needle Arts Guild
Quinte Quilters Guild Quinte Symphony River and Main Theatre Company Shout Sister Choir Stirling Festival Theatre Stirling Musical Instrument Lending Library St. Thomas Anglican Church Trenton Citizens Band Tweed & Area Arts Council Tweed and Area Studio Tour Tweed & Company Theatre Westben Arts Festival Theatre
Your support matters
The QAC has worked hard this year to support the arts community, and to move towards recovery to ensure the revival of the local arts sector. It remains our priority to ensure the health and safety of our artist members and our team. Your membership and donations are a direct investment in yourself, local artists, art groups and organizations in this community and allows the QAC to continue to support, promote, advance and advocate for local arts. Renew your membership, or become a member and donate today. Thank you for your continued support!
Umbrella is sponsored by
QAC programs are funded in part by:
The John M. & Bernice Parrott Foundation
Umbrella, Fall / Winter, 2020 - 39
Quinte Arts Council
We know the costs of the pandemic: the closure of public spaces, cancellation of events worldwide, social distancing, changes to work protocols, all causing great emotional and financial stress. But the QAC is still here. And now it’s time to look towards 2021.
In appreciation to our Belleville Arts Community VIBRANT
CREATIVE
with you we are
interesting
lively
happy UNCONVENTIONAL
EXPRESSIVE
UNIQUE
enriched attractive
DIVERSE
exciting
With you we are better - thank you!
FUN
CITY HALL BELLEVILLE.CA
help us keep arts on the table your support helps us invest in the next generation of artists. your donation helps create a more vibrant and resilient community.
you can make a difference. donate now. visit quinteartscouncil.org/donate to learn how
THOUGH OUR 25TH YEAR IS STILL ON HOLD WE’RE WORKING BEHIND THE SCENES EVALUATING AND FINDING SOME
WONDERFUL FILMS FOR 2021.
Watch this space! …and our website: quintefilmalternative.ca
YOUR
PRINT & SIGN SHOP
IN-STORE SERVICE
BLACK & WHITE COPIES
CUSTOM STAMPS
NOTE PADS
COLOUR COPIES
TICKETS
TICKET N 001 NON-REFUNDABLE $5$59 TICK 9 NON-R ET RAMA EFUND N o TICKET No ABLE $59 NON-REFUNDAB DA LE BY 001 RAMADA WYNDHAM 001 TICKETBE No LL 001 BY NON-REFUNDABLE $59 EV ILLE WYND BELLEVILLE PRESENTS RAMADAYU BY PRES HAM K WYNDH STA YUK’S AM ND UPYUK ENTOUR YUK’S ON ILLE RAMADA BELLEV BY WYNDHAM TSBUFFET PRESE COMUP COMEDY ON & DINNER STAND EDY NTS CASH YUK BELLEVILLE PRESENTS & DINN TOUR BAR YUK’S 6:30P ON CASH 6:30PM | DINNER SERVED 7PM STAND UP ER TOUR MBAR | DINNE COMEDY & SHOW SHOW STARTBUF 8PM FET R SERV YUK YUK’S ON TOURDINNERSTAR BUFFET T ED CASH
FEBRUA
PHONE / EMAIL
BUSINESS CARDS
o
8PM BAR 6:30PMBUFFET 7PM STAND UP COMEDY & DINNER | DINNER SERVED 7PM SHOW START TH 11 Bay CASH BAR 6:30PM | DINNER SERVED 7PM 8PM Bridg TH SHOW START 8PM e Road 11 Bay Bridge Road Belleville, ON K8P 3P6 TH Belleville, ON K8P 11 Bay Bridge TH Road 3P6 Belleville, ON K8P 3P6 11 Bay Bridge Road Belleville, ON K8P 3P6
FEBRUARY RY 14 20214 2020 FEBRUAR61 0 Y 14 2020 3.968 613.968.3411 FEBRUARY 14 2020 .3411
POST CARDS
613.968.3411 613.968.3411
ENVELOPES
ONLINE ORDERS PICKUP CURBSIDE OR DELIVERY
ROLL LABELS
DOOR HANGERS
BOOKLETS
BROCHURES
BUSINESS FORMS
$"3 1 NEW 305 CAR &$5PRO *0/TEC 1"$TIO ,"( N 1-"
$0% $& 23 & )& 3&
AN
H ET
W MOR
305
Fabect Your Ca ric P r With rote Our ctio n
DATE
TAX REG. NO
SOLD TO
DATE
ADDRESS
SOLD TO
PRESENTATION FOLDERS
INVOICE NO.
TAX REG. NO INVOICE NO. 905-626-5552 | smrmobileservices@gmail.com
ADDRESS
QUANTITY
DATE
TAX REG. NO
SOLD TO
DESCRIPTION
INVOICE NO.
PRICE
ADDRESS
QUANTITY
*F
ROM $69. 95
DESCRIPTION QUANTITY
PRICE
DESCRIPTION
PRICE
ON
8) : :06 t 1SPUF '"#3*$3 7&) 1305*$-& / 6QIP DUT $B &$5 &&% MTUF SQFUT B *0/ 4 t $B O #F " SZ 'SPN OE 1S F 0XO QQMJFE 1FSN t 1F UP /F BOF FE SGF t 1SPUF DU 'PS i 7FIJDMF X BOE OU 4UBJO T DUT 6Q 4PDDFS T UP 0O .PNw 7FIJD F :F BS MFT
PER
A TP JUS
www.mrprint.ca 2-487 DUNDAS ST. W BELLEVILLE
613-967-9553
:PV S -P HP :0 63 8&info@ $0 #4*clea .1 t 5& ncar "/ "/ www "%king % 4.clea : / %3deta &44 ". %VO0$ncar *"-king 1) & .& iling EBT 4U 8 %*" .com 0/ )&3&deta #FM iling 63 .com & MFWJMMF 0 - 4
SUBTOTAL HST
TOTAL
SUBTOTAL HST
SIGNATURE TOTAL
*PR / SOIL ICE DEP ED CAR END PET S ON S MUS SIZE T BE OF VEH CLEA NED ICLE FIRS T
SUBTOTAL HST
SIGNATURE Customer responsible for retorquing tires after installation. SMR Mobile Services does not hold responsibility.
TOTAL
SIGNATURE Customer responsible for retorquing tires after installation. SMR Mobile Services does not hold responsibility. Customer responsible for retorquing tires after installation. SMR Mobile Services does not hold responsibility.
PULL UP BANNERS
FLAGS LARGE BANNERS CAR MAGNETS
YOUR BRANDING
EP
Prot
T
N RI
CONTINUOUS BUSINESS FORMS
MOBILE SERVICES 905-626-5552 | smrmobileservices@gmail.com MOBILE SERVICES 905-626-5552 | smrmobileservices@gmail.com MOBILE SERVICES
PAC & t /KAG &8
E $" 3 1
LASER CHEQUES
S MS RM R SMR
/&8
A FRAME SIGNS
INTERIOR & EXTERIOR WINDOW/WALL GRAPHICS
SIGN BOARDS & BACKLITS