Clay and Paper Theatre's "Night of Dread"

“Oh look, we can PARTICIPATE”, exclaimed a young mom to her partner and children as they arrived at the launch point of Clay and Paper’s annual “Night of Dread” event that began and ended at Dufferin Grove Park in Toronto. Volunteers helped the family outfit themselves with masks from the theatre’s assembled accessories available for sign out. Participation proved to be but one of the extraordinary components of this community arts event.

Halloween has always seemed to me a bit of a difficult holiday in modern times. Most of us no longer believe in ghoulies and ghosties and things that go bump in the night. We feel guilty as parents about scaring our kids with superstition. Besides, aren’t there enough horrors in the world? When we think “okay, let’s dress up in more fanciful, happy clothes” we run into another set of dilemmas.

“A fairy princess?”

“No, no, too sexist! Gender stereo-typing, that will never do!”

“A belly-dancer? An Indian brave?”

“No, no! Cultural appropriation! What will the neighbours think!”

And what about the whole thing of “trick or treating”? In a time when so many children are overweight, we know the dangers of high carbohydrate loads on the whole system, not to mention tooth decay, do we want our kids super sugar-loaded. We fear for their safety on dark streets at night. It’s just hard to celebrate the tradition anymore.

How do we update this late autumn holiday in a way that is meaningful to modern times without causing the wincing feeling that we are going against our core values or exposing our children to harms of various sorts? Clay and Paper Theatre has crafted an annual event that keeps the core components of Halloween, while avoiding all of the baggage. Their creativity has resulted in a new celebration in harmony with the season and our actual lives.

Halloween is a festival for a time when the days are becoming darker and primitive people might have worried that the sun was dying. It is a time of fears and shadows. Some of the oldest civilizations had traditions of building fires on hillsides to feed the sun and wearing disguises to fool malevolent spirits.

In our modern world there are shadows of fears that haunt all of us in our dark moments. Near the gardens in Dufferin Grove Park, Clay and Paper Theatre had set up a garden of fears. Economically (and humorously) using pizza boxes on sticks, they had emblazoned the boxes with modern fears: nuclear annihilation, global warming, bio-hazards, isolation, losing a home, bankruptcy, financial ruin, war… and so on. What a fantastic opportunity for family dialogue as people moved about the garden of fears and chose which fear to pluck from the garden and carry in the parade as representative of that individuals worst fear this year.

Masks were black and white papier mache creations that, to me, symbolized the dark and light in all of us, in the changing seasons and our world. Walking about among us as we selected our fears to carry and our black & white masks to wear (if we chose to wear a mask) were a collection of giant puppets representing some of our fears. I was struck in the gut by the representation of pollution. She was a giant blue puppet with a serenely beautiful appearing face and flowing blue silken fabric, horrendously littered with bits of plastic garbage bags and excretions of fast food containers, drink cups, plastic water bottles and straws. Some of the huge puppets were a bit more mysterious and we didn’t quite know what they were representing until the end of the event.

A bugle call and drum roll signaled the assembly of the march and about 1,000 people or more set out following as we paraded our fears through the streets of Toronto. It was interesting to watch the faces of the people who came out of houses and stores to watch the passing march. Some were delighted and seemed to know what to expect. Others were extremely puzzled, even a little worried. It was a long enough route that children were wanting to be carried by the end of the journey so families with young kids are advised that a stroller or wagon will likely be required at some point in the trek.

Back at the Dufferin Grove Park we walked along a path of shrines. This lacked any explanation but it seemed to me that they were shrines erected to things lost in the past, a loved pet, a farm. Made from the simplest of materials they were reminiscent of Day of the Dead shrines built on grave sites.

We walked towards a bonfire in the middle of a circle of people. Here the fears we had carried through the dark night streets were burnt in a warming sacrificial fire. The crowd cheered the burning of the fears. The giant puppets representing major fears like “Corruption & Greed” “Nuclear Annihilation” were introduced as they did their final macabre dance around the fire. With a fanfare of humorously discordant circus music, the “Fear of the Year” was introduced. In this year’s case that was “The fear of selfish leadership” represented here in Toronto appropriately by a giant gravy boat. The artistic reference was to our hapless Mayor Ford who promised to save billions from the city budget by cutting the “gravy” and then his hired consultants couldn’t find any such gravy. His attempts to instead define libraries and culture as gravy have met strong citizen opposition. The gravy boat was taken on a last lurching voyage. The responsive creativity of the team at Clay and Paper Theatre added a last minute touch drawn from the latest headlines as a Margaret Delahunty lookalike pursued the gravy boat on it’s final voyage to the fire. A great cheer rose up from the crowd as the final great fear went up in a tower of flame.

Death dancers waltzed around the bonfire as our fears burned. Only the fear of death which can never totally leave us remained alive. The figures of death beckoned to the crowd to come and dance with death. The message to my understanding was that only when we learn to dance with death are we truly alive. The circle of dark and light, yin and yang came into focus in this conclusion, sombre, meditative and graceful. Then exploded into light with fire twirlers and jugglers harking back to a primitive time where warmth and light drove away the terrors of winter and darkness.

What a wonderful achievement and gift to the people of Toronto. My one and only suggestion to the creative team is that they lost people at the conclusion due to the length of the march. It was a very cold night, so that was also a factor. Some great entertainment was available at the end and I would have liked to stay and dance but like many others I was freezing and very tired so we packed up at the conclusion of the fire twirlers.

Bread and Roses Life, L. Rogers

Clay & Paper's Night of Dread Oct. 29

Night of Dread

Dufferin Grove Park
Saturday, October 29, 2011

4-6PM: Gathering

6PM: Parade

7:15PM – Fire Circle

Learn the fire circle chant:

“We laugh at fear, And we laugh at death, And we’ll laugh at you, ‘Til our very last breath, Ha ha ha ha ha ha ha!”

8:30PM: Celebration with Lemon Bucket Orkestra

Dress Code: Black & White & Dreadful

Pay-What-You-Can/ $10 Suggested Donation

www.clayandpapertheatre.org

Bread and Roses Life, L. Rogers

Speaking up on behalf of aboriginal children

Today the Winnepeg Free Press reported that “Child rights’ advocates are hoping to shame the federal government into improving the treatment of aboriginal children.The First Nations Child and Family Caring Society of Canada and the ecumenical group KAIROS are asking the United Nations to ensure that Ottawa gives the same services to aboriginal children as it does to other Canadians.

In a report prepared for the United Nations committee on the rights of the child, the groups say government funding for health, education and child welfare is much lower on reserves than off.

As a result, they say native kids often lack the basic necessities of life.

They point out that Canada signed the United Nations Convention on the Rights of the Child and its performance is under review right now.“

When I served on the Lieutenant Governor’s Steering Committee on Aboriginal literacy, I saw first hand the problems faced by Canada’s First Nations children. One of the first things I learned was that money was only a part of the problem. The fact that funding lags behind educational and social welfare funding for children in the rest of the province is a crime that must be addressed but in order for those dollars to be targeted and used accountably, there has to be an untangling of bureaucratic snarls and more transparency.

One of the truths that I came to understand while meeting with representatives of band councils while developing the first summer literacy day camps, and spending last season working with Equay-wuk (Women’s Circle) is that liberal white guilt about children’s welfare in First Nations colludes with right-wing priorities to result in a “do-nothing” outcome. Well-meaning child welfare advocates too often allow themselves to be silenced because they feel that as white people, they cannot address First Nations issues, even when they know that education or child welfare dollars are not being used effectively in a community. There is not one set of problems with children’s welfare in First Nations communities. Because these communities are self-governing, the picture differs from community from community and it is important for decision-makers and social justice advocates to understand that it is not a “one-size fits all” solution. It is messy and complex and if we care about justice for these children we have to be prepared to listen and also be prepared to speak out.

Sometimes it takes more than a village to raise a child when that village is failing the child. Sometimes it takes a nation to care and not to be silenced because of some ancient mistakes made by some of our ancestors.

Bread and Roses Life, L. Rogers

Virtual Beading Circle

Fantastic use of the internet to share craft knowledge across distances.

Bread and Roses Life, L. Rogers

Ottawa Days of Action to End Canadian Involvement in Torture, October 24-26

Join the CSI: Ottawa Days of Action to End Canadian Involvement in
Torture, October 24-26
We Cannot Let Canadian Individuals and Institutions Get Away With
Torture

In addition to many reasons already listed (see http://
homesnotbombs.blogspot.com/2011/09/csi-ottawa-ending-canadian-
involvement.html ), here’s three more good reasons to join us:

1. CSIS and the RCMP, which were found to be complicit in the torture
of Canadians Abdullah Almalki, Maher Arar, Ahmad El Maati, and
Muayyed Nureddin while all were detained in Syria, have been silent
on their ongoing relationship with Syrian Military Intelligence,
which regularly engages in torture and is complicit in the mass
detentions and horrific acts of torture and murder that have been
taking place for years and which have intensified during 2011 in
response to demands for democracy.

Leading up to CSI Ottawa and during those three days, we will seek a
public statement from both agencies that they have (or will
immediately) break all ties with Syrian Military Intelligence and
that they will apologize for their past relationship with such a
blood-stained agency (as well as to those tortured with Canadian
complicity).

2. A Libyan-Canadian citizen who was imprisoned and tortured for
eight years by the Gaddafi regime says that agents from the Canadian
Security Intelligence Service (CSIS) were among foreign agents who
interrogated him. Documents confirming this were found by members of
Human Rights Watch. See http://www.hrw.org/news/2011/09/28/canada-
intelligence-service-accused-libya-interrogations

This is of course a common practice that CSIS will partner with
brutal, torturing regimes such as Syria, Egypt, and Libya and then
claim that they “did not know” or “did not have available to them”
publicly available reports of systematic torture.

3. On 18 October 2008, Ivan Apaolaza Sancho was deported from Canada
by special charter flight, manacled hand and foot, and handed over to
authorities in Spain. The deportation was a bitter ending to a
fifteen month campaign in which the Basque man was imprisoned in
Montreal, denied the right to apply for refugee status, and
eventually deported – all on the basis of information that a Canadian
tribunal recognized was obtained under torture.

Members of the Caravan to End Canadian Involvement in Torture raised
Ivan’s case across the province in 2008. Now, he faces a trial after
three years of detention in Spain, and could be jailed for 30 years.
More at http://www.peoplescommission.org/en/sancho/

A CULTURE OF IMPUNITY
The culture of impunity around Canadian involvement in torture is
widespread. Officials in numerous government agencies complicit in
the torture of Canadian citizens, refugees and permanent residents
continue to proceed with the dangerous assumption that when it comes
to torture, whether “direct or indirect,” they can get away with it.
While Canadians were rightly upset that the government did not arrest
visiting individuals who are proudly complicit in torture (such as
Dick Cheney and George W. Bush), we also need to focus on the fact
that officials here in Canada continue to engage in policies and
decisions which result in the most unimaginable of human rights abuses.

CSI Ottawa is an attempt to remind the public, and the government,
that they cannot get away with their involvement in torture, and that
our exercise of direct democracy and seeking accountability will not
end until permanent changes are made.

Join CSI Ottawa: Ending Canadian Involvement in Torture
Organized by Stop Canadian Involvement in Torture, a wholly realized
subsidiary of the Homes not Bombs network, tasc@web.ca

_______________________________________________
TASC mailing list
TASC@list.web.net
http://list.web.net/lists/listinfo/tasc

Bread and Roses Life, L. Rogers

Metropolitan Opera Company breaks fundraising record

The New York Times reports: “In the warren of Met administrative offices, the people who run one of the world’s busiest opera houses had something else to applaud: a record amount of contributions for the fiscal year that ended in July. According to preliminary figures released for the first time, the Met hauled in $182 million, an astonishing amount in a tough economic climate and 50 percent more than it raised just the year before.”

In arts offices around the world, questions are being asked about this outcome. Is this an endorsement for the Metropolitan Opera’s revolutionary electronic distribution in theatres; a vote of confidence for their current artistic direction; or simply the effect of donor behaviour–backing core arts groups in hard times?One major donor David Knott agrees with the electronic distribution policy saying it was a decision that “if we can’t bring people to the opera, let’s bring opera to the people”. He put his money where his mouth was in making a $500,000 one-time gift and pledging a bequest to the company through it’s planned giving program. Electronic distribution certainly seems to be a way to follow the market. In its 2003 study “The Magic of Music”, the Knight Foundation found that while 60% of Americans listened to classical music, only 5% had ever entered a concert hall. Listening to classical music is not declining, going to concert halls is declining. Smart, business-minded donors like David Knott will be more inclined to invest in arts organizations that make decisions soundly based on audience trends, it would seem.

In a time when 2 out of 3 arts organizations have sustained a decline in income, the phenomenal success of the Metropolitan Opera in increasing its donations has to be seen as tied to the most significant new part of its program, the electronic distribution of opera in theatres. This fact should be an encouragement to those trying to pioneer new methods of distribution and electronic outreach initiatives. From my own work in virtual music, I know that resistance to new forms of distribution seems like a brick wall at times, but smart donors are rewarding those arts organizations bold enough to break through to reach their audiences outside the concert hall.

Bread and Roses Life, L. Rogers

Difference Engine Initiative presents results!

Monday October 3rd, 7pm
Ballroom of the Gladstone Hotel (1214 Queen Street W.)
Free

The first round of the Difference Engine Initiative, a six week gamemaking incubator for women, is nearly over and we will be presenting the games that they made at this Hand Eye Society Social for the community to play!

Most of the creators will be in attendance and Mare Sheppard, co-coordinator of the DEI, will be hosting the evening. In addition to the usual drinking and chatting, this Social also features a special guest from Chicago, Erin Robinson, who will be doing a presentation touching on her experiences as a game developer (including Puzzle Bots and the freeware Nanobots) as well as her role helping highschool girls make games.

The first and second rounds of the Difference Engine Initiative are part of the OMDC-funded TIFF Nexus.

Bread and Roses Life, L. Rogers

Contact Contemporary Music Sept. 18

Mary-Katherine Finch, violoncello

Wallace Halladay, saxophone

Sunday, 18 September 2011

8pm

Gallery 345
345 Sorauren Avenue

With

Ryan Scott, vibraphone

Allison Wiebe, piano

Chang, Dorothy Walk on Water (2004)
Canada/USA, b. 1970
Lemay, Robert Tie-break (2011) * world premiere
Canada, b. 1960
Denisov, Edison Sonata for alto saxophone and violoncello (1995)
USSR/Russia, 1929-1996
Vustin, Alexander Musique pour l’ange (1995)
Russia, b. 1943
Oehring, Helmut Leuchter (aus: kurz in Müll gestochert) (1994/2011)
Germany, b. 1961
Karassikov, Vadim Casus in terminus (1994)

Russia, b. 1972

Contact Contemporary Music members M
ary-Katherine Finch and Wallace Halladay curate a concert of music for saxophone and violoncello. From beauty to vulgarity, and from the sacred to the profane, these two virtuoso musicians present an intimate programme at Gallery 345.


One of the Soviet composer Edison Denisov’s last works highlights the lyrical qualities of the two instruments. As Denisov said, “Beauty is the principal factor in my work. This means not only beautiful sound…but beautiful ideas as understood by mathematicians.” The programme includes the works of Russian followers of Denisov: the religious transcendence of Vustin (with guest percussionist Ryan Scott), and the stoic expressionism of Karassikov (with CONTACT pianist Allison Wiebe).


The music of German Helmut Oehring is some of the most interesting to emerge from East Berlin – with late training in classical music, this electric guitarist explores sound and vulgarity in his musical description of Fred Leuchter – Holocaust denier and designer of instruments of capital punishment. Allison Wiebe will spend the intermission preparing the piano to join the duo again.

Vancouver-based composer Dorothy Chang’s Walk on Water provides the title for the concert, and fellow Canadian Robert Lemay was inspired to write this dynamic duo a work for this occasion.

Saxophonist Wallace Halladay captures the qualities of the modern virtuoso, being at home in numerous styles, from the traditional to jazz and beyond. A specialist in the performance of contemporary music, he has commissioned and premiered numerous works. A soloist with the Vancouver Symphony and Esprit Orchestras, he also inaugurated the Kitchener-Waterloo Symphony’s “Intersections” Series. He recently worked with Philippe Leroux on the North American premiere of his saxophone concerto in Montréal. He recorded the two saxophone Sequenzas of Berio and the Colgrass concerto for NAXOS and is in demand as a performer with new music groups across Canada and the US. Wallace holds a doctorate from the Eastman School of Music, and studied at the Conservatorium van Amsterdam with Arno Bornkamp. Wallace was the 2009 recipient of the prestigious Virginia Parker Prize from the Canada Council for the Arts, the first woodwind player to be awarded in its 25-year history. Wallace is a Conn-Selmer Artist and plays Selmer (Paris) saxophones.


Cellist Mary-Katherine Finch holds both Bachelor and Master degrees in performance from the University of Toronto. She performs frequently in recital with pianist Ron Greidanus. Playing an authentic baroque cello, she has appeared with Aradia, Baroque Music Beside the Grange, Grand River Baroque Festival and Toronto Masque Theatre. In the area of new music, she regularly collaborates with the ensembles Toca Loca and Ergo, and has premiered several chamber works of Canadian composers. Mary-Katherine frequently plays with the larger ensembles of the Mendelssohn, Isler, Amadeus and Elora Festival Choirs.


Bread and Roses Life, L. Rogers

Of interest to northern ON theatre artists and students

IMPACT THEATRE (Sioux Lookout)
is pleased to announce another great workshop in

Acting, Writing, and Directing for Film happening in Sioux Lookout, September 30-October 2, 2011.

We welcome all established and emerging artists between the ages of 13 to Adult within Northwestern Ontario to participate!

The goal of this workshop is to build the skills and regional connections needed to make a film adaptation of A ROUGH TRANSLATION- an original theatre production IMPACT Theatre created that addresses boundaries within dating relationships, identity and hope . To accomplish our goals we have invited the Actors Training Centre of Manitoba to provide intensive training related to acting, writing and directing for film. Our thanks to the Ontario Arts Council for the funding that has made this professional level workshop possible!

Mark these dates on your calendar!

Advanced Acting, Writing, & Directing for Film

Date: Sept 30 (6:30-9pm), Oct 1 (9-4), Oct 2 (9-4)

Instructors: Jeff Skinner & Nicholas Burns, Actors Training Centre of Manitoba

Location: Sioux Lookout, Queen Elizabeth High School (To be confirmed)

Who: Ages 13- Adult

Fee: Early Bird (by Sept 16): $50 Regular: $60

We we would be happy to provide billeting for out of town guests!

Just contact us to let us know what you need!

Workshop Description:

In this advanced level workshop participants will work with a professional film writer/editor to learn techniques to effectively tell a story through film. Using the story of A ROUGH TRANSLATION as a spring board for discussion participants will be introduced to different ways to address challenging subject matter and then given the opportunity to practice those techniques. With the coaching of a professional director and acting instructor participants will learn advanced acting techniques that bring a story to life ! Participants will have the chance to further their skills in the areas that interest them most including writing, storyboarding, acting, and directing. Through this workshop IMPACT Theatre hopes to connect with regional artists who might take part in the film adaptation of A ROUGH TRANSLATION, however all artists are welcome to attend.

* It is assumed that participants have some prior experience or training in acting, writing and/or film.

Artist Biographies:Jeff Skinner’s artistic career is very diverse and includes acting, writing, directing and producing in theatre, film and television. He has performed in over close to a hundred theatrical productions, films and television shows including The Big White with Robin Williams, Falcon Beach for Global and Scared Silent with Penelope Ann Miller. He is currently a partner in Two Lagoons Entertainment and enjoys sharing his skills and experience as an acting Instructor/Coach with the Actors Training Centre of Manitoba.

Nicholas Burns works as a freelance writer and artist creating storyboards using conventional and computer media. He has written many scripts for educational and mainstream comics, radio plays, short films, TV movies and feature films. He has storyboarded dozens of feature films, TV movies and music videos and has become well know in the industry as a “script doctor” with the ability to help writers and tell their stories. He has also written, produced and directed a mocumentary, Snoring, which was a winner at MocDocs and was broadcast nationally.


Register Early as Spaces are limited! See Attached Registration Form.


If you have any questions or want to learn more, contact:


Erin (EJ) Horvath, Director IMPACT Theatre
807-737-0019

Bread and Roses Life, L. Rogers

Diab update from TASC

Despite incredibly “Weak Case,” Hassan Diab Forced to Keep Resisting Extradition to France

report from Matthew Behrens of the Campaign to Stop Secret Trials in Canada, tasc@web.ca

July 12, 2011 – Dr Hassan Diab is a Canadian university professor fighting for his freedom, and for his life. The French government wants him to face trial for what they allege is Dr. Diab’s involvement in a 1980 bombing that killed four people. If convicted, he could spend the rest of his life in prison.

There’s only one problem. Dr. Diab’s fingerprints don’t match the suspect’s. His palm prints do not match. The physical description does not match. The handwriting does not match. The allegations against him have been found “weak”, “suspect,” and “confusing” by a Canadian judge. That same judge concluded June 6 that “the case presented by the Republic of France against Mr. Diab is a weak case; the prospects of conviction in the context of a fair trial, seem unlikely.” With such a strong defence, one would think Dr. Diab would be breathing easy. Instead, he is strapped to a GPS monitoring bracelet for which he must pay $2,000 a month (a new version of the Dickensian debtors’ prison, in which your freedom is now dependent on your ability to pay the state’s surveillance costs), barred from leaving his home without a court-approved monitor, and faced with a curfew worse than that imposed on most 10-year-olds. He cannot teach, his home is frequently invaded by RCMP agents, and he lives with the unimaginable stress that he might spend the rest of his life in a small French jail cell.

PRESUMPTION OF GUILT
How could such an outrage occur? Under Canada’s extradition law, the duty of a Canadian court and the Minister of Justice is, first and foremost, to the government seeking an individual. That individual no longer enjoys the rights that are supposed to be accorded everyone else in this country facing the deprivation of their liberty. Canadian standards of evidence are thrown out the window. The case against the individual is presumed to be reliable, regardless of how many inaccuracies, errors, omissions, and contradictions are contained within it. One cannot present evidence to show one’s innocence, and the requesting state need not present any evidence of that innocence.

The deck is clearly stacked yet, as the Supreme Court of Canada has found, extradition is, in the end, not a legal issue, but a political decision: is the government of Canada willing to risk its relations with one of its extradition partners, or is it willing to sacrifice one of its citizens (or a refugee or permanent resident who is also sought) in the name of maintaining happy diplomacy?
In all extradition cases, the argument goes, an individual sought by another country can “sort out the mess” upon their arrival in a foreign jail. It is a process fraught with danger: a foreign government can carry out a persecution by proxy using the extradition law, claiming it has a case against a political pain in the neck living in Canada, presenting what amounts to a “prima facie” case without needing to vouch for the case’s accuracy.

In the Diab case, the French government seems intent on “solving” the mystery of the 1980 bombing at any cost, even if that means nabbing someone who appears to be the victim of mistaken identity. Their main piece of evidence is an “expert” handwriting report by someone who has a degree in biology and forensics and who only took 21 hours of training in expert handwriting analysis.

QUESTIONABLE FRENCH METHODS
What was known as the Bisotti report was subject to a great deal of scrutiny during the extradition hearing, including three blistering critiques by internationally renowned handwriting experts. Indeed, the government of Canada declared that the case all came down to the handwriting, though it took numerous kicks at the can in coming to this very weak conclusion. In fact, both France and the Attorney General withdrew previous handwriting reports when it was revealed that they were based on handwriting samples that were not even written by Dr. Diab..
“Although I could not conclude it was manifestly unreliable, it was nonetheless highly susceptible to criticism and impeachment,” Judge Maranger wrote of the handwriting evidence. Indeed, he went on, “evidence presented on behalf of the person sought has largely served to substantially undermine the French report; it has been shown to be evidence that is susceptible to a great deal of criticism and attack.

“The Bisotti report has been shown to be based on some questionable methods and on an analysis that seems very problematic. The use of two completely separate signatures, i.e. Hassan Diab’s and an illegible fictitious signature, as a means of doing handwriting comparison analysis seems illogical…I found the French expert report convoluted, very confusing, with conclusions that are suspect. Despite this view, I cannot say that it is evidence that should be completely rejected as “manifestly unreliable”.

It’s not just the weak handwriting evidence that is problematic. Maranger wrote that he accepted the Canadian government position that “there is no responsibility upon a requesting state to provide full disclosure of all of its evidence.” Hence, 10 witnesses can testify that an individual was not at the scene of the crime, but someone’s life in Canada could be uprooted and ruined because of
the fact that the French, or any other government, can cook up a case that suits their needs and exclude exonerating evidence.

Maranger also notes that the Record of the case (ROC) as originally presented by France — in French, a language Dr. Diab does not speak – was “replete with seemingly disconnected information….while providing some conventional evidence, [it] also contained a great deal of argument, hypothesis, conjecture, and references to information received, without describing the source of that information or the circumstances upon which it was received.”
This, in essence, is secret, “unsourced” information. Where did it come from? Was torture involved?

The ROC also includes information that it gleaned from “a series of reports and newspaper articles,” hardly the stuff that would normally be accepted in a court (but which is normally included against individuals stigmatized by the Canadian government, such as refugees and, in the past decade, Muslims facing secret hearing security certificates and Tamils fleeing genocide.)

MAJOR MISREPRESENTATIONS
Diab’s lawyers raised nine specific issues of misrepresentations including omissions, inaccuracies, and contradictions in the French case, all of which they said amounted to an abuse of process. Maranger found there was an “air of reality” to the arguments put forward by Diab’s legal team, but in the end, he again dismissed them.
Indeed, Maranager bends over backwards to honour the French case, despite making statements such as “Although it was a blatant error requiring an explanation, I cannot find that it constitutes a complete failure of due diligence,” and concluding elsewhere that a problem in the record “was an inadvertent error.” How would he know? And more importantly, how can such problems be so easily dismissed in favour of the requesting state? In another instance, Maranger says “this was clearly a mistake on the part of the requesting authority that should have been corrected.” But it wasn’t. Verbal slap on the wrist to the French, an extra set of leg irons for Dr. Diab.
Under extradition law, Maranger says, there is “a presumption that evidence contained in the ROC is reliable.” So much for the presumption of innocence that is supposed to belong to the person sought.

Maranager found Diab’s defence was “compelling, and forcefully argued,” but that in the end, this did not matter, adding “to use standards of admissibility derived from Canadian criminal law…runs afoul of the governing statute.”

And so, like an Alabama judge convicting Rosa Parks for sitting in the front of the bus (the old “the law is the law and we cannot stray from it” approach that has sustained too many injustices to recount here), Judge Maranger offered up Hassan Diab as a sacrificial lamb on the altar of good relations with the French government. While washing his hands of any responsibility for this decision, he attempted to temper the view of him as a rubber stamp by stating that although he believes that the case was weak, “it matters not that I hold this view. The law is clear that in such circumstances a committal order is mandated.”

But Maranager’s bold statement is not backed up by the facts or the law, and contradicts the quotation he borrows from the Chief Justice of Canada’s Supreme Court, who wrote in the leading extradition case: “I take it as axiomatic that a person could not be committed for trial for an offence in Canada if the evidence is so manifestly unreliable that it would be unsafe to rest a verdict upon it. It follows that if a judge on an extradition hearing concludes that the evidence is manifestly unreliable, the judge should not order extradition.”

Hence, Maranger on the one hand says there is a strong likelihood that the French, in a fair trial, would not secure a conviction given a fair trial – and there is clearly no guarantee of a fair French trial for Dr. Diab – but on the other, draws a conclusion that is completely opposite to a higher court judge’s direction in extradition cases. If the case for “manifest unreliability” is that a conviction would likely not be registered, it is difficult to understand how Maranger can say that the case against Dr. Diab – which he admits is too weak for a conviction – is not manifestly unreliable.

UNEVEN CANADIAN STANDARDS
In addition, as Diab’s lawyer, Donald Bayne, pointed out subsequent to the ruling, if the case had been heard in British Columbia, Diab would be a free man today, for their courts rule differently than Ontario courts on extradition cases.

“The British Columbia Court of Appeal decided there ought not to be an extradition if that is the nature of the extradition case, so Dr. Diab today would be walking a free man in Vancouver had this case been conducted there and in Ontario he is behind bars,” Bayne said. “That is a situation that is simply untenable in Canada, that Canadians are subjected to totally different standards depending on where they live. I would suspect that would attract the attention of the Supreme Court of Canada.”

While some have asked why Dr. Diab doesn’t simply throw in the towel and go to France an
d “sort out the mess,” the answer is simple: France has been criticized by the international community and is currently before the European Court of Human Rights for violating Article 6 of the European Convention on Human Rights – the fair trial right –for running terrorist trials based on secret, anonymous intelligence.” In addition, why should someone give up their life in Canada and risk spending years fighting in another country, especially given the slipshod “case” against them?
The Diab case is a wake-up call for everyone in Canada, for the ease with which an everyday regular life can be disrupted by such a case is frightening. While Dr. Diab is launching an appeal that could very well go to the Supreme Court, he and his partner, Rania Tfaily, have a long struggle ahead of them.

Individuals concerned about the ease with which basic human rights can so suddenly disappear in these cases can get involved on many levels:

WHAT YOU CAN DO:

1. Write to the Minister of Justice, Robert Nicholson, and urge him to stop Dr. Diab’s extradition. Email: rob.nicholson@parl.gc.ca

2. Help ease the huge financial burden carried by Hassan and Rania. We are seeking 100 individuals who can pledge $20 or more a month for the rest of the year to help pay the cost of the GPS monitoring. If you are willing to be a proud supporter of Hassan’s right not to be subject to detention if he cannot afford the cost of state surveillance, please email us at diabsupport@gmail.com OR visit http://www.justiceforhassandiab.org/donate

3. Sign the statement “A Shock to Our Conscience and an Affront to Liberty” (located at http://stopextradition.diabpetition.org/

To sign, simply send an email to diabsupport@gmail.com letting us know that you wish to sign

4. Help organize an event in your community about Hassan’s case and the extradition law.

5. Post details about the injustices in Hassan’s case on your facebook or myspace

6. Write to newspapers and to journalists about Hassan’s case and the unfairness of Canada’s extradition law

More info: Justice for Hassan Diab committee
(report from Matthew Behrens of the Campaign to Stop Secret Trials in Canada, tasc@web.ca
Bread and Roses Life, L. Rogers