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wesfike · 5 years ago

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COVID roundup: One new case of COVID-19 in Grey-Bruce

For the first time in four days there has been a new case of COVID-19 confirmed in Grey-Bruce.

The Grey Bruce Health Unit reported one new case of the virus in the 24-hour period prior to Wednesday at 3:30 p.m. It is the first confirmed case of the virus in Grey-Bruce since Saturday and just the third case since May 5.

There have now been 91 cases reported in Grey-Bruce, of which 73 have recovered, an increase of one from Tuesday. There are currently no cases hospitalized and there have still been no deaths in the two counties. A total of 23 cases have been reported in health-care workers.

Meanwhile, two outbreaks at area care facilities continue – the 34-bed Parkview Manor in Chesley and the 45-bed Golden Dawn in Lion’s Head – but Grey-Bruce Medical Officer of Health Dr. Ian Arra believes that both could be false positive.

Both homes each have one asymptomatic resident who tested positive for the virus, with the cases detected through the Ontario government-mandated testing of long-term care homes.

The outbreak at Parkview Manor was declared on May 3, while the outbreak at Golden Dawn was declared on May 9.

A second test of the Parkview resident has come back negative and the health unit is awaiting the results of a third test. The second and third tests of the Golden Dawn resident who originally tested positive are both pending.

Arra said the cases are concerning in that they are asymptomatic and they are the only people in the homes who have tested positive.

“When I see there is nobody else in the building, other residents or staff, where did it come from?” Arra said.

“The virus is not going to fly in. These people don’t leave the building or their rooms so it is either going to come from other residents or from staff.”

If two negative swabs are received from a resident, then an outbreak would be declared over.

Testing had been completed at 18 of the 19 long-term care facilities in Grey-Bruce with the final facility due to be finished on Thursday, a day ahead of the province’s May 15 target.

An outbreak at the Bruce County-run Brucelea Haven Long-Term Care Home in Walkerton was declared over on Sunday. Two staff members there had tested positive for the virus.

* * *

Georgian College has developed a $1-million COVID-19 hardship bursary to help ease the financial burden on students as a result of the pandemic.

The bursary is to be split equally among eligible domestic and international students who are enrolled in a regular full-time post-secondary program for the summer semester and demonstrate an urgent financial need.

“We fully recognize the financial pressure our students may have experienced as a direct result of COVID-19 and we are committed to supporting them in completing their semester successfully,” Georgian College president and CEO MaryLynn West-Moynes said in a news release.

The fund is intended to provide immediate short-term relief and is not intended as a source of long-term funding. It is intended to assist with basic necessities such as housing costs, utilities or technology required to complete a program, the release said.

Students are expected to explore other sources of funding such as support programs from the provincial and federal government, study period income, and OSAP, before applying for the hardship bursary, the release said.

The financial support is on top of emergency funds disbursed over the winter semester, when international students received more than $80,000 and domestic students received close to $2 million.

Students can find an application form for the COVID Hardship Bursary under the “money” tab on Georgian’s student protal, with applications accepted until June 3 at 4:30 p.m. Students seeking information on financial support is encouraged to contact the Financial Aid department at [email protected].

* * *

Some sections of the Bruce Trail are slated to begin opening on Friday.

With the announcement that provincial parks and provincially owned conservation reserves were reopening, the Bruce Trail Conservancy announced plans to begin the process of a “safe and controlled staged” reopening of the trail.

Many sections of the trail will reopen for hiking on Friday as the conservancy co-ordinates with its partners, the group said in a release.

The conservancy said it is best to visit the websites or social media accounts of the organizations directly for the latest on closures or changes to access.

There are a number of Bruce Trail clubs that operate in Grey-Bruce, including the Blue Mountains Bruce Trail Club, Beaver Valley Bruce Trail Club, Sydenham Bruce Trail Club and Peninsula Bruce Trail Club.

“Where the Bruce Trail remains closed, please do not park on nearby roads, move gates or barriers, or hop fences, as these actions are illegal,” the release said.

Grey Sauble Conservation Authority and Saugeen Valley Conservation Authority properties remained closed as of Wednesday.

* * *

The SweetWater Music Festival has had to postpone concerts, but is launching new initiatives to “keep the music alive” during the COVID-19 pandemic.

The festival’s Next Wave Showcase for aspiring and emerging musicians ages 14-29 is going online in June, offering the young musicians a chance to perform for a worldwide audience.

“One thing I’ve been thinking a lot about is that we need music, art, and connection more than ever,” SweetWater Artistic Director Edwin Huizinga said in a release.

Performers in the Next Wave Showcase must be at a Royal Conservatory of Music Grade 9 level or similar equivalent, while solo repertoire from applicants is encouraged.

Musicians must provide a video clip of a performance, complete a registration, available at sweetwatermusicfestival.ca, and submit a one page letter of recommendation.

The application deadline in May 31 and Huizinga will select the finalists who will take part.

Finalists will receive a small honorarium, an opportunity for an online music lesson with Huizinga and music career counselling from him. They may also be selected for a mentorship opportunity with SweetWater, the release said.

The festival is also working on music education opportunities for students, including a session featuring violinist Jaron Freeman-Fox.

SweetWater has also introduced two other online music initiatives this spring, including SweetWater Redux, featuring audio and video recordings from previous festivals, and Music Moments with Edwin, including solo performances from Huizinga’s studio. He also recently performed an online concert with long-time collaborator Bill Coulter as part of their Fire & Grace duo.

SweetWater continues to monitor how the COVID-19 situation is evolving and what impact it will have on its September festival plans, the release said.

* * *

A campaign to provide meals to local frontline health-care workers and at the same time support local food service businesses has seen more than $4,000 raised and 380 meals provided to local hospitals, emergency services and long-term care facilities.

Fuelling the Frontline was launched in mid-April, with funds raised so far used to source meals from a number of local foodservice businesses, including Freshii, The Bleeding Carrot, European Bakery Cafe, and CMHA Fresh Roots in Owen Sound, Sand Witches food truck in Georgian Bluffs and Bonfire on Queen in Paisley. Organizers have then co-ordinated delivery of meals to frontline workers at over a dozen facilities in Grey-Bruce.

Each meal is labeled with contents, reheating instructions and a thank-you note for frontline workers.

Donations to the campaign can be made at fuellingthefrontline.ca

In addition to donations, Fuelling the Frontline is accepting sponsorships from businesses that want to designate a specific restaurant or recipient organization.

More information is available on the campaign’s website or Facebook page.

* * *

Hanover has lifted its ban on open air burning, while a ban on fireworks remains in effect.

The town announced on Tuesday that the ban had been lifted, after it was put in place on April 3 in an effort to avoid additional strain on the town’s emergency services.

Residents are reminded that all open air burning in the town, including a bonfire or fire pit, requires a burn permit, which can be obtained by completing an application at https://hanover.burnpermits.com and paying the required fee.

Residents are also reminded to follow open-air burning safety precautions, comply with the Environmental Protection Act of Ontario and follow health precautions put in place to slow the spread of COVID-19.

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mudricky · 6 years ago

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Paisley’s annual Spree festival has today announced its biggest line-up yet – with Glasvegas, Gruff Rhys, PP Arnold and Hue and Cry among the acts coming to town this October.The festival will take place over nine days from 11th to 19th October with the bulk of the action in a specially-erected Spiegeltent beside Paisley Gilmour Street station – and with a bigger tent than in previous years allowing 500-person shows.

Now in its eighth year, the festival is one of the centrepieces of Renfrewshire Council’s major events programme which has made Paisley one of Scotland’s key cultural destinations in recent years.

The Spree 2019 was programmed by Regular Music – who work with some of the biggest names in the industry as the team behind the Summer Nights at Kelvingrove Bandstand and the Edinburgh Castle Concerts – and is this year sponsored by Tennent’s Lager.

The festival kicks off on Friday 11th October with a tribute to one of Paisley’s most celebrated musical sons – A Gerry Rafferty Songbook, featuring Roddy Hart, Emma Pollock and Rab Noakes.

Monday 14th sees Hue and Cry in the Spiegeltent – a venue and location fitting for a band for whom one of their biggest hits, ‘Looking for Linda’, was set on a train to Paisley.

Platinum-selling indie-rockers Glasvegas perform their only full-band Scottish date of the year the next night, before Super Furry Animals frontman Gruff Rhys brings his solo show to the Spiegeltent on Wednesday 16th.

London’s First Lady of Soul PP Arnold is next up on Thursday 17th with songs from her six-decade career working with stars including Rod Stewart and the Small Faces, Barry Gibb, David Bowie, Eric Clapton and Oasis.

The Friday night sees multi-award-winning singer-songwriter Karine Polwart bring her Scottish Songbook – a collection of Scottish pop classic spanning more than 50 years.

And the festival ends on Saturday 19th with anarchic magic from comedy headliner Jerry Sadowitz, followed by what will be a lively late-night closing party all the way from Tennessee, USA, with the inventors of ‘rockgrass’ Hayseed Dixie.

There’s also two late-night comedy shows on Friday 11th and 18th, headlined by Mark Nelson and Gary Little and compered by Fred MacAulay and local lad Scott Gibson.

Renfrewshire Leisure are programming Spree shows at Paisley Arts Centre, with the ones announced so far being Lost Map’s Lost Weekend Sunday Social featuring the Pictish Trail, Fell, Molly Linen and Callum Easter (Sunday 13th), Paisley in Song featuring Michael Cassidy and Andy Monahan (Frightened Rabbit) on Thursday 17th, and ex-Arab Strap musician Malcolm Middleton plus support (Saturday 19th).

And the Spiegeltent will also host an all-day festival within-a-festival on Saturday 12th with LNP Promotions ever-popular ModStuff celebration of all things Mod, for which the line-up will be confirmed soon.

Tickets for all shows go on sale at 10am on Friday 7th June via thespree.co.uk and www.ticketweb.uk

More will be added to the bill over the summer with details still to be announced for The Wee Spree – a programme of children’s entertainment over the October school holidays – and the Spree for All fringe festival, with a range of shows in other venue across Renfrewshire.

Duncan Frew, Tennent’s Lager’s Commercial and Marketing Director (UK), added: “Tennent’s are delighted to partner with the Spree Festival in 2019.

“The festival continues to go from strength to strength, developing a national profile through an impressive programme of local and international artists and activity. We look forward to working with organisers and local community to help build on this success.”

Louisa Mahon, Renfrewshire Council’s head of marketing, communications and events, added: “The Spree has grown in recent years to become a fixture in Scotland’s festival calendar – and we are delighted the expanded capacity this year has allowed us to attract some of our biggest names yet.

“Not only will that bring music fans from across the country to see what Paisley has to offer but the growth in the event will help bring a real festival feel to the town, and a boost the local economy.”

For more information on the festival, see www.thespree.co.uk.

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Hayseed Dixie

Hue And Cry

Gruff Rhys

Karine Polwart

SPREE 2019: Glasvegas, Gruff Rhys, Hue and Cry and PP Arnold headlining Paisley’s Spree festival Paisley’s annual Spree festival has today announced its biggest line-up yet – with Glasvegas, Gruff Rhys, PP Arnold and Hue and Cry among the acts coming to town this October.

#SPREE 2019

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spaceplacetime-blog · 7 years ago

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Untimely Dissidence in Duncan Campbell’s Bernadette (2008)

Alexander Coupe

As we think about the ways the 1918-1921 Georgian Republic has been reconsidered in contemporary art, it is useful to reflect on some other contexts in which forgotten moments of radicalism have been conjured with in the present. What is at stake in interweaving present struggles with moments of perceived dissidence? And what does this tell us about the relationship between representation and political action?

The central section of Duncan Campbell’s 2008 film Bernadette recovers and reanimates the period between the height of the Civil Rights Movement in Northern Ireland and the aftermath of Bloody Sunday in 1972. It does so through a figure whose political actions would become marginalised as the conflict escalated: the republican, feminist and socialist MP Bernadette Devlin. Campbell combines a series of interviews taken from the British and U.S. coverage of her rise and fall as an organiser in her native Derry. It quickly becomes apparent why the international media were fascinated with Devlin: she is articulate, witty and is able to challenge the gendered framing of the questions directed at her by her interlocutors. Other footage, however, recovers something of the contingency of the time, showing confusing street scenes in which Devlin attempts to organise activists against police incursions. A clock begins to tick as events escalate. Images of the ill-fated People’s Democracy march from Belfast to Derry edge us closer to Bloody Sunday. A sense of possibility and melancholia is conjured. In this combination Campbell works with the past as a “tragedy of errors”, lost opportunities, forgotten dissidence. But Devlin’s failure to connect with her time might, the film suggests, speak to the present in a way that throws into question how we conceive of progress in the context of Northern Ireland’s peace process.

The current of socialist, feminist activism that Devlin represented was marginalised as the violence of the Troubles escalated and a republican ideology less conscious of class ascended to efface its achievements. Bernadetteattempts to take up this untimely activist and untimely activism in 2008, a year that saw the tenth anniversary of the 1998 Good Friday Agreement. The unprecedented spectacle of Ian Paisley’s Democratic Unionist Party and Martin McGuinness’s Sinn Fein sharing power surprised many. But it also prompted critical assessment of the extent to which the peace had delivered social transformation of the kind promised a decade earlier. “The centre ground has not imploded” remarked Anthony McIntyre, a former I.R.A. member and prominent critic of the Republican elite, “Rather it is now the largest political space in Northern Irish politics with virtually all elected representatives standing on it.” For some the peace had only precipitated a form of technocracy in which sectarianism was to be managed rather than transformed. The adoption of neoliberal economics by both Sinn Fein and the DUP had also failed to ameliorate the substantial inequalities that persisted within both Catholic and Protestant communities. As John Nagle observed in 2009: “Examples of mobilization across the ethnonational cleavage are rare. They also reveal the lack of class-based action and solidarity and the primacy of ethnonational encapsulations in Northern Ireland.” When viewed in such a context it is no surprise that Campbell turned again to Devlin. To make the past present again was to cut across the developmental narrative of free market modernisation.

Campbell is not afraid of working through the paradoxes inherent in this act of retrieval. While Bernadette attempts to make the untimely timely through temporal displacement, Campbell also draws attention the institutional investments inherent in the media he uses. The inclusion of prelims and outtakes reveal the complex processes of framing operating in each interview and street scene. At one point a television presenter is depicted rehearsing all the questions he is to ask Devlin in an interview, one after another. The very material Campbell uses to recover a marginalised undercurrent of dissidence is already implicated in the generation of particular narrative temporality. But this paradox is at the heart of all political representation. The straightening out time, Campbell suggests, always involves a degree of untimeliness as disparate moments are woven into some form of coherence.

The first and third sections of the film evoke the difficulties involved in shaping Devlin into a representative figure. Abstracted shots of a model’s feet and hand are interspersed with close ups of Devlin’s face. The camera introduces these body parts as buzzing, clicking and popping noises punctuate a soundtrack consisting of the intake of breath and the scratching of nervous fingers. Archival retrieval is shown to be a process of interpolating fragments and filling in the gaps, but a sense of totality remains stubbornly absent even after this editorial process. In the third section an actor reads an extract from Devlin’s 1969 autobiography as the camera pans across sections of sky, trees and fields: “I was a mass of flesh which had become public property and [the press] were entitled, at any hour of the day or night, to interrupt anything I was doing.” But this interior narrative is interrupted too with frustrated exclamations of self-doubt. It is as if Devlin is unable to construct a coherent sense of self apart from her enmeshment in the circulation of images. Her failure to accord with her time, Campbell suggests, lurks somewhere between her role as an activist-MP and her depiction in the mass media. But the truth of this failure stubbornly resists reading. Devlin remains a problematic icon made available only through discontinuous and disjunctive fragments.

Bernadettecentralises the role representation plays in coalescing political formations and the centrality of leaders to this process, even as it sheds doubt on the institutional investments of those in charge of the technologies of dissemination. Campbell suggests the need to recognise the untimeliness at the heart of this process: that the stitching together of disparate elements, and different times, is what makes political representation efficacious. In this way the film exposes to the constitutive untimeliness of construction of historical progression, in particular the linear narratives of progress taken up by post-Agreement politicians in Northern Ireland. Since time never simply runs forward, but relies on a constant process of stitching past and present together, the reanimation of moments of dissidence in the present holds the possibility of opening up politics to alternative trajectories.

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