Bill Reid Gallery of Northwest Coast Art
Location: 639 Hornby St, Vancouver, BC V6C 2G3Located in Vancouver’s city centre at 639 Hornby St, the Bill Reid Gallery of Northwest Coast Art is a space that showcases work from a wide variety of Indigenous artists. It is the only public gallery of its kind that is dedicated to contemporary Indigenous art from Canada’s West Coast.The gallery is named after Haida artist Bill Reid who is internationally recognized for his artistic activism in a variety of mediums such as carving, sculpting, metalworking, and literary writing. Reid's artistic style is seen to infuse the cultural traditions of the Haida people with contemporary features of 'modern art'. Throughout his career, Reid played a vital role in the construction of Indigenous knowledge through his work as an artist, activist, curator, and cultural commentator; the many dimensions of his career are reflected throughout the gallery and its exhibits. Reid understood his art to be a platform that allowed him to not only engage with but shape and challenge the contemporary discourse on Indigenous peoples. All too often, non-Indigenous actors feel they are entitled to a stake in the construction of the ‘authentic’ Indigenous identity which is something Reid’s works spoke out against. In the context of Indigeneity, authenticity should not be equated to traditionalism and Reid's art took a position against this discourse by implementing the visual trope of ‘cultural salvage’ throughout his works. Understanding Indigenous identities through a singular lens of traditionalism ignores the hybrid identities of Indigenous peoples and relegates their cultures and languages to dimensions of the past. Reid’s portfolio of artwork and the legacy it created continues to play a critical role in the promotion of contemporary Indigenous language culture and identity. Language operates as a mediating force toward one's experiences of culture and identity. As a communicative vessel, all forms of language, whether they be written, oral or visual, enables the individual creator to shape the discourse surrounding their cultural identity. Indigenous-centered and operated spaces like the Bill Reid Gallery of Northwest Coast Art are critical toward the protection and promotion of Indigenous individual's rights to sovereign cultural expression. Throughout the gallery, the medium of visual art acts as a universal language in which the creators communicate to visitors on topics like land dispossession, contemporary indigeneity, cultural activism, and much more. Gallery programs such as the "Chief 7idansuu James Hart Emerging Artist Program" continues Bill's vision and legacy by providing emerging artists with the platforms they need to not only jumpstart their careers but to also use their art as a means to contribute to contemporary Indigenous discourse.As the work of Indigenous artists continues to shape discourse surrounding Indigenous languages, culture, and identities, this growing body of scholarship must be shared through realms of public education. The gallery reflects this by offering several educational experiences for both child and adult visitors. Instillations throughout the gallery are used to engage visitors on topics such as Indigenous storytelling, reconciliation, oral traditions, and contemporary challenges of sovereignty and repatriation. The gallery sees public education as a necessary step toward protecting Indigenous language, culture, and identity through non-indigenous allyship.ReferencesBill Reid Gallery of Northwest Coast Art (n.d.).Retrieved from.www.billreidgallery.ca/.Remillard, C. (2011). Framing Reid: Agency, discourse, and the meaning of Bill Reid's artistic identity and works. Journal of Canadian Studies, 45(2), 162-181. doi:10.3138/jcs.45.2.162
Waterfront Train Station
Location: 601 W Cordova St, Vancouver, BC V6B 1G1Waterfront Station, located on Seymour and W. Cordova St. (residing on the land of the Tsleil-Waututh, Squamish, and Musqueam Peoples) is an elaborately built terminus station and “an easy point of connection” between multiple transit lines including the Canada line, Expo line, Seabus, and the West Coast Express. The station is both publicly and privately funded and its crucial stakeholders consist of the government, Translink, Translink employees, and of course - transit users. Location-wise, Waterfront station is also in close proximity to multiple heritage sites, tourist sites, educational facilities, and viewpoints and is considered a tourist attraction in itself. Upon entering, you’ll meet old fashioned white ionic columns, the glorious window column-like ceiling, and the red brick facades which outline neoclassical architecture. You may also take notice of the two large clock faces on the east and west walls of the main area in addition to tasteful art designs that wrap around the station. During peak hours, you may experience the hustle and bustle of Vancouver’s city life. You may hear the buzzing of non-stop chatter in a plethora of languages - a sign of the rich multiculturalism that resides in our municipality. Historically, the main entrance originally served as a pacific terminus of Canada’s first coast-to-coast railway (Canadian Pacific Railway) and was designed and built between 1910-1914. Despite being initially designed by Barott, Blackader, and Webster - a Montreal architect firm, this beautiful station would not have been possible without the excruciating labour of thousands of construction workers. Many of these labourers were foreigners hired to reduce labour costs. This included a large number of Chinese people who risked their lives to come to Canada and work. To this day, there is still a lack of acknowledgment for the hard work and discrimination these people experienced. 1977 marked the last year in which Waterfront Station provided service to the Canadian Pacific Railway. After the railway transportation ended, the station became a fully public transit facility. Throughout the following years, numerous transit lines began to connect to Waterfront station as its main terminus. In particular, 2009 was an important year in which the Canada Line was built to strengthen the transit system in preparation for the 2010 Winter Olympics. That year marked a significant upbringing in uniting Canadian culture and the innumerable countries and languages that participated in the Winter Olympics. To this day, Waterfront Station continues to serve not only as a public transportation system but also as a system that allows people of all languages and backgrounds to connect and explore the rich and vibrant city of Vancouver. ReferencesThe Province. (2016, June 16). By the Numbers: Waterfront Station turns 100. Retrieved from https://theprovince.com/news/local-news/by-the-numbers-waterfront-station-turns-100Waterfront. (2017). Retrieved from http://thecanadaline.com/station-guides/waterfront/Waterfront Station. (n.d.). Retrieved from https://www.sfu.ca/geog/geog351fall11/project6/website here/waterfront.html#:~:text=Built in 1914 by the,of Barott, Blackader and Webster.Waterfront station (Vancouver). (n.d.). Retrieved from https://www.wikiwand.com/en/Waterfront_station_(Vancouver)#:~:text=Waterfront station was built by,, Quebec and Toronto, Ontario.
Coastal Peoples Fine Arts Gallery
Location: 332 Water St Unit 200, Vancouver, BC V6B1B6322 Water Street is found within one of Vancouver’s critical districts for art galleries. Gastown is known as a heritage zone that uniquely maintains both trendy tourist destinations and local hang out hot spots. Built-in the year 1912, the building is known for its architectural value and was designed in association with Stuart and White. Bertram Dudley Stuart and Howard E. White, two architects that made a partnership from 1885-1977 and throughout the Edwardian era prepared this structure and planned for potential future expansions. Even back then, this building exemplified Vancouver’s unique styles becoming its own shopping arcade building known as the "Homer Street Arcade" and was also known as “Cloth Hill” throughout its one hundred years. In the 1980s, it was re-named “Le Magasin.” This was thanks to Howard Meakin, an entrepreneur who had the creative idea to firmly name the building to better suit its historic value. The front of the building on Cordova St. can be recognized for its yellow bricks and a traditional red pressed brick holds the building strong on Water St. which faces the Waterfront. In 2017, the Coastal Peoples relocated into the exquisitely restored Le Magasin building which holds an original pressed tin ceiling. The expansion of the Coastal Peoples Fine Arts Gallery has generated an additional boost in raising awareness of the exceptional and diverse contemporary art. For more than 25 years, the Coastal Peoples Fine Arts Gallery has supported and created a mindful and positive environment for its visitors. The Gallery represents artwork by First Nations artists that are from British Columbia’s northwest coastal tribes and Inuit communities from the Arctic region of Canada. Though the building is not Indigenous-owned, it holds a truly phenomenal and monumental collection of traditional, hand-crafted textiles, paintings, carvings, and jewelry. This gallery also holds many exhibitions and steller group talks with local artists. It’s a great place to learn and build community awareness about First Nations culture.ReferencesCoastal Peoples Fine Arts Gallery: Northwest Coast Native Art Gallery. (2020, November 08). Retrieved November 27, 2020, from https://coastalpeoples.com/Homer Street Arcade. (n.d.). Retrieved November 27, 2020, from https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=2553
Koret Lofts
Location: 55 East Cordova Street, Vancouver, V6A0A5What is now known as the Koret Lofts building has quite the historical past. Like a mirror, it reflects the economical journey of Vancouver's past and remained standing to tell the tale today. The loft was designed by Vancouver architect Edward Evans Blackmore. Blackmore was known at the time for his other projects like the first Pantages Theatre. Located next to the Canadian Pacific Railway tracks, this massive warehouse was initially built on the corner of East Cordova and Columbia St. in 1906 to support Robert Purves McLennan and Edward John McFeely’s hardware and building supplies import company. The Nova Scotian McLennan and the Ontario native McFeely were lucky in the early stages of their big investment to build this massive 7 lot building that spans over 150 000 square ft. During the Great Vancouver Fire, almost all the buildings under construction had burnt down with the exception of their warehouse framework. It had still been wet from floating in a raft, which gave them time to think of covering it with corrugated iron. This in turn was apart of the catalyst-building frenzy that ensued following the great fire and is a prime sample of warehouse commercial construction, and a shining exemplification of Vancouvers late nineteenth and earth twentieth-century push into the substantial regrowth of the West. Thanks to the Canadian Pacific Railway, they were able to distribute goods and supplies across the country for years to come. It wasn’t until the 1960’s when the firm was acquired by Acklands, an industrial supplies company that manufactured throughout Canada. Eventually, they were bought by a sportswear manufacturer know as Koret of California. At this time, the building’s lower floor was used as a regional distribution warehouse, and the upper stories were used for typical Vancouver art studios and film productions. Its final conversion occurred in 2004 when the building became a residential loft and now known as the ‘Koret Lofts’. ReferencesMcLennan and McFeely Building. (n.d.). Retrieved November 27, 2020, from https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=1174McLennan and McFeely – East Cordova Street. (2019, April 15). Retrieved November 27, 2020, from https://changingvancouver.wordpress.com/2013/10/25/mclennan-and-mcfeely-east-cordova-street/
Sam Kee Building
Location: 8 W Pender St, Vancouver, BC V6B 1R3The Sam Kee Building, built by Chang Toy in 1913, is a designated Vancouver heritage building and is renowned worldwide for being the “shallowest commercial building” in the world by The Guinness Book of Records. This building is located in Vancouver’s Chinatown at the historic entrance and has heritage value not only for its architectural significance, but also for its historic occupation and ownership by Chinese-Canadians that has contributed to the formation and preservation of Chinatown and the Chinese community in Vancouver.The property that this building now sits on was originally owned by a prominent Chinese merchant and businessman named Chang Toy, known to the non-Chinese community of Vancouver as Sam Kee. The reason for the building's unique slimness is an example of disrespect and racism against Chinese-Canadians by the Vancouver civic authorities. Due to Toy’s Chinese ancestry, and the fact that the property he owned was in Chinatown, the Vancouver civic authority did not respect his title to the land and stole nearly all of Toy’s property in order to widen the road, leaving Toy with a shallow property that was only 6 ft deep. Toy facing this adversity still managed to build a free-standing building that was extremely successful hosting retail shops, residential units, and social gatherings. Toy’s resilience to this blatant discrimination by still creating a successful business on the extremely reduced property more broadly displays the strength of the Chinese-Canadian community in fighting against racism and discrimination.Chinese people have been settling in what is now Canada since the early 19th century. This settlement and immigration has resulted in a rich Chinese history in Canada, and a prominent Chinese community in Vancouver. Chinese-Canadians have helped shape Canada into the country it has become today even in the face of ongoing discrimination and racism.Since the building’s creation in 1913, the Sam Kee building has played a prominent role in the conservation of Vancouver’s Chinatown. Today, the Sam Kee Building is owned by prominent businessman and activist Jack Chow, who has carried on furthering the building’s success in the face of discrimination towards Chinese-Canadians.ReferencesCanada’s Historic Places. (n.d.). Sam Kee Building. https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=2814Library and Archives Canada. (n.d.). History of Canada's early Chinese immigrants. https://www.bac-lac.gc.ca/eng/discover/immigration/history-ethnic-cultural/early-chinese-canadians/Pages/history.aspxMatthews, J.S. (1936). Men sitting outside shallow building at Pender and Carall Streets [Photograph]. City of Vancouver Archives Bu N158.2. https://searcharchives.vancouver.ca/men-sitting-outside-shallow-building-at-pender-and-carrall-streetsMatthews, J.S. (1937). Sam Kee Building, Pender Street at Carrall [Photograph]. City of Vancouver Archives Bu N90. https://searcharchives.vancouver.ca/sam-kee-building-pender-street-at-carrallSyverson, L. (2016). Vancouver's Sam Kee Bulding [Photograph]. Flickr. https://www.flickr.com/photos/124651729@N04/29539217196/
Dr. Sun Yat-Sen Classical Chinese Garden
Location: 578 Carrall St, Vancouver, BC V6B 5K2Located in Vancouver’s historic ‘Chinatown’ district at 578 Carrall Street, the Dr. Sun Yat-Sen Classical Chinese Garden 中山公园 unites dimensions of architecture, ethnobotany, and spatial design to convey visual forms of cultural storytelling. Originally constructed in 1986; the Dr. Sun Yat-Sen Classical Chinese Garden is a site that educates, preserves, and transmits dimensions of Chinese culture. Constructed to be the first of its kind beyond the geographical boundaries of China, the garden is seen by many as an overseas emissary that integrates unique aspects of the Chinese culture and its traditions into Vancouver’s multicultural landscape. When learning from cultural sites such as the Dr. Sun Yat-Sen garden, it is critical to reflect on the racist colonial policies that mediated the cities tumultuous relationship with its Chinese immigrant population. During its initial stages of proposal, Vancouver’s city council was attempting to pass a policy that would permit the construction of a freeway that would run directly through the ethnic diasporas of Chinatown and Strathcona. Hidden under the guise of “urban renewal”; the true intentions of the proposal reflect Vancouver’s institutionalized support for ethnic exclusion, cultural erasure, and white supremacist attitudes. Shortly after a unanimous vote overturned the freeway proposal, the garden was built in Chinatowns centre to act as a cornerstone in Vancouver's newfound efforts to protect and promote the city's diverse ethnic heritage. Currently operating as a multi-utilitarian space, the garden is both a registered museum and venue for cultural and educational programming, events, guided tours, and exhibitions. The garden receives its name from the respected politician, doctor, and philosopher Dr. Sun Yat-Sen who gained international recognition for his campaign to promote cultural understanding between China and the West.Unifying dimensions of architecture, water features, ethnobotany, and spatial design, Chinese gardens have historically operated as a vessel for storytelling through a lens of cultural signification. The layout of each classical garden is designed to create individual scenes that communicate a culturally significant story to its visitors. Physical elements such as water features, pagodas, and specific types of vegetation function as metaphors of culture that enable the garden to communicate with its visitors. For example, water features and ponds are frequently used features in Chinese gardens as they reflect the cultural principles of Fengshui; in Chinese culture, water is said to represent positive energy and vitality. The communicative properties of the garden are also reflected within its spatial design; twisting and winding paths that progress from one scene to another to determine the sequence of the garden's narrative.Functioning as a space for cultural communication, the garden regularly hosts exhibits from Chinese artists and curators. The garden provides a platform for creators to showcase their experiences and understanding of their culture to their community and the wider public. 'Luminous Garden' is Dr. Sun-Yat Sen’s current featured exhibit, curated by local artist Lam Wong. The exhibit uses the garden as a canvas to investigate how it creates space and understanding of spiritual growth in Chinese culture.A major success of the garden is its ability to communicate cross-culturally. Located within Chinatown's center, the garden is a space that members of the community can visit to engage and express their cultural heritage, but it also a space of education and cultural appreciation. Beyond the Chinese community, the garden operates as one of Vancouver’s most successful tourist attractions as it draws visitors from a spectrum of ethnic backgrounds.ReferencesBin, H., & Yan, A. (2011). Dr. sun yat-sen garden and contemporary propagation of the Chinese classical garden. Paper presented at the 6529-6532. doi:10.1109/ICETCE.2011.5776045Dr. Sun Yat-Sen Park, A classical Chinese garden in Vancouver. (1982). Urban History Review, 10(3), 57.Dr. Sun Yat-Sen Classical Chinese Garden (n.d.). retrieved from https://vancouverchinesegarden.com/.Rinaldi, B. M. (2011;2012;). The Chinese garden: Garden types for contemporary landscape architecture (1. Aufl. ed.). Basel; New York; Birkhäuser.
Chinese Cultural Centre
Location: 555 Columbia St, Vancouver, BC V6A 4H5The Chinese Cultural Centre of Greater Vancouver (大温哥华中华文化中心) is a multi-faceted facility dedicated to maintaining the livelihood of Chinese culture in Vancouver, BC. Founded in 1973 by the support of the government and 53 community organizations, the CCC was the fruitful effort of a pledge made by three levels of government to support a Chinatown community centre. By April 1974, the centre was officially deemed by the government as a nonprofit, charitable organization. In addition to the development of the Dr. David Lam Multipurpose Hall and the Dr. Sun Yat-Sen Classical Chinese Garden, the CCC made an excellent addition to the heart of Vancouver’s Chinatown. Visually, the centre boasts of a beautifully carved stone gate and stone lions perched on top. Behind the gate lies the CCC facility with its iconic traditional Chinese fencing. Up until recently, there were multiple resources available to the public, such as a CCC Chinese School, day camps, and numerous community events and volunteer activities. In addition, there is also a CCC Museum & Archives which contain numerous art exhibits and monuments that depict Chinese history and culture. However, all these services and facilities in the CCC have been closed since March 26th, 2020 due to Covid-19. Provided below are the CCC’s mission statements (taken directly from their website) which indicate the type of cultural and linguistic impact they wish to make: To promote understanding and friendship between the Chinese community and other cultural groups in Canada. To interpret and communicate Chinese culture and to facilitate exchange with other cultural groups and with the community at large To promote and foster Chinese culture and art within the Chinese community and with other cultural groups. To help Chinese immigrants adjust to the culture, heritage, and lifestyle in Canada. To build and maintain cultural facilities for the purpose of achieving these aims and objectives. Despite the warm mission statements proposed, the recent emerging pandemic has greatly affected the livelihood of the CCC. In May 2020, the centre fell victim to a hateful graffiti crime - this is only one case, a fraction in the rise of anti-Chinese hate-motivated incidents. As you observe the centre virtually, please take a moment and think about the mission statements provided by the CCC. It is important that everyone regardless of race, culture, and background can apply these statements to their own understanding. The discrimination, racism, and ignorance that has arisen due to the pandemic are extremely disheartening especially for Chinatown and the people who thrive within it. Despite its temporary closure, the centre serves as a constant reminder that there is still lots to be done to improve Vancouver’s level of cultural diversity and inclusivity.ReferencesHOME 主頁. (n.d.). Retrieved from https://www.cccvan.com/Vancouver's Chinese Cultural Centre defaced with 'hateful' graffiti: Police | CBC News. (2020, May 01). Retrieved from https://www.cbc.ca/news/canada/british-columbia/vancouver-chinese-cultural-centre-defaced-hateful-graffiti-police-1.5552340
Oppenheimer Park
Location: 400 Powell St, Vancouver, BC V6A 1G6This public park has a rich history acting as a battle ground for the fight against racism, poverty, and oppression of culture and language. The ground that this park now encloses is known to different minority groups by names other than the colloquial name Oppeheimer Park or Powell Street Grounds, ranging from the Japanese-Canadian name Paueru Groundo, to the Musqueam K’emk’émlay’. The park, and all of the city of Vancouver, rests on unceded Tsleil-Waututh, Squamish, and Musqueam Territories. Contemporary placement of this park locates it in the historically significant Japantown. Anti-Japanese and anti-Indigenous oppression has played a significant role in the history of this park.In the 1870s, the first Japanese settlers arrived in the emerging colony of British Columbia. The area of prominent Japanese development initially called Nihonmachi, known today as Japantown, formed shortly afterwards as the Japanese-Canadian community thrived. In 1914, the Asahi baseball team formed, using Oppenheimer Park as their playing field. This team was extremely successful winning many titles and served as a major source of pride for the Japanese-Canadian’s of Japantown. However, in 1941, the team was disbanded as anti-Japanese sentiments and racism during World War II resulted in the forced deportation and internment of Japanese-Canadians in internment camps in the interior of British Columbia. The culture, diversity, and language displayed in Japantown by the Japanese-Canadians was almost entirely destroyed by the internment. But thanks to the resilience and continued work by returning Japanese-Canadians, the area now known as Japantown and the Japanese history of Oppenheimer Park has seen a cultural resurgence, albeit never fully restoring the once thriving Nihonmachi. Since 1977, the annual Powell Street Festival has been taking place in Oppenheimer Park celebrating the continued Japanese presence and importance in Vancouver. Take care to notice the “Asahi Baseball” placard on the historic baseball diamond when walking through the park.The Tsleil-Waututh, Squamish, and Musqueam Peoples have inhabited and cared for the land that this park now occupies for thousands of years. This area was more recently utilized as a home and safe place for Indigenous Peoples of the area after the expulsion of Indigenous Peoples from Stanley Park after it’s colloquial founding in 1887. Take care to notice the memorial totem pole and the “tree of life,” a Western red cedar, that both act as contemporary monuments to the rich history and importance of Indigenous Peoples on this ground.While walking through the park, make sure to also take notice of the carved wooden feathers hanging from the trees along the walkway. These feathers feature linguistically diverse messages to and names of those that have died or are at risk from the opioid overdose epidemic currently gripping Vancouver, especially the Downtown Eastside. These feathers were hung following the rally at Oppenheimer Park in 2017 on Vancouver’s National Day of Action march.Since 2014, tents have been continuously pitched in Oppenheimer Park. The park has acted as a place of refuge and as a home for many people living in poverty, the majority of which in Vancouver studies have shown belong to minority groups. The tents originated as a protest of the abysmal and unsafe conditions homeless people in Vancouver were facing either on the street or in temporary shelters and communal buildings. But tents have remained since then due to these same reasons and tent inhabitation was intensified by the beginning of the COVID-19 pandemic in March of 2020. Tent cities were a dominant presence in the park until the inhabitants were removed in May and relocated to government housing. Today, parts of the park are still cordoned off as refurbishment continues. ReferencesBrach, B. (2017, February 21). “Vancouver drug users take to streets in national day of action.” CBC. Retrieved on November 22, 2020, from http://www.cbc.ca/news/canada/british-columbia/vancouver-drug-userstake-to-streets-in-national-day-of-action-1.3993397.Duffek, K., and Tania W. (2016). Lawrence Paul Yuxweluptun: Unceded Territories. UBC Museum of Anthropology.Ellison, K. (2018). A Place of Resistance: Oppenheimer Park, East Vancouver, Coast Salish Territories. SFU Library Digital Publishing. https://core.ac.uk/download/pdf/228533409.pdfRobinson, K. (2020, November 15). “$870K and counting: Break-in, vandalism delay Oppenheimer Park reopening plans”. Global News. Retrieved on November 22, 2020, from https://globalnews.ca/news/7463727/oppenheimer-park-reopening-delayed/Wilson, D.J. (n.d.). 400 Block East Cordova baseball at Oppenheimer Park [Photograph]. GEOG 350 University of British Columbia Wiki Page. https://wiki.ubc.ca/Course:GEOG350/2013ST1/Oppenheimer-Park
