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DTSTART;TZID=America/Vancouver:20250206T190000
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DTSTAMP:20250113T162953Z
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LAST-MODIFIED:20250113T162953Z
UID:15275-1738868400-1738873800@improvisationinstitute.ca
SUMMARY:Book Launch—Soundin’ Canaan: Black Canadian Poetry\, Music\, and Citizenship\, by Paul db Watkins
DESCRIPTION:We are pleased to announce the initial book launch for Soundin’ Canaan: Black Canadian Poetry\, Music\, and Citizenship\, by Improvising Futures team member\, Paul db Watkins on Thursday\, February 6\, at 7:00 PM (PST).\n \nThe event will take place in person at The Vault Café\, (499 Wallace Street\, Nanaimo\, BC). The book launch is by donation (5$ suggested).\n \nLearn more about the book and pre-order by following this link! \n\nMore About the Event:\nThis initial book launch will feature poet and musician Sonnet L’Abbé (Sonnet’s Shakespeare) and Nanaimo Poet Laureate Neil Surkan (Unbecoming). The author will also be performing remixed versions of sections from the book.  \nDoors open at 6:30 p.m.\, and the readings will run from 7:00 to 8:00 p.m.  \nMore About the Book:\nPart exploration of a key group of Black Canadian poets\, part literary\, cultural\, and musical history\, Soundin’ Canaan demonstrates how music in Black Canadian poetry is not solely aesthetic\, but a form of social\, ethical\, and political expression. \nSoundin’ Canaan refers to the code name often used for Canada during the Black migration to Canada. The book analyzes the contributions of key Black Canadian poets\, including their poetic styles and their performances. The book has several key objectives\, including recuperating the collision of the historical and the Biblically derived figure of Canaan\, the promised land of freedom and security for an African American population seeking to leave the shackles of slavery behind and the northern terminus of the underground railroad. Centering around the poetry of George Elliott Clarke\, Dionne Brand\, M. NourbeSe Philip\, Wayde Compton\, and rapper K’naan\, it delves into how these poets draw inspiration from African American and Afro-diasporic musical genres\, such as blues\, jazz\, reggae and dub\, hip-hop\, and remix\, to reshape the notions of identity and citizenship. Soundin’ Canaan asks: what does Canadian citizenship sound like\, especially when voiced by Black Canadian poets who embrace a fluid and multicultural form of citizenship that moves between local and global spaces\, much like music does? \nMore About the Presenter:\nPaul db Watkins is a Professor of English at Vancouver Island University. He is also a research team member with the International Institute for Critical Studies in Improvisation (IICSI). He has published widely on multiculturalism\, hip-hop\, Canadian poetry\, jazz\, DJ culture\, and improvisation. Under his DJ alias\, DJ Techné\, he has completed several DJ projects that explore the spaces between poetry\, hip-hop\, and jazz.
URL:https://improvisationinstitute.ca/event/book-launch-soundin-canaan-black-canadian-poetry-music-and-citizenship-by-paul-db-watkins/
LOCATION:The Vault Cafe\, 499 Wallace Street\, Nanaimo\, BC\, Canada
CATEGORIES:Community Events
ATTACH;FMTTYPE=image/jpeg:https://improvisationinstitute.ca/wp-content/uploads/2025/01/book-launch-poster-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20250209T130000
DTEND;TZID=America/Toronto:20250209T150000
DTSTAMP:20250123T175033Z
CREATED:20250123T175033Z
LAST-MODIFIED:20250123T175033Z
UID:15314-1739106000-1739113200@improvisationinstitute.ca
SUMMARY:Sam Newsome—The Popeye Effect: Unlocking the Artist's Power to Transcend (talk + solo concert)
DESCRIPTION:Please join us on Sunday\, February 9 at 1:00 PM (ET) for “The Popeye Effect: Unlocking the Artist’s Power to Transcend (talk + solo concert)” with Sam Newsome.\n \n\nThis presentation will take place in person at Silence\, 46 Essex Street in Guelph. Tickets are $20/PWYC (available at the door).\n \nAbout the Event\nIn this masterclass\, we explore the importance of moving beyond our earthly selves to reach our true creative potential when improvising. As artists\, our improvisational journeys can take us from the explainable to the unexplainable\, from the ordinary to the extraordinary. Using the iconic cartoon character Popeye the Sailor Man as a metaphor\, we will discuss what true transcendence looks like in the creative process. We will also delve into how to employ extended techniques and instrument preparations as methods of transcendence\, pushing the boundaries of traditional performance. Active participation from fellow musicians is highly encouraged. \nAbout the Artist\nSam Newsome stands as a multifaceted figure in the world of jazz—a saxophonist\, music professor\, and accomplished writer. In 2023\, his artistic endeavors manifested in two duo recordings: Soprano-Logues\, a collaborative effort with saxophonist Dave Liebman\, and Cosmic Unconsciousness Unplugged\, where he joined forces with pianist Jean-Michel Pilc. These releases showcased Newsome’s ability to engage in sonically-rich musical dialogues across different instrumental landscapes. His contributions to the music world have not gone unnoticed. In 2022\, Newsome received the prestigious Bronx BRIO Award for Instrumental Music and secured the title of Soprano Saxophonist of the Year in the 14th Annual International Critics Polls. His accolades extend to the 2020 Instant Award in Improvised Music\, the 2018 Alpert/Ragdale Prize in Music Composition\, the 2016 NYFA Fellowship for Music Composition\, and he’s been a consistent nominee for Soprano Saxophonist of the Year by the Jazz Journalist Association over the past five years. Beyond his musical accomplishments\, Newsome is a prolific author\, having penned two books of personal essays: “Be Inspired\, Stay Focused” (2022) and “Life Lessons from the Horn” (2015). In 2023\, his piece\, “From NoHa to SoBro” was featured in the Bronx Memoir Project Anthology\, VII. Newsome’s avant-garde approach\, particularly in the realm of prepared saxophone\, has positioned him as a sought-after player in New York’s improvised music scene. His innovative voice has resonated in collaborations with notable artists such as Elliot Sharpe\, William Parker\, Fay Victor\, Daniel Carter\, Joe Morris\, and Dave Liebman. Through his diverse talents and contributions\, Sam Newsome continues to shape and enrich the landscape of contemporary jazz.
URL:https://improvisationinstitute.ca/event/sam-newsome-the-popeye-effect/
LOCATION:Silence\, 46 Essex Street\, Guelph\, Ontario\, N1H 3K8\, Canada
CATEGORIES:Community Events
ATTACH;FMTTYPE=image/png:https://improvisationinstitute.ca/wp-content/uploads/2025/01/SamNewsome_Silence_ii2025.png
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BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20250211T120000
DTEND;TZID=America/Toronto:20250211T133000
DTSTAMP:20250128T161939Z
CREATED:20250113T143332Z
LAST-MODIFIED:20250128T161939Z
UID:15258-1739275200-1739280600@improvisationinstitute.ca
SUMMARY:Thinking Spaces: Andrew Goldman\, "The Cognition of Musical Improvisation: Theories and Experiments"
DESCRIPTION:Please join us on Tuesday\, February 11 at 12:00 PM (ET) for Thinking Spaces: “The Cognition of Musical Improvisation: Theories and Experiments” with Andrew Goldman.\n \n\nThis presentation will take place in person at ImprovLab\, MCKN 108 at the University of Guelph. As always\, our Thinking Spaces events are free! \nTo attend the talk\, RSVP via our Google Forms. \nMore About this Workshop:\nImprovisation is a challenging topic to study using the theories and methods of cognitive science owing to the difficulty of defining it\, and the diversity of improvisatory practices. I share my theoretical frameworks for engaging this challenge as well as the results from some behavioral and neuroscientific studies. Ultimately\, I draw upon improvisation as a case study for exploring the difficulties of using science to understand music more generally. \nMore About the Presenter:\nAndrew Goldman is a music theorist and cognitive scientist\, and is currently Assistant Professor in Music Theory and Cognitive Science at Indiana University\, where he also directs IU’s Music and Mind Lab. He received his PhD in 2015 at the Centre for Music and Science at the University of Cambridge. He was in the inaugural cohort of Presidential Scholars in Society and Neuroscience at Columbia University\, and also held a postdoctoral position with the Music\, Cognition\, and the Brain initiative at Western University before joining the faculty at Indiana University.  \nHis research considers how we can (and cannot) use scientific methods to learn about musical perception and cognition in theory\, and he also designs and conducts behavioral and neuroscientific experiments on music perception and cognition. Goldman’s research has focused on improvisation in music and dance\, and more recent work has addressed the perception of musical form\, melodic contour\, metrical perception\, and embodiment in music. His work has been published in both music and psychology journals\, and has been presented at national and international conferences including the Society for Music Theory\, the International Conference for Music Perception and Cognition\, and the American Psychological Association. Goldman is also a pianist and composer. His original musical\, “Science! The Musical” provides an alternate platform to explore the worlds of music and science. Musical numbers include “The Interdisciplinary Rag\,” “The Real World\,” “Publish or Perish\,” and more!\n \nTo attend the talk\, RSVP via our Google Forms.
URL:https://improvisationinstitute.ca/event/thinking-spaces-andrew-goldman-the-cognition-of-musical-improvisation/
LOCATION:ImprovLab\, MacKinnon Room 108\, 87 Trent Lane\, University of Guelph\, Guelph\, Ontario\, N1G 1Y4\, Canada
CATEGORIES:Thinking Spaces
ATTACH;FMTTYPE=image/png:https://improvisationinstitute.ca/wp-content/uploads/2025/01/Andrew-Goldman-Thinking-Spaces-2025-post-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20250213T100000
DTEND;TZID=America/Toronto:20250213T113000
DTSTAMP:20250421T175859Z
CREATED:20250113T145832Z
LAST-MODIFIED:20250421T175859Z
UID:15270-1739440800-1739446200@improvisationinstitute.ca
SUMMARY:[Cancelled due to Inclement Weather] | hakosalo_tuohino: “How a Sound Follows Another” (Talk @ ImprovLab)
DESCRIPTION:* Cancelled due to inclement weather * \nPlease join us on Thursday\, February 13 at 10:00 AM (ET) for a public talk: “How a Sound Follows Another” with hakosalo_tuohino.\n \nThis presentation will take place in person at ImprovLab\, MCKN 108 at the University of Guelph. This is a free event.  \nA free performance by the duo will follow at 3:30 PM at Silence\, 46 Essex Street\, Guelph\, ON. \nMore About this Performance:\nIn this discussion\, we’ll shed light on the art-theoretical approaches of the hakosalo_tuhino duo. Our improvised music comes from the archaic kantele playing tradition\, where you are in the music instead of making it. Drawing from the deep listening method\, our sonic expression is a spatial and temporal experience that cannot be recorded and repeated. \nOur relationship with musical transitions is two-fold: we understand the power of slow transitions when creating our musical structures\, but at the same time they inevitably set up new boundaries and classifications. How can we compose together with each other and the audience without creating new structures and boundaries? \nWith our music\, we aim for sonic freedom\, where we break away from the western understanding of music and our musical backgrounds. The drone has a special role in our music\, because we think of it as a purely experiential unit where compositional logic breaks down. At the end there is only sound\, a resonance. \nOn the other hand\, the importance of silence is even greater: you must be quiet in order to listen. What will thus remain of our musical deconstruction? \nMore About the Performers:\nhakosalo_tuohino\n(duo for kantele and computer from Finland) \nCHANGE FROM DOING TO BEING\nWhat happens when ancient traditions collide with experimental electronic\nmusic?\n \nThe duo for kantele and computer consists of folk musician Osmo Hakosalo and sound artist Jussi Tuohino. \nThe Finnish ancient traditional instrument kantele is estimated to be 1500 years old and belongs to the Baltic zither family. The tradition of playing kantele relies heavily on archaic\, improvisational techniques where kantele is seen as a vehicle\, rather than a musical instrument\, to travel to the essence of music transferring the experience from making music into being in it. Furthermore\, the prepared kantele and immersive spatialized digital expression will transform the delicate kantele sonicality into the modern art of electroacoustic music. \nIn this journey one reaches other states of consciousness\, and the total communication between the musicians and their dedication provides a fascinating sonic landscape to the audience. \nhakosalo_tuohino duo takes the sonic properties of kantele still many steps further: from the acoustic sound immersive soundscapes are built in an intuitive and open-ended fashion. With both performers having varied musical backgrounds in folk\, classical\, jazz\, and electronic music\, the duo is able to perform without preset plans regarding musical form and microscale decisions concerning sound material. Kantele-playing is traditionally improvised\, and an interesting confluence to freeform electroacoustic live performance can easily be made. \nThe duo builds their soundscapes up from live kantele sound\, which is the only sound source\, and performs with specialized surround sound systems to help the performers and audience to reach their immersive sonic goals. \nDuo was formed in January 2024\, but it has been able to gain success quickly\, with performances already in Finland\, Japan\, Lithuania and Canada. Duo has also prepared a commission piece for a Swedish modern music ensemble Elefantöra. The piece had a premiere in Stockholm in October 2024 and was performed in Nordic Music Days in Glasgow in November 2024. \nIn addition\, the duo started a collaboration with a Japanese film/media artist Keitaro Oshima for a joint multimedia piece in the fall of 2024. The duo is also working in academia with Jussi Tuohino leading the music technology program in Oulu University of Applied Sciences and Osmo Hakosalo working in the same university’s research program of Art Innovations. \nFor more info\, please visit our web page www.hakosalotuohino.com
URL:https://improvisationinstitute.ca/event/hakosalo_tuhino-how-a-sound-follows-another/
LOCATION:ImprovLab\, MacKinnon Room 108\, 87 Trent Lane\, University of Guelph\, Guelph\, Ontario\, N1G 1Y4\, Canada
CATEGORIES:Community Events
ATTACH;FMTTYPE=image/png:https://improvisationinstitute.ca/wp-content/uploads/2025/01/layers.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20250213T153000
DTEND;TZID=America/Toronto:20250213T163000
DTSTAMP:20250421T175947Z
CREATED:20250113T145237Z
LAST-MODIFIED:20250421T175947Z
UID:15265-1739460600-1739464200@improvisationinstitute.ca
SUMMARY:[Cancelled due to Inclement Weather] | hakosalo_tuohino: "How a Sound Follows Another" (Performance @ Silence)
DESCRIPTION:* Cancelled due to Inclement Weather * \nPlease join us on Thursday\, February 13 at 3:30 PM (ET) for a performance of “How a Sound Follows Another” with hakosalo_tuohino.\n \nThis presentation will take place in person at Silence\, 46 Essex Street\, Guelph\, Ontario.  \nThis is a free event that follows the duo’s talk at the University of Guelph. \nMore About this Performance:\nThis performance of “How a Sound Follows Another” follows-up on the duo’s talk at the University of Guelph. \nIn this performance\, hakosalo_tuohino will demonstrate their art-theoretical approaches. \nIn their own words: \nOur improvised music comes from the archaic kantele playing tradition\, where you are in the music instead of making it. Drawing from the deep listening method\, our sonic expression is a spatial and temporal experience that cannot be recorded and repeated. \nOur relationship with musical transitions is two-fold: we understand the power of slow transitions when creating our musical structures\, but at the same time they inevitably set up new boundaries and classifications. How can we compose together with each other and the audience without creating new structures and boundaries? \nWith our music\, we aim for sonic freedom\, where we break away from the western understanding of music and our musical backgrounds. The drone has a special role in our music\, because we think of it as a purely experiential unit where compositional logic breaks down. At the end there is only sound\, a resonance. \nOn the other hand\, the importance of silence is even greater: you must be quiet in order to listen. What will thus remain of our musical deconstruction? \nMore About the Performers:\nhakosalo_tuohino\nduo for kantele and computer from Finland \nCHANGE FROM DOING TO BEING\nWhat happens when ancient traditions collide with experimental electronic\nmusic?\n \nThe duo for kantele and computer consists of folk musician Osmo Hakosalo and sound artist Jussi Tuohino. \nThe Finnish ancient traditional instrument kantele is estimated to be 1500 years old and belongs to the Baltic zither family. The tradition of playing kantele relies heavily on archaic\, improvisational techniques where kantele is seen as a vehicle\, rather than a musical instrument\, to travel to the essence of music transferring the experience from making music into being in it. Furthermore\, the prepared kantele and immersive spatialized digital expression will transform the delicate kantele sonicality into the modern art of electroacoustic music. \nIn this journey one reaches other states of consciousness\, and the total communication between the musicians and their dedication provides a fascinating sonic landscape to the audience. \nhakosalo_tuohino duo takes the sonic properties of kantele still many steps further: from the acoustic sound immersive soundscapes are built in an intuitive and open-ended fashion. With both performers having varied musical backgrounds in folk\, classical\, jazz\, and electronic music\, the duo is able to perform without preset plans regarding musical form and microscale decisions concerning sound material. Kantele-playing is traditionally improvised\, and an interesting confluence to freeform electroacoustic live performance can easily be made. \nThe duo builds their soundscapes up from live kantele sound\, which is the only sound source\, and performs with specialized surround sound systems to help the performers and audience to reach their immersive sonic goals. \nDuo was formed in January 2024\, but it has been able to gain success quickly\, with performances already in Finland\, Japan\, Lithuania and Canada. Duo has also prepared a commission piece for a Swedish modern music ensemble Elefantöra. The piece had a premiere in Stockholm in October 2024 and was performed in Nordic Music Days in Glasgow in November 2024. \nIn addition\, the duo started a collaboration with a Japanese film/media artist Keitaro Oshima for a joint multimedia piece in the fall of 2024. The duo is also working in academia with Jussi Tuohino leading the music technology program in Oulu University of Applied Sciences and Osmo Hakosalo working in the same university’s research program of Art Innovations. \nFor more info\, please visit our web page www.hakosalotuohino.com
URL:https://improvisationinstitute.ca/event/hakosalo_tuhino-how-a-sound-follows-another-performance-silence/
LOCATION:Silence\, 46 Essex Street\, Guelph\, Ontario\, N1H 3K8\, Canada
CATEGORIES:Community Events
ATTACH;FMTTYPE=image/png:https://improvisationinstitute.ca/wp-content/uploads/2025/01/layers.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20250228T193000
DTEND;TZID=America/Toronto:20250228T213000
DTSTAMP:20250123T175126Z
CREATED:20250123T173646Z
LAST-MODIFIED:20250123T175126Z
UID:15308-1740771000-1740778200@improvisationinstitute.ca
SUMMARY:IBPOC ARTISTS NETWORK TOUR: FROM WORDS TO ACTION—Newton Moraes and Meryem Alaoui
DESCRIPTION:Please join Guelph Dance and the International Institute for Critical Studies in Improvisation on February 28\, 2025 at 7:30 PM (ET) for an evening of dance with Newton Moraes and Meryem Alaoui at ImprovLab. The program features two solo works by these fantastic artists. \nTickets: $10 or $20 (sliding scale\, please choose the option that best suits your needs). \n‘My Dance is Not a Hobby’ by Newton Moraes\n“Dance is far more than a hobby for me—it’s a profound expression of my identity\, personal journey\, and deep connection to the world around me\, informed by African Brazilian Spirituality and the love of those who shaped my path. At 63\, I embrace dance as a powerful medium to explore my LGBTQ identity\, navigate my struggles\, and celebrate life’s transformative experiences\, honoring both my past and present. Guided by legendary mentors and fueled by the unwavering love of my partner\, my solo performances honor resilience\, connection\, and the transformative power of dance.” – Newton Moraes \nChoreographer/Dancer: Newton Moraes\nLighting Designer: Eliajah Stefura\nStage Manager: Sharon DiGenova\nMusic: Iyo\, Strobe and Gleymdu. \nPhoto (top left) by Claire Whitaker \n‘Sand Body’ by Meryem Alaoui\n“I see you. You see me. We see objects and their shapes; the marks and traces of the object. We listen\, make decisions and feel our surroundings. Perhaps we also feel the spaces between us. We share a sonic\, visual and textural experience\, together\, for a few moments here and now.” – Meryem Alaoui \nChoreographer & Performer: Meryem Alaoui\nText: Meryem Alaoui and Christopher Willes\nRecording of text: Jonathan Adjemian \nPhoto (top right) by Frederic Chais \nAbout the Artists\nNewton Moraes is a celebrated choreographer and founder of Newton Moraes Dance Theatre. Born in Brazil\, he has brought his vibrant\, cross-cultural dance styles to Canada and beyond. Moraes’ work is deeply influenced by his Brazilian roots and explores themes of identity\, migration\, and the human condition. He has performed and choreographed internationally\, earning acclaim for his dynamic and expressive pieces. Over the past 27 years\, Moraes has contributed significantly to the dance community through performances\, tours\, and workshops in cities such as Toronto\, Montreal\, and internationally. His passion for dance continues to inspire audiences and dancers alike\, solidifying his place as a pivotal figure in contemporary dance. \nNewton Moraes Dance Theatre is a company dedicated to the creation\, performance and production of contemporary dance works to explore\, maintain and develop the links between the arts of Canada and Latin America. Newton Moraes Dance Theatre had toured in Canada and internationally to public and critical acclaim. NMDT has received support over the years from Toronto Arts Council\, Ontario Arts Council\, Canada Council for the Arts\, Laidlaw Foundation\, Goethe Institute Toronto\, Foreign Affair Canada\, Dance Ontario Association\, Polo da Zona Norte in Sao Paulo/Brazil. Newton Moraes Dance Theatre‘s vision is to inspire and provide role models for young people. Support dance artists who work with dance forms of the Latin American Diaspora in Canada and bring together dance professionals who preserve the history and traditions of Latin America and who foster an appreciation of its heritage. Increase the visibility of the sector\, and improve understanding by disseminating information. Raise the level of critical discourse concerning the practice of dance forms of the Latin America diaspora in Canada. This will include creating an awareness of the complexity of Latin American dance as concept and encouraging closer critical engagement with the work of practitioners. Also to provide an environment to support artists in the creation of innovative forms of artistic expression to reach the widest possible audience and to be cultural ambassadors\, nationally and internationally. \nMeryem Alaoui is a dancer and choreographer from Morocco based in Toronto. Founder and co-artistic director of Jasad Dance Projects\, her work is at the intersection of somatic research using movement and voice\, and the exploration of contemporaneity through the reclamation of embodied performance practices\, dances and knowledge from her culture as a Moroccan diasporic dance artist. A graduate of the School of Toronto Dance Theatre\, she has performed in numerous projects led by choreographers such as Amanda Acorn\, Peggy Baker\, Antony Hamilton and Karen Kaeja. She has shared her choreographic work nationally and internationally\, notably in Ontario\, Quebec and Morocco. A certified Body-Mind Centering® Somatic Movement Educator\, Meryem also enjoys being involved in community and arts-education projects. \n\nThis presentation is courtesy of IBPOC ARTISTS NETWORK TOUR: FROM WORDS TO ACTION\, initiated by wind in the leaves collective.
URL:https://improvisationinstitute.ca/event/ibpoc-artists-network-tour-from-words-to-action-newton-moraes-and-meryem-alaoui/
LOCATION:ImprovLab\, MacKinnon Room 108\, 87 Trent Lane\, University of Guelph\, Guelph\, Ontario\, N1G 1Y4\, Canada
CATEGORIES:Community Events
ATTACH;FMTTYPE=image/jpeg:https://improvisationinstitute.ca/wp-content/uploads/2025/01/Newton-Moraes-Jasad-February-28.jpg
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