If you have not been a Food Booth Vendor at the Festival before, please contact Emiko for more information about the 2019 application process at emiko [at] powellstreetfestival.com or call 604.739.9388.
2019 Membership Top-Up is available!
You now have the option to “top-up” to an Annual Membership for an additional $12. Annual Members receive a Membership Card valid until the last day of the calendar year, entitling you to discounts at:
10% off at Coconama Chocolate retail location, first ganache chocolate shop in North Vancouver at 264 E. 1 Street
10% off of Catfe food, drink and ‘meowchandise’. Catfe is part cafe, part foster home for cats, and a space to hang with kitties! #2035 – International Village Mall, 88 W. Pender Street
10% off at Tama Organic Life, a treasure trove of Japanese food products & organic vegetables as well as healthy home-made foods including daily bentos at #102 - 2828 E. Hastings Street
10% off BLIM classes and at retail shop. BLIM is an independent art and craft workshop space, resource, and small business at 115 E. Pender Street
$1 off large coconut puddings at Vegan Pudding, the one and only vegan custard pudding store at 422 Richards Street
10% off at Baker & Table Café, the only place you can get mochi melonpan, Japanese cakes, & yougashi, a Japanese peanut-free bakery at 6414 Fraser Street
10% off at the first overseas branch of Ramen Taka notsume, serving Asahikawa-style ramen from Hokkaido at 841 Bidwell Street
Powell Street Festival Society is proud to present this resource in partnership with the Japanese Canadian Cultural Centre (Toronto) and the National Association of Japanese Canadians.
Community Events
Nikkei Community
New Year’s Celebration
2019 Shinnenkai Event
Saturday, January 12, 2019, 6pm (doors open at 5pm)
Nikkei National Museum and Cultural Centre Event Hall
6688 Southoaks Crescent, Burnaby
Tickets are $45 in advance, $55 after January 4
$30 for kids 11 and under, free for kids under 5
March 25, 2019
Ceremony to honour tea master Sen Rikyū, followed by Tea Gathering is the tea room.
Tōzenji Buddhist Temple
209 Jackson Street, Coquitlam, BC
604-939-7749
tozenji@telus.net
PuSh Festival
January 17 to Feb 3
Ringo
Tetuya Umeda (Japan)
Performance Works
1218 Cartwright Street, Granville Island
January 18, 2019, 7 pm Tickets: $39
The wildly inventive Tetsuya Umeda uses tin cans, dry ice, bowls, hot plates and more to create an experience so beguiling and unique as to redefine those very objects. The rhythm of dripping water, melodic air vibrato, mechanical groans and much more make up his music; pulsing electric light and wall projection by most unconventional means make up some of his visuals. What looks like an elaborate science project onstage is actually a system for generating wonders.
100 Keyboards
ASUNA (Japan)
January 19, 2019 at 4 pm and 8 pm
Russian Hall, 600 Campbell Avenue Tickets: $25
In this captivating performance, sound artist ASUNA takes battery-powered, analogue keyboards and uses them to create waves of overlapping notes: the Moiré effect of superimposed patterns, here used musically. The instruments are placed in the performance space in concentric circles, each with a stick pressing down on a single key to sustain its sound. As each electronic note joins the others, the effect is choral—unceasing voices in a fluid mass of beautiful noise.
Marginal Consort
Performance Works
1218 Cartwright Street, Granville Island
January 20, 2019, 2 pm Tickets: $39
These four musicians come with enough instruments for an orchestra; some are acoustic, some are electronic, and quite a few are of the artists’ own invention. For three hours they make ambient, heavily manipulated music, far apart and fully independent of each other. It’s a sonic adventure, with the audience as liberated as the performers. Listeners are free to sit, lie down or move around as they see fit—in fact, changes in position are encouraged, because different positions in the space can bring radically different experiences.
Thank you to our 2018 donors!
Janice Shimizu • Jeffrey Moser • John Philip Richardson • John Price • Judith Lee & Themba Tana • Judy Hanazawa • Karen Bartlett • Kathy Shimzu • Kikuye Komori • Les Murata • Maryka Omatsu • Matt Miwa • Meghan Lin • Megumi Anderson • MJ Morita • Nina Inaoka Lee • Pat and Chris Tipple in memory of Tamio Wakayama • Randy Enomoto • Shinobu Homma • Shirley Peerenboom • Stanley Fukawa • Takara Ketchell • Takeo Yamashiro • The Salloum Foundation • Tyler Russell in memory of an old friend • Yoshio Arai • Marlene Yuen • Beth Carter • Rika Uto • Margaret Nakamura • Karen Bartlett • Kazuko Takahashi • Tomoko Ito • Gary Kuromi • Carole and John Wevers • Claude Tani • Rod Mickleburgh • Anonymous
Displays
Food
The wildly inventive Tetsuya Umeda uses tin cans, dry ice, bowls, hot plates and more to create an experience so beguiling and unique as to redefine those very objects. The rhythm of dripping water, melodic air vibrato, mechanical groans and much more make up his music; pulsing electric light and wall projection by most unconventional means make up some of his visuals. What looks like an elaborate science project onstage is actually a system for generating wonders.
In this captivating performance, sound artist ASUNA takes battery-powered, analogue keyboards and uses them to create waves of overlapping notes: the Moiré effect of superimposed patterns, here used musically. The instruments are placed in the performance space in concentric circles, each with a stick pressing down on a single key to sustain its sound. As each electronic note joins the others, the effect is choral—unceasing voices in a fluid mass of beautiful noise.
These four musicians come with enough instruments for an orchestra; some are acoustic, some are electronic, and quite a few are of the artists’ own invention. For three hours they make ambient, heavily manipulated music, far apart and fully independent of each other. It’s a sonic adventure, with the audience as liberated as the performers. Listeners are free to sit, lie down or move around as they see fit—in fact, changes in position are encouraged, because different positions in the space can bring radically different experiences.
