"It would be an incredible opportunity to meet again like this, consistently, with the same folks and new ones, to keep building. A retreat like this once a year would be amazing. There are too few opportunities for artists of colour to share space, strategize and create like this."
"I feel like we would need more of these meetings to build a better vocabulary as a group to really feel safe with what each of us needs to say."
Written by Valerie Sing Turner
L-R: Diana Bang, Amanda Sum, Ronin Wong, Laara Ong, Mason Temple, Donna Wong-Juliani, Jay Brazeau, Valerie Sing Turner, Chelsea Rose Tucker, Jessica Heafey, John Cook.
A big thank-you to everyone who contributed to making our way-too-short development workshop plus the public reading on December 10, 2017, a success! In addition to our fabulous cast, we want to acknowledge dramaturg Lisa C. Ravensbergen; Squamish Nation cultural consultant Latash Nahanee; public reading co-presenter Granville Island Cultural Society; funders BC Arts Council and City of Vancouver; as well as intrepid supporters Sarah Garton Stanley, National Arts Centre (English Theatre), Tompkins Wozny LLP, Starbucks, and SFU Woodward's. Audience members commented on the power of the piece, which exposed disturbing pieces of BC history through the use of poetic language and the personal experiences of one family. The development process has given Valerie lots of ideas and inspiration for the next draft, so stay tuned!
National Arts Centre, English Theatre Collaboration - Visceral Visions
National Arts Centre, English Theatre 2016/17 Artist in Residence - Valerie Sing Turner
John Moffat + Larry Lillo Prize 2017 - Valerie Sing Turner
Visceral Visions gratefully acknowledges the contributions of the Granville Island Cultural Society, National Arts Centre, City of Vancouver, and the BC Arts Council to this project.
Synopsis: It’s 1988. A family gathers to discuss what to do with Esther, a Chinese-Canadian WWII veteran, as they can no longer ignore her growing dementia. She keeps talking to Victor, her beloved brother, whose death she blames on the Japanese when he volunteered to serve in the Pacific arena during World War II. Her husband George, an Indigenous WWII vet, was Victor’s best friend. Their son, Gary, arrives with his Caucasian wife, Joanna, and their 18-year-old daughter Lucy, who is Poh-Poh’s favourite. Things are already tense when estranged elder daughter, Nancy, shows up with husband, Ken, and their two daughters Denise and Andrea, who have never met Esther and George because Ken is Japanese-Canadian and Esther refuses to acknowledge his existence. But the real fireworks begin when Prime Minister Brian Mulroney announces his plan to apologize to the Japanese Canadians and their families who were interned during WWII. Will the weight of Canadian history tear them apart?
An emotional Valerie Sing Turner with UBCP/ACTRA board member/UBCP Women's Committee Chair, Christine Willes
June 25, 2019 – I must confess that I really suck at self-promotion. It's been more than three months since I was honoured with the 2019 UBCP/ACTRA International Women's Day Award on March 8, 2019, at a lovely mid-morning reception at UBCP's offices. And it wasn't until a complete stranger PM'd me on Facebook about a month ago asking for a copy of my speech that it occurred to me that what I said at the Westcoast Women in Entertainment (WE) gala at The Imperial the following evening might be worth sharing long after the fact. So here's the version of my speech from the gala, and here's to Lena for prodding me to share it...
* * * * *
My thanks to the members of UBCP/ACTRA and the UBCP Women’s Committee for this tremendous honour.
But I have to say that when I got the call that I was to be honoured with this award, my reaction was frankly one of disbelief. In an industry that measures a woman’s success by the length of her credits on IMDB and the fatness of her bank account – perhaps the only time that “woman” and “fat” appearing in the same sentence evokes admiration – I didn’t think I fit the parameters of an ideal honoree.
In fact, I’ve been made to feel less than ideal for most of my career working in an industry that continues to prioritize the stories and perspectives of maleness and whiteness. In the early 90s in Toronto, when I got my first agent, someone looking like me didn’t get to audition for leading roles that insisted on women being “drop-dead gorgeous” – which was often code for white. Instead, I joined the same group of Asian women in the waiting room competing for nameless roles such as Nurse. Reporter #3. Immigrant. Refugee-Speaking-Broken-English. Victim.
Then I met my first mentor. Some of you may know Jean Yoon as the star of Kim’s Convenience, in her award-winning performance as Umma. Back in 1996, Jean cast me in the workshop of her multimedia play, The Yoko Ono Project, which she produced through her company, Loud Mouth Asian Babes. When we worked together to produce the premiere, Jean taught me how to be a Loud Mouth Asian Babe. I mean, you don’t challenge the status quo by being a “Quiet-and-Deferential-Asian-Wallflower” – particularly when Jean hands you the task of negotiating with Yoko Ono’s hard-nosed New York lawyer for the rights to use Yoko and John’s music and images.
It was Jean who made me understand that we’re not competing with other actors in the room, but with what’s inside the director’s male white head. (And yes, nearly 30 years later, they’re still mostly male, and mostly white.) That a win by a woman of colour in a significant role is a win for all of us, because one more role representing racialized women is one more disruption of the system. That we need to share with each other the opportunities that are out there, because the more women with skills and talent filling that waiting room, the less they’re able to deny that we exist. That by working together and holding each other up, we become undeniable.
So it’s no coincidence that it was a black woman, April Reign, who coined the #OscarsSoWhite hashtag. And it’s no coincidence that another black woman, Tarana Burke, started the #MeToo movement. Here in Vancouver, yet another black woman, Diane Roberts, mentored me in expanding my sense of community. Through Diane, I was given the opportunity to collaborate with Indigenous artists as part of her artistic directorship at Urban Ink Productions – a company with an intercultural mandate founded by the awesomely talented, Métis filmmaker and playwright, Marie Clements. Another mentor.
These are just a few of the countless courageous and undeniable women of colour who have fought for ALL women to have a voice, whose grit and sacrifices made it possible for me to accept this award, and who inspire me to do my part in tearing down the walls of systemic racism and the white patriarchy.
So…I’d like to suggest that perhaps success isn’t measured by how much money you make, but by how much good you do with it.
Perhaps success isn’t measured by the length of your IMDB credits, but by the depth of your respect for every single person you encounter, no matter what their gender.
And finally, perhaps success isn’t measured by a man’s subjective estimation of a woman’s appearance, but by the number of men intimidated by her insistence on speaking truth to power. I’ve been told that by that metric, I’m incredibly successful.
The reality is, International Women’s Day is only one day; the other 364 days still belong to men.
#Nevertheless She Persisted.
#Nevertheless We – all of us – must persist.
Andrew Loewen, Omari Newton, Margo Kane, Brenda Leadlay, Shanae Sodhi, Kathryn Shaw
We are thrilled to release our first videos on Visceral Visions' new Youtube Channel!
Diversity versus Decolonization: an Honest Conversation in Technicolour (or How to Avoid Doing a Robert Lepage) is a timely conversation about cultural appropriation, presented by Visceral Visions and the Museum of Vancouver on November 28, 2018.
When someone mentions "cultural appropriation" or "decolonization", do you feel intimidated or confused – or even angry? Have you wanted to incorporate more equitable practices in your artistic work or organization, but feel paralyzed because you're afraid of making mistakes? Or maybe you're wondering where the line is between artistic freedom and freedom of expression (protest), or the border between censorship and criticism?
Using Robert Lepage's responses to community criticism of his productions of SLAV and KANATA as a jumping-off point, six brave panelists reveal their best practices on the RIGHT things to do through three case studies – real-life situations in which people like you found themselves in the midst of a very uncomfortable cultural controversy. Talking through the process of how they created a space that resulted in positive outcomes – while ensuring all involved felt respected and heard – we are pleased to present the evening's program divided into 4 videos, ranging from 14 to 24 minutes each:
- Introduction and full panel tackling the intricacies of history, cultural appropriation, and freedom of speech in the context of Robert Lepage's controversial work
- Case Study #1: Omari Newton (artist) + Andrea Loewen (former board president, Jessie Richardson Theatre Awards) discussing the 2015 open letter calling out the Jessie Richardson Theatre Awards for systemic racism
- Case Study #2: Shanae Sodhi (artist) + Kathryn Shaw (Artistic Director, Studio 58) discussing the establishment of Langara College's Studio 58's very first student diversity committee in 2016-17
- Case Study #3: Margo Kane (Artistic Director, Full Circle: First Nations Performance) + Brenda Leadlay (Executive Director, BC Alliance for Arts + Culture) discussing the process of decolonizing the 2018 Unrestricted Conference
With Visceral Visions' Artistic Producer, Valerie Sing Turner, as moderator.
This talk was programmed by Visceral Visions as part of its development of CultureBrew.Art, our digital platform featuring a searchable database of Indigenous and racialized artists.
To view all four videos, check out Visceral Visions' Youtube Channel!
Featuring Artists of Colour in Lead(ership) Roles