Category Archives: Vancouver

#VanPoli | Our Collective Journey Towards Indigenous Reconciliation

In contemporary discourse, acknowledgment of reconciliation at the commencement of gatherings of people — when such gatherings take place in Parliament, the Legislature, or at meetings of municipal Councils, or more informally at other types of political meetings, in churches, at housing co-operative meetings, or even when people gather to take in a screening at the Vancouver International Film Festival’s VIFF Centre — has gained considerable attention and importance.

The land acknowledgment serves as a recognition of past injustices and a commitment to moving forward with mutual respect and understanding.

Today on VanRamblings, we’ll explore the significance of the reconciliation acknowledgment in fostering inclusivity, building relationships, and promoting healing within organizations and communities.

One significant catalyst for the reconciliation acknowledgment was the global recognition of the need to address the historical and ongoing impacts of colonization on Indigenous peoples. This recognition was spurred by advocacy efforts from Indigenous communities, grassroots organizations, and allies pushing for truth, justice, and reconciliation.

In Canada, the Truth and Reconciliation Commission (TRC), established in 2008, played a pivotal role in raising awareness about the legacy of residential schools and advocating for reconciliation between Indigenous and non-Indigenous Canadians. As part of its Calls to Action, the TRC called on governments, organizations, and individuals to recognize and respect Indigenous rights, cultures, and traditions, through the acknowledgment of traditional territories and treaties.

By acknowledging the traditional owners of the land and recognizing the histories of colonization and marginalization, a space is created where all participants feel valued and respected. This acknowledgment extends beyond geographical boundaries, encompassing the acknowledgment of past wrongs against Indigenous peoples, marginalized communities, and minority groups.

The voicing of the land acknowledgment signals a commitment to equity and diversity, creating an environment where everyone’s voice is heard and valued.

Acknowledging reconciliation at the outset of meetings builds trust and strengthens relationships among participants. It demonstrates a willingness to confront uncomfortable truths and engage in meaningful dialogue about the legacy of colonialism, oppression, and discrimination.

The land acknowledgment also opens the door for honest conversations about privilege, power dynamics, and systemic injustices, fostering empathy and understanding among individuals with diverse backgrounds and experiences. Through the reconciliation process, relationships based on mutual respect and solidarity are cultivated, laying the foundation for collaborative action and social change.

Reconciliation acknowledgment is an essential step towards healing historical wounds and addressing intergenerational trauma. By acknowledging past injustices and their ongoing impacts, it validates the experiences of those who have been marginalized and oppressed.

This acknowledgment is not merely symbolic but serves as a tangible commitment to truth-telling, justice, and reconciliation. It provides an opportunity for healing and restoration, allowing individuals and communities to confront the legacies of the past and work towards a more equitable and inclusive future.


Canadians grieve the finding of the mass graves at the Kamloops Indian residential school, the 215 children lost to their families when they were taken by the government, but also for their lost lives.

Joanne Mills, the Executive Director of the Fraser Region Aboriginal Friendship Centre, has expressed concern about overuse of the the word reconciliation.

“Reconciliation in Canada is more about the acknowledgement that there were wrongs, but there isn’t a lot of action attached to it. It’s difficult to be talking about reconciliation while one party is in power and another is still asking for rights from the former.

There definitely isn’t an equal power distribution. We’re not coming to the table as peers, we’re still coming to the table as have and have-nots,” she says.

Joanne Mills says for reconciliation to take shape, there needs to be an honest attempt to restore to Indigenous people what was taken at the time of colonization.

“I just don’t want to talk about the stereotypes anymore. People should go and educate themselves and learn the truth,” Mills says.

Mills says inequality remains in areas of provincial jurisdiction, such as the high rates of Indigenous kids in foster care in B.C., access to education and over representation of Indigenous people in prison.

B.C. has seen changes in elementary and secondary school curriculum to include more education about Indigenous people, but there have been bumps along the way. Some teachers say they are at a loss on how to teach Indigenous content. Others say they lack sufficient resources.

The adoption of reconciliation acknowledgments reflects a broader societal shift towards acknowledging and confronting the injustices of the past, promoting dialogue, understanding, and working towards an inclusive and equitable future. While the genesis of the reconciliation acknowledgment vary across contexts, its underlying principles of recognition, respect and reconciliation remain universal.

Sunday Music | Azure Ray | 2001 | Dream Pop Artists

Dream pop duo Azure Ray — composed of Orenda Fink and Maria Taylor — employ graceful harmonies, patient folksy song structures, and touches of electronic production to create otherworldly songs that balance tranquility and intensity.

The pair met at the age of 15 while attending the Alabama School of Fine Arts in Birmingham. Together, they fronted a band called Little Red Rocket, which released two CDs, Who Did You Pay (1997) and It’s in the Sound (2000), with the band breaking up shortly after the release of the latter album.

Orenda Fink and Maria Taylor decided to head out to Athens, Georgia, striking out to find a career, forming Azure Ray soon after arrival in their new home.

“My boyfriend had just died and we had written all of these songs that were helping us cope with everything. We had a night where all of our friends and family got together. We played those songs, which later would turn into the songs on our first Azure Ray record, which we released shortly thereafter,” says Taylor.

Their self-titled début album is a quiet, gentle set of lovely and soul-searching songs that incorporate elements of folk, pop, and light electronica.

Following the unexpected death of Taylor’s boyfriend, the two musicians used songwriting as a method of coping with their grief. The intensity of that loss informed the mournful tone of the group’s earliest work in 2001, and would carry through in their sound to some degree from that point on.

The song Sleep was later featured in the 2006 Academy Award-nominated movie The Devil Wears Prada, featuring Anne Hathaway. In February 2015, Taylor Swift included Sleep on a six-song “breakup playlist” made for a fan via her official Tumblr account.

Camilo Arturo Leslie in Pitchfork had this to say about the début album …

Their album cover is simple: just an old, sepia-toned photograph of a little girl. She looks like my grandmother as a child. Nostalgia and melancholy rub off the liner notes and stain your fingertips. The little girl clutches her palms to her ears and wears an inscrutable expression that vacillates from pouty to fearful to verge-of-tears, depending on what mental angle you hold it at.

Azure Ray’s indie music aesthetic is built on pretty, easy-on-the-tympanum pop acoustic guitar strumming. No fuzz, no indigestible chords, just polished production and evocative arrangements. Lap steel guitar, cello, violin, church bells, piano, brass, and tape loops make appearances on these 11 tracks.

The draw of their music is, of course, the duo’s vocals, Azure Ray’s gentle trills offering a haunting balance between the ethereal and corporeal, as well as an understated,  yet distinct feminine strength, not unlike the early music of Linda Ronstadt.

Indie label-ghetto obscurity has kept Azure Ray from attaining massive popularity.

But an indie-ghetto habitué such as yourself shouldn’t have any trouble digging up a copy of Azure Ray’s début CD, or maybe a vinyl copy.

Red Cat Records on Main Street, or Zulu Records on West 4th Avenue, if they don’t have it in stock, could certainly order it for you.

Beautiful, expertly crafted pop songs keep a room in your heart’s hotel (under an assumed name, naturally).

You could also listen to Azure Ray on Spotify, or Apple or Amazon Music, or purchase their music from either of the two latter providers of digital music.

#VanPoli | Movements Build Slowly, Inexorably


Vancouver’s West End in the 1960s, a comfortable family neighbourhood next to Stanley Park

In the 1960s, when Vancouver was still very much a village rather than the thriving metropolis we know it to be today, in those near soporific, pre-movement times, rare was the occasion when the citizens of our fine city got up on their hind legs to protest the status quo or what seemed like the inevitable, as wealthy old men of circumstance wrought change unchallenged, untrammelled by reflection.


Tom ‘Not So Terrific’ Campbell, controversial Vancouver Mayor, in office from 1966 to 1972

Such was the case in 1971, when Vancouver Mayor Tom Campbell and his Non-Partisan Association Council cohorts decided that the time had come to develop the Coal Harbour site at the entrance to Stanley Park, cherished green space of long duration, but not much longer if Mr. Campbell — and the provincial government, led by 17-years-in-power Socred Premier W.A.C. Bennett — had their way.

The Coal Harbour site, owned by Harbour Park Developments, a politically connected local group with strong ties to the Non-Partisan Association, developer Tom Campbell — who in 1966 ran for Mayor as an independent, and won — and the Socred government, first unveiled their development plans in 1965.

The Four Seasons Hotel chain came forward in 1965 with a $40-million development plan on the Coal Harbour waterfront. The initial plan would house 3,000 people in three 30-storey buildings, including a 13-storey hotel and townhouses.

Over time, the development plan was expanded into an unheard of at the time $55-million massive multi-tower plan, with 15 apartment towers, ranging from 15 to 31 storeys set to be constructed on the then green space, a veritable high-rise forest along the Georgia Street causeway entrance to Stanley Park.

As you might well expect, the massive tower development plan for the 14-acre Coal Harbour waterfront site turned into a contentious issue that lasted for years and years, causing increasing numbers of people to rise up in adversarial opposition. The public wanted the site preserved as green space. Developers, Tom Campbell, the Non-Partisan Association, and the Social Credit government had other ideas.

Each week, for years, the community rose up in high dudgeon.

After all, the West End at the time was a single family dwelling neighbourhood, the tallest structure in Vancouver was the Marine Building on Burrard Street.

In 1966, each weekend for the first couple of months, a rag tag group of community activists — who came to include a young storefront lawyer, Mike Harcourt, and Darlene Marzari, an employee of the City — protested on the deserted site. Over time, their numbers grew to five hundred, and then a thousand, rising up in protest and stark and strident opposition to development plans for the cherished green space.


Vancouver City Councillor and then Mayor, Art Phillips; Councillors Walter Hardwick and Harry Rankin

In 1968, a reform-minded Art Phillips and his friend, Walter Hardwick — an Urban Planning professor at UBC, and a community leader whose work would come to shape the city and Metro Vancouver region — ran for Vancouver City Council under the banner of a civic party they had created, The Electors’ Action Movement (TEAM), securing two seats on City Council, joining a young lawyer by the name of Harry Rankin, who had been elected to Council in 1966, sitting in sole opposition to the developer-friendly Non-Partisan Association City Council of the day.

Throughout their campaign for office in 1968, both Art Phillips and Dr. Hardwick stated their clear opposition to the Harbour Parks Development / Four Seasons plan for the green space at the entrance to Stanley Park, standing with the community, and with Vancouver City Councillor Harry Rankin. Would community opposition to the Coal Harbour development plan, in ever increasing numbers, carry the day?

Only the continued opposition of Vancouver citizens could and would tell the tale.


A model of the Harbour Park Developments proposal for the entrance to Stanley Park. The $55-million development would have constructed 15 high-rise towers. Photo: Selwyn Pullan / PostMedia

By the early spring of 1971, hundreds of community activists gathered each weekend on the Coal Harbour site at the entrance to Stanley Park, in protest.


June 7, 1971. All Seasons Park after squatters reclaimed the site. Photo credit: Vancouver Sun

On May 29th, 1971, seventy community activists (hippies they were called by the press) took matters into their own hands, ripping down a fence surrounding the site, storming onto the Coal Harbour waterfront site to plant maple trees, setting up a camp of tents and ramshackle huts, the protest squat sustaining for a year, each subsequent weekend joined by hundreds and hundreds of concerned, mostly young, Vancouver citizens, at what was now called All Seasons Park.


September 23, 1971. An A-frame squatter’s shack in All Seasons Park. Photo: Ross Kenward / PostMedia

In early 1972, bowing to public pressure, a combative Tom Campbell announced there would be a plebiscite on the Four Seasons development, but that only property owners could vote.

This was roundly denounced at a public meeting on June 21, when urban planner Setty Pendakur dubbed the project “the biggest abortion in the history of development in Canada.” Pendakur said the development would create traffic chaos at the entrance to Stanley Park, that Council was confusing people with its plebiscite.

Property owners voted to reject the Four Seasons proposal by 51%. Then the federal government stepped in. On February 10, 1972, Pierre Elliot Trudeau’s government killed the proposal by withholding the transfer of a crucial water lot.


1972.  Alderman Harry Rankin talking to activists at All Seasons Park. Photo: Gord Croucher / PostMedia

With a new Mayor and majority progressive T.E.A.M. (The Electors’ Action Movement) Council voted into office in 1972 by a public eager for change, led by Mayor Art Phillips, with Walter Hardwick, Darlene Marzari, Mike Harcourt and Setty Pendakur securing seats on, perhaps, Vancouver’s most progressive Council ever, in November 1973, the City of Vancouver bought the entire site for $6.4 million.

The green space at the entrance to Stanley Park is now known as Devonian Harbour Park, but for some of us, it will always be All Seasons Park.


Some historical source material for this article provided by Vancouver Sun reporter John Mackie.


There is a correlation to be drawn between the movement leading to the defeat years ago of the Harbour Park Development project at the entrance to Stanley Park — championed by the City Council of the day — and the movement opposition of, now, 200 informed citizens (and more) who gathered at City Hall two weeks ago, and again this past Monday evening to state their opposition to the initiative of the Ken Sim-led ABC Vancouver City Council to eliminate Vancouver’s cherished, 135-year-old, independent and elected Board of Parks and Recreation.

Movements start off small, with generally only a few of our better informed citizens coming to the fore to state their opposition.

As time passes, more of our citizens become informed, inform themselves, taking the power to change for the better into their own hands, to rise up for the better, to work in common cause with friends and neighbours who share their concern to, in time, elect a more democratically-minded local government committed to the livability of our beloved city.