WEBVTT

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Good evening everyone, my name is Susan Gibb and I
am the Executive Director of Western Front.

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It is my pleasure to welcome you to Archives Access,
Warren Arkhand. Through our Archives

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Access program we support emerging curators in engaging
with our rich archives which document

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over 50 years of artistic programming. This year we are
especially grateful to the Hamba Foundation

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for making the continuation of this program possible.
Tonight we are honoured to support

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Aaron Rice as he takes the lead and to gather
in recognition of Warren Arkhand,

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a remarkable artist who's practiced pen film, video,
performance, theatre and text-based projects

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and who played a pivotal role in Vancouver's Indigenous
arts community from the 1980s onwards.

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In collaboration with our partners at Grant Gallery
we are thrilled to share archival

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materials from both of our collections reflecting a
vibrant period of Warren's work and his deep

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connections to Vancouver's artist-run centres and
communities. Aaron will guide us through these

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selections offering insight and context that illuminates
Warren's unique creative vision.

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For those attending in person we hope you enjoy Tea
and Bannock provided by Raven and Hummingbird

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Tea Co. run by the incredible Cease and Sankwila Wis.
And for those joining us online the live

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stream ensures that Warren's legacy is accessible to
everyone wherever you are. Thank you for being

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here and before Aaron begins the presentation it's
my distinct pleasure to invite Cease Wis

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to the stage to provide a welcome to territory. Thank you.

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[Applause]

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That's Guile. How's everybody doing tonight? Yay!
We're here to celebrate somebody. Whoa.

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[Laughter]

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This is the second time I've done an intro and weird
noises have happened around me so I don't

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know if I'm carrying a trail of spirits with me but
it is the time of year for them to come out

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more and more at this time of day. So

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[speaking in foreign language]

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Yeah welcome everybody. Really looking
forward to this evening.

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Losing important people in our community is always
hard and I feel like Warren had a

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had a really rough year in the spirit world with his
family. So I just really want to acknowledge

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about his son passing and him passing and then his father
passing all within the course of about six

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weeks and so you know that's a hard thing to lose three
members of your family. Really grateful for

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all the work that Warren's done and that we get a
chance to visit him tonight. Let's say that.

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I actually told Jen this summer when we attended
her son's ceremony of life

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that I really hoped that my mom was standing on
the other side waiting for him because

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Warren and my mother had actually a really close friendship
and when they met Warren had said,

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had expressed that he didn't have a mom and it really
broke his heart and my mother extended

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her hands to him and offered to be his mom. So I thought
that was a really sweet thing and yeah

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she already made her journey a year and a bit ago
so I like to think that they're hanging out

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tonight maybe with us. Maybe that's what that noise
was. So I'm gonna in honor of all that I

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just want to share the Chief Down George Slolom, the
Tzawanak Slolom because Chief Down George

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was a very groundbreaking artist and he experimented
in everything that so many people

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can only dream about attaining in their careers so
just feel like it's fitting. Yeah and it's

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Coast Sailor Shampan. I'm gonna hand this back to you.

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[ Music ]

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[ Inaudible ]

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[ Inaudible ]

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Hello and welcome everyone. My name is Aaron Rice
and I'm from the Mohawk Nation of Kanoaghe.

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I'm an emerging curator currently enrolled in the certificate program of Curatorial Studies at Concordia University.

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This project came upon me very quick and I'm like, because
I lived here for the past 30 years, I was like,

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yeah, I can do this and I fit it into my schedule.

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And so I was honored to be invited to look into the archives
here at Western Front as well as Grant Gallery.

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I just want to thank everyone involved in that
process and the staff at each art center.

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They've been really helpful and great.

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So today we're going to look back at a selection of performances,
performance-based works by artist Warren Arkhand.

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Warren Arkhand was a queer artist from the Muskeg
Lake and Big River First Nations.

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He worked cross practices in performance
writing theater and

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various collaborations within the
indigenous arts community,

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participating in spirit song theater, multiple cabarets.

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He was part of the Neo-Nativist Respondent for the Indian
Acts Conference, a participant at Live Biennale.

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His work has been shown in Toronto
and Urban Shaman in Winnipeg.

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He also worked in education, sharing his talents
with students at Emily Carr University,

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as well as the Galliano Island Film and Television School.

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No doubt he'll be making great impressions
wherever he went.

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The selection of short films that I've chosen showcase
Warren's quirky cerebral and playful character.

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His work is expansive and generous and unpredictable.

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So we're going to have a look.

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First off, we're going to start with some clicks from Days

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Without Singing, which was a Neo-Nativist
multimedia production,

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consisting of monologues, dance, music, and preferencing
of young male indigenous voices,

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responding to place and time, specifically the year 1989,

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the aim to reconnect tradition with modernity.

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The original founders of the Neo-Nativist are Leonard
Fisher, Russell Wallace, and Warren Arkhand.

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So yeah, right now, we'll look at Days of...
Some Credge from Days Without Singing.

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Okay, true story time. No, really.

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Okay, this happened a while ago. I was younger.

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Or take the pronoun "I" as you or them or they.

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So "I" was walking down the street. It was dark.

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It was raining, melancholy in my heart,
more like post-pubescence.

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And I come around this corner and I see on the ground a single,
a china, bone china cup with a red rose painted on it.

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Really beautiful. It was cracked perfectly down the middle,
just lying on the street, collecting rain.

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We're trying to... trying to...

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And I have to stop and look at it and examine it and ask it,
"What meaning do you have for me there on the ground?"

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I come closer asking it, "Well, tell me, what
is it about you that stops me here?"

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Then suddenly out of the blackness,
this hand comes, just lifts

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me out of the street and against the
wall in his face, big, angry.

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"Errrr! How much money you got? I want your
money. Give it to me. Give it to me."

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It's breathing like this.

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So I'm mad, right? I have no money. But
I'm angry, I'm not intimidated.

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Because there's some look in his eye and I respond to it.

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I say, "I don't got no money, man. I don't got no money." I
put out my street voice, "Man, I don't got no money."

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He says, "I know you do. Look at that jacket.
Give me your money, man. Give it to me."

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I make a go, I say, "Man, I don't got no money for you. I
don't got nothing just like you. I don't got nothing."

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I get some communication, just like that. He lets me go. He
steps back and says, "Yeah. Yeah. I know what that is."

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"I know what you mean, man. I mean, you don't got nothing.
When you're alone, and shit happens, right?

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Shit happens like your brother, right? Your real brother.
He gets shot, he dies, shotgun, he dies, and he..."

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So he pounds off the street ahead of
his tears, but he leaves me in

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his wake, and he's off in the darkness,
never seen again, just something.

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So I'm crying. I'm against the wall. I'm looking at the cup.
I say, "So that's the thing you had for me? Fuck, man."

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I'm crying, and this guy, another stranger,
a night full of strangers,

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walks by, and he's wondering, "Well, what the
fuck? Should I stop? Should I..."

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And I told this to a friend of mine, Catherine, and she says,
"Wow. I had a dream like that. It was in the stream I had

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this house, and it was being trashed by these guys,
and I don't know what for. I felt really bad."

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So I came back, and she says, "It's much like real life. If
you go to a house that's been destroyed, and you come back

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to it, you find, on the ground, in the middle of the
floor, this single broken bone china cup."

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The point of my visit here is in this blanket, marvel
at this blanket, marvel at my dexterity.

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The thing for you I have, nay, more than one thing, many things.
I could be offering you a brand new way of life here.

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Are you ready? Are you? Ooh, yeah. Good shit.

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Representation time. Native individual, one, female,
braided, beaded, buckskinned for you.

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A pittance.

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Couldn't you just fall in love with something
like this? Couldn't you just look

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deeply into something like this and understand
something essential about yourself?

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I know it's true. I can see it in you. In you.

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But of course, we must acknowledge the polar dichotomy is

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what? The female? More than that, we
have the male. Check it out.

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See that? Power salute? I want to be for
you. That's what he's saying.

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And you want him to be for you, right? Is
that what I'm saying? Say, "Yo."

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I'm pretty fucking lame, you guys.

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Oh, I forgot. It's not peaceful. Okay, sorry. No, here it is,
right? For you, 995. One each, boy, girl, together, you

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need them. They are the repositories
of the culture. You know it.

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I was down south when I found these things. I was down south
when I found this beautiful blanket, man. Ooh, keep you

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warm, keep everything off you. Heat,
sun, rain, pain. It's so good.

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I tried it on myself a couple of times. It
really works, man. One more thing.

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These bones. Don't understand them. Archaeological
delight. Cheap. One more thing.

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They're a curious bunch down south. They got to dance for everything.
They got to dance for the sun. They got to dance

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for the ground. They got to dance for shopping at 7-Eleven.
I picked up some things. So I got this interpretive thing.

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If you like it, you can buy it, you know.

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Okay, down the lights.

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(upbeat music)

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(drumming)

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(drumming)

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(drumming)

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(drumming)

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(drumming)

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(drumming)

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Okay, so that was an example of

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some of the earlier work that

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Warren was doing with Leonard and Russell.

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So that would have been Lenny Fisher on the drum

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and then Russell on the flute.

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And basically that's Warren.

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I just found looking at his work,

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it was like I was drawn to his,

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it's just like he was such,

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his presence was such that it like,

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it just drew you in, like his voice,

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his delivery, the pacing.

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I think the stories he can weave

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just drew the audience in.

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So that'd be kind of like what we're expecting tonight

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is just to look at the clubs for what they were.

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Some people are seeing them for the first time,

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some people are revisiting them as well.

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So next up is,

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we see Warren donning a summer bonnet

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with two long yellow braids here.

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He interprets the character of,

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and of Green Gables through the man of Green Gables.

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(applause)

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All right, let's turn out the TV and go back to live.

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Live, live, live, live.

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(crowd cheering)

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Paul Garrett, cabaret.

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Now, we all know all that is

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to my surprise 20th anniversary,

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and we all know all that is to my surprise

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situated in Canada.

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And so we have for you now a Canadian classic.

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Something else through the well springs of your heart

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will make you proud to be citizen of this vast country.

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I'd like to introduce a very special guest of ours now,

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the man from Green Gables, man of Green Gables.

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(crowd cheering)

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Hi everybody.

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It's so wonderful to be here.

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I actually am kind of nervous.

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I've only ever sung in choirs,

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but my therapist recommended this,

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so I thought I'd meet you some of
my special correspondents.

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This regards a meeting, a very special meeting.

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I had some time ago at a garden party.

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I addressed it to my favorite friend, Marilla.

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Dear Marilla, oh, how can I begin to tell you

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my heart feels fit to burst?

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I can't tell you the thrill, but as you know,

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I can tell you, and I will tell you,

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as I'm merely using a figure of speech.

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It happened at one of our garden parties.

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I met someone, a boy.

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We met ever so briefly by the cordial bowl.

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I suspected he had wandered in without an invitation,

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as his dark dress in a surly manner

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was not to anyone's like him.

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The voices buzzed like petulant wasps.

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Oh, did you invite him?

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No, goodness, did you?

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No, well then who did?

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Oh, bless my gig-o-heart, who could it be?

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He materialized like one of those hungry,

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stray dogs that show up at highway accidents

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to laugh up the thrill.

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And glad of it too was I, Marilla, let me tell you.

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But as you know, I am telling you,

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and I'm just using a figure of speech.

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It was freshly hot that day.

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The dreariness of the party-goers' highs,

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their faddled, their goings on and on about nothing

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seemed to me the perfect accompaniment to my boredom,

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a melody produced by farting meat violins.

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Yes, farting meat violins.

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Oh, Marilla, don't you know what that is?

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I'm surprised.

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It's merely a biological instrument

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made exclusively of meat.

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Meats of unknown origin that provide obscure melodies

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for any dreary occasion that I have come across

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many such things in my travels,

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where as you know, I'm very worried.

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We met briefly and we didn't speak at all.

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Even now, I can't see his face in that droll

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and dusty scrapbook called Memory.

219
00:23:15.761 --> 00:23:18.830
It's as if the engraver that lives in my wee bobbin's skull

220
00:23:18.830 --> 00:23:22.134
was so overcome by this volatile vision

221
00:23:22.567 --> 00:23:23.902
that she painted it away.

222
00:23:23.902 --> 00:23:24.102
Oh.

223
00:23:26.238 --> 00:23:27.639
Right at a workstation,

224
00:23:28.473 --> 00:23:30.375
she left the yasadon too long and scratched

225
00:23:30.475 --> 00:23:32.444
only the suggestion of lips and cheek

226
00:23:32.677 --> 00:23:33.912
onto the blackened cover.

227
00:23:35.947 --> 00:23:38.850
Oh, Marilla, I disliked him the instant I saw him

228
00:23:38.850 --> 00:23:41.353
in his black hat and dusty workman's coat,

229
00:23:41.753 --> 00:23:43.588
and he wasn't even wearing a shirt underneath.

230
00:23:46.124 --> 00:23:48.293
But fortunately, I looked a little closer,

231
00:23:49.094 --> 00:23:51.496
being a good judge of character, as you know.

232
00:23:52.898 --> 00:23:55.667
His evil heirs were but a tactic earthbound angels

233
00:23:55.667 --> 00:23:56.334
will employ.

234
00:23:56.802 --> 00:23:58.570
They are forced to wear their disguises

235
00:23:58.570 --> 00:23:59.871
of virulence and poison,

236
00:24:00.906 --> 00:24:03.308
because we, the planet's fragile lodgers,

237
00:24:03.642 --> 00:24:06.511
tend to fall in love with them too often and too deeply.

238
00:24:07.546 --> 00:24:10.048
Yes, Marilla, he looked evil and surly,

239
00:24:10.415 --> 00:24:11.950
like a besotted sheep farmer,

240
00:24:12.517 --> 00:24:15.153
and the town jailer rolled into one.

241
00:24:18.323 --> 00:24:20.192
But his evil was just a pretense.

242
00:24:21.893 --> 00:24:25.230
We stood together by the cordial bowl, silent.

243
00:24:25.931 --> 00:24:27.899
He gazing at me with a glass in his hand.

244
00:24:28.400 --> 00:24:30.402
His fingers, I remember distinctly.

245
00:24:31.303 --> 00:24:32.804
As he wrapped them around the hand,

246
00:24:32.804 --> 00:24:34.272
I had extended for a polite reading.

247
00:24:35.407 --> 00:24:37.409
They were thin, they were like lead bars

248
00:24:37.542 --> 00:24:40.011
wrapped in kids' skin, long and thin,

249
00:24:40.045 --> 00:24:43.915
like a penis, yes, yes, Marilla, like a penis.

250
00:24:45.417 --> 00:24:46.751
And as you know, that's a favorite speech

251
00:24:46.751 --> 00:24:48.286
that comes to me every now and again.

252
00:24:49.788 --> 00:24:51.289
(audience laughing)

253
00:24:53.225 --> 00:24:57.028
I stammered up my name, and I had a distinct feeling.

254
00:24:57.028 --> 00:24:58.263
I wasn't addressing him at all,

255
00:24:58.463 --> 00:25:01.199
but was speaking into him, like into a cave,

256
00:25:01.466 --> 00:25:04.569
or an empty bottle of flour, or some such thing.

257
00:25:05.370 --> 00:25:06.771
(audience laughing)

258
00:25:07.873 --> 00:25:10.342
He was a very strange figure, really.

259
00:25:12.744 --> 00:25:16.147
Man of green gables, I managed to stammer out,

260
00:25:16.681 --> 00:25:18.450
and I congratulated him myself

261
00:25:18.450 --> 00:25:21.620
for not getting any spit on his naked chest

262
00:25:21.620 --> 00:25:23.421
as I was salivating madly.

263
00:25:24.990 --> 00:25:25.056
(audience laughing)

264
00:25:25.056 --> 00:25:28.126
It was infuriating, infuriating, Marilla,

265
00:25:28.894 --> 00:25:31.963
to have this light box of a man stimulating so.

266
00:25:33.031 --> 00:25:35.767
It was annoying to have this figure shake his little bells

267
00:25:36.234 --> 00:25:39.571
and reveal to me a conditioning I never knew I had.

268
00:25:41.473 --> 00:25:44.476
Where for this saliva, where for this dream?

269
00:25:46.912 --> 00:25:49.214
(audience laughing)

270
00:25:51.583 --> 00:25:54.452
He left just then, and the crowd parted from him,

271
00:25:54.653 --> 00:25:57.622
giving him a wide berth as if he were a skunk or a leather.

272
00:25:58.023 --> 00:26:00.959
(audience laughing)

273
00:26:01.660 --> 00:26:02.994
But I knew him, Marilla,

274
00:26:03.261 --> 00:26:05.230
and I knew I would never see him again.

275
00:26:05.764 --> 00:26:08.233
But in fact, today, I have to ask myself this.

276
00:26:08.733 --> 00:26:10.001
Did I really see an angel?

277
00:26:11.937 --> 00:26:12.537
His name?

278
00:26:13.171 --> 00:26:15.607
Why, I believe it was tattooed on his chest,

279
00:26:15.874 --> 00:26:19.110
exposed there to the fainting and delirious garden party.

280
00:26:20.211 --> 00:26:20.412
Johnny.

281
00:26:24.382 --> 00:26:25.483
Johnny B. Toklas.

282
00:26:26.084 --> 00:26:28.586
(audience laughing)

283
00:26:29.154 --> 00:26:31.523
And I'd never care if I'd never see that Johnny again.

284
00:26:33.658 --> 00:26:37.228
Sign, your pitiful suited friend, man of England.

285
00:26:38.363 --> 00:26:39.597
(audience laughing)

286
00:26:39.597 --> 00:26:44.002
(audience applauding)

287
00:26:50.809 --> 00:26:51.543
Good response.

288
00:26:55.614 --> 00:26:59.684
Yeah, so now we will look at a solo performance

289
00:26:59.884 --> 00:27:03.922
called Orpheus from the Queer City series, 1993,

290
00:27:05.457 --> 00:27:07.258
and then East Cultural Center.

291
00:27:10.829 --> 00:27:17.102
(footsteps thudding)

292
00:27:29.881 --> 00:27:35.954
(footsteps thudding)

293
00:27:45.764 --> 00:27:52.103
We are here to see the most beautiful girl in the world

294
00:27:54.372 --> 00:27:55.640
Tell her I am her

295
00:27:58.910 --> 00:27:59.944
I am her son

296
00:28:03.214 --> 00:28:07.252
She, she's about to be crazy

297
00:28:20.031 --> 00:28:20.265
Hello?

298
00:28:23.334 --> 00:28:23.535
Yes.

299
00:28:25.837 --> 00:28:27.072
Yes, it's me, I'm here.

300
00:28:28.406 --> 00:28:28.807
What?

301
00:28:29.941 --> 00:28:30.809
Oh yes, it's my fault.

302
00:28:33.945 --> 00:28:36.347
(audience laughing)

303
00:28:36.347 --> 00:28:40.585
What is this?

304
00:28:42.087 --> 00:28:42.287
Your...

305
00:28:44.522 --> 00:28:45.924
Well, it's very strange, I'm glad,

306
00:28:46.391 --> 00:28:47.792
I didn't anticipate this.

307
00:28:51.563 --> 00:28:53.364
Okay, I know no ordeal isn't a ordeal,

308
00:28:53.631 --> 00:28:57.068
but you made it a little more than I expected.

309
00:29:00.472 --> 00:29:01.172
Okay, I'll do that.

310
00:29:03.508 --> 00:29:04.676
And that, I guess I'll do that.

311
00:29:07.212 --> 00:29:07.445
Okay.

312
00:29:10.115 --> 00:29:11.082
Okay, you guys.

313
00:29:18.123 --> 00:29:19.924
I've been instructed to inform you that

314
00:29:21.126 --> 00:29:25.764
this performance is meant for just one of you.

315
00:29:26.664 --> 00:29:29.300
(audience laughing)

316
00:29:30.135 --> 00:29:33.371
The representative of the caller.

317
00:29:35.106 --> 00:29:36.941
And the representative of the caller

318
00:29:37.108 --> 00:29:39.711
will let me know when the performance is over.

319
00:29:41.546 --> 00:29:43.214
I don't know when that will be,

320
00:29:43.481 --> 00:29:45.683
or what signal that will be,

321
00:29:45.683 --> 00:29:47.585
but once I reach the end of it,

322
00:29:47.585 --> 00:29:49.754
I will know because of the signal.

323
00:29:50.155 --> 00:29:52.557
And thereupon, my role will be reached.

324
00:29:58.630 --> 00:30:00.798
So, I'll have to content myself with these gestures

325
00:30:02.133 --> 00:30:04.536
and hope that they contain meaning.

326
00:30:06.838 --> 00:30:08.072
I hope that they do.

327
00:30:08.072 --> 00:30:10.375
I hope I'm not jagging off into a jar.

328
00:30:13.945 --> 00:30:15.413
Unless, of course, that's what's required.

329
00:30:16.314 --> 00:30:18.149
(audience laughing)

330
00:30:20.151 --> 00:30:23.955
(audience laughing)

331
00:30:26.124 --> 00:30:27.992
Oh, a nose laughter.

332
00:30:33.531 --> 00:30:35.466
I have to assume that the people who are coming

333
00:30:35.466 --> 00:30:37.368
are not the representative.

334
00:30:37.969 --> 00:30:39.804
I have to assume that the tankies

335
00:30:39.804 --> 00:30:41.072
are not right at the representative

336
00:30:42.106 --> 00:30:44.709
because they just wouldn't be so cruel.

337
00:30:47.345 --> 00:30:48.713
So, without further ado,

338
00:30:52.217 --> 00:30:54.152
I say that I have to lighten my load,

339
00:30:55.720 --> 00:30:59.524
and upon instructions, I have to make some confessions.

340
00:31:00.892 --> 00:31:04.162
Those confessions are the worst things I've ever done.

341
00:31:06.598 --> 00:31:09.234
One of the worst things I've ever done was,

342
00:31:09.234 --> 00:31:10.635
when I was a child,

343
00:31:12.103 --> 00:31:14.739
I was with a group of rural kids,

344
00:31:15.106 --> 00:31:16.507
and we would do things together.

345
00:31:16.507 --> 00:31:18.843
I did torture animals and things like that.

346
00:31:21.112 --> 00:31:25.984
There was an over-sex girl who kind of ran us through it

347
00:31:25.984 --> 00:31:26.618
for a summer.

348
00:31:26.618 --> 00:31:28.786
She was visiting from London in a kid's school.

349
00:31:30.788 --> 00:31:34.792
And there were two younger children with us

350
00:31:34.792 --> 00:31:36.194
in our little troop that summer.

351
00:31:37.729 --> 00:31:39.330
I guess there was six or seven.

352
00:31:41.666 --> 00:31:43.534
And at a certain point, we went to the bar

353
00:31:43.534 --> 00:31:44.936
and covered this little year with me,

354
00:31:45.370 --> 00:31:47.105
two other friends, the over-sex woman,

355
00:31:47.505 --> 00:31:48.539
and two toddlers.

356
00:31:51.109 --> 00:31:52.744
And the over-sex woman kind of,

357
00:31:52.744 --> 00:31:57.181
or just created a outward little
sex scene with the children

358
00:31:59.117 --> 00:32:00.218
to satisfy herself.

359
00:32:00.218 --> 00:32:02.720
And I guess the worst thing I did in that situation

360
00:32:02.720 --> 00:32:04.022
was not to intervene.

361
00:32:06.291 --> 00:32:07.425
I always wondered...

362
00:32:13.131 --> 00:32:13.998
That seems bad.

363
00:32:14.832 --> 00:32:16.301
Another thing I did was,

364
00:32:17.135 --> 00:32:18.569
I was a little older.

365
00:32:19.737 --> 00:32:25.076
My sister was attacked by a man,

366
00:32:26.344 --> 00:32:28.846
and so I hunted him down,

367
00:32:29.714 --> 00:32:33.184
and I imprisoned him in kind of a building.

368
00:32:33.851 --> 00:32:35.720
And I spent a day torturing him.

369
00:32:36.821 --> 00:32:38.423
Not really cruel, they were just,

370
00:32:38.423 --> 00:32:39.457
I would hit him with a stick,

371
00:32:39.457 --> 00:32:42.093
and I would just make sure he shrunk as small as possible.

372
00:32:43.127 --> 00:32:47.999
I'm sure I felt justified,

373
00:32:48.333 --> 00:32:52.603
but if you'd read this stuff, that was pretty bad.

374
00:32:54.906 --> 00:32:58.142
I don't know about the words that come to mind.

375
00:32:59.510 --> 00:33:03.981
And I guess it's time for the next, the next set.

376
00:33:12.123 --> 00:33:15.760
(dramatic music)

377
00:33:15.760 --> 00:33:20.431
(laughing)

378
00:33:35.513 --> 00:33:36.214
Okay, get out of there.

379
00:33:42.120 --> 00:33:55.066
(dramatic music)

380
00:34:12.150 --> 00:34:19.957
(singing in foreign language)

381
00:34:19.957 --> 00:34:33.671
How was that?

382
00:34:37.809 --> 00:34:38.910
(laughing) No, not?

383
00:34:40.111 --> 00:34:41.412
Okay, on to the next one.

384
00:34:42.113 --> 00:34:53.891
(laughing)

385
00:34:56.127 --> 00:34:57.328
Oh, I guess that'll fall out later.

386
00:34:58.863 --> 00:35:01.699
(laughing)

387
00:35:06.103 --> 00:35:07.805
Wait, what's that?

388
00:35:11.776 --> 00:35:12.410
So how's that?

389
00:35:14.912 --> 00:35:16.347
It seemed like it.

390
00:35:17.215 --> 00:35:20.151
The representative though, he was a tortilla.

391
00:35:20.985 --> 00:35:22.119
Could it be a dog, is that right?

392
00:35:22.386 --> 00:35:22.820
Could it be a dog?

393
00:35:30.862 --> 00:35:32.396
It's just a pickup, come on.

394
00:35:48.012 --> 00:36:00.291
(dramatic music)

395
00:36:00.291 --> 00:36:00.825
And I found it.

396
00:36:03.294 --> 00:36:04.529
(dramatic music)

397
00:36:20.144 --> 00:36:29.287
(singing in foreign language)

398
00:36:29.287 --> 00:36:30.154
Report from Lesbos.

399
00:36:31.389 --> 00:36:34.992
Discovering volcanic vents and profound submarine trenches

400
00:36:35.126 --> 00:36:37.528
in the island, miles below near surface.

401
00:36:38.229 --> 00:36:40.264
Huge flows of brightly colored bacteria

402
00:36:40.264 --> 00:36:41.866
shooting out of the vents,

403
00:36:42.333 --> 00:36:44.001
existing with the chemical metabolism.

404
00:36:45.102 --> 00:36:47.238
They traded from sulfur to sugar and back again.

405
00:36:47.972 --> 00:36:49.941
Lather heaves from cracks in the sea floor,

406
00:36:50.374 --> 00:36:52.710
despite the submersible pyrexense of electrons,

407
00:36:53.377 --> 00:36:55.279
regarding the pillars of lava that quickly cool

408
00:36:55.279 --> 00:36:56.047
in the fish waters.

409
00:37:05.122 --> 00:37:07.425
Thanks, I've got the plans.

410
00:37:08.192 --> 00:37:10.428
Rather than sounding the engine pull over.

411
00:37:11.796 --> 00:37:11.829
(siren wailing)

412
00:37:11.829 --> 00:37:14.599
The battery came, walking down the lane.

413
00:37:15.733 --> 00:37:17.602
The brush lights the lane on either side.

414
00:37:18.502 --> 00:37:20.705
Then you think there's a form in the brush.

415
00:37:23.441 --> 00:37:23.474
(siren wailing)

416
00:37:23.674 --> 00:37:24.508
Nothing's there.

417
00:37:26.110 --> 00:37:29.213
You think, I'm sorry to tell because your footsteps

418
00:37:29.213 --> 00:37:30.414
seem very loud tonight.

419
00:37:31.082 --> 00:37:33.618
And the wind in the trees makes a general wash of sound.

420
00:37:34.118 --> 00:37:36.887
Your breath and your heartbeat, it stops, you stop,

421
00:37:37.188 --> 00:37:39.257
you wildly box, and go.

422
00:37:48.132 --> 00:37:49.567
Can't find it.

423
00:37:52.503 --> 00:37:54.872
(siren wailing)

424
00:37:55.106 --> 00:37:58.509
It's customary for features in the
wild to meet the placenta.

425
00:37:59.410 --> 00:38:00.778
They slip it in a way,

426
00:38:01.112 --> 00:38:04.348
among some people the placenta, after it has been dried,

427
00:38:04.615 --> 00:38:06.651
looking like a deep-based sun-dried tomato,

428
00:38:07.051 --> 00:38:09.253
is buried in the earth of the new road's birthplace.

429
00:38:10.688 --> 00:38:14.125
Among some people, the placenta is defined as bed of waste

430
00:38:14.125 --> 00:38:15.860
and delivered to an incinerator,

431
00:38:16.093 --> 00:38:19.730
where it is reduced to an ash that
leaves from the smoke stack

432
00:38:19.730 --> 00:38:22.533
and then settles on the hatched roots
of the neighboring community.

433
00:38:23.734 --> 00:38:25.302
(laughter)

434
00:38:31.108 --> 00:38:32.743
I'm not reading some of them because...

435
00:38:34.145 --> 00:38:35.146
you're stupid.

436
00:38:35.279 --> 00:38:40.985
(laughter)

437
00:38:43.120 --> 00:38:46.023
Jeskers and actions, as we are told, contain meaning.

438
00:38:46.657 --> 00:38:51.095
Reproduce or develop them with the aim to
satisfy a 40-inch exchange system.

439
00:38:51.128 --> 00:38:54.331
(thunder)

440
00:38:59.103 --> 00:39:01.939
Well, she was just walking away from...

441
00:39:02.206 --> 00:39:03.708
she was avoiding a rake, you see.

442
00:39:04.608 --> 00:39:04.809
And...

443
00:39:07.211 --> 00:39:11.349
she was very popular in high school.

444
00:39:15.720 --> 00:39:17.088
She was walking that king's way,

445
00:39:17.121 --> 00:39:22.560
and she was set upon by a group of East End boys.

446
00:39:24.028 --> 00:39:25.262
They took her to an alley.

447
00:39:26.364 --> 00:39:26.564
Oh.

448
00:39:27.765 --> 00:39:28.165
She was the...

449
00:39:30.334 --> 00:39:31.102
and there is one here.

450
00:39:32.136 --> 00:39:53.791
The moon may shine, but all in vain,

451
00:39:55.659 --> 00:39:59.897
for there is no use in shining

452
00:40:02.133 --> 00:40:05.770
while my ladies sleep.

453
00:40:08.339 --> 00:40:15.746
The breeze may sing a sad refrain,

454
00:40:18.649 --> 00:40:22.253
because the heart is pining.

455
00:40:25.356 --> 00:40:28.325
While my ladies sleep.

456
00:40:31.829 --> 00:40:35.332
Moonlight and starlight and amber is smell,

457
00:40:36.567 --> 00:40:40.070
oh, deep wasted.

458
00:40:42.973 --> 00:40:47.545
What could it be when I'm yearning for kinesales?

459
00:40:50.748 --> 00:40:55.085
Never tasted.

460
00:40:58.689 --> 00:41:06.363
The night may hold a million dreams,

461
00:41:08.165 --> 00:41:12.169
but there, when her eyes discover

462
00:41:14.572 --> 00:41:16.941
just a lonely lover,

463
00:41:19.243 --> 00:41:26.417
she will hurry on with a sigh to the dawn,

464
00:41:29.119 --> 00:41:32.690
while the willow tree weaves

465
00:41:34.859 --> 00:41:41.265
and my lady sleeps.

466
00:44:33.137 --> 00:44:41.712
[MUSIC]

467
00:44:41.712 --> 00:44:46.617
[APPLAUSE]

468
00:45:03.133 --> 00:45:11.375
[APPLAUSE]

469
00:45:15.112 --> 00:45:21.285
So as you can see, some of the footage varies in
quality over the years working with the

470
00:45:21.285 --> 00:45:21.685
archives.

471
00:45:23.120 --> 00:45:32.029
And they are-- their documentation, they weren't
meant to be films per se, but now we have

472
00:45:32.129 --> 00:45:38.836
the chance to look back at them and see the depth
of the work that was presented in real

473
00:45:39.103 --> 00:45:40.904
time, in real spaces with bodies.

474
00:45:42.372 --> 00:45:49.246
So the next performance-- and I like that-- I wanted
to show that piece in entirety just

475
00:45:49.246 --> 00:45:53.183
because of, like, to show the theatricality of the work.

476
00:45:57.488 --> 00:46:06.230
And so now we're going to take a look at Warren
in more of a character-driven portrayal.

477
00:46:07.865 --> 00:46:13.070
It's a few clips from the film Duster by Hank Buhl.

478
00:46:15.105 --> 00:46:20.978
Shows where Warren playing the character of
the wizard and the beautiful Conchita.

479
00:46:22.146 --> 00:46:29.019
Duster's a surreal, cut-up Western, a zany postmodern
deconstruction of the cowboy myth.

480
00:46:31.021 --> 00:46:35.626
It has an ensemble cast, including Rebecca
Bellmore as the high-tech T.P.

481
00:46:35.959 --> 00:46:42.933
Trauma Mama, Hank Bull and Eric Metcalf as the
Mac Booty Brothers, Fraser Finlinson as

482
00:46:42.933 --> 00:46:47.771
Sunny Day and Dark Day, and Corey Winegarden
as Gertrude Stein.

483
00:48:49.126 --> 00:48:51.762
Because you have to wet your finger.

484
00:48:54.731 --> 00:48:54.932
Oh.

485
00:48:57.701 --> 00:48:58.835
Which way the wind blows?

486
00:49:01.104 --> 00:49:03.240
Oh, I bet that's the word we know.

487
00:49:03.540 --> 00:49:04.241
What is that?

488
00:49:04.875 --> 00:49:05.475
Oh, let's see.

489
00:49:06.643 --> 00:49:09.813
L-L-Love.

490
00:49:10.414 --> 00:49:10.847
Oh, Larry.

491
00:49:11.782 --> 00:49:11.982
Hey.

492
00:49:12.382 --> 00:49:12.582
No.

493
00:49:12.883 --> 00:49:13.083
No.

494
00:49:13.350 --> 00:49:13.483
Love.

495
00:49:13.483 --> 00:49:14.418
It isn't love.

496
00:49:15.452 --> 00:49:16.753
It says ledger.

497
00:49:17.788 --> 00:49:18.088
Ledger.

498
00:49:18.155 --> 00:49:19.323
What, ledger?

499
00:49:19.423 --> 00:49:20.223
That's ledger book.

500
00:49:20.490 --> 00:49:21.058
That's right.

501
00:49:21.058 --> 00:49:21.425
That's right.

502
00:49:21.992 --> 00:49:23.026
Oh, and what's this?

503
00:49:24.194 --> 00:49:25.562
Uh, very complicated.

504
00:49:26.463 --> 00:49:32.836
Uh, it says, "In the heart of every warrior
is that of a young girl."

505
00:49:35.172 --> 00:49:36.006
Oh, that's pretty.

506
00:49:36.473 --> 00:49:37.307
Did you write this?

507
00:49:38.875 --> 00:49:40.911
Well, I was there.

508
00:49:41.211 --> 00:49:42.012
Let's just say that.

509
00:49:43.146 --> 00:49:48.452
So he's telling a story.

510
00:49:49.186 --> 00:49:49.386
Yes.

511
00:49:52.122 --> 00:49:53.223
Look at all these people.

512
00:49:54.324 --> 00:49:55.325
And look at what happened.

513
00:49:56.293 --> 00:49:56.493
Oh.

514
00:49:57.527 --> 00:49:58.095
Don't be scared.

515
00:49:59.229 --> 00:49:59.863
Who is that?

516
00:50:02.899 --> 00:50:03.266
That's you.

517
00:50:03.734 --> 00:50:04.835
Oh, is it?

518
00:50:05.802 --> 00:50:06.770
Then who could that be?

519
00:50:08.672 --> 00:50:09.473
That's me.

520
00:50:09.873 --> 00:50:10.140
Oh!

521
00:50:10.774 --> 00:50:11.108
That's so sweet.

522
00:50:11.141 --> 00:50:12.142
What are they doing?

523
00:50:13.210 --> 00:50:15.212
Well, they're, uh, they're hugging.

524
00:50:16.613 --> 00:50:16.947
They're hugging?

525
00:50:17.247 --> 00:50:20.150
They're, uh, they're, uh, they're dancing.

526
00:50:20.484 --> 00:50:21.985
Yeah, they're having a good time.

527
00:50:21.985 --> 00:50:22.252
Yeah.

528
00:50:23.387 --> 00:50:23.954
What have they done?

529
00:50:24.187 --> 00:50:24.888
They're eating.

530
00:50:25.822 --> 00:50:30.027
And, uh, and they just, uh, they died down here.

531
00:50:31.028 --> 00:50:35.232
And then, uh, their spirits go up through that corn.

532
00:50:35.599 --> 00:50:39.669
And then their spirit people up in the clouds,
just riding across the sky.

533
00:50:40.137 --> 00:50:41.705
What an interesting reading, Larry.

534
00:50:43.306 --> 00:50:44.341
Interesting reading.

535
00:50:47.511 --> 00:50:53.884
Actually, Hank, I was just wondering if you knew who
did the, um, the artwork for that series.

536
00:50:54.451 --> 00:50:55.018
Warren. Warren did it?

537
00:50:55.819 --> 00:50:56.119
Cool.

538
00:50:58.822 --> 00:51:02.225
So now there's a short little interview where
Warren speaks about his practice.

539
00:51:03.326 --> 00:51:06.063
Um, yeah.

540
00:51:06.129 --> 00:51:07.931
So to be actually Warren, Warren speaking.

541
00:51:10.767 --> 00:51:11.034
Warren.

542
00:51:11.368 --> 00:51:11.635
Yes.

543
00:51:12.502 --> 00:51:18.141
So I'm going to ask you that question,
um, that James likes to ask.

544
00:51:18.542 --> 00:51:18.809
Okay.

545
00:51:19.509 --> 00:51:21.745
So why do you do what you do?

546
00:51:23.113 --> 00:51:28.652
Well, as, um, it's a translation, for me
it's a translation of Silences.

547
00:51:28.852 --> 00:51:33.824
It's a translation of, well, like, Creona
brass said today on the panel,

548
00:51:34.124 --> 00:51:40.197
it's because she has no other way of, she has no other way
of communicating the things she needs to communicate.

549
00:51:41.264 --> 00:51:46.770
Um, that's one aspect. The other aspect
is, yeah, it's a translate,

550
00:51:47.370 --> 00:51:54.211
it's an attempt to translate things that,
um, haunt me or move me or shape me.

551
00:51:54.711 --> 00:52:01.084
Um, simultaneously I try to grab hold of the things
that most, that I most want to grab hold of.

552
00:52:01.117 --> 00:52:04.955
And also that I've already, always, already
been informing who I am.

553
00:52:05.889 --> 00:52:07.324
So it's getting to know one's self.

554
00:52:08.425 --> 00:52:08.625
Right.

555
00:52:09.659 --> 00:52:15.165
So do you think, where does ritual and ceremony, does that

556
00:52:15.165 --> 00:52:18.502
have something to do with your work
or is that part of your work?

557
00:52:19.102 --> 00:52:25.142
Well, it's not as explicitly as, say, Rionna brass'
or others' work because I've, um,

558
00:52:27.744 --> 00:52:35.018
my practice is different. Um, I've learned
personally that my medium is writing,

559
00:52:35.485 --> 00:52:38.388
and I get to those things that need to be expressed and are

560
00:52:38.388 --> 00:52:40.390
most meaningful to me through writing
rather than performance.

561
00:52:40.624 --> 00:52:42.292
I've done performance and skirted the issue.

562
00:52:42.993 --> 00:52:45.729
The performances at bottom have been
about skirting the issue, like

563
00:52:45.729 --> 00:52:49.166
shaping, preparing the ground in order to actually
do the work that was necessary.

564
00:52:49.833 --> 00:52:56.106
And, um, and that has been for me writing at this time. The
act of writing and the act of communicating on that level.

565
00:52:56.740 --> 00:52:56.973
Right.

566
00:52:58.108 --> 00:53:04.814
So that interview was done at the
2002 Indian Acts Conference.

567
00:53:06.216 --> 00:53:17.494
Um, and now we're going to look at some excerpts
from a performance called Flamingo Killer.

568
00:53:19.129 --> 00:53:26.436
It's a response that Rion had to the infamous and tragic
story of a young man, mental health, poor medications,

569
00:53:26.937 --> 00:53:32.742
and the killing of six Julian Flamingos at the
now-defence Stanley Park Zoo in 1992.

570
00:54:18.121 --> 00:54:21.157
But I don't. Who's fucking cares if it
doesn't what it can't say anyway?

571
00:54:21.157 --> 00:54:24.227
Because I don't give a fuck. I don't
give a fuck. I don't give a...

572
00:54:36.773 --> 00:54:43.480
You know, I've heard a lot about all kinds of shit.

573
00:54:43.813 --> 00:54:45.415
I've heard a lot about lots of stuff.

574
00:54:46.116 --> 00:54:49.619
You know? You know what I'm talking about.

575
00:54:51.788 --> 00:54:54.491
It really doesn't matter to me either way.

576
00:54:55.325 --> 00:54:57.193
It really doesn't matter to me what you think.

577
00:54:58.828 --> 00:55:01.097
What are you doing here anyway?

578
00:55:02.165 --> 00:55:08.638
I want to know. Me and my friends over here, we want
to know what you're doing here next to me.

579
00:55:09.139 --> 00:55:13.510
I wanted to know just what I think I'm about.

580
00:55:15.145 --> 00:55:18.948
I don't give a fuck anyway because I know who sent you.

581
00:55:19.382 --> 00:55:20.450
I know who sent you.

582
00:55:21.217 --> 00:55:25.121
You don't got a look in your eyes like you
really want to get to know me.

583
00:55:25.588 --> 00:55:30.593
You're just putting in the fucking hours,
the time, you got a time sheet,

584
00:55:30.994 --> 00:55:33.763
you got things to do, place to see. You
don't even want to really...

585
00:55:34.130 --> 00:55:39.402
If you really met me, would you want
to have a drink with me?

586
00:55:39.669 --> 00:55:42.872
Huh? I don't think so. I don't fucking think so.

587
00:55:44.274 --> 00:55:46.443
You know why? Because you're a fucking asshole.

588
00:55:47.177 --> 00:55:50.880
And I'm not. You know it? You know it? You know it.

589
00:55:50.880 --> 00:55:52.649
You know it because I'm telling you, so shut the fuck up.

590
00:56:06.996 --> 00:56:17.907
I don't want to do nothing. I don't
give a shit about nothing.

591
00:56:18.641 --> 00:56:19.843
I don't want to do nothing.

592
00:56:34.124 --> 00:56:47.237
Okay, I think we're almost halfway there.

593
00:56:48.171 --> 00:56:51.975
I hope everyone's enjoying the pieces so far.

594
00:56:52.609 --> 00:56:56.446
I know that that was an intense piece
regarding an intense history.

595
00:57:01.117 --> 00:57:06.423
This is the new music event. This is
more recent in history, 2014.

596
00:57:07.757 --> 00:57:13.029
Here Warren collaborates with pianist
and composer Michael Park

597
00:57:13.129 --> 00:57:17.500
and they riff on the idea of red. Enjoy.

598
00:57:18.868 --> 00:57:21.771
Up next we have another world premiere.

599
00:57:22.806 --> 00:57:26.142
And this is Warren Artand and Michael Park.

600
00:57:27.110 --> 00:57:31.848
Me and Warren go back quite a ways. That way, I think.

601
00:57:34.651 --> 00:57:37.487
Almost 30 years ago we went to Spirit
Song Native Theatre together.

602
00:57:37.754 --> 00:57:40.990
It was a theatre program based here in Vancouver.

603
00:57:41.324 --> 00:57:46.830
And so we went to theatre school together and we've been
in contact most of the time over the years.

604
00:57:47.864 --> 00:57:51.668
And actually tonight he accused me
of having a man crush on him.

605
00:57:53.102 --> 00:57:54.771
I'll let him believe that.

606
00:57:56.139 --> 00:57:58.408
And it's only because I'm trying to get at Michael.

607
00:58:00.109 --> 00:58:03.913
Michael Park is a pianist in Vancouver.

608
00:58:04.180 --> 00:58:09.686
He plays with a lot of different ensembles
and is also a composer.

609
00:58:10.787 --> 00:58:12.956
And he works a lot with the Art Song Lab.

610
00:58:14.190 --> 00:58:18.628
And actually Warren has done a lot of writing,
a lot of performance art as well.

611
00:58:18.962 --> 00:58:22.198
And worked a lot with the grunt and
Western Front over the years.

612
00:58:23.132 --> 00:58:26.569
So tonight they're going to premiere a piece called "Red."

613
00:58:27.303 --> 00:58:32.108
And Michael on piano and Warren on words.

614
00:58:32.342 --> 00:58:33.142
On his legs.

615
00:58:35.111 --> 00:58:35.645
Okay.

616
00:58:37.213 --> 00:58:39.849
So here's Warren and Michael.

617
00:58:41.050 --> 00:58:43.653
[applause]

618
00:58:53.129 --> 00:59:01.437
[pause]

619
00:59:01.437 --> 00:59:03.072
Let's get bigger.

620
00:59:06.276 --> 00:59:09.779
[pause]

621
00:59:10.113 --> 00:59:11.948
It's all about the distinct of the story.

622
00:59:13.149 --> 00:59:29.566
[pause]

623
00:59:31.067 --> 00:59:33.670
When I say red, you best believe I mean red, R-E-D.

624
00:59:37.540 --> 00:59:38.775
There is an idea of red.

625
00:59:40.410 --> 00:59:41.411
I'm thinking red.

626
00:59:42.512 --> 00:59:47.016
Red is what I'm thinking. There is an idea. Red.

627
00:59:48.017 --> 00:59:52.422
What I'm doing right now is just thinking red
is in ruffle chord with the idea of red.

628
00:59:53.089 --> 01:00:01.864
I'm thinking is red and that thing, the idea of red, there
are two different things that they do overlap in.

629
01:00:02.131 --> 01:00:09.572
They're limited to the first seven key
ways. A, B, C, D, E, F, G.

630
01:00:10.907 --> 01:00:12.642
I have my idea of red.

631
01:00:14.143 --> 01:00:16.045
I had an idea. As we all did.

632
01:00:16.045 --> 01:00:19.949
I want all of my piano students to learn their
name at their very first lesson.

633
01:00:21.150 --> 01:00:24.954
Something so simple as learning a few
notes to reference the keyboard.

634
01:00:25.355 --> 01:00:26.255
A name like Abe.

635
01:00:27.123 --> 01:00:30.426
A, E, B. Sorry, I can't spell.

636
01:00:31.127 --> 01:00:32.528
A, B, E.

637
01:00:33.262 --> 01:00:44.474
It becomes a way to teach chords, to teach arpeggiation,
to teach voicing, and orchestration.

638
01:00:44.807 --> 01:00:49.545
So I have my idea of red. As we all do, we
take these things to be self-evident.

639
01:00:54.117 --> 01:00:58.221
And as we all do, I have an idea of
red. I therefore don't have

640
01:00:58.221 --> 01:01:02.091
an idea of red. My idea of red is
I don't have an idea of red.

641
01:01:06.295 --> 01:01:08.331
I wish all my students' names were as easy as Abe.

642
01:01:10.133 --> 01:01:10.533
Or Deb.

643
01:01:11.134 --> 01:01:17.040
All of our respective ideas are happening at the same
time and therefore not red in that way.

644
01:01:18.374 --> 01:01:18.641
So.

645
01:01:21.110 --> 01:01:21.511
Deb.

646
01:01:22.111 --> 01:01:24.213
I think I can do it this way. I think I can do it this way.

647
01:01:24.614 --> 01:01:26.816
I think I can do it this way.

648
01:01:26.816 --> 01:01:33.856
And so my performance, my thinking red, is relying
so very much on how red is in that way.

649
01:01:33.856 --> 01:01:34.057
Right?

650
01:01:38.127 --> 01:01:38.461
Deb.

651
01:01:42.598 --> 01:01:43.733
Consider the red of the bass.

652
01:01:43.733 --> 01:01:46.903
German composers were able to justify
a few extra letters like that B.

653
01:01:47.603 --> 01:01:48.538
The marmoset.

654
01:01:48.805 --> 01:01:49.005
They called H.

655
01:01:50.106 --> 01:01:51.307
The red of the mantis shrimp.

656
01:01:51.974 --> 01:01:53.876
Because B was already taken.

657
01:01:53.876 --> 01:01:55.244
It was the red of the sugarbeet.

658
01:01:56.279 --> 01:01:57.213
The red of the loon.

659
01:01:57.847 --> 01:01:58.815
The red of the baboon.

660
01:01:59.282 --> 01:02:02.285
Deb's name sounds so different after
her first German piano lesson.

661
01:02:03.619 --> 01:02:04.987
D, E, B.

662
01:02:04.987 --> 01:02:06.789
The red of the marmoset.

663
01:02:07.890 --> 01:02:08.091
Well.

664
01:02:09.592 --> 01:02:11.928
Not so much the marmoset. Not so
much the red of the baboon.

665
01:02:13.129 --> 01:02:15.098
And also the whales. Not so much the red of the whales.

666
01:02:15.131 --> 01:02:19.502
But they have their respective reds.

667
01:02:19.502 --> 01:02:22.171
I mean it's obvious to us if you just
look at them as the beakers

668
01:02:22.171 --> 01:02:24.507
on their breasts, on their breasts,
on their chest, on their eyes.

669
01:02:25.007 --> 01:02:26.075
They have a red of their own.

670
01:02:27.710 --> 01:02:29.045
Some version of red.

671
01:02:30.012 --> 01:02:31.114
A red of their own.

672
01:02:32.215 --> 01:02:34.851
And so the question is what is the extent of that red?

673
01:02:35.084 --> 01:02:37.854
Is it also concerned with that overlapping?

674
01:02:38.254 --> 01:02:42.091
That concern of like the object of, that their
observation of making of the red,

675
01:02:42.125 --> 01:02:44.594
that is also maybe the performance of red in the...

676
01:02:44.660 --> 01:02:46.596
D, E, B. I like that better.

677
01:02:48.898 --> 01:02:53.369
Bach, he didn't care. He just needed those four letters.

678
01:02:54.370 --> 01:02:59.242
B, A, C, H.

679
01:03:01.711 --> 01:03:02.712
He added H at the end.

680
01:03:05.481 --> 01:03:09.819
B, A, C, H.

681
01:03:11.154 --> 01:03:12.155
Consider the decoy.

682
01:03:15.124 --> 01:03:17.193
The way it anticipates the red.

683
01:03:18.127 --> 01:03:20.530
The thinking red of another being of something else.

684
01:03:22.131 --> 01:03:27.470
It's built in that the decoy, the logic of the decoy
requires that something else happen.

685
01:03:27.470 --> 01:03:30.072
That it be thinking red. Otherwise...

686
01:03:31.641 --> 01:03:33.976
It looks like desire because one body attracts another.

687
01:03:33.976 --> 01:03:38.114
That there's a decoy. The other being is the thing
that has the red that's making it.

688
01:03:38.147 --> 01:03:39.849
It looks like desire, maybe that's...

689
01:03:42.051 --> 01:03:46.422
Wait, no, no. Other controllers were actually,
you know, they needed a few more letters,

690
01:03:46.422 --> 01:03:48.991
but really was only one. The letter S.

691
01:03:50.326 --> 01:03:50.626
E flat.

692
01:03:51.661 --> 01:03:56.732
So the decoy demonstrates that it just makes it can
anticipate the thinking red of another being.

693
01:03:57.433 --> 01:03:59.101
And we still don't know the extent of that.

694
01:03:59.101 --> 01:04:01.470
The dawn of that is S on E flat.

695
01:04:02.572 --> 01:04:06.108
What happens is, what's the limit of that new name is...

696
01:04:06.108 --> 01:04:07.043
M.

697
01:04:07.043 --> 01:04:10.446
...to be expressed on a first of blood and feathers.

698
01:04:11.247 --> 01:04:18.454
He just created his own identity with S, C, H, A.

699
01:04:20.323 --> 01:04:22.325
See the extent of mine, red. The extent of your red.

700
01:04:22.758 --> 01:04:23.926
I can't know what your red is.

701
01:04:25.895 --> 01:04:30.032
Except that I know or feel or believe or
trust in that there's a red...

702
01:04:32.535 --> 01:04:32.969
...between us.

703
01:04:36.138 --> 01:04:46.449
[piano music]

704
01:04:47.116 --> 01:04:51.053
An old man walks in a pass-a-thon. Well, it's
not quite correct to say an old man,

705
01:04:51.287 --> 01:04:57.727
because, you know, an old as a modifier is so general, so
nonspecific, it really doesn't nail the thing down.

706
01:04:57.927 --> 01:05:04.867
I mean, this man walked into the bar and he obviously got
there, having gone through things, that he was modified.

707
01:05:05.134 --> 01:05:08.337
[laughter]

708
01:05:09.105 --> 01:05:14.343
He had, I think, an arthritis because he had a
restricted mobility in all his joints.

709
01:05:14.610 --> 01:05:18.080
His knuckles, his wrists, his elbows. He
didn't have full major motion.

710
01:05:18.381 --> 01:05:21.951
He had kind of a crusty tin man kind of
way of walking through the bar.

711
01:05:22.385 --> 01:05:26.455
Very stiff. Not very tall, but five
to seven. His hair was a pump.

712
01:05:26.689 --> 01:05:29.191
Like, even combing it, since he was a kid, probably.

713
01:05:29.191 --> 01:05:31.027
It was kind of more flat, more gray, thinner.

714
01:05:32.128 --> 01:05:35.498
Catboy style shirt, waist, high melted waist.

715
01:05:35.998 --> 01:05:37.867
Up here, up there.

716
01:05:38.334 --> 01:05:42.004
If he had one more white hole in his belt,
he would have gone that much further.

717
01:05:42.004 --> 01:05:43.873
As the hobos say, he was developed.

718
01:05:46.042 --> 01:05:51.414
He had one patch over his one eye, and he was busy walking
through the bar, and counting has changed.

719
01:05:51.847 --> 01:05:53.783
That was his mission, that was his daily job.

720
01:05:53.783 --> 01:06:00.022
I guess I could tell he was his daily job, because, you know,
I think he had given up on the idea of being surprised,

721
01:06:00.122 --> 01:06:06.062
having a new love, a new life, a new thing.
He had given up on the idea.

722
01:06:06.295 --> 01:06:11.901
He had, I don't know how to say it, was he forgotten,
was he abandoned, did he just give up?

723
01:06:11.901 --> 01:06:13.169
We don't know. He kind of knows.

724
01:06:13.803 --> 01:06:18.774
Our corn forgetful, he just gave up on the mold,
and I could tell that he didn't know.

725
01:06:19.008 --> 01:06:24.113
But still, he had fallen in love with people all the time,
in funny little ways, and I fell in love with this guy.

726
01:06:24.146 --> 01:06:31.487
I kind of wanted to cast him in waiting
for Godot, you know.

727
01:06:31.687 --> 01:06:40.696
Just kind of lure him into a rehearsal hall, you know, promise
him different things, sit him down, you know, have that

728
01:06:40.696 --> 01:06:47.737
daily inspiration, those daily failures, those daily
successes, just the joy and pain and horror.

729
01:06:48.104 --> 01:06:52.942
So, yes, first day of rehearsal, I give him
some pages, and he looks at the

730
01:06:52.942 --> 01:06:58.447
beauty of him, reacting to his wonder, and I
look at those pages, and we're waiting.

731
01:06:59.315 --> 01:07:01.217
And it's the first day of rehearsal, we're waiting.

732
01:07:06.122 --> 01:07:08.524
What the fuck in hell is this, my shit?

733
01:07:09.525 --> 01:07:10.593
It's E.D.

734
01:07:11.727 --> 01:07:13.162
E.D.

735
01:07:15.131 --> 01:07:16.565
But where's R?

736
01:07:19.502 --> 01:07:21.404
Where in the fuck is R?

737
01:07:23.973 --> 01:07:24.173
Okay.

738
01:07:25.474 --> 01:07:32.048
What if everything we've done, everything
that came before, is R?

739
01:07:32.581 --> 01:07:34.183
I take that as a rhetorical question.

740
01:07:36.118 --> 01:07:36.719
Well, it was.

741
01:07:39.121 --> 01:07:43.626
You best believe that when I say red, I need an R.E.D.

742
01:07:44.894 --> 01:07:45.094
Red.

743
01:07:46.128 --> 01:07:51.967
But, Michael, there is a consideration
that I'm being performed by red,

744
01:07:51.967 --> 01:07:57.006
that you are being performed by red, that
red in itself is named for a...

745
01:07:58.107 --> 01:08:03.979
...beneficient sort of fungus, that's for, that has taken over
our central nervous system, that has driven us to this

746
01:08:03.979 --> 01:08:08.184
spot, to, you know, reproduce in the sunlight and heat and

747
01:08:08.184 --> 01:08:11.454
breadth of this audience that's, you
know, we're agents for this.

748
01:08:12.321 --> 01:08:14.890
Shh, that was really funny.

749
01:08:16.292 --> 01:08:16.992
Okay, why not?

750
01:08:17.326 --> 01:08:19.195
We start at the beginning of the alphabet and work all the

751
01:08:19.195 --> 01:08:25.100
way through A, B, C, D, E, F, G, H,
I, J, K, L, M, N, O, B, Q.

752
01:08:26.135 --> 01:08:27.169
But why not?

753
01:08:27.169 --> 01:08:28.337
R is D.

754
01:08:28.337 --> 01:08:31.173
Red, I mean, it does so many more things
that I can conceive of.

755
01:08:31.173 --> 01:08:32.708
R, E, D.

756
01:08:32.708 --> 01:08:33.876
You might not have it, do you not?

757
01:08:34.109 --> 01:08:34.210
Red.

758
01:08:34.910 --> 01:08:35.177
D.

759
01:08:36.145 --> 01:08:37.613
E, D.

760
01:08:40.282 --> 01:08:41.484
Well, how can you even call it my red?

761
01:08:42.184 --> 01:08:43.953
It seems to be a super-soungest question.

762
01:08:44.487 --> 01:08:46.422
R is D.

763
01:08:48.123 --> 01:08:50.759
I don't know what my red does to you.

764
01:08:50.759 --> 01:08:54.663
But I do know that maybe we have a red between us.

765
01:08:55.131 --> 01:08:56.065
D.

766
01:08:56.065 --> 01:08:56.832
That's kind of a red.

767
01:08:57.533 --> 01:08:59.335
An hour red, hour red.

768
01:09:00.636 --> 01:09:00.936
Red.

769
01:09:01.470 --> 01:09:01.670
What?

770
01:09:02.371 --> 01:09:03.973
But what does our red do to them?

771
01:09:04.540 --> 01:09:06.242
Is dead.

772
01:09:13.382 --> 01:09:13.549
Red.

773
01:09:25.127 --> 01:09:36.972
[applause]

774
01:09:37.706 --> 01:09:42.578
And neolativism has not changed since 25 years ago?

775
01:09:45.381 --> 01:09:49.785
It's, yeah, like I said, it was a problematic
term at that time.

776
01:09:50.586 --> 01:09:51.754
Yes, it was a nice term.

777
01:09:53.255 --> 01:09:57.126
And we had different views on what
things were at that time.

778
01:09:57.393 --> 01:10:01.597
But, you know, it was used in other
performances, other exhibits.

779
01:10:02.164 --> 01:10:08.270
The Pit Gallery, I know Dan Clackston used it,
and some other artists back in the 90s,

780
01:10:08.270 --> 01:10:09.438
but it sort of ended there.

781
01:10:11.106 --> 01:10:17.913
I mean, I think neolativism as a term is
kind of like surrealism or futurism

782
01:10:18.113 --> 01:10:25.054
so far, is that it suggests that we've managed
to somehow combine our best politics

783
01:10:25.054 --> 01:10:29.992
and our best art making some wonderful,
really productive cleansing.

784
01:10:30.492 --> 01:10:31.427
Everybody gets it.

785
01:10:31.727 --> 01:10:35.130
We make it in the future in front of you right
now kind of thing, but not really.

786
01:10:37.800 --> 01:10:37.833
[laughter]

787
01:10:37.833 --> 01:10:41.770
And what it also does is it names a desire.

788
01:10:42.171 --> 01:10:45.207
And for me, it makes an ethical limit.

789
01:10:46.108 --> 01:10:50.446
I think that I would like it to be, I can only get it
so far, and it then becomes a community event,

790
01:10:50.446 --> 01:10:54.316
but it's still an ethical position that
I have to take that to claim

791
01:10:55.117 --> 01:10:58.621
and name for myself using high-stakes as much as I suppose.

792
01:11:00.422 --> 01:11:00.789
[laughter]

793
01:11:04.126 --> 01:11:07.129
So that's pretty much the word.

794
01:11:07.262 --> 01:11:13.802
That's an example of D-Warn's expensive practice.

795
01:11:15.137 --> 01:11:19.208
The next piece is a very special piece that I found

796
01:11:20.109 --> 01:11:26.215
and I saw while looking at the archives
with Dan at the grant.

797
01:11:28.684 --> 01:11:31.287
It's from the 2002 Indian Acts Conference,

798
01:11:32.121 --> 01:11:35.090
which was a big gathering of indigenous performance art,

799
01:11:36.125 --> 01:11:39.628
and there was a lot of esteemed artists there.

800
01:11:41.130 --> 01:11:49.405
So in the back library room, there is
an exhibit in a covered place

801
01:11:49.405 --> 01:11:59.615
with some paper documents and archives, mostly
related to the Neo-Nativist group.

802
01:12:01.116 --> 01:12:04.620
There's a review of the days without seeing.

803
01:12:05.487 --> 01:12:11.327
In the front magazine, there's also a really
beautiful poem that Warren wrote.

804
01:12:15.597 --> 01:12:18.467
So don't forget to have a look at that.

805
01:12:19.802 --> 01:12:24.740
And please, please have some more bannock and tea

806
01:12:25.107 --> 01:12:29.545
and just have a look at this last performance.

807
01:12:31.513 --> 01:12:35.484
There are a few people who have passed on since

808
01:12:36.118 --> 01:12:43.559
and I think it's a really special moment that
was captured and documentation.

809
01:12:46.128 --> 01:12:47.963
Yeah, I'll leave it at that.

810
01:12:51.734 --> 01:12:51.834
[laughter]

811
01:12:55.704 --> 01:13:01.310
So we're going back and we're starting off
with James Luna, Warren Arkhand.

812
01:13:02.144 --> 01:13:07.049
I'm not exactly sure it has to do with
guitars and this and that.

813
01:13:09.351 --> 01:13:12.154
[applause]

814
01:13:21.430 --> 01:13:23.966
Well hello ladies and gentlemen, it's
so good to be here tonight.

815
01:13:24.967 --> 01:13:31.140
Me and Warren man here, we stopped off near to Las Vegas

816
01:13:31.140 --> 01:13:35.043
where we're playing a two week gig at the desert inn.

817
01:13:38.313 --> 01:13:41.683
We've been going through several phases of war.

818
01:13:43.552 --> 01:13:46.255
We were the dry-keek Delta Blues Band at one time.

819
01:13:49.124 --> 01:13:55.063
And now we just simply call ourselves
the Arkhand Sound Explosion.

820
01:13:55.631 --> 01:13:56.532
Yeah! Yeah!

821
01:13:58.634 --> 01:14:00.803
[applause]

822
01:14:03.105 --> 01:14:05.908
Well, someone stole our guitars.

823
01:14:07.810 --> 01:14:09.812
[laughter]

824
01:14:10.112 --> 01:14:11.146
I have your pitch.

825
01:14:13.182 --> 01:14:14.349
Excuse me.

826
01:14:15.117 --> 01:14:18.053
[laughter]

827
01:14:18.654 --> 01:14:22.024
But an Indian survives, yeah, we may
do with what we got, eh?

828
01:14:23.225 --> 01:14:23.525
[laughter]

829
01:14:23.525 --> 01:14:31.533
And I got my man here, Warren.

830
01:14:33.101 --> 01:14:34.336
I got my rattle.

831
01:14:37.406 --> 01:14:38.640
[laughter]

832
01:14:38.640 --> 01:14:40.742
A little fang for you right now. Yeah!

833
01:14:43.145 --> 01:14:48.183
Now here, you take a little deep breath here, we're going
to start with a little California thing so I can...

834
01:14:48.884 --> 01:14:50.619
[laughter]

835
01:15:12.140 --> 01:15:23.519
[singing]

836
01:15:23.519 --> 01:15:28.857
[laughter]

837
01:15:28.857 --> 01:15:31.627
[singing]

838
01:15:31.627 --> 01:15:33.095
[laughter]

839
01:15:33.128 --> 01:15:44.806
[singing]

840
01:15:44.806 --> 01:15:50.512
[applause]

841
01:15:59.121 --> 01:16:04.726
[laughter]

842
01:16:04.726 --> 01:16:12.834
[singing]

843
01:16:19.107 --> 01:16:20.042
You are allowed to move!

844
01:16:24.112 --> 01:16:25.347
You are allowed!

845
01:16:26.014 --> 01:16:33.088
[singing]

846
01:16:33.121 --> 01:16:33.855
Yeah!

847
01:16:37.392 --> 01:16:39.795
[singing]

848
01:16:39.795 --> 01:16:42.297
It's a piece back here with Warren.

849
01:16:44.132 --> 01:16:45.233
Yeah!

850
01:16:47.102 --> 01:17:00.248
[singing]

851
01:17:00.248 --> 01:17:00.716
Hey!

852
01:17:01.817 --> 01:17:03.251
Now I'm going to need your hat right there.

853
01:17:04.252 --> 01:17:06.488
[singing]

854
01:17:08.123 --> 01:17:09.625
My cousin Butch.

855
01:17:10.125 --> 01:17:13.428
Oh, Butch, you got it from Re-Tom Reddick.

856
01:17:13.662 --> 01:17:13.962
There they are.

857
01:17:16.298 --> 01:17:16.932
[singing]

858
01:17:18.133 --> 01:17:21.303
And Butch here, he started something that caught on.

859
01:17:21.703 --> 01:17:21.903
Yeah!

860
01:17:23.205 --> 01:17:25.707
This is what the Butch Band says.

861
01:17:27.275 --> 01:17:28.443
I said take Butch!

862
01:17:29.911 --> 01:17:30.746
Water and hell in there.

863
01:17:32.114 --> 01:17:33.281
And Butch said...