From darkness into light.

For students at Msgr. Fraser College, that imagery depicts a migrant’s journey to a new land. And it was the central theme of an indoor art installation students created for Toronto’s annual Nuit Blanche all-night festival.

TORONTO – To shed light on some of the darkest moments in the history of Catholic education, students from St. Joseph’s College School unveiled their Residential Schools Memorial Wall at the annual Nuit Blanche all-night art festival.

TORONTO - Toronto’s Catholic school board made its second appearance at Nuit Blanche, Toronto’s annual dusk-to-dawn outdoor art exhibit, this year spreading a message of charity.

TORONTO - Bright lights, booming music and large crowds — there is no party quite like Nuit Blanche. For one night each year, the streets of downtown Toronto erupt in celebration of the city’s rich arts culture. This year the city’s Catholic community joined the party.

The Newman Catholic Students Club (NCSC) from the University of Toronto facilitated an all-night adoration at St. Thomas Aquinas Church Sept 29. They called the event Nuit Benoit, which translates to “Blessed Night.”

“Something on your heart? Spend some time with Christ,” read a small whiteboard easel on a quiet corner at St. George Street and Hoskin Avenue, inviting passersby to enter the church from 8 p.m. to 8 a.m.

“This is the Year of Faith, the year of evangelization,” said Christina Alaimo, NCSC president. “We want something that can draw people’s attention. We want them to be seduced by Christ.”

Nuit Benoit is NCSC vice president Natasha Milavec’s brain 

child to counter the events of Nuit Blanche as part of the group’s new initiative.

Milavec recalls hearing the creak of the church’s large wooden doors and watching an adorer step out.

“He looked like he was just filled with the Spirit,” said Milavec. “He said that if he had known that this was here, he would’ve come sooner. I think that is what is most satisfying about this event. People’s faces just looked other worldly when they came out.”

More than 100 people attended the event and adored the Blessed Sacrament throughout the night. Many also participated in praise and worship and received the sacrament of Reconciliation.

As Nuit Benoit worked to act as a retreat from the city, the Toronto Catholic District School Board (TCDSB) saw the evening as a platform to display its message to the community. Four exhibits were featured over the night.

John Notten, a teacher at Mary Ward Catholic Secondary School, presented an art piece for the third year in a row. This year’s piece, The NeXt Desk, was displayed at the Distillery District as part of Thom Sokolsky’s project, Dada Reboot. It is a 13-foot wheel of 20 classroom desks. “It’s mobile, interactive and interconnected,” said Notten.

The NeXt Desk is a symbol representing a new vision to integrate 21st-century technology more seamlessly into the school system.

“The notion of traditional education has been unchanged since the Industrial Revolution,” said Notten. “But in the 21st century, technology is forcing us to re-examine how we educate our kids today.”

Notten’s students understood the state of change in their own way. They called it “the state of flux.” Each student took a piece of a car and transformed it into something that represented their experiences. These individual pieces were then reformed on Yonge and Gould Street as the Fluxmobile.

“It’s a huge honour for the students. I’m so proud of them,” said Notten. “It took my whole life to get my art featured at Nuit Blanche and these 16- and 17- year-olds already have one.”

A second installation from Mary Ward, supervised by Marissa Largo, was located at Wychwood Theatre. Paralandscape is an art piece where people were instructed to take hold of a white parachute as images from Google Earth are projected onto the cloth. As the images shift, they shook the cloth to skew the landscape for “an interactive globetrotting adventure.”

St. Joseph’s College also had its own art piece called the Magic Window. Students collected 35mm unused slides from across the school board and projected them through the windows of their school. This “stained-glass quilt” displayed 50 years worth of traditional curriculum against the modern frame of the building.

(Din, 21, is a third-year journalism student at Ryerson University in Toronto.)

TORONTO - The idea to capture the voice of “the weeping prophet” Jeremiah came to composer Peter Togni back when he was 19 and listening to Jeremiah’s lamentations as composed by Orlando di Lasso.

“It just blew me away, and I had this idea tucked way in the back of my brain that maybe one day I would end up writing that,” said Togni.

“No matter what religion you are or aren’t, the message of Jeremiah, to me, is a universal one. It’s really about somebody who tells the truth, and is disregarded. That’s the whole piece, in a way.”

In his work Lamentatio Jeremiae Prophetae, Togni, who was recently the recipient of the Queen Elizabeth medal, has charted the journey of the prophet in a four-movement concerto for bass clarinet and choir, the third of which will be showcased during Toronto’s Nuit Blanche art festival on Sept. 29-30.

“It’s the personal journey of Jeremiah through various stages of his experience of being a prophet. Imagine waking up one day and discovering that you’re called by God to be a prophet; it’s a rather difficult thing to have to assume,” said Jeff Reilly, renowned bass clarinetist, who is on both the original recording with the Elmer Iseler Singers and will be performing with the Nathaniel Dett Chorale during Nuit Blanche.

The composition has a profound effect on Reilly, as Togni (a long-time personal friend and musical collaborator) wrote the piece for Reilly specifically.

“For him to write something for me was probably a very natural extension for him of our working relationship, and, for me, probably the greatest gift I’ve ever received from any human being in my entire life was that piece,” said Reilly.

“I still look at it as an act of grace — that that piece exists.”

The four movements of the concerto act as a vehicle for Jeremiah’s suffering, contemplation and eventual acceptance of the task set before him. Togni deftly weaves the Latin text of the choir with the bass clarinet as the voice of Jeremiah — both areas work as a counterpart to the other to advance the plot and emphasize the prophet’s journey.

“In one way, it’s a virtuosic concerto… it stems from the early meanings of the word concerto which means to play together,” said Togni. “Sometimes the choir is kind of like a Greek chorus, like an architect of the space. The bass clarinet is Jeremiah, speaking in that space.”

Togni also notes that the concerto is reflective of a 21st-century paradigm, wherein he is able to allow Reilly a great element of creative control in his own right.

“The piece is 75 per cent composed, and 25 per cent improvised. Jeff is 25 per cent improvised, so he feels things in the moment. It’s kind of as if I would write a concerto for Miles Davis,” said Togni. “There’s an awful lot of trust.”

“That’s a hard thing to do,” said Reilly of the juxtaposition of sung phrase, to the instrumental evocation of Jeremiah. “They’re singing words… and they have a certain way of working and thinking as an ensemble. There is a real challenge there.

“It’s an extraordinary piece of music, and it’s an amazing performance piece.”

The original recording of Lamentatio was on the renowned ECM label, and was the first work by a Canadian composer to appear there. At Nuit Blanche, the Nathaniel Dett Chorale (which was founded by Brainerd Blyden-Taylor, artistic director) is working the movement into their set titled Oblivion, which is an exploration of silence.

“The third movement is Silentio, the one that I’m playing this weekend, and that’s his acceptance of grace,” said Reilly. “It’s a very powerful and a very beautiful movement. He takes refuge in the silence of the Lord.”

Lamentatio will also be featured at the opening gala of the Winnipeg New Music Festival in January, where it will be performed again by the Elmer Iseler Singers.

“The truth of the matter is that we’re all called upon to certain roles in our life that we don’t necessarily want to take on. But, by the grace of things beyond yourself, you have found yourself in a position to take on responsibilities, and assume a part of yourself that is bigger than the way you looked at yourself before,” said Reilly.

“It’s a beautiful story and it’s something that I think we can all relate to in a personal way. We all have to take on roles that we don’t particularly want to.”

For more information on the Nuit Blanche performance, see www.scotiabanknuitblanche.ca.