Sessions & Activites

Over­all Plan

Net­work­ing Opportunities

Lis­ten­ing And Tuning

  • Sound­walks
  • Tun­ing

Net­work Devel­op­ment Sessions

  • Net­work Devel­op­ment Ses­sion 1 — Open Session
  • Net­work Devel­op­ment Ses­sion 2 — Nation­al Networks
  • Net­work Devel­op­ment Ses­sion 3 — Local and region­al networks
  • Net­work Devel­op­ment Ses­sion 4 — Open Session

Core Ses­sions

  • Geo­gra­phies
    • Con­nect­ing to the Sound of the Pacif­ic Coast
    • Con­nect­ing Art, Inten­tion and Place
    • Fes­ti­vals as a Cul­tur­al Voice
  • Con­nect­ing Gen­er­a­tions And Communities
    • Gen­er­a­tions & Disciplines
    • For Whom? For What?
    • Break­ing The Mould
  • Tech­nolo­gies
    • Extend­ing Cre­ativ­i­ty — Cre­ative Soft­ware And Soft­ware Creativity
    • Visu­al Par­a­digms For Ensem­ble Improvisation
    • Stretched Bound­aries
    • Extend­ed Bod­ies — When the Vir­tu­al Bleeds into the Physical
  • Cul­tures
    • Retelling New Music With Indige­nous Eyes
    • Old Asia — New Music
    • Musi­cal Dia­logue Across Cultures

Mini Con­certs

Clo­sure — Ple­nary Session

Networking Opportunities

Build­ing on feed­back from pre­vi­ous Forums, more time for for­mal and infor­mal net­work­ing has been built into the sched­ule of this edi­tion. A net­work­ing gath­er­ing is planned after reg­is­tra­tion Thurs­day Jan­u­ary 19, with a light buf­fet and music. Net­work­ing lunch­es are pro­vid­ed each day and oth­er con­nec­tion oppor­tu­ni­ties punc­tu­ate the entire Forum, so there will be ample time to recon­nect with old friends, and make new contacts.

Listening And Tuning

Short peri­ods of sound prac­tice are offered before and in between each day’s proceedings.

Stay tuned for details.

Soundwalks

With a focus on lis­ten­ing, sound­walks are a way to engage with the son­ic envi­ron­ment while walk­ing with con­scious­ness through a par­tic­u­lar landscape.

Tuning

Prac­tices such as those inspired from R. Mur­ray Schafer’s The Tun­ing of the World and The Think­ing Ear, Pauline Oliv­eros’ Son­ic Med­i­ta­tions and oth­er resources.

Network Development Sessions

Four “open forum” net­work­ing devel­op­ment ses­sions will take place, one on each day of the Forum. Par­tic­i­pants are encour­aged to bring ques­tions, ideas, pro­pos­als and con­cerns with the inten­tion of cre­at­ing sus­tain­able con­nec­tions and alliances with­in local, region­al and nation­al communities.

Network Development Session 1 — Open Session

A gath­er­ing of top­ics to be discussed

Network Development Session 2 — National Networks

Par­tic­i­pants are invit­ed to explore the inten­tions, struc­tures and impacts of nation­al net­works, this ses­sion is intro­duced and facil­i­tat­ed by David Pay (Music on Main, Van­cou­ver), who pro­vides an update about recent meet­ings of the Cana­di­an Clas­si­cal Music Coali­tion and the Cana­di­an Arts Pre­sent­ing Asso­ci­a­tion. Rep­re­sen­ta­tives from the Cana­di­an Music Cen­tre, Cana­di­an League of Com­posers and oth­er nation­al net­works and asso­ci­a­tions will also be on hand.

Network Development Session 3 — Local and regional networks

Forum par­tic­i­pants are asked what role local and region­al net­works and asso­ci­a­tions play in sup­port­ing their prac­tice and its dis­sem­i­na­tion. With input from: Paul Cram (Atlantic Cana­da Art Music Net­work), Scott Thom­son, Tim Brady, Joane Hetu and Cléo Pala­cio-Quintin (Montreal’s Le Vivi­er), Bob Bak­er (Cana­di­an Music Cen­tre BC Region), John Reid (Cana­di­an Music Cen­tre Prairie Region), DB Boyko (Son­ic Pres­ence BC), Leah Hokan­son (Lulu Pro­duc­tions, Gabri­o­la Island) and others.

Network Development Session 4 — Open Session

Open to any top­ic brought for­ward by those in atten­dance and/or as agreed as a result of pre­vi­ous sessions.

Core Sessions

Guest pre­sen­ters were invit­ed to con­sid­er the notion of con­nec­tion and path­ways to con­nec­tion in the par­tic­u­lar work they are doing and in how it is pre­sent­ed. Con­nect­ing to the sounds, cul­tures, pol­i­tics of spe­cif­ic places, con­nect­ing to youth and elders, con­nect­ing to each oth­er through tech­nolo­gies — these are some of the themes being explored in this edi­tion of the Forum. Pre­sen­ters were also invit­ed to cre­ate ses­sions that moved atten­dees from observers to active engagers to give poten­tial for dynam­ic con­nec­tions to emerge.

Geographies

Connecting to the Sound of the Pacific Coast

  • Hilde­gard West­erkamp (World Forum for Acoustic Ecol­o­gy, Vancouver)
  • Paul and Hele­na Spong (Orca Project, Van­cou­ver Island)
  • Kim Cas­cone (Hydrophone Fes­ti­val, San Francisco)

Hilde­gard Westerkamp’s acute sense of place in her work with sound com­pli­ments the work of Paul and Hele­na Spong, who use lis­ten­ing as a way to research the envi­ron­ment of the Orca of the Cen­tral Coast of BC. Kim Cascone’s Hydro­pho­nia Fes­ti­val sim­i­lar­ly brings atten­tion to noise pol­lu­tion in ocean envi­ron­ments through audio art projects inspired by hydrophone record­ings. These inno­va­tors are part of a grow­ing net­work of sound-work­ers world­wide who use the sound of place to build rela­tion­ships with geo­graph­ic, sci­en­tif­ic and envi­ron­men­tal communities.

Sparked by dis­cus­sions about their work, this ses­sion asks par­tic­i­pants to con­sid­er the rela­tion­ship that might exist between new music and ele­ments of the spe­cif­ic geo­graph­ic loca­tion in which it is practiced.

Connecting Art, Intention and Place

  • Joel Chad­abe (Ear to the Earth, Elec­tron­ic Music Foun­da­tion, New York)
  • Bar­ry Tru­ax (World Sound­scape Project, Vancouver)

Joel Chad­abe and Bar­ry Tru­ax each have dis­tin­guished tra­jec­to­ries in the fields of elec­tron­ic music, guid­ed by intense inter­ests in the nature of sound and our rela­tion­ship to it. Joel Chad­abe pio­neered some of the ear­li­est inter­ac­tive elec­tron­ic sys­tems for per­for­mance, while Bar­ry Tru­ax devel­oped the first real time gran­u­lar syn­the­sis sys­tem, built with­in an inter­ac­tive com­po­si­tion envi­ron­ment. These two artists have also been instru­men­tal in cre­at­ing new foun­da­tions for defin­ing the posi­tion of art mak­ing with­in soci­ety and build­ing struc­tur­al frame­works for the inter­ac­tion between artists and environments.

In this ses­sion, par­tic­i­pants con­sid­er the ques­tions such as ‘Is there and should there be a rela­tion­ship between new music and the polit­i­cal and social real­i­ties of its prac­ti­tion­ers?’ and ‘Do artists have a respon­si­bil­i­ty to the envi­ron­ment, to the cul­tures we spring from and to the lan­guages we speak?’

Festivals as a Cultural Voice

  • Michel Lev­asseur (FIMAV, Victoriaville)
  • Ken Pick­er­ing (Coastal Jazz & Blues Soci­ety, Vancouver)
  • Gor­don Mon­a­han (Eclec­tic Electrics, Meaford)
  • Peter Hatch (Open Ears Fes­ti­val, Kitchener-Waterloo)
  • Joel Chad­abe (Ear to the Earth Fes­ti­val, New York)

Fes­ti­vals mir­ror the com­mu­ni­ty they serve and serve as an evolv­ing voice for that com­mu­ni­ty. Under­stand­ing the needs of each com­mu­ni­ty is essen­tial, both for the fes­ti­val direc­tor and for those that apply to the fes­ti­vals. This ses­sion will pro­vide an inside look at unique fes­ti­vals from across North Amer­i­ca, and the needs of each.

Active dis­cus­sion with ses­sion par­tic­i­pants will fos­ter deep­er under­stand­ing between Artis­tic Direc­tors and the Cana­di­an New Music Com­mu­ni­ty, as well as pro­vide oppor­tu­ni­ty for more dia­logue as a community.

Connecting Generations And Communities

Generations & Disciplines

  • DB Boyko (Arts and Health Project, Son­ic Play­ground, Vancouver)
  • Owen Under­hill (Turn­ing Point Ensem­ble, Vancouver)
  • Marie Lopes (Round­house Com­mu­ni­ty Cen­tre, Vancouver)
  • Rod­ney Shar­man (Com­pos­er, Vancouver)

The devel­op­ment of col­lab­o­ra­tive mod­els, bring­ing new music into com­mu­ni­ty and com­mu­ni­ty into new music with youth and seniors through schools and com­mu­ni­ty asso­ci­a­tions, has result­ed in rela­tion­ships that revi­tal­ize the art­form and its cre­ators, per­form­ers and audi­ence. Curator/vocalist DB Boyko and Art Pro­gram­mer Marie Lopes have col­lab­o­rat­ed on two projects that show that mean­ing­ful and crit­i­cal engage­ment can hap­pen at any age. Express Your Voice isa year-long Arts and Health pro­gram that engages seniors in the act of singing and the cre­ation of music, while Son­ic Play­ground show­cas­es explorato­ry music and sound activ­i­ties for fam­i­lies. Vancouver’s Turn­ing Point Ensem­ble works with Metro Van­cou­ver pub­lic schools, edu­ca­tor Rob McLeod and com­pos­er Rod­ney Shar­man to devel­op and present new work by young com­posers through men­tor­ship and per­for­mance workshops.

A vocal cre­ation work­shop with DB Boyko is fol­lowed by a demon­stra­tion of stu­dent com­po­si­tions per­formed by Turn­ing Point. Forum atten­dees are invit­ed to bring ques­tions and exam­ples toward imple­ment­ing sim­i­lar pro­grams with­in their own regions and to dis­cuss cri­te­ria for mean­ing­ful com­mu­ni­ty engagement.

For Whom? For What?

The Mak­ing of Com­mu­ni­ty — Plu­ral­ism in Progress

  • Geor­gio Mag­na­nen­si (Van­cou­ver New Music)
  • Jer­ry Per­gole­si (Con­tact Con­tem­po­rary Music, Toronto)

Pro­fes­sion­al musi­cians and sound artists are defin­ing new roles for them­selves with­in their com­mu­ni­ties (geo­graph­ic, cul­tur­al, polit­i­cal, gen­er­a­tional) as the broad­er cul­ture refo­cus­es on the local. As music prac­ti­tion­ers engage more deeply with­in these com­mu­ni­ties, they are find­ing sur­pris­ing new avenues for dis­sem­i­na­tion for their work in ways that are sus­tain­able, and that are rel­e­vant both to the par­tic­u­lar com­mu­ni­ty and to their growth as artists.

Ref­er­enc­ing their process in build­ing pro­lif­ic local cre­ative rela­tion­ships, Gior­gio Mag­na­nen­si and Jer­ry Per­gole­si chal­lenge par­tic­i­pants to regain qual­i­ties of curios­i­ty, inter­est and com­mit­ment and to expe­ri­ence these qual­i­ties in car­ing mutu­al exchange while empha­siz­ing the val­ue of dif­fer­ence as a path toward a deep­er avail­abil­i­ty to the cre­ative encounter.

Round table brain­storm­ing groups take par­tic­i­pants toward find­ing engag­ing con­nec­tions with­in their own locales and con­sid­er the kinds of ini­tia­tives that embed long term cre­ative rela­tion­ships with­in spe­cif­ic communities.

Breaking The Mould

Chal­leng­ing pre­con­cep­tions of cul­ture, gen­er­a­tion, genre and discipline.

  • Sandeep Bhag­wati (matral­ab, Con­cor­dia Uni­ver­si­ty, Montreal)
  • Raven Cha­con (Albe­querque, New Mexico)
  • Anju Singh (Fake Jazz Wednes­days, Vancouver)
  • Brady Cran­field (Music Appre­ci­a­tion Soci­ety, Vancouver)

Egal­i­tar­i­an ideals in the cur­rent Cana­di­an cul­tur­al world­view pro­mote open­ness and inclu­sion, melt bound­aries and cel­e­brate diver­si­ty in cre­ative dia­logue. Art for all and all for art. But when the bound­aries that dis­tin­guish gen­res, dis­ci­plines and tra­di­tions are erased, is there a cor­re­lat­ing loss of vig­or­ous debate, and of the aes­thet­ic frames of ref­er­ence for deter­min­ing accom­plish­ment, fail­ure, mis­take and excel­lence? Is depth of com­mu­ni­ty thus lost? How can we mean­ing­ful­ly talk about art across dis­solv­ing boundaries?

Sandeep Bhag­wati is a mul­ti­dis­ci­pli­nary com­pos­er, researcher and insti­ga­tor who pos­es these queries in an inter­ac­tive dia­logue with Anju Singh, Brady Cran­field, and Raven Cha­con, three artists who have pro­voked the edges of genre, cul­ture and context.

Inspired by Max Frisch’s famous 1960 ques­tion­naire, ses­sion atten­dees are asked, ‘Why do you lis­ten to musi­cal gen­res / dis­ci­plines you do not cre­ate your­self or do not know well? How do you relate to them? Do you relate to them dif­fer­ent­ly from the gen­res / dis­ci­plines you do cre­ate with­in and/or that you know well? Why?’

Technologies

Extending Creativity — Creative Software And Software Creativity

  • Bar­ry Tru­ax (Simon Fras­er University)
  • Arne Eigen­feldt (Simon Fras­er University)

Can soft­ware be a composer’s assis­tant? Can it actu­al­ly cre­ate the music itself? Autonomous com­po­si­tion sys­tems have been used for decades, and the notion of gen­er­a­tive com­po­si­tion (a com­po­si­tion that changes each time it is per­formed, most often using soft­ware) is noth­ing new; how­ev­er, recent adap­ta­tions of arti­fi­cial intel­li­gence, evo­lu­tion­ary algo­rithms, and cog­ni­tive mod­els have pro­vid­ed com­posers with new and excit­ing direc­tions for the cre­ation of music.

The ses­sion will briefly dis­cuss the his­to­ry of these ideas, and demon­strate (with oppor­tu­ni­ties for audi­ence par­tic­i­pa­tion) cut­ting edge soft­ware that imple­ments these topics.

Visual Paradigms For Ensemble Improvisation

Con­duc­tion and Remote Control

  • Coat Cooke (Orkestra Futu­ra, Vancouver),
  • Ste­fan Smulovitz (Mad Sci­en­tist, Vancouver),
  • Tina Pear­son (Avatar Orches­tra Meta­verse, Global)

Par­tic­i­pa­to­ry demon­stra­tion — please bring your instruments!

Blend­ing clas­si­cal music con­duct­ing with jazz and free impro­vi­sa­tion, the emerg­ing prac­tice of Con­duc­tion is sprout­ing new rela­tion­ships among per­form­ers, ensem­bles and com­posers and cre­at­ing visu­al con­nec­tions for audi­ences. Using tech­nol­o­gy and net­worked plat­forms, Con­duc­tion and oth­er ensem­ble approach­es are enter­ing the telem­at­ic and vir­tu­al real­i­ty spheres.

Par­tic­i­pants will have the oppor­tu­ni­ty to expe­ri­ence con­duc­tion first hand in a demon­stra­tion by Coat Cooke of the tools he has used to devel­op impro­vis­ing orches­tras, to see Ste­fan Smulovitz’ Mad Sci­en­tist remote con­duc­tion sys­tem in action and play vir­tu­al instru­ments in real time with the glob­al­ly dis­persed Avatar Orches­tra Meta­verse. This inter­ac­tive ses­sion asks how these visu­al and remote con­nec­tions influ­ence our rela­tion­ships with sound, with our fel­low musi­cians and with audiences.

Stretched Boundaries — Connecting Across Abilities, Networks and Practices

  • Pauline Oliv­eros (Deep Lis­ten­ing Insti­tute, New York) via Skype

This ses­sion includes “Van­cou­ver Call­ing”, a mul­ti-plat­form piece com­posed by Oliv­eros spe­cial­ly for the Forum and includes any­one who wants to par­tic­i­pate — please bring your instru­ments.

Per­haps one of the most con­nect­ed New Music prac­ti­tion­ers on earth, Pauline Oliv­eros has always been on the fore­front of new ways of get­ting her mes­sage across. She has built net­works, cham­pi­oned caus­es, rede­fined lis­ten­ing, and chal­lenged the very act of com­po­si­tion and per­for­mance. Her thoughts and ideas are invalu­able for those who want to expand their work in new and inno­v­a­tive ways.

Oliv­eros will focus on the devel­op­ment and appli­ca­tions of the Adap­tive Use Musi­cal Instru­ments sys­tem with AUMI col­lab­o­ra­tors Jaclyn Heyen and Leaf Miller. Oliv­eros demon­strates how con­nec­tions made through deep lis­ten­ing bring sur­pris­ing cre­ativ­i­ty and pos­si­bil­i­ty. AUMI will be avail­able for atten­dees to try at the Forum. The ses­sion will con­clude with the open per­for­mance of Van­cou­ver Call­ing, con­nect­ing Forum atten­dees in audio-visu­al play with the Avatar Orches­tra Meta­verse, Pauline Oliv­eros and AUMI.

Extended Bodies — When The Virtual Bleeds Into The Physical

  • Arne Eigen­feldt (Simon Fras­er Uni­ver­si­ty, Vancouver)
  • George Tzane­takis (Uni­ver­si­ty of Vic­to­ria, Victoria)
  • Cléo Pala­cio-Quintin (Mon­tréal)

From the moment a human struck rocks togeth­er in rhythm or blew across the open­ing of a bone to cre­ate sound, tools and tech­nolo­gies have been inter­twined with the devel­op­ment of music. The pos­si­bil­i­ties offered by the aston­ish­ing tech­nolo­gies of cur­rent times are cre­at­ing pre­vi­ous­ly unimag­ined rela­tion­ships with music cre­ation, col­lab­o­ra­tion and per­for­mance. From instru­ments extend­ed beyond their orig­i­nal design to cut­ting edge robots that play them­selves, artists are inti­mate­ly and fun­da­men­tal­ly alter­ing the human — machine landscape.

Cléo Pala­cio-Quintin has cre­at­ed an inno­v­a­tive bridge between scientific/technological and artis­tic domains through her devel­op­ment of hyper­flutes — trans­verse flutes inter­faced to a com­put­er and soft­ware by means of elec­tron­ic sen­sors. Arne Eigen­feldt and George Tzane­takis are explor­ing the inter­ac­tive pos­si­bil­i­ties of robot­ic per­cus­sion instru­ments, test­ing the bound­aries between music and tech­nol­o­gy. Using tech­niques such as dig­i­tal sig­nal pro­cess­ing and music infor­ma­tion retrieval pro­grams, they are trans­form­ing robot­ic instru­ments into robot­ic per­cus­sion­ists who can “lis­ten” and react in inte­grat­ed human-machine impro­visato­ry settings.

This ses­sion asks, ‘How do mechan­i­cal sys­tems and exten­sions con­tribute to the devel­op­ment of new musi­cal par­a­digms for the twen­ty-first century?’

Cultures

Retelling New Music With Indigenous Eyes

  • Dylan Robin­son (Indi­gene­ity in the Con­tem­po­rary World, Uni­ver­si­ty of Lon­don, UK)
  • Raven Cha­con (Albu­querque, NM)

Raven Cha­con, known for his cham­ber music com­po­si­tions and his solo per­for­mances of exper­i­men­tal noise music, is also part of the Post­com­mod­i­ty Art Col­lec­tive, an inter­dis­ci­pli­nary group pro­mot­ing a con­struc­tive art-focused dis­course that chal­lenges colo­nial­ism and its mar­ket-based tenets. Dylan Robin­son is an artist cur­rent­ly research­ing the role of the arts as part of the Truth and Rec­on­cil­i­a­tion Com­mis­sion and is a team mem­ber of the Indi­gene­ity in the Con­tem­po­rary World research ini­tia­tive in the UK.

Draw­ing from their com­bined expe­ri­ences as cre­ators, per­form­ers, edu­ca­tors and schol­ars of art music, and informed by their rela­tion­ships with­in indige­nous com­mu­ni­ties, Dylan Robin­son and Raven Cha­con con­trast art rep­re­sent­ing First Peo­ples and the less­er known music made BY Indige­nous com­posers and artists.

This ses­sion pos­es provoca­tive ques­tions about cul­tur­al col­lab­o­ra­tion, per­for­mance, con­cert pro­to­col, appro­pri­a­tion, and the evolv­ing world­views that upturn notions of art’s voice in the scheme of all things.

Old Asia — New Music

  • Michael Ten­z­er (Game­lan Gita Asmara, Uni­ver­si­ty of British Colum­bia, Vancouver)
  • Joel Bons (Nieus Ensem­ble, Atlas Ensem­ble, Holland)
  • I Wayan Sudi­rana (Game­lan Gita Asmara, Van­cou­ver, Indonesia)
  • Mei Han (Red Cham­ber Ensem­ble, Vancouver)

Asia has become a new focus for col­lab­o­ra­tion and for dis­sem­i­na­tion, yet west­ern ways of approach­ing con­tem­po­rary music are not find­ing fer­tile soil in Asia. With a depth of under­stand­ing of the sound­worlds, philoso­phies and frame­works of non-west­ern cul­tures, each of the ses­sion pre­sen­ters has drawn from a spe­cif­ic com­mu­ni­ty to cre­ate new ensem­bles, new forms and new audiences.

Mei Han is not only a vir­tu­osic spe­cial­ist in per­form­ing the ancient and new music of her home­land, but is a schol­ar of the spe­cif­ic jour­ney that Chi­nese music has tak­en into con­tem­po­rary glob­al cul­ture. I Wayan Sudi­rana has spent a life­time per­form­ing Bali­nese Game­lan music and dance, and is play­ing a key role in the devel­op­ment of con­tem­po­rary Game­lan per­for­mance prac­tice. Joel Bons’ expe­ri­ence as a leader of two of Europe’s most pro­lif­ic inter-cul­tur­al ensem­bles gives him a unique per­spec­tive on the rela­tion­ship between West­ern Euro­pean Art Music and Asian music. Michael Ten­z­er is well known as a schol­ar, eth­no­mu­si­col­o­gist, com­pos­er and per­former of Asian-inspired music, whose com­po­si­tions and per­for­mances breathe the musi­cal con­structs, philoso­phies and sound­worlds of the places he has studied.

In dis­cus­sion togeth­er, these artists chal­lenge west­ern method­ol­o­gy while propos­ing new con­cepts, ideas, and prac­ti­cal infor­ma­tion on writ­ing and per­form­ing in the rapid­ly flour­ish­ing Asian Renaissance.

Musical Dialogue Across Cultures

  • Michael O’Neill (Game­lan Madu Sari, Vancouver)
  • Jon Sid­dall (Van­cou­ver)
  • Moshe Den­burg (Van­cou­ver Inter­cul­tur­al Orchestra)

A musi­cal prac­tice ses­sion using the SFU Game­lan and par­tic­i­pant instru­ments — please bring instruments.

The three ses­sion facil­i­ta­tors have each been immersed for well over a quar­ter cen­tu­ry in apply­ing Asian sounds and prac­tices to their work. Michael O’Neill, in addi­tion to cre­at­ing and per­form­ing new music for bag­pipe, has been a long-time mem­ber of Game­lan Madu Sari (based at SFU) and is a reg­u­lar col­lab­o­ra­tor with the Japan­ese-inspired per­cus­sion group Uzume Taiko. Jon Sid­dall had an ear­ly inter­est in Game­lan music and in some of the first North Amer­i­can com­posers who incor­po­rat­ed Game­lan form and tun­ing in their music. He brought the first Game­lan to Toron­to and found­ed the Ever­green Club Game­lan in the 1980’s. As founder of the Van­cou­ver Inter-Cul­tur­al Orches­tra, com­pos­er-per­former Moshe Den­burg has focused his musi­cal prac­tice on inter-cul­tur­al com­mu­ni­ca­tion and fos­ter­ing musi­cal forms that fuse and tran­scend cul­tur­al traditions.

This prac­ti­cal per­for­mance ses­sion will focus on the chal­lenges and out­comes of com­bin­ing instru­ments, styles and philoso­phies from a vari­ety of diverse cul­tures. Bring your instru­ment or use the gamelan!

Mini Concerts

Son­ic Pres­ence BC presents a series of short per­for­mances dur­ing Forum net­work­ing breaks.

Artists:

  • Coat Cooke and Joe Poole (Van­cou­ver)
  • Big World Band (John Oliv­er, Farshid Saman­dari and friends, Vancouver)
  • Lee Hutzu­lak (Van­cou­ver)
  • Marie-Chan­tal Leclair (Mon­tre­al)
  • Raven Cha­con (New Mexico)

Closure — Plenary Session

Coa­lesces the dis­cus­sion from the pre­vi­ous net­work­ing ses­sions and pro­vides the oppor­tu­ni­ty for par­tic­i­pants’ insights and per­spec­tives to direct CNMN’s next steps.