The sweep of this year’s X-Avant festival October 15-19, titled TeXtures, suggests a "hive mind" at work, rather than a single curator. Who else was involved and what was their role? And what was the process over time?
The majority of the festival curation was done by myself, however, like any good curation, you use the strength and expertise of your community. Programming a festival like this requires a delicate dance – creating a lineup that’s both expansive and cohesive. I put a lot of effort into representing a wide array of communities and ensuring that, alongside the expected experiences, there are moments of surprise – those unexpected additions that encourage audiences to open up to new musical styles. Small shifts in programming can have a large impact, and we’re very attentive to community input to keep evolving in a way that resonates with everyone involved.
The spark for TeXtures’ first program at Allan Gardens was Japanese-born artist, composer, and curator. Aki Onda who was born in Japan and resides in New York, and wanted to bring Phew to North America. We agreed that she would be the perfect artist for a cross-Canada tour this year, kicking off in Montreal and concluding in Vancouver, with four stops along the way, one being The Music Gallery.
Our "Exit Points" program was brought forth by Michael Palumbo, and Tad Michalak, a member of our curatorial team, deserves a shout-out as well for introducing me to Rafael Toral, one of our resident advisors this year, who adds another unique layer to this festival. The remaining lineup was shaped by the artists I wanted to bring to the Music Gallery this year, choosing people I wanted to prompt with this theme.
You’re going beyond your home base at 918 Bathurst this year – Allan Gardens as mentioned, and also a venue new to the WholeNote team – The Bridge (Ukai Projects) on Adelaide W. for night 4.
Well, 918 is not physically accessible, and our organization recognizes the importance of addressing this to make our events truly inclusive. Accessibility is a crucial factor in making our spaces welcoming to all communities, especially those who require additional support. It’s something we are continuously working toward improving to ensure that our events are for everyone who wants to attend.
I also believe that effective creation extends beyond just the artist—it’s deeply connected to the setting. Some events truly come alive in smaller, more intimate venues, while others benefit from a larger space to amplify the experience. For me, the process is about making sure the space itself feels right for the concert, as it’s not simply a matter of booking an artist and placing them on a stage. Half of the impact lies in ensuring the venue complements and elevates the performance, allowing the artist and the audience to feel fully immersed in the moment.
Talk about “TeXture” as a theme: does the theme come first or last or somewhere in between for you?
I usually begin programming with a theme; it helps me think outside the box and explore how playful programming can unfold in unique or unexpected ways. For instance, “Texture” emerged from the idea of exploring how texture can be understood not only in music but as a cross-disciplinary tool. It serves as a kind of creative glue, providing cohesion while also prompting artists to consider how their work can interact with and be shaped by textural elements.
This thematic approach offers a framework for artists to think about their art in new contexts, encouraging them to explore dimensions they might not typically consider. I think it’s a powerful tool to prompt artists and encourage them to think beyond their practice, especially for an experimental music space.
The lineup for the final concert, from Glass Orchestra to Future Proof straddles the Gallery’s history.
I truly believe that a great community space should be multigenerational, multidisciplinary, and a place where learning, sharing, and growth happen from all sides. It’s about creating an environment where people of all ages and backgrounds can connect, exchange ideas, and learn from each other. This kind of space fosters a dynamic, inclusive community that thrives on diverse perspectives and experiences, ultimately strengthening our collective understanding and creativity. That’s why I think this [articular day is both unhinged, and also perfectly playful. We’ll see how it goes!
In what ways does this year's X Avant reflect what you've brought to the Music Gallery (and what the Music Gallery has offered you?)
When I inherited this festival, it was primarily designed to explore genre. However, I don’t typically program within strict genre streams, which to be honest, was a challenge at first. To address this framework in my own way, I started looking at how to blend communities, reimagine spaces, and explore a single theme to see how various artists might interpret it. This approach has shown me that genres aren’t as rigid as they may seem; in fact, there’s room to create new hybridizations of sound, tracing back to the origins of genres while giving them space to evolve.
Sanjeet Takhar was appointed Artistic Director of the Music Gallery in November 2020.
