Hailing from Brampton, also known as the Flower City, Qimora Bergman, who professionally goes by her first name, has a rich background in classical music from age three when she started piano lessons. Although she has since branched off onto other musical ventures, her start in the classical music scene helped Qimora learn the techniques she needed to help her achieve her goal.

The piano is not the only instrument Qimora is good at playing. She is a self-taught guitarist and picked up the skill during the pandemic.

Qimora always had a love for singing. Her devotion to singing led to her developing a passion for songwriting, which she uses to express her emotions instead of simply writing them in a journal or a diary.

“I didn’t feel like writing it out because I was going too slow,” said Qimora when describing how songwriting is better at helping her process her feelings.

The songs Qimora creates provide an outlet for how she’s feeling at a given time and connect with those experiencing the same emotions. The topics Qimora touches on include mental health and mental illness, how weird and uncomfortable friendships and romantic relationships can be at times, and documenting her growth and evolution as a person.

Originally, Qimora was supposed to join Honey Jam two years ago. However, during that time, she was in a program at Soulpepper Theatre. Her singing mentor, Mackenta, recommended the development programme at the time. She was supposed to do it then but opted not to, as she was dealing with personal issues.

A couple of months ago, watching a live performance of Olivia Dean on YouTube made Qimora think about her future and made her sure about achieving a singing career. It led her to reach out to Mackenta after two years for help to make her singing career a reality. Anxious at first, Qimora received encouragement and support from Mackenta, who she describes as one of her biggest cheerleaders.

The Honey Jam audition marked the first time Quimora performed with original music.

Being part of the Honey Jam mentorship has taught Qimora about community and the importance of making friends within the industry. Connecting with friends in the industry can be a great way to help one another help regarding projects. Along with being part of a sisterhood, Honey Jam also helped Qimora gain more confidence in her art and realize she could do this.

Weeks before the August 29th showcase, Qimora shared excitement over performing the song she auditioned with. With her newly-adapted instrument, the guitar, Quimora performed her original song, Predictable Story.

As mentioned earlier, Qimora describes her life as a movie, where she has all the troupes. She describes the events in her life as a predictable plotline. Predictable Story is a vulnerable song about trusting the process, showing listeners her journey within a few minutes in a way that is the most authentic to her, being a mirror to those with a similar experience, and encouraging people to move forward. The song ends in a very triumphant way and with a lot more hope.

As an artist in multiple facets, it’s surreal for Qimora to see that things are starting for her and are not just a quiet dream. She has plenty of other songs she would like to release and perform and would like to have art as her primary career.

Quimora’s performance wasn’t all to look forward to at the 29th Honey Jam showcase. In addition to the 2024 roster consisting of 16 artists from across the country, including Aashika, Annabel Oreste, Cerae, Chloe Brodie, earth 2 Tiffany, Elisha, Hybrid Tee, Kat Valentine, Kateryna Grace, Katrina Anastasia, Kiza, Margaret Williams, Nadia, Qimora, Rebecca Sichon and TT, tribute performances were also held.

The first tribute celebrates the 30th anniversary of Sarah McLachlan’s debut studio album and her induction into the Canadian Songwriters Hall of Fame. Leah Holtom, Honey Jam alum, performed McLachlin’s 1998 single, Angel.

A tribute to Beyonce’s eighth studio album, Cowboy Carter, which celebrates the Black pioneers of the country genre, ended the night. Honey Jam alums BLUE WILL, Grace Marr, Marley Unknxn, Elise Mariah, Divine Lightbody, and Sofinari perform a medley of hits from the album.

This year’s annual showcase serves as a prelude to the anticipation for the upcoming 30th anniversary of Honey Jam in 2025.

The post A Look at the Musical Journey of Honey Jam Artist Qimora appeared first on Toronto Guardian.

FabCollab, a new grassroots arts organization, is here to bring exciting musical and dance performance to the basement clubs and community hubs of our beloved city. With its emphasis on female and BIPOC artists, FabCollab also promises – and delivers on – an inclusive environment that celebrates, and amplifies, traditionally underrepresented voices.

Late last year, the Toronto Guardian had the opportunity to check out one of FabCollab’s “La Cueva” flamenco shows, hosted at BSMT254, near Lansdowne Station. Inspired by the tablao flamenco venues nestled into the caves of Granada – “cueva” means cave in Spanish – it proved a fantastic and remarkably authentic evening of guitar, song, and dance.

Honestly, stepping into the cozy confines of BSMT254, we weren’t sure what to expect with La Cueva. A lot of flamenco in this city tends towards the corporate – big, stagey shows with amplification and glaringly bright lights – and so we were delighted to find in La Cueva an intimate, welcoming space, as authentic a flamenco experience as one might find on a frigid Toronto day.

La Cueva sometimes felt more like a gathering of friends, with a welcome improvisational spirit that’s lacking in a lot of contemporary performance. Indeed, judging by the whoops and impromptu applause emanating from the audience, there were surely many more members of the flamenco community in attendance than those on stage – and the show only benefitted from that atmosphere.

FabCollab’s other big draw is its monthly “Mausiqi: Global Jam Sessions” series, hosted at the Alternity Community Club near St. George Station (it’s easy to spot, right next to Bata Shoe Museum). For a certain type of music lover,  Mausiqi presses all the right buttons. Each evening begins with a short performance by a featured musician, followed immediately by a jam session where attendees are invited to rock out on their own instruments or try something new. Alternity’s relaxed cafe environment encourages socialization, with plenty of opportunity to make friends with the didgeridooist or harmonicist or tambourinist sitting on the chair next to you.

Central to all FabCollab events is its mission statement of “amplifying minority and underrepresented groups, particularly BIPOC and female-identifying artists.” La Cueva featured a predominantly female roster of singers and dancers, while the MAUSIQI music jams are all women-led. FabCollab’s inclusive philosophy extends to the Pay-What-You-Can admission fee at Mausiqi; while guests are encouraged to make the suggested ticket price of $20, FabCollab promises no one will be turned away for inability to pay full price.

The Mausiqi jam sessions continue on February 28 at 7:30 pm. while La Cueva flamenco returns on March 5 at 7:00pm (get there early for the best seats and a bite of Spanish tortilla while you wait).

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For all things FabCollab, including tickets, check out
Eventbrite – FabCollab (Toronto) and FabCollab.ca

The post FabCollab Brings Authentic Flamenco and Inclusive Performance to the Toronto Arts Scene appeared first on Toronto Guardian.