Third + Bird Spring Market

"Our goal with Third + Bird is to support our local artisans, growers, and small businesses to celebrate the beauty and nourishment that they contribute to our community. We're also excited to support artisans in a more global sense. A portion of all event proceeds are donated to a women's cooperative, to provide opportunities to the women of the co-op and their communities. Our hope for the future is to carry on with our annual Christmas Market, Spring Market, and Farm Gathering, and to produce more workshops. We're also plotting a fun mentorship initiative involving kids and youth and some of Manitoba's finest makers and growers." - Chandra Kremski, Charla Smeall,  & Kris Antonius 

Third + Bird's Annual Christmas Craft Sale is happening on Saturday, November 29th, from 10am-4pm at the Winnipeg Centre Vineyard. The market is a wonderful showcase of just some of the many talented artists & makers & growers we have in Winnipeg. It's the perfect place to pick up a Christmas gift or two as well as talk to the artisans themselves. For more information on the market and the vendors, please visit the Third + Bird website listed below. 


Photos: Janine Kropla // @janinekropla

Annual Christmas Craft Sale: Saturday November 29th, 10am-4pm, Winnipeg Centre Vineyard
Third + Bird :

King + Bann


Mike Del Buono

Words: Karen Hare / Photos: Joseph Visser

The Sandwich: fashioned from the desire to eat while moving, this portable lunch has won its way into the hearts of many. Its stacked goodness, layered and laced with sauces, cheeses, veggies, meats, and even jam, has been adapted and integrated in a million ways, in a million places. The simplicity and complexity of edibles between bread has drawn me here, along with many others, to stand outside the Green Room on Osborne and wait with anticipation.

Once inside, the line moves fast and the room gets quiet. As Kristina Dimitrova hands out prints of her work, the sandwiches dissolve into bellies and the room fills again with the voices of Winnipeggers. Art, food and the element of surprise make for a very enjoyable (and delicious) afternoon.

Muddy Water: The sandwich is popular and universal, simple and complex, what is it about the sandwich that drew you in?

Mike Del Buono: Over the last few years I saw a number of cool places like Nuburger and Market Burger open up that were taking the burger and delivering it in a way that was above and beyond what people were used to. I noticed that no one in the city was doing the same thing for sandwiches and it just made sense. The sandwich is the ultimate go-to meal for anyone out there and I thought it was time that Winnipeg had something more than the traditional deli. Also, one of my favourite things in the world is a sandwich made from holiday leftovers like Thanksgiving or Christmas. To me, it's the ultimate comfort food.

MW: Can you tell me a little about the shop that will be opening on King and Bannatyne?

M: What we're doing is focusing on sandwiches made with in-house slow roasted meats. It's a very simple menu that will have a few staples and weekly specials to keep things interesting. We want to keep the menu small and done right so people know what to expect when they come see us. We're going to serve a lot of it carvery style where your sandwich will be hand carved from a big roast and put together right in front of you. For the vegetarians, we will have an option and we're going to be serving one soup and one salad, made in-house, which will change daily. Also, for those that enjoy a pint or a glass of wine with their sandwich, we've got you covered.

MW: While waiting for the shop to be ready, you have been holding a series of pop-up events, each time a new place, new sandwich and also featuring a new artist. There has been a lot of excitement behind these events from the eaters; how has it been for you guys?

M: It's been amazing for us so far. Not only have we been able to get sandwiches in people's hands, we've had a chance to work with some really talented local artists. It's the perfect opportunity to highlight all of our passions. We have a ton of fun doing it and at the same time we get to give back and support our community and upcoming artists. It's something that we hope to continue in the restaurant when we open.

MW: Art and food seem to be such a great match, why do they correlate and how has this relationship emerged for you?

M: Art and food, in Winnipeg especially, go hand in hand. Our city is home to some of the greatest restaurants and culinary events in Canada. We've [also] got this incredible scene of local artists that is perfectly exhibited in the Exchange District. They are two things that have had a great influence on my life and I think a lot of people out there can say the same thing. Being located where we are, it just made sense for us to somehow use the restaurant as a hub for food, art, and creativity.

MW: When do you plan on opening?

M: Right now everything is on schedule and if there aren't any hold ups we should be open early November.

MW: And I have to ask… what’s your favorite sandwich?

M: That's tough because it's always changing. But right now with Thanksgiving just around the corner I've got roast turkey sandwiches on my mind.


King and Bannatyne, the sandwich shop on the corner will be opening early November, stay connected via instagram and twitter @kingandbann to see what they are up to!


Nova Dance Collective


Kelsey Todd, Alexandra Scarola, Rachelle Bourget, Zorya Arrow, Alexandra Garrido, Janelle Haucault, and Sarah Helmer

Words: Jill Groening / Photos: Josh Dookhie

The women of Nova Dance Collective are on to something.

The group began as a motley-crew of recovering bun-heads, flick-footed jazz babies, theatre school grads, and true-blue modern kids, meeting as young modern dance students while attending the Senior Professional Program at Winnipeg's School of Contemporary Dancers. Having graduated in 2012, the seven-member collective is now beginning their eighth year of dancing and performing together by bringing emerging talent - choreographer Riley Sims - to Winnipeg.

"I first met Riley when I travelled to Ottawa in 2012 to work on the project 'Dances For Youth By Youth,'" dancer Sarah Helmer recalls. "It was one of my first projects after graduating and it really pushed me outside my comfort zone and showed me what I was capable of as an artist. When Nova started talking about commissioning a work, I thought of Riley right away. I thought it would be amazing to be able to share the inspiring, creative experience I'd had with the whole group."

Fellow Nova member Rachelle Bourget was equally affected by Sims' creations.

"The first time I saw his work I was blown away. I thought, 'I want to do that. That is everything I want to be experiencing as an artist.' It's amazing that it's now being accomplished."

That quietly excited, too-good-to-be-true energy is palpable upon entering the studio, located on the corner of Main and Bannatyne. The bright-eyed dancers are folded against the wall, cotton-clad limbs draped on the barres over head. There's a necessary scattering of dance junk on the edge of the floor near the doorway, including water bottles, a bag of trail mix, TheraBands, kneepads, tennis balls, socks, tei fu, hummus, a tensor, notebooks, a laptop, and bandages. Lots of bandages. A couple of pairs of Chuck Taylors are perched on the piano in the corner.

The dancers are playing audience to Helmer, who stands alone in the centre of the room. The shift in her character begins with the tiniest of contractions in her gut, a tensing of the fingers as her bare feet shift back and forth on the floor. Her collarbone begins to jut and her neck is all sinew as guttural sounds creep from her throat. Helmer's face and body smoothly transition between an infinite array of emotions.

The intensity of Helmer's strange, hybrid-creature monologue grows to eye-bulging heights. It is eventually broken by a sort from one of the dancers, resulting in a gale of laughter from the entire group, Sims and Helmer included.

"When we're uncomfortable with what we're watching, laughter is what we turn to," Sims says as he goes to join Helmer, placing his hands on the tops of her feet. The monologue is repeated, this time with Sims' weight to help Helmer be aware of her body's natural reaction or instinct that she is wanting to feel and fight and eventually control.

"I'm trying to get them to bring the outsides of themselves, the outside of the emotional spectrum. And we're not sure how it's going to feel," Sims says in regards to his studio exercises, all of which are building up to half an hour of work. "You have to protect yourself, but they are very willing dancers. We've had a lot of discussions on ways of making pain performable."

"It's inspiring to watch him work," dancer Alexandra Garrido reflects. "We're going to the darker places that we generally want to hide from the public. We're finding ways of moving that are not socially acceptable, and definitely not comfortable, yet those places are natural. They're already in the body but it's something that we're taught not to do. It's exhausting at times, but so exciting. We're excited to be able to share it. This is a part of us. It's a part of everybody. That's what we're showing."

Bourget describes Sims' three-week long creative process as a playground, one that was able to function as comfortable grounds for exploration due to the non-judgemental and non-competitive studio atmosphere.

"Riley has a very open and host energy, which creates a safe environment to explore different emotions and qualities," dancer Kelsey Todd says. "Even though he's asking us to explore these darker sides, he's not asking us to go to an unsafe place. There was one particular exercise at the beginning of the process where a few of us got shook up so he played the song Bubble Butt and we laughed and got into a good mood and went on. Dance, regardless, is emotionally hard, whatever process it is. So it was nice to just be up front with your feelings and use them."



Sims is conscious about relaying clear and consistent observations and notes to the dancers throughout rehearsal. Feeling comfortable is necessary for taking the work further.

"With emotional work like this it's important not to go too far into the personal. The goal isn't to get really upset. It's to explore different states from a real place while maintaining an awareness of what is going on in order to recreate it in performance," Helmer states. "It also helps that everyone is in it together. We're all really close and supportive of each other."

"We're going to very unexpected places but it's therapeutic in a way. I've gone through a wide array of emotions this week alone. 'Raw' is a word which definitely sticks out," Garrido laughs. "But we are blessed and we're lucky that we get to explore. It's our privilege as artists. Some people don't get to go to those places."

Sims, a Toronto native who is currently based out of Ottawa, found dance through classical opera training, followed by musical theatre studies. Since graduating from Toronto Dance Theatre, he's had the opportunity to work intimately with the likes of Canadian modern dance behemoths Peter Boneham and Tedd Robinson. Not to mention the fact the he also has his own emerging company, Social Growl. Up and coming doesn't even begin to describe him.

"The benefits of working with an emerging choreographer is having them bring their fresh, energetic and flexible approach to the work," dancer Janelle Hacault says. "It was a risk to hire a fellow emerging artist but we really liked that. We picked him because he was different. His work was unique. Winnipeg hadn't really heard of him and that would get people's curiosity going."


“We felt it was important to connect with another emerging artist in order to really nurture and showcase new dance in the Winnipeg community,” Helmer says, continuing Hacault's thought. “It's been interesting working with a choreographer who is in our same generation and demographic. We are approaching the work from similar viewpoints and experiences of the world and the dance that has emerged from that feels very current and relevant. The biggest challenge has been finding funding from arts councils. It's more difficult for them to invest in a project when everyone involved is an emerging artist.”

Sims also feels affected by the constant struggle to attain arts funding as an emerging artist, but stresses the importance for collaborations such as this one.

“Both parties being classified as emerging makes for very contemporary work,” Sims says. “What progresses an art form is sticking to your own beliefs and aesthetics. I try to make the dancers human, relatable personalities. The audience should be watching people who are just like them. It's not just dancing.”

The vibrant energy surrounding the exchange between Sims and Nova is inspiring and highly contagious. One can't help but feel that something important is taking place.

“Riley challenges us to find the real person inside the characters, find the truth in them,” Garrido observes. “That's what makes it funny and heartbreaking, real human experience.”


Nova Dance Collective will be premiering Riley Sims' work officially in February, 2015.