Yorkton Arts Council

Tomatoes Tried to Kill Me But Banjos Saved My Life isn’t just a show, it’s a cause. A heartfelt passion project that began as a nudge after Keith Alessi’s life took a major turn, it has been his mission to raise money for causes close to his heart. Through donations, including 100% of all artist fees, the show has raised over $1.2 Million Dollars (CAD) as of December 2025 for various charities including cancer organizations, music programs, community groups and artist funding and development. All Proceeds from the performances at the King’s Head Theatre will benefit the theatres Angels of Angel program which supports creation and production of new theatrical productions. The show has sold out runs across Canada, Off-Broadway in New York City, and at the Edinburgh Fringe Festival in Scotland 3 years in a row. It has toured internationally, including Canada, the US, England, Scotland and Australia. Keith shares his exceptional true story of leaving the world of corporate board rooms behind to follow his long-delayed passion-playing the banjo! When faced with a deadly cancer battle, his musical pursuit took him on a journey that became the key to saving his life. Told through authentic storytelling, heartfelt humor and music, Keith’s story is an uplifting tale of challenge, triumph, and the the healing power of the arts and music.

Kellie Loder is a powerhouse performer-an award-winning singer-songwriter whose authenticity, heart, and electrifying energy light up the stage. Blending contemporary Americana with folk-pop, Kellie delivers emotionally rich, high-impact performances that resonate long after the final note. Accompanied by Mark Neary (bass) and Noah Malcolm (keys, backing vocals), Kellie performs as a trio, showcasing songs from their acclaimed album Transitions, including fan favorites "When It Comes to You," "Suit & Tie," and "Honey I’m Scared." Whether on guitar, piano, or vocals, Kellie’s captivating stage presence, powerful storytelling, and infectious charm make every show unforgettable. With heartfelt songs, humorous banter, and undeniable charisma, Kellie will have you laughing, crying, and telling your friends. One thing is clear to anyone who’s seen them live: Kellie Loder is a rare talent on the verge of a global breakthrough.

Built on emotion-stirring storytelling and unmistakable vocal harmonies accompanied by a century-old instrument, Burnstick, a JUNO nominated husband and wife Folk duo, are intent on creating affecting music that inspires listeners to feel. The Manitoba based Indigenous duo features Nadia and Jason Burnstick, esteemed independent artists who united over a decade ago to create deeply moving, cinematic Folk music using their trademark vocal pairing, and Jason's mastery of the lap slide Weissenborn guitar. Backed by their drummer, Tony Raybould, Nadia and Jason perform deeply resonant music that strikes a chord with audiences. With thought-provoking lyrics and engaging stories, they leave listeners reflecting on their own experiences, feelings, and memories.

Savour the tradition of the troubadours, as Ménestrel breathes vivid life into music that has been shaped by centuries. Their voyage through historic repertoire is accented by lute, guitar and the intricate colours of the human voice. With selections ranging from grand compositions by Purcell, Dowland, and Monteverdi to nostalgic Gaelic, Québécois, and English folk melodies, Ménestrel reminds us of the pleasure of these musical forms. The group consists of recognized artists Janelle Lucyk (soprano), Kerry Bursey (tenor, guitar and lute) and Vincent Lauzer (recorder). who have established a reputation for combining ancient repertoire with elements of folk song.

Stunningly powerful harmony floods the room as Windborne draws the audience along on a profound vocal experience. Songs from many times, in many vocal styles and cultures are brought vividly to life through performance and story. Windborne believes that singing is powerful-in community, as performance, with friends, or with strangers. Their show doesn't just dazzle the audience with vocal fireworks, it evokes a deep emotional response that connects the listener with people, places, and ideas. Windborne polish & attention to detail is among the finest in vocal music, that one might expect from a top classical ensembles . Turning this care to vernacular music and songs of the common folk, songs from movements of the past are revivified in the context of today. Their mastery of music in styles such as Corsican polyphony, Occitan vocal harmony, and pre-Christian Lithuanian music are not distant curiosity, but footholds to build empathy, community, and cross-cultural understanding.

In 1991, The Johner Brothers took the Canadian country music audience by storm. Brad and Ken were named "Duo of the Year" by the Canadian Country Music Association, kicking off a string of awards. After being crowned 'Entertainer of the Decade' and releasing a remarkable 26 singles from six hit albums, Ken retired from the music business in 2002. Brad continued with a hugely successful solo career, recording six highly praised albums and awarded "Male Artist of the Year" by the CCMA. After twenty years, the Johner Brothers are back together and looking forward to a busy year playing shows across western Canada. Backed by two of Brad's sons, the show is a fresh version of what Johner fans have come to expect as they are astute professionals and true gentlemen of the stage.

A Canadian folk staple, The Fugitives have been nominated for a JUNO, as well as 7 Canadian Folk Music Awards, including Best Vocal Group, Best Ensemble, and Best Songwriter. They've performed at Glastonbury, were awarded Best Folk Album of the Year by the German Music Critics’ Association, and were named a 2020 Globe & Mail "Top Arts Pick of the Year". They've earned a reputation for unforgettable live shows, brimming with complex harmonies, infectious storytelling and top-notch musicianship. As the CBC has it: "This show is simply brilliant." In 2026-27, they will be touring in support of their seventh album.

These series of works are an excerpt from a previous exhibition 'TADHANA'. These works explore the views as newcomer’s common concept that "fate brought us here" and the most common Filipino outlook of "bahala na" / "come what may" attitude which is prevalent to anyone. However, this attitude is not only a visible trait for newcomer alone, but these are also actually a day-to-day outlook of everyone just varying on expression and terms. The exhibition aims to finds parallels within culture to create better understanding of each and everyone’s' disposition in life. These bodies of work centres on the ideas of 'fate' while relating it to the quest for hierarchy of the modern society. As we live in a time that is always hungry for accomplishment, results and evidence of success, Patrick wants to elaborate the significance of fate thru commentaries using characters of reimagined folklore of his culture, patterns and juxtaposed imagery in order to give new meaning on how fate will lead us to one’s self discovery and freedom. Patrick Fernandez is a contemporary visual artist who lives and works in Regina, Saskatchewan. A native of Pangasinan, Philippines, his colourful paintings use symbolism and reimagined folklore imagery as a means of storytelling. His works are based on personal experiences that deal with displacement and adaptation, using circumstances as turning points for growth.These series of works are an excerpt from a previous exhibition 'TADHANA'. These works explore the views as newcomer’s common concept that "fate brought us here" and the most common Filipino outlook of "bahala na" / "come what may" attitude which is prevalent to anyone. However, this attitude is not only a visible trait for newcomer alone, but these are also actually a day-to-day outlook of everyone just varying on expression and terms. The exhibition aims to finds parallels within culture to create better understanding of each and everyone’s' disposition in life. These bodies of work centres on the ideas of 'fate' while relating it to the quest for hierarchy of the modern society. As we live in a time that is always hungry for accomplishment, results and evidence of success, Patrick wants to elaborate the significance of fate thru commentaries using characters of reimagined folklore of his culture, patterns and juxtaposed imagery in order to give new meaning on how fate will lead us to one’s self discovery and freedom. Patrick Fernandez is a contemporary visual artist who lives and works in Regina, Saskatchewan. A native of Pangasinan, Philippines, his colourful paintings use symbolism and reimagined folklore imagery as a means of storytelling. His works are based on personal experiences that deal with displacement and adaptation, using circumstances as turning points for growth.

A Selection of Specimens is a solo exhibition be artist Kristin Teetaert. This exhibition features drawings, felt sculptures, and painted tiles. Kristin states: "The specimens came to life in 2012 in the form of a charcoal gestural sketch. The idea of sculpting them in wool followed. Wool allowed me to use bright colours and to create sculptures that were malleable. A tactile person, I wanted to play with my sculptures. This idea of being able to play with and manipulate the sculptures inspired the tiles; they are all able to interconnect with each other on all four sides. An important aspect of them was the ability to create different paths between the specimens by physically moving the tiles, or as a viewer, by following the shapes as they weave through the installation. I often alternate between two and three dimensions as I work. They are surprisingly autobiographical. I have always had a fascination with botany and nature, and a love of the unique shapes found in the natural and microscopic world. This, combined with my love of colour, has resulted in this series of playful sculptures and drawings that explore the ideas of interconnection, growth, spontaneity, and evolution."A Selection of Specimens is a solo exhibition be artist Kristin Teetaert. This exhibition features drawings, felt sculptures, and painted tiles. Kristin states: "The specimens came to life in 2012 in the form of a charcoal gestural sketch. The idea of sculpting them in wool followed. Wool allowed me to use bright colours and to create sculptures that were malleable. A tactile person, I wanted to play with my sculptures. This idea of being able to play with and manipulate the sculptures inspired the tiles; they are all able to interconnect with each other on all four sides. An important aspect of them was the ability to create different paths between the specimens by physically moving the tiles, or as a viewer, by following the shapes as they weave through the installation. I often alternate between two and three dimensions as I work. They are surprisingly autobiographical. I have always had a fascination with botany and nature, and a love of the unique shapes found in the natural and microscopic world. This, combined with my love of colour, has resulted in this series of playful sculptures and drawings that explore the ideas of interconnection, growth, spontaneity, and evolution."

The Burden of Street brings together paintings that depict contradictory compositions to provide distinct visual experiences while exploring the complexities of our surrounding built environment. The element of the wall plays a significant role in this body of work as public sites for dwellers to engage with the political and social fabric of society. These paintings aim to explore the dichotomy of walls as both tools of control and platforms for resistance. They delve into how authorities use these walls to impose their ideologies and values upon the people, while also emphasizing the agency of dissidents who transform these spaces into channels of protest and expression. A diverse range of artistic techniques and mediums, including collage, painting, drawing, and graffiti, are used to create satirical and ironic situations that reference the deep dualities, disparities, and hypocrisies inherent in ruling systems. Iranian born visual artist, Mohadese Movahed focuses on painting in her studio practice. She graduated with a Bachelor of painting degree from the University of Science and Culture (USC) in Tehran and an MFA from the University of Regina, SK, Canada in 2020. Currently based in Vancouver, Movahed has exhibited her work nationally, internationally and is a recipient of Elizabeth Greenshields Foundation.The Burden of Street brings together paintings that depict contradictory compositions to provide distinct visual experiences while exploring the complexities of our surrounding built environment. The element of the wall plays a significant role in this body of work as public sites for dwellers to engage with the political and social fabric of society. These paintings aim to explore the dichotomy of walls as both tools of control and platforms for resistance. They delve into how authorities use these walls to impose their ideologies and values upon the people, while also emphasizing the agency of dissidents who transform these spaces into channels of protest and expression. A diverse range of artistic techniques and mediums, including collage, painting, drawing, and graffiti, are used to create satirical and ironic situations that reference the deep dualities, disparities, and hypocrisies inherent in ruling systems. Iranian born visual artist, Mohadese Movahed focuses on painting in her studio practice. She graduated with a Bachelor of painting degree from the University of Science and Culture (USC) in Tehran and an MFA from the University of Regina, SK, Canada in 2020. Currently based in Vancouver, Movahed has exhibited her work nationally, internationally and is a recipient of Elizabeth Greenshields Foundation.

Invisible Winds: Stories You Can Not See, Journeys toward wholeness Curated by Dean Bauche, featuring Mary Anne Baxter, Dani Bauche, Dean Bauche, Leah Marie Dorion, Susan Gordon, Iris Hauser, Holly Hildebrand, Roger Jerome, Robert Jerome, Emily Johnson, Karlie King, Bonny Macnab, Jon Philpott, William Philpott, Paul Trottier, Rebecca Toderian, Lyndon Tootoosis, Carol Wylie, and JingLu Zhao. Invisible Winds is a timely and inspiring exhibition featuring the work of established and emerging artists from across Saskatchewan. It invites us to stop and listen, to see and hear invisible stories carried by so many around us. Accompanied by the thoughts of David A. Robertson, author of 'All the Little Monsters' and winner of the Governor General's Literary Award, this exhibition explores issues such as mental health, grief, and the invisibility of trauma in our lives. It highlights the importance of sharing one's story and the necessity of being seen for one's pain to start healing. Invisible Winds "honors those with Lived Expertise, [it] uses art to speak that experience to others". Rebecca Rackow, Assistant Executive Director Canadian Mental Health Association Saskatchewan Division

Curated by Melanie Monique Rose Nisto is the Cree word for "three", which holds abundant cultural, religious, and spiritual significance throughout Treaty Territories 4 and 6, Abya Yala 1, and across the world. The braid, made of three strands, carries teachings of the unity of mind, body, and spirit, and connects us to our ancestors and heritage. Artists Cristian Barreno (Maya K’iche’), Maria Rose Sikyea (Yellowknives Dene), and Emma Noyes (Sinixt) are three Indigenous artists rooted both in their homelands and in diaspora, with deep connections to water, sky, and land. Their families lived here long before the names "Canada", the medicine line, borders, or walls existed. Indigenous peoples had lifeways, paths, and relationships sustained through trade, celebration, and war. For example, before Canada declared the Sinixt 2 "extinct" in 1956 and before the creation of the Canada - US border, they freely harvested and hunted on their ancestral homelands. In 2021, their territorial rights were restored, yet they still face obstacles crossing the border to return to their homelands. Despite the enduring challenges of colonialism, these three artists affirm their presence and relationality through their work. They honor, celebrate, and assert that they are here, always have been, and always will be. 1Abya Yala: the entire land mass currently known as North & South America 2Sinixt: descendants of the Arrow Lakes people, West Kootenays

The exhibition Wóknaga1, Nakoda for "He Tells His Own Story"2, features paintings by Métis, Nêhiyawak/Nakoda/Anishinaabe/Scottish artist, Dave Pelletier, of môso-tâpiskan3, now known as Moose Jaw. Working within a Woodland School style, Pelletier honours Indigenous intergenerational transfer of knowledge through storytelling within these canvases, while offering his own imagined narratives that play out through the graphic and colourful compositions of animals and figures of Turtle Island. Inspired by the work of Norval Morriseau, Pelletier’s compositions, of stylized, abstracted forms, bold colours and crisp, black outlines and energy lines, offer narratives that speak to the artist’s own search for traditional knowledge and his journey to place himself and connect with his Indigenous cultures. 1 Pronounced WOKE-nah-gah in Nakoda. 2 Translated by Nakoda speaker, Matthew Spencer, May 12, 2024. 3 Pronounced moh-so-TAHP-skun in nêhiyawak (Cree).

sharai mustatia is a Métis/Romanian artist whose work is shaped by their journey of healing through intergenerational trauma. As a mother who was coerced into giving up two children for adoption, their art explores survival, loss, and a search for belonging. Through analogue photography and experimental techniques, sharai's images are emotional and spiritual reflections, layered with meaning, healing, and processes of reconciliation with past and present. At the heart of sharai's work is a desire to connect - not only with themselves but with others who may share struggles through grief and loss. As sharai explores their ancestral roots, their understanding of where they come from informs how the past affects their own life. sharai's art of visual storytelling becomes a path of potent self-forgiveness and reclaiming pieces of themselves thought lost. "KEEP GOING" is a space of healing, self-discovery, and a reminder that transformation, growth, and belonging are attainable.