Category Archives: Canadian Identity & Heritage

Harper and Conservatives say “No Apology” for First Nations residential schools.

Harper and Conservatives say “No Apology” for First Nations residential schools

The New Government of Canada is breaking a promise that
was made to First Nations peoples by the former Liberal government of
Canada.  Gee…. I would hate to say that the Canadian government
speaks with a forked tongue, or that the Canadian government is an
indian giver.”  But aside from falling into ironic derogatory stereotypes, I
think it's a mistake if Harper and the Conservatives must really think
that it isn't worth wooing First Nations votes for the next election,
at the cost of losing votes from all Canadians who actually believe in
truth, honour and good government.

After giving an apology for the racially motivated Chinese Head Tax
that was designed to deter Chinese immigrants from coming to Canada
after Chinese helped to build the Canadian transcontinental railway
that helped to bring European settlers to BC, thus displacing Chinese
workers already in BC – but not apologizing for the even worse Chinese Exclusion Act
that banned Chinese immigration and separated families from 1923 to
1947, Harper and the Conservative government agreed to give ex-gratia
payments to surviving head tax payers and spouses – but not
descendants, even though 99.9% of the original head tax payers and
99.7% of the original spouses had already died.

After handing Maher Arar over to the US government who gave him to the Syrian government to be tortured, and after the resignation of the top RCMP commissioner Giuliano Zaccardelli,
the government gave Arar an apology and a $12 million settlement
because they said that's the appropriate amount if the case went to
court.

Even 19 years after the Mulroney Conservative government gave an
apology and redress to the Japanese Canadians who were interned and had
their property confiscated during WW2… only after the US government
first compensated Japanese-Americans were only interned (no property confiscation) – and allowed
to return to their homes following the war (Japanese Canadians were not).

Why is the Canadian government refusing to give an apology and compensation to First Nations residential school survivors?

The residential schools forcibly broke up families, and refused to
allow them to speak their native language to each other.  Twenty
years ago, I listened to Chief Joe Matias of the Capilano Band speak
about being sent to residential school, and not be allowed to go home
at any time – even though home was just down the street.  They
used to speak to family members by yelling from windows, and then they
would be punished for doing that.  The residential schools
destroyed First Nations culture and families, in a manner similar to
the Potlatch Act which forbade First Nations peoples from attending
potlatch ceremonies in BC – a cultural and social institution. 
These laws paved the way to forced assimilation into Canadian culture,
or was it actually the road to cultural genocide? 

This is why so many First Nations peoples developed a negative
self-identity in the early to mid 20th Century, similar to Asian-Canadians.  If
you practiced non-British cultures in Canada, it was
non-Canadian.  Okay, in a British colony, maybe practicing German,
Ukrainian, Jewish, French or Italian traditions wasn't cool.  But
it was looked upon as worse if your culture was South Asian, Chinese or
Japanese.  But isn't it even far more cruel to impose rules on a
culture that lived here for a hundred generations before British
invaders even arrived in a land yet to be called Canada?

These are the kinds of incidents that make you embarrassed to be a
Canadian… especially with the 140th Anniversary of Confederation to
be celebrated in 2007.  It's bad enough that PQ leader André Boisclair
was still making “slanting eyes” comments during the Quebec provincial
election.  I guess he isn't a “real Canadian” who believes in
mutual respect, Canadian history, multiculturalism and inclusiveness.

There are many articles and editorials from mainstream newspapers and
magazines calling on the government to make an apology and more. 
Here are links to some of them, plus an editorial from the Toronto Star.

globeandmail.com: No residential school apology, Tories say

Macleans.ca – Canada – National | No residential schools apology
 

Toronto Star
March 28, 2007

This country and its governments wronged early Chinese immigrants
with an odious head tax, for which the government of Prime Minister
Stephen Harper has now apologized and paid compensation.

This country and its government wronged Canadian citizen Maher Arar by aiding the U.S. government, which sent him to Syria to be imprisoned and tortured. For that, the Harper government apologized and paid compensation.

This country and its government also wronged native Canadians for
more than two decades, starting in 1874, when it forcibly removed
native children from their homes and placed them in residential
schools, where they were not allowed to speak their own language and
where many of them suffered sexual and physical abuse.

While the Harper government is ready to pay compensation, it won't
apologize on behalf of Canadians. Indeed, Indian Affairs Minister Jim
Prentice said this week the government has nothing to apologize for.

In adopting this position, Harper and Prentice have broken a
commitment made in 2005 by the previous Liberal government to apologize
to the victims.

Honouring such moral commitments ought to be just as important after
a change in government as the obligation is to honour previous
government's accumulated debt.

More fundamental, however, is the glaring flaw in Prentice's argument for why no apology is necessary.

Because “the underlying objective (of residential schools) had been
to try and provide an education to aboriginal children,” Prentice
claims, “the circumstances are completely different from Maher Arar or
also from the Chinese head tax.”

That is like saying the ends justify the means, an unpersuasive
argument when the means involved tearing apart native families, as well
as widespread abuse.

The Harper government should apologize for this stain on Canada's
history which, in the pain and suffering it created, is every bit as
shameful as the treatment of the Chinese migrants and Maher Arar.

http://www.thestar.com/printArticle/196609

Vancouver Opera's Magic Flute: A journey between cultures to infinity and beyond

Vancouver Opera's Magic Flute: A journey between First Nations  and Western cultures… to infinity and beyond

The Magic Flute – W.A. Mozart
Vancouver Opera
January 27, 30 – 2007
February 1, 3, 6, 8 – 2007
Queen Elizabeth Theatre, Vancouver BC
Director –  Robert McQueen
Conductor – Derrick Inouye
reviewed on Tuesday, January 30

Why would Vancouver Opera take a perfectly good Mozart opera and spend
it's largest single event budget to try to give it a First Nations
twist? 

Why would Vancouver Opera consult with First Nations artists to create
costumes and dances and set designs reflective of First Nations art and
culture, when the Magic Flute was a 1791 production set in a faraway
land, filled with Mozart's newly learned knowledge of Free Masonry and Masonic rituals?

The real question is not simply “why not?” but rather “Why hasn't something like this been done before?”

All the pre-event buzz of a First Nations Magic Flute was worth
it.  All the endless rounds of community and cultural
consultations working with the First Peoples’ Heritage, Language and Culture Council, was thorough on every level.  All the Where Cultures Meet
public presentation/forum events at the Vancouver Public Library and the Chan Centre peaked
people's interest and challenged their notions of opera and culture.  I reviewed the November 8th event
Can Cultures Merge?
 
James Wright, general director for Vancouver Opera, has been making
the company more representative and responsible for the community,
history and culture of Vancouver.  In 2005, “Naomi's Road” debuted
as a 45 minute opera for schools.  It was based on the children's
novel version of Joy Kogawa's award winning novel “Obasan” which told
the story of the internment of Japanese-Canadians during WW2. 
This was only the 2nd original commission in the Vancouver Opera's
history, following The Architect (1994). 

Last fall the Vancouver Opera's Touring Ensemble revealed their 45
minute version of Mozart's Magic Flute. The normally 3 hour long opera
underwent a radical adaptation to become a First Nations story about a
young man who must prove his worthiness to his father, Sarastro, by
finding the “box of shadows” from T'sonokwa, the Wild Woman of the
Woods.  Along the way he meets bird catcher Papageno, and the
beautiful Pamina who are also on their own quests to find love and
family.  A complex Mozart opera became a delightful opera about
the value of family and community.  I loved it immediately when I
saw it performed at the Vancouver Academy of Music in December.

And now the full-length version embraces First Nations culture, while
staying true to original storylines.  A long creative process saw
collaboration and mentorship between First Nations cultural consultants
and artists with the opera company.  Similarties were found in
Mozart's opera between the Masonic spiritual rituals and First Nations
mythology and spiritual values.  An opera representatively set on
the Pacific Coast with a multicultural cast has emerged from the
swirling mists.  Vancouver Opera opened a box of possibilities and
and now give mainstream culture a taste of what has been happening on
the Vancouver cultural arts scene for years on a much smaller and
edgier scale.  This is a rich and worthy project and deserves to
be seen.

Before the opera began on Tuesday night, Chief Leonard George of the
Tsleil-Waututh
Nation (Burrard Band of the Squamish Nation) came out to welcome the
audience to traditional Salish/Squamish lands, and spoke about the
collaboration between Vancouver Opera and First Nations peoples in
creating this production of Magic Flute.  He stated that it was
wonderful that the high culture of of First Nations is now recognized
as  equal with the high culture European opera.  The son of
the late
Chief Dan George, he is also an actor and film consultant as well as a
lecturer,  and First Nations traditional singer and dancer. 
Beating on a hand drum, Chief Leonard George sang a song that helped
prepare the audience for the special cultural journey for the evening.

The overture opens with a film projected onto the vast scrim of the
Queen Elizabeth Theatre.  Images of urban street scenes of
buildings, alleys and cars give way to forest trees and ocean lapped
rocky shores.  This high tech staging device helps to transport
the audience from the traffic hassles of parking the car on the same
night as a Vancouver Canucks hockey game, into the anticipated world of
the First Nations Mozart opera.  And maybe this also explains why
the main characters Tamino and Pamina are wearing contemporary style
clothes, as they too are transported from the contemporary into this
brave new, yet ancient
world.  There are 70 amazing individually designed costumes by
John Powell and Christine Reimer, which provide lots of “ohh factor” for
this production.

In the original Magic Flute production, Tamino is an Italian
prince, attacked by a sea serpent,
before being cast up on the shores of Egypt (spiritual birthplace of
Masonry).  Now he is a First Nations man of noble heritage, who is
attacked by a double
headed First Nations serpent, and landed on the rocky coastline of
the  Coast Salish forest. Phillipe Castagner is a splendid Tamino,
full
of self-determined
bearing and strength of will and song.

The
prone Tamino is discovered by Three Ladies, attendants of the Queen
of the Night who killed the sea serpent to save him.   The
Third Lady is played by mezzo-soprano Marion Newman of
Kwakwaka'wakw/Coast Salish heritage.  The ladies
are dressed in traditionally inspired First Nations styled costumes
that contrast with the urban leather pants worn by Tamion.  The
ladies also have blue skin and bald heads.  It is
apparent that Tamino's journey is truly to a different land.

Papegano is dressed in the wonderful blue and black raven costume that
you see on billboards and ads around Vancouver.  Raven is perfect
for Papegano, as Raven is the classic “trickster” figure in First
Nations culture.  Papageno is the first character that Tamino
meets, and promptly becomes his sidekick and travel companion for
adventure.  Played by Etienne Dupuis, he brings much comic relief
to the opera, stealing many scenes, long before the famouse
Papageno/Papagena duet.

The Queen of the Night is played by Korean soprano Hwang Sin
Nyung.  She is a ravishingly thrilling Queen of the Night hitting
the famous high F note with ease.  Her head is bald and her
costume looks like it was picked out of a Jack Shadboldt painting – a
butterfly on acid, striking with blacks, blues and silver.  Her
wings are used to great effect as she wraps herself in them or they
simply hang or flow, dependent on her movement. 

Instead of visiting a sacred Masonic temple, Tamino
finds himself at a cathedral like forest which itself is sacred in
First Nations culture. 
He is met by “The Speaker” played by baritone Gene Wu, the
Chinese-Canadian last seen in Vancouver as Naomi's father in Naomi's
Road.  Wu is dressed completely in green, with large leaves
evocative of being a tree himself.  His baritone is lyrical as he
challenges Tamino to see past the deception and lies of the Queen of
the Night, and to understand Sarastro as a benevolent and wise man.

Sarastro, is played by African-American Kevin Short, as a dignified
chieftain.  His bass-baritone is strong, and provides a strong anchor
against the other voices, especially with the male chorus or the mixed
chorus, and the finale with the Queen of the Night.  His costume
includes a copper shield breast plate – an artifact of high honour in
West Coast First Nations culture.  From high priest to wise
chieftain, this role easily fits in with the transformation, as he is
surrounded by his tribal council – each dressed in costume
representative of the 12 different West Coast First Nations.

Michel Corbiel is the menacing Monostatos who is threatening Pamina
when we first meet them both. He is dressed as a rat with ears and a
tail, but with knickers remnescient of 18th C. Europe, as are his
followers.  I guess this is the political statement about European
colonialism in North America.

Director Robert McQueen has indeed attempted to embrace the
almost-impossible, balancing political correctness with First Nations
protocol, European opera traditionalism with new creative vision. 
He wisely sticks to the central universal themes of love, and heroic
myth.  We met him during the intermission after he had just been
congratulated by Lt. Governor Iona Campagnolo.  McQueen was still
very actively engaged in tweaking with the production, as there were
still projection problems.  But he was amazingly optimistic and
certainly happy with the production. 

Mozart's Magic Flute score is filled with hummable songs and famous
arias, and easily stands on its own.  Vancouver born conductor
Derrick Inouye writes in the program:

“Great theatrical and musical works
have always been re-invented and re-imagined by adventurous directors
and composers, setting Rigoletto for example in Chicago in the 1930's, or Romeo and Juliet as West Side Story
While not all these creative offshoots are successful, some of the most
inventive re-interpretations can not only spark our imagination but
also bring a new richness to our perception of a familiar work and
evoke the underlying truths of human experience and emotion that can
encompass such an evolution of the original intent.”

And this Magic Flute production indeed sparks our
imaginations.  What if Ballet BC were to do something similar such
as set Swan Lake in First Nations mythology?  What if Vancouver
Opera and other mainstream arts organizations commissioned new original
works with BC's diverse heritage and culture in mind?  Will we see
Naomi's Road blossom into a full scale opera?  Will we see First
Nations stories emerge into the mainstream?  Will we see a Chinese
Canadian opera about building the railroad and paying the head
tax?  The possibilities are infinite and only defined by the
limits of our imagination.

Vancouver Opera's full scale Magic Flute runs until Feb 8th.

But if you can… also check out the 45 minute version that was created
for school children.  While the 3 hour version is amazing with
brilliant moments, there are also scenes that drag a bit.  The 45
minute version sustains “the magic” from start to finish. Melody
Mercredi who plays the Queen of the Night understudy for the Queen
Elizabeth performances, is a frightening wonderful T'sonokwa/Queen of
the Night.  I talked briefly with her in December, and the Metis
native told me that while growing up, she heard many stories
about T'sonokwa, so she felt she could really relate to the First
Nations retelling of the opera.

Feb 9, West Vancouver Memorial Library
April 7 & 8, Firehall Arts Centre

Check out this other links and reviews

Innovative Magic Flute justifies the buzz
www.canada.com/vancouversun/news/arts/

NationTalk – Vancouver Opera Presents A New Production of W.A. Mozart
www.nationtalk.ca

Welcome to the Vancouver Courier

www.vancourier.com/issues07/015107/entertainment

globeandmail.com: Mozart, with a first nation touch
www.theglobeandmail.com/servlet/story/LAC.20070201.FLUTE01/TPStory/Entertainment


Tommy Shoyama dies – Great Asian Canadian helped create Canada's universal health care

Tommy Shoyama dies – Great Asian Canadian helped create Canada's universal health care

Tommy Shoyama was born in Kamloops BC.  He was the editor of “The New Canadian” a Japanese-Canadian journal at the time of mass hysteria against the Japanese, and the internment of coastal Japanese Canadians.  After the war, Shoyama worked in Saskatchewan with Tommy Douglas, helping to create the universal health care system that became the template for Canada.  Shoyama was a nation builder for Canada following a time, when Canada and BC tried its utmost to destroy the Japanese Canadian community.

Here are some of the obituaries:


Guelph Mercury (subscription)
Shoyama helped create universal health care
London Free Press, Canada – 29 Dec 2006
By CP. VICTORIA — Thomas Shoyama, who helped create the universal health care system as a deputy minister for Tommy Douglas, has died.
Thomas Shoyama, widely respected civil servant, dies Regina Leader-Post
Veteran senior civil servant dies at age 90 Vancouver Province (subscription)
Thomas Shoyama played a key role in health-care debates Guelph Mercury (subscription)
CBC British Columbia – Canada.com
all 10 news articles »
Civil servant who helped build universal health care dies
A former senior official in Tommy Douglas's Saskatchewan government who played a
role in the creation of medicare
has died. Thomas Shoyama died Friday in

www.cbc.ca/news/story/2006/12/28/health-pioneer.html – 27k – 2006-12-28

Pioneer of universal health care
Montreal Gazette (subscription), Canada – 23 hours ago
Thomas Shoyama, who helped create the universal health care system as a deputy minister for Tommy Douglas, has died. Registered

Civil servant who helped create medicare dies at 90
Victoria Times Colonist, Canada – 27 Dec 2006
Thomas Shoyama,
one of Canada’s most respected civil servants, who helped create the
modern universal health care system as a deputy minster for Tommy Douglas

Vancouver Sun 2002: Toddish McWong marks Bard's birthday – the newsclipping

Vancouver Sun 2002:
Toddish McWong marks Bard's birthday – the newsclipping

Here's the story that the Vancouver Sun's Pete McMartin wrote about me
in January 2002.  I just sent it to Toronto to be included for the
CBC Generations documentary.

It was a fun interview, and we went to the Vancouver Sun for the photo
shoot.  My friend Sonia Baker co-hosted the 2002 dinner with
me.  Neither Scottish nor Chinese, Sonia was actually born in
Holland.  If you watched the movie “The Mummy,” you heard Sonia's
voice… she voiced the Mummy. “Errrrrgggghhhh!!!!”

2002 was the first year the Gung Haggis Fat Choy dinner attracted major
media attention.  I did an interview with Bill Richardson for CBC
Radio's flagship afternoon show “Richardson's Roundup,” for which Sonia
and I read the Jim Wong-Chu poem “Recipe for Tea.” It is a poem written
for two voices and describes how tea travelled from China to
Scotland. 

VTV (which was became City TV) sent a reporter and cameraman to the
dinner at the Spicy Court Restaurant.   Highlights of the
newscast included hearing the entire restaurant chanting “We want
haggis,” as well as seeing and hearing a verse of Robbie Burns “Address
to a Haggis,” read with a Chinese accent by Raymond Chan, who was inbetween member of parliament stints at the time.

Just over two hundred people attended that 2002  dinner in the
midst of a snow storm, an increase over the previous year's dinner of
one hundred attendees.  The following year we moved the dinner to
Flamingo Restaurant on Fraser Street, where we hosted 390 people. 
Now we host 450 to 550 people at Floata Chinese Restaurant in Chinatown.

I'll try to find a better photo scan for this news story. 

Generations Rev. Chan Yu Tan: Editing being done for the CBC documentary on Rev. Chan and descendants

Generations Rev. Chan Yu Tan:
Editing being done for the CBC documentary on Rev. Chan and descendants

The Rev. Chan Yu Tan family is being featured in the CBC documentary series Generations
Editing has now been ongoing since November.  The producer is
Halya Kuchmij, a multiple award winning veteran producer, who has worked
on past CBC
projects such as Man Alive and The Journal.  She is now with the
Documentary Film
Unit – where she produced Life and Times of Northern Dancer, Who's Lorne
Greene, Tom Jackson: The Big Guy, Chernobyl the Legacy, Mandela I &
II, and many many more.

It is part of a CBC series that focuses on the histories of families
through the generations.  Past episodes of Generations include: 100 Years in
Alberta; 100 Years in Sasketchewan; A Century on the Siksika Reserve.

Halya is convinced this “our project” is going to rock!  She is
amazed at the almost 120 year long family history that started when Mr.
Chan Sing Kai first came to Canada at the invitation of the Methodist
Church of Canada in November 1888.  There are now 7 generations of
Chan descendants throughout North America, descended from eldest
brother Rev. Chan Sing Kai, who later moved to California, Rev. Chan Yu
Tan (my great-great-grandfather who retired in New Westminster), and
Aunt Naomi who had moved to Chicago.  Aunt Phoebe is the 4th
sibling who stayed with the Chinese United Church in Vancouver, and
became affectionately known as “The Bible Lady” – she never married.

Brothers Chan Sing Kai and Chan Yu Tan, were born in Guangzhou China,
and raised to be scholars by their fathers.  They helped to
organize the first Wesleyan Mission School among the Chinese in Hong
Kong.  Their father was also a Christian missionary, having spent
many years as a Chinese Scholar with Rev. Piercy, the pioneer Wesleyan
missionary who contributed greatly to the Chinese translation of
“Pilgrim's Progress.”

Chan Sing Kai became the first Chinese to be ordained in Canada, and
was instrumental in the formation of the Chinese Mission which was
located on Carrall St. in Vanocuver – just blocks down the street from
Vancouver's historical centre of Gastown. 

In 1896, Chan Yu Tan arrived in Canada at 33 years of age, as a lay
preacher.  He took on the role of pastor of the Chinese Methodist
Church and brought with him his wife Chan Sze Wong and six children: Solomon, Kate, Jack, Rose, Luke
and Millicent.  Kate is my great-grandmother.



The 50th Anniversary of the Chinese United Church in Victoria.  My
great-great-grandfather, Rev. Chan Yu Tan is 4th from left. 
Beside him stands his elder brother Rev. Chan Sing Kai (5th from left).
photo courtesy of United Church Archives.

The Generations Rev. Chan Yu Tan project is not yet “officially titled”
– but the theme will be community service which was lived graciously by
Rev. Chan Yu Tan, and now shared by some of his descendants. 

Interviews were done on Vancouver Island
by Halya with two of Rev. Chan Yu Tan's grandchildren: Victor Wong, son
of Rose (Chan) Wong; and Helen Lee daughter of Kate (Chan) Lee, my
grandmother's sister, who lived with Rev. and Mrs. Chan Yu Tan while
they lived in Nanaimo, serving the Chinese United Church there. 
Uncle Victor Wong is a WW2 veteran and is currently president of the
Chinese Canadian veterans unit in Victoria.

Great-grandchildren interviewed by Halya were Janice Wong (grand-daughter of Rose Wong), Gary Lee and Rhonda Larrabee
(grandchildren of Kate Lee).  Last year, Janice wrote a book
titled CHOW: From China to Canada: memories of food + family, which
shared not only recipes of her father Dennis Wong, but also stories of
Rev. Chan Yu Tan and his son Luke Chan, who became an actor in
Hollywood.  Rhonda is the chief of the Qayqayt (New Westminster)
First Nations Band, which she resurrected from obscurity.  Gary is
a a longtime community builder who has been involved with many
community organizations, as well as having been a child actor.

Also interviewed were Rev. Chan Yu Tan's great-great-grandchildren Tracey Hinder
and myself.  Tracey was the BC regional winner of the inaugural
Canspell spelling bee contest, and is a great example of our family's
future generations.

TLC friend-raiser event with Ann Mortifee at Arthur Erickson designed Baldwin House

TLC friend-raiser event with Ann Mortifee at Arthur Erickson designed Baldwin House
 
Tuesday November 21, 2006
Baldwin House on the shore of Deer Lake, Burnaby


Ann Mortifee held the First Nations hand drum.  She talked about how as a teenager, she had learned from
Chief Dan George – her
co-performer in George Ryga's The Ecstasy of Rita Joe, which premiered
at the Vancouver Playhouse.  She talked about how she took a walk
in the forest with him, and how he instilled within her, an
understanding and appreciation of silence – long before she fully
understood it.  She told a story about watching a whale breach and
flap its flipper down on the water… and how a song immediat
ely came to her and she wrote it down with her sister's lipstick.

Here was a white woman born in Zululand South Africa, raised in Canada as a young child, who learned from a treasured
First Nations chief who was nominated for and Academy Award for his
role in the movie Little Big Man, standing in Arthur Erickson designed
Baldwin House on the South shore of Deer Lake. Beside her is her new husband Paul Horn, whose most famous music album is the solo flute recording Inside the Great Pyramid.  And she was introduced by one of Canada's newest Order of Canada recipients – Bill Turner, executive director of The Land Conservancy of BC. Wow!  How Canadian is that?

I
first met Ann Mortifee many years ago when she did a performance at
Celebration of Life Centre.  As she did then, she talked again
about the importance of all people, red, white, black, yellow and brown
– to come together in peace and harmony.  She has a
n incredible
presence full of radiant peace and joy.  She seems delighted when
I recount this story to her.  I share with her a First Nations
story about the seventh generation of all colours coming together in
North America.  She smiles and says “We are the seventh
generation.”

And now Ann Mortifee's newest project is The Trust for Sustainable Forestry,  a new non-profit group dedicated to saving forests in sensitive areas.  Their group has now partnered with The Land Conservancy of BC (TLC),
a non-profit group dedicated to saving, preserving and operating
historically, and environmentally important areas and houses in
BC.  She now lives on Cortes Island, near Campbell River – between
Quadra Island and Powell River on the BC Mainland. 

This
is a “friend-raiser” event.  TLC and TSF invited 20 friends to
attend a presentation and to join the membership of TLC.  I attend
as part of Kogawa House Committee
– a group created to help save the childhood home of Joy Kogawa. 
Last September we began our campaign after an inquiry for demolition to
kogawa House was recieved at Vancouver City Hall.  On December
1st, TLC officially joined our campaign and took over the fundraising
aspects, ultimately becoming the proud owner of the historic Kogawa
House 6 months later, after raising $700,000.  I told the story of
Kogawa House to the gathering and said that “saving the house was a
miracle, and TLC became more than partners – they became friends.”

Kogawa House
will again recieve a portion of the funds raised by the Gung Haggis Fat
Choy Robbie Burns Dinner set for January 28th, 2007.  TLC will
again be present along with Kogawa House Committee, as everybody had so
much fun last year.
Many
of the people attending the gathering had heard about Gung Haggis
Fat Choy, and said they had even heard me on CBC Radio.  Hopefully
our new friends will attend the January dinner, and even be wearing
their kilts…  We know that TLC executive director Bill Turner
will be!
                                                                      

The Trust for Sustainable Forestry (TSF)
http://www.sustainableforestry.com was founded by a group of four friends passionate about the forest and
the many values it bestows on us and the world in which we live. From
modest beginnings on Cortes Island, British Columbia,
the Trust has grown through its relationship with Universities,
companies, NGOs and individuals who believe in its Vision of truly
sustainable ecosystem based forestry as a means to reinvigorate local
economies through job creation, to create low impact Community housing
and conserve habitat for the future.

The Trust seeks to be a financially self sustaining organization that
helps to bridge the gap between the vision of complete ‘preservation of
habitat’ and the established methods of conventional logging and high
density land development. –  ‘Healthy forests for a healthy world.’

The Land Conservancy of British Columbia (TLC)  http://www.conservancy.bc.ca

is a non-profit, charitable Land Trust working throughout British Columbia. TLC
protects important habitat for plants, animals and natural communities
as well as properties with historical, cultural, scientific, scenic or
compatible recreational value.

Founded in 1997 with $500, TLC
is modeled after the National Trust of Britain and is a
membership-based and governed by an elected volunteer Board of
Directors.
TLC relies on its 5,500 growing membership and volunteer base to help maintain its operations.

TLC
achieves its conservation objectives by working in a
non-confrontational, businesslike manner. They work with many partners,
all levels of government, other agencies, businesses, community groups
and individuals to ensure the broadest support for our activities. They
are here for the long term.  When they take properties under their
care, their goal is to protect them in perpetuity.

What is a Canadian? Joy Kogawa says….

What Is A Canadian? : Forty-Three Thought-Provoking Responses

In a year following the release of CBC TV's The Greatest Canadianand CBC Radio's BC Almanac's Greatest British Columbians
there is a book titled: “What is a Canadian? 43 Thought -Provoking
Responses.  Each of these essays begins with the words “A Canadian is .
. .”. Each one is very different, producing a fascinating book for all
thinking Canadians.

 
Here is an excerpt of Joy Kogawa's response… 

For
the other 42 responses including ones by Alan Fotheringham, Thomas
Homer-Dixon, Roch Carrier, Jake MacDonald, George Elliott Clarke,
Margaret MacMillan, Thomas Franck, Rosemarie Kuptana, Gérald A.
Beaudoin, Peter W. Hogg, George Bowering, Christian Dufour, Paul
Heinbecker, Mary Ellen Turpel-Lafond, John C. Crosbie, Audrey
McLaughlin, Roy MacGregor, Charlotte Gray, Hugh Segal, Janet
McNaughton, Sujit Choudhry, Aritha van Herk, L. Yves Fortier, Catherine
Ford, Mark Kingwell, Silver Donald Cameron, Guy Laforest, Maria
Tippett, E. Kent Stetson, Louis Balthazar, Joy Kogawa, Wade
MacLaughlan, Douglas Glover, Lorna Marsden, Saeed Rahnema, Denis
Stairs, Valerie Haig-Brown, Guy Saint-Pierre, William Watson, Doreen
Barrie, Jennifer Welsh, Bob Rae – you will have to go buy the book!

 
Here's a picture of Joy Kogawa with RCMP officer and “Toddish McWong” (me), at the Canadian Club Vancouver 2006 “Flag Day/Order of Canada luncheon.  photo courtesy of Todd Wong

What is a Canadian?

(excerpt)  click here for full reponse posted on www.kogawahouse.com

  Joy Kogawa

A Canadian is a transplanted snail called James who sat down on a
brick.  A Canadian is a big fat street party on the Danforth in
Toronto, 2004.  A Canadian is hockey night in Canada on a small patch
of ice created by buckets of water in the backyard.  A Canadian is a
plane full of people from Vancouver flying to Quebec with signs
saying:  “WE LOVE YOU.”  A Canadian is the wind on the prairies that
who has seen.  And a red-headed girl in a green-gabled house on an
island with red soil.  And the Mounties who always always get their
man.  A Canadian trusts the law.  And since we generally rank either
second or third or fourth or whatever, we try harder.  But weren’t we
proud when Gorbachev said, “Look at Canada. They don’t kill people
there.”  Or something like that.  That’s because a Canadian is, if
nothing else, decent.  Isn’t that the adjective that most commonly
comes to mind?  We’re as decent as the day is long, are we
not–fair-minded, peaceable, not demanding guns to defend ourselves,
abhorring and resisting the culture of violence we are virtually
force-fed by the fee-fi-fo-fuming giant close by.  My Canadian friends
who travel a lot say we don’t know how lucky we are.  I think a lot of
us do know it.  I, for one, am a Canadian who loves Canada more than
words can say.

My love is not cheap.  It’s been tested, and it
endures.  I can thank my parents for this.  And I can thank the
community from which I came, and which was destroyed by the particular
brand of racism in my childhood.  I can thank my Grade Two Highroads to
Reading that I practically memorized when we were living in that
once-upon-a-time space called Slocan (British Columbia).  Books were
precious and few.  I can thank the CBC that I listened to when we were
finally allowed to have radios again, after we were moved east of the
Rockies. That’s when a Canadian became the Green Hornet, the House on
the Hill, Share the Wealth, Terry and the Pirates and Johnny Wayne and
Frank Shuster and Rawhide, and that beautiful blonde skater, Barbara
Ann Scott.  Other Canadians from my community who were exiled missed
out on all that.  A Canadian is a group of more than four thousand
people who were exiled for no crime.  Oh sweet democratic country that
I love. Some people are tired of this drum-beat….

for more click here for full reponse posted on www.kogawahouse.com