Performing Michael Mori's "Nothing is Free" at the Powell Street Festival's Spatial Poetics IX in 2010 (with Iman Habibi).
Performing Michael Mori’s “Nothing is Free” at the Powell Street Festival’s Spatial Poetics IX in 2010 (with Iman Habibi).

I had the wonderful opportunity the other day to catch up with a dear friend, Kathleen Gallagher: a Sydney based flutist, interdisciplinary performer, and educator. Kathleen and I were enjoying an izakaya lunch on Darling Harbour: the food and service were excellent, but entirely secondary to our conversation, which was impassioned, hilarious, and even occasionally teary. We talked about our careers, our relationships, our families, and, perhaps more than anything else, our desire for change. I announced that 2015 was to be a year of personal and professional change for me – not because I’m dissatisfied with what I’m doing…. except that, well, I am a bit dissatisfied.

In 2012 I stepped down as Co-Artistic Director of the Redshift Music Society. This organization, which I co-ran with composer Jordan Nobles, remains an important part of the Vancouver cultural landscape, and I’m immensely proud to have had a part in its development. Since then, I’ve had a great time focusing on personal projects and my own development as a flutist (and by “great time” I’d like to clarify: rewarding, diverse, and challenging at the best of times; anxiety-inducing and failure-riddled at the worst of times). But there came a point when I realized that my ability to affect positive change in my community could only extend so far as a flutist. I wanted to explore collaboration and dialogue with other arts and artists – a thing that we, as artists, often talk about, while knowing that the reality is a much more complicated beast. Also, as I get older, my connection to my Japanese Canadian heritage is something that is becoming more and more important to me. I remember as a child I wanted to be as “white” as possible: blonde hair, blue eyes… I resented my epicanthic folds. Now, especially in the years following the death of my mother, I’m discovering how rich, fascinating, and evolving Japanese Canadian culture really is – and I’m both delighted and reassured to find that artists of Asian heritage throughout the world have similarly complex relationships to East/West culture and are creating works that address the bridge/divide in incredible ways.

Enter the Powell Street Festival Society.

Founded in 1977, the Powell Street Festival Society celebrates the history of Japanese Canadians and acts as an important platform for established and emerging Asian Canadian artists. The heart of the Society’s activities is their summer festival, inspired by the matsuri of Japan: a weekend of cultural activities, family events, crafts, and food, held the first weekend of August in Oppenheimer Park, the heart of Vancouver’s Downtown Eastside. Beyond the festival, PSFS presents events throughout the year that showcase Japanese, Japanese Canadian, and Asian Canadian artistic talent, and provides an arena for the ever-evolving discourse between Eastern and Western artistic practices.

On March 24th, I’ll be assuming the role of Artistic Director for this incredible institution. It’s a newly created position, one that I hope will enable us all to continue honouring the past while creating, nurturing, and bearing witness to the exciting future trajectories of arts and culture on local, national, and international levels. It goes without saying that I’ll continue to perform and teach: music is and always will be my primary form of communication, and I know my work in this field will continue to develop and mature. But I’m beyond thrilled to be joining the PSFS family and am looking forward to a future of connecting communities, artistic growth, and change. (And spam sushi.)