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Alberta

Lieutenant Governor of Alberta celebrates ten emerging artists for 2020

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Lieutenant Governor of Alberta celebrates ten emerging artists for 2020

Alberta’s 2020 Emerging Artists named

Edmonton (June 4, 2020)

The Lieutenant Governor of Alberta Arts Awards Foundation today announced awards totaling $100,000 to the 10 recipients of its 2020 Emerging Artist Award.  More than 60 invited guests joined the Zoom awards show, which is now public, and available on the Youtube link above.

“We are pleased to be able to invest in advancing the careers of these outstanding artists at the early stages of their professional development” says Foundation Chair, Arlene Strom. “When economic times are tough, our artists are particularly vulnerable. And in the midst of societal change and upheaval, ensuring our artist voices and perspectives are heard is critical.”

Here are this year’s awardees:

  • Kablusiak, visual, multidisciplinary artist, Calgary
  • Amy LeBlanc, writer, Calgary
  • Luc Tellier, theatre, Edmonton
  • Carlos Foggin, music, classical, Calgary
  • Lauren Crazybull, visual, Edmonton
  • Evan Pearce, multi-media, music, new technology, Edmonton
  • Molly Wreakes, music, French Horn, Edmonton
  • Bruce Cinnamon, writer, Edmonton
  • Tamara Lee-Anne Cardinal, visual, multimedia, Calgary
  • Griffin Cork, theatre and film, Calgary

Her Honour, the Honourable Lois E. Mitchell, CM, AOE, LLD, Lieutenant Governor of Alberta congratulated the awardees on a Zoom meeting June 4, 2020. Each awardee receives a $10,000 cash award, a handcrafted medal and 2020 Emerging Artist certificate.

The 10 recipients were selected from 160 applications in a two-tiered adjudication process overseen by The Banff Centre. The adjudication panel included: Denise Clarke, associate artist, One Yellow Rabbit, 2007 Distinguished Artist awardee;  Adam Fox, Director of Programs, National Music Centre; Lindsey Sharman, curator, Art Gallery of Alberta; Alice Major; writer, poet, 2017 Distinguished Artist awardee.

Here is some background the each of the artists:

Kablusiak (they/them) is an Inuvialuk artist based in Mohkinstsis/Calgary and holds a BFA in Drawing from the Alberta University of the Arts.  Recognition for Kablusiak includes the Alberta Foundation for the Arts Young Artist Prize (2017) and the Primary Colours Emerging Artist Award (2018), and short-list nominee for the Sobey Art Awards (2019).  A multi-disciplinary artist, they imbue a variety of mediums with their trademark ironic humour to address cultural displacement. 

Amy LeBlanc is the author of three books: her debut poetry collection, I know something you don’t know, was published with Gordon Hill Press

in March 2020.  Her novella, Unlocking, will be published by the UCalgary Press in 2021. Pedlar Press will publish her short story collection, Homebodies, in 2022. Her very timely master’s thesis is a work of fiction examining pandemics and chronic illness.

Luc Tellier is a theatre actor, director, and educator from Amiskwaciy Waskahikan, colonially known as Edmonton. He’s been seen in over twenty-five professional productions since graduating from MacEwan University’s Theatre Arts Program in 2014. As an arts educator and through his own freelance workshops, he mentors hundreds of students every year – sharing his belief that the arts are for everyone!

Carlos Foggin is driven by his passion to share live orchestral music with as many Albertans as possible! In 2016, he founded the Rocky Mountain Symphony Orchestra which has since performed to more than 30,000 Albertans in over 50 concerts in small southern communities. He is a celebrated pianist, organist and improviser and has performed internationally on some of the world’s greatest organs.

Lauren Crazybull is a Blackfoot Dene artist living in Edmonton.  In 2019, Lauren was selected as Alberta’s inaugural artist in residence and was long listed for the Kingston Portrait Prize. Through her art, Lauren is asking poignant questions about how Indigenous identities can be represented, experienced, celebrated and understood through portraiture.

Evan Pearce began his career by editing music videos using found footage for local bands, but he’s now on the leading edge of two new emerging technology art forms: VJ-ing and New Media – working at the intersection of music, video, and leading-edge technology. Evan is fascinated with incorporating XR (Extended Reality) and AI (Artificial Intelligence) in a live performance setting while VJing – and beyond.

Molly Wreakes is a classical french horn player originally from Edmonton, who has performed internationally as both a chamber and orchestral musician.  Molly served as the academist with the Royal Stockholm Philharmonic Orchestra In 2018/19 – performing with the orchestra and training with their horn section and orchestra members. Molly is also an avid chamber musician who is inspired to explore community outreach opportunities through music and musical creativity.

Bruce Cinnamon is a writer whose creative work thrives in the radiant sunshine of the gigantic Alberta sky, twisting and bending the familiar prairie landscape into carnivalesque fantasies.  Bruce won the 2015 Alberta Views short story contest; his first novel, The Melting Queen, was published by NeWest Press in 2019. He is currently working on his second novel, a fantasy story about a small Alberta town which suddenly vanishes when it is torn into a parallel universe by a predatory City.

Tamara Lee-Anne Cardinal is a multi-media artist, community activist, and perpetual learner. She is a recipient of the National BMO 1st Art! Competition Award, and of the 2017 Alberta Foundation for the Arts Young Artist Award. Cardinal has been an active member in the urban Indigenous community in Treaty 7 Territory. Her work reflects the teachings she receives along her journey – and invites  others to become a part of the process, to partake in its making.

Griffin Cork is a Calgary-born actor and producer in the film and theatre industries. He is co-founder and Artistic Producer of Hoodlum Theatre, a small collective dedicated to creating disruptive and unabashed work. His company Numera Films took home an AMPIA Rosie Award for Best Web Series – Fiction in 2019 for Abracadaver. Griffin is committed to telling engaging, Albertan stories and strives to merge the mediums of film and theatre.

Backgrounder: About the awards

The late Fil Fraser, the late Tommy Banks, the late John Poole and Jenny Belzberg (Calgary) established the Lieutenant Governor of Alberta Arts Awards Foundation in 2003 to celebrate and promote excellence in the arts. The endowments they established were created with philanthropic dollars and gifts from the Province of Alberta and Government of Canada.

Since its inception in 2003, the Foundation has awarded $1,230,000 to 20 Distinguished Artists and 63 Emerging Artists, all Alberta affiliated.

The Foundation administers two awards programs:

  • The Emerging Artist Awardsprogram, established in 2008, gives up to 10 awards of $10,000 each to support and encourage promising artists early in their professional careers. Emerging Artist Awards are given out in even years.
  • The Distinguished Artist Awardsprogram, begun in 2005, gives up to three awards of $30,000 each in recognition of outstanding achievement in, or contribution to, the arts in Alberta. Distinguished Artist Awards are given in odd years. The 2019 Distinguished Artist Awards celebration will be in Maskwacis, Battle River region in September 21, 2019.

Todayville’s President Lloyd Lewis is a Board Director of the Foundation and was the Master of Ceremonies for this year’s online awards show.

Read more on Todayville.

Todayville is an independently-owned digital media company. We specialize in helping community groups, local businesses and organizations tell their story. Our team has years of media and video production experience. Talk to us about advertising, brand journalism stories, opinion pieces, event promotion, or other ideas you have to make our product better. We also own and operate Todayville Red Deer and Todayville Calgary.

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Alberta

Building a 21st century transit system for Calgary

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From the Frontier Centre for Public Policy

By Randal O’Toole

Calgary Transit is mired in the past, building an obsolete transit system designed for an archaic view of a city. Before the pandemic, transit carried 45 percent of downtown Calgary employees to work, but less than 10 percent of workers in the rest of the Calgary urban area, showing that Calgary Transit doesn’t really serve all of Calgary; it mainly serves downtown.

That would have worked in 1909, when Calgary’s first electric streetcars began operating and most jobs were downtown. By 2016, less than 15 percent of Calgary jobs were downtown, and the pandemic has reduced that number further.

Rather than design a transit system that serves the entire urban area, Calgary Transit light-rail system reinforced its downtown focus. Transit ridership has grown since the city’s first light-rail line opened in 1981, but it was growing faster before the light rail began operating than it has since then. Now Calgary Transit is planning even more downtown-oriented light-rail lines.

Light rail is an expensive form of low-capacity transit. The word “light” in light rail refers not to weight but to capacity: the American Public Transportation Association’s transit glossary defines light rail as “an electric railway with a ‘light volume’ traffic capacity.” While a light-rail train can hold a lot of people, for safety reasons a single light-rail line can move no more than about 20 trains per hour in each direction.

By comparison, Portland, Oregon runs 160 buses per hour down certain city streets. An Istanbul busway moves more than 250 buses per hour. Bogota Columbia busways move 350 buses per hour. All these transitways cost far less per mile than light rail yet can move more people per hour.

Once they leave a busway, buses can go on any city street, reaching far more destinations than rail. If a bus breaks down or a street is closed for some reason, other buses can find detours while a single light-rail breakdown can jam up an entire rail line. If transportation patterns change because of a pandemic, the opening of a new economic center, or the decline of an existing center, bus routes can change overnight while rail routes take years and cost hundreds of millions of dollars to change.

To truly serve the entire region, Calgary Transit must recognize that buses are faster, more flexible, and can move more people per hour to more destinations at a lower cost than any rail system. It should also recognize that modern urban areas have many economic centers and use buses to serve all those centers.

Besides downtown, Calgary’s major economic centers—the airport, the University of Calgary, Chinook Center, the Seton health center, and others—are mostly located near freeway on- and off-ramps. Calgary Transit should identify ten or so such centers geographically distributed around the region. It should locate transit centers—which need be no more than curbside parking reserved for buses with some modest bus shelters—near the freeway exchanges closest to each center.

It should then operate frequent (up to five times per hour) non-stop buses from every center to every other center. A few secondary transit centers might have non-stop buses operate to just two or three other centers. Local bus routes should radiate away from each center to serve every neighborhood of the Calgary urban area.

Since non-stop buses will operate at freeway speeds, the average speed of this bus system will be more than double the average speed of Calgary’s current bus-and-rail system. Transit riders will be able to get from any corner of the urban area to any other part of the urban area at speeds competitive with driving.

Such a polycentric system will serve a much higher percentage of the region’s workers and other travelers than the current monocentric system yet cost no more to operate. It will cost far less to build than a single rail line since most of the necessary infrastructure already exists. While some may worry that buses will get caught in congestion, the solution is to fix congestion for everyone, not spend billions on a slow rail system that only serves a few people in the region.

It is time for Calgary Transit to enter the 21st century. A polycentric bus system may be the best way to do it.

Randal O’Toole is a transportation policy analyst and author of Building 21st Century Transit Systems for Canadian Cities. 

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Alberta

Alberta backs Saskatchewan in court battle defending parental consent for ‘pronoun changes’

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From LifeSiteNews

By Clare Marie Merkowsky

‘Saskatchewan and Alberta agree that the key figures in children’s lives are their parents, and our provinces are both committed to supporting families and children so that they can work through unique needs together,’ the provinces wrote in a joint letter in defense of parental rights.

Alberta has announced its support of Saskatchewan’s policy requiring parental consent for children to go by different pronouns at school amid a lawsuit against the policy by an LGBT activist group.  

On April 9, Alberta Minister of Justice and Attorney General Mickey Amery and Saskatchewan Minister of Justice and Attorney General Bronwyn Eyre revealed that Alberta will intervene in Saskatchewan’s Parents’ Bill of Rights case challenging their new pro-family laws.  

“Saskatchewan and Alberta agree that the key figures in children’s lives are their parents, and our provinces are both committed to supporting families and children so that they can work through unique needs together,” the joint statement read.  

“Notifying parents and requiring their consent before a child’s name or pronouns can be changed in schools, and before classroom discussions about gender identity and other sensitive subjects occur, ensures that the parent-child relationship is respected and paramount,” it continued.  

The pronoun policy is just one part of Saskatchewan’s new “Parental Inclusion and Consent Policies,” which also include provisions that ensure parents are allowed to opt their kids out of sex-ed, and that third-party presentations from groups such as Planned Parenthood will be prohibited from taking place.   

After the policies were put forth, LGBT activist group UR Pride Centre for Sexuality and Gender Diversity at the University of Regina, represented by Egale Canada, filed a lawsuit to reverse the pro-family laws.  

While a judge has ruled in favor of the LGBT group, Saskatchewan Premier Scott Moe announced in response that he will invoke his government’s notwithstanding clause to protect the legislation from the courts.   

The notwithstanding clause, embedded in section 33 of the Canadian Charter of Rights and Freedoms, allows provinces to temporarily override sections of the Charter to protect new laws from being scrapped while higher courts make a determination on the constitutionality of the law.

The case is set to be heard in the Saskatchewan Court of Appeal. During the case, Saskatchewan will now be supported by Alberta, which has committed to intervene in the appeal. 

“This case has the potential to impact not only parental rights across Canada, but also the application of the Parliamentary Supremacy Clause, which has been an integral piece of the Canadian Charter of Rights and Freedoms and the Constitution of Canada since 1982,” it declared. 

Similar to Saskatchewan, Alberta recently introduced its much-anticipated pro-family legislation protecting children and parental rights from the worst results of transgender ideology, including banning doctors from medically ‘transitioning’ children, requiring parental consent for pronoun changes in school, and barring men claiming to be women from women’s sports.   

Recent surveys have shown that Moe is acting in the interest of Saskatchewan parents by introducing legislation protecting school children from LGBT propaganda.   

According to an August 2023 survey, 86 percent of Saskatchewan participants advocated for parental rights, supporting the province’s new approach to the LGBT agenda in schools.

Furthermore, over 40,000 Canadians have pledged their support for Saskatchewan’s fight for parental rights in the classroom, also calling on all other provinces to follow suit.     

Additionally, a Saskatchewan teacher wishing to remain anonymous previously told LifeSiteNews that she feels guilty about keeping secrets from parents and supports the decision to keep parents informed.    

“I fear that we are not supporting students or parents when we keep secrets,” she explained. “We have many students using alternate names, which sometimes changes frequently during the year, and then are asked by parents if we were aware of the changes after the fact. I feel responsible for keeping the secret and I don’t think it’s fair. I think schools are already taking on too many ‘parent roles’ and it’s important that parents play the ‘parent role’ not teachers!”   

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