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Mortifee currently
writing new musical

From page 24

Having spent the past few years
focusing on her inner werld, both
she and her career have been
resurrected, she says.

One could say that Ann Mortifee
is alive and weil.

For anyone who doubts her
word, she and jabula, Zulu for
“Rejoice,” will fill the Arts Ciub
Mainstage Theatre with rhythms of
Africa on Sunday — their third
public appearance this year.

Last Sunday Mortifee and band
members Blu Mankuma, Mahara
Brenna, keyboardist Robbie King,
guitarist Ed Henderson, percus-
sionist Dido Morris and former
Payolas bassist A. Train, played a
benefit concert for AIDS Van-
couver and the UBC/St. Paul’s
Hospital AIDS research chair.

Because fabu!a wasn’t put
together as a commerical venture
— they first appeared together in a
friend’s dream — there isn’t the
pressure of having to keep going,
she says.

“We all feel the same way. As
long as it’s fun and not a lot of ef-
fort, we'll continue. The beauty of
jabula is we're doing it for the
sheer fun of it. It’s like going back
to how music used to be, when
there was no purpose to it.’’

She says she is completing
something deep with Jabula, hav-
ing spent her childhood years in
South Africa.

“My earliest recollections are
as a young girl on the farm in-
Zululand and hearing the drums,”
she says. ‘‘Now to be piaying
them is fabulous.”

Mortifee leans back into a pile of

From page 32 -

tradict the very automatism that
the surrealists considered indis-
pensable as a means of unveiling -
the subconscious.

Moreover, by merely reiterating
the timeworn surrealist formulas
which generally reduced women
to objects of masculine desire, Ms.
Kidd clearly forfeited the opportu- -
nity of making a distinctively per-
sonal comment on the feminine. |
psyche. ;

- ~ Likewise, Marie Kennedy’s

nostalgically appointed interior
realms would have proven more
interesting had they been less
reliant either upon photocollage as

a means of reconfiguring Time Past ©

or upon joseph Cornell's box
assemblages as a means of con-

. taining it.

‘ Least satisfactory of the art rep-
resented is that of Lori-Ann

big, fluffy cushions and smiles.

After her last crisis, she never

thought she would return to

music. But something wonderful

happened last year when a friend

convinced her io do an album

about death.
“He absolutely floored me

when he suggested it. | said, I’m

Not writing any more albums, I'm

out of the business, And | didn’t

think a record about death would

sell particularly well,’ she laughs.
“But he kept bugging me, say-

ing, ‘t know you were meant to

do this.’ He finally bought a ticket

and flew up to Vancouver and told

me to do it.” an
With the release of Serenade at

the Dounvay last year, Mortifee:

has been deeply committedto -

working with the dying and those.”

who treat the dying. : *
Her work has taken her to

Europe and the U.S. on speaking

tours of international hospice and. ~~

palliative care conferences. This -

year, she received the Order of. :

Canada for her contribution to the:

performing and healing arts... |
The experience of working with

the terminally ill, she says, has ,

forced her to change her priorities.
These days she Jivesamuch:

quieter life, spending time with the

people she loves, especially five-*

year-old son Devon.’ © 7 +
Right now she’s in the midst of

writing a new musical called .

Stigma, which she says is the.

beautiful piece she’s ever created. :

She's back for now, but be
Ann Mortifee means never nol
having to say goodbye.

Exhibit marred by incongruities

however successful it may have
been. . -

If the expression ‘“‘contem-
porary practice in B.C.” could

_ aid to apply to surrealism at al

‘could only be said to do so-withi
the context of this preponderant!

male group...

surrealists most worthy of ac--.
knowledgement in an exhibit 'o!
this stature, namely Ladislav -
Guderna, Ted Kingan and Mi
Bullock, should only serve'as’
footnote to those who were, ift
sad truth is to prevail; meré tok
figures within that vei
association: -°- 9-2

What we have here is not
muck surrealism, as a superfic
exploration of the methodology
that characterized the surreatist:
quest. eye!

Latremouille, whose depictions of . @

women, like those of Davida Kidd, .
succumb to obvious stereotypes of
male sex::al fantasy.

The rea} problem with her large -
charcoal drawings, however, is the
degree to which they reflect her
inability to realize that her pro-
longed expropriation of the con-
tent of Henri Rousseau through
the techniques of Fernand Leger.
so borders on plagiarism that it~
does her credibility, if not her in-
tegrity as an artist, a great injury.

At least two members of this
quartet have affiliations with the
now moribund surrealist assacia-
tion calling itself the Melmoth

roup: :

It should therefore be interesting .
to observe that if the West Coast
Surrealists — consisting of Gallery
Move’s Robert Davidson, Gregg
Simpson, and Ted Kingan and
originating here on the North
Shore in 1977 — had not suc-
cessfully infiltrated Michael
Bullock’s academic coterie of sur- -
realist poets, the above exhibit
would probably never have come
to light.

Though always just beyond the
pale of public acceptance, it was
the ardor and integrity of The .
Melmoth Group’s masculine lead-
ership that ensured the perpetua- —
tion of surrealism in Vancouver,

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