Last Friday, unbeknownst to the fine folks at Toronto’s The Only Cafe, they were host to a cross-country conversation between artists, theatre organizations and theatre lovers old and new.
The inspiration behind the Twitter chat came on March 10th, when I caught a discussion happening online about the Opening Night of Catalyst Theatre’s Production of Hunchback at Citadel Theatre in Edmonton. Catalyst and Citadel had invited the audience to “live tweet” the event, and they would be showing the tweets on a display screen with a program called Visible Tweets, as recommended by nearby Shell Theatre. Shell has been live tweeting their shows since November, 2010 and they’ve found it to be a really effective way to get audiences excited about their events.
When I started following the assigned #yeghunchback hashtag, I caught the following tweet:
I joined the conversation, and asked @lindork what had brought her to the theatre that night, given that she was a self-confessed “theatre newbie”, and she told me it was mostly due to the number of tweets she had seen about it.
A few days later I asked @lindork (Linda Hoang), along with everyone responsible for tweeting for Catalyst, Citadel & Shell, to join me for a Twitter chat about the use of social media tools to develop new audiences, under the designated hashtag #auddev. After we spread the word about the chat, I was pleased to find we were being joined by companies and bloggers across the country, including (among many others) Montreal’s SideMart, Toronto’s Studio 180 and Crow’s Theatre, and the PuSh Festival in Vancouver.
You can catch up on the entire conversation here, with the transcript sent to me by @AudienceDevSpec‘s Shoshana Fanizza out of Boulder, Colorado, who regularly uses #auddev to keep in touch with the twitosphere about issues relating to arts organizations and audience development. I have synthesized some of the main talking points below, but I highly recommend taking a peak at the transcript just to get a better look at the enormous participation we had across Canada and in parts of the United States.
Live Tweeting During Performances:
When I asked participants for their views on allowing tweeting throughout the actual performances, there were definitely some mixed responses. Some thought this would be disrespectful to the actors performing, others thought it would mean the audience would be distracted from the show if they were focused on their smart phones, while some people thought it would be interesting to experiment with the possibilities:
@canadianstage‘s suggestion of live tweeting a dress rehearsal was a popular one, and @macdonaldfest also suggested tweeting a Q&A might be a good solution for involving the audience within the theatre without disrupting the performance. @morroandjasp took up the challenge immediately and offered to include a Twitter/Audience Q&A this week. I am pleased to report that I and a number of Friday’s participants spent a lovely part of Wednesday evening in conversation with Morro and Jasp, the creative team AND their audience after their performance at Theatre Passe Muraille. It was great fun for us, and I’d love to hear what the experience was like for the audience.
Who are you tweeting for?
Many people took this chat as an opportunity to express some frustrations with Twitter and Twitter users in general. There was commiseration over accounts used only for self-promotion, or retweeting everyone else’s content without adding anything to the conversation, and a general poopooing of Facebook pages linked to Twitter feeds where one automatically updates the other. Consensus seemed to be that they speak to different audiences and therefore require a different voice or style, and that your audience wants to feel you’re actually having a conversation with them, rather then just putting forward a constant stream of information and sales strategies. Do you have linked accounts? Would you consider changing them?
Who’s doing interesting things online? Who’s worth following?
We’re always trying to find out about interesting and innovative theatre companies trying new things both on and off the stage, so I asked for recommendations for companies doing great things with social media:
So I checked out Woolly Mammoth Theatre after the conversation, and I was indeed impressed. In the lead up to their presentation of Mike Daisy’s The Agony and the Ecstasy of Steve Jobs, they had staff members “reporting” from the sales lineups for the iPad2, and audience members could follow along via the hashtag #ShowUsYouriCrazy. They were also offering $0.99 tickets for one day only (the cost of the average Apple app) if you could arrive in person with a “Jobs (Apple)” Foursquare badge. Now, “Jobs (Apple)” + “Foursquare” means absolutely nothing to me, but it’s definitely the kind of thing I’d be willing to look into to see Mike Daisey for $0.99.
How to Handle Staffing & Twitter:
Well, this was a popular discussion, but yielded mostly questions and few answers. Looks like everyone’s still trying to figure this one out.
Has anyone found a solution they’d be willing to share with the group?
“Today was, in my recollection, the first time that Canadian theatre artists have used twitter to have a nation-wide conversation about the role of social media – in fact – to have a nation-wide conversation about anything. Based on this conversation new relationships between companies and artists have been formed. And this gives me great hope.”
Like a number of other participants in the conversation, Lois was excited by the fact that this conversation was happening at all, and is looking forward to that conversation continuing. She’s also looking for Canadian theatre blogs from outside the main centres, so if you know of any not currently listed in our blogroll, please let us know.
My Chat with Linda:
On Wednesday night I also caught up with Linda (our “theatre newbie) to ask her a little more about her experience attending theatre for the first time. She told me it was intimidating at first, but she got comfortable once she had arrived and could start interacting with the tweets she saw on the display screen. I asked for her perspective on live tweeting during a performance because I knew she had wanted to tweet during Hunchback. I wanted to know if she thought she might get distracted if she were to tweet throughout a performance:
And as for her and her fellow theatre-newbie companion seeing more theatre?
Well, that’s a whole other conversation I think. Who’s in?
performed by Margaret Evans, Christine Horne and Keith Barker
directed by Michael Wheeler
produced by Aislinn Rose
sound and lighting design by Verne Good
costume design by Scott Penner
asst. directed by Laura Nordin
stage management by Rebecca Powell
Jesus Chrysler at Rhubarb is the fourth stage of development of an evolving work centered on legendary Toronto activist and director Eugenia “Jim” Watts.
Click here to learn about our earlier iterations of this project at The Toronto Fringe, HATCH: emerging performance projects and LabCab.
Margaret Evans plays Eugenia "Jim" Watts in Section 98
by Simon Rice and Michael Wheeler
Like any good tyrannical minority government gearing up for a fall election, Praxis is shaking it up! Nothing beats a cabinet shuffle to temporarily boost polling numbers for an independent theatre company.
Kidding… Sort of. We are making some changes at Praxis and they are lateral, but you know in the theatre world lateral means diagonal.
We wouldn’t have the wiggle room to be so obtuse if Margaret Evans, Maggie as we all know her, had not been General Manager of Praxis for the last 2 1/2 years.
Under Maggie’s tenure Praxis produced four shows, the scope of which were our largest thus far, both creatively and budget-wise. She also oversaw the creation of our board of directors, and was steward of the most successful fundraising campaigns in the history of the company.
Despite these skills and accomplishments, her greatest asset is actually as a performer. Margaret will be retiring from her role as GM of Praxis and will be taking a more front and central role as an actor/creator in our production of Section 98, continuing her work playing Eugenia “Jim” Watts, the legendary 1930s political artist and Spanish Civil War ambulance driver and radio host.
Aislinn Rose - Praxis' new Artistic Producer
Continuing in the diagonal tradition, Aislinn Rose will be rewriting the books as Artistic Producer at Praxis. Over the past year she has acted as Script Supervisor on our 2009 Toronto Fringe production of Tim Buck 2, as well as Director of the Open Source Theatre Project for Section 98, presented as part of Harbourfront Centre’s 2010 HATCH season. As Artistic Producer she will be handling Praxis’ day to day operations as well as developing a new creative project… More on this soon.
We should also mention that she has a non-Praxis show running right now, Amy Zuch’s Key to Key, which she directs for this year’s Toronto Fringe Festival at the Royal St. George venue until Saturday July 1o.
Melissa Hood looks over her notes during rehearsal. Photo by Hugh Probyn
by Aislinn Rose
In October 2009, Struts and Frets blogger Kris Joseph posted On theatre in society: porosity in response to Mike Daisey’s How Theater Failed America, about the current dysfunction of funding models for American theatre, as well as Chris Ashworth’s Toward a New Funding Model for Theater, in which he argues that “the process is the product”, and therein lies a new approach to funding. Joseph asserts in his post that he is, “now more convinced than ever that theatre can and must distinguish itself from film, TV, and new media by being completely porous to its audience.” He goes on to write that theatre artists must share their process by becoming integral parts of the communities where they work, and that the community should feel completely part of that work.
The post inspired an equally interesting conversation in its comments section, with Praxis Co-Artistic Director & Director of Section 98 Michael Wheeler commenting that the work we were doing with Section 98’s Open Source Theatre project was in part an attempt to make our process integral to our relationship with our audience, in preparation for our work-in-progress presentation for Harbourfront Centre’s HATCH season. We though the issues we were addressing would benefit from discussion and wanted to get our community involved as early in the process as possible.
Another commenter wrote to say that he normally runs screaming from the room when it comes to “art as process” work, with only a few exceptions. However, he was in complete agreement with a point made by Ashworth (in reference to sharing the development process with the audience) about editing out “the boring bits”. Sounds like a good idea, doesn’t it? Easier said than done I think.
It’s been a few weeks since our HATCH presentation and we’re still sorting through the feedback. In an effort to open ourselves up to our community, we recorded our process online and encouraged audience members to text us during the show with the texts posted live to our blog throughout the presentation, and we asked our audience members to continue sending us their feedback after they’d gone home and had a chance to reflect. Some chose to return to our blog with that feedback, and others emailed us or sent messages via Facebook.
Here’s our best attempt to provide an unbiased overview of the synthesis of this feedback under the major categories it addressed.
Open Source/Interactive:
Assistant Director Laura Nordin operated the texting software during the performance and transferred the comments to the website. Photo by Hugh Probyn
A text received during the show:
An unsolicited Facebook message after the show:
Do I want to meet? Hell yes! I had to google “experience design” to find out it was an actual thing.
And in response to the texting:
And from a texter with a smart phone with access to our blog throughout the show:
And from a post-show blogger:
The Q&A at the end of the show yielded a number of comments on this topic, with many saying they found the texting to be distracting, or that they prefer to lose themselves in the theatre rather than participating in every day life activities like texting. Others really liked that they were able to communicate with us throughout the show, but they wanted to see it further integrated into what they actually see onstage. Lots to think about here!
Multiple Plot Lines:
Greta Papageorgiu presents “Section 98 for Dummies”. Photo by Hugh Probyn
Section 98 was investigating the history of Civil Rights in Canada, with a particular eye on the Communists of the 1930s, the FLQ and the War Measures Act in the 1970s, and Afghan Detainees in the modern era. Some audience members found the inclusion of so much information to be confusing, or questionable:
The audience at the Q&A seemed to divide neatly into two camps on this issue. On the one side there were people who felt that the multiple topics were too scattered and they were having trouble tying it all together. Another perspective suggested this was not the time to condense our story yet… that we should “keep blowing it up and making us make the connections ourselves (which I’m sure we’ll continue to do for several days)” as one participant commented. Or, as it was put another way, “I kind of like you throwing a bunch of shit up there… you’re giving us homework”.
General’s Testimony:
Photo of the Three Generals from my iPhone during rehearsal.
As part of the presentation, we also included verbatim texts of the testimony given by General Rick Hillier, Lieutenant-General Michel Gauthier, and Major-General David Fraser after the explosive testimony of Richard Colvin, in which he alleged that Canadian Soldiers knowingly transferred Afghan detainees to torture in Afghan prisons. Here’s some of what we got during the show:
So we discovered that most people found this material to be deadly boring (including my mom). There were, however, a few people who found the transcripts to be interesting, while others suggested we could absolutely continue working with them… once we had sculpted it with our point of view. “There’s no such thing as neutral.” This is fascinating to me since we had been so concerned about taking the material out of context and were committed to presenting it exactly as we found it.
Omar Khadr:
Image by Darren O’Donnell
Omar Khadr also caused some disagreement. I am, of course, not referring to the real Omar Khadr, the one who was captured at the age of 15 and lives in Guantanamo Bay. I’m referring to another of our Open Source Theatre commenters who went by the moniker of “Omar Khadr” in response to Open Source Entry # 4: Checking for a Pulse. Some of these comments were included in our show. Here are some of the responses this material generated, in the order in which they were received:
Some thought the sections to be “extraneous” or “questionable”, while another said, ““Omar” really turned out to be a lynchpin of the show.”
Fake Omar requested that we not take him out of context so we recorded his text using an imagined internet/robot voice. While people couldn’t agree on whether or not we should have included this material, most could agree that the robot voice should go.
Jim Watts
Margaret Evans as “Jim” Eugenia Watts. Photo by Hugh Probyn
If there’s one thing that most people could agree on, it was Communist/Theatre Artist/Revolutionary Jim Watts… the kind of character I would have liked to encounter in Canadian History classes in public school. Here’s what people had to say about her:
More post-show feedback continued in this vein, with suggestions that Jim really is the anchor of our show. To me, this is one of the most successful aspects of this workshop because we were fascinated by Jim while developing Tim Buck 2 when this show started at the Fringe, but she really didn’t emerge as a centrepiece in that iteration of the project.
What Now?
So, what do we do when half of our audience tells us they hate something about our show, while the other half says, “it was our favourite part”? One commenter may have addressed the challenge of conflicting advice best:
“If I start commenting on Linux, [an open source, collaboratively developed operating system] no one is going to listen, for very good reasons (I don’t know much about code.) So, how, in this world of aesthetic and political difference, can you tell […] who to listen to – who shares any values.”
This question of “who to listen to” is a great one, and will be on our minds as we dig deeper into all of the feedback. Which of the responses can we add to our “source code” to enhance our work, and which responses will “crash” it? As we continue in our efforts to be “porous” with our audience, please stay tuned for Part 2 where we discuss our own responses to the feedback, and where Section 98 is headed.
Dave Tompa on how he scored the juicy role of an NDP Member of Parliament in Praxis Theatre’s Section 98
Praxis Theatre’s one-night-only workshop presentation of Section 98 is finally here. Do you have your tickets yet? Last night we had an invite-only dress rehearsal, and we learned a lot. In particular, after all these years of audiences being told to turn their cell phones off, we’re finding it a bit of a challenge to encourage you not only to leave them on, but to actually put them to use during the show. So we’re hoping to see you and your cell phones at the Harbourfront Centre tonight at 8pm.
Check out Praxis Theatre’s Co-Artistic Director Michael Wheeler talking to Harbourfront about our “Open Source” show, and why you need to bring your phones. See you tonight!
Harbourfront Centre’s Upfront talks “Open Source Theatre” with Praxis Co-Artistic Director, Michael Wheeler
We’re here on Day Three of HATCH at the Harbourfront Centre Studio Theatre, preparing for our work-in-progress presentation of Section 98. Some of you are familiar with the nature of “Tech Day”, but part of the purpose of our Open Source Theatre project is to reach a wider, non-theatre going audience… so for those of you who are not familiar with tech days, our Stage Coordinator Brittney Filek-Gibson – also known as BFG, also known as Praxis Theatre’s Social Media Sheriff – has created an amazing little video for you, that I like to call “Tech Day in 2 Minutes or Less”. In reality, tech days are much longer. 8 hours longer. Sometimes 12.
Don't go to the theatre regularly? Tell us why in the comments section and we'll give you a free ticket to our show!
So, to all you non-theatre goers… did you have any idea that theatre artists and technicians go through all of this just to make things pretty for your arrival? If you don’t normally go to the theatre, or if you used to go to the theatre but don’t anymore… we want to hear from you. What’s keeping you away? What can we do to get you here? Tell us why you don’t go to the theatre in the comments section below, and we’ll give you a free ticket to our show this Saturday night!
My mum has had a really hard time getting my dad to the theatre ever since she took him to a production of Man of La Mancha over 25 years ago, and a man “pranced around the stage on a broom pretending he was riding a horse”. To make matters worse for my dad, it was Good Friday and all the bars were closed.
On February 24th, I woke up to find an email from Section 98’s director Michael Wheeler, saying “have you been following my conversation with Omar Khadr?”. I’m sorry, what? Now, I think it says a lot about Mike that my first thought was, “if anyone’s going to find a way to have a conversation with Omar Khadr, it’s Mike”. Or maybe it says a lot about me. Then it dawned on me that a week earlier I had mentioned Omar Khadr in my Open Source entry “Checking for a Pulse“. I had dared to suggest that if one is going to support human rights and civil liberties, then one must do so in all cases, and, instead of quoting Margaret Chase this time, I’m going to quote Oscar winning actress Mo’nique: “sometimes you have to forego what’s popular in order to do what’s right”. I also said, based on this idea, that I’d like to know when we would be bringing Omar Khadr home. If I was going to find Mike’s conversation with “Omar Khadr” anywhere, I was betting it would be at the end of this post.
I headed to the comments section of the post, and there it was: ‘Everyone calm down! It’s me, Omar Khadr!‘… and it looked like Mike and Omar had stayed up “conversing” until the wee hours of the morning as well.
Don’t feed the trolls
If you spend a lot of time (angrily) reading reader comments on news sites like I do, you’ll often find the line, “don’t feed the trolls”. Can I go so far as to call this person a troll? Wikipedia defines an Internet Troll as “someone who posts inflammatory, extraneous, or off-topic messages in an online community, such as an online discussion forum, chat room or blog, with the primary intent of provoking other users into an emotional response or of otherwise disrupting normal on-topic discussion.” Well, the posts were reasonably on-topic, but cue the inflammatory on his end, and the emotional on my end. Ultimately, I don’t want to call this person a troll as I think he truly believes in his point of view (and isn’t just engaging in order to be a nuisance), but at the same time, he isn’t posting to debate or discuss. He’s posting to say “how it is”.
I was surprised at first that Mike had taken on a somewhat similarly comedic tone with his responses. Good on him for not taking the bait I guess, but I was also frustrated at the amount of misinformation sitting there that was going undisputed (in the beginning). It’s so very easy to spout inflammatory statements like, ‘“The Young Offenders Act?!” Even I know that was replaced in 2003!‘ as thought that actually means something. In this case, it means nothing. While the YOA was replaced in 2003 with the Youth Criminal Justice Act, Omar was captured in 2002, and therefore still covered by the YOA. Regardless, the new Act still considers youth to be between the ages of 12 and 18, and Omar was 15 when captured. So what was his point, other than to say something in an authoritative manner, thereby casting doubt on Mike’s earlier assertions?
Same goes for such lines as ‘here’s the only law that DOES apply to me and my “situation”‘ (when in fact there ARE other international laws relating to child soldiers that apply to him and his situation), and ‘(unlike a lot of these bastards at Gitmo) I was actually charged WITH A CRIME‘… as were other Guantanamo Bay detainees who, regardless of their charges and/or convictions, were still released to the custody of their respective countries. I’ve always enjoyed people saying that Canada is unique, or special, but not when we’re unique because the only Western citizen remaining in Guantanamo Bay is Canadian.
Omar Khadr: Then & Now
… can we send it back?
The “debate” went on for a few days, with Mike and another valiant participant going head to head with this person… and I just sat back watching, wondering what to do, feeling a little bit useless, and a little bit overwhelmed. Oh, not by the level of debate, don’t get me wrong. In fact, when I first started reading his comments, I actually thought it might be satire. I thought, here is an ignorant, arrogant Colbert-like character playing up the ridiculousness of “the other side”… you know, that side that suggests the only reason anyone is interested in Omar’s rights in this case is ‘because they hate America, they hate what it stands for‘. It would almost be funny if he weren’t actually being utterly serious… in a quasi-funny, (mis)appropriated, and conveniently anonymous voice. So the level of debate wasn’t what was overwhelming me.
No, it was more about the fact that I knew engaging him further was useless. Consider, for a moment, his insistence that Omar is guilty (though he has yet to be tried), and his complete dismissal of the evidence to the contrary provided by Mike. In fact, any good point in the real Omar’s favour was simply met with something like ‘just which side are you on? Because it sounds like you’re on mine! This is fantastic, I need another “useful idiot”‘. So t. schwellnus gets called an idiot… not by the writer of course, but by “Omar”… so he gets away with it.
And then there’s the issue of my being a woman. Fake Omar’s first comment said (in reference to me), ‘what’s with the lady that hates “Borat” and why is she even allowed to view such Western filth?’. After that, I (wrongly or rightly) assumed that any comment I made would be met with a similar ‘joke’ about my place as a woman. He would be ‘in character’ of course, and I would be expected to be able to take a joke of course… otherwise I’m just another one of those humourless shrews we see portrayed on the television every day. I didn’t say any of this to anyone, yet I was asked by a female friend if this was one of the reasons I wasn’t responding to the discussion. And let me tell you now, I’m not proud of the fact that I stayed away.
Finally, it is overwhelming to know that there are so many people out there like this person. As Mike said in one of his responses, ‘it is valuable for the production to acknowledge that the reason Omar Khadr is in Guantanamo Bay is because there are many, many people, just like you out there.’. I don’t mind that people have differing opinions than my own, not at all. I just want to be able to have discussions with those people where we can share what we think and what we know, and actually drive the discussion forward. I love to learn, and I therefore love it when someone proves me wrong… but that can only happen if I actually listen to what the other person is saying.
t. schwellnus may have said it to fake Omar best: ‘I don’t know what your intentions are, ultimately, but this shit just kinda makes me crazy‘.
So, as the keeper of Section 98‘s Open Source Theatre project, here’s what I want to know: what the hell do you do in this scenario? Do you take the bait and engage in the name of accuracy and/or principle? Do you ignore the “troll”? Do you delete his posts (as he accused us of doing)? Or, like Mike, do you try to find a way to incorporate this “voice” into the show, without taking the voice “out of context” (which is what concerns fake Omar). Though, I don’t see how we can take a voice that doesn’t actually belong to this person out of context, but we’ll certainly do our best.
Now I want to leave you with a question… and feel free to tell answer in the comments section below: what were you doing when you were 15? What was I doing when I was 15? I was going to Catholic school, and campaigning for Perrin Beatty? Why? Well, I was raised by my parents as both a Catholic and a Conservative. And, while I hate to admit it, I was pretty much one of those kids that did as their parents told them. It wasn’t until a little later in life that I realised I wasn’t a believer, and I certainly wasn’t a Conservative (of the big or small c variety). Luckily, when I was 15, I didn’t have parents that sent me to Afghanistan to fight in a war, as I probably would have gone. You?
Come see Praxis Theatre’s Section 98 interactive work-in-progress presentation on Saturday, March 13th at the Harbourfront Centre Studio Theatre. Click here for more information.
Vancouver Poet Laureate Brad Cran on the Canadian Women’s hockey team’s post-game celebration.
by Aislinn Rose
The Vancouver 2010 Olympic Winter Games are over, and although there was some protesting and censoring, it seems to have come off as a relatively controversy free affair. For this creative process we’ve been keeping an eye on things ever since we first heard about “free speech zones“, and rights activists being detained on bothsides of our border. We are, after all, building a show about civil liberties in Canada, which leaves room in each iteration for pressing civil rights issues at the time of each production to be addressed within the context of similarly difficult moments in the history of our country.
We became interested in these stories about activists being detained at the Canadian/US border, and then I came across a piece by Vancouver Poet Laureate, Brad Cran who, incidentally, declined to participate in the Cultural Olympiad due to rules he believed muzzled free speech. In his piece entitled “2010 Handbook for Entering Canada”, Cran takes a look at these border crossings from the perspective of the border guard. Sort of.
In an effort to stay true to this concept of “Open Source”, I am reaching out to you for contributions to the “source code” of Section 98. That’s right. I want you to read Brad Cran’s piece below, and then send us what you think we should do with it. It can be in script format, or just in the form of a completed idea or concept. You can email all of this to the “info” address at the top right of the website if you’re the shy type or leave it as a comment below!
Our creative process has evolved a lot at Praxis Theatre – evolving from working exclusively with text-based tools to create new work, to also incorporating and experimenting with ideas and using the workshop process to develop them into theatre. You’ll see the results of those recent efforts on March 13th at our work in progress HATCH presentation. (Did I mention tickets are on sale now? No? Tickets are on sale now.)
Please take the time to read the Handbook below, and then send us whatever comes to you. How might you put this story, this issue on stage? How would you make it theatrical? Have you considered how it might fit into a show that is also covering civil rights issues of the 1930s and 1970s? In keeping with things open source, we may incorporate your contribution into our presentation (so be forwarned), we may save it for a later iteration, or we may determine that it doesn’t fit into what we’re developing. Either way, you’ll be acknowledged, credited, and thanked appropriately.
Are you bringing any fruits or vegetables into Canada?
Have you visited a farm in the last 30 days?
Are you now or have you ever been a member of a group that disagreed with government?
Do you intend to ride the zip line?
Do you approve of product placement in movies?
Do you like my uniform?
Are you bringing into Canada any currency and/or monetary instruments of a value totalling CAN$10,000 or more per person?
Have you ever assaulted a police officer with a stapler?
In describing my uniform, would you say that it a) inspires respect or b) breeds contempt?
Have you ever dreamed of shooting a fascist dictator off a Spanish balcony?
Do you approve of John Furlong?
Can you give me an example of the words in your head and how they might be used while in Canada?
Do you vote?
Are you now or have you ever been a person who carries MasterCard?
Were you aware of the Oka uprising, and if so, whose side were you on?
Remind me again about the zip line.
Do you read poetry?
Do you believe in homelessness as a right of the people?
If you were Canadian, and if it were possible to do so, would you vote for John Furlong?
Does the colour of your socks match the colour of your pants?
Do your children own an effigy, stuffed or otherwise, of the Olympic mascot?
Our premier rode the zip line. Did you see that? It looks awesome.
Please arrange the following terms in order of preference, starting with the least important: Health Care, Education, the Environment, Homelessness, Logo Placement at Sporting Events.
Do you now or have you ever owned a copy of Raffi’s Baby Beluga?
Do you own a cell phone?
Are you carrying any printed matter that illustrates same-sex love?
Are you bringing into Canada any firearms or other weapons?
Did you know that each year, more Canadians trust RBC Royal Bank® for their mortgage solutions than any other provider?
What is the total monetary value of the goods you will be leaving in Canada?
Let’s go back to my uniform for a minute, you gotta admit it’s pretty fucking awesome.
Do you or have you ever listened to Democracy Now?
Can you finish the following sentence? Baby beluga in the deep blue ______________.
What colour is your heart?
Do you believe in global warming?
Have you ever purchased No Name brand products? You know, the ugly yellow ones?
If while in Canada you were tasered, would you be upset or go into cardiac arrest?
Do you support an international unelected and roaming fourth tier of government as set out by a non-existent charter of the
IOC?
If your government acted against the principles of democracy, would you be compelled to action or would you just tell your
friends you are miffed?
Do you ever experience emotions stronger than miffment?
If someone you knew spoke up against your government, would you a) listen or b) think that was a little weird?
Which of the following does not fit? Osama bin Laden, Louis Riel, Chris Shaw, Gordon Campbell.
When asked, will you keep the flow of traffic moving smoothly?
How long will you be staying?
* * *
I should tell you there’s a lot of interesting stuff to read on Cran’s Poet Laureate site, including his take on Shane Koyczan, the slam poet featured in Vancouver’s Opening Ceremonies. Here’s Koyczan performing “We Are More” in 2007.
“After the years and years of weaker and waterier imitations, we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.”
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