Bienvenue à Montréal: Where Jazz Music Takes Centre Stage

Montréal’s decision to step away from FIFA World Cup hosting reflected something deeper: a fierce commitment to protecting its cultural rhythm, civic values, and the world-renowned jazz festival that has helped define the city.

On June 18^th, 2026, Canada blew Qatar out of the water in Vancouver, BC, with a 6-0 win at the FIFA (Fédération Internationale de Football Association) games. The streets were literally red and white with fans cheering for Canada or Qatar. Both flags bear the same colours. Even though it was a lively event, not all Canadians agree with FIFA’s principles for hosting these games. Montreal was originally on the roster as one of the three cities to host the 2026 games. North America won the right to host back in 2021, but soon after, Montreal declined, citing economic issues.

Montréal Says Non

Recent investigative reports by Radio-Canada’s Enquête said it wasn’t only declining due to funding issues. A bigger picture revealed, a more insidious stranglehold that the governing body puts on all host countries and their receiving cities. *Read the specific details outlined in the resource cited at the end. Montreal’s citizens, plus its thriving tourism and event industry, would pay a huge price for hosting the FIFA World Cup. Like all other host countries, event blackouts plus curtailed facility usage for almost two full years before the games were mandatory. For Montreal, what that amounted to was restricting the functionality of the F1’s Canadian Grand Prix and the International Jazz Festival. The 2021 Tourism Minister, Caroline Proulx, said, “All of these requirements were totally ridiculous.” So, she put a halt to their inclusion in the proposal.

A Festival Worth Protecting

The Festival International de Jazz de Montréal has become one of the most renowned Jazz Festivals, pushing the Montreux Jazz Festival to second place. While it has been going since 1980, in 2004, the Guinness Book of World Records deemed it the largest Jazz Music Festival globally. Even though FIFA and the Montreal Jazz Fest feature the world as their stage, the festival has become an institution. Cancelling it to hold a one-off event like the FIFA World Cup couldn’t even be considered. In its 46-year history, there was only one time before that it was cancelled. That was back in 2020 during the COVID Pandemic. The festival shuttered its doors as did most of the world. But it resumed in 2021, postponing until autumn when temperatures were safer for outdoor events.

The World’s Biggest Jazz Stage

Each year, the festival offers 650 concerts where 3000 artists from 30 different countries play over 10 days. For purveyors of the festival, two-thirds of those concerts are free. The event has grown in ideas, artists represented, and overall festival experience. The city closes off its Quartier Des Spectacles so pedestrians can roam freely while enjoying the music. This reputation and organization didn’t just take place overnight, though. It began with a highly motivated and experienced group of individuals.

How It All Began

Alain Simard, a Montreal-born businessman/producer/promoter, was booking renowned artists such as Chuck Berry, Dave Brubeck, Chick Corea, Bo Diddley, John Lee Hooker, and Muddy Waters while working with Productions Kosmos. In 1977, he branched off to join forces with André Ménard and Denyse McCann. They founded L’Équipe Spectra. Soon afterwards, with the help of funding from CBC’s Alain de Grosbois, the team brought together the first Montreal Jazz Festival on May 10th, 1980. That year, Gary Burton, Ray Charles, Chick Corea, and Vic Vogel were top bill with an attendance of 12,000. Now in 2025, the estimated numbers are over 1 million, possibly closer to 1.2 million. I wonder if they ever imagined this success.

My First Montréal Jazz Fest

For myself, I’ve travelled to Quebec often. However, 2011 was my first experience with the Montreal International Jazz Festival. Robert Plant, Prince, The B’52’s, and Diana Krall were the headliners for that year. Yet, it was the event that drew me, not the names. For a large part of my adult life, I’ve participated in jazz festivals either as a visitor or a volunteer. From 2008 to 2010, I volunteered at Vancouver’s International Jazz Festival. I was usually stationed at David Lam Park or the Vancouver Art Gallery, where many of the free concerts were hosted. The event is always highly anticipated, and the lineup of artists is long. At the time, it seemed accessible and well organized.

However, after going to Montreal’s event, I recognized how much more Vancouver’s Jazz Festival needed to grow and learn. Montreal’s festival seemed seamless in its organization and city-wide support. They offered discounted public transit, there were a plethora of volunteers, and their ecological and social initiatives were constantly evolving. For example, in 2024, it was calculated that 85% of festival-goers used sustainable transport to arrive at the site. In addition, they feature a volunteer team called “La Brigade Verte” to educate concertgoers on sorting practices. I recall they did this with ease and a smile.

Eco-Friendly Festival Guide

This year will be my first time back since 2011, and I am excited to see how much things have changed. I am also looking forward to seeing and hearing the newer artists I’ve been listening to over the last few years. A few of my top picks are locals like Montreal’s Patrick Watson, while others are from global hot spots like Paris’ Ibraham Maalouf, London’s Kokoroko, and Los Angeles’ Kamasi Washington. However, the list of other possibilities is long, but so are summer days.

When Culture Wins

All in all, Montreal is still one of Canada’s most treasured cities for its culture, events and ability to stand by its values. It seems that standing on a platform that upholds the public’s interest as non-negotiable has become rare. But saying “non” is part of the vernacular for people steeped in the roots of France mixed with the Indigenous peoples of this land. One more reason, I said “oui” when considering my trip there.

Stay tuned for upcoming surprise interviews.

To find out more about FIFA’s history and criteria: https://www.britannica.com/topic/Federation-Internationale-de-Football-Association

May 16, 2026June 21, 2026

Miles Davis: Driven by Change, Defined by Innovation

On May 26, 2026, the jazz world celebrates what would have been Miles Davis’ 100th birthday. Though he passed at the age of 65, his influence continues to shape musicians and reform listeners. Davis transformed not only how the trumpet is played, but also how artists approach music itself. He had a unique ability to take existing ideas and reshape them into something entirely new. For him, there were no mistakes—only opportunities to reimagine sound.

Express Newspaper – Archive Photos/Getty Images

NEWEST: INTERVIEW with FEVEN KIDANE

NEW: INTERVIEW with ROBIN MANSANTI

The Birth of a New Sound

For me, “Kind of Blue” was one of my favorites as it was for millions of others. Rightfully so, the album led by Davis featured “saxophonists John Coltrane and Julian “Cannonball” Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly”. It was improvisationally recorded in a New York studio in two days, then released on August 17^th, 1959. A true piece of dynamite production by a tight team of creators. In 2019, it became the best-selling jazz album of all time.

Los Angeles Times photo illustration; photos by Michael Ochs Archives/Getty Images, David Redfern/Redferns

Miles Davis as Revisionist

Saxophonist Jimmy Heath reminisces in the 2022 Documentary “Round Miles”. saying, “Miles was a Gemini, so he constantly needed change.” Yes, Davis desired a unique type of growth. It wasn’t about tweaking his instruments’ sound or style as much as it was about reinventing them both. Some have said that Davis was like Picasso as an artist/musician. He went through a variety of stylistic shifts, starting with bebop to cool jazz, modal jazz, avant-garde jazz, electronic fusion, jazz rock, and even hip-hop.

A musician’s musician, he thrived on improvising and sculpting his sound within band collaborations. Surely, one of the reasons “Kind of Blue” was such a tight album. When playing with Davis, Heath heard him say “now that’s good fitim’s”. He coined this phrase, which meant “licks that fit on any chord”. To this point, “Kind of Blue” bridged into a new jazz sound called “modal jazz,” shifting away from bebop’s rapid chord progressions. The album was the first to root its sound based on scales (or modes) versus chord progressions. Davis, a true innovator, strived to do something new.

Paris and the Creative Expansion

In 1958, he took a trip to Paris. During his stay, he wrote the soundtrack for “Ascenseur pour L’echafaud” (Elevator to the Gallows). Given full artistic freedom by the director, Louis Malle, Davis decided to improvise the soundtrack with his band. Standing in front of the film as it played, he created the music. Since the film is a crime thriller, the tracks embody a sultry, dark moodiness. The whole experience gave Davis renewed vigor in his approach to making music. When he returned to New York, “Kind of Blue” was born.

A Turning Point

However, life for the musician was about to change. After the release of the 1959 album, Davis ended up in a brutal confrontation with the police. Davis was playing at NYC’s Birdland Club one evening. He went upstairs to have a cigarette. While outside smoking, an officer approached him and told him to put out his cigarette. Not complying, the officer started to beat Davis with his Billy stick. Other officers soon arrived on the scene. From a 1959 news article, a witness stated, “It was the most brutal thing they had seen.” It shook Davis to his core. His wife, Frances Taylor, said when she arrived, “he had the fears in him.” Bassist Marcus Miller, a 1980’s collaborator, said he still talked of it.

Miles Davis – Assaulted by Police (from The Miles Davis Story) Published on the Miles Davis YouTube channel

Despite this setback, Davis continued pushing musical boundaries. His collaboration with Gil Evans on Sketches of Spain further demonstrated his artistic vision. Throughout his career, he focused on restraint as much as expression, often emphasizing the importance of the space between the notes. As Davis famously said, “I always listen for what I can leave out.” A classic example of these openings is heard in the track “So What” from Kind of Blue. Trumpeter Melissa Aldana points out that Miles “set the tone for modern jazz by creating such a sense of space”.

Breaking Boundaries: The Birth of Jazz Fusion

Making room between the notes also gave room for his collaborators. Fellow musicians said Davis would open up space so they could walk in. His work often brought out the best in people. He had a knack for finding and guiding unknowns who later became leaders in their genres. In the late 60s and early 70s, he started working with Herbie Hancock, John McLaughlin, and Chick Corea. When asked to play an electronic keyboard during a studio recording, Hancock initially resisted. However, it was a request that later shaped Hancock’s career.

During this era, “Bitches Brew” was recorded in August 1969 and released in April 1970. This was the birth of Jazz Rock. While it appalled jazz purists, Davis’ motivation grew. It was the beginning of another stage for the musical genius. It was regarded as the “Big Bang of Jazz Rock”; the album soon became a touchstone for other genres of music, too. Similarly, most of the collaborating musicians became founding fathers in their fields. In the end, the release won a Grammy for best large jazz ensemble and gave Davis his first gold record.

Years later, with the final releases of the experimental jazz rock period, Agharta (1975), Pangaea (1976), and Dark Magus (1977), he took a step back. Again, Davis became plagued by drug use. It was most likely brought on by a car accident and the era itself. In 1972, he broke both ankles and started using cocaine and pharmaceuticals to manage the pain. By 1975, he started to burn out. When he stepped back for the next five years, he sank even further down. This era was possibly one of the darkest periods of his life.

A Lasting Legacy

Once the 80’s rolled around, Davis felt stronger and ready to begin again. This time he worked with a leaner sense of playing. Still collaborating with his producer, Teo Macero, of the jazz-rock days, he released “The Man with the Horn”. It was a wobbly start, but he worked with a young bassist, Marcus Miller. Years later, Miller approached him with a demo arrangement named “Tutu.” The album with the same name was released in 1986. Outside of Davis’s trumpet, it was a clean, studio-based, layered album with overdubbed instruments.

Miller, fresh at album arrangements, felt intimidated to be directing Davis. After Davis’s insistence, the young musician started giving feedback. Miller points out that the title track layered past tracks of Davis’ sound, at the same time, naming it after Archbishop Desmond Tutu. It was a song of its time, a homage to the African diaspora. This production brought a new breath of life back into Davis, and his following album releases found him exploring once more.

Tutu Album composed and arranged by Marcus Miller

All in all, the innovations and contributions of Miles Davis not only redefined Jazz but also helped shape other genres of music. He was a musician who was born of change and thrived in it. He was an artist who had a desire for growth and a limitless drive to learn. In the end, the forever student became the master.

See Changemaker’s upcoming interviews pay homage to this master. We will be talking to two phenomenal young jazz trumpeters, Robin Mansanti (Paris, France) and Feven Kidane (Vancouver, Canada). They will tell us how Miles Davis has contributed to their genre as well as other topics.

REFERENCES:

Round Miles Documentary

Artists Who Changed Music: Miles Davis

The Guardian – 100 Years of Miles Davis

Unlimited Miles: Celebrating 100 Years of Miles Davis

5 Surprising Facts About Miles Davis’ Kind of Blue.’

“So What” – Song Analysis

Wikipedia on Miles Davis

April 15, 2026May 17, 2026

Sustainable Fashion in 2026: The Rise of Circular Textiles and Slow Fashion

What a UBC runway and new legislation in France tell us about fashion’s next era.

Brianna Klassen Design Image by Bellabroughphoto

NEW!!! Interview with Reggie Harrold, Indigenous Fashion Designer

Interview with Brianna Klassen (MEND) HERE

Back in June 2011, a fashion exhibit was taking place at the Montreal Biosphere. The biosphere is the only geodesic dome in Canada that Buckminster Fuller designed. It was created with attention to efficiency and efficacy in material design. All exhibits in and around the structure echoed the global pursuit of sustainability.

The student-based fashion exhibit inside used repurposed materials in its design. To introduce the space, a tall cylindrical tube containing shoes from landfills was displayed. It was a reminder of the current consumption habits adopted during the 20th century. Walking along the hall and into separate rooms, student designers had repurposed materials from cars to Ginseng tea cans. Even though the designs were creations of art versus function, they were still impressive. The ability of the creators to think beyond patterns and threads to engineer a piece of clothing inspired us.

Slow Fashion: A Solution in the Making

Fast forward to February 2026, a similar show and exhibit donned the doorsteps of the University of British Columbia (UBC). The “Slow Fashion Show” and addendum exhibit at the Hatch Gallery was hosted by the University’s research department. The works were a collaboration of fibre-based artists, designers, and engineers within the Slow Fashion: Circular Textiles, Sustainable Fibre Research Cluster and beyond.

The slow fashion cluster program took shape in 2024 under the guidance of Germaine Koh, a 2023 Governor General’s Award winner in Visual and Media Arts. UBC has been taking a proactive stance on the environment for years. Starting in the mid-to-late 90’s, they were working towards the greening of the university. In 1998, it became Canada’s first campus to have a sustainability office. Then, in 2000, the SEEDS Sustainability program was initiated. Another first of its kind in Western Canada. SEEDS and non-academic partners are working with the Slow Fashion Research Cluster to come to long-term solutions for clothing design.

The University takes pride in its location on the traditional and unceded territories of the hən̓q̓əmin̓əm̓-speaking xʷməθkʷəy̓əm (Musqueam people). To celebrate and acknowledge this gift, the fashion show took place on campus at the Museum of Anthropology. During the show, the models walked amongst hundreds of viewers and mile-high totems down a red carpeted runway. The whole event produced a traditional Indigenous long house meets 21st-century multigendered and cultured vibe. It truly was a show that echoed the times we live in.

Video shot by SSodagirl on Instagram

Couture, Reimagined

Many of the designs were not only art but also function. The un-gendered ball gown made from repurposed hoodies was one of these pieces. Created by Brianna Klassen, she establishes that it exhibits a “Victorian-era” flair, utilizing contemporary materials. Klassen, one of the winning finalists in this category, was also featured in Victoria’s Eco Fashion Show 2024. See this in the 2nd video interview with Cyd Eva at SeeChangemakers.

In the ceremonial category, a traditional statement piece took the form of an Indigenous Jingle Dress with a matching headdress made from recycled drink coasters. Designer Reggie Harrold, UBC MFA alumna, utilized old beer coasters intermingled with jewels and ribbon. The materials were sourced from leftovers of her partner’s restaurant that had been sold. Another of Harrold’s designs was a sinew dress. Read more about it here.

Images Courtesy of Reggie Harrold & aleah_kippan

In the coming couple of weeks, SeeChangemakers will be interviewing Brianna Klassen and Reggie Harrold about their perspectives on Slow Fashion.

During the show, there were so many incredible designs and approaches to what couture can look like from a slow fashion perspective. As Germain Koh mentioned when asked about “what this program is trying to accomplish?” She points out that…

“To try to arrive at a more sustainable version of fashion is simply to slow down all of those processes — slow down the processes of consumption, slow down the processes of production and make them more localized to the places where the clothing is actually used.”

Other Global Perspectives on Slow Fashion

Slow fashion, sustainable fashion, and ethical choices in fashion; these phrases all boil down to one thing: the consumption habits of fashion.

In June of 2025, France took a proactive legislative initiative to establish a Fast Fashion Bill. Within the Bill, penalties run from 5 Euros up to 100,000 Euros depending on the infraction. For example, for ultra-fast fashion production, a 5 Euro tax will be imposed on each item. This will be increased to 10 Euros in 2030. The taxes are reflective of the items’ “eco score,” which is based on environmental impacts like water use, carbon emissions, and recyclability.

This shake-up has not only affected external ultra fashion players like Shien and Temu but also social media influencers. Here is an outline of how Influencers will be affected:

– Ads or sponsored posts for ultra-fast fashion brands are banned
– Fines up to €100,000 apply for any violations
– Influencer hauls and affiliate links to such brands are not allowed

The bill hasn’t been the first step taken by France on the Eco Fashion stage. It was one part of a focus on the guidelines outlined in the European Green Deal initiative from back in 2019. In 2020, Emmanuel Macron also signed a Fashion Pact with various other eco-fashion supporters. Read more about this in SeeChangemakers article from October 2020. Additionally, the article outlines some pre-COVID stats on the Environmental impacts of the Fashion industry. Plus, there is a wonderful interview with Stella McCartney, a fashion leader in the sustainable fashion world.

Stepping Forward to a Slow Fashion Movement

So much has changed in a short time. However, things need to keep moving faster for this to make a surmountable difference. In June 2025, a Forbes article points out that France has taken a huge legislative initiative, but the rest of the world needs to climb on board too. Otherwise, this all becomes a moot point in the end. Globally, industry and consumers will make the difference for the future, not only legislators.

Canadian Changemakers Advancing Circular Textiles

So, consumer education, clothing suppliers, and sellers become key figures for change. Organizations and companies can create ideas for revisiting perspectives about fashion. For instance, the Kasandy Foundation, started in 2020 by Jackee Kasandy, has seen huge growth. The social enterprise champions education, sustainable development, and the empowerment of women around the world. Kasandy, inspired by France’s FabBrick, is working with the City of Vancouver. Now, they are currently implementing a Zero Waste project through:

-100+ metric tons of waste diverted per year

-50+ sustainable jobs created in 3 years

-30+ partnerships with businesses and institutions

Another player, retail online supplier, Raga Weaves, sells slow fashion alternatives. Every person in the manufacturing process is considered, from the weaver to the seller. As their motto says: “Small in Numbers, Big in Impact”. The idea is to treat a garment as a unique piece, like the human who wears it. Made with due time and with care, each clothing item has a story. It is about quality, not quantity.

Finally, another key figure in the textile industry in Canada is Our Social Fabric. A company started by two women passionate about upcycling and putting unused fabric to use. Back in 2009, Leandre Melancon and Kim Cathers began selling waste textiles from the film industry. Previously, the industry would have burned or thrown them into landfills. Seeing the possibilities for these deadstock materials, they “set up shop” in parking lots on weekends.

Now in 2025, Our Social Fabric has diverted over 48,000lbs. of fabric from landfills and supported a variety of community projects, plus volunteers. In addition, their Sew Fun(d) Scholarship awarded two sewing machines to young designers.

Final Words

These are a few industries that envision a new wave of thinking when addressing sustainable fashion. In less than twenty years, there has been a huge shift. More people are recognizing the need to see fashion in a new light. Whether it’s shopping for upcycled clothing, supplying quality products, or diverting waste, the industry and consumers are slowing down. But time decides what the next 15 years look like for this global trend. What will we see in front of our mirrors by then? Only time will tell.

Great Resources:

Our Social Fabric BLOG

Threads of Sustainability PODCAST

…and all the links throughout this article.

March 22, 2026April 15, 2026

A Brief History of Jazz in Vancouver

Every Christmas out comes a seasonal “jazz standards” lesson for my students. It was always a hit for them to learn a few classical Christmas songs sung by local jazz artists. As an English instructor, I had to find my moments, unlike music teachers. My favorite part was seeing the look on their faces. They were always amazed to learn that Michael Bublé was born and raised in Burnaby, BC. They also learned who Diana Krall was. Another BC native, who was born in Nanaimo, BC. For me, selfishly, it was an excuse to listen to a genre of music I love.

Michael Buble – Image by Myung J. Chun / Los Angeles Times

UPDATE: LATEST INTERVIEW with Tim Reinert of INFIDELS JAZZ

Those learning moments happen to all of us. I had my moment during a recent interview with Tim Reinert of Infidels Jazz. So, I decided to write a condensed version of Vancouver’s Jazz history. Vancouver’s jazz history began in the 1900’s, much like the rest of North America. Clubs like the Patricia Café (now known as Pat’s Pub) and the Pantages Theatre opened. Later venues like the Cellar and Harlem Nocturne evolved into vibrant post-war underground scenes. Some key figures included Jelly Roll Morton, Black club owner Ernie King, the iconic bandleader Dal Richards and Producer/Saxophonist Cory Weeds.

Cory Weeds with Quintet under his Label “Cellar Music”

The Roots (early 1900’s)

In 1917, alcohol prohibition began, and the Patricia Café opened. Jelly Roll Morton played at Pat’s (Patricia Cafe), a local spot that helped establish the genre in the city. Jelly Roll Morton came back and forth to Vancouver. Initially, he began with the Patricia Musicians but left abruptly, possibly due to conflict among the members. Morton was often known for his somewhat generous ego.

In 1921, Morton returned to Vancouver and pulled together a house band trio. The trio was located at Hotel Irving on the northeast corner of Hastings and Columbia. But as time passed, tensions between Canada and the USA were on the rise. Morton complained about the union restrictions on musicians. Later, partway through the 1920’s, an outright boycott was put on American musicians coming to Canada. Fortunately, in 1940, Duke Ellington’s presence on the jazz scene brought an end to this.

Another notable district supporting the early jazz roots was Hogan’s Alley. It was part of a larger black community in Vancouver’s historic Strathcona neighbourhood in Vancouver East. Its origins are believed to date from 1915-1917 when a couple of railway lines were being built. The area was known for its culture. It included eateries like Vie’s Chicken and Steakhouse. Musicians such as Louis Armstrong and Ella Fitzgerald frequented it while visiting Vancouver.

Post-War Golden Age (1950s-1960s)

The Cellar: The famous underground club was formed by a group of musicians wanting a place to play. It was literally in a basement located on Main Street and East Broadway; thus, its moniker. One of its mandates was to nurture local talent and foster a “co-operative” jazz scene. This premier jazz club, a hot spot in Western Canada, was one of the only hosts to international artists. Member and guitarist, Jim Kilburn, was quoted as saying, “A partial list would include Ornette Coleman, Scott La Faro, Dave Pike and Don Cherry. Occasionally, we booked established stars like Barney Kessel, Charlie Mingus, and Harold Lang. But we’re encouraging a broader policy.” The original Cellar Jazz Club opened in 1955 and later closed in 1964.

Don Friedman, Ben Tucker, Billy Higgins, Don Cherry & Ornette Coleman at the Cellar (1957) Capilano University Archives

The Harlem Nocturne Cabaret was a nightclub located in the Strathcona neighbourhood. The cabaret was situated at 343 East Hastings and managed by Ernie King and Marcella Williams. During that era, it was Vancouver’s only Black-owned nightclub. Jazz artist and founder, Ernie King, would host renowned musicians. Meanwhile, his wife, Marcella “Choo Choo” Williams, showcased performances by her and other dancers.

Denied a liquor license, it operated as a bottle club, whereby people would need to bring their own alcohol. King would keep pop bottles behind the counter in case the police entered the premises. To no surprise, based on the era, this happened often. The club symbolizes the resilience and artistic prowess of Vancouver’s Black community, which paved the way for cultural expression. The club opened in 1957 and closed in 1967 after the decline in people going to jazz clubs.

https://globalnews.ca/video/11051371/the-legacy-of-ernie-king-and-harlem-nocturne/

Dal Richards, the King of Swing

Entering the height of his career trajectory, Dal Richards came into his own in this era. He was one of those jazz musicians who was bigger than life. His musical career spanned 70+ years, beginning in the Big Band era. As time passed and the interest in jazz clubs waned, Richards adapted. He became a band leader for the Pacific National Exhibition Bandstand. The band played 79 consecutive New Year’s Eve concerts until his death on 31 December 2015. He was a recipient of the Order of Canada, the Queen’s Golden Jubilee Medal, and a B.C Entertainment Hall of Fame inductee. Overall, he is still known as the longest-playing musician in Canada.

The Modern Era

Coastal Jazz & Blues Society was founded in 1985 and incorporated in 1986. The Vancouver-based, non-profit charitable organization dedicated itself to fostering jazz and blues in British Columbia. It is BC’s largest not-for-profit music presenter and producer of the annual Vancouver International Jazz Festival. Additionally, Coastal Jazz and Blues present local, national, and international artists throughout the year. They pride themselves on their long-standing commitment to music education. Two examples of this are the Sounds of Youth Stage and the Vancouver Youth Jazz Orchestra, featured annually. Interestingly, the debut of Vancouver’s International Jazz Festival took place during Expo ‘86.

History Revisited

After its closure and decades later, the Cellar reopened. Cory Weeds, a renowned jazz saxophonist and owner, revisited a new space and opened the “Cory Weeds’ Cellar Jazz Club”. Weeds located his club at West Broadway and Dunbar. This geographic area was closer to another jazz music hub, on the perimeters of UBC. Unfortunately, due to various complications, it sadly closed in 2013.

Reluctantly closing the Kitsilano site, Weeds rerooted himself in his new home as musical director at Frankie’s Italian Kitchen and Bar starting in 2015.. He realized that downtown Vancouver would be much more accessible for the classical jazz purveyors he hosted. Now, Frankie’s Jazz Club is one of the featured venues during Vancouver’s International Jazz Festival.

At the same time, the new club still features the Steinway B piano from the original Cellar Jazz Club. The atmosphere within emanates a vibrant and intimate, supper-come-jazz club. Frankie’s has been in business for over a decade and recently launched an After Dark series. Frankie’s After Dark shows are presented by Infidels Jazz, and start at 11 pm. SeeChangemakers interviewed Tim Reinert of Infidels Jazz this last week. Reinert stated that this was part of Infidels Jazz’s beginnings in officially promoting up-and-coming artists to the scene.

From the Past to the Future

During the interview, we discussed one of Infidels Jazz’s current projects which brings us back to Hogan’s Alley. Infidels Jazz is promoting an up-and-coming Musical Theatre production, “Meet me at Vie’s”. It’s so exciting to hear the history of this Vancouver community back into the current conversation. Hogan’s Alley and Vie’s have become an integral part of Vancouver’s Jazz history, as cited earlier. Krystal Dos Santos, an incredible singer, songwriter, performer, film/TV actor, and playwright, wrote the musical.

Fellow colleagues, Dawn Pemberton, Chris Davies, and herself will be the featured performers. Dos Santos approached Reinert asking him to be on the production team. About Santos, he says, “she’s an artist that is so easy to work with… It’s hard not to get excited about music when working with her.” The musical runs from April 23rd to May 2^nd at the Olympic Village Stage at BMO Theatre Centre.

Final thoughts…

As Santos’ colleague Pemberton outlines in her promotional article about the production;

“This is not just a history lesson.
It’s a celebration. A revival. A remembering.”

In the end, Vancouver is rich with talent both musically and artistically. Even though it is a young city and has been coined as a “No Fun City,” times are a-changing. Recalling the past allows the future to be rewritten. It has always been the people who take action that decide this.

Stay tuned for the SeeChangemakers Interview with Infidels Jazz, Tim Reinert. Also, check the SeeChangemakers recent Blog Post on a brief historical view of WOMEN IN JAZZ.

FURTHER RESOURCES:

Journeys to the Bandstand; Thirty Jazz Lives in Vancouver by Chris Wong

Past Tense: Vancouver’s Histories

Capilano University curates the Vancouver Jazz Archive, holding over 400 items documenting the local scene.

March 8, 2026April 26, 2026

Painting the Sound: Women’s Voices in Jazz

Jazz music is one of those genres that permeates the skin and reaches into one’s soul. How does one describe the feelings that arise from listening to this music, let alone try to paint it?

Photo SilkScreen and Acrylic Painting by Theresa K. Howell

During my undergraduate studies, I recall wanting to “paint music”. This was what I had told my professor when he asked what my 3^rd year project would be. He looked at me with an empathetic eye, knowing I wasn’t the first to want to master this artistic endeavor. In the end, some of my most treasured pieces to date came from this project. They were my series on Jazz Music.

A Very Short HiStory

Jazz music was born in the early 19^th century in New Orleans. It emerged from “a rich blend of African American, Creole, and European influences”. Its predecessors were derived from Ragtime, Blues, and Brass Band traditions. Many storytelling spirituals come from the blues and ragtime traditions of the African American diaspora. These spirituals have given Jazz its musical heart. Another reason I chose Jazz over the other genres was its lightness in lyrics and instrumentals.

One point is true, though: Jazz, like the Blues, was a genre of music of the oppressed. It became the voice for the voiceless. Examples of this still resonate with Billy Holiday’s “Strange Fruit”, symbolizing the death and degradation of African/American slaves.

In the 1920’s and 30’s, the world was recovering from the First World War. It was also the height of the American Depression. Jazz became a way for people to elevate themselves out of the darkness. Coming from the intimate private dance clubs, the genre was adopted into the posh elegance of high culture speakeasies. Everyone wanted to taste the spirit of Jazz during prohibition, no matter the cost.

HerStory in Jazz

On August 18, 1920, the 19th Amendment was ratified. It granted women the right to vote and moved the scale on women’s appearance in Jazz music. Women were being seen as part of the musical scene that North Americans desired. It’s not that they weren’t there; it was that they were now being acknowledged. Suddenly, women such as Lil Hardin Armstrong and Corie “Lovie” Austin, both pianists, singers, composers, arrangers, and bandleaders, were being seen for their contributions.

As time moved forward, the needle did not move much for the number of women in Jazz. However, the impact of some women made a huge impression on the whole genre. For example, in this Golden Era of Jazz, one woman in particular rose to the top. Mary Lou Williams, known as the “mother of Jazz”, started her career early. She became a full-time working Jazz musician at the age of 15 in 1925. Her piano playing was said to have “kept the bills paid and the racists at bay.” One of her major contributions was her astute mentorship. She guided innovators like Charlie Parker, Dizzy Gillespie, and Thelonious Monk.

Numbers Matter

Over the decades, many women have left their mark on the Jazz scene. Singers like Ella Fitzgerald were known for her extraordinary vocal range and perfect pitch. Meanwhile, Billie Holiday captivated the audience with her deeply personal interpretations of the genre’s vocalizations. Then there is Sarah Vaughn, crowned “the divine one,” who combines the aspects of the previous two singers. This helps her to rise to her namesake.

Behind these voices were the instrumentalists, arrangers, and composers. One such pianist and composer was Alice Coltrane, who “created cosmic soundscapes that expanded jazz’s spiritual and sonic boundaries.” Then, there was Carly Bley, an avant-garde composer, band leader, and label owner. She freely crossed genre boundaries to create new and innovative Jazz sounds. Meanwhile, Toshiko Akiyoshi is a multiple Grammy-nominated pianist and composer. Toshiko has made her mark as one of the few women who have mastered large ensemble writing.

Leadership in the 21^st Century

In the current era women in jazz are elevating the genre to whole new levels. For instance, Esperanza Spalding is a bassist, vocalist, and composer. She melds “jazz, soul, classical, Brazilian, and experimental elements into distinctive artistic statements.” She won the Grammy for best new artist back in 2011. One of her current projects outside of teaching and mentoring at Berklee College of Music is the Songwriter’s Apothecary Lab. The lab promotes the composition of musical collaborations designed to offer enhanced therapeutic benefit to listeners/participants.

Photo Illustration A163Gamma-Rapho via Getty Images and Angela Hsieh NPR

Meanwhile, here on the West Coast of Canada, Jodi Proznik, bassist, composer, educator, and label owner, achieved a significant milestone. She became a recipient of the Lieutenant Governor’s Arts and Music Award in 2022. This was in recognition of her contribution to music education in British Columbia. Currently, her life is filled with teaching and playing with the Vancouver Symphony Orchestra (VSO) School of Music.

Sister’s in Jazz Day

To mark International Women’s Day, Jodi is part of an all-day workshop at Argyle Secondary in North Vancouver, BC. She will be joined by other female musicians from the award-winning all-women jazz group, “The Ostara Project”. The annual event is called the “Sisters in Jazz Day”. It is a day to celebrate women in music through education. The underlying theme focuses on rhythm, improvisation, and composition. The event also highlights stories of women who have shaped the jazz tradition.

SeeChangemakers had the privilege of interviewing Jodi Proznik back in July 2025. She talked in detail about her life as a musician and educator. She also talked about The Ostara Project and other aspects of her life. Check it out here.

All in all, Jazz as a musical genre has evolved much like the rest of society. In less than 200 years, women in this musical genre have gone from a whisper to a roar. I look forward to seeing what the next couple of decades will provide. I wonder how I will imagine painting this next picture. Let’s see.

February 1, 2026March 8, 2026

Architectural Roots and Sacred Geometry: The Art & Soul of Design

As a teen, I remember my father working intently into the early hours. He was completing architectural designs for clients. Sometimes, I would often leaf through his subscriptions of “Architectural Digest”, admiring the contemporary designs of certain buildings. How they were able to integrate a man-made structure into the natural environment around them, it took my breath away. One example of this is Frank Lloyd Wright’s “Falling Water” home design. In 2019, UNESCO listed the structure as a World Heritage Site due to its global significance. In my world, structural design and buildings have become part of my DNA. Now, I realize how valid a statement that actually is.

Falling Water Photo by Diane M. Lilly, 2013

INTERVIEW with ARI LAZER

The Geometry of Life

Recently, I started exploring the topic of sacred geometry in relation to architecture. Due, in part, to an upcoming interview in February with Ari Lazer, an interdisciplinary artist and educator. As a designer, it was his focus “to give people spaces where they can feel the world around them.” In his “about page” video, Ari mentions that scientists, in 2003, discovered that the universe resembles a “Dodecahedron”. A dodecahedron is one of many known sacred geometric shapes. Therefore, I desired to learn more about how sacred geometry integrates into the architectural design process. What is Sacred Geometry, though?

Sacred Geometry is the idea that all of life and the universe is based on certain foundational forms and structures. These structures promote symmetry, harmony, meditative, and energetic flow. So, it is understood that in the macro and micro levels of our existence, all the geometric forms are echoed.

Sacred Geometric Symbols.

RESOURCE: https://www.wikihow.com/Sacred-Geometry-Symbols

Above the Vesica Piscis, Egg of Life, Seed of Life and Flower of Life all symbolize creation. These 4 geometric forms represent expansion and growth in the universe. Plus, they embody the creation of life itself. For example, the Egg of Life shape is found in the mitosis of cell division. Additionally, the Flower of Life is an expansion of all of the previous forms. This geometric form contains the secrets of the Universe. These forms are evident in a variety of cultures around the world from ancient times.

Meanwhile, the Sri Yantra is a Hindu symbol that holds 9 interlocking triangles that form 43 smaller ones. This complex shape represents the cosmos and the entire universe. It symbolizes the unity of masculine and feminine energies. Plus, it is used in meditation and rituals to promote prosperity, peace, and harmony.

The Torus or Toroid, symbolizes the flow of energy, infinity and the cycle of life throughout the universe. For example, galaxy clusters (also known as cosmic donuts), certain cloud formations, tornadoes, and whirlpools are torus structures.

Finally, the last one we will look at is the Golden Spiral. It is the visual representation of the Fibonacci Sequence or Golden Mean. This mathematical formula is one of many used in architecture and technology. This shape can be found in flower petals, pine cones, tree branches, and seashells. More thorough information is discussed in the resources below.

Building on an Ancient and Universal Foundation

Now, let’s dig into architectural design specifically. What are the current principles of building design? Here are summaries of the Core Design Approaches and Methodologies for Architecture in lay terms:

1. Site-Inspired Design – “Thinking of the neighborhood.” This principle considers the surrounding environment when approaching design.
2. Parametric/Algorithmic Design –“Building with code.” The architect uses computer software to set “rules” (like: make the windows bigger where the sun hits hardest).
3. Biophilic Design – “Bringing the outside in.” The goal is to make people feel happier by connecting them to nature.
4. Research-Driven Design –“Considering the facts.” Before drawing anything, the architect looks at data. They study how people walk through a room, how light affects mood, or how many people will use the lobby.
5. Form Finding & Geometry – “Playing with shapes.”This is about finding the best structure using math and shapes. The architect experiments with circles (radial). They also try curvilinear (curved) and rectilinear (straight-line) grids.
6. Conceptual/Symbolic Methods –“Constructing founded in story.” The design is based on a big idea or a metaphor. The “meaning” of the building is just as important as the building itself.

Summary

After reviewing these methodologies, I decided to do an analysis of a well-known sacred geometric building, the Egyptian Pyramids. Of course, the Parametric/Algorithmic Design Principle probably won’t follow the rules. Nonetheless, it is important to remember that the Golden Mean and mathematics have been used throughout history. These are both the foundations of current technology. As well, the following video is an interesting discussion on Geometry and Architecture. The narrator is a professor from the University of Illinois in Chicago.

GEOMETRY and ARCHITECTURE explained by Stewart Hicks

Comparatively Speaking

When I compared the architectural principles of the Egyptian Pyramids, I used Gemini, Google’s AI engine. It helped me summarize this analysis, and the results are in the table below.

Method	Applied?	Evidence
Site-Inspired	Yes	Alignment with cardinal points and bedrock selection.
Parametric	No	Lacked digital technology (though used math ratios).
Biophilic	Partial	Use of natural stone and creation myths.
Research – Driven	Yes	Builders evolved their info from Step Pyramids to “True” Pyramids.
Form/Geometry	Yes	Mastery of the square base and the Golden Ratio.
Conceptual	Yes	Design served as a literal “stairway to heaven.”

Sacred Design in Modern Architecture

Now, I decided to review a modern architectural example. Do current architects still consider sacred geometry in their designs? Geometric diagrams, both sacred and secular, look at the principles of unity, duality, polarity, equilibrium, and proportion. This is what creates symmetry and flow within the designs. What makes sacred geometric designs different is the qualitative ideals from my point of view. When considering sacred geometry, some primary concerns are the energy and movement. We’ll explore the Guggenheim Museum as an example.

In my twenties, I made my first trip to New York. During my art studies, this stop was the first on my list. Also, it was my first NYC (New York City) architectural image taken as an amateur photographer. To me, it is the perfect example of architectural design using sacred geometry.

The Commission

Frank Lloyd Wright was 76 years old when he was commissioned by Solomon R. Guggenheim and his art advisor, Hilla Rebay. The project took 16 years from the beginning to its opening day in 1959. During that time, Guggenheim himself passed away six years after the commencement. Then Wright passed away 6 months before the opening. Symbolically, it likened itself to Mozart’s Requiem in D minor for Wright. Like Amadeus, Wright wouldn’t live to see its completion; similarly, he wouldn’t allow any shortcuts or compromises.

Like the harmonic collaboration between the masculine and the feminine mentioned in the Sri Yanta, so too was this project. After Solomon’s passing, the project’s momentum relied on Rebay and Wright himself. “They envisioned a “temple of the spirit,” a place where modern, non-objective art could be experienced in a wholly new way.” Wright’s ongoing commitment to organic architectural practices was unyielding to the end.

The Structure

Being site-inspired, the Guggenheim was placed alongside one of Manhattan’s other landmarks, Central Park. This was intentional as Wright wanted the building to capture the intrinsic emotional flow from nature into the building. Another unique design consideration is its reference to an “inverted Ziggurat”. A Ziggurat is a stepped pyramid, tapering upwards.

Seeing the spiral design both inside and out brings one’s attention directly to Sacred Geometry’s Golden Spiral. Even though the construction isn’t true to the Sacred Spiral, its flow is. The energy and lines flow smoothly both inside and out. For instance, the interior space is much like a ribbon wrapping itself downwards. Meanwhile, the concrete wall facades spin around a central courtyard. Upon entering the rotunda, the purveyors would take an elevator up to the top floor, then slowly meander downwards. The open corridors featured artworks that would be viewed while ascending down the walkway.

Looking upwards, a large oculus (round window) provided natural light into the building. This particular window feature echoed ancient architecture reminiscent of the Pantheon. As well, the Conceptual and Biophilic choice in design shifted the light and shadow, linking the interior to the sky. Wright intentionally used it for practical and symbolic reasons. Rebay, herself, desired that the museum encapsulate the spiritual energy of the cosmos, coinciding with Wright’s decisions.

Always Original. Always Iconic. Always Guggenheim. Courtesy of the Guggenheim Museum Channel

A Modern Monument of Vision

Over its lifetime, the building has had its share of controversy and challenges. Because of its unique structural design and materials became one reason for its sixteen-year construction delays. Even after its opening, the Guggenheim met resistance from artists based on its internal design for their art pieces. However, the building has become one of America’s most recognized architectural designs. Furthering the development of complementary structures in Bilbao, Venice, and Abu Dhabi.

CONCLUSIONS

Whether we look at the Egyptian Pyramids, the Pantheon, or the Solomon Guggenheim Museum, these structures invite reverence. It is no surprise that many of the commonalities they hold have some parallels with Sacred Geometry. Their energy, flow, sometimes structural, and architectural design have become otherworldly.

RESOURCES:

December 31, 2025February 1, 2026

Influencers for Change: Spiritual and Soul Growth

2025 has been a year of change. Finding steadiness and predictability has been rare. However, it was also a good reason to reconsider what our inner world is doing. Most healers, counselors, and spiritual guides will remind us that our inner, deep self is constant. When things are tumultuous, it will guide you.

Focusing on my inner growth and my spiritual growth has been one of the main motivators for me this year. It has been about coming into alignment with my soul and its purpose. SeeChangemakers was always one of these. I guess I was intuitively working on this idea before I realized it.

Heart and Mind Image Collage by Theresa K. Howell

One’s Soul Purpose

Interestingly, I have found a real rhythm this year for this publication and its format. Readers and viewers will still see further changes. But, right now, I feel like one of those newbies who has finally found their groove. Remember when you stopped worrying about coasting on your bike? Or when you no longer second-guess your mirror shoulder check before changing lanes? Feeling that stride is so rewarding.

Another rhythmic focal point for this publication has been its concentration on the Arts. For 2025, our first interview began with Tentacle Tribe, a bilingual dance company out of Montreal. By the way, a focus on bilingual pieces will follow this theme into the New Year. Meanwhile, other artists have discussed their healing modalities. These include David Bindi Hudson and the healing properties of the Digeridoo. Then, there was Danielle Diamond and her Costume Therapy. Finally, in November, the writing and art therapy of Kimberly Hetherington was invaluable. Therefore, it seems appropriate to conclude the year by exploring this topic.

Beginnings

On January 1^st, 2025, SeeChangemakers wrote about “Future Influencers” with a feature on “Let Them Theory” guru, Mel Robbins. She was the perfect person to ground us into the following year. What better way to jump into 2025, the year of change?!

Image Courtesy of Mel Robbins Facebook page

She was this publication’s forbearer to the category of Healing Influencers. To stay aligned with self-growth and Influencers, this post will center around healers who are of non-celebrity status. Aligning itself to this year’s rhythm, “where we began, we will end.” Here are my top 6 picks for Influencers that asked us to look deep into ourselves.

SeeChangemakers “Top 6 Healing Influencers“

Spiritual Influencers

@CBMeditates (Chandresh Bhardwaj) – is a seventh-generation lineage holder from a family of Indian gurus practicing the Tantric tradition. He conducts talks all over the globe in countries including Sweden, the Netherlands, France, Switzerland, Hong Kong, Belgium, Canada, and the US. He started his Cosmic Circle Community to support his teachings. His posts are often given in paged prose, which starts with a titled image accompanied by music. The readings are succinct, profound, and thought-provoking.

@Rewildingforwomen (Sabrina Lynn) is the creator of the “ReWilding Way,” focusing on inner healing, archetypes, and awakening the feminine. She hosts retreats, podcasts, and workshops WEBSITE: https://rewildingforwomen.com/ Her main objective is to help people reclaim their “soul light.” She aims to guide people to step into a more empowered self. This is accomplished through archetype identification and astrological placements. She is raw and endearing, all wrapped into one.

Relational Therapists and Counselors

@the_outdoor_therapist (Zak Hazlett) – a licensed marriage and family therapist who shares many insights on how to build yourself up and the relationships around you. He comes from Moab, Utah, where he was born and raised. Growing up alongside the Colorado River, he developed a deep connection to nature, nurtured by the river and local guides. In addition to his podcasts, Instagram posts, and social media presence, he hosts summer group excursions along the Colorado River.

@Realtalkry (Ryan MacEwen) – A Canadian originating from Charlottetown, PEI. He studied for his Bachelor of Arts in Psychology. Back in 2020, he began his journey as a digital creator on TikTok. He now offers one-on-one discussions through https://stan.store/realtalkry. Additionally, his YouTube channel currently has 3.77 k followers, with his commentary reading: “Forget surface-level advice.” Let’s talk about what you’re really feeling. From my experience to yours. Real talk. Deep thought. Lived and shared experiences.

Motivational Thinkers and Self-Help Guides

@the_gratitude_mind (Shannon Shallcross) – a tech entrepreneur uses her knowledge and personal experience to help others. She emphasizes that mental limitations are the only barrier. They are the hurdle between the life of routine and the life of our dreams. She discovered a powerful tool that profoundly impacted her life: the Gratitude Mindset. Now, she is a public speaker who relates her thoughts on TikTok, Instagram, and YouTube. Here is her LINKtree

@wesaiditanyway – (Hamza Zaid) – “We Said It Anyway” is a podcast hosted by content creator and speaker Hamza Zaid. His soundbites focus on navigating modern relationships. They emphasize emotional intelligence and self-growth. Often, there are clips and discussions on how “emotionally intelligent partners” navigate complex interpersonal dynamics. Hamza pulls no punches but really addresses the issues head-on.

Happy 2026, everyone. I am so excited to see what is in store for us all. Please stay tuned for our upcoming January Paris Interview.

December 21, 2025February 2, 2026

Joyeux Noël et Bonne Année from Paris with Love

In late November, I was scrolling down my social media feed. Suddenly, I was drawn in by a glimpse of the Christmas Tree at the Galeries Lafayette in Paris. I became enthralled with the romantic and exquisite combination of holiday colours and glittering grandeur. It hypnotized me and drew me in like a late-night ad for the latest kitchen gadget. Suddenly, I was making plans to fly across the globe to see this example of “haute société” Christmas décor.

@Galerieslafayette December 2025 Image by Theresa K. Howell

INTERVIEW with PARISIAN Businesswoman, SOPHIE VU; Audio Translations en Francaise

Bonne Idée ? Good Idea?

Okay, I know this sounds irrational, but this year has been one of immense changes. In 2025, I began in Paris, so I decided it would end in Paris. Both instances involved friends whom I had made in 2024. I was ecstatic about going back and celebrating this time of year with them. Like past trips, this excursion was filled with communications and connections. Unlike past trips, my French language learning has surpassed the previous voyage, and I was also branching out, meeting artists who would soon become part of this Vlog.

Vieux Amis, Nouveaux Amis; Old friends, New Friends

My first meetup was with my musician friend, Richard Poher, who recently released his premier solo album last May. I interviewed him following this release. Check that out here. It was wonderful to find out he was that much closer to completion of his master’s in music education (pedagogy). He has been busy traversing between musical events and his studies. His dedication to his art is immense, and it was fantastic to see his smiling face again.

The following day, I met up with another friend to celebrate her belated 40^th birthday. So, to complete the evening, we went to watch some Jazz at the famous Jazz Club, the 38Riv. We got our tickets early to the sold-out shows for the Robin Mansanti Trio. The Trio features three incredible young musicians: Robin Mansanti, Solène Cairoli, and Dexter Goldberg. The lead member, Robin Mansanti is becoming a rising star in the jazz scene which all took place years after moving to the city of light. That night, SeeChangemakers requested a feature interview upon their premiere album release, slated for Spring/Summer 2026. Follow us into the New Year to hear more about them.

Robin Mansanti Trio Image by Theresa K. Howell

Noël modern; Modern Day Christmas

As that incredible evening turned into daylight, I arrived at the notable Marches de Noel aux Tuileries. This is the Christmas Market at the Tuileries Garden. It felt somewhat reminiscent of Niagara Falls to me. A Christmas carnival of sorts now flanked the landscapes of trees, sculptures, and thousand-year-old buildings. It was quite a sight.

Before I left Vancouver, I booked two Airbnbs, which seemed quite busy at this time of year. Most North Americans think of touring Paris for Spring or Summer, but winter? However, Europe loves to visit this glistening city and shop alongside the magic. This activity can be compared to North Americans flocking to New York City during Christmas. Shopping for the price-heavy, high-quality gifts, followed by skating against the backdrop of the Christmas Tree at Rockefeller Plaza.

Cadeaux de partout; Gifts Everywhere

While at my Airbnb, I met two dynamic young women from Belarus. They, too, were taking a pre-Christmas vacation within “la ville de Paris”. It was easy to strike up a conversation with Alla Parhimovich and Ilona Tamilian. I learned both were astute businesswomen, even though they didn’t look older than 25. Alla currently has 15 years of photographic and digital creation experience. This fact, coupled with her strength and ability to make connections with others, gave me pause. Meanwhile, Ilona is a master crafts person, creating Western-style hats with a unique flair for the obscure.

While talking with Alla, I asked if she might be interested in doing some European interviews for this publication. She agreed. Although for mutual collaborations, she began by suggesting a photo shoot with her. I agreed. Below are the results. Who was that woman looking back at me?

Photographer @alla_parhimovich

In the end, this last-minute adventure generated many spontaneous meetings. All in all, these new connections created a verve that I had been missing. Thus, I am glad I followed my heart on this wild venture.

Another meeting became our December feature interview. Sophie Vu, a single parent and astute businesswoman, is the owner of a stunning Parisian duplex in the 17th arrondissement. A well-kept, old-world example of Parisian Haussmann architecture. In our next installment, read how this biracial woman managed to carve out a self-managed business career.

INTERVIEW IS NOW UP…

November 16, 2025December 21, 2025

Spirit Guides: Storytelling and Poetry

From ancient fables to contemporary tales, storytelling and poetry weave vibrant threads into the fabric of humanity.

Poems of Positivity by https://orloskystudio.com/ Taken at the Lumiere Festival 2025

LATEST INTERVIEW is HERE.

An “Aha Moment” about storytelling

In the Spring of 2024, my sister suggested I jump on SubStack, an online platform for writers, creators, and journalists. She said, “This is where I get all my reading now.” I decided to finally join and realized I was in a throng of 1000’s. There were poets, long-form and short-form storytellers. Scientists, both social and physical, all want to share their knowledge. There were creative storytellers and comedic writers, biographers and wordsmiths, literally 1000’s of different formats and approaches. My mind was spinning.

After reading a friend’s social media confession, they said, “I’m not a writer.” However, they decided to join anyway. I had an aha moment. It hit me; it isn’t just a platform for writers and creators; it’s a narrative stage. I suddenly realized why so many people were flocking to SubStack. They are there to be heard and to be seen. Is this the ultimate goal behind storytelling and poetry?

Reasons to tell stories and write poetry

To make sense of an experience – Throughout time, humans have desired to communicate our deeper sense of being. Stories and poetry help process love, loss, joy, fear, and change. These forms of communication become a catalyst for humans to make sense of situations.

To connect with others – When we tell a story, it creates a bridge between ourselves and others. Sharing a poem connects us with those who share similar perspectives. Expressing the idea that “I feel this or see this, how about you?” Confirmation of this shared connection reinforces that sense of community and gives us a sense of belonging.

To preserve memory and culture –For centuries, storytelling has kept traditions alive. It has preserved histories and wisdom long before written language existed. Both storytelling and poetry have held humanity’s sense of existence within culture and beyond. Originally through oral tradition, then later through written record. This creates a sense of belonging and identity, which humans strive to thrive.

To imagine and create meaning – Stories and poems let us imagine possibilities beyond the ordinary. We envision new worlds, alternate lives, or different perspectives. They give meaning to existence by framing the chaos of life in artful, symbolic ways.

To express what can’t be expressed directly – Sometimes emotions or truths are too complex or painful for plain language. Poetry, with its rhythm, imagery, and metaphor, allows people to say what can’t quite be said in simple sentences.

To leave a mark – Storytelling and poetry are ways of saying “I was here.” Through art, people assert their presence, creativity, and humanity — something that can outlast their own lifetime.

Next, SeeChangemakers introduces the next two interviewees. Can you determine from these brief introductions which reasons they decided to inspire their writing?

Celeste Nazeli Snowber: Art & Spirit

Celeste Nazeli Snowber is a scholar, performer, prolific writer, and artist. She has been cited 742 times since 2020. She is a highly demanded speaker and an award-winning scholar at Simon Fraser University. Her various projects range from seaside performances, poetic narration with dance, to indoor gallery dance alongside her text-based art installations. “This particular work explores the growing fields called eco-poetics and arts-based environmental education.”

Snowber, an artist of Armenian/Irish descent, obtained a PhD from Simon Fraser back in 1998 in Education. Still, her approach to the arts comes from a much deeper level. In her book titled “The Marrow of Longing”, she explored how generational trauma and healing can affect our everyday existence. In this collection, she researched and delved into her ancestral lineage. This created pathways for a greater understanding of her mother’s life.

Spirit Guided

A spiritual being, Snowber has led her life authentically through her art. Her lived narrative literally shapes her project creations that integrate dance with poetics. Similarly, this intuitive knowing has guided her academic career. With a fascination and interest in spirituality, she explored the study of theology before her graduate studies at SFU. Still, the integration of the arts and somatic dance brings a deeper nourishment to her soul.

Says Snowber, “I don’t separate my identity as a poet from my identity as a scholar, artist, or performer. At the heart of my work is the integration between body and mind, physicality and spirituality, and an emphasis on connecting the personal and universal. Poetry is one way of discovering what we know and don’t know.” [Sfu.ca}

Wake Up and Create

Recently, Snowber released “Creating in Dangerous Times” as an avenue to inspire the eruption of creativity in all of us. In these changing times, humanity seems to be at a crossroads where people are searching for direction and meaning. Whatever form these creations take, it is important to “Listen,” says the poem:

Listen to the cadence

of your body

hear

the hymn of your own heart

listen to your own

birdsong.

Poem by Celeste Nazeli Snowber – Creating in Dangerous Times

Kimberly Hetherington: Wisdom, Grief, and Global Storytelling

I met Kimberly Hetherington during a hike in Mosquito Creek. My little dog, Stella, became instantly adored by her two daughters. We started talking, and I soon learned she was a recent Art Therapist graduate. We exchanged social media information, and I later learned that this young woman was also a writer of children’s books.

Wise Beyond Her Years

I noticed something about Kimberly. Her character and soul were filled with wisdom. They had integrity beyond her years. This outlook is explained within her auto-ethnography graduate project she undertook recently. Inside the covers, she explores the grief process that she experienced upon the death of her sister by suicide. The title succinctly summarizes her process, “Life After Elizabeth: An Exploration of Sibling Suicide Bereavement Through Creative Writing”.

The book is steeped in valuable information required by any counseling graduate program. Yet, it speaks in a language that is easily accessible to everyone who needs to hear it. She also weaves personal experiences and imagery to give it the intimate connection required for this type of loss. After her auto-ethnographic account, she creates a “Reflective Journal and Poetry Prompts” section to help certain readers process grief.

Fairy Tales and other such ponderings

One of the reasons I sought an interview with Kimberly was her most recent book. It is titled “Myths and Fables from Around the World: Global Tales with Heartfelt Lessons for all Ages.” She decided to compile a book that parents and children can read together. Inside the covers, there are nine summarized tales from various parts of the world. This collection includes the story, “Quentin the Tap Dancing Quorkka.” It depicts a small wallaby-like animal who desires to tap dance.

Each of the fables or myths ends with a little piece of wisdom that builds on the morality of humanity. Hetherington was inspired by her father, who used to read her “The Parable of the Jamaican Fisherman”. She states that she sensed “it was meaningful to him, but when I was younger, I didn’t quite understand why.” Now, as an adult, she reflects all the moral fiber her father and others have handed down to her. Hetherington seems to echo Quentin’s moral. “The path to our dreams may be difficult. Others may not always understand. However, our dreams are always worth following.”

FACEBOOK Live interviews with these two amazing artists on November 23rd at 11 am PST.

October 18, 2025November 16, 2025

The Transformative Magic of Costumes

Who remembers dressing up as a child? What about now, what costume would you wear and why? Get ready to learn about the transformative nature of wearing costumes.

FEATURE INTERVIEW is NOW UP>>>CHECK THIS LINK

Looking back, I recall one of my favorite TV shows was “Mr. Dressup”. The show’s cast included Casey (a little red-headed androgynous puppet) and his dog, Finnegan (a tan-coloured dog hand puppet). It was a 30-minute CBC daily daytime show that started in 1967 and aired until 1996. It was one of the longest-running Canadian TV shows.

By today’s standards, this show would be considered low-budget. However, one component that kept people watching was Mr. Dressup’s “Tickle Trunk”. This Tickle Trunk was a flowery red trunk filled with a variety of different costumes. Each one of the 4000 episodes included a segment. This involved a venture to the trunk, which initiated a short make-believe story. All three of the main characters of the show and, on occasion, guests would participate.

“Mr. Dressup: The Magic of Make-Believe” – Official Trailer from PRIME Video

Once I became a mother, one of the first contributions to my daughter’s playroom was a “tickle trunk”. I collected various costumes for them to share their make-believe theater. It became a staple ingredient from my own childhood that was handed down like a good recipe.

Costumes Through the Ages

Dressing up has deep historical roots beyond modern festivities like Halloween. In ancient Egypt, costumes and masks were used in religious rituals to connect with the divine. Similarly, Ancient Greek theater employed masks to embody gods and mythical characters, making performances sacred experiences. During the European Renaissance, masquerade balls allowed the elite to explore freedom and mystery under the guise of anonymity.

In many Indigenous cultures, masks played a crucial role in spiritual ceremonies. Specific adornments also assisted in expressing heritage and a connection to nature. Meanwhile in Asia, traditional theatrical forms such as Beijing Opera, Noh, and Kabuki rely on symbolic costumes. These costumes are essential to enrich storytelling. Overall, dressing up has served as a powerful medium for spiritual, social, and cultural expression throughout history.

Costumes for Confidence and Connection

“Dressing up”, often seen as a playful or aesthetic activity, can offer profound psychological and emotional benefits. It can significantly boost self-confidence and self-esteem. Wearing a costume allows individuals to embody traits they admire helping them feel more empowered and assertive. This sense of transformation can positively influence their behavior and mindset in everyday life.

Additionally, the creative process of designing and wearing costumes stimulates imagination. It enhances problem-solving skills. This process contributes to stress reduction and improved mental well-being. Dressing up provides a safe outlet for self-exploration. It allows individuals to confront personal fears or emotions through role-play. For instance, a vulnerable person might choose to dress as a mythical figure. The character could then help in processing and releasing difficult feelings.

Furthermore, participating in costume-related events fosters social connection. They provide a sense of belonging. These activities help to combat loneliness and strengthen interpersonal bonds. Costume Therapy is fast becoming a new way to explore healing through donning various forms of attire.

Costumes as Therapy

Costumes offer powerful psychological and emotional benefits. They allow people to express themselves, explore different aspects of their identity, and gain confidence by embodying new characters. This process can help reduce social anxiety and improve self-esteem. As an embodied coach, performer, photographer, and designer, Diamond establishes that the performance is medicine.

Throughout Diamond’s life she has worked ‘at the intersection of art and ceremony.’ Her explorations with herself and others have resulted in a method that heals the psyche. As she says, “You don’t just look at the wound – you become it to release it.”

Costume therapy and ‘dressing up’ create a safe way to process complex emotions. They foster social connection through shared events. This ultimately supports greater self-acceptance and authenticity in daily life.

Costume Choice and Community

Shared Experiences and Events: Dressing up for events like Halloween, conventions, or themed parties creates a sense of belonging. These occasions bring people together, encouraging interaction and group participation, which can lead to lasting friendships and community bonds. [rickyshalloween.com]

Conversation Starters: Costumes often spark curiosity and conversation. People are naturally drawn to unique outfits, making it easier to approach others, break the ice, and start meaningful discussions. This is especially true at conventions or costume parties, where attendees share a common interest. [psychologytoday.com]

Role-Playing and Empathy: When people dress up, especially in group settings, they often engage in role-play. This helps develop empathy and understanding by allowing individuals to step into someone else’s shoes. It gives a vision of the world from an alternate perspective and expands diverse experiences. [costume-shop.com]

Community Building: Costume groups, cosplay communities, and themed workshops foster a sense of community. Members collaborate on costume creation, share tips, and support each other’s creative efforts. These activities encourage teamwork, communication, and mutual respect. [theurbancrews.com]

Boosting Confidence and Reducing Social Anxiety: Wearing a costume can empower individuals to express themselves more freely. They can reduce social anxiety without the use of toxins. This confidence makes it easier to engage with others and participate in group activities, further strengthening social ties. [atozcosplay.com]

Family and Intergenerational Bonding: Families who dress up together for events or themed activities experience increased bonding and collaboration. These shared creative experiences can deepen emotional connections and foster communication across generations. [snuggymom.com]

In summary, costumes act as a bridge for social connections. They provide opportunities for shared experiences, creative expression, and supportive community engagement. So, when entertaining the idea of workshops, one-on-one sessions with a ‘Costume Therapist’, or a community event reflect. How did that costume transform you?

OTHER REFERENCES:

Abundance Therapy Center

Danielle Diamond Website

Mr. Dressup

Montréal Says Non

A Festival Worth Protecting

The World’s Biggest Jazz Stage

How It All Began

My First Montréal Jazz Fest

When Culture Wins

Stay tuned for upcoming surprise interviews.

To find out more about FIFA’s history and criteria: https://www.britannica.com/topic/Federation-Internationale-de-Football-Association

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