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Glenn-Crawford

Glenn Crawford was the instigator of the Build Our Bank and LGBT Village initiatives in the famously reserved capital since starting the volunteer-run project in 2007. While he has recently stepped down as president of The Village, making room for new ideas from successor Ian Capstick, Crawford has left an indelible mark on a town where there wasn’t a lot of consensus about creating a gay village.

Born out of town hall meetings about the reconstruction of Bank Street, the idea of designating the stretch between Wellington and Gladstone as The Village was about “trying to get a sense of belonging and place, where people feel they can be themselves, have access to services, fool around and shop,” Crawford says. “Gradually a lot of LGBTQ organizations have coalesced into this area… Forming The Village was a natural progression.” When he started fundraising and participating in public advisory committees five years ago, Crawford came up against both the veiled homophobia of a local business improvement association, as well as criticism from the LGBT community that the project was coming 10-20 years too late.

“People were asking Why do we want to create a ghetto? A lot of that criticism comes from people who are out [of the closet],” Glenn says with his typical incisiveness, “from people who have the relationship, two dogs and friend circle. I don’t need a Village either! It’s for people who are struggling in suburban or rural areas; it can be for everyone.” And as a child of the sleepy, inaccessible suburb of Kanata – “not an easy place to grow up gay” – Crawford speaks from experience. Like most LGBT people in any Village in any major city anywhere, the urban geographic bubble exists as much for townies as it does for people who have moved there to escape the stifling places they come from.

And lest you think that Crawford’s project was for commercial reasons alone, it may seem counterintuitive that he’s not a shop-keeper himself, but rather a website and graphic designer who lives just off Bank and works part time in a local gallery. “There’s a social aspect to it. Taking pride in who you are and finding a sense of value in there being a community,” which for him includes keeping the subsidized housing in the area, and watching out for condo development that could “force out the funkier elements.”

“It’s [about] putting roots down; people say it’s 20 years too late, but for me it’s just in time,” Glenn concludes. Echoing a theme that has emerged in everything from architecture to sociology, he adds that “The online world is not the same as having a real community. I worry about that, about younger generations, they’re not valuing the sense of community.”

So maybe when you walk by the “We Demand” mural that The Village commissioned on Gladstone and Bank Streets, you might get a sense of what that community looks like and is for, and clap your fairy hands for Glenn Crawford. Photo by Noreen Fagan


A graduate of l’École de danse du Québec in 1989, Harold Rhéaume first worked with Danse Partout (Québec) before joining the ranks of the prestigious Dance Lab Group in Ottawa. Under the guidance of Peter Boneham, he began exploring the fundamentals of dance performance and choreographic creation. He settled in Montréal in 1993 and rapidly gained recognition. In 1997, La Presse newspaper said that "…when he dances, Harold Rhéaume radiates such intensity that he seems larger than life, …he is among those who dance to say things and move you." Like Robert Lepage, Rhéaume returned to Québec city, founding his company Le fils d’Adrien danse (his father’s name) in Saint-Roch, which was at the time transforming into a culturally vibrant neighborhood.

With his humanism as well as his interest in clarity of intent, Harold Rhéaume distinguishes himself from other formal and conceptual trends. His pieces are inventive and refined without ever being pretentious. Inspired by day to day life, Rhéaume works from instinct and spontaneity and has a wide spectrum of influences including musicals, theater, painting, modern architecture, jazz and contemporary music. He also distinguishes himself in having his dancers be part of the creative process. Their personalities and personal experiences, and even their limits, are of much importance in shaping the shows.

Openly homosexual, the choreographer responds with humor when a journalist asks him if all contemporary dancers are gay : "That is wholly exaggerated. I’d say 90%!"

In addition to the choreographic work with his own company, Harold Rhéaume has worked with Cirque du Soleil and contributed to theater, cinema and opera. He is a teacher of physical expression at the Conservatoire d’art dramatique de Québec, as well as choreographic creation at l’École de danse de Québec and l’École de danse contemporaine de Montréal.

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