On Friday, 20 April 2012, I attended a luncheon hosted by the Council on Foreign Relations in Montreal at which Canada’s Citizenship and Immigration Minister, the Honourable Jason Kenney, announced two major changes coming to Canada’s Citizenship legislation. The luncheon's start was delayed by close to half an hour by so-called "immigrant rights" protesters who tried to prevent it from taking place. Some of them attempted to storm the entrance way and intimidate attendees, but they were held back by security. Others managed to find their way into the dining hall and were said to have overturnrd some tables but they were removed. Read More
Fans of photography and of 20th century art have one last chance to view a spectacular exhibit at the National Gallery of Canada in Ottawa until Sunday, April 1st, 2012.
Made in America 1900-1950 features some 130 photographs of American masters such as by Alfred Stieglitz, Edward Steichen, Clarence White, Paul Strand, Walker Evans, Margaret Bourke-White, Dorothea Lange, Berenice Abbott, Ansel Adams, Lisette Model, Weegee, and members of New York's Photo League.
The exhibit takes museum-goers through the two main tendencies in the development of photography during this period. On the one hand, there were those photographers who viewed the medium as another way to express images, shapes, forms and feelings. This is art for art’s sake, and in some of the photos displayed it is almost as if we are looking at black and white works by the impressionist painters themselves.
The other trend displayed is the documentary approach. These photographers were highly skilled and their images are imbued with great use of forms and placement of the subject matter, but there is an underlying message, often one of social commentary. And so there are many photos showing the disadvantaged as well as ordinary working people, children, cities and the country. But as we are reminded looking at one of images featured in the exhibit, Ansel Adam’s Moonrise, Hernandez, New Mexico, the scenes presented to us on photographic paper are not necessarily free from manipulation even if the image is incredibly clear and detailed. Read More
Sometimes reforms can lead to new problems. In the past year the federal government has taken measures to protect foreign workers bound for or already in Canada, and the integrity of our immigration system, by implementing more detailed screening of employers. This is aimed at rooting out fake job offers and reducing exploitation of such employees. The government has also speeded up the Work Permit renewal process. These are worthy achievements. Unfortunately, in practical terms they are like oil and water. They don’t mix together, and a whole new crop of problems has arisen due to the interplay of the two. Read More
The Canada Border Services Agency (CBSA) has demonstrated an increased vigilance in recent months. This approach goes hand in hand with Canada’s international obligations to combat terrorism and organized crime, as well as the Harper government’s emphasis on ‘law and order’.
We all benefit when close attention is paid to passports to verify the identity of travellers. Similarly, CBSA officers often play a key role in thwarting international arms smuggling and child kidnapping.
Canada Customs: not the place to seek sympathy
However, the more intense scrutiny by CBSA officers can have some less than pleasant consequences for the great majority who do not consider themselves criminals or terrorists. Read More
It seems unlikely that Maestro Kent Nagano had the Oscars’ weekend in mind when he planned this season’s schedule for the Orchestre Symphonique de Montréal (OSM). Nevertheless, there was measure of serendipity in the timing of the four sold-out concerts this week at the Maison Symphonique which included two works by Mozart so famously featured in the multiple Academy Award winning film Amadeus.
Although Amadeus was not mentioned anywhere in the program notes, the dramatic initial passages of Mozart's Symphony number 25, showcased in the opening sequences of Miloš Forman’s 1984 Best Picture, were familiar to almost everyone in the hall. Read More