Haunted Montreal announces Public Season and Blog!

May 20th, 2015

Montreal is widely-regarded as the most haunted city in Canada, prompting thrill-seekers and ghost-hunters to visit in greater and greater numbers every year. The haunted tourism industry is booming as visitors seek out ghost tours, haunted hotels, paranormal investigations and other terrifying experiences!

To support this growing obsession with ghosts, hauntings and the paranormal, Haunted Montreal is expanding with a season of public tours, starting on Friday, May 22! Also, a monthly blog that focuses on Montreal ghost stories will be published on the 13th of every month!

Last Hallowe’en, Haunted Montreal offered the Haunted Downtown ghost tour after years of Haunted Mountain, leading ghostly rambles up the slopes of Mount Royal. Haunted Downtown sold out all 8 shows and there were many inquiries into Haunted Mountain.

Haunted Montreal logo with URL

As such, due to popular demand, both Haunted Mountain and Haunted Downtown ghost tours will be offered to the public in 2015!

Starting with Haunted Mountain on Friday, May 22, the ghost tours will operate on an alternating, weekly basis for the entire summer! Full details, including descriptions of the tours, availability and prices, can be found at on the Haunted Montreal Website.

Launched on May 13th, the Haunted Montreal Blog aims to become the place for people to delve into Montreal’s haunted culture and to build a community of people interested in exploring the city’s dark side. Authored by horror-expert Donovan King, the founder of Haunted Montreal, the blog is bilingual and focuses on a different Montreal ghost story every month.

“We are always looking for Montreal ghost stories that we haven’t heard of yet,” said King. “We always invite people with a haunted tale to get in touch.  I can use my skills as a historical researcher to dig deeply into various archives to learn more about the story and conduct interviews, if necessary,” added King.

The final phase is where things get really interesting, according to King: “Once all the research is complete, we can speculate the reasons behind the haunting and can even follow up with a paranormal investigation, if necessary! If you have a story about a Montreal ghost, Haunted Montreal is dying to hear from you!”

King is also inviting fans of Montreal ghost stories, hauntings and the paranormal to sign up to the mailing list to receive the Haunted Montreal Blog on the 13th of every month!

Listen to Kate McGillivray’s interview with Donovan King. Conducted in Dominion Square (a.k.a. Saint-Antoine Cholera Cemetery), McGillivray and King discuss the blog, public season and local ghost stories on CBC Homerun (Radio One).

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Sainte Antione Cemetery Limits

12th Infringement Season Kicks Off with New Festival in South Carolina!

March 18th, 2015

Founded in Montreal in 2004 to protest the commercialization and trademarking of the once-grassroots Fringe Festival, the infringement festival attempts to reclaim culture by empowering artists and communities to work independent of corporate manipulation.

This year the infringement movement is especially thrilled to welcome a new festival, the Columbia Infringement Festival, into the fold.

Columbia IF

Emily Olyarchuk, based at the University of South Carolina, originally founded the festival as a senior thesis project, however it has since grown into a meaningful community event.

Running March 20 – 22, the Columbia Infringement Festival kicks off the 2015 infringement season!

festival image

Next up is the Montreal Infringement Festival, which runs from June 17 – 21 this year and is looking to be as exciting and political as ever, especially with new artists on the organizing team from the World Truth Speakers Posse. PM Mundafar writes about it in his blog. The Montreal festival will open with a multi-lingual show organized by Louis Royer to kick off the event, followed by everything from burlesque and edgy musical performances to experimental arts and Open Mic. The organization of the festival has also been streamlined to make it easier and more enjoyable to prepare the festival. Apply to perform here (the deadline is May 30).

Last, but certainly not least, is the Buffalo Infringement Festival, the grand-daddy of all infringement festivals in terms of its size and scope. Celebrating 10 days of “Arts Under the Radar”, the festival runs from July 23 – August, 2015 and typically includes over a thousand performances by hundreds of artists and activists of all stripes. The Buffalo Infringement Festival is one of North America’s largest arts festivals, and is certainly the largest independent one, possibly on Earth! Apply to perform here.

BIF

Finally, while there is no World Fringe Congress this year to challenge the ongoing commercialization of the Fringe, plans are afoot next year to attend, when the 3rd edition is held at a Fringe Festival outside Edinburgh, Scotland. Last summer Donovan King attended the Congress in Edinburgh, where he crossed paths with Fringe trademark holders from the Canadian Association of Fringe Festivals, sparking off a heated debate.

King also presented his Critical Report from the World Fringe Congress at the PBH Free Fringe (Edinburgh, Scotland), as well as at the Harlequin Fayre (Norwich, England) and Ballinamore Free Fringe (Ballinamore, Ireland). These festivals are all similar to the infringement in that they challenge corporate manipulation in the arts and they put the rights of the artists first.

Haunted Downtown Montreal – a new ghost tour for the 2014 Hallowe’en season!

September 20th, 2014

This Hallowe’en season, Donovan King is pleased to offer Haunted Downtown Montreal, a new ghost tour for 2014!

Downtown Montreal is a very busy and bustling place. With towering skyscrapers and a professional workforce that empties out by 5 p.m., it’s the last place one would expect to encounter the paranormal. However, just beneath the veneer of urban respectability lie many dark secrets, from forgotten cemeteries to ghost-infested buildings, and the numerous hauntings that go with them.

The Haunted Downtown Montreal ghost walk visits haunted hotels, a creepy church with an alleged resident demon, and other locations where ghosts have been spotted, including the infamous Club 1234. This spooky old funeral home and mortuary has been converted into one of Montreal’s trendiest nightclubs, but clients sometimes get more than they bargained for, especially if they dare to visit the ladies’ room or the attic!

1234 past and present

Learn the sickening “Legend of the Red Cross” and hear about how Concordia University students are coping in their new residence, the former Grey Nuns’ Motherhouse. With a mysterious crypt packed full of skeletal corpses just a few meters below their bedchambers, some of them are feeling uneasy.

Discover how the City of Montreal is handling and disposing of all of the corpses it unearths in the old Saint-Antoine Cholera Cemetery, as workers carry out renovations of Place du Canada and Dorchester Square.

Sainte Antione Cemetery Limits

Hear tales of deranged doctors dissecting near-death pregnant women to the approval of overzealous priests, learn about  Mark Twain’s only recorded paranormal experience, discover the strange hauntings at the luxurious Queen Elizabeth Hotel, and encounter the unknown in Montreal’s chilly autumn air.

Led by professional actor and storyteller Donovan King, this haunted walk is sure to please ghost hunters, history buffs and Hallowe’en lovers with its creepy tales of paranormal activity, evil demons and the ghostly spirits that haunt these unlikely places – in the heart of Downtown Montreal. On the heels of Haunted Mountain, this ghost tour offers newly-researched stories that are sure to raise eyebrows and tingle spines!

The Haunted Downtown Montreal ghost tour begins at Andrew’s Pub (1241 Guy Street, just south of Sainte Catherine Street) on the following dates and times:

Friday, October 24, 8 p.m.

Saturday, October 25, 8 p.m.

Thursday, October 30, 8 p.m.

Friday, October 31, 8 p.m.

Tickets cost $20 and can be purchased through PayPal or reserved at Haunted Montreal. The tour is approximately 90 minutes.

La Croix Rouge aka The Murderer's Cross

* Please note that this tour is offered in English only. For a highly recommended haunted walk or ghost hunt in French, please visit Fantômes Montréal.

“Critical Report from the World Fringe Congress” to hit Europe’s Fringes!

August 6th, 2014

When infringement festival founder Donovan King was invited to the first-ever World Fringe Congress in Edinburgh, Scotland, he thought there had been a mistake!

After being kicked out of the Montreal Fringe Festival in 2001 for criticizing a corporate sponsor, King has made a point of crusading to protect Fringe Festivals from excessive corporate interference in order to empower artists and safeguard the indy arts event. When the businesspeople representing Canadian Fringe trademark holders refused to listen to the concerns of Fringe artists and other stakeholders, King responded by creating the infringement festival

Buffalo News 2012

The 2012 World Fringe Congress had over 50 so-called “Fringe” Festivals in attendance, including some with heavy corporate ties. The infringement provided a critical look at how cultural history is repeating itself. As the original Fringe gets co-opted and loses its edge, artists are fuming that their theatrical playground has been compromised and is no longer affordable or inclusive.

Even more worrisome are rumours that Edinburgh Fringe could soon be renamed the “Pepsi Fringe”, following the lead of festivals such as PotashCorp Fringe (originally the Saskatoon Fringe).

potash fringe

Come to the show and learn about the controversial history of the Fringe and infringement festivals and pressing cultural issues in this critical and theatrical report! Observe that King is legally unable to do this performance at Fringe Festivals in Canada due to corporate trademark issues. Discover ways how to safeguard your Fringe Festival from corporate manipulation!

There are currently 3 performance blocks scheduled:

Harlequin Fayre, Norwich, England, August 8 – 9 (details TBA)

Edinburgh Fringe (PBH Free Fringe), August 18 & 19, 3:30 pm, Venue 24, Pivo, 2-6 Calton Rd, Edinburgh. * Donations accepted

Ballinamore Free Fringe, Ireland, Friday, August 22, 7 pm (venue TBA)

You also can read the written report and send your concerns with King to the 2nd World Fringe Congress, running August 15 – 17, to which he has been invited in August, 2014!

Read the original report here: https://optative.net/blog/world-fringe-congress-to-welcome-infringement-festival/

WFC 2014

Lastly, this performance has been adapted as a POP-UP-SHOW, meaning it can be performed anywhere at any time for any number of people. The tech requirement includes only a powerpoint presentation, and that can be done off a laptop if there is no projector and screen available. To book the show, simply ask Donovan King in person or email him at optatif@gmail.com to make arrangements. The show is 45 minutes and Mr. King graciously accepts any donations to help fund the Montreal infringement Festival.

 

Car Stories at the 2014 Buffalo Infringement Festival

July 25th, 2014

Optative Theatrical Laboratories is thrilled to bring CAR STORIES to the 2014 Buffalo Infringement Festival!

Kicked out of the Montreal Fringe Festival in 2001, Car Stories sparked the creation of infringement festivals! Set in real cars, 3 people at a time are invited on a theatrical joyride through the streets and parking lots of Allentown.

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Email optatif@gmail.com to make a reservation or show up at the venue during showtime and make a reservation there!

Pay-What-You-Can/Donations will help fuel the artists and fund infringement festivals in the future.

Sign up early, slots are limited! Shows start at half-hour intervals from 4pm to  7 pm on Saturday, July 26 and Sunday, July 27.

The show begins in front of Nietzsche’s (248 Allen St).

Facebook event

* For those wishing to play IN the show, please arrive 1 hour before showtime and speak with Donovan. Bring costumes, ideas, and a car, if you have one!

***

COMING UP NEXT!

“Critical Report from the World Fringe Congress” to hit Europe’s Fringes!

When infringement festival founder Donovan King was invited to the first-ever World Fringe Congress in Edinburgh, Scotland, he thought there had been a mistake!

With over 50 so-called “Fringe” Festivals in attendance, including those named after or run by corporations, the infringement provided a critical look at how cultural history is repeating itself. As the original Fringe gets co-opted and loses its edge, artists are fuming that their theatrical playground has been compromised and is no longer affordable or inclusive.

Even more worrisome are rumours that Edinburgh Fringe will soon be renamed the “Pepsi Fringe”, following the lead of festivals such as PotashCorp Fringe (originally the Saskatoon Fringe).

Learn about the controversial history of the Fringe and infringement festivals and pressing cultural issues in this critical and theatrical report!

This performance has been adapted as a POP-UP-SHOW, meaning it can be performed anywhere at any time for any number of people. The tech requirement includes only a powerpoint presentation, and that can be done off a laptop if there is no projector and screen available. To book the show, simply ask Donovan King in person or email him at optatif@gmail.com to make arrangements. The show is 45 minutes and Mr. King graciously accepts any donations to help fund the Montreal infringement Festival.

There are currently 3 performance blocks scheduled:

Harlequin Fayre, Norwich, England, August 8 – 9 (details TBA)

Edinburgh Fringe (PBH Free Fringe), August 18 & 19, 3:30 pm, Venue 24, Pivo, 2-6 Calton Rd, Edinburgh. * Donations accepted

Ballinamore Free Fringe, Ireland, Friday, August 22, 7 pm (details TBA)

You also can read the written report and send your concerns with King to the 2nd World Fringe Congress, to which he has been invited in August, 2014!

Read the report here: https://optative.net/blog/world-fringe-congress-to-welcome-infringement-festival/

WFC 2014

Montreal Irish Memorial Park Foundation needs support to right a historical wrong

July 7th, 2014

At the northern end of Montreal’s Victoria Bridge, criss-crossed by an urban blight of highways, railway tracks, parking lots, electricity pylons and industrial billboards, lies an old Irish Famine cemetery.

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It is a hallowed place in Montreal’s dark history that witnessed tragedy unfold in 1847, as typhus-stricken Irish immigrants disembarked after harrowing conditions at sea in what were known as “coffin ships”. Crowded and disease-ridden, the creaky vessels offered poor access to food and water, resulting in the deaths of many people as they crossed the Atlantic.

The emigrants, many already weakened, were fleeing a devastating Famine in Ireland. While many were quarantined at Grosse Île, north of Quebec City, the medical station was unable to contain the spread of typhus, also known as Ship’s Fever. As the new arrivals continued onward towards Montreal, so did the deadly, infectious disease. 

Montreal was unprepared for these desperate arrivals, and fever sheds were hastily constructed at Windmill Point. Religious orders stepped up to care for the sick and dying, despite the dangers of being infected themselves.

theophile-hamel-le-typhus

An estimated 6,000 people perished from typhus in Montreal, including Irish emigrants and their caregivers. The dead included Catholic nuns and priests, Anglican clergy, and even the heroic Mayor of Montreal. Mayor John Easton Mills, who volunteered to help nurse the sick emigrants in the sheds, contracted typhus himself and died on November 12, 1847.

Most of the victims were interred hastily in unmarked mass graves in a cemetery that was improvised by attendant nuns just to the west of the fever sheds. The Annals of the Grey Nuns (Ancien Journal, volume II, 1847) describes the grim situation:

“Since we had not yet constructed a mortuary for the dead, the corpses were exposed in the outdoors, and once there was a great enough number of them, we made a cemetery for the bodies in the neighbouring fields.”

Map with fever sheds and cemetery

Today, the only indication of this hallowed ground is a large black boulder squeezed onto a tiny traffic island, straddling two highways, in an unsightly industrial area. Gaudy advertisements on giant billboards glare down on the boulder, which is encircled by a wrought iron fence with a shamrock motif.

It’s known by the local Irish community as the “The Black Rock”, or more officially as the “Irish Commemorative Stone”. It holds a special place in the hearts of Montreal’s Irish community because they had to fight to erect it and protect it.

the-black-stone

The Black Rock, made blacker by daily pollution from all the passing vehicles, has an inscription:

“To Preserve from Desecration the Remains of 6000 Immigrants Who died of Ship Fever A.D. 1847-48. This Stone is erected by the Workmen of Messrs. Peto, Brassey and Betts Employed in the Construction of the Victoria Bridge A.D. 1859”.

The idea for the monument came about after workers discovered Famine coffins during work on the Victoria Bridge. Not wanting the dead to be forgotten, mostly Irish workers dredged a massive boulder from the bottom of the St. Lawrence River and got to work inscribing it. This makeshift monument was intended to mark the final resting place of the thousands of famine victims in order to remember them and to protect their earthly remains from future desecration.

Intsalling stone

On December 1, 1859, the Black Rock was erected, becoming the first Canadian monument to mark the Irish Famine.

Historically, the Irish have never had it easy in Canada. After suffering unbearable colonization in Ireland, those who escaped to Canada faced the same colonial masters here – the British. The Irish, as such, were often seen as an underclass to be exploited by Anglo-Protestant industrialists. As the Industrial era set in, many of the survivors and descendants of Irish Famine victims were put to work digging canals, building bridges and working in factories and railyards. The working conditions were often unsafe or deplorable and discrimination and disrespect against the Irish were often rampant.

The site of the Famine cemetery, for example, was administered by the Protestant Anglican Diocese of Montreal, despite most of its victims being Irish Catholics. In 1859, Anglican Bishop Francis Fulford assured that “the bodies of the faithful rest undisturbed until the day of resurrection,” however in 1898 the Anglican Church began negotiations to sell the site to the Grand Trunk Railway, in order to increase the size of its rail yard in Point Saint Charles.

Despite the fact the Black Rock marked the remains of 6000 famine victims, the Grand Trunk Railway wanted it removed in order to expand its operations. To the shock and anger of the Irish community, in the early morning of December 21, 1900, company officials had the Black Rock removed and replaced in Saint Patrick Square to the north.

Montreal Daily Star, 22 December 1900, page 19

Angry Irish citizens protested and demanded its immediate return to the site of the Famine cemetery. Matthew Cummings, president of the Ancient Order of Hibernians, expressed the community’s frustration and demanded action:

“A greedy corporation in the city of Montreal dared to lay tracks across the graves… Men of Canada, never rest until it is replaced on the pedestal where it was taken from.”

Despite numerous obstacles thrown up by both the Grand Trunk Railway and Anglican Diocese of Montreal, the Irish community won the battle 10 years later when, in January 1911, the Railway Board of Commissioners in Ottawa ruled that the stone must be returned to the burial site.

However, it also ruled that the Grand Trunk Railway could expropriate the entire site of the burial ground apart from a 30 foot plot of land, fifteen feet from where it originally stood, to facilitate the building of a road. In June, 1912, the cemetery was sold to the G.T.R. for $6,000 and in 1913 the corporation erected a wrought iron fence around the tiny memorial site to try and placate critics.

From that time, the industrial landscape surrounding the tiny plot has continued unabated to develop into an urban eyesore, with railway tracks, highways, electricity pylons, billboards, parking lots and other unsightly developments criss-crossing the cemetery.

Cemetery location

The postage stamp sized greenspace marking the cemetery was eventually to become a traffic island in Highway 112, as Bridge Street was expanded to allow easier access to and from the Victoria Bridge.

To ensure the Irish dead are remembered, every year the Irish community organizes a “Commemorative March to the Stone Memorial”. Hundreds of citizens march annually to tiny traffic island on Bridge Street where the Black Stone is located.

March 2014

As they remember the Irish dead and pay their respects among industrial billboards, heavy traffic belches out fumes while whizzing over the cemetery, while in the nearby yard, rumbling trains roll on tracks built over the dead. Despite these adverse circumstances, Montreal’s Irish community refuses to forget the Famine victims of 1847 or the shabby treatment of their burial ground.

After enduring these trying circumstances for over a century, in 2014, the Montreal Irish Memorial Park Foundation was formed to right this historical wrong.

“We can’t sit in the middle of the road forever,” said Foundation director, Diana English.

“The time has come to create a commemorative park and pavilion to reintegrate the site into the life of Montreal and at the same time add an important missing link to the history of Montreal, Quebec and Canada.”

The Foundation proposes a cultural memorial-park “to honour these 6,000 immigrants who died; to honour the many French-speaking Quebec families who adopted, and gave homes to, the almost 1,000 children who were orphaned by this tragedy; and to honour the many Montrealers who went out and gave aid to these poor immigrants and caught the fever and died themselves, including John Mills, who was mayor of Montreal at the time.”

Fergus Keyes, a director at the Montreal Irish Memorial Park Foundation, stated in The Gazette: “On a practical level, a properly designed cultural park, with sports facilities, would provide green space in the rapidly developing Griffintown area. It would make for a much nicer entry to the city of Montreal over the Victoria span. It could perhaps as well be a tourist attraction for the millions of Irish in North America whose ancestors arrived in that 1847 summer and survived.”

Keeping these ideas in mind, the Montreal Irish Memorial Park Foundation released one proposal for the cultural park that would include a museum, monument, meditation areas and a GAA Irish sports field.

Updated park plan

The idea of commemorating the Irish Famine victims of 1847 is not unique to Montreal. Indeed, over the past few decades there has been a general realization across the globe to mark the tragic history of Irish Famine.

There are now over 140 Irish Famine memorials in places as far afield as Ireland, the U.K., Australia, the U.S.A. and Canada.

Irish memorial

In Canada, there are elaborate monuments to the Irish in Toronto, Vancouver, Kingston, Quebec City, Saint John, and the largest Famine site outside of Ireland, former quarantine station Grosse-Île. Many of these are protected with historic designations and funding from various governmental bodies.

Ironically, while Montreal has more Irish dead buried than any other location, it is the Irish community, and not government officials, who have protected the historic site over the years as best as possible.

In Toronto, it’s a different story. In 2007, Ireland Park was created under the leadership of Robert Kearns, also a director with Montreal Irish Memorial Park Foundation. Kearns’ keen interest in commemorating the Irish Famine is also reflected in his other work. He is a featured contributor to a 2009 film entitled Death or Canada, which features Ireland Park and the dark story of 1847 and its impact on the young city of Toronto.

Toronto’s Ireland Park is a world-class Famine Memorial, complete with oak tress, a giant coffin ship made from limestone, a cylinder of stacked glass that serves as a beacon of hope and several bronze sculptures created by renowned Irish sculptor Rowan Gillespie. Located on Éireann Quay at the foot of Bathurst Street, the Toronto sculptures mirror a similar Famine Memorial in Dublin, Ireland, located at the Custom House Quays. Deliberately twinned to create a kind of visual transatlantic narrative, the bronze figures in Dublin represent “The Departure”, while those in Toronto signify “The Arrival”.

IrishFamine004

It is a fitting and thoughtful Memorial to the Irish Famine, putting Toronto on the map of places around the world that have made efforts to respectfully mark the tragedy of 1847.

In Montreal, the challenges are much bigger, due to the industrial wasteland that has been superimposed upon the Famine cemetery.  Canadian National Railways, which absorbed the G.T.R., sold some of the land to the city in 1988, but there are nine other title-holders in the area, including the Anglican Diocese of Montreal. The first step in creating the Irish Memorial Park would be to acquire the property surrounding the stone.

Unfortunately, currently proposed urban plans for the area do not take into account the Irish Famine Cemetery. Opposition party Project Montreal recently released a platform called “Quartier Bonaventure” that would actually authorize the building of residential housing among the grave site.

Projet MTL Quartier Bonaventure

Once again, it is the Montreal Irish community and their supporters rallying to get the job done properly.

Victor Boyle, the National President of the Ancient Order of Hibernians, announced a $25 million investment  towards the creation of the park during the 2014 Walk to the Stone on Bridge Street. Dr. Jason King, an authority on the Irish Famine, also lent his support from Dublin.

Dr. King recently led a project, under the patronage of Ireland’s President Michael D. Higgins, to “digitize and translate the annals of the Grey Nuns who cared for Irish famine emigrants in the fever sheds of Montreal in 1847”. Dr. King ensured these harrowing eyewitness accounts would be available to the public and they are now accessible in a virtual archive hosted by the University of Limerick.

For those closer to home and other supporters, Fergus Keyes encourages people to send an email to Mayor Denis Coderre, “asking him not to approve any plan for light industry around the north side of the Victoria Bridge until this green-space possibility is studied properly.” There is also a facebook group you can join.

To write a letter to Mayor Denis Coderre, please use the City of Montreal’s official website and fill in the form.

Contact the Mayor

Alternately, you can write, fax, or phone him at City Hall:

Montreal City Hall
275 rue Notre-Dame Est
Montréal, QC H2Y 1C6
Telephone: 514-872-3101
Fax: 514-872-4059

A sample letter might look something like this:

***

Dear Mayor Coderre,

I am writing to you today to express my support for the Montreal Irish Memorial Park Foundation in their plans to establish a world-class Memorial Park for Montreal’s 375th anniversary.

As you may know, there are an estimated 6000 Irish Famine victims buried at the foot of the Victoria Bridge. The Montreal Irish Memorial Park Foundation proposes that this land be reserved for a world-class Memorial Park, similar to those found in cities like Toronto, Boston, New York, and Dublin. Not only would this plan revitalize an important entrance to Montreal via the Victoria Bridge, but it would also create much-needed greenspace in Griffintown and attract millions of tourists from all over the world.

More importantly, however, it would demonstrate that Montreal is willing to pay respects to its Irish citizens, both historic and present-day. Approximately 40% of Quebeckers have Irish heritage today and the fact that the shamrock occupies a quarter of Montreal’s flag demonstrates our strong historic Irish connection.

In 1847, our heroic Mayor John Easton Mills nursed the contagious emigrants. In the course of his duties, he contracted typhus and perished. It would be a fitting tribute to erect a statue of him in the new park.

As such, I am asking that you set aside the land to ensure it is not encroached upon until a thorough study has been conducted into the feasibility of the project.

Sincerely,

[Your name, address, etc.]

 

Montreal infringement festival energized by Le P’tit Cabaret!

June 24th, 2014

After five intensive days featuring dozens of performances in 10 venues, the 2014 Montreal infringement festival has wrapped up, energized more than ever before!

Festival-goers were treated to a variety of DIY (Do-It-Yourself) performances in strikingly different locations all over the city. Starting at Labo de la Taverne Jarry, the festival then meandered all over the place, from the Candyass Cabaret at Café Cleopatre to creating art in an alleyway, from the legendary dive Barfly to the streets of the Red Light District, and from art gallery USINE 106U to the heart of Old Montreal.

Old Montreal is a first for the infringement festival and there was a lot of hoopla about attempting to bring underground arts and culture into a tourist area known more for selling maple syrup and kitschy souvenirs than challenging oppression through activist arts. This year the festival was fortunate to collaborate with artist and promoter Jeff Brosseau to carve out a brand new venue in Old Montreal, which he coined Le P’tit Cabaret.

Le P'tit Cabaret

Situated above the historic Montreal Poutine restaurant, just a stone’s throw from the Place Jacques Cartier, Le P’tit Cabaret is a very cozy performance space. It’s ideal for the infringement festival and for artists doing music, theatre, burlesque, improvisation, comedy and other performances.

Setting up a new venue can be a daunting challenge, and Le P’tit Cabaret was no exception. In fact, a fire in the building a few weeks earlier made the job that much more difficult. Infringers were only able to access the space on Saturday, June 21, with just a few hours to set it up before the first show was due to start. With Jeff Brosseau leading the way, infringers set up equipment, hauled chairs, improvised curtains, and got the taps flowing. Within a couple of hours the space was ready to welcome the public, courtesy of Jeff and hard-working infringement collaborators Laurence Tenenbaum, Liz Faure, Ray Taylor, Jay Manafest and yours truly.

Jeff

Le P’tit Cabaret proved to be an ideal space for the festival for several reasons. Firstly, it is very versatile and can be reconfigured easily, allowing smooth transitions between film screening, music sets, readings and other shows. Putting art on the walls is also allowed. Secondly, the location is second to none. In the heart of Old Montreal, it’s right next to the bustling Place Jacques Cartier. Finally, the staff is incredibly friendly and hard-working. Jeff Brosseau pulled no stops in making the artists feel welcome, providing everything from equipment and a technician to delicious hot pizza and frosty cold beer. He also hired bartending staff to ensure nobody would be left thirsty during the performances.

The result was an unprecedented weekend of back-to-back infringement shows in the same venue, centering most infringement activity in Old Montreal over the weekend. The venue saw a steady stream of artists and audiences passing through its doors, and also welcomed curious tourists, who actually had to pass through Le P’tit Cabaret to access the bathroom because the one below had been damaged in the fire. When the crowds became too large for Le P’tit Cabaret in the evening, Jeff moved everything downstairs to La Caverne, another bar he runs within the same complex.

VOO

A proper infringement atmosphere was created, the type of tantalizing energy where the unexpected takes center stage. In this type of atmosphere new friendships are formed, future collaborations are planned, and artists are challenged to use the arts with activist intentions and to embrace the DIY ethos.

Unfortunately, Montreal is a pioneer of using the Arts to promote consumerism, as evidenced by the wide variety of corporate festivals. Typically in these festivals artists must either be “professional” and pass an audition or have to pay a hefty fee to put on a show. The artists show up, do their thing, then leave. Unfortunately, this traditional structure does not allow for much conversation between artist and spectator. With such a strong disconnect, there is usually little opportunity for building upon the arts to encourage activism. Instead, the audiences are encouraged to buy beer and other products between acts, or to behave primarily as consumers.

At the infringement, artists are encouraged to stick around, attend the other performances, network and discuss, plan for future collaborations, and to make some noise about cultural issues that affect the community negatively. This year’s theme was “Make Some Noise” because Montreal’s famous nightlife is under threat by overzealous bureaucrats and politicians.

NUIT

Instead of consuming cultural products, infringers reclaim culture from corporate interference with a DIY ethos and an activist bent. These values are embedded into the very raison d’être of the festival and this year saw the spirit of the infringement soar to new heights.

Le P’tit Cabaret, serving as a centralized venue for two days, can be credited for helping create this incredible infringement atmosphere. It’s a feeling one experiences on the streets of Allentown during the Buffalo infringement festival – a mixture of artistic brilliance, feelings of hope and freedom, and cultural resistance to the things we hate. It’s a tantalizing taste of a future where artists reign free and corporations do not manipulate the arts.  In Montreal, this feeling is often fleeting, largely due to the normalization of corporate interference in most aspects of daily life. However, for two full days Le P’tit Cabaret managed to hold onto it, energizing artists and audiences to think critically about the arts while simultaneously enjoying and engaging with them.

DRESS2

While the Montreal festival may be over for 2014, there are bright things on the horizon for Le P’tit Cabaret and the 2015 Montreal infringement festival.

Le P’tit Cabaret will continue operating, inviting artists of all varieties to continue bringing authentic culture to Old Montreal. For more information, contact the man of the hour, Jeff Brosseau at barlacaverne@gmail.com

busker

The 2015 Montreal infringement festival will begin organizing soon and is seeking collaborators, or volunteer organizers. Collaborators steer the festival and organize everything from artist recruitment and venue-booking to media work and website maintenance to educating artists about DIY and challenging corporate interference and political incompetence in Montreal. Collaborators hold informal meetings throughout the year and sometimes stage special events. Online participation is encouraged for those who cannot attend meetings. Generally, the festival grows or shrinks based on the number of volunteer organizers, and with more collaborators come better services for artists and audiences. It’s noteworthy that most collaborators also present work as artists.

The absolute best way an artist can ensure success for their performance at the infringement festival is to become a collaborator. Email optatif@gmail.com to learn more about collaborating.

Coming up next is the 10th annual Buffalo Infringement Festival, running from July 24 to August 3! This infringement is the largest in existence and typically features thousands of performers doing hundreds of performances – without a hint of corporate manipulation. Western New York’s largest festival, the infringement, is a cultural phenomenon that doesn’t exists anywhere else on Earth.

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Lastly, the 2nd World Fringe Congress is coming up in Edinburgh, Scotland. Running from August 15 – 17, the infringement festival has been invited again yet again to rub elbows with Fringe administrators from across the planet, many of them in bed with highly unethical corporations. The conversation about corporate manipulation in the arts that started two years ago will continue, with the goal of challenging any cultural gatekeeper who stands in the way of, or tries to financially exploit  an artist’s right to play on the Fringe – or to infringe, for that matter.

Montreal’s amazing arts export: the Infringement Festival circuit covers three cities in 2014!

February 17th, 2014

Montreal’s infringement festival is one of the city’s most amazing cultural exports and has inspired a whole new way of doing the arts in cities and countries far beyond Montreal’s island shores. In 2014, the Infringement Festival is celebrating its 10th anniversary with 3 festivals in 2 countries, and a plan to provoke critical discussions at the World Fringe Congress in Edinburgh, Scotland!

The infringement festivals offer the dream of touring a performance, which is more out of reach than ever for most artists. Because the cost of touring is often seen as prohibitive, many artists (and their works and performances) stay put in their home communities. Not only are there expensive  travel and accommodation costs associated with touring, but booking venues, advertising, potentially hiring others to do box office and tech, and so forth can all add up to a costly bill in a foreign city.

It’s a shame, because with touring comes amazing benefits such as increased exposure, network-building, a fun experience in a different city, and being exposed to the works of other like-minded artists. It is also ideally an expression of solidarity with artists in the community being visited, participation in a common dream and another voice to the artistic and social discourse.

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Unfortunately, artists choosing to play in established places like the Fringe Festivals are also required to pay hundreds of dollars in additional “registration fees”.  In Canada, there are actually costs to be associated with the now-trademarked word “Fringe”. At the original Edinburgh Fringe in Scotland it has gotten so bad that the “registration fee” of 400 pounds ($620), more than a month’s rent for many artists, makes playing there increasingly impossible.

According to Fringe veteran Tommy Sheppard, who now runs comedy venues at the Edinburgh Fringe, “The ‘pay-to-play’ system means that the rich kids always win. No matter how funny a working-class kid is, if they can’t ask mum and dad to give them five grand they are not going to be able to come up here to perform.” Once a vibrant stage for cutting social criticism and artistic inclusion, the Edinburgh Fringe now resembles an elite playground for wealthy theatre hobbyists.

As arts administrators constantly find more ways to milk artists with registration fees, box office cuts, and by associating them with corporate sponsors, it can cause the average artist to throw their arms up in frustration. With all the corporate takeover and co-opting of the culture, it’s easy to give up on any dreams of touring and throw in the towel. Sadly, with the corporate takeover of culture, there’s often a risk of bankruptcy to simply do and promote the arts.

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Enter the infringement festivals. Developed after artists were kicked out of the Saint Ambroise Montreal Fringe in 2001 – for offending a corporate sponsor – the infringement model does away with all of the corporate interference polluting the other festivals. The infringement promises to put artists first, and to ensure the community festival is not tainted by corporate greed or overzealous arts administrators.

At the infringement there are strict guidelines to protect artists and the festival: there are never any registration fees, artists keep 100% of their profits, and there is no censorship, unethical dealings or visual pollution from corporate sponsors. While all infringement festivals offer promotion via websites and printed programs, many of them also offer the use of venues, billeting for out-of-town acts, and other services. Artists wishing to tour this summer on the cheap might consider the 2014 infringement circuit:

2014 Infringement Festival Timeline:

March 1                                Deadline to apply to Brooklyn infringement Festival

May 1                                    Deadline to apply to Buffalo infringement Festival

June 1                                   Deadline to apply to Montreal infringement Festival programme

April 10 – 13                        Brooklyn infringement Festival (New York, USA)

June 19 – 22                       Montreal infringement festival (Quebec, Canada)

July 24 – August 3            Buffalo infringement Festival (New York, USA)

August 15 – August 17    World Fringe Congress (Edinburgh, Scotland)

For details about how to participate in the infringement festivals and how to sign up as an artist, please see below:

The Brooklyn infringement Festival is the first on the international circuit and it runs from April 10 – 13.

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It’s a hot weekend festival in Brooklyn, New York. Centered at Don Pedro, this festival is especially welcoming of musicians and bands to play in its sets. Artists can apply here (Deadline: March 1st).

Next up, the Montreal infringement Festival is celebrating its 10th anniversary by stepping up to try and protect local culture at-risk.

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This year organizers are asking infringers to “make some noise” to protest ongoing attacks against small venues in the form of ambiguous “noise complaints” that come with fines ranging from $1000 – $12,000. Infringers are being urged to contact the Mayor of the Plateau (Luc Ferrandez) and the Mayor of Montreal (Denis Corderre) to demand that the harassment against artists and cultural destruction permanently stop.

The Montreal infringement festival runs from June 19 – 22 and artists can apply here. (Deadline: June 1st for printed program, otherwise can apply at any time for website inclusion).

Third up is the expansive Buffalo infringement Festival, one of the largest cultural events in Western New York. Celebrating its 10th edition, expect “10 days of arts under the radar” from July 24 – August 3.

Buf callout 2014

Buffalo is the largest and most comprehensive of all infringement festivals. Truly an incredible cultural experience, the streets of Buffalo come alive with pure, unadulterated arts during the infringement fest. In the tradition of the original 1947 Edinburgh Fringe, it’s run by a strong community of artists and rejects corporate models that compromise and taint the integrity of the festival. Artists can apply online here (Deadline: May 1st).

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Finally, the World Fringe Congress returns to Edinburgh, Scotland  in 2014 after a one year hiatus. The second edition of the Congress may prove to be interesting as infringement artists challenge the thinking of often-corporate “Fringe” festival leaders from around the globe to ensure that Fringe artists are treated fairly and are not exploited in any way.

WFC 2014

In 2012, the first-ever World Fringe Congress invited the infringement festival to Edinburgh for its perspective on what is currently wrong with the global Fringe movement. Following the Congress, Donovan King released his Critical Report from the World Fringe Congress, which was also adapted into a performance for the 2013 Buffalo and 2014 Brooklyn infringement festivals.

At the 2014 World Fringe Congress, representatives of the infringement festival promise to continue challenging all activities that compromise the Fringe, such as pay-to-play fees, unethical corporate sponsors and banning political artists. Each infringement festival is welcome to send delegates to the 2014 World Fringe Congress.

To conclude, there are a lot of opportunities for artists to travel the circuit and get to know the global infringement community this summer! Join your fellow infringers at festivals in Brooklyn, Montreal, Buffalo, Edinburgh and beyond!

You can also start your own infringement festival! Empower your community by reclaiming culture and rejecting  corporate interference in the arts. Join the global infringement movement!

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Haunted Mountain returns for 2013 Halloween season!

September 29th, 2013

To celebrate Montreal’s festive, yet creepy 2013 Hallowe’en season, the spine-tingling Haunted Mountain Walking Tour is back! Several dates are being offered to the public, for the first time private tours are available, and a new website has been launched at www.hauntedmountain.com !

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Public Dates:

The Haunted Mountain tour is open to the public on the following dates:

Friday, October 25, 8 pm

Sunday, October 27, 2 pm

Sunday, October 27, 8 pm

The tour is in English and starts at Barfly (4062 Saint-Laurent Boulevard).

Tickets will be on sale 1 hour before the tour at Barfly.

The tour is 90 minutes and finishes at the Pine & Peel intersection (a 15 minute walk back to Barfly).

Please wear appropriate shoes or boots for the mountain pathways. Flashlights are optional.

The tour costs $20.00 per person.

RESERVATIONS: To reserve or book a spot, please visit the Haunted Montreal website.

Private Tours & Media inquiries: Please contact Donovan King at optatif@gmail.com or 514-842-1467 to obtain more information or to inquire about rates and availability.

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Description:

This Hallowe’en season, horror-experts Donovan King, Karen Spilak and Ashley Saul are pleased to offer Haunted Mountain, a spooky lantern-lit walking tour up the slopes of Mount Royal. Beginning on the Plateau at the rumoured-to-be-haunted Barfly, the ramble visits various haunted sites on the mountain, including several locations where ghosts have actually been sighted.

Infringement Festival - Haunted Moutain Tour.

photo by Patrick Alonso

Theatrical guides will regale guests with ghost stories, mysteries and legends about Mount Royal, including haunted hospitals, abandoned castles, cemeteries teeming with undead spirits, and all sorts of paranormal activities on the mountain.

Visitors will learn about the place of Mount Royal in Montreal’s history and lore, including the legend of the cross, the ghost of l’Esplanade Street, the child-victims of the Alan Memorial Institute’s brainwashing experiments, and the tragic tale of Jack McLean and the Haunted Funicular.

Guests will also visit Simon McTavish’s forgotten tomb, recently disturbed by archaeologists digging into the mountain where his earthly remains lie. The angry fur baron’s ghost is known to terrify people – by tobogganing at high speeds down the slopes of the mountain – in his own coffin!

Created by a team of Montreal professionals, including actors, historians, and teachers, Haunted Mountain aims to satisfy a taste for local history, spine-tingling ghost stories and an unforgettable ramble on the slopes of Mount Royal!

 McTavish from Nips Daimon

TESTIMONIALS:

“Spilak and King are truly masters of their craft. They effectively blend thorough research with entertaining delivery to offer a very worthy storytelling experience.”

– Bianca David, Forget the Box

 

“King, historian/actor/activist on the city preservation scene, is an authority on ghosts…”

–   Bill Brownstein, Montreal Gazette

 

“Haunted Mountain is a street theatre production that revels in the history of Montreal’s ghosts. It is hosted by Donovan King and Karen Spylake, complete with black formal and facepaint, who take the patron on a walking tour up Mount Royal in the evening with a lantern as the night falls…A magical enactment of Montreal’s history, up on the winding paths in the woods of Mount Royal at night.”

–   Rebecca Anne Banks, Tea and Tympani Records

 

“I will mention that King’s graphic description of McTavish’s dead body almost made me puke. Impressive.”

– Bianca David, Forget the Box

 

“As someone with a fair amount of experience and taste for the performing arts I can tell you that [Donovan] is a superior actor and brought what could have been a generic tour to something far from average. He was captivating, engaging, believable, and above all very spooky.”

– Kila B., Tripadvisor.ca

Haunted Mountain 2012 Gazette

 

RECENT MEDIA:

Forget the Box. “Haunted Mountain delivers the creep factor” by Bianca David. June 22, 2013.

CKUT Radio. Wednesday Morning After. Hallowee’n interview with Donovan King. October 31, 2012, 8:06 am.

Rover Arts. “Nightmare on rue Principal” by Donovan King. October 31, 2012.

CBC Radio. All in a Weekend Montreal. Sonali Karnick interviews Donovan King about Haunted Mountain. October 28, 2012, 8:45 am.

Montreal Gazette.”Bill Brownstein’s Halloween: Montreal is a great place to be in haunting season. Donovan King and Karen Spilak lead tours to prove no other city has a ghost of a chance of dethroning Montreal as spookiest”. October 26, 2012.

CJAD Radio. Interview with Donovan King about Haunted Mountain. October 26, 2012, 2:30 pm.

The Suburban, article by Mike Cohen. Page 31. “The scene…” October 24, 2012.

West End Times article. “Haunted Mountain tour to spook Montrealers.” October 19, 2012.

Forget the Box article by Jason C. McLean. “Rediscovering Culture: Montreal Infringement’s Opening Weekend.” June 19, 2012.

Tea at Tympani Lane Records blog by Rebecca Anne Banks. “Optative Theatrical Laboratories: Haunted Mountain”. June 17, 2012.

Jane’s Walk. Urban Ecology Centre. “Montreal Walks: Haunted Mountain”. May 1, 2012.

Openfile Blog by Sarah Leavitt. “Have a Happy Halloween in Montreal”. October 31, 2011.

West End Times by Stuart Nulman. “Just in time for Hallowe’en for those who like a little mystery with their history”, pages 22 – 24. October 29, 2011.

Preview on Forget the Box by Jason C. McLean. “It’s Close to Midnight in Montreal: 2011 Halloween Preview”. October 29, 2011.

Radio interview on CJAD with Barry Morgan. “Ghosts on the Mountain!” October 25, 2011.

Article in The Montreal Gazette. “Ghostly tour not for faint of heart”. Marianne Ackerman. October 14, 2011.

Radio interview on CJAD with Barry Morgan. “Do you believe in ghosts?” October 11, 2011.

Culture a hot topic in Montreal election

September 23rd, 2013

Culture is a hot topic in this Montreal election, so citizens, get your burning questions ready for the candidates!

Following two administrations characterized by corruption, cultural destruction, and disrespect for citizen initiatives, Montrealers are praying that the next one isn’t yet another dud. While transparency and professionalism are both hot topics in this election, so is Culture with a capital C, in a city known the world over for its vibrant arts scene, activist cred, stunning heritage, extensive foodie culture and bilingual citizens. In Montreal, there can be no denying that Culture is serious business.

Culture Montreal is inviting the public to a meeting on Tuesday, October 1st at Club Soda. The location could not be more ironic: set in The Main National Historic Site, the venue is right across the street from a block of demolished heritage buildings, the result of political interference, incompetence and greed under the ancien regime, the corrupt Tremblay-Union Montreal administration.

Destroyed Historic Site

The story began several years ago when former Mayor Tremblay, like many of his predecessors, decided to ”clean up” the Red Light District. Unlike during Mayor Drapeau’s regime, where whole blocks of the historic neighbourhood were demolished to build the suburb-like Habitations Jeanne Mance, Tremblay made a decision to “rebrand” the entire neighbourhood as the Disneyesque Quartier des Spectacles. Through a scheme of radical gentrification, it would become possible to simultaneously create a corporate Entertainment District while attacking the original “Red Light” culture, which ironically had made the historic neighbourhood so famous in the first place.

The rebranding scheme set off a wave of wholesale demolition, whereby historic theatres and performance venues, such as the Spectrum, Le Medley, and Saints, were slated for demolition. Rising out of the ashes are questionable glossy buildings that, architectually and vocationally, are completely disconnected  from the historic neighbourhood.

St. Laurent Boulevard is a National Historic Site, defined  as “a group of buildings, structures and open spaces which share uncommonly strong associations with individuals, events or themes of national significance”.  The government’s rationale behind the designation was that ”National historic sites are places of profound importance to Canada. They bear witness to this nation’s defining moments and illustrate its human creativity and cultural traditions. Each national historic site tells its own unique story, part of the greater story of Canada, contributing a sense of time, identity, and place to our understanding of Canada as a whole.” The heritage designation suggested the fabled corridor must maintain a “sense of history”, and to protect it insisted that “intrusive elements must be minimal“.

Furthermore, one of the most important reasons for protecting The Main was its connection to the theme of welcoming and immigration: “In the collective psyche of Montréal, Boulevard Saint-Laurent is the immigrant corridor…Immigrants still see Boulevard Saint-Laurent as the place where they find fellow immigrants; their workplace and their community institutions are there. The cosmopolitan aspect of Boulevard Saint-Laurent intrigues and reassures them.”

However, historic immigrant businesses were made to feel most unwelcome under the Tremblay administration.

Ignoring the National Historic Site that cuts across the island he governed, and totally disregarding Parks Canada’s protective policies, the former Mayor authorized developer Christian Yaccarini to expropriate and demolish a block of historic 19th Century heritage buildings on the Lower Main. The deal included the eviction of small immigrant  businesses, including Epicerie Importations Main, Montreal’s first Middle-Eastern grocery store (established in 1924), the Montreal Pool Room, and others.The intention was to demolish the irreplacable heritage buildings between the Monument-Nationale and Sainte Catherine Street, including the celebrated Cafe Cleopatre, in order to build a glossy corporate office tower.

This flagrant disregard for Montreal’s culture and heritage, by the Mayor himself no less, sparked off a cultural war of unprecedented proportions.

A citizen initiative was formed called the Save The Main Coalition to try and protect the National Historic Site and the culture surrounding it. After a protracted battle that involved everything from public consultations to legal challenges to lobbbying politicians and even pleas to heritage buff Prince Charles, the artists and activists won and the Cafe was saved. A citizen initiative succeeded where politicians had failed.

Cleo

In an effort to convince the Mayor that there were better solutions to the wholesale destruction of Montreal’s culture and heritage, artists from the Save the Main coalition presented an alternative Urban Plan that would seamlessly incorporate the priceless heritage into the rebranded “Quartier des Spectacles” , while staying loyal to Parks Canada’s policies on commemorative integrity. They also created a popular walking tour of the district to highlight its fascinating history.

In retaliation, the Mayor permitted Yaccarini to use an unethical strategy of demolition-by-neglect to ensure the destruction of the remaining heritage buildings, disregarding both Parks Canada’s policies to protect historic sites and Montreal by-laws on building maintenance. The artists’ worst fears were confirmed.

To mark the sad occasion, Montreal’s cultural figures with the Save The Main Coalition staged a dramatic funeral to mourn the passing of the Lower Main, the most colourful portion of the National Historic Site. Protesting rampant corruption, gentrification and Disneyfication, the artists raised awareness about some of the serious cultural issues affecting the metropolis, including the fact that The Main National Historic Site, a microcosm and symbol of the city, is being devastated both physically and culturally.

National Historic Sites are evaluated with a system that analyzes Commemorative Integrity, a term used to describe the health or wholeness of a site. As defined in the National Historic Sites Policy (of Canada), a state of commemorative integrity can be said to exist:

  • when the resources that symbolize or represent a site’s importance are not impaired or under threat;
  • when the reasons for the site’s national historic significance are effectively communicated to the public;
  • when the site’s heritage values (including those not related to national significance) are respected by all whose decisions and actions affect the site.

The Main is undoubtably Canada’s most abused National Historic Site. Corporations have taken over with invasive and abusive advertising practices such as Billboard trucks, giant advertisements, stealth marketing ploys, “street parties” hosted by online gambling companies, and a host of other manipulative commercial activities. Such blantant violations have led to criticism that The Main National Historic Site, far from being protected, is becoming Disneyfied at the expense of the real culture. Disneyfication is a process whereby something real is replaced by a fake, corporate imitation.

Disneyfication occurs when authentic culture is eliminated in order to replace it with a fake, corporate version that is somewhat akin to a shopping mall. Often called “monoculture” or “Generica”, the Disneyfied space proceeds to disempower artists, small businesses and citizens in order to facilitate profit-making for corporations. Disneyfication is a rampant problem in the Quartier des Spectacles and The Main National Historic Site.

Meanwhile,  as Saint Laurent Boulevard winds just up the hill into the Plateau, corporations are beginning to disfigure the National Historic Site with gaudy, ostentatious branding. While most historic areas, like Old Montreal, are protected from excessive advertising and corporate spam that damage the commemorative integrity of a site, Boulevard Saint Laurent is not. The most recent example saw a Pizza Pizza take over and paint a section of the The Main National Historic Site bright orange to attract customers, undercutting local small businesses with the sort of deep discounts only a corporation can afford…

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Given the irony of the location for Culture Montreal’s meeting, one question will be hanging over the heads of candidates on Tuesday:

If elected, what will you and your party do to protect The Main National Historic Site from further demolition and abuse?

While there have been calls form citizens and coalitions for a special by-law to protect The Main National Historic Site for over a decade now, administrators under Union Montreal and Projet Montreal’s Plateau administration have been adamant that the National Historic Site would receive no special attention, despite the fact irreplaceable parts have been demolished, other sections are at risk, and the entire site could lose its historic designation if politicians fail to protect it.

Make your voice heard and demand that the candidates promise to create a by-law that will protect The Main National Historic Site from further demolition and abuse!

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Details of the event (in French):

Le mardi 1er octobre 2013

À 19 h 30

Au Club Soda

1225 boul. Saint-Laurent

(métro Saint-Laurent)

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Culture Montréal sollicite un engagement concret et conséquent des candidats à la mairie et de leurs équipes en vue d’accélérer l’édification de Montréal comme métropole culturelle durable et a lancé à cet effet une plateforme de 21 recommandations à leur intention.
À l’invitation de Culture Montréal, les quatre principaux candidats à la mairie de Montréal, monsieur Richard Bergeron, monsieur Denis Coderre, monsieur Marcel Côté et madame Mélanie Joly viendront livrer publiquement leur vision du développement culturel de la métropole le mardi 1er octobre prochain à 19h30, au Club Soda.

Nous vous invitons à assister en grand nombre à cette présentation. Il s’agit d’un moment exceptionnel pour s’adresser directement aux candidats à la mairie et pour discuter de ce que renferme leur programme politique en termes de développement des arts, de la culture et du patrimoine à l’échelle de la ville et de ses quartiers.

C’est le journaliste et animateur chevronné, monsieur Michel Désaultels, qui animera cette présentation et qui interrogera successivement les candidats. L’événement aura lieu au Club Soda, 1225 boul. Saint-Laurent à Montréal.

Événement gratuit et ouvert à tous.
Inscription : inscription@culturemontreal.ca