Category Archives: performing arts

Solange Knowles and the Rennie Museum in Vancouver, Canada on April 27 and 28, 2017

Tickets ($35 CAD?) were sold out in less than an hour. Drat! On the upside, the Rennie Museum (formerly the Rennie Collection) is one of nine venues in nine cities hosting Solange Knowles’ music tour of art museums. (Not my usual topic but I have covered shows at the Rennie many times throughout the years.) This tour is discussed in Emilia Petrarca’s April 24, 2017 article for W magazine,

While Knowles isn’t formally touring for A Seat at the Table, she will continue on the festival circuit and is also working on a performance art-inspired “museum tour,” which she’ll perform at the San Francisco Museum of Modern Art as well as the Guggenheim Museum in May [2017].

On wanting to be more than just a singer:

“Singer is probably at the bottom of the barrel in terms of what I’m trying to achieve as an artist. Visually, through many mediums—through dance, through art direction, through color theory—there are so many things that I’ve dabbled in that I’ve yet to immerse myself in fully. But I think right now, I’m creating the live show and music composition, production, and creating from the ground up is when I feel the most at home.”

On her history as a dancer:

“I used to want to be a modern dancer when I was younger and go to Juilliard and do the whole thing, but I had a knee injury when I was 15. I was actually dancing for Destiny’s Child. And that was how I started to write, because I thought I was going to be an [Alvin] Ailey girl [emphasis mine] somewhere.”

On styling the costumes for her festival shows and museum tour:

“I’m touring two shows this spring/summer/fall, and one takes place in museum lobbies. For me, Donald Judd’s idea that we take on our surroundings as a part of the art itself really, really punctured me in the way that I look at performance art. It’s really rare that an artist gets to perform in daylight, unless it’s at a festival. So I really wanted to play with creating a strong color palette. I’ve been playing around with a lot of neutral tones since the record came out and Issey Miyake has been a huge influence. We’re also wearing a lot of Phillip Lim and really comfortable, moveable fabrics. On stage, I’ve really been empowered by the color red. I think it’s associated, especially with women, as this fiery, super volatile, and strong-willed color. Almost stubborn, if you will. So we’re wearing all-red for our festival shows and playing with the lighting for all the moods red can express. Color theory is this really nerdy side of me that I’ve been wanting to explore more of.”

It’s impossible to emphasize Alvin Ailey’s impact enough. Prior to him, there were no African American dancers in dance It was thought African Americans had the wrong body type until Alvin Ailey proved them wrong. (The topic of body type and dance is bizarre to an outsider, especially where ballet is concerned. It lends itself to racism but is rampant throughout the world of modern dance and ballet. I followed the topic for a number of years.)

Getting back to Solange Knowles, Tavi Gevinson’s Sept. 30, 2016 article for W explores her then new album ‘A Seat at the Table’,

Solange’s new album, A Seat at the Table, is so many things at once: an antidote to hate, a celebration of blackness, an expression of the right to feel it all. After a move to Louisiana and period of self-reflection, the artist joined forces with a range of collaborators to put her new discoveries to music. Hearing it for the very first time, my heart went in and out of slow motion: swelled at a layered vocal, stopped at a painfully apt choice of words, sped up with a perfect bass-line. Mostly I was struck by A Seat at the Table as a nurturing force among the trauma of anti-blackness; a further exploration of questions posed by Solange on her Twitter, last summer: “Where can we be safe? Where can we be free? Where can we be black?”

So much of your album explicitly discusses racism and celebrating blackness, and one of the interludes talks about taking all the anger and metabolizing it through the work. Does that start with you through the lyrics or the sounds?

The writing process of this album was not more unique than any of my other processes, in that it typically starts with the melody idea and the words evolve based off of what I listen back to. Nine times out of ten, you’re freestyling, but you’re piecing the puzzle pieces together after you settle on a melody that you like. I definitely had concepts I wanted to explore. I knew that I wanted to make a song experiencing and communicating the exhaustion, the feeling of being weary and tired and energetically drained. I knew that I wanted to discuss this idea of the “angry black woman” in society, and dissect a conversation that I’ve had one too many times. I knew I had these concepts that I wanted to communicate, but I was resistant to letting them lead the creative process. So the first layer of making the album, I just jammed in a room with some incredible musicians. It was a great energy in the room, because it was not so much like, ‘I’m going to make this album about this specific thing. It was just music-making. Then, I took that music and I went to New Iberia for that time, and I needed that insular time to break down what I was saying, what I was going to communicate and how I was going to do that. From there, I spent that summer writing lyrics. It was an interesting process because I’m a mother and I had to balance making an album and raising a preteen. And having my hands in all these different pots, so it was either all or nothing to me. I spent three months in New Iberia, and I recorded some of the album in Ghana and Jamaica. I had to have these isolated experiences creatively in order to turn off and listen to myself.

For all of the continued awareness of systemic violence and oppression, there isn’t a lot of talk about that psychological toll of racism, at least in white circles and white media. That is so heavy in the album, and I’m really excited for people to have that to turn to.

That is such an ignored part of the conversation. I feel there were a lot of traumas that I had to experience during this creative process, that I didn’t identify as traumas until I realized just how much weight and how many triggers [there are] like constantly seeing the images of young black people lifeless in the street, and how many cries of mothers that you’re constantly hearing on a daily basis. Outside of those traumas, just the nuances that you have to navigate through everyday as a black person living in this country. It absolutely has a psychological effect on you. There are clinical and scientific studies that show the brain dealing with the same type of PTSD that we know of in other traumatic instances and experiences, but society has not yet come to terms with applying it to race. But I have a lot of optimism in the fact that we’re even able to have this conversation now. This isn’t something that my mom and one of her white friends would be discussing in their time. It’s not always easy, and it’s not always comfortable, and the person leading it usually gets a lot of shit for it, but that’s with any revolution.

Here’s a little information about the upcoming Vancouver show from an April 21, 2017 news item on the Georgia Straight (Note: Links have been removed),

Solange Knowles, woke artist, activist, feminist, and producer of one of 2016’s most critically acclaimed albums, has announced that she will be playing a show at Vancouver’s Rennie Museum (51 East Pender Street) on April 27.

The singer published an image to her Instagram page yesterday (April 20), revealing that Vancouver is one of nine cities she will be stopping in over the next two months. Shortly after, the Rennie Collection, one of the country’s largest collections of contemporary art exhibited at the Wing Sang building in Chinatown, shared on its social media pages that Knowles will be conducting a “special performance”.

“Her album [A Seat at the Table] is very artistic,” Wendy Chang, director at the Rennie, tells the Straight by phone. “She’s on the West Coast this week and, because she has nothing planned for Vancouver at all, we thought we’d take advantage of that and have her perform and have all proceeds go to a charity.”

Chang reveals that the “very small, very intimate” performance will benefit the Atira Women’s Resource Society, a DTES–based nonprofit that provides safe housing and support for women and children affected by violence.

Not much else has been confirmed about the last-minute show, though given the venue and the sold-out act Knowles plans to present at New York’s Guggenheim Museum in May, fans can expect an interdisciplinary set that explores blackness, prejudice, and womanhood both visually and sonically.

In March, Knowles also debuted “Scales”, a performance project “examining protest as meditation through movement and experimentation of unique compositions and arrangements from A Seat at the Table”, at Houston’s Menil Collection. More recently, she appeared at the Pérez Art Museum Miami.

In addition to Vancouver, Knowles is making stops in cities such as San Francisco, Mayer, Arizona, and Boston between now and June [2017].

I did find a review for Knowles’ April 21, 2017 show in Portland, Oregon (from  Emerson Malone’s April 22, 2017 review for DailyEmerald.com,

The unsinkable Solange Knowles played the headlining slot for Soul’d Out Music Fest, a soul and R&B music festival based in multiple venues around Portland, on Friday, April 21, at the Arlene Schnitzer Concert Hall. The festival’s events from April 19–23 have included Travis Scott (who brought Drake out to get cozy in the crowd); Giorgio Moroder, The Ohio Players and Cory Henry and the Funk Apostles.

One of the most admirable elements of Solange’s live show is the impeccable choreography. It’s so precisely designed that every subtle movement, every head nod and jazz hand-wave, was on cue. At times the group would form a tight chorus line and sway back and forth in unison, with everyone (save the trombonists) continuing to play.

When she demanded that everyone dance during the bubblegum-pop hit “Losing You” from her 2012 EP “True,” the entire hall erupted at her behest. The encore performance “Don’t Touch My Hair” — Solange’s exhortation of the casual fetishization of black women  — was phenomenal. She turned her back to the audience and acted as conductor, commanding the musicians with loud, grandiose gestures. As the drummer smashed the cymbals, she mirrored him, thrashed her limbs and windmilled her arms.

Following the show, even one of the Arlene’s security guards — who just spent the last hour dancing — was quietly weeping and speechlessly shaking her head in awe. Solange isn’t just a firebrand individual, and her show isn’t just an opulent, elegant triumph of performance art. She is a puppet master; we’re marionettes.

Unfortunately, the Solange Knowles’ Vancouver show sold out within minutes (yes, I know I’m repeating it but it was heartbreaking) and I gather from the folks at the Rennie Museum that they had very little notice about the show which is being organized solely by Knowles’ people in response to my somewhat grumbling email. Ah well, them’s the breaks. In any event, there are only 100 tickets per performance available so for those who did get a ticket, you are going to have an intimate experience with the artist  and given the venue, this will be a performance art experience rather than a music show such as the one in Portland, Oregon. There will be three performances in Vancouver,. one on Thursday, April 27, 2017 and two on Friday, April 28, 2017 (you can see the listing here). Enjoy!

Dancing quantum entanglement (Ap. 20 – 22, 2017) and performing mathematics (Ap. 26 – 30, 2017) in Vancouver, Canada

I have listings for two art/science events in Vancouver (Canada).

Dance, poetry and quantum entanglement

From April 20, 2017 (tonight) – April 22, 2017, there will be 8 p.m. performances of Lesley Telford’s ‘Three Sets/Relating At A Distance; My tongue, your ear / If / Spooky Action at a Distance (phase 1)’ at the Scotiabank Dance Centre, 677 Davie St, Yes, that third title is a reference to Einstein’s famous phrase describing his response of the concept of quantum entanglement.

An April 19, 2017 article by Janet Smith for the Georgia Straight features the dancer’s description of the upcoming performances,

One of the clearest definitions of quantum entanglement—a phenomenon Albert Einstein dubbed “spooky action at a distance”—can be found in a vampire movie.

In Jim Jarmusch’s Only Lovers Left Alive Tom Hiddleston’s depressed rock-star bloodsucker explains it this way to Tilda Swinton’s Eve, his centuries-long partner: “When you separate an entwined particle and you move both parts away from the other, even at opposite ends of the universe, if you alter or affect one, the other will be identically altered or affected.”

In fact, it was by watching the dark love story that Vancouver dance artist Lesley Telford learned about quantum entanglement—in which particles are so closely connected that they cannot act independently of one another, no matter how much space lies between them. She became fascinated not just with the scientific possibilities of the concept but with the romantic ones. …

 “I thought, ‘What a great metaphor,’ ” the choreographer tells the Straight over sushi before heading into a Dance Centre studio. “It’s the idea of quantum entanglement and how that could relate to human entanglement.…It’s really a metaphor for human interactions.”

First, though, as is so often the case with Telford, she needed to form those ideas into words. So she approached poet Barbara Adler to talk about the phenomenon, and then to have her build poetry around it—text that the writer will perform live in Telford’s first full evening of work here.

“Barbara talked a lot about how you feel this resonance with people that have been in your life, and how it’s tied into romantic connections and love stories,” Telford explains. “As we dig into it, it’s become less about that and more of an underlying vibration in the work; it feels like we’ve gone beyond that starting point.…I feel like she has a way of making it so down-to-earth and it’s given us so much food to work with. Are we in control of the universe or is it in control of us?”

Spooky Action at a Distance, a work for seven dancers, ends up being a string of duets that weave—entangle—into other duets. …

There’s more information about the performance, which concerns itself with more than quantum entanglement in the Scotiabank Dance Centre’s event webpage,

Lesley Telford’s choreography brings together a technically rigorous vocabulary and a thought-provoking approach, refined by her years dancing with Nederlands Dans Theater and creating for companies at home and abroad, most recently Ballet BC. This triple bill features an excerpt of a new creation inspired by Einstein’s famous phrase “spooky action at a distance”, referring to particles that are so closely linked, they share the same existence: a collaboration with poet Barbara Adler, the piece seeks to extend the theory to human connections in our phenomenally interconnected world. The program also includes a new extended version of If, a trio based on Anne Carson’s poem, and the duet My tongue, your ear, with text by Wislawa Szymborska.

Here’s what appears to be an excerpt from a rehearsal for ‘Spooky Action …’,

I’m not super fond of the atonal music/sound they’re using. The voice you hear is Adler’s and here’s more about Barbara Adler from her Wikipedia entry (Note: Links have been removed),

Barbara Adler is a musician, poet, and storyteller based in Vancouver, British Columbia. She is a past Canadian Team Slam Champion, was a founding member of the Vancouver Youth Slam, and a past CBC Poetry Face Off winner.[1]

She was a founding member of the folk band The Fugitives with Brendan McLeod, C.R. Avery and Mark Berube[2][3] until she left the band in 2011 to pursue other artistic ventures. She was a member of the accordion shout-rock band Fang, later Proud Animal, and works under the pseudonym Ten Thousand Wolves.[4][5][6][7][8]

In 2004 she participated in the inaugural Canadian Festival of Spoken Word, winning the Spoken Wordlympics with her fellow team members Shane Koyczan, C.R. Avery, and Brendan McLeod.[9][10] In 2010 she started on The BC Memory Game, a traveling storytelling project based on the game of memory[11] and has also been involved with the B.C. Schizophrenia Society Reach Out Tour for several years.[12][13][14] She is of Czech-Jewish descent.[15][16]

Barbara Adler has her bachelor’s degree and MFA from Simon Fraser University, with a focus on songwriting, storytelling, and community engagement.[17][18] In 2015 she was a co-star in the film Amerika, directed by Jan Foukal,[19][20] which premiered at the Karlovy Vary International Film Festival.[21]

Finally, Telford is Artist in Residence at the Dance Centre and TRIUMF, Canada’s national laboratory for particle and nuclear physics and accelerator-based science.

To buy tickets ($32 or less with a discount), go here. Telford will be present on April 21, 2017 for a post-show talk.

Pi Theatre’s ‘Long Division’

This theatrical performance of concepts in mathematics runs from April 26 – 30, 2017 (check here for the times as they vary) at the Annex at 823 Seymour St.  From the Georgia Straight’s April 12, 2017 Arts notice,

Mathematics is an art form in itself, as proven by Pi Theatre’s number-charged Long Division. This is a “refreshed remount” of Peter Dickinson’s ambitious work, one that circles around seven seemingly unrelated characters (including a high-school math teacher, a soccer-loving imam, and a lesbian bar owner) bound together by a single traumatic incident. Directed by Richard Wolfe, with choreography by Lesley Telford and musical score by Owen Belton, it’s a multimedia, movement-driven piece that has a strong cast. …

Here’s more about the play from Pi Theatre’s Long Division page,

Long Division uses text, multimedia, and physical theatre to create a play about the mathematics of human connection.

Long Division focuses on seven characters linked – sometimes directly, sometimes more obliquely – by a sequence of tragic events. These characters offer lessons on number theory, geometry and logic, while revealing aspects of their inner lives, and collectively the nature of their relationships to one another.

Playwright: Peter Dickinson
Director: Richard Wolfe
Choreographer: Lesley Telford, Inverso Productions
Composer: Owen Belton
Assistant Director: Keltie Forsyth

Cast:  Anousha Alamian, Jay Clift, Nicco Lorenzo Garcia, Jennifer Lines, Melissa Oei, LInda Quibell & Kerry Sandomirsky

Costume Designer: Connie Hosie
Lighting Designer: Jergus Oprsal
Set Designer: Lauchlin Johnston
Projection Designer: Jamie Nesbitt
Production Manager: Jayson Mclean
Stage Manager: Jethelo E. Cabilete
Assistant Projection Designer: Cameron Fraser
Lighting Design Associate: Jeff Harrison

Dates/Times: April 26 – 29 at 8pm, April 29 and 30 at 2pm
Student performance on April 27 at 1pm

A Talk-Back will take place after the 2pm show on April 29th.

Shawn Conner engaged the playwright, Peter Dickinson in an April 20, 2017 Q&A (question and answer) for the Vancouver Sun,

Q: Had you been working on Long Division for a long time?

A: I’d been working on it for about five years. I wrote a previous play called The Objecthood of Chairs, which has a similar style in that I combine lecture performance with physical and dance theatre. There are movement scores in both pieces.

In that first play, I told the story of two men and their relationship through the history of chair design. It was a combination of mining my research about that and trying to craft a story that was human and where the audience could find a way in. When I was thinking about a subject for a new play, I took the profession of one of the characters in that first play, who was a math teacher, and said, “Let’s see what happens to his character, let’s see where he goes after the breakup of his relationship.”

At first, I wrote it (Long Division) in an attempt at completely real, kitchen-sink naturalism, and it was a complete disaster. So I went back into this lecture-style performance.

Q: Long Division is set in a bar. Is the setting left over from that attempt at realism?

A: I guess so. It’s kind of a meta-theatrical play in the sense that the characters address the audience, and they’re aware they’re in a theatrical setting. One of the characters is an actress, and she comments on the connection between mathematics and theatre.

Q: This is being called a “refreshed” remount. What’s changed since its first run 

A: It’s mostly been cuts, and some massaging of certain sections. And I think it’s a play that actually needs a little distance.

Like mathematics, the patterns only reveal themselves at a remove. I think I needed that distance to see where things were working and where they could be better. So it’s a gift for me to be given this opportunity, to make things pop a little more and to make the math, which isn’t meant to be difficult, more understandable and relatable.

You may have noticed that Lesley Telford from Spooky Action is also choreographer for this production. I gather she’s making a career of art/science pieces, at least for now.

In the category of ‘Vancouver being a small town’, Telford lists a review of one of her pieces,  ‘AUDC’s Season Finale at The Playhouse’, on her website. Intriguingly, the reviewer is Peter Dickinson who in addition to being the playwright with whom she has collaborated for Pi Theatre’s ‘Long Division’ is also the Director of SFU’s (Simon Fraser University’s) Institute for Performance Studies. I wonder how many more ways these two crisscross professionally? Personally and for what it’s worth, it might be a good idea for Telford (and Dickinson, if he hasn’t already done so) to make readers aware of their professional connections when there’s a review at stake.

Final comment: I’m not sure how quantum entanglement or mathematics with the pieces attributed to concepts from those fields but I’m sure anyone attempting to make the links will find themselves stimulated.

ETA April 21, 2017: I’m adding this event even though the tickets are completely subscribed. There will be a standby line the night of the event (from the Peter Wall Institute for Advanced Studies The Hidden Beauty of Mathematics event page,

02 May 2017

7:00 pm (doors open at 6:00 pm)

The Vogue Theatre

918 Granville St.

Vancouver, BC

Register

Good luck!

Online art/science exhibit on stem cells and Canadians, Dr. Jim Till and Dr. Ernest McCulloch

Before getting to the exhibit, here’s some background information from Stacey Johnson’s July 22, 2016 posting on the Signals blog (Note: Links have been removed),

You would be hard-pressed to find a Canadian stem cell scientist who doesn’t know that Drs. Jim Till and Ernest McCulloch advanced medical research across the globe with their discovery, in 1961, of blood stem cells at Toronto’s Princess Margaret Hospital, today the Princess Margaret Cancer Centre.

Recently, a group of artists, doctors, scientists and educators launched an art exhibit based on Till and McCulloch. The group, NASCENT Art Science Collective, created portraits of the two men, produced drawings and designed banners to honour these pioneers and their ground-breaking work.

You can find the show, The Protean SELF here. Before clicking on the link I encourage you to read Johnson’s piece in its entirety. Whether you choose to read it further or not, I highly (!) recommend that you scroll down the exhibit page or click on Interpretive Guide for Museum of Health Care before when viewing the images and text otherwise it will seem a hodgepodge. The guide was for the real life exhibit, which is over.

The guide won’t answer all your questions but will help greatly to contextualize the images and the text. For example,

Hanging in the main windows are two banners by Elizabeth Greisman. Elizabeth has been extending her work on stem cells, their discovery by Dr. James Till and the importance of “ah hah’ moments to the field of dance. Elizabeth has worked with the National Ballet – cross fertilization through this work has expanded her understanding of the two defining features of stem cells – the ability to regenerate and the ability to differentiate.

That description applies to this image (I believe),

Artist: Elizabeth Greisman

Artist: Elizabeth Greisman

It’s also very helpful for understanding why there’s a fair chunk text devoted to open access,

On entering the museum, you will find a banner with an original written piece by Dr. James Till, produced for this show. Dr. Till has become a tireless advocate for Open Access. His words speak for themselves.

Artist: Dr. James Till. Formatted by Wendy Wobeser

Artist: Dr. James Till. Formatted by Wendy Wobeser

Enjoy!

Curiosity Collider (Vancouver, Canada) presents Neural Constellations: Exploring Connectivity

I think of Curiosity Collider as an informal art/science  presenter but I gather the organizers’ ambitions are more grand. From the Curiosity Collider’s About Us page,

Curiosity Collider provides an inclusive community [emphasis mine] hub for curious innovators from any discipline. Our non-profit foundation, based in Vancouver, Canada, fosters participatory partnerships between science & technology, art & culture, business communities, and educational foundations to inspire new ways to experience science. The Collider’s growing community supports and promotes the daily relevance of science with our events and projects. Curiosity Collider is a catalyst for collaborations that seed and grow engaging science communication projects.

Be inspired by the curiosity of others. Our Curiosity Collider events cross disciplinary lines to promote creative inspiration. Meet scientists, visual and performing artists, culinary perfectionists, passionate educators, and entrepreneurs who share a curiosity for science.

Help us create curiosity for science. Spark curiosity in others with your own ideas and projects. Get in touch with us and use our curiosity events to showcase how your work creates innovative new ways to experience science.

I wish they hadn’t described themselves as an “inclusive community.” This often means exactly the opposite.

Take for example the website. The background is in black, the heads are white, and the text is grey. This is a website for people under the age of 40. If you want to be inclusive, you make your website legible for everyone.

That said, there’s an upcoming Curiosity Collider event which looks promising (from a July 20, 2016 email notice),

Neural Constellations: Exploring Connectivity

An Evening of Art, Science and Performance under the Dome

“We are made of star stuff,” Carl Sagan once said. From constellations to our nervous system, from stars to our neurons. We’re colliding neuroscience and astronomy with performance art, sound, dance, and animation for one amazing evening under the planetarium dome. Together, let’s explore similar patterns at the macro (astronomy) and micro (neurobiology) scale by taking a tour through both outer and inner space.

This show is curated by Curiosity Collider’s Creative Director Char Hoyt, along with Special Guest Curator Naila Kuhlmann, and developed in collaboration with the MacMillan Space Centre. There will also be an Art-Science silent auction to raise funding for future Curiosity Collider activities.

Participating performers include:

The July 20, 2016 notice also provides information about date, time, location, and cost,

When
7:30pm on Thursday, August 18th 2016. Join us for drinks and snacks when doors open at 6:30pm.

Where
H. R. MacMillan Space Centre (1100 Chestnut Street, Vancouver, BC)

Cost
$20.00 sliding scale. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events. Curiosity Collider is a registered BC non-profit organization. Purchase tickets on our Eventbrite page.

Head to the Facebook event page: Let us know you are coming and share this event with others! We will also share event updates and performer profiles on the Facebook page.

There is a pretty poster,

CuriostiytCollider_AugEvent_NeuralConstellations

[downloaded from http://www.curiositycollider.org/events/]

Enjoy!

A change of pace: storytelling event in London, UK on Sept. 9, 2016

It’s a long weekend (Jly. 30 – Aug. 1, 2016) here in Canada and I’m using that as an excuse (time for something a little different) for posting this piece about storyteller, Seema Anand and her upcoming event “Of Love, Lust, and Liabilities …” at Usurp Art in London, England.

Here’s more from a July 31, 2016 notice received via email,

Professional Indian storyteller Seema Anand, will enchant you with a series of stories celebrating love and lust. There will be stories showing the darker parts, bizarre, erotic, beautiful stories, and stories to captivate and seduce. Join us for an enthralling evening dedicated for grown-up, celebrating oral storytelling from ancient mythology, folk tales, legend and fable. Usurp will be converted into an intimate, atmospheric, dreamers salon for the night.

Seema Anand is a London based mythologist and story teller, holds a doctorate in narrative practices and has performed at The V&A, the British Museum, Rich Mix, Asia House, amongst other leading institutions. She is an acknowledged expert on ancient, erotic literature and her seminal work on the Kamasutra as a text on women’s issues is ground breaking.

Seema is an acknowledged authority on the Mahabharata, the Ramayana, and lectures on Tantric philosophies, the Kama Sutra, and the Bhagavad Gita. Her reinterpretation and reproduction of Indian folk lore and tales is associated with the UNESCO project for Endangered Oral Traditions.  She believes that the stories that we tell, define our roles and establish our identities within the community and if we are to create change – real, sustainable change – it is these stories that we have to change.

Before giving any details about logistics, here’s a sample of her storytelling/lecture (the sound quality is a little rocky),

It runs about two mins. 18 secs. and is titled: “Kama Sutra tells us about Love Bites.”

As promised here are the logistical details for the upcoming performance at Usurp Arts,

Of Love, Lust and Liabilities…
Seema Anand
Friday 9 September 2016
Doors open 7.30pm

Usurp Art Gallery & Studios
140 Vaughan Road, London HA1 4EB
www.usurp.org.uk | 07956 817038

Limited early bird tickets – includes one free drink – book now. Bring cushions and slippers. Snacks and drinks will be available. Doors open 7.30pm. Suitable for 16 +

£10 for early bird tickets.

You can find more Seema Anand stories and lectures on YouTube.

NASA calling for submissions (poetry, video, art, music, etc.) for space travel

The US National Aeronautics and Space Administration (NASA) has made an open call for art works that could be part of the the Origins, Spectral Interpretation, Resource Identification, Security-Regolith Explorer (OSIRIS-REx) spacecraft mission bound for Bennu (an asteroid). From a Feb. 23, 2016 NASA news release on EurekAlert,

OSIRIS-REx is scheduled to launch in September and travel to the asteroid Bennu. The #WeTheExplorers campaign invites the public to take part in this mission by expressing, through art, how the mission’s spirit of exploration is reflected in their own lives. Submitted works of art will be saved on a chip on the spacecraft. The spacecraft already carries a chip with more than 442,000 names submitted through the 2014 “Messages to Bennu” campaign.

“The development of the spacecraft and instruments has been a hugely creative process, where ultimately the canvas is the machined metal and composites preparing for launch in September,” said Jason Dworkin, OSIRIS-REx project scientist at NASA’s Goddard Space Flight Center in Greenbelt, Maryland. “It is fitting that this endeavor can inspire the public to express their creativity to be carried by OSIRIS-REx into space.”

A submission may take the form of a sketch, photograph, graphic, poem, song, short video or other creative or artistic expression that reflects what it means to be an explorer. Submissions will be accepted via Twitter and Instagram until March 20, 2016. For details on how to include your submission on the mission to Bennu, go to:

http://www.asteroidmission.org/WeTheExplorers

“Space exploration is an inherently creative activity,” said Dante Lauretta, principal investigator for OSIRIS-REx at the University of Arizona, Tucson. “We are inviting the world to join us on this great adventure by placing their art work on the OSIRIS-REx spacecraft, where it will stay in space for millennia.”

The spacecraft will voyage to the near-Earth asteroid Bennu to collect a sample of at least 60 grams (2.1 ounces) and return it to Earth for study. Scientists expect Bennu may hold clues to the origin of the solar system and the source of the water and organic molecules that may have made their way to Earth.

Goddard provides overall mission management, systems engineering and safety and mission assurance for OSIRIS-REx. The University of Arizona, Tucson leads the science team and observation planning and processing. Lockheed Martin Space Systems in Denver is building the spacecraft. OSIRIS-REx is the third mission in NASA’s New Frontiers Program. NASA’s Marshall Space Flight Center in Huntsville, Alabama, manages New Frontiers for the agency’s Science Mission Directorate in Washington.

I wonder why the Egyptian mythology as in Osiris and Bennu. For those who need a refresher on the topic, here’s more from the Osiris entry on Wikipedia (Note: Links have been removed),

Osiris (/oʊˈsaɪərᵻs/, alternatively Ausir, Asiri or Ausar, among other spellings), was an Egyptian god, usually identified as the god of the afterlife, the underworld, and the dead, but more appropriately as the god of transition, resurrection, and regeneration.

Then there’s this from the Bennu entry on Wikipedia (Note: Links have been removed),

The Bennu is an ancient Egyptian deity linked with the sun, creation, and rebirth. It may have been the inspiration for the phoenix in Greek mythology.

You can find out more about Bennu, the asteriod, on its webpage, The long Strange Trip of Bennu on the NASA website (which also features a video animation), Note: A link has been removed,

… Born from the rubble of a violent collision, hurled through space for millions of years and dismembered by the gravity of planets, asteroid Bennu had a tough life in a rough neighborhood: the early solar system. …

“We are going to Bennu because we want to know what it has witnessed over the course of its evolution,” said Edward Beshore of the University of Arizona, Deputy Principal Investigator for NASA’s asteroid-sample-return mission OSIRIS-REx (Origins, Spectral Interpretation, Resource Identification, Security – Regolith Explorer). The mission will be launched toward Bennu in late 2016, arrive at the asteroid in 2018, and return a sample of Bennu’s surface to Earth in 2023.

“Bennu’s experiences will tell us more about where our solar system came from and how it evolved. Like the detectives in a crime show episode, we’ll examine bits of evidence from Bennu to understand more completely the story of the solar system, which is ultimately the story of our origin.”

As for the spacecraft, you can find out more about OSIRIS-REx here.

Getting back to the artwork, Sarah Cascone has written a Feb. 22, 2016 posting for artnet news, which features the call for submissions and some work which already been submitted (Note: Links have been removed),

The near-Earth asteroid Bennu will become the first extra-terrestrial art gallery, with the space agency inviting the public to contribute works of art that are inspired by the spirit of exploration.

The project will follow other important moments in space art history, which include work by Invader traveling aboard the International Space Station, conceptual artwork on the UKube-1 satellite, and even a bonsai tree launched into space.

Here’s a selection of the artworks being embedded in Cascone’s posting,

Daughter’s is spacebound! Fitting tribute to a pioneering, star-loving musician @OSIRISREx

For more inspiration, check out Cascone’s Feb. 22, 2016 posting.

Good luck!

Sing a song of science for Valentine’s Day 2016

David Bruggeman has featured three science music videos in a Feb. 10, 2016 posting on his Pasco Phronesis blog (Note: A link has been removed),

In advance of St. Valentine’s Day, Tim Blais has released another A Capella Science video.  Remembering how his view counts get stratospheric, he has used the music of Queen to teach us about love.

Blais is a Canadian from Montréal and his is the only one of the three I’m featuring here (go to David Bruggeman’s Feb. 10, 2016 posting for the latest Science Rap Academy video ‘Shocked Away’ and a video excerpt for adults from Late Night with Seth Myers; it’s about the four new elements added to the periodic table).

Now, for the Science of Love,


Happy Valentine’s Day!

Science events (Einstein, getting research to patients, sleep, and art/science) in Vancouver (Canada), Jan. 23 – 28, 2016

There are five upcoming science events in seven days (Jan. 23 – 28, 2016) in the Vancouver area.

Einstein Centenary Series

The first is a Saturday morning, Jan. 23, 2016 lecture, the first for 2016 in a joint TRIUMF (Canada’s national laboratory for particle and nuclear physics), UBC (University of British Columbia), and SFU (Simon Fraser University) series featuring Einstein’s  work and its implications. From the event brochure (pdf), which lists the entire series,

TRIUMF, UBC and SFU are proud to present the 2015-2016 Saturday morning lecture series on the frontiers of modern physics. These free lectures are a level appropriate for high school students and members of the general public.

Parallel lecture series will be held at TRIUMF on the UBC South Campus, and at SFU Surrey Campus.

Lectures start at 10:00 am and 11:10 am. Parking is available.

For information, registration and directions, see :
http://www.triumf.ca/saturday-lectures

January 23, 2016 TRIUMF Auditorium (UBC, Vancouver)
1. General Relativity – the theory (Jonathan Kozaczuk, TRIUMF)
2. Einstein and Light: stimulated emission, photoelectric effect and quantum theory (Mark Van Raamsdonk, UBC)

January 30, 2016 SFU Surrey Room 2740 (SFU, Surrey Campus)

1. General Relativity – the theory (Jonathan Kozaczuk, TRIUMF)
2. Einstein and Light: stimulated emission, photoelectric effect and quantum theory (Mark Van Raamsdonk, UBC)

I believe these lectures are free. One more note, they will be capping off this series with a special lecture by Kip Thorne (astrophysicist and consultant for the movie Interstellar) at Science World, on Thursday, April 14, 2016. More about that * at a closer date.

Café Scientifique

On Tuesday, January 26, 2016 at 7:30 pm in the back room of The Railway Club (2nd floor of 579 Dunsmuir St. [at Seymour St.]), Café Scientifique will be hosting a talk about science and serving patients (from the Jan. 5, 2016 announcement),

Our speakers for the evening will be Dr. Millan Patel and Dr. Shirin Kalyan.  The title of their talk is:

Helping Science to Serve Patients

Science in general and biotechnology in particular are auto-catalytic. That is, they catalyze their own evolution and so generate breakthroughs at an exponentially increasing rate.  The experience of patients is not exponentially getting better, however.  This talk, with a medical geneticist and an immunologist who believe science can deliver far more for patients, will focus on structural and cultural impediments in our system and ways they and others have developed to either lower or leapfrog the barriers. We hope to engage the audience in a highly interactive discussion to share thoughts and perspectives on this important issue.

There is additional information about Dr. Millan Patel here and Dr. Shirin Kalyan here. It would appear both speakers are researchers and academics and while I find the emphasis on the patient and the acknowledgement that medical research benefits are not being delivered in quantity or quality to patients, it seems odd that they don’t have a clinician (a doctor who deals almost exclusively with patients as opposed to two researchers) to add to their perspective.

You may want to take a look at my Jan. 22, 2016 ‘open science’ and Montreal Neurological Institute posting for a look at how researchers there are responding to the issue.

Curiosity Collider

This is an art/science event from an organization that sprang into existence sometime during summer 2015 (my July 7, 2015 posting featuring Curiosity Collider).

When: 8:00pm on Wednesday, January 27, 2016. Door opens at 7:30pm.
Where: Café Deux Soleils. 2096 Commercial Drive, Vancouver, BC (Google Map).
Cost: $5.00 cover (sliding scale) at the door. Proceeds will be used to cover the cost of running this event, and to fund future Curiosity Collider events.

Part I. Speakers

Part II. Open Mic

  • 90 seconds to share your art-science ideas. Think they are “ridiculous”? Well, we think it could be ridiculously awesome – we are looking for creative ideas!
  • Don’t have an idea (yet)? Contribute by sharing your expertise.
  • Chat with other art-science enthusiasts, strike up a conversation to collaborate, all disciplines/backgrounds welcome.
  • Want to showcase your project in the future? Participate in our fall art-science competition (more to come)!

Follow updates on twitter via @ccollider or #CollideConquer

Good luck on the open mic (should you have a project)!

Brain Talks

This particular Brain Talk event is taking place at Vancouver General Hospital (VGH; there is also another Brain Talks series which takes place at the University of British Columbia). Yes, members of the public can attend the VGH version; they didn’t throw me out the last time I was there. Here’s more about the next VGH Brain Talks,

Sleep: biological & pathological perspectives

Thursday, Jan 28, 6:00pm @ Paetzold Auditorium, Vancouver General Hospital

Speakers:

Peter Hamilton, Sleep technician ~ Sleep Architecture

Dr. Robert Comey, MD ~ Sleep Disorders

Dr. Maia Love, MD ~ Circadian Rhythms

Panel discussion and wine and cheese reception to follow!

Please RSVP here

You may want to keep in mind that the event is organized by people who don’t organize events often. Nice people but you may need to search for crackers for your cheese and your wine comes out of a box (and I think it might have been self-serve the time I attended).

What a fabulous week we have ahead of us—Happy Weekend!

*’when’ removed from the sentence on March 28, 2016.

Some Baba Brinkman rap videos for Christmas

It’s about time to catch up with Canadian rapper, Baba Brinkman who has made an industry of rapping about science issues (mostly). Here’s a brief rundown of some of his latest ventures.

He was in Paris for the climate talks (also known as World Climate Change Conference 2015 [COP21]) and produced this ‘live’ rap on Dec. 10, 2015 for the press conference on “Moral Obligation – Scientific Imperative” for Climate Matters,

The piece is part of his forthcoming album and show “The Rap Guide to Climate Chaos.”

On Dec. 18, 2015 Baba released a new music video with his take on religion and science (from a Dec. 18, 2015 posting on his blog),

The digital animation is by Steven Fahey, who is a full time animator for the Simpsons, and I’m completely blown away by the results he achieved. The video is about the evolution of religious instincts, and how the secular among us can make sense of beliefs we don’t share.

Here’s the ‘Religion evolves’ video,

A few days after Baba released his video, new research was published contradicting some of what he has in there (i.e., religion as a binding element for societies struggling to survive in ancient times. From a Dec. 21, 2015 University of Central Florida news release on EurekAlert (Note: A link has been removed),

Humans haven’t learned much in more than 2,000 years when it comes to religion and politics.

Religion has led to social tension and conflict, not just in today’s society, but dating back to 700 B.C. according to a new study published today in Current Anthropology .

University of Colorado anthropology Professor Arthur A. Joyce and University of Central Florida Associate Professor Sarah Barber found evidence in several Mexican archeological sites that contradict the long-held belief that religion acted to unite early state societies. It often had the opposite effect, the study says.

“It doesn’t matter if we today don’t share particular religious beliefs, but when people in the past acted on their beliefs, those actions could have real, material consequences,” Barber said about the team’s findings. “It really behooves us to acknowledge religion when considering political processes.”

Sounds like sage advice in today’s world that has multiple examples of politics and religion intersecting and resulting in conflict.

The team published its findings “Ensoulment, Entrapment, and Political Centralization: A Comparative Study of Religion and Politics in Later Formative Oaxaca,” after spending several years conducting field research in the lower Río Verde valley of Oaxaca, Mexico’s Pacific coastal lowlands. They compared their results with data from the highland Valley of Oaxaca.

Their study viewed archaeological evidence from 700 B.C. to A.D. 250, a period identified as a time of the emergence of states in the region. In the lower Verde, religious rituals involving offerings and the burial of people in cemeteries at smaller communities created strong ties to the local community that impeded the creation of state institutions.

And in the Valley of Oaxaca, elites became central to mediating between their communities and the gods, which eventually triggered conflict with traditional community leaders. It culminated in the emergence of a regional state with its capital at the hilltop city of Monte Albán.

“In both the Valley of Oaxaca and the Lower Río Verde Valley, religion was important in the formation and history of early cities and states, but in vastly different ways,” said Joyce, lead author on the study. “Given the role of religion in social life and politics today, that shouldn’t be too surprising.”

The conflict in the lower Río Verde valley is evident in rapid rise and fall of its state institutions. At Río Viejo, the capital of the lower Verde state, people had built massive temples by AD 100. Yet these impressive, labor-intensive buildings, along with many towns throughout the valley, were abandoned a little over a century later.

“An innovative aspect of our research is to view the burials of ancestors and ceremonial offerings in the lower Verde as essential to these ancient communities,” said Joyce, whose research focuses on both political life and ecology in ancient Mesoamerica. “Such a perspective is also more consistent with the worldviews of the Native Americans that lived there.”

Here’s a link to and a citation for the paper,

Ensoulment, Entrapment, and Political Centralization A Comparative Study of Religion and Politics in Later Formative Oaxaca by Arthur A. Joyce and Sarah B. Barber. Current Anthropology Vol. 56, No. 6 (December 2015), pp. 819-847 DOI: 10.1086/683998

This paper is behind a paywall.

Getting back to Baba, having research, which contradicts or appears to contradict your position, suddenly appear is part of the scientific process. Making your work scientifically authentic adds pressure for a performer or artist, on the other hand, it also blesses that performer or artist with credibility. In any event, it’s well worth checking out Baba’s website and, for anyone, who’s wanted to become a patron of the arts (or of a particular rapper), there’s this Dec. 3, 2015 posting on Baba’s blog about Patreon,

Every year or so since 2010 I’ve reached out to my friends and fans asking for help with a Kickstarter or IndieGogo campaign to fund my latest album or video project. Well now I’m hoping to put an end to that regular cycle with the help of Patreon, a site that lets fans become patrons with exclusive access to the artists they support and the work they help create.

Click here to visit Patreon.com/BabaBrinkman

Good luck Baba. (BTW, Currently living in New York with his scientist wife and child, he’s originally from the Canadian province of British Columbia.)

“Off The Top” is a science/comedy hour Sept. 9, 2015 at Vancouver’s (Canada) China Cloud

Baba Brinkman, a Canadian-born rapper who’s made a bit of a career in science circles and has been featured here many times for the ‘Rap Guide to Evolution’ and other pieces, will be performing in Vancouver on Sept. 9, 2015 at The China Cloud (524 Main Street) Doors 7:30pm, showtime 8pm, $15 cover.

It’s actually a two-part performance according to the Sept. 9, 2015 event page on Baba Brinkman’s website,

First: “Off The Top” is a science/comedy hour co-hosted by Baba and Heather [Berlin], exploring the neuroscience of improvisation and humour, and the odd-couple mash-up of science and rap in their marriage. …

Second: After an intermission, Baba will perform his new rap/science/comedy show ”Rap Guide to Climate Chaos”, which explores the science and politics of global warming.

Here’s more from the Off The Top page on Baba Brinkman’s website,

Science rapper Baba Brinkman (Rap Guide to Evolution) teams up with neuroscientist Dr. Heather Berlin to explore the brain basis of improvisation. What’s going on “under the hood” when a comedian or musician improvises? Why are the spontaneous moments of life always the most memorable? Does anything actually rhyme with Dorsolateral Prefrontal Cortex?

As for the Rap Guide to Climate Chaos, from the its webpage on Baba Brinkman’s website,

Fringe First Award Winner Baba Brinkman (Rap Guide to Evolution) is the world’s first and only “peer reviewed rapper,” bringing science to the masses with his unique brand of hip-hop comedy theatrics. In “Rap Guide to Climate Chaos,” Baba breaks down the politics, economics, and science of global warming, following its surprising twists from the carbon cycle to the energy economy. If civilization is a party in full swing, are the climate cops about to pull the plug? And what happens if we just let it rage? With scientists, activists, contrarians, and the Pope adding their voices to the soundtrack, get ready for a funny and refreshing take on the world’s hottest topic.

I didn’t find much about The China Cloud but there was this January 20, 2010 article by Bob Kronbauer for vancouverisawesome.com,

Floating above Vancouver’s Chinatown rests the new studio/gallery space, The China Cloud. It is currently the home base to a handful of local bands – Analog Bell Service, No Gold, Macchu Picchu; four visual artists and comedy troupes Man Hussy and Bronx Cheer. This past Friday The China Cloud had its grand opening with an art show, some booze, and musical performances by Sun Wizard, My!Gay!Husband!, Analog Bell Service and Blue Violets. It was wall to wall people, with line-ups all night and a bit more hectic than what the artists behind the event expect it to be for future events – but what a way to step on the scene!

For anyone unfamiliar with Vancouver, The China Cloud is in an area that’s gentrifying but still retains its edgy character.

The article was well illustrated by Marcus Jolly’s photographs.

Finally, Dr. Heather Berlin was mentioned here in a March 6, 2015 post (scroll down about 75% of the way) highlighting International Women’s Day and various science communication projects including hers and Faith Salie’s, Science Goes to the Movies.

ETA Sept. 7, 2015: David Bruggeman gives a brief update on Baba Brinkman’s upcoming album release in his Sept. 5, 2015 posting on Pasco Phronesis.