Wellington Oracle

d'bi.young anitafrika, playwright & performer of "blood.claat: one oomaan story - photo by Steve Boyton

Feature story by Heather Marie Scheerschmidt

d’bi young is a modern day storyteller. Weaving together pieces of her own life with the history and mythology of her Jamaican heritage, she uses the ritual power of storytelling to convey a message of possibility and social transformation. Her Toronto-based company, anitAFRIKA! Dub Theatre is dedicated to using the power of language as an agent for social change. A captivating performer, in her Dora award-winning one woman show “blood.claat”, d’bi young plays several characters. Through each of them, she explores the theme of blood; how it connects and how it destroys.

As the story begins, we see young Mudgu, who, at fifteen years old, is still adjusting to the responsibilities of womanhood that are represented by menstruation. At once empowering and oppressive, depending on your point of view, Mudgu’s monthly cycle is the microcosm that draws our awareness to the larger cycles at play here: cycles of violence, repression and poverty. Mudgu’s individual struggle to navigate her way from girl to womanhood, with the polarizing influences of such figures as her Granny, the authority figure, and Johnny, the bad boy boyfriend, slowly becomes a metaphor for women’s struggle to escape the cycles of discrimination, exploitation and sexual violence.

What makes this story all the more poignant for Ottawa audiences who are seeing “blood.claat” for the first time, is to view it in the context of International Women’s Day. March 8th is a day set aside to remember the kind of revolutions and social change that d’bi young’s work is all about. Gender discrimination continues to be a problem the world over, and women still represent the majority of the world’s poor. In Jamaica, where “blood.claat” is set, this year’s Women’s Day celebration is under the theme ‘Equal Rights, Equal Opportunities: Progress for All’ and it is a call to action for the empowerment and advancement of women everywhere. The purpose: to ensure the human rights and fundamental freedoms of women and girls in order that they may reach their full potential in society and shape their lives in accordance with their own aspirations.

What is explored in “blood.claat” is how one’s history informs their ability to fulfill those aspirations. As a young Jamaican woman, Mudgu’s ability to choose is complicated by her gender and her family history. In one sense she is doomed to repeat the cycle of poverty and abuse that her mother, and her mother before her have endured. However, we are not made to feel sorry for this character because we can see her strength as well as her challenges. We watch her discover her connections to the world through blood. There is her own blood, which represents her transition to womanhood, her connection to the women who have come before her, and eventually to the daughter to whom she will give birth. There is also the blood she witnesses; during a violent episode on a bus, and the brutal murder of her boyfriend Johnny. Blood comes to represent transformation, both physical and social. It also represents connection; the connection of family through blood, the connection of women through menstruation, and the connection of human beings. Blood represents our vulnerability but it also evokes our compassion. Through the values of compassion, integrity, and forgiveness, transformation is possible.

As part of the observance of International Women’s Day, the UN is hosting their 54th session of the Commission on the Status of Women. Among the Commission’s recommendations for achieving prosperity is to adopt a social, rather than economic, model of growth. Decent work with gender equality at the heart of it can only happen through a process of transformative change. Women must be active agents in this process of change, taking their places in leadership and decision-making roles.

d’bi young demonstrates an understanding that her role as storyteller is that of a community leader. As she explained to the audience on opening night at the Irving Greenberg Theatre Centre, to occupy the position of storyteller in your community you must not only share, you have to also listen. At each performance of “blood.claat”, the audience forms a kind of community with d’bi and she engages each of her listeners, first with her story and then with a discussion afterwards. As she told her audience at the talk back, theatre is a two way street. The storyteller must reflect her community, and she is made aware of herself through the audience reactions. We act as mirrors for each other. And the story evolves, she explained, during each re-telling. Some of this is due to the language: “blood.claat” is written in Jamaican patois, and during each performance young must balance the integrity of her writing with the audience’s ability to understand the words. It is equally important to honour the language of the work, which locates it in a particular time and place, and to make a meaningful connection with the audience, which is the here and now. By gauging the vibe of her audience, d’bi young changes the words she uses to suit the moment. She holds a talk back after each performance, because she believes communication with her audience is a key part of the creative process.

The sense of responsibility she feels towards her role of storyteller informs young’s choice of narratives. A semi-autobiographical work, “blood.claat” puts it all out there. Biomyth monodrama is how young describes her style. Beginning from a place of personal truth she expands the narrative to create a compelling story. Deep-seeded social issues in Jamaica are brought to light in this work. Blood claat used to mean a cloth Jamaican women used during menstruation, but it has become a Jamaican swear word. It is used colloquially as an adjective, similar to the way a lot of Canadians would use the word ‘fucking’. By reclaiming the term blood claat and exploring its dual meaning in Jamaican culture, young is pointing to the transformation that is possible through language. As meaning shifts, so does perception; and a change in consciousness comes before a change in society.

As explained on her website, part of d’bi young’s “wombandate” is to use theatre to explore and expand the relationship between the storyteller, their village(s), and transformation. There are universal truths in “blood.claat”, including the idea that each one of us has a personal mythology. It is about the choices we make in our lives, and how they are influenced by where we come from. d’bi young is a woman telling a woman’s story. But more than that, she is a storyteller who understands the power and the ritual of story and its effect on a culture and its people. She reminds us that words matter, that sharing matters, that connections matter. That women matter. d’bi young reminds us of the power that comes with telling our stories.

blood.claat is written and performed by d’bi young and directed by Weyni Mengesha. Presented by the Great Canadian Theatre Company, the show runs now until March 21 at the Irving Greenberg Theatre Centre. For more details, please visit gctc.ca

The Oracle recently joined planner Michel Frojmovic in a walking tour of Hintonburg and one of the chief attractions was this latest addition to the Armstrong Street skyline. Phil Castro’s house on a 12 foot lot has attracted attention from such commentators as Maria Cook and Vicky Smallman.

We love the look of the building, especially the way it is bookended perfectly by the matching wood-frame houses on either side.

Frojmovic pointed out that Hintonburg is the only neighbourhood within the greenbelt where such eclecticism in architectural styles would be allowed, much less embraced.

We think he’s right, and we’re sure we are not the only ones eagerly looking forward to the next Hintonburg building that breaks with convention.

Lights out for the number 18?

This just in from Champlain Park resident Marc Chenier:

Last September, as part of TransPLAN 2009, OC Transpo cancelled route 18 west of Lebreton. This has meant that for many west end neighbourhoods, there is no longer a direct transit link to downtown. Further, for many people, the connection between many east and west end neighbourhoods that used to be available through route 18 is no longer possible.

This has had a disproportionate effect on seniors, many of whom are not in a position to undertake the 20 minute walk to a Transitway Station. As a result, many of them are unable to go out in the community and participate in activities at local seniors’ recreation centres, do their shopping, or attend other social events. (more…)

Editor’s note: this article by West Wellington resident Allegra Newman first appeared in Spacing Ottawa.

As condo after condo is planned in the Wellington West neighbourhood, intensification is seen as an inevitable by many local citizens. City of Ottawa planners and councilors promote intensification all the while musing on the increased tax base a new seven storey condo will provide.  Citizens begrudgingly accept that the new condo development, whether in their backyard, on their street, or in their neighbourhood  will increase traffic but they also hope that the new developments may encourage new businesses and increase public transit and community services.  But what really is driving this move to intensify our cities?

The promotion of urban intensification, or densification or infill as it is otherwise known, can be attributed in part to the popularization of the urban planning theory of Smart Growth.  Smart Growth theory promotes the construction and reconstruction of compact communities in the center of the city, as a more sustainable approach than continuing urban sprawl.   Smart growth communities are transit oriented, bicycle and pedestrian friendly and promote local jobs and services.<!–more–>

Smart growth policies and practices, struggle with how to densify an urban neighbourhood and still make room for diversity and equity.  Although equity is part of Smart Growth in theory, it is often a challenge in many communities in practice.  In thinking about the multitude of new construction taking place on Wellington and Richmond roads there is an absence of even a glimmer of affordable housing and instead the heightened popularity of the area is increasing the costs of housing and rental units and pricing many long time residents right out of the market and the area.

One land use planning tool prescribed by the Ontario Ministry of Municipal Affairs and Housing to compensate a community for allowing increased height and density in their neighbourhood is Height and Density Bonusing.  In exchange for increased height that surpasses the zoning by-law, developers are required to provide a service or benefit to the community as negotiated by the municipality.  For example, an additional two storeys would require the developer to set aside a space inside the building for affordable housing, daycare facility or restore a local park.  Some European countries have incentives to trade density for green roofs and other environmental services.  Toronto and Vancouver have long established histories of using density bonusing to encourage the developer to give back to the community.  The City of Ottawa does not yet.  Density bonusing policies must be written into a municipality’s Official Plan in order for it to be used as a development tool.

Since the early 1990’s the City of Ottawa has made intensification part of its planning strategy.  In the proposed Official Plan, the City has established density targets that it hopes to reach through intensification.  In the Wellington West neighbourhood, intensification is hurling along but there seems to be an absence of other aspects of Smart Growth.  Where is the increased access to transit, bike lanes and affordable housing?  How is the intensification of our neigbourhood actually limiting sprawl into the greenbelt and beyond? Why are City staff not encouraging the use of tools like density bonusing to give back to the community?

On February the 4th the Oracle took camera in hand to explore the many art galleries of Hintonburg and West Wellington. As an ongoing program of the West Wellington Businesss Improvement Area, the galleries all arrange to be open until 9.00 PM on the first Thursday of every month.

Starting at the John Patrick Mills gallery on Hinchey, we worked our way west ending up at the new Cube at 1285 Wellington, seeing a total of six galleries on the way. The galleries were beautifully lit for the evening, the art on display was stunning, and the hospitality warm and genuine. At the end of the night we realized we there was still another gallery to see, but our time had run out. So we’ll save Gallery CA at 1112 Wellington West for next month.

-Theatre review by Lesley Buxton

I love Shakespeare. I’m an addict. All throughout high school, I proudly wore a button featuring the famous bard’s face that proclaimed “Will power” pinned to my black leather jacket. This is why I decided my twelve-year-old daughter would accompany me to Third Wall’s production of “As You Like It.” It was not a mistake. She loved it. The most remarkable thing about Charles McFarland’s production is the energy of the actors and their commitment to their roles. From the moment the first actor walks onto to the stage the air crackles with possibility and, we the viewers sense we are in for an intriguing ride.

McFarland faces the violence of the first scenes head on. The lighting is gritty and the feeling is reminiscent of an episode of The Sopranos. I congratulate him on casting Glenn Kulka as Charles, the Wrestler. Though Kulka was obviously nervous—this is his theatrical début—his physical confidence gave the fight scenes a dimension and realism seldom realized in most theatrical productions. The fight match alone is worth the price of admission. Last night the audience including my daughter got so involved they were clapping and hissing at the actors. Tania Levy and Mishka Lavigne were fabulous in this scene as Kulka’s supporters. Though they didn’t say a word their body language was wonderful. (more…)

Oracle theatre review by Wayne Current

On January 14th I saw my first-ever gay rap opera, Bash’d, at the Irving Greenberg Theatre Centre. To be honest, I wasn’t at all sure what to expect from this show. Would this production be a campy comedy? A politically-driven hip hop performance? A love story?

Impressively, the performance is a compelling blend of all three.

Written and performed by Chris Craddock and Nathan Cukow, this is the story of two men Jack (Craddock) and Dylan (Cukow) who meet and fall and love as teenagers. The first part of the performance is about being a gay man in a small town, the pain of coming out to your family, and the giddy joy of finally finding real community after moving to the big city.

After the passage of the Civil Marriage Act (2005), Jack and Dylan decide to get married. Of course, despite the new law, currents of homophobic violence still run deep in Canadian society. This is made evident in an emotionally powerful scene where Jack is brutally assaulted. As the second half of the performance unfolds, we see the impact of this violent act on the couple; the fear, the anger, and then, unexpectedly, something more – a desire for revenge. (more…)

The team behind last summer’s smash hit “Countries Shaped Like Stars” at the Ottawa Fringe are set to take scenes from their next project — “Tales from the Belly of a Whale” — to  Hintonburg this upcoming Saturday as part of a salon evening at Cube Gallery on Hamilton Avenue.

We’ve discussed the amazing creative force of MiCasa Theatre before in these pages; and this time around we’ve got audio from both of the MiCasas –Emily Pearlman and Nick Di Gaetano – as they discuss the  the way the take artistic inspiration from the concept of “not being wasteful”.

The evening will also feature music from Ottawa songwriter John Gillies and spoken voice artist Kel Parsons.

Image by Johnathan Marshall

At approximately 3.00 PM on December 3 the intersection at Wellington and Hamilton was the scene of a multi-vehicle collision as a grey 4-door sedan careened through both lanes of traffic, striking two vehicles and causing a delivery truck to inflict further damage as it came to an emergency halt in the middle of the roadway. No serious injuries were reported.

The driver of the grey sedan then sped away from the scene, shedding pieces of his damaged vehicle and gas from a ruptured fuel tank as he raced down the back streets of Hintonburg. The recovered pieces included a front bumper with the license plate still attached. (more…)

-This article by Michel Frojmovic originally appeared in Spacing Ottawa on November 20, 2009

The “public-ness” of public space is a loose concept. Public sidewalks are – in principle – meant to be accessible to and enjoyed by members of the public. That’s pretty simple. However, we are less likely to appreciate that the public right-of-way extends well beyond the edge of paved roads and sidewalks. A good portion of your front lawn is probably not exactly “yours”.

Municipalities put in place carefully-worded by-laws and regulations to minimize or prevent the obstruction or privatization of sidewalks. Yet, in a higher-density, inner-city commercial mainstreet environment, these rules seem to create as much tension as they resolve.

Public space is regularly used for commercial gain. For-profit places of business regularly “use” public property, both restricting its use to paying customers, as well as profiting from the use of property it does not own. At the same time, the result is often a lively animation of the street and a general enhancement of the overall street experience.

A tour of Wellington Street West illustrates the variation in the use of public space.

Placing a couple of tables and a few chairs on the sidewalk is a relatively innocuous use of public space. The absence of a railing or permanent patio and the obvious transitory nature of this use make it quite benign. In this sense, it is a simple and harmless way of enhancing the street and adding to the level of public interaction. However, without the appropriate permissions and fees, it is also an illegal encroachment of pedestrian access to sidewalk space, and an unfair commercial gain at the expense of public property. It is worth regulating this type of use? (more…)