Non UBC
DSpace
Vancouver Moving Theatre
urbarn ink's Fathom Labs
Carnegie Community Centre (Vancouver, B.C.)
Roundhouse Community Arts & Recreation Centre
Program guide to accompany the performance of the Shadows Project : Addiction and Recovery held at the Russian Hall, April 19-29 and April 26-29, 2007. Written by Rosemary Georgeson and Savannah Walling with Sheila Baxter, Wendy Chew, Paul Decarie, Mary Duffy, Melissa Eror, Patrick Foley, Leith Harris, Stephen Lytton, Muriel Williams and with contributions by Larry Reed, James Fagan Tait and Chorus Artistic Director Savannah Walling, Director Kim Collier, Music Ya-wen V. Wang and Joelysa Pankanea, Designer Tamara Unroe, Lighting Design Adrian Muir.
Vancouver Moving Theatre in association with urban ink's Fathom Labs and the Carnegie & Roundhouse(ommunity Centres present www.vancouvermovingtheatre.com Welcome to the 24th Anniversary of Vancouver Moving Theatre, and the premiere of We're All In This Together. This is the final phase of The Shadows Project, a three-year arts-based health and community development project to shed light on issues surrounding addiction and recovery. The Shadows Project provides an opportunity to give voice to concerns and viewpoints of many in our Downtown Eastside community; to provide arts training, mentoring and employment; and to share professional and community building skills in a respectful environment. Our lives, like the lives of our Downtown Eastside community, have been personally affected by addiction. Like most people we know, we are dealing with addiction related issues experienced by family members, friends, colleagues and our neighborhood. It's time to frame addiction as a social, health, cultural and spiritual issue rather than a criminal issue. In our community's shadow play, we're reflecting on the impact of personal, family, ancestral, historical and cultural forces - including patterns of disease and healing. How do we move from personal and community trauma to personal and community healing? From inter-generational trauma to inter-generational healing? How many generations will it take? Healing is involved in facing and embracing our histories, and sharing our grief and shame, our hopes and joys. It is our hope that together - one step at a time - our community art work in the Downtown Eastside, and The Shadows Project in particular, will help to heal the damage. Our heartfelt thanks to the fantastic artistic and community team that has worked so hard, and with such commitment, on We're All In This Together. We are in awe of your courage, generosity, passion and drive to realize this dream. It has been a pleasure and an honour to work with you. All our relations, Terry Hunter and Savannah Walling Shadows Project Writers Group On behalf of the Carnegie Community Centre Association, welcome to We're All In this Together: The Shadows Project-Addiction and Recovery. In 2003 the Carnegie Community Centre joined in partnership with Vancouver Moving Theatre to produce the landmark In the Heart of a City: The OTES Community Play. This powerful production showed the extraordinary talent and passion that thrives in our community. Since then we have worked with VMT on various projects and when they approached us with the idea of The Shadows Project three years ago, we were very excited by its vision and courage in tackling a complex and critical global issue in a creative, community-based way. We are firm believers, as are VMT and our partners in the OTES Community Arts Network, that the arts are a powerful tool to affect positive social change and to strengthen community. Carnegie has been pleased to assist The Shadows Project in a variety of ways, including facility support for a broad outreach initiative that included readings, seminars, illustrated lectures, workshops and public presentations. VMT effectively used this process to provide opportunities for community input and discussion on a vital issue that affects us all. Congratulations to Vancouver Moving Theatre, our fellow associate partners, the artistic team and the community participants on the creation of We're All In This Together. We should all be proud of this powerful and essential work from the Downtown Eastside that will touch people from all walks of life. Gena Thompson, Vice President Carnegie Community Centre Association VANCOUVER MOVING THEATRE with urban ink's Fathom Labs and the Carnegie & Roundhouse Community Centres present We're All In This Together THE SHADOWS PROJECT: Addiction and Recovery Russian Hall 600 Campbell Avenue, Vancouver April 19-22 and April 26-29, 2007 8 pm, Thursdays through Sundays Written by Rosemary Georgeson and Savannah Walling with Sheila Baxter, Wendy Chew, Paul Decarie, Mary Duffy, Melissa Eror, Patrick Foley, Leith Harris, Stephen Lytton, Muriel Williams and with contributions by Larry Reed, James Fagan Tait and Chorus Artistic Director Director Music Designer Lighting Design Savannah Walling Kim Collier Ya-wen V. Wang and Joelysa Pankanea Tamara Unroe Adrian Muir Inspired by Stories and Images from the People of the Downtown Eastside The performance is approximately 60 minutes. There is no intermission. Letters or comments Vancouver Moving Theatre Chinatown PO Box 88270 Vancouver BC, V6A 4A4 604-254-6911, vancouvermovingtheatre@shaw.ca Please turn off pagers, cellular phones and wrist-watch alarms. Taking photographs or making any mechanical recording of the performance is strictly prohibited. , Front and Back Cover Photo Montage by John Endo Greenaway .. . • \,. •• . ' ... . Dr. Bruce K. Alexander, Professor Emeritus, Psychology W hy has scientific medicine, a dazzling success in so many domains, made so little progress in treating addiction? There is no medical consensus on what addiction is, what causes it, or what should be done about it. The learned doctors have found no reliable way to cure addiction, prevent it, or even to anesthetize the pain. Although scientific medicine has never really succeeded in defining addiction, the many authors of this play may have. They have seen addiction all around them for a very long time. In their collective wisdom, addiction is a Dragon that appears at the worst of times and whispers loving lies and warnings into people's ears. Although the dragon will always reappear, it can be sent away with a few words -words that are not always so easy to find. Where does the dragon come from? Listen closely as the play proceeds and you will hear an answer ... In my opinion, the fundamental problem with the way that scientific medicine has approached addiction is that it has single-mindedly focused its attention on afflicted individual addicts, as if they were simply patients with an unusual disease. This individualized focus hobbles not only medicine, but also religion, psychology, law enforcement, harm reduction, and prevention. Addiction is as much a social problem as an individual problem. The prevalence of addiction differs dramatically among different societies. It can be quite rare for centuries, and then become common when circumstances change: for example when a tribal culture is destroyed or a highly developed civilization collapses. When addiction becomes commonplace, people not only become addicted to drugs and alcohol, but to a thousand other banal and destructive habits: gambling, gluttony, dysfunctional sexuality, wealth, power, religious fanaticism, and on and on. Modern computer technology is offering a whole new range of addictive possibilities. The same social circumstances that can awaken addiction in a conquered tribe or a collapsing civilization are built into the globalizing society that is now sweeping the planet. The current global explosion of addiction occurs when people, rich and poor alike, are torn from the close and familiar human relationships that normally constitute the fabric of human life. This worldwide rending of the social fabric not only results from catastrophic events, but is built into the structure of a radical economic philosophy whose icons are Growth!, Productivity!, Individual Responsibility! Global society built on this economic philosophy is magnificently productive but it also subjects people to ever-increasing fragmentation of social life. People everywhere are adapting to this ever-increasing social dislocation by clinging to the best substitutes they can find for a purpose in life and a place in a sustaining culture. Addiction serves this purpose all too well. Like the dragon in this play, it will tell us what we most want to hear. The most effective response to the widening and deepening addiction problem will be a social and political one, rather than an individual one. A social solution will not turn away from the individual addicts who struggle so valiantly, nor will it turn against the doctors, psychologists, social workers, policemen, and priests who have served so ably, although it will organize their practices within a larger social project. The social project will reshape modern society with enough force and imagination to enable people to find adequate meaning and social integration in everyday life. Then, most of them will not need to fill their inner void with addictions. The way that society would be reshaped is not difficult to conceptualize.All that is needed . to move society from lip service to serious confrontation with addiction is a paradigm shift in the way addiction is understood ... Listen carefully to the dragon! Dr.Alexander's forthcoming book on these matters is: 1he globalization of addiction: A study in poverty of the spirit. Oxford University Press, expected publication 2007 or early 2008. 2 WE'RE ALL IN THl5 TOGETHER Opening Prayer and Song (Aprll 19) and Closing Prayer and Song (Aprll 29) Acknowledging the traditional territory of the Southern Coast Salish People. Daughters of the Drum ARTISTIC TEAM Artistic Director Savannah Walling Shadow Play Director and Choreographer Kim Collier* Song Arrangements, Original Score, Musical Direction and Conductor Ya-wen V. Wang Original Songs Joelysa Pankanea Writers ~osemary Georgeson and Savannah Walling with Sheila Baxter, Wendy Chew, Paul Decarie, Mary Duffy, Melissa Eror, Patrick Foley, Leith Harris, Stephen Lytton, Muriel Williams with contributions by Larry Reed, James Fagan Tait and chorus Dramaturgical Input provided by James Fagan Tait (Phase One) and Marie Clements, Kim Collier, Larry Reed (Phase Two) Storyboard Kim Collier and Tamara Unroe Shadow Images developed under the direction of David Chantler (Trickster Theatre), Kim Collier, Larry Reed (Shadowlight Productions), James Fagan Tait and Tamara Unroe Designer Tamara Unroe Designer's Assistant Sharon Bayly Lighting Designer Adrian Muir Assistant Lighting Designer Lauchlin Johnston Pre-recorded Sound Effects Joel Etkin Stage Manager Robin Bancroft-Wilson * Puppets and Sets Assistant Stage Manager Alison Jenkins* Guest Assistant Stage Managers Kristen Iversen and Doug Vernon Assistant Director Stephanie Plaitin Shadow Staging Assistant Anita Rochon Acting Coach Jay Hamburger *Appearing through the courtesy of . Canadian Actors Equity Association PRODUCTION TEAM Technical Director Adrian Muir Assistant Technical Director and Sound Operator Lauchlin Johnston Community Liaison & Cast/Crew Hospitality Rosemary Georgeson ADMINISTRATION TEAM Producer Terry Hunter Publicist Jodi Smith ()LS Entertainment) Accountant Lucy Lai Graphic Design John Endo Greenaway Administrative Assistant Doug Vernon Photographers John Endo Greenaway, Terry Hunter, Ken Tabata RESEARCH AND DOCUMENTATION TEAM Project Documentation, Research (content, context, visual images) Savannah Walling Video documentation Cease Wyss (Roundhouse Artist in Residence) and Patti Fraser Evaluation Victoria Marie with Patricia Mcsherry FRONT OF HOUSE Brenda Dallaway, Susan Gordon, Rose Georgeson, Terry Hunter, Gena Thomp-son, Teresa Vandertuin, Muriel Williams, Elwin Xie SOUVENIR PROGRAM Design and Layout John Endo Greenaway Articles Savannah Walling, Bruce Alexander, Rosemary Georgeson Photos Dan Bushnell, David Cooper, John Endo Greenaway, Terry Hunter, Michael McNeeley, Larry Reed, Ken Tabata Historical photos and bullet points assembled by Dan Small Historical Chronology of Drug Use in the Downtown Eastside in a Global Context compiled by Savannah Walling with Donald MacPherson and Bruce Alexander THE rnADOW5 PROJECT 3 CONSULTANTS Shadow Theatre Consultants David Chantler with Trickster Theatre (Alberta); Larry Reed with Shadowlight Productions (San Francisco); Cathy Stubington with Runaway Moon (Enderby, BC), James Fagan Tait (Vancouver) First Nations Con~ultants Rosemary Georgeson and Cease Wyss Addictions Consultants SFU Professor Emeritus Bruce Alexander (author of Roots of Addiction in a Free Market Society), Donald MacPherson (Vancouver Drug Policy Coordinator), Sharon Kravitz VANCOUVER MOVING THEATRE SOCIETY Vancouver Moving Theatre Staff Artistic Director Savannah Walling Executive Director Terry Hunter Accountant Lucilla Lai Board of Directors John Atkin, Ann McDonell, Renae Morriseau, Franklin Po, Roger Seamon, Lynne Werker Vancouver Moving Theatre is a member o( the Downtown Eastside Community Arts Network, the Greater Vancouver Professional Theatre Alliance and the Alliance for Arts and Culture. POST SHOW DISCUSSIONS Moderator Sharon Kravitz April 19 Coco <;:ulben,:son Directot, Ufeskills Ce April 28 Bruce Alexander Author of Roots of Addiction in a Free Market Society April 29 Donald Mac::Phersop Vancouver Drug Polic;yCoordinator 4 WE'RE ALL IN THlf TOGETHER PHASE ONE Artistic Team Director and Choreographer James Fagan Tait; Composer/Musical Director/ Performer Joelysa Pankanea; Shadow Effects Designer Tamara Unroe; Lighting Designer John Popkin; Lighting Captain Jean Paul Bouchard; Stage Manager Dorothy Jenkins; Technical Directors John Popkin and John Reilly PHASE ONE Community Cast and Crew Shadow-Casters/ Actors Sue Blue, Roger Brouillette, Bruce Gongola, Luke Day, Paul Decarie, Sophia Freigang, Montana Hunter, Luka, Bradford Keewatincappo, Maria Isabel Krause, Dian Le Claire, Victoria Marie, Mike McNeeley, Joan Morelli, Eroca Morin, Elizabeth Murdoch, Theresa Myles, Naomi Narvey, Sheralyn Paulhus, Tom Quirk, Priscillia Tait (with special thanks to Arlene Sinclair and Corinna Gurney). Musicians Rick McCall ion, Jenna Newman, Jim Sands. Lighting Assistant Patrick Foley, Production Assistant Jason L. Harris, Assistant Stage Manager Sandra Pronteau, Designer's Assistant Lou Vodnak PLAY READERS Vancouver Paul Decarie, Patric,k Foley, Sophia Freigang, Jay Hamburger, Bradford Keewattincappo, Kevin Loring, Charlene Ottenbros, Renae Morriseau, Elizabeth Murdoch, Tom Quirk, Bob Sarti, Terri Williams, Elwin Xie, Eroca Zales; Galiano Island Jackie Bowers, David Burchall, Kate Emming, Arrie Nicholls, Dave Parent, Sonja Theroux RESEARCH PARTICIPANTS (interviews, questionnaires, written contributions, feedback): Anonymous (120+), Bruce Alexander, Chris Allan, Gayle Anthony, Rick Archambault, Brian Arrance, Fred Arrance, Harold Asham, Sheila Baxter, Hendrik Beune, Barry Beyerstein, Sue Blue, Dalannah Gayle Bowen, James Bridge, Mark Budgen, RH Maxwell N. Bur, Alex Burnip, Sandy Cameron, Grant Chancey, Yvon Chartrand, (Wendy) Wai Yin Chew, Robyn, Ann Cooper, Suzy DeBell, Paul Decarie, Nick Dobrinksy, Roland Donisi, Mary Duffy, Henry Dumla, Melissa Eror, Gladys Evoy, Peter Fairchild, Jason Fiery, Patrick Foley, Sophia Freigang, Colleen Gorrie, Jay Hamburger, Demitri and Leith Harris, Montana Hunter, Luka, Bradford Keewattincappo, May Kossoff, Sharon Kravitz, Gwen Lagimadiere, Rev. R. Leith, Lesa, Diane Leclaire, Lindsay, Kevin Loring, Donald MacPherson, Haede Mason, Kuei-Ming Lin, Ann Livingston, Robyn Livingstone, Julia Mark, Ruth Mehta, Kurt Menzie, Renae Morriseau, Naomi Narvey, Ahjala Nelson, Bud Osborn, Charlene Ottenbros, Earle Peach, Sandra Pronteau, Tom Quirk, Isabel Ramirez, Joseph Ray, Dora Sanders, Jim Sands, Bob Sarti, Muggs Sigurgierson, Annie Smith, Mike Stack, Priscillia Tait, Randy Tait, Paul Taylor, Brian Tomson, Neil Thompson, Rika Uto, VanDu, Karenza Wall, Ethel Whitty, Lynne Werker, Muriel Williams, Terri Williams, Cynthia Wong, Susan Poshan Wong, Elwin Xie, Eroca Zales, Angla Zenk WORKSHOP PARTICIPANTS Richard Alexander, Chris Allan, Richard Archambault, Harold Asham,, Sheila Baxter, Sue Blue, Jason Bouchard, Jean Paul Bouchard, Mavis Brass, Roger Brouillette, Grant Chancey, Yvon Chartrand, Wendy Chew, Mickey Clark, Sarah Conchin, Rosemary Collins, Dara Culhane, Luke Day, Paul Decarie, Antonio Dossantos, Laurel Dykstra, Mary Duffy, Melissa Eror, Gladys Evoy, Patrick Foley, Melissa Fox, Sophia Freigang, Rosemary Georgeson, Colleen Gorrie, Gram, Nan Gregory, Jay and Sylvan Hamburger, Merlin Hans, Yvonne Kato, Leith Harris, Megan Harris, Klisala Harrison, Montana Hunter, Deepthi Jayatilaka, Diane Jetsen, Lauchlin Johnson, Diane LeClaire, Robyn Livingston, -Stephen Lytton, Adrienne Macall um, Earl Majeski, Victoria Marie, Julia Mark, Alex Martin, Lora Masotti, Michael McNeeley, Joan Morelli, Eroca Morin, Elizabeth Murdoch, Naomi Narvey, Jenna Newman, Teresa Ng, Qui Li Pan, Brenda Prince, Todd Prince, Sandra Pronteau, Tom Quirk, Isabel Ramirez, Leif Saba, Jim Sands, June. Seto, Cathy Stubington, Ruth Tabata, James Fagan Tait, Ulie and Priscillia Tait, Jonathan Turner, Tamara Unroe, Lou Vodnak, Maggie Winston, Susan Poshan Wong, Karenza Wall, Savannah Walling, Lori Weidenhammer, Ethel Whitty, Muriel Williams, Fanna Yee, Eroca Zales • DIGITAL TRAINING WORKSHOP Patti Fraser Debbie Blair, Sue Blue, Jean Paul Bouchard, Roger Brouillette, Steve Duncan, Diane Leclaire, Robyn Livingstone, Mike McNeeley; Assistants Priscillia Tait and Teresa Grey VENUES Vancouver Carnegie Community Centre, Radha Yoga Studio & Eatery; First United Church/Wish Drop-in Centre, Russian Hall, Ukrainian Hall;Galiano Island Fathom Labs Centre, Galiano Island Community School, Paige Drive Seniors Place LOANS AND DONATIONS OF LIGHTING AND STAGING EQUIPMENT AND PROPS Phase One Carnegie Community Centre, Carousel Theatre, The DTES Community Play, The Vancouver Fringe Festival, Granville Island Cultural Society, Kokoro Dance, Leaky Heaven Circus, Theatre Under the Stars, Vancouver Playhouse Theatre Company, Lord Strathcona Elementary School, John Popkin, John Reilly; Phase Two Adrian Muir, Carnegie Community Centre, The Electric Company, Lauchlin Johnston, Roundhouse Community Centre, Sharpey's Cycles, Theatre in the Raw, UBC Theatre Department, Sue Blue, Rosemary Georgeson, Priscillia Tait LOANS AND DONATIONS OF SOUND EQUIPMENT AND MUSICAL INSTRUMENTS Phase One Rick McCallion,Jenna Newman, Joelysa Pankanesa, Jim Sands Phase Two Bard on the Beach, Carnegie Community Centre, Stephen Courtenay, Mike Richter, Jim Sand, Ya-wen V. Wang, Kevin Wilkie HOPE AND MEMORY TREE Naomi Singer LOANS AND REDUCED RATES ON DIGITAL EQUIPMENT Corin Brown, CeaseFire Productions, Cineworks, Commerical Electronics, Howlco Productions, IMAGENation; National Film Board/homelessnation; Roundhou·se Community Centre, Senqwila Wyss DONATIONS OF RISERS AND FLOOR Great Northern Way and UBC Theatre Department, Studio 58 CAST AND SPECIAL EVENT REFRESHMENTS Phase One Sue Blue, Luke Day, Antonio Dossantos, Rosemary Georgeson, Sheralyn Paulhus, Tzu Chi Foundation, Susan Poshan Wong, Fanna Yee; Phase Two Sue Blue, Sandy Daniels, Alex Martin, Mike McNeeley, Elizabeth Murdoch, New Way Community Caring, Fanna Yee, the Russian Hall, Starbucks DIGITAL TRAINING WORKSHOPS SUPPORT Amir Ali-Alibhai, CeaseFire· Productions, Corin Browne and EVTV, Patti Fraser, Teresa Grey, Don Howell, Paul Lang, Ali Lohan, Ann Marchand, Priscillia Tait, Wizards Brew, Barbara Wyss, Senquwila Wyss WORKSHOP FACILITATORS Shadow Theatre David Chantler, Larry Reed, James Fagan Tait; Forum Theatre Patty Fraser and Victor Porter; Writing Rosemary Georgeson; Collage Diane Wood; Mural Making Nancy Johnson; Singing Joelysa · Pankanea; Puppet Building Tamara Unroe; Digital Media Training Cease Wyss and Patti Fraser assisted by Ann Marchand Vancouver Moving Theatre gratefully acknowledges the financial support of the following government agencies, foundations, and community centres stra, ... ,,, --·--• ~YOF VANCOUVER Four Pillars ~.}' Coalition •BRITISH COLUMBIA ARTS COUNCIL So,ppo,,od1>7111<1'r<Mn<eofllnciohC<ilonhia ~"'" ,, The Hamber 2010 tr Foundation LEGACl~i f~, ~~,--~,.,~,~·~ - -.V. NO~~-. , • (BRITISH >!'""'' ' • • • · • OLUMBIA ~:;;~••fy VANCOUVER MJt».~ryofAttorrn,yG-,aJ FOUNDATION Q.m,,,r,g Policy ml<J e,,•~"Qmmt Bmnc11 FATHOM LABS COMMUNITY WRITERS' RETREAT (Galiano Island) Facilitated by Marie Clements with Rosemary Georgeson and Savannah Walling CARNEGIE COMMUNITY CENTRE PUBLIC LECTURES AND SHADOWTHEATRE FILM SERIES Carnegie Community Centre, Steve Edwards, Terry Hunter FORUMS: Roots of Addiction Forum Coordinator and moderator Sharon Kravitz; Panelists SFU Professor Emeritus Bruce Alexander, Carol Martin, Donald MacPherson Seminar (Addiction: Thinking Outside the Box) Coordinator Bruce Alexander, moderator Sharon Kravitz; Panelists Bruce Alexander, Susan Boyd, Gabor Mate, Dennis Wardman, Savannah Walling VISUAL DISPLAYS Phase One Writing and drawing created by WISH Drop-in Centre participants, collage by Sue Blue, displays created by VanDu, Barry Beyerstein, Bruce Alexander, N. Johnson, S. Kravitz and S. Walling VOLUNTEERS Phase One Joe Dzadko, Nick Dobrinsky, t-:Jancy Johnson, Leslie Kemp; Phase Two Alev Ersan, Brenda Dallaway, Anita Rochon, Elwin Xie A VERY BIG THANK YOU TO ••• Amir Ali Alibhai, Josef Chung, Christie Lites, Mary Dufy, Attie Gell, Rosemary Georgeson, Kiku Hawkes, Bruce Kennedy, Elia Kirby, Gwen Lagimodiere, Swami Lalitananda, Tracy Lynch, Donald MacPherson, · Sheila McFadzean, Zarina Mulla, John and Nadia Niechada, Edward Pedersen, Rocky Mountain Sound, Naomi Singer, Ruth Tabata, Rika Uto, the Russian Hall, • Barbara Unroe, Doug Vernon, Carolyn Wong, Jonathan Young, Andrea Zimmer THE 5HADOW5 PROJECT 5 FACINCi_ THE DRACiON, BVILDINCi THE PLAY By Savannah Walling, Artistic Director For two and a half years, Downtown Eastside-involved residents have worked with Vancouver Moving Theatre to create a shadow play that sheds light on issues surrounding addiction and recovery. Inspired by images and stories from our community, we're creating a Downtown Eastside style of theatre based on an ancient tradition. We're All In This Together is created and performed by people who've experienced struggles with addiction-either in our own lives, or in the lives of our loved ones, friends, neighbours, and colleagues. We're not telling any one person's story-nor are the actors playing themselves-but we're creating the strongest art we can make about one story of our living community. The story ofaddiction happens in all communities and social classes - a symptom of larger social problems. Addiction to non-drug habits can be every bit as dangerous and resistant to treatment. Ancient stories of monstrous appetites triggered by loss, trauma, jealousy, and disaster have been told for thousands of years. Today, all of us are facing a tidal wave of addiction. Society is battling addictions with its"right hand"and marketing them with its "left''. Where drug wars are fought, drug use escalates. "Our existing solutions;' professor Emeritus Bruce Alexander reminds us, "are helping many individuals but they're not stopping the tidal wave. It's time to start thinking outside of the box:' ' We're All In This Together offers our Downtown Eastside community and guests an opportunity to confront the tidal wave of addiction that surrounds us, to shed light on its roots and consider how we can become part of healing the damage. The Collaborative Creative Process Our play's concept was originally inspired by Enough is Enough, a shadow play about addiction created for and by the rural community of Enderby, BC. The play, created by Cathy Stubington and Runaway Moon Theatre, inspired us to create our own I 6 WE'RE ALL IN THl5 TOGETHER play rooted in our own inner city stories and images. Since July 2005, The Shadows Project has been a springboard for over a thousand people between the ages of 8 and 60 to talk, think and wonder about addiction and recovery as we explore the world of shadows. Interviews, contributions and insights received from hundreds of people form the basis of the original script writ-ten by Rosemary Georgeson and myself in collaboration with a team of nine Down-town Eastside writers with contributions by Larry Reed, James Fagan Tait, and the chorus. The script has also been shaped by visual images and insights discovered in shadow theatre workshops with Mr. Tait, Tamar~ Unroe and guests David Chantler (from Alberta) and Larry Reed (from San Francisco). Our creative process has been supported by lots of capacity sharing opportunities- public soundings and interviews; workshops in forum theatre, shadow theatre, writing, collage and digital media training; a writers' retreat on Galiano lsland;forumsand panels;a film series; and public presentations in Vancouver and on Galiano Island to make sure our characters and language have the ring of truth. In a satellite project, videographerCease Wyss is creating a documentary about what it's like to be involved in the making ofThe Shadows Project. Building the play has involved two teams of award winning artists, 60 Downtown Eastside involved people - as writers, readers, actors, puppeteers, musicians, builders and crew-plus Galiano Island actors and shadow theatre consultants from Calgary, Enderby and San Francisco. The collaborative process has been a complex and astonishing journey. Sometimes the process reminds me of hundreds of people coming together to assemble a 5000 piece patchwork quilt with a compell ing story. And sometimes the process reminds me of generations of builders collaborating to design and erect a mediaeval cathedral. The World of Shadows Shadow theatre originated a thousand years ago in Asia; its popularity spread across many continents. In many cultures, shadows are regarded as the centre of the soul and life itself. The shadow screens of China were called "screens of death;' in Java they were called "fog and cloud" and in Arabia, "veil of dreams and omnipotent spirits:' Traditional Asian shadow plays express heroism, humour, the soul's struggle between opposing forces and the world's struggle for balance. We think shadow theatre is a wonderful form to bring our story to light. In traditional shadow theatre, two-dimensional puppets are pressed against a shadow screen using an oil flame or light bulb to light the shadows. Modern projected shadow theatre is three-dimensional. Developed by artists such as Larry Reed, it expands on traditional roots by adding ideas from the world of cinema: a giant screen, multiple light sources and a cinematic perspective brought alive by a cast of actors, puppeteers and musicians. In our play, shadows of painted sets, two-dimensional puppets, three-dimensional paper models and masked performers are projected onto the screen from varying points in the expanse between screen and light. Our specialized effects include five stationary arid hand-held halogen lighting sources designed and built by Larry Reed, an overhead projector, reflected light, and various theatrical lighting instruments. . LouYodnak DIRECTOR W elcome to We Are All In This Together. The title of this play has been aptly named by the writers; it addresses you, me and all the cast and crew. It encompasses the understanding that we do not live in isolation and the challenges found within ourselves, our families and our communities belong to all of us and call for understanding leading to change. This play is here for us all as a siren call for hope and faith that addiction can be alleviated. I would like to congratulate the incredibly talented artists that came together to create and perform in this show. The creativity within the group has been truly inspiring. Although the project was extremely demanding, the strength, spirit and humanity within in the team have carried us forward and created a theatre that bridges communities, speaks truths and weaves a powerful tale. I hope you are challenged tonight. Kim Collier MUSICAL DIRECTOR W orking on the music of this production is a very interesting journey. I haven't even met the other composer Joelysa Pankanea yet, but I've taken her melodies (she had previously composed for the production's first workshop) and re-arranged, harmonized, orchestrated and re-styled these songs into new life. I thank Joelysa for her inspiration and gift for beautiful and memorable melodies-and for allowing me room to contribute my compositional strength into new arrangements tailor-made for the specific musicians and singers participating in this round of the production. As a composer/music director in mostly concert/theatre worlds, I find a true satisfaction making music for the moving images appearing as shadows in this one. Its latitude for music is vast; it is a fun playground for me to experiment with music of various styles; its possibilities for a full musical palette are endless. Music in this context not only serves practical functions - covering transitions, setting up mood/atmosphere for a place-but also plays the role of a virtual character that is called the shadow self, the subconscious that is within us all. ' I'm also thankful for a fruitful collaboration with Kim Collier; our common sharing of artistic aesthetics made the images and sound/music a pleasant marriage. This wouldn't have been possible without the passion and enthusiasm from the singers/musicians who are so open for new experiments and willing to stretch their boundaries for new musical possibilities. This production is pieced together by every single shining spirit each participant offers. We're all truly in this together. Ya-wen V. Wang DESIGNER The design process of The Shadows Project began as a chicken and egg question between design and direction. The sets cannot be built unti_l we know how the actors need them to function. Yet the actors need the sets in order to explore the massive scale of the project and all its elements (almost 100 sceneries, 50 masks, plus many, many props and puppets) left me quite terrified at the beginning. The question of how to tell the story of each scene is always looming: is that a puppet or a masked character? A hand-held scenery or a set piece?The logistics are endless, and I am amazed at Kim Collier's graceful ability to manage mountains o1 detail under an enormous pressure of time (I myself began the process in tears, whicb have now transformed to laughter.) We decided to build everything in a twc or three step process; roughing in with tape and ink, rehearsing with it, then tweakinc it, making it work physically with the actor~ to create the desired illusion, and only ther going back and designing the look of an) particular set piece. The only drpwback tc this way of working is that time is short anc the lists are long! It has been a great learn inc experience for me and I am forever gratef~ to my talented and spirited assistants Sharor Bayly and Paul Nosotti, who brought magi< and fun to our design workshop. I also wan' to thank everyone who came and lent , hand, cut, drew, built, sliced, laughed wit~ us: Jamie Robson, Maggie Winston, Michae McNeely, Elizabeth Murdoch, Fanna Yee Priscillia Tait, Adrian Muir, Lauchlin Johnston You all rock my world. Tamara Unroe THE 5HA~OW5 PROJECT '. Historical Chro~ology of the Downto!Nn Eastsid' !J Context Assembled by Savannah Walli with contributions from Bruce and Donald MacPherso,n Since the Dawn of History .. ' Fruit, grain and sap ferment an' unsuspecting insects! birds a.nd Opiates are prescribed foe.th years by healersto relieve pain sorrow. Coca leaves are chewed forth of years as a mild stim ulant ali digestion. To~acco and other p mind-changers are used for t years for cleansing, healing ceremonies in North Amerka. 1492 Christopher Columbus · TOBACCO leaves. 1612 1791 England's Dr. John.Hill publisheghe fim: clinical report linking tobacco and cane 1883 MORPHINE is first extractedfrom OPI 1839-42 For 20 years, British merchants have sm Indian opium into China frr .~ and tea. Afterfosing three soij addiction, the Chinese empero(ord opium destroyed. Britain launches] opiumwar. Two years. l~ter, . . . e Britain pours opium into China. 1849 Vancouver Island is granted a become a British Colony and opiOrn a in BC in doctors' medical kits ~nd p medicines. · 1853 1 0 WE'RE All IN THI~ TOGETHER Robin Bancroft-Wilson Stage Manager Robin has worked both in Vancouver (Touchstone Theatre, Bard on the Beach, Savage God, and Hoarse Raven Theatre) and in Ontario (The Stratford Festival and Driftwood Theatre). Up next, Robin is stage managing for Blackbird Theatre and Whistler Theatre Project. Sharon Bayly Assistant Designer At the heart of any creative process one must start with the simplest of things: a good cup of tea. Sharon honed her tea-making skills down to a very fine art during the making of this show. Cheers everyone! Kim Collier Director Kim Collier is a Vancouver based Director, Creator and Actor. She is one of the Co-Art istic Directors with Electric Company Theatre. She lives with Actor / Writer Jonathon Young and their daughter Azra. Rosemary Georgeson Co-writer, Community Liaison & Cast Hospitality I was born into a fishing family from Galiano Island. I'm Slavish and Coast Salish and a single mother. I really enjoy being a part of this project; it's great to be working in the Downtown Eastside again after working cin Galiano Island with urban ink Productions on creating"TheWomen In Fish Series"and "Fathom Labs" artist laboratory. Jay Hamburger Actor Coach Jay has acted, directed and produced numerous shows in Canada and the US. He directed and broadcast original radio plays for the Carnegie Radio Play Project and Coop Radio, coordinated the Carnegie Theatre Workshop, and was acting coach for the OTES Community play. He's most grateful to be part of such a unique piece of theatre. Alison Jenkins Props and Sets Assistant Stage Manager Alison has been involved in many professional theatre projects as a composer, musical director, musician and performer - including the music ensemble Zeellia. She is excited to be making her debut as an ASM on such a huge, beautiful project. Lauchlin Johnston Assistant Lighting Designer, Assistant Technical Director, and Sound Operator Lauchlin is a fourth year student in the UBC theatre design/production BFA program. Recent work includes set design for Beautiful Thing (Theatre @ UBC) and props for The Farndale Christmas Carol (Jessie Nomination) at Pacific Theatre. Adrian Muir Lighting Designer and Technical Director Adrian is an award-winning lighting designer and instructor who works in theatre, dance and opera. He designs for many local companies including The Playhouse, Vancouver Opera, Ballet BC, The Electric Company, Touchstone Theatre and Ruby Slippers. Stephanie Plaitin Assistant Director Stephanie is a recent grad from the University of Winnipeg's Honours program in Theatre and Film; Assistant Director on The Rocky Horror Show, Manitoba Theatre Centre; Fringe Festival Coordinator since 2003 for Winnipeg and Vancouver. Anita Rochon Shadow Staging Assistant Anita is a Vancouver-based director, writer, actor and co-artistic directs The Chop Theatre with Emelia Symington Fedy. She is currently an artist-in-residence at Rumble Productions. Kim, Savannah, thank you. Terry Hunter Producer A OTES resident since 1975, Terry is co-founder and Executive Director oNancouver Moving Theatre (1983) with whom he has toured four continents. A Jessie Award recipient, Terry was Artistic Producer for the groundbreaking In the Heart of A City: The OTES Community Play. He also serves as the Artistic Producer of the annual OTES Heart of the City Festival, and is the proud father of Montana Blu Hunter. Tamara Unroe Designer Tamara Unroe is a performer and maker of objects. She combines puppetry, and forms of movement which alter our perception of nature's rules: stilts, shadows, aerials. Since graduation from Emily Carr, where she built giant shadow puppets, Tamara has worked both locally and internationally as a stilt dancer, puppeteer, and community-engaged artist. She believes in building art with community and community with art. Savannah Walling Artistic Director, Researcher, Co-writer, and Lead Singer Ms Walling is a Downtown Eastside resident, co-founder of Terminal City Dance and Vancouver Moving Theatre. Highlights include choreographing Runners' Tale, Samarambi and Blood Music, co-directing The Good Person of Setzuan, writing Tales from The Ramayana, co-writing The Downtown Eastside Community Play, performing in Crime and Punishment, singing with the Barvinok choir, home-schooling son Montana. Ya-wen V. Wang Musical Director, Song Arrangements, and Original Score Ya-wen's creative water continues its journey of Transformation, Balance and Flow. From composition, musical direction, interdisciplinary performance to Integrative Energy Healing, Ya-wen is equally passionate in re-tuning harmonies in music as well as in all being's holistic health. Ya-wen is a recipient/Nominee of The Future Generations Millennium Award (Canada Council), explorPERFORMANCE Award (CBC), AMSSA Riasat Ali Khan Diversity Award and Jessie Richardson Theatre Award among many others. Cease Wyss Videographer Cease is a Squamish Nation Media Artist who works with communities, as well individually. Her work ranges from cultural to social issues and matters. Cast and Crew Bios Debbie Blair "On book" Assistant Stage Manager Sue Blue Chorus I like it because I have found new friends and family. It's something to get up for and look forward to. I like keeping busy. I do meditation and healing loops. This is my year to listen. Jean Paul Bouchard Lighting Operator Jean Paul's 40 year career includes: production designer, camera and still photography, sets and props designer for movies and theatre, Research and Documentation, Budget Controller, Volunteer Coordinator for arts festivals and over 40 Plays and 50 Films. Grant Chancey Actor and Shadow-caster Vancouver Moving Theatre has, and continues to be, the most positive influence in my growth as an actor. I am enriched by all the opportunities they have given me. And so, thank you VMT, Kim and all the community players. I love working with you guys. Wendy Chew Chorus Vancouver is a beautiful city, well known in the world. It attracted me to move here to live for the rest of my life. Convenience in Downtown Eastside has made my life easy and comfortable although it seems crowded. I really enjoy the multi-diversity of people. Phoebe Conway Actor and Shadow-caster Phoebe is 8 years old and this is her first professional show. She is thrilled to be acting with her aunt Kim Collier and all the fantastic people in the show! Sandy Daniels Chorus I was a world commercial fisher. I was injured with a brain injury. People in the Downtown Eastside assisted me to know and understand my injury. I'm glad to give back by doing The Shadows Project. Rachel Davis Actor and Shadow-caster Since 16, Rachel has performed in the Downtown Eastside and beyond. An instrumentalist, song-writer, actor, opera singer, dancer and choreographer, she is also mother to two talented children, Skyler and Raylee. Paul Decarie Actor and Shadow-caster Paul is an actor and stand-up comedian. He has been working in theatre since high school working with many different theatre groups around the lower-mainland. His last show was The Bad Seed with Deep Cove Players. THE rnA&OWf PROJECT 11 J88t The fffst practica.l cigarett~:making is invented -producing 120,000 cigarettes a ~ay.y'fith th~ iry~ntion ot\p~~fetymi)tch a few decades later, cigarette s,noking begins !F its exqJosive 9r2~h. 1884 }' Cocaiij.e is praised as a cure heroin addiction 'by Or. Sigmund Freud; it's us~d a.r anesthetic in eye pperations. > V 1885 Taxe~on opium, akohql,,Jobaccoand t <,,.ccolmt for 50% ofthe Britis~ governmen gross income. Opium smoking and opiat' tonics spread a.frOSS Nor.th America. T opium trade is legal in Canada. Granville has 8 legat opium factories. Smoking-opium businesses are ow'Qed and operated by Chinese. Sir'Matthew Begbie, (hief Justice <ifB(says, "Opium, as generally used here, is probably · as harmless as tobacco. N~ither opi~m nor'i toba~co extend in their evil effects beyond the ···· · individual. They arenotnearlysodangerous to public peac~.a~whiskey.111 theevilsa~sing ·• frq,m opium in British Columbia in a Year do i' ..... not, probably, equal the damage, trouble, and expense occasioned to individuals an~ to the state by whiskey in a single month, orperhaps · single i ht," A provision of the Indian Act makes it illegal for status ll}~ians to and sellalcoho.!.• They are not allowed in bars or taverns, nor to possess it in their homes. This is the first time a sp~ific raciaFgroup is barred from drinking in North America. COCA-COLA is concocted out of coca leaves and other ingredients and is claimed to.cure morphine addiction; It is sold as a stimulating medicine to cure head-aches. 1887 AMPHETAM.INE is first synthesized in Germany, 1891 ... ., BC becomes the first jurisdiction in Canada to bar tobacco sales to 111inorS: 1895 66 million cigarettes are sold in Canada. 1 2 WE'RE ALL IN THl5 TOGETHER Sophia Freigang Actor and Shadow-caster Sophia is a trained multi-disciplinary artist, women's coach I counselor and mother of two lovely daughters. She engages actively in the Downtown Eastside continuing to combine performing with social justice issues. Diane LeClaire Actor and Shadow-caster Metis, re-located from rural Ontario and Toronto where I left a government clerical job. Post single. parent, curious crone. Part-time grass-roots organizer. Robyn Livingstone Actor and Lead Singer I'm an actor, singer, and most complexed, enigmatic puzzle, all wrapped up into a nice, neat little riddle. It's quite an honour to be a small part of this important, timely and relevant project, and to be able to perform it in front of all of you, the audience. Stephen Lytton Chorus I am Interior Salish Thompson First Nations. I live in the Downtown Eastside. I am on a number of Boards and Committees across the province as a Leader and an Advocate. I love this community for its spirit, courage and strength. Yvonne Mark Actor and Shadow-caster I'm a recovering addict/alcoholic that's always wanted to act. The part I play totally fits my real life. And this is part of my healing journey with my children/ granddaughter and family. Acting has always been a dream , of mine. I'm honoured to be the Gramma that I am. Alex Martin Actor and Shadow-caster I've a large resume of jobs and experiences but this gig is the happiest discovery ever. I've reached the age of fifty-five but I'm really just five at heart. My truth and life have been shaped and saved by the communion in communication between everyone I've ever met. Joan Morelli Chorus Previous experience includes Rooms For Rent and Condemned for Carnegie, I Love the Downtown Eastside for John and Donna Wong Juliani, In the Heart of a City and Binners Anonymous for Vancouver Moving Theatre. Elizabeth Murdoch Actor, Shadow-caster and Designer's Assistant Since volunteering for The Heart of a City C()mmunity history play in 2003, I've admired the layers of connection, learning and action involved in community developed arts. And here we are again! A.S. Naomi Narvey Chorus and Soloist Naomi enjoyed singing all her life-with family, growing up in Toronto, in choirs and small groups of friends. She is shy, so only recently has she_ <;Jared to sing alone. She loves words and theatre. Naomi was involved in The Shadows Project since its inception. Paul Nosotti Designer's Assistant I am grateful to Vancouver Moving Theatre for the opportunity to apply my creative vision and skills in collaboration with others to create and contribute something to the community. Dean Obrol Musician I've been playing music in the Downtown Eastside over the last twenty-two years and I play lead guitar in the Shadows Project Band. Sandra Pronteau Chorus Cast in The Downtown Eastside Community Play to play Mrs. Madeline Deighton; cast with Headlines Theatre's Practicing Democracy to play Angel; Cree Metis mom of four from The Pas, Manitoba; did Native Education Family Community Counseling Certificate. Great production team. Tom Quirk Actor and Lead Singer Tom has spent a working lifetime on the West Coast, Alaskan and Arctic waters. "Living and participat_ing in creative and community projects in the Downtown Eastside has, gratefully, given me a greater understanding!" Mike Richter Musician and Lead Singer "So glad you could make it To share in a song May the mighty magic river Always carry you along May the most divine will be done:' Jaimie Robson Designer's Assistant Jaimie is an interdisciplinary artist who develops new methodologies in community engaged arts practices; she works in puppetry, animation, and performance. Jaimie creates site-specific performance installations with Thrice Upon, and is co-founder and co-artistic director of Media Undefined (www.mediaundefined.ca). Carmen Rosen Lead Singer Carmen has been active in the Vancouver arts scene for twenty-five years as a community artist and singer. She is the founder of the Still Moon Arts Society and the Renfrew Ravine Moon Festival, and a member,ofthe Elektra Women's Choir and Zeellia (Ukrainian Slavic Soul Ensemble). Jim Sands Musician Jim as a Strathcona-based singer I songwriter who performs solo, . with the satirical duo Talking Freds, and in a number of bands. He played guitar, dulcimer and percussion in for In the Heart of a City and the first phase of the shadow project. Priscillia Mays Tait Actor, Shadow-caster and Designer's Assistant From the tsyu (beaver) clan of the wetsuwet-en territory, this is Priscillia's third involvement with Downtown Eastside community plays. This taught ,her that all people' from all walks of life face similar issues. "I want to thank the production, my son Uligan, my sisters & many more. Stay beautiful, be kind to 'yourself' and others will follow:' Kevin Wilkie Musician Kevin is very pleased to be involved with this project. Previous experience includes singing in revues of Jacques Brei, Sondheim and Brecht/Weill and playing drums with Salt Spring Island bands. Maggie Winston Musician, Lead Singer and Designer's Assistant Originally from Baltimore, Maggie's artistic pursuits include puppetry, costume design, performance art, and theatre outreach. Her puppet shows have been in Earth(ling): A Festival, Firehall Arts Center, and Vancouver Fringe Festival. Susan Poshan Wong, MSA, M.Sc. Chorus Originally from Hong Kong and trained as a professional social worker from the United States, I enjoy living in Vancouver very much, except constantly having to deal with racism and discrimination. Thank you to members of the Shadows Project who encourage me to continue my journey in Vancouver from hearing your experiences battling against different kinds of discrimination and racism. Fanna Yee Actor, Shadow-caster and Designer's Assistant Eroca Zales Actor and Shadow-caster In the past 2 years, Eroca has enjoyed many challenging roles including an eccentric grandmother, a psychopathic serial killer, a Bible-totin' battle-axe, a vengeful nurse, trailer park trash, a bag-lady & a gossipy upper class twit in An Ideal Husband. THE 5HAOOW5 PROJECT 13 a1s House ofCommons co~siders ' anning ~igarettes and requiring nicotine< to be printed on packages. Prohibitiqn end withWorldWar I. Sending tobacco ' ut boys overseas" becomes an act of patriotism. 1917 Proviijce~wide alcohol prohibition begins in BC and so do.speakeasies, rum running and ' bqotlegging. fffew Sikhsonstreet-comers in ' t~.e dqwntown ~rea keep bottles concealed In their turbans to seU drinks to passersby. Symp~i~etic doctors pre~cribe .alcohol for .;'medicinal purposes''. As legally available opiates decline, criminal syndicates and heroin addiction increases. po~ular ~olice .Chief Malcolm Maclennan, +9n 9dvoc9te of medical treat,ment fordrug addicts, and nine yearold George Robb are ,nutdered by suspected drug d~alerRobert Tait during a gun battle at a gmcery store n9partment (S22 E. Georgia). 1919 US National Alcohol prohibition begins, a mqye that requires an amendment tq the constitution. METHAMPHETAMINE is derived a Japanese chemist-it's more potent and sle[ fo ma~~Jh9p amphetamine. · 9 0 14 WE'RE ALL IN THl5 TOGETHER WHAT TO EXPECT WHEN QETTINQ RID OF DRAQONS M y first year of recovery is a time I never want to forget. But there are times when · it feels like it was someone else's life. Back then, I could never have believed that my life could become what I've created for myself now. It's still hard to talk openly about what I had to do to make it a success. All that stuff you hear about recovery being one day at a time is all crap. It's one minute at a time-very long intense minutes-all 525,600 of them. Every minute carries something new. In recovery, we're learning how to live with pain, stress and memories - who we are and who we used to be, before, during and after our addiction. Everything we do is retraining ourselves to learn how to live addiction-free. We're realizing things we never knew we liked or disliked-what we can tolerate and what we can't. Most of the people we know in our day to day lives walk on eggshells around us, afraid they'll trigger us if they say or do the wrong thing. People we associated with during our addiction become leary of us. Some think we can't be friends anymore (I guess they weren't really our friends, anyway). People that truly care and want to see me succeed have always let me know they cared. They are there for me when I need their support and encouragement. In the past, I was never able to stay clean or sober more than ten to fourteen days no matter how hard I tried. When I got to my first month my kids thought "Maybe she can do it''. But no one was holding their breath. Every one had heard it before. Even I was waiting for my house of glass to crumble. Everything in my life that led back into my addiction was so far out of control. But this time I kept going-one more minute, one more hour, one more day. I finally made one month. Every day I made it through without using became a landmark milestone in my journey. My health had deteriorated so badly dur-ing my addiction, getting my health back was a priority. My teeth and spine hurt almost constantly for that first year. Every part of me ached. I'd never eaten a lot of sweets, but now I couldn't seem to get enough sugar. The way I saw it was, I'M NOT USING. My body was going through the worst hangover of its life-the one I was never going to forget. My teeth hurt from lack of calcium. My liver hurt from abuse. I never went anywhere without Tums or Rolaids. I started a daily routine of multi vitamins, minerals, and lots of fruit and vegies. All those cocaine and booze toxins and residues needed help to find their way out of my system. I researched what I had depleted my body of and what I needed to do to do to be healthy again. I knew I didn't want to feel that beat-up anymore. In that first year, I had to keep very busy so I wasn't thinking about myself and my addictions. There were headaches, anxiety and nausea. Loneliness had always played a big role in my need to use. I had to learn new coping skills-a whole lot of new skills. It wasn't just my body that needed help. I needed help. I needed to know about what drove me to what I had become. I found a place where I felt safe to be myself by becoming more involved in my culture. A friend loaned me her Pow Wow tapes. Every time I put them on I found my-self dancing. When I started to feel healthy inside and out for the first time in years, I didn't recognize the strange sensation. A friend told me to get used to it-I was going to be going through these changes for awhile. Memories returned of what it was like when I used to have feelings and emotions I was in control of. That's when I knew I was changing and on the road to recovery. I could feel myself growing stronger-and I really liked it. Feeling re-connected to liv-ing started to give purpose in my life. I was becoming able to put things into perspective and look towards my future. I was thinking in ways that I had never done before, and I liked it. Once I got past all the tiredness, shakes, anxiety and weird dreams, I had all this energy I had to put someplace before I got into trouble again. I went back to school, took a woman's empowerment course-the first time I had fully completed anything in my life. I'd never known pride like that before. I was even starting to like myself. My hopes and dreams were re-emerging: I needed to travel and play with my grandchildren. I wanted to live. Slowly the wall was breaking down that had been growing for years between my kid~ and I. Seeing their mother re-emerging, my daughters were becoming my biggest fans and best support. Communication between us was starting to happen again. They wanted me back. I won't say I never had urges and crav-ing. That would be an outright lie. I thought about using all the time. But my new ad- · diction was "trying to recover from my old addictions''. Taking vitamins and feeling healthier started to make my journey easier. I liked feeling good and that was becoming a stronger deterrent from using everyday. I was seven months clean and sober when an old friend called to see if I wanted to help her out one night a week at a writing work-shop she ran on the Downtown Eastside. I was leery at first. I didn't think heading downtown was the best thing for me at that point. As it turned out, it was the best choice I ever made. It started me on a career path that I had never imagined. Seven years later,· I'm still involved in writing and community art projects. I celebrated my first year down here. Out of my seven years clean and sober, I've cel-ebrated four of them here on the Downtown Eastside. That first year of recovery was hell. But I'd never felt that good or that proud of myself. Today I have an amazing career, and an even better life. I still have day to day strug-gles-you know the ones. Can I afford to pay my bills at the end of the month? Do I have enough money to pay my rent? I need more time with my kids. But now I realize I'm not the only one. Other people have the same struggles. No one has a perfect life. But we all have the right to make our own choices-good or bad. We all have the right to learn from them, if we choose to. Beating the dragon to take back your life might sound like a cliche, but that's just the way it is. Building addictions into our lives is the easy part. Getting away from them is the hard part. Those recovery milestones of making it your first 24 hours, then your first week, then your first month-they are huge. Un-less you've been there, it's something you can only read about. The feeling of knowing that you can do it and make those milestones is spmething that is only known to us as ad-dicts. What other people take for granted we are just learning. We know how strong we really are as we keep 111oving forward. There is a self satisfaction that comes with each day that passes in that first year. During your first year of recovery, be good to yourself and reward yourself for all break-throughs and milestones that you make. Nurture yourself and your body. You've had a long journey and you deserve it. Rosemary Georgeson, co-writer Rosemary Georgeson THE 5HAPOW5 PROJECT 1 5 1940 Blackshoemaker EdwardT. Rogers wins the right l'rom the province to be se!'Ved in ~ny city beer parlour. 1941-42 Thousands of Aboriginals gain the right to drink legally wheOthey enlist in the military. Methamphetamine is widely used In \!Yorld War. II tq keep German, .Japanese ~pd Americap .~ldiers awake oq ~ombing ' 'missions. · ·· 1944·•· r ii: :t} RITALIN. i! SyP!hesized-an amphetamiri~t like central nervous system stimulant. 1945-46 When World War II ends, Aboriginal service• men return homeand,areagain prohibited from drinking. Returning soldiers bring meth habits home. 1949-51 Registered Indians are allowed to b~y alcoho! in registered beer parlors, but are not allowed to buy off premises or drink in their hornes. lpdian wom.~n ~~rofalloYfed to drink with Indian men in beer parlors: '1952 Vancouver's Community Chest and Council recommends provinces across Canada establish clinics for chronic drug users .so they can receive minimum doses. " ·· 1953 l~ng cancer death rates for men have jumped 567% in 21 years; lung cancer deaths for have doubled. 1'9$$ Mayor Fred Hume caH.s for an"all-out war.to ··· clean up the drug problem: After promising to clean up the city, Police chief Walter Mulligan is involved In a police corruptl?n scandal-police officersare taking bribes \. from bookmakers'.Accused of graft and corruption, Mulligan flees to the USA avoid testifying. j. .. : ~. 1957 Ritalin is marketed to treat chronic fatiglie<111d depression. .J958-59 •· • • , +Aboriginal people are alloW~d by li!W .t9 pMrch~s~ .alcoholi< beverages. ByJh~Jilt~ > 1950's, amphetamines are used non- • ·••• i,tiedically by college students, truck drivers · and athletes and people are using the drug recreationally. 1 6 WE'RE ALL IN THl5 TOGETHER THINKING ABOUT DRAGONS ADDICTION Passion-that which brings about more life Addiction-that which brings about more destruction and needless suffering. Bud Osborne Through this process I've learned that we in North America, First Nations, are not the only ones battling and strugglin-g with demons. It's right across the board from one continent to another. It's not about colour. It's not about race. It's about running the race. Stephen Lytton ADDICTIONS The first cup of coffee of the day-the first cigarette-the first beer-is always the best. You're always trying to recapture it. Bob Sarti At first you may feel powerful, energized and strong, but addictions can be very powerful things that consume the body. Wendy Chew Power is the absolute worst addiction. Once you have it, you don't want to let go of it for anyone. Melissa Eror Addictions come in all shapes and forms ... It can happen to the best of us. You think you're strong and something happens that is too much for you. Things happen outside of your control when you're vulnerable in life and in emotional trouble. Things start spiralling out of control-you lose a job, , your marriage breaks up, you're dealt some blows and can't recuperate. Elwin Xie Addiction could be a physical substance or an idea or an obsession that we use to fill the gaping hole in our soul bf the pain we feel spiritually from the fact that we live at a time no human lived in before when there's hardly any animals and lots of species are disappearing-trying to fill what used to be filled by the way we used to live with one another. Bud Osborn WHO ARE THE ADDICTS? My husband used to say I was addicted to the radio. Dora Sanders The addiction to cars has a destructive effect on other people's health - the number of injuries and deaths, the unneeded noise and stress, the pollutant fumes. MayKossoff We live in an addicted society and ads come at us like cruise missiles. Sandy Cameron Maybe the most marginal and forgotten people in our community are not really evil "others': but are instead a mirror of our own cultural anxieties. Dan Small Most of the Downtown Eastside folks with drug problems are afflicted with traumatic historie-and need another kind of treatment and care and skills. Bud Osborn Lots of addicts are invisible in the rest of the city. In the Downtown Eastside, you see addiction and poverty combined. Ann Livingston What we see here in the Downtown Eastside is a tiny fraction of what's happening in the province. The major consumers of drugs are middle class. If it was up to drug users in the Downtown Eastside ,o support drug dealers, dealers would go out of business. MarkBudgen FAMILIES Tell children the real truth about drugs. All drugs are not the same. All people do not respond to drugs in the same way ... Addiction can completely disrupt your life. Addiction slows down and perverts your growth. Everybody is different but everybody pays some price. Muggs Sigurgeirson Children should know that this can happen to the next generation, if they don't take care of what they're doing, 50-60 years down the future-it's a domino effect. Dora Sanders Addiction and recovery is a long process. Families need to learn coping strategies-about how they can survive with an addict, and not get drawn into the addiction and still keep their life. Mary Duffy RECOVERY When you get ill, it's not always bad for First Nations. It can be a sign from the Creator that you need to bring your life back in balance. Dr. Dennis Wardman It's important to know that people do recover from addiction. Robyn C. Just because our canoes are in the same river, doesn't mean we're in the same place. All journeys are different. None are the same. Fred Arrance As I reflect on this new life of mine, I can honestly say that it's been quite divinei From cruising the alleys and continuously high To having my own place-notjustgetting by. I was homeless and hurting but pretende~ to be fine, Then I finally surrendered-I couldn't stop crying, After bottling up my feelings and stifling them with crack, It was an honour to stand up and say I've come back. Back from hell where the drug almost took me, To be with my family, work on healing, but #1 I'm free Free from the bondage that most addicts do face Free from being a statistic, what some call a disgrace No, I'm not a disgrace, I had a serious addiction But today I'm free from the heinous conviction Yvonne Mark 1963 Federal Minister Judy LaMarsh delivers a statement in the HouseJ>f Commons , dangers ~f s~~~inf~O private ·J i mem . follo'A', prqposing to r~gulate Cigarette adv~rtising and packaging. · 1964 I 97 The I that pro~ibits l.ndians from 1 buyi sse.ssing ~lc~~ol;'in tO'A'n" i <is str n by the su·prnme Court.ti Amphe~ become illegal in.VSAwithout a doctor's prescription: Ritalin is marketed as a medication to get hyper-active c;hildren to obey. Over the years Ritalin becomes a popular "streef' dr~g; 1971 'A peacefidmarijuana smoke-in turns into the "Gastown Riot" when policemen violently over-react, and end up hitting everyone in sight, Jnclti~i.rig tourists and bystanders. 1975 .. · ..... The Downtown Eastside Residents Association (DERA) forms with president Bruce Erickson to demand recognition as aresidential comrnunizy and the right to c~an~e its na.rne from ~~id B~d to the Downtown. Eastside; DERA lobbi,es for tightenestrictions on alcohol sales. 1977 1wo V~ncouver city policeme~ t~stify in their qwn 1ef~.ns~ that they spotted ~n RCMP undercover cop on his way to buy drugs in Gastown'. Not recognizing him as a fellow policeman because of his disguise, they beat hi.m to .. a pulp. · · 1980 .... "'he + trade is.cut ..... afterpolice break up big heroin syndicates, cocaine becomes the drug of choice. 1986 086'.SP~Sialis~.i~J <••~in~trade "grow-ops" mov~ up from the USA'. Therejs pressure to ''clean op'1 Granville Street for Expo and the cocai~e trade moves to the Downtown Eastside. THE SHA&OWf PROJECT 1 i 1 Q UM.~ ,,-H •• (;-+v 700'i What keeps people from not being an addict? Living a life where there's hope and a future for you. No matter what trauma you'll feel, you can face it if you're supported ... What does not work is being mean to people and excluding them so they become more arid degraded. Ann Livingston Things that can be effective intervening are based on the realities of an addict's life-where will you live? What jobs? Any creative activities you'd like to do. Focusing on how and where you'll live and how you'll spend your time. Bud Osborn Don't listen to labels. Don't believe that if this happens to you, you will be just like the labels. The apple can fall far from the tree. It can fall in another orchard. Sheila Baxter DOING THE WORK It takes enormous courage to live without any buffers ... moving to the place where there is not a hiding place ... The pain of seeing what reality is. ErocaZales You have to do the work. You have to help yourself. Then someone can step in and give a little helping hand. Sometimes you need to be able to accept a little helping hand. Julia Mark When you see someone who is in trouble, listen to them. Randy Tait If something's hurting you, don't keep it inside. Talk about it with somebody or it will make you sick. Walk or go see friends or get a hobby:' Sue Blue I can't change yesterday. I can't change tomorrow. All I can affect are the choices I make today. Tom Quirk COMMUNITY Addiction leads to isolation. Co~munity leads to health. Grant Chancey It will be really hard because our hope will be torn apart one hundred times a day. And we have to find people who will remind us not to destroy ourselves or jump over a bridge and to form small communities and groups-it's too much for an individual or a family to bear. Bud Osborn The kind of community you create directly affects your health. Community building through arts and music creates a kind of social change that facilitates good health-that connects people to their culture. Klisala Harrison A community has to collectively find its own solutions to addiction. We know what has to be done and we have to do it. Muggs Sigurgeirson HOPE Never believe the last word has been spoken by those who could destroy things rather than by those who create more life. We can't withstand it alone. We need to help each other in direct ways, in spiritual ways of hope - with a vision of the future and what we are going to be leaving for people coming along behind us. Bud Osborn ' COMMUNITY FACES I Sue Blue making bannock Chorus rehearsing Backstage action toj)acco use: Tobacco smqggling is a thriving .. industry; 20% of cigarettes sold in BC are contraband. hest anti~smo~iJlg pylaw is c. enac ..'.fliefirstt!me anyw~ere that tobacco manufacturers have been required .t~1(elease deta.iledJnformat!on .,on t~e · content of tobacco smoke. BC regulations force tobacco manufacturers to report the es and· ie cigarettes an~ als. do a search for effective and humane sol~tionifor,ad.~ressing•social problems associ~tecf wit~ ~rug addiction, The Four Pillar approach to the city's drug problems is propose~: prevgntion, treatment, enforcemenfand harm reduction. Between 1.990 and 2000, ll)pre than,1200 people have died in Vancouvertrorri drug over-doses. Chemicals, µsed to make paint stripper and rocketfuel, are among a list of 600 toxic su~stanc~~)~gally found in cigarettes, the gov11rriJJ1ent ih the United Kingdom reveals. d 2001 Intense/police action in the Downtown Eastside pushes drug activity further , eastward and along H~stings towards the 100 blocre~st,)~nd OppenheiQJer Park. After nthSof)ritense debate, Vancouver :tf' ' . ...... ... m~usl{toaccept Approach. Most'of the plan ~.1>.ecause it lacks funding e'arid Federal Government.· A Coquitla igfar~er Is linked with the dis?i>pearanc~<bf 2o women' from the DowntownEasfslde, many ofwh~m suffered from fobl drugs. . W29D Vancouv11r dnl'g scene. n;th{Heaft bf a City: The Dowqtowri Eastsige Co,flmunify P/ay)s produced by Carnegie Community Centre and Vancouver Moving Theatre with a cast of 80+ peppl~, The plc1y includes sameo appearance 1>yJ05al politicians and celebrities in a satirical re-enactment of a f19ifi'Century salesman'~ mir~de cure for all life's hearta<~es ~nd pains. THE 5HAOOW5 PROJECT 19 COMMUNITY RESOURCES Vancouver Addiction Services The film Fix:The ?tory of anAddict~<l Oty, ' directed by NettieWild/docurnentHliecjty's adoption of the Four Pillars Drug Policy and the .. ~!r~ggl~ ot9oymtoY:'.9••§astiiq~ qrug userstoopen asuperVised injectiqndrug site. Six months later Vancouver opens a superyjsep prugJnjectiqn f~cility, th¢ .~rs in North America; approved by three levels of government, it's reported to low~r the spread ofHIV arid the number of overdose deaths: 2004 Exploring the Roots of Addiction Forum . (Community, Cultural Identity and loss) is held at the Chief pan George Centre, 2005 The q~gf V~9~9µv~r Drug eolicy P~9gram partners with the Youth Outreach Te~m for feedback ona prevention plan. Young people overwh~lrping ide~~ify saf~ and affgrpabl~ housing as a stfopg protective factof that shelters youtl) circumstances prqble 200 . Meth uced. by Headlines Th is created and performed a.t the Japanese • • Hall by people involved in the issues. · They invite the audience to grapple with dilemmas faced by the pfay's characters. The supervised drug injection facility is renewed temporarily until December07. . . 2007 .. Donald MacPher , the City ofVancouver's Drug Policy Coordinator is awarded the 2007 Kaiser Foundation Award for Excellence. The Kaiser Foundation recognizes individuals and organizations that promote physical and mental health by reducing harm from substance use. We're All In Th~s. TogetherJThe Shadows Project: Addiction and Recovery) is performed by Downtown Eastside-involved community members at the Russian Hali. Hundreds of people are involved in the play's research creation. 20 WE'RE ALL IN THlf TOGETHER COMMUNITY HEALTH CENTRES (CHCS) Each CHC offers the following: •Needle Exchange ,Methadone Mainte-nance •Withdrawal Management - includ-ing home detox •Prevention for Youth ,Counselling - for adults, youth, families and groups A free public education series on drug and alcohol use is offered at Pacific Spirit and Raven Song CHCs. Downtown CHC 569 Powell Street 604-255-3151 (at Princess St.) Evergreen CHC 3425 Crowley Dr. 604-707-3620 (at Joyce Skytrain) NorthCHC 202-1651 Commercial Dr. 604-215-3990 (at 1st Ave.) Pacific Spirit CHC 3rd Floor, 2110 W 43rd Ave. 604-267-3970 (at 43rd & West ·Blvd.) PenderCHC 59 West Pender St. 604-669-9181 (at Abbott St.) Raven Song CHC 2450 Ontario St. 604-709-6530 (near Main and Broadway) South Addictions 700 West 57th Avenue 604-301-3860 (at George Pearson Centre) Three Bridges CHC 301 - 1290 Hornby St. (at Drake) 604-714-3480 COMMUNITY AGENCIES DEYAS 612 Main St. 604-685-6561 Support and outreach. Hey-way' -Noqu' Healing Circle 4th Floor, 1638 East Broadway 604-874-1831 Counselling and life skills training for youth and families. Native Courtworker and Counselling 50 Powell St. 604-687-0281 Counselling, support, life skills training. Urban Native Youth Association 1640 E. Hastings St. 604-254-7732 Counselling, outreach, suppoyt services. Vancouver Recovery Club 261 E. 12th Ave. 604-708-9955 24 hour drop-in and referral centre. Odyssey II Program (Youth) 2875 St. Georges St. 604-879-8853 Counselling, peer support, training. Family Services - Youth Options 1065 Seymour St. 604-872-4349 Outreach and drop-in services. Watari Alcohol and Drug Services 301-877 E. Hastings St. 604-254-6995 Counselling, support groups, education for youth and families. PRISM Alcohol and Drug Services Suite 320-1290 Hornby St. 604-658-1214 A & D groups for Lesbian, Gay, Bi, Trans, Two-Spirit and Queer People Nexus Program (Youth) 550 Cambie St. 604-660-5216 / 618-4011 Services for street involved youth. RESIDENTIAL SERVICES · - Residential Treatment Intensive therapy programs that may in-clude group, individual and family counsel-ling. 4 to 6 weeks. A cost for some programs may apply. Aurora Centre (Women) 5th Floor, 4500 Oak St. 604-875-2032 (Funded by Provincial Health Authority) Pacifica (Men & Women) 1755 East 11th Ave. 604-872-5517 PEAK House (Youth) 604-253-3381 2427Turner St. Supportive Recovery Provide safe, structured living environment and support programs. Central City Lodge (Men) 415 West Pender St. 604-681-9111 Homestead (Women) 975 West 57th Ave. 604-266-9696 Turning Point (Men & Women) 455 West 13th Ave. 604-875-1710 New Dawn/New Day (Women) 720 E. King Edward 604-325-0576 Together We Can (Men) 28j1 Kingsway 604-451-9854 · PLEA (Youth) 3892 Commercial St. 604-871-0450 DETOX SERVICES Medical and other support for people with-drawing from alcohol and other drugs. ACCESS CentralToll Free 1-866-658-1221 A screening and referral line for different detox services: • Residential (Vancouver Detox, Harbour Light Detox) • Day Program (Daytox) • Youth Residential Detox (DEYAS, Family Services. PLEA) • Home Detox - also available through your local community health centre (CHC) Addiction Housing Offers two kinds of safe, supported housing. • For those who may still be using alcohol and drugs • For those.who have stopped using alcohol and drugs Screening & referral for Addiction Housing; call ACCESS Central 1-866-658-1221 HED.2700 Vancouver Addictions Services DAY TREATMENT Short-term intensive treatment in a non-resi-dential setting. Usually 4-6 weeks long. Aurora Day Program(Women) 5th Floor, 4500 Oak St. 604-875-2032 Family Services DEW Program (Wom-en) 202-1193 Kingsway604-874-2938 Family Services Day Program (Men & Women) 202-1193 Kingsway 604-874-2938 · Watarl Youth Day Treatment Program 604-438-3755 SPECIALIZED SERVICES Centre for Concurrent Disorders (Dual Diagnosis Program) 255 E. 12th 604-255-9843 Support and counselling for people with mental health and substance use prob-lems. Sheway 533 East Hastings St. 604-216-1699 Integrated health care, including addic-tions, for pregnant women and new moms (With infants under 18 months) who are dealing with substance use issues. Aboriginal Wellness Program 255 East 12th-2nd floor 604-875-6601 Addictions and mental wellness counsel-ling, group education, victim support and outreach to Aboriginal adults. INSITE Supervised Injection Site 139 East Hastings St. 604-687-7483 Nursing care, counselling and harm reduc-tion education. Needle Pickup Hotline 604-657-6561 If you find a needle anywhere in Vancouver, call and they will do pickups. These services are located in the City of Vancouver and are funded by Vancouver Coastal Health. OTHER SERVICES These are some of the other services* available in the community for people and families affected by alcohol and drugs and gambling. *Note: these are not Vancouver Coastal Health services. Strathcona Eagles INFORMATION AND REFERRAL LINES Alcohol & Drug Information Referral Service Local 604-660-9382 Toll-free line 1-800-663-1441 A free, 24-hour information and referral line. Vancouver Crisis Centre 1-866-661-3311 24-hour support, information and referral line BC Nurse Line 1-866-215-4700 24-hour health-related . information and referral line Problem Gambling HELP LINE 1-888-795-6111 24-hour information and referral service SELF HELP GROUPS Alcoholics Anonymous 604-434-3933 Narcotics Anonymous 604-873-1018 Cocaine Anonymous 604-662-8500 Crystal Meth Anonymous 604-633-4242 Alanon self-help group for families and friends of alcoholics 604-688-1716 Nar-Anon self-help group for families and friends of drug addicts 604-878-8844 Dual Diagnosis Anonymous 604-682-3269 ext 7846 LifeRing Secular Recovery www.unhooked.com From Grief to Action (Association ofFami-lies / Friends of Drug Users) www.fromgrieftoaction fgta @vcn.bc.ca Parenti Forever support group for families and friends of addicts 604-524-4230, fkenny@telus.net SMART Recovery www.smartrecovery.org For more copies, go online at http://vch.eduhealth.ca or email phem@vch.ca and quote Catalogue No. HED.2700 © Vancouver Coastal Health, January 2007 The information in this document is in-tended solely for the person to whom it was given by the health care team. www.vch.ca Creative Resistance Against Drug Pro-hibition advocating alternative ways of managing the reality of drugs in society 604-253-1782 www.creativeresistance.net Beyond Prohibition Coalition working towards creation of a system of regulation and control of currently illegal substances www.beyondprohibition.org THE 5HAD0Wf PROJECT 21 BIBLIOQRAPHY: ADDICTION AND RECOVERY Compiled by Savannah Walling Addiction Alexander, Bruce K. Alexander, The Roots of Addiction in Free Market Society, Canadian Center for Policy Alternatives, Vancouver, April, 2001 (an analysis of drug scene on the DTES and other places) Leonard, Linda Schierse, Witness the Fire: Creativity and the Veil of Addiction, 1990 Stories of Addiction, Stories of Recovery Crozier, Lorna, and Lurie, Patrick, Addicted: Notes From The Belly of the Beast, 2001 . Robertson, Leslie and Dara Culhane, ed., In Plain Sight: Reflections on Life in the Down-town Eastside, 2005 Taylor, Paul, editor, The Heart of the Com-munity: The Best of the Carnegie Newsletter, 2003 de Vries, Maggie, Missing Sarah: A Vancou-ver Woman Remembers Her Vanished Sister, 2003 Zailckas, Karen Smashed: Story of a Drunken Girlhood, 2005 Intoxication McKenna, Terence, Food of the Gods: The Search for the Original Tree of Kn9wledge - a Radical History of Plants, Drugs and Human Evolution, 1993 Walton, Stuart, Out of It: A Cultural History of Intoxication, 2002 History of Drug Addiction Berkout, Monique and Robinson, Francesca, Madam Joy: The Story of Human Drug Use and the Politics of its Regulation, 1999 Booth, Martin, Opium: A History, 1996 Carnwath, Tom and Ian Smith, Heroin Cen-tury, 2002 Cunningham, Rob, Smoke and Mirrors: The Canadian Tobacco War, 1996 Collin, Matthew with John Godfrey, Altered State: The Story of Ecstasy Culture and Acid · House, 1997 Courtwright, David T., Forces of Habit: Drugs and The Making ofThe Modern World, 2001. Courtwright, David T. Dark Paradise:A History of Opiate Addiction in America, 2001 . Davenport-Hines, Richard, The Pursuit of Ob-livion: A Global History of Narcotics, 2004 22 WE'RE ALL IN TH15 TOGETHER Hodgeson, Barbara, Opium: A Portrait of the Heavenly Dream, 1999. Keller, B., On the Shady Side: Vancouver 1886-1914, 1986 Identifying Addiction Thorburn, Doug, How to Spot Hidden Alco-holics: Using Behavioral Clues to Recognize Addiction in its Early Stages, 2004 Graham, James The Secret History of Alcohol-ism: The Story of Famous Alcoholics and Their Destructive Behavior, 1996 Drug Addiction Chilnick, Lawrence, D., Editor in Chief, The Coke Book: The Complete Reference to the Uses and Abuses of Cocaine, 1984 Goodwin, Donald W., Alcoholism: The Facts, 1994 Johnson, Dirk Meth: The Home-Cooked Men-ace (How a Lethal Drug is Devastating Our Communities and What Can Be Done About It), 2005 Meier, Barry, Painkiller: A "Wonder" Drug's Trail of Addiction and Death, 2003 Milam, Dr. James H., Katherine Ketcham, Under the Influence: A Guide to the Myths and Realities of Alcoholism, 1981 Vaillant, George E., The Natural History of Alcoholism Revisited, 1997 Sonder, Ben, All About Heroin, 2002 Foetal Alcohol Effects Buxton, Bonnie, Damaged Angels: A Mother Discovers the Terrible Cost of Alcohol in Preg-nancy, 2004 Dorris, Michael, The Broken Cord, (foetal alcohol syndrome) 1989 Behavioral Addiction De Graaf,J., Wann, D., & Naylor, T.H.,Affluenza: the All-Consuming Epidemic, 2002 (addiction to consumption) Hedges, Chris, War is a Force That Gives Us Meaning (the lethal addiction of the rush of battle), 2003 Killinger, B. Workaholics; The Respectable Ad-dicts: A Family Survival Guide, 1991 Mandal, V. Perrier and C. Vander Doelen, Chasing Lightning: Gambling in Canada, 1999 Peele, S. & Brodksy, A Love and Addiction, 1975 Rabinor, J.R., A Starving Madness: Tales of Hunge;, Hope and Healing in Psychoanalysis, 2002 Seltzer, M., Serial Killers: Death and Life in America's Wounded Culture, 1998 Slater, P., Wealth Addiction, 1980 Prohibition and the War On Drugs Alexander, B.K. Peaceful Measures: Canada's Way Out of the "War On Drugs'; 1990 Bertram, Eva, Drug War Politics - The Price of Denial, 1996 Gray, Judge James P. Why Our Drug Laws Have Failed and What We Can Do About it: A Judicial Indictment on The War On Drugs, 2001 . McNamara, Joseph D., "Drug War Follies'; Stanford Magazine, Palo Alto, California. Sept. 1994 Puder, Constable Gil Puder, Sensible Solu-tions to the urban Drug Problem, Paper# 1 0, -"Recovering Our Honour: Why Policing Must Reject the "War On Drugs'; presented by Ses-sion VI Law Enforcement and Urban Drug Control, The Fraser Institute, Vancouver, Canada, 1998 Drug War Facts - www.drguwarfacts.org Coping with Addiction Alcoholism The Family Disease, Al-Anon Fam-ily Group Headquarters Kellerman, Reverend Joseph L.,A Guide for the Family of the Alcoholic, Al-Anon Family Group What Can You Do About Someone Else's Drink-ing? National Council on Alcohol and Drug Dependence, New York, 1987 Harm Reduction Armstrong, Thomas, Ph.D., The Myth of the A.D.D. Child: 50 Ways to Improve Your Child's Behaviour and Attention Span Without Drugs, Labels or Coercion, 1996 Breggin, Peter R. M.D. Toxic Psychiatry: Why • Therapy, Empathy and Love Must Replace the Drugs, Electroshock and Biochemical Theories of the New Psychiatry, 1991 Macpherson, D., A-Framework for Action: A Four-Pillar Approach to Drug Problems in Van-couver- Prevention, Treatment, Enforcement, Harm Reduction (City of Vancouver), 2003 Drug Policy Program, City of Vancouver, Preventing Harm from Psychoactive Substance Use, 2005 (Recommendations for commu-nity centered prevention, addressing the im-pacts on communities, legislative and public policy change and regulated markets) Canadian Foundation for Drug Policy cfdp.ca Drug Policy Alliance www.drug.policy.org Harm Reduction Coalition www.harmreduction.org Recovery Narcotics Anonymous and Alcoholics Anony-mous Fletcher, Anne M., Sober For good: New So-lutions For Drinking Problems: Advice From Those Who Have Succeeded, 2001 Granfield, R. & Cloud, W., Coming Clean: Over-coming Addiction Without Treatment, 1999 Parabola: The magazine of Myth and Tradition -Addiction (including "Wors,hipping Illusions: An Interview with Marion Woodman'; pp. 56-67, and "Spiritus Contra Spiritum: the Bill Wilson IC. G. Jung Letters, pp. 68-71 ). Twelve Steps and Twelve Traditions, Alcoholics Anonymous World Services, 1952 Weingarten, Kaethe, Common Shock: Wit-nessing Violence Every Day - How we Are Harmed and How We Can Heal, 2003 Women's Voices: Addiction and Recovery Palmer, Cynthia and Michael Horowitz, edi-tors, Sisters of the Extreme: Women Writing on the Drug Experience, 2000 Robe, Lucy Barry, Co-starring Famous Women and Alcohol: The Dramatic Truth Behind the Tragedies and Triumphs of 200 Celebrities, 1986 First Nations Voices: Addiction and Recovery Coynis, Don and William White, Alcohol Problems in North America: The Untold Story of Resistance and Recovery (historical evidence of how Native peoples resisted and recov-ered and continue to resist and recover from alcohol related problems), 2002 Maracle, Brian, Crazywater: Native Voices on Addiction and Recovery, 1994 Dr. Maria Yellow Horse Brave Heart, From Intergenerational Trauma to Intergenerational Healing-A Teaching About How It Works and How We Can Heal, pp. 2-8, Wellbriety! White Bison's Online Magazine, v. 6, no. 6, May 23, 2005. New Breast, Theda, "The Grassroots Speaks .. . About Intergenerational Trauma: The Top Ten solutions From the Intergenerational Trauma Circles'; pp. 2-4, Wellbriety! White Bison's On-line Magazine, v. 6 No. 7, May 301 2005 Shadow Theatre Abad, Raman, Explorations into Shadow Theatre, an instruction manual created for Shadowlight Productions (supplies; puppet, mask, set design and construction; screen construction and hang; constructing a light source, exercises to play with shadows): www.shadowlight.org Shadowlight Productions, Exp/orations of the Shadow World DVD Series, (cross cultural story telling on a giant screen, interviews with artists and behind-the-screen magic): www.shadowlight.org Reusch, Rainer, Shadow Theatre: Author and Actor (\I. 1); Shadow Theatre: Art and Tech-nique (V. 2) and Shadow Theatre: Theatre and Practice (V. 3); Einhorn-Verlag (books about shadow theatre created by The International Shadow Theatre Centre, Germany): www. schattentheatre.de Wisniewski, David and Donna, World of Shadow: Teaching with Shadow Puppetry (creating projected images and special ef-fects with an overhead projector) Lauchlin Johnston THE 5HADOW5 PROJECT 23 OUR WORLD HAS BEEN TURNED UPSIDE DOWN Assembled by Dan Small OUR WORLD HAS BEEN TURNED UPSIDE DOWN Opium has been legal Cocaine has been legal Heroin has been legal Morphine has been legal Alcohol has been illegal Caffeine has been illegal THE CHANGING CYCLE OF CULTURAL ATTITUDES TOWARDS DRUGS, DRUG USE AND DRUG USERS Morphine has been touted as a cure for opium addiction Similarly, heroin has been described as a cure for morphine addiction Many drugs have lauded as panaceas: opium, morphine and heroin were thought to cure our ills Conversely, these drugs were later thought to be the cause of our ills OPIUM WAS ONCE LEGAL IN CANADA Pictured here is an invoice for opium for a local resident from a store in Victoria, BC. OPIUM WAS USED TO PROVIDE TREATMENT FOR A NUMBER OF MALADIES INCLUDING: Cholera Dysentery, Ague Bronchitis Earaches Measles Morning Sickness Piles Bedwetting Coughs COUGH SYRUPS USUALLY CONTAINED OPIUM From the mid 1800's to approximately 1910, thousands of children in the United States and the United Kingdom were given elixirs to sto'p crying brought about by teething, hunger and weaning. 24 WE'RE All IN THl5 TOGETHER COCA, THE ACTIVE INGREDIENT IN CO-CAINE, HAS BEEN LEGAL Pictured here Pope Leo XIII, occupying the societal position with the highest authority of the day, actively used and endorsed a coca fortified drink. Cocaine was promoted as a cure for mor-phine addiction in the 1870's and 1880's. COCA-COLA The coca-fortified drink Coca-Cola was in-vented by pharmacistJohn Styth Pemberton in 1886; he called it his "temperance drink''. It was first sold by Pemberton as a stimu-lating medicine to cure headaches and depression. The rights to Coca-Coca were purchased in 1891 by another pharmacist, Griggs Chandler, and the Coca-Cola company was founded in 1892. In 1903, influential figures in the US began to urge legal action against the Coca-Cola company due to its cocaine content. The company removed the cocaine from the beverage before the Pure Food and Drug Act was passed in 1906 and replaced it with caffeine. However, there were still 69 imitations of Coca-Cola on the market at the time that still contained cocaine. CAFFEINE HAS BEEN ILLEGAL It has a high toxicity. Attempts have been made to prohibit the use of.caffeine when it was first introduced in Europe. Caffeine has been outlawed in some countries. ATTEMPTS TO PROHIBIT THE USE OF CAF-FEINE HAVE NEVER BEEN SUCCESSFUL EVEN WHEN ITS USE WAS PUNISHABLE BY DEATH. THE EXOTIC COFFEE PLANT ALCOHOL WAS ILLEGAL IN CANADA Pictured here is an RCMP seizure of alcohol from Vancouver during the Prohibition Era. AUTOMOBILES ONCE DROVE ON THE OTHER SIDE OF THE ROAD IN CANADA A Postcard of the Carnegie Community Cen-tre (1911-1923): the site of many symbolic battles for drug users. The car in the picture shows that automobiles drove on the left side of the road at this time. CHECK OUT. THIS WEEK'S CONTESTS AT stra111ht-com Electric Company & The Only Animal present Thi Oni That Got c(lway An underwater play by Kendra Fanconi Directed by Kim Collier Created with Electric Company Theatre Produced in association with the Norman Rothstein Theatre 5 Jewish Community Centre of Greater Vancouver May 28-316 June 2, 2007, 9:30 pm JCCGV swimming pool, 950 West 41st (at Oak) Tickets $24 & $28 ( + gst), call 604-257-5111 A Voice for the DTES Community www.heartofthecityfestival.com The UBC Library and UBC Learning Exchange would like to thank the following participants for their contributions to digitizing this community-generated document: Erica Grant and Graham Cunningham This community-generated work was digitized and deposited to cIRcle, UBC's open access digital repository, as part of the Digitizing Community Memories project of the Making Research Accessible in the Downtown Eastside initiative (MRAi). In collaboration with the UBC Learning Exchange and UBC Library, the project provided training and support for community members in the Downtown Eastside to digitize and make openly available community-generated materials. This project aimed to increase access to historic Carnegie Centre publications and preserve these unique materials for years to come. For more information on this project and the UBC Learning Exchange, please visit learningexchange.ubc.ca. January 21, 2019
Other
Downtown-Eastside (Vancouver, B.C.)
eng
Unreviewed
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
The Shadows Project : Addiction and Recovery : We're All In This Together, a contemporary fable from the Downtown Eastside
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