ANNUAL GENERAL MEETING OF MEMBERS 2017 (2).pdf · Adoption of 2016 AGM Minutes IV. President’s Report V. Executive Director’s Report VI. Treasurer’s Report VII. Advocacy Report

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ANNUAL GENERAL MEETINGOF MEMBERS 2017 June 26th, 3PMDaniels Spectrum, 585 Dundas Street East, Meeting Room 1Toronto, ON

Roger Sinha / Photo: Michael Slobodian

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A G E N D A

I. Welcome

II. Adoption of Agenda

III. Adoption of 2016 AGM Minutes

IV. President’s Report

V. Executive Director’s Report

VI. Treasurer’s Report

VII. Advocacy Report

VIII. Nomination Report

IX. Other Business

X. Open Forum

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M A N D A T E

The Canadian Dance Assembly (CDA) is the voice of the professional dance sector in Canada and advocates for a healthy, sustainable environment in which professional dance practice can grow and thrive.

CDA is a reputable source of information on the current state of dance in Canada and provides representation to policy makers and the public.

CDA enables its national membership of dance professionals and organizations to connect with their peers through regular communications, conferences, forums and workshops, and facilitates opportunities for networking, dialogue and exchange relevant to the Canadian dance sector.

V A L U E S T A T E M E N T

Above all, the Canadian Dance Assembly cherishes Canadian dance in all its multiplicity. The Canadian Dance Assembly, in its statements and in its actions, values pluralism. As a result, we strive to be an open and accessible organization to all genders, races, bodies, and sexualities; everyone can dance.

The Canadian Dance Assembly acknowledges that it operates its head office on the territory of the Mississaugas of the New Credit, Anishinaabe, Haudenosaunee, Huron-Wendat and Cree nations. Today, this land is home to many Indigenous people from across Turtle Island and we are grateful to work with them in this community, on their territory.

The Canadian Dance Assembly is a member-driven organization that, through the design and delivery of its activities, programs and services, upholds the core principles of being a collaborative, inclusive, consultative, non-partisan, proactive, diplomatic, and transparent organization that represents the diverse professional dance milieu in all regions of Canada. The organization ultimately exists to serve the needs of its members and functions as a bottom-up organization responding to their needs.

M E M B E R S H I P , S T A N D I N G C O U N C I L S , A N D G O V E R N A N C E

M E M B E R S H I PRegular Membership in the Canadian Dance Assembly is available to individuals and organizations involved in activities related to the development and promotion of professional dance in Canada. This includes, but is not limited to, dance companies, training organizations, dance service organizations, dance artists, teachers, consultants, academics, researchers and journalists. Other individuals and organizations may join the CDA in the Supporter Membership category.

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S T A N D I N G C O U N C I L SRegular Members will form Standing Councils, based on natural groupings within the dance milieu and/or their particular interests. The following Standing Councils have been established: Ballet Companies, Dance Companies, Dance Presenters, Service & Support, Independent Dance Artists, Training & Education / Research & Writing, and Dance Consultants & Freelancers. G O V E R N A N C EA maximum of ten Standing Councils will be created, and they will each elect from among its ranks, one representative to the National Council (Board of Directors). Members at Large are appointed by the National Council and elected by the membership at the AGM. The National Council nominates these Members at Large to help balance sectoral representation, regional diversity, cultural diversity, aboriginal representation, generation representation, and gender representation. Each Director must be a Member of the Corporation or an individual of a Member organization.

The National Council meets one or two times a year in person, and maintains ties through distance communication tools (teleconferences and email). The Executive Council, elected by and from the ranks of the National Council, guides the operations of the organization and oversees the work of senior management.

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JASON DUBOIS – President Festival Manager, Canada Scene

Jason Dubois is an arts manager with more than 15 years experience working in dance creation, dissemination and presentation. Originally from Saskatchewan, he holds a Bachelor of Administration degree from the University of Regina where he first became involved with the Canadian dance scene at New Dance Horizons in 1996. Some dance career highlights include working as Executive Director for Dance Victoria, working with Eponymous as Production and Tour Manager for Kidd Pivot, Wen Wei Dance, Lola Dance and The Holy Body Tattoo (among others); as well as, working with The Dance Centre as Production Manager / Technical Director. Jason’s lighting design credits included works for Company 605, The Response (Amber Funk Barton), Martha Carter, and Aeriosa (Julia Taffe); and he has worked as Technical Director for Judith Marcuse Projects & DanceHouse. He was Associate Producer for The Dance Centre’s Dance In Vancouver and is currently Producing Director for the Canada Dance Festival and Festival Manager of Canada Scene. Jason has served as a director on the boards of Out Innerspace Dance Society, The Greater Vancouver Alliance for Arts and Culture, The Professional Arts Alliance of Greater Victoria and the Canadian Alliance of Dance Artists BC Chapter (CADA/West).

KEVIN ORMSBY – Vice President Dance Companies Standing Council Chair Artistic Director, KasheDance

Kevin A. Ormsby works as a Dancer / Choreographer, Arts Marketing Consultant and is an adjunct artist with Dance Exchange (Washington D.C). A Toronto Arts Council Cultural Leaders Lab Fellow (2015) and Canada Council for the Arts’ Victor Martyn Lynch – Staunton Award recipient in Dance (2014) for outstanding achievement by a mid career artist, Mr. Ormsby functions in many of areas of dance; from the creative practice and administration to advocacy, writing and education. As the Program Manager for Cultural Pluralism in the Arts Movement Ontario (CPAMO) he delivers programming for the professional and organizational development in the Arts. An OAC KM Hunter Dance Award 2016 nominee, he has performed with various companies and projects in Canada, Caribbean and the United States. He was a company member of Garth Fagan Dance (NY), the Assistant to the Artistic Director and Marketing / Outreach Coordinator for Ballet Creole, and performed in works by Marie Josée Chartier, Allison Cummings, Ron K. Brown, Menaka Thakkar, Mark Morris and Bill T. Jones. Mr. Ormsby is Co-Vice President and Chairs the Dance Companies National Standing Council at Canadian Dance Assembly, is a Board Member of Prologue to the Performing Arts and Nia Centre for the Arts and was on Toronto Arts Council’s Community Arts Program Committee and the Dance Committee.

JASON DUBOIS Festival Manager, Canada Scene

KEVIN ORMSBY Dance Companies Standing Council Chair Artistic Director, KasheDance

E X E C U T I V E C O M M I T T E E

N A T I O N A L C O U N C I L A N D S T A F F B I O S

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BARRY HUGHSON – Vice President Executive Director, The National Ballet of Canada

Barry Hughson has served the performing arts field for 24 years as a professional arts executive. In 2014, he joined The National Ballet of Canada as Executive Director. In his first three years at the National Ballet, the company has achieved several milestones, including major tours to New York’s Lincoln Center in 2014 and 2016, and the upcoming return to the Theatre Champs Elysees in Paris after an absence of more than 40 years.

Mr. Hughson was previously Executive Director of Boston Ballet. Under Mr. Hughson’s leadership, Boston Ballet achieved several key milestones, including the retirement of its long term debt, completing a multi-million dollar renovation of the ballet’s headquarters and international tours to Canada, Spain, Finland and the UK, as well as raising more than $60 million dollars in contributed revenue.

As an arts advocate, consultant and educator, Mr. Hughson has had teaching and speaking engagements in the USA, Europe and South America. He is the Vice Chair of Dance/USA, North America’s largest service organization for professional dance. He is a founding member of Dance/USA’s National Leadership Council for Dance and has served as a mentor to emerging arts executives through the Institute for Leadership Training. In January 2015, in partnership with Dance/USA, Mr. Hughson spearheaded the first ever meeting of North American and European dance leaders, bringing together 22 administrators from nine countries for two days of meetings at the Royal Opera House Covent Garden in London. In Canada, Mr. Hughson is Vice Chair of the Canadian Dance Assembly and serves on the Steering Committee for the Canadian Arts Summit.Mr. Hughson began his career as a dancer with The Washington (DC) Ballet, where he performed classical and contemporary repertoire at the Kennedy Center and on tour throughout the world.

SUE EDWORTHY – Treasurer Freelancers and Consultants Standing Council Chair Marketing and Communications Specialist, Sue Edworthy Arts Planning

Sue Edworthy has worked in the non-profit performing arts for over fifteen years. Her passion for the performing arts has led her to stints as a director, event coordinator and arts administrator and is now respected and sought after in Toronto as a marketing and communications specialist. Sue is a former Board Member for TAPA, was co-chair for Artsvote 2014 and spent 2 years of a seven year stint as Vice President of The Toronto Fringe. She is a Harold Award recipient, received the 2012 and 2013 Char-PR Prize for PR, and is the 2015 recipient of the Leonard McHardy and John Harvey Award for Excellence in Arts Administration. She runs Sue Edworthy Arts Planning, a marketing, producing and strategic planning company for the Toronto arts community.

BARRY HUGHSON Executive Director, The National Ballet of Canada

Freelancers and Consultants Standing Council Chair Marketing and Communications Specialist, Sue Edworthy Arts Planning

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CANDICE PIKE – Secretary Service and Support Standing Council Chair President, Dance NL

Candice Pike completed her first degree in 2002, a Bachelor of Arts focused on Social and Cultural Studies, before going on to complete a Master of Arts in Dance at Toronto’s York University in 2010. That combination of degrees has led her to create original performance work rooted in the exploration of geographic and identity-based communities and histories.

Since 2010, Pike has been involved in almost 20 performances and original creations, often she holds choreograph and directorial roles as well as being a performer herself. She also shares her professional artistic skill set with others through instructional roles, and has been involved in ArtsNL’s Visiting Artist Program as well as being a class facilitator at Memorial University, Dance Studio West, Stagehead Academy, and more. Pike also developed and facilitated Gros Morne Summer Music’s Listen, Move, Make interdisciplinary art project for youth.

Candice was named the 2016 Overall Artist of the Year at the Corner Brook ACE awards. She is currently the President of the provincial sectoral organization for dance, DanceNL and she is the Chair of the Service and Support Standing Council of the Canadian Dance Assembly.

E L E C T E D C H A I R S

CALLA LACHANCE – Dance Presenters Standing Council Chair Executive Director, Neighbourhood Dance Works

Calla Lachance is a passionate dance artist, educator, advocate and arts administrator living and working in St John’s, Newfoundland and Labrador. In 2009 she became the Executive Director of Neighbourhood Dance Works (the province’s premier presenter and generator of new dance experiences). In this role Calla works alongside the NDW community to develop the Annual Festival of New Dance and other programming that for 3 decades has generated a lively, engaged regional dance scene.

Through NDW’s programs and partnerships Calla has helped expand the possibilities for increased touring across our region and she has played an active role connecting local artists with artists from other regions, which has expanded the potential for more exchange and collaboration amongst regional artists and presenters. Calla is the visionary behind NDW’s successful Canada Council - New Chapter project, an unprecedented event that will see up to 22 dance artists, each from Newfoundland and Labrador, return home to research, create and present new work under the artistic direction of Christopher House and Anne Troake, and in collaboration with Tedd Robinson, Lois Brown, Amy Bowring and Colleen Quigley. The project will commence in summer 2017 on the shores of St John’s, NL.

Executive Director, Neighbourhood Dance Works

Service and Support Standing Council Chair President, Dance NL

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BRANISLAV HENSELMANN – Ballet Companies Standing Council Chair Managing Director, Cultural Services for the City of Vancouver

Branislav Henselmann, originally trained as a dancer in Munich, later deepening his studies at conservatory level at Rambert School of Ballet and Contemporary Dance in London. Mr. Henselmann joined Ballet BC following his tenure as Executive Producer for the Michael Clark Company in London, where he produced and toured a number of high profile full evening works to theatres and museums commissions world-wide. Previously, he was the Head of Programming and Learning for DanceEast, a national dance organization overseeing dance development and artistic programming in the East of England, and the Artistic Curator for New York City Ballet’s Choreographic Institute, where he led a wide range of initiatives to promote the development of emerging choreographers involved in new classical choreography. Mr. Henselmann holds a Master of Fine Arts degree from New York University. Branislav is currently the new managing director of Cultural Services for the City of Vancouver.

ANN KIPLING BROWN – Research & Writing/Training & Education Standing Council Chair Professor Emerita, University of Regina

Ann Kipling Brown, Ph.D. is Professor Emerita of the University of Regina, having worked for many years in the Arts Education program in the Faculty of Education. She continues to teach, research and publish on dance pedagogy, the integration of notation in dance programs, the application of technology in dance education, and the role of dance in the child’ and adult’s lived world. In her professional and community service Ann has served for several years on the Advisory Committee and the Reference Committee for Arts Education for Saskatchewan Education. She has been actively involved in the Saskatchewan cultural community as well as serving on several international committees as well as attending conferences concerned with arts/dance education, including Dance and the Child International (daCi), World Dance Alliance (WDA) and The World Alliance for Arts Education (WAAE). Ann is committed to the research and networking in arts education with a focus on dance education in the public and private sectors having attended local, provincial, national and international conferences and symposia.

LOUIS LABERGE-CÔTÉ – Independent Artists Standing Council Chair Independent Artist

Louis Laberge-Côté is a Toronto-based dancer, choreographer, teacher, and rehearsal director. An acclaimed performer, he has danced nationally and internationally with over 20 companies, and has been a full-time member of Toronto Dance Theatre (1999-2007) and the Kevin O’Day Ballett Nationaltheater Mannheim (2009-2011). He has created over 70 choreographic works, which have been presented and commissioned in Canada and abroad. His work has garnered him a Dora Mavor Moore Award for Outstanding Choreography, as well as seven other individual and ensemble nominations for Performance or Choreography. He has been nominated for the KM Hunter Award in 2014, 2015 and 2016. NOW Magazine named him “Dance Most Valuable Player” in 2006 and “Best Male Dancer” in 2014. A sought-after pedagogue, he has taught classes and workshops all across

Independent Artist

Managing Director, Cultural Services for the City of Vancouver

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JEFF HERD Freelance

A native of Winnipeg, Manitoba, Jeff Herd has 45 years of experience producing and managing stage productions and companies across Canada, the United States and in Europe. He began his ambitious career at the age of 15 as an apprentice at Rainbow Stage in Winnipeg which then led to successful years of freelance lighting design, production and stage management at theatres throughout Manitoba. In 1973, Herd joined Canada’s Royal Winnipeg Ballet as production stage manager, a position he held until 1980. Following positions with Cirque du Soleil (Las Vegas) and Dragone (Belgium), Jeff returned to Winnipeg - and was the Executive Director of RWB until 2016.

PEGGY REDDINDirector of Arts Education, Confederation Centre of the Arts

Peggy Reddin is Director of Arts Education at the Confederation Centre of the Arts in Charlottetown, PEI. She is the program coordinator and instructor for the Dance Performance and Theatre Performance programs in the Holland College School of Performing Arts, a partnership with Confederation Centre. Ms. Reddin co-founded dance umbrella (now part of the Youth Education Program of Confederation Centre) in 1988 with Julia Sauvé and has served as its Director since 1996. She is a graduate of the National Ballet School Teacher Training Program and holds a Bachelor of Arts (Philosophy) degree from U.P.E.I. Ms. Reddin has taught with Charlottetown Ballet Theatre, DancEast, and Charlottetown Festival Young Company, and has directed and choreographed numerous events on the Island. She was also the project founder for Dance with D.A.W.N., an innovative dance program for women with disabilities. In addition to her work in arts education, Ms. Reddin is very involved in the local arts community. She has worked in collaboration with Theatre P.E.I., the P.E.I. Symphony Orchestra, and the U.P.E.I. Music Department, among others. She has served on the board of the PEI Council of the Arts and Culture PEI, and as a juror for the New Brunswick Arts Board and the PEI Council of the Arts.

SORAYA PEERBAYE Curatorial and Program Co-Director, Anandam Dancetheatre

Soraya Peerbaye has more than 20 years of experience in the arts in the field of policy development, program management and advocacy; she works in dance in a collaborative capacity as a producer, dramaturge, writer

Freelance

Curatorial and Program Co-Director, Anandam Dancetheatre

M E M B E R S A T L A R G E

the country and is on faculty at Ryerson University. He currently is the Chair of the Independent Artist Council at the Canadian Dance Assembly and the Chair of the Dance Committee at the Toronto Arts Council.

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Pluralism in the Performing Arts Movement Ontario. She is a poet and the author of Poems for the Advisory Committee on Antarctic Names (Goose Lane Editions, 2009), nominated for the Gerald Lampert Award, and Tell: Poems for a Girlhood (Pedlar Press, 2015), shortlisted for the Griffin Poetry Prize and winner of the Trillium Poetry Award.

MARGARET GRENIER Executive and Artistic Director, Dancers of Damelahamid

Margaret is of Gitxsan and Cree ancestry. She is the Executive and Artistic Director for the Dancers of Damelahamid, a company that is dedicated to reviving Gitxsan dance traditions and presenting Aboriginal dance. She choreographed and produced the full length works Setting the Path 2004 and Sharing the Spirit 2007 which toured internationally to New Zealand in 2008 and the 2010 World Expo in China. She choreographed and produced Visitors Who Never Left as a site specific work in 2009. Her newest works Spirit Transforming 2012 and Flicker 2016 reflects contemporary perspectives in her traditional form. Margaret has produced the Coastal First Nations Dance Festival since 2008. She has presented at the World Indigenous Peoples Conference on Education on Aboriginal identity and dance in Australia in 2008, Peru in 2011 and Hawaii in 2014. Margaret holds a MA in Arts Education at Simon Fraser University and a B.Sc. from McGill University.

CLIFF LE JEUNE Executive Director, Dance Nova Scotia

Cliff Le Jeune is currently the Executive Director of Dance Nova Scotia. He has been a mainstay in the cultural life of Eastern Canada for over 35 years, as an actor, singer, dancer, director, choreographer, teacher/coach and was Artistic Director of the Stephenville Theatre Festival in Newfoundland for five years. He was a founding and principal dancer with Nova Dance Theatre of Halifax as well as duet partner with independent dancer/choreographer Leica Hardy. As an actor he has performed on stages across the country in musical, classical and contemporary productions and has created roles in many original Canadian musicals. Cliff is also a solo cabaret artist and has gained an international following for his interpretations of the songs of Leonard Cohen. He has been featured in concert on CBC and in 2005, along with Halifax’s Blue Engine String Quartet, he recorded a CD of Cohen’s songs entitled If It Be Your Will, which Cohen himself has called “a sublime gift”. In 2014, he left the theatre to take over as Interim ED at Dance Nova Scotia and was appointed Executive Director in 2015. He currently sits on the boards of Kinetic Studio, SOCOA/FODAR, Kazan Co-Op Theatre and the Cultural Federations of Nova Scotia. “Dance is for everyone. My goal is to make that statement a reality. From elementary school children to seniors, we all deserve to know the joy of dance. That is my mission as Executive Director.”

Executive and Artistic Director, Dancers of Damelahamid

CLIFF LE JEUNE Executive Director, Dance Nova Scotia

and curator. She was the Dance Officer at the Toronto Arts Council, and prior to that the Equity Officer at the Canada Council for the Arts, advocating for artists of colour and diasporic artistic and cultural practices. Shecurrently works with Brandy Leary, Artistic Director of Anandam DanceTheatre, as the company's Curatorial and Program Co-Director. Peerbaye has also acted as a consultant for a range of cultural entities, including the Department of Canadian Heritage, Orchestras Canada, the Canadian Alliance of Dance Artists and Cultural

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S T A F F

KATE CORNELL – Executive Director

Kate Cornell is a writer, arts advocate, and spokesperson based in Toronto. Kate advocates nationally on behalf of the arts sector as the Co-Chair of the Canadian Arts Coalition/la Coalition canadienne des arts. Kate has worked in arts management for a range of organizations including: the Canada Dance Festival, Toronto Dance Theatre, the CanAsian International Dance Festival, Canadian Society for Dance Studies/La sociétécanadienne d’études en danse, DanceWorks and many more. Over the years, she has inspired thousands of children to dance with the Learning Through the Arts program and the National Ballet of Canada’s education programs. In addition, Kate has taught at several university performing arts and education programs. With a PhD in Communication and Culture, her graduate research focused on Canadian cultural policy on dance at the federal level. Her research has been published in anthologies, journals, magazines, and online. Kate Cornell is the recipient of the John Hobday Award in Arts Management (2016).

AVIVA FLEISING – General Manager

Simultaneously pursuing her love of dance and Arts Management, Aviva is the General Manager with the Canadian Dance Assembly and an independent artist. She holds a Bachelor of Arts Degree in Contemporary Dance from the University of Calgary and a Certificate in Arts & Cultural Management from Grant MacEwan College in Edmonton. An avid traveler, Aviva has trained and performed in Cuba, Italy and throughout North America. Aviva began choreographing in 2004 with a full-length interdisciplinary show for the Montreal Fringe Festival, and since then has created for festivals in Alberta, Ontario and Quebec. In 2012 she formed her own company Tziporah Productions to carry out her independent projects. Aviva is a member of the Drum and Dance group IjoVudu Dance.

LESLEY BRAMHILL – Advocacy and Communications Manager

Lesley Bramhill is a dancer and arts manager currently living in Montréal Québec. Continually moving between dance and theatre, Lesley has worked with organizations such as the National Ballet of Canada, Toronto Dance Theatre, Crow's Theatre, and the Canadian Alliance of Dance Artists (Ontario Chapter). She is a graduate of the Arts Management program at the University of Toronto Scarborough, and is currently the General Manager of Playwrights' Workshop Montréal. Lesley has a fervent interest in arts policy and advocacy. She is a volunteer with the Canadian Arts Coalition, and played a key role in the recent #ArtsVote and #ArtsDay campaigns. In 2016, Lesley was quoted in The Dance Current on the status of the independent dance artist in Canada.

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LAURA PUGLIESE – Administrative Coordinator

Laura Pugliese is an arts manager with extensive experience in various departments of Dance and Theatre. She is a recent graduate of Humber College’s Arts Administration and Cultural Management program and previously attended Ryerson University where she received a Bachelor of Fine Arts in Performance Production. Laura has spent the past five years working as a freelance costume designer and arts administrator with various community organizations in Toronto and the GTA. Laura has a strong passion for connecting artists, organizations and arts supporters with resources to assist in creating a strong cultural sector.

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2 0 1 6 A N N U A L G E N E R A L M E E T I N G M I N U T E STUESDAY, JUNE 6 2016, 4PMARTS COURT2 DALY AVENUE, OTTAWA, ON

1. CALL TO ORDER AND WELCOME • Jason Dubois welcomes everyone to this year’s AGM. • Before we begin Jason acknowledges that we are meeting on the unceded territory of the Algonquin people and we thank them for the stewardship of this land. • Jason makes note that the meeting is being live web-streamed and there is simultaneous translation available. • Jason introduces the head table: Kate Cornell (Executive Director) and Sue Edworthy (Treasurer). • Bylaws note that we need to have 8 members present in order to have quorum. Aviva reports that 17 voting members are present so there is quorum to move forward with the meeting. 2. ADOPTION OF THE AGENDA Motion to approve the agenda for the 2016 AGM. Amanda Hancox seconded by Cliff Le Jeune, all in favour; motion carried.

3. ADOPTION OF THE 2015 AGM MINUTES Motion to approve minutes from the 2015 AGM. Ann Kipling Brown seconded by Kevin Ormsby. All in favour; motion carried.

4. PRESIDENT’S REPORT • Written report submitted by Jason Dubois. • Jason takes a moment to thank the CDA staff on behalf of himself and the National Council (Kate, Aviva, Leanne and Laura) applause. • Jason also thanks the National Council members who represent the breadth of the sector and who continuously volunteer their time and energy to the organization. • Some highlights from Jason’s report include: Be it the increase in the Canada Council budget, the removal of political barriers from funding programs at the Department of Canadian Heritage or the implementation of a performing arts exemption in the Temporary Foreign Workers Program – clearly the advocacy agenda from the Canadian Dance Assembly and the messaging delivered collectively with our sister arts service organizations has been heard. • The CDA continues to play an important role at the national table through Kate Cornell’s leadership as Co-Chair of the Canadian Arts Coalition, her participation in the Canadian Arts Summit, and her ongoing interactions with policy makers and bureaucrats in Ottawa.

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Motion to accept the President’s report. Jim Smith seconded by Gilles Savary. All in favour; motion carried.

5. EXECUTIVE DIRECTOR’S REPORT • Kate mentions that it was a monumental year for the Canadian Dance Assembly. Saw the results of positive advocacy that resulted in a change in policy at the Federal level. • Last May the Standing Committee on Canadian Heritage decided that they were going to study dance over the course of three days and hear from the community, this was an incredible opportunity. This also presented a wonderful opportunity to work with the Regroupement québécois de la danse in order to recommend 25 members of the community to speak to this Standing Committee. • Wanted to ensure that the issues that were arising pertaining to the Temporary Foreign Workers Program were addressed in those presentations, that work along with a concerted effort by the CDA, Orchestras Canada, PACT, Canadian Actors' Equity and others led to a performing arts exemption to the Temporary Foreign Workers program. • This change results in a lower fee and shorter wait times through the International Mobility Program. Kate notes that this new policy does not reach all dance companies, as the policy currently has eligibility only for Operating clients of the Canada Council. Other advocacy work is still going on for those who are getting missed through this policy change. • Kate reports that she continues to act as Co-Chair of the Canadian Arts Coalition and was heavily involved in the election which resulted in her being interviewed by Eli Glasner on CBC’s The National. • Advocacy for the doubling of the operating budget of the Canada Council began in earnest once the new government was in place. The federal budget was presented in March 2016 and included a remarkable $1.87 billion in funding for the arts over five years. • Other office updates include: reporting another surplus (2nd year in a row), also moved offices from the Distillery to within the Dance Umbrella of Ontario. • This past year CDA also hosted its largest conference to date in Toronto during the Fall for Dance North Festival. • In addition to CDA’s National Conference, regional outreach is an essential activity for the CDA. In 2015/16, the CDA had a presence and networked at the Canada Dance Festival (Ottawa), the FLUX dance festival (London), the National Symposium on South Asian Dance (Mississauga), and Fluid Festival (Calgary). • Kate concludes by thanking the CDA staff: Aviva, Leanne and Laura. • Jason opens the floor for questions/discussion on Kate’s report: Amanda Hancox thanks CDA for their work on the Standing Committee on Heritage, the recommendations that came out of the report were very helpful.

Motion to accept the Executive Director’s Report as tabled. Cliff Le Jeune, seconded by Jim Smith. All in favour, motion carried.

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6. TREASURER'S REPORT • Sue reports that we ended the year with a surplus of $2,897, reporting a second consecutive surplus. • Sue thanks the staff and Finance committee for their work in ensuring this surplus. • As Kate mentioned earlier, CDA moved offices which has been great from a personnel perspective but is also financially beneficial as we have been able to reduce some of our operational costs. • Membership revenues are at the highest to date, and are up by 9% compared to the previous year. • Have received some new revenue lines this year including small fees for job postings, conference programming ads, and support for advocacy travel. • Our current challenge is in building new revenues, everything that can be cut has been. Our focus at this point is on revenue generation. • Cash flow continues to be a challenge come year-end, but as we continue to report surpluses we will see this diminish. • The Finance Committee continues to meet regularly and realized the Financial Recovery Plan to see CDA out of deficit by the year 2021. • Sue thanks her colleagues on the Finance Committee for their work and diligence in continuing to ensure a surplus: Jason Dubois, Jane Marsland, Aviva Fleising, and Kate Cornell. Also thank you to our bookkeeper Natalia Volyev and auditors Marinucci & Company for their services. (note Marinucci & Company just merged and are now called Hogg, Shain, & Scheck)

Motion to accept the Audited Statements. Amanda Hancox. Seconded by Charmaine Headley. All in favour. Motion carried.

Motion to accept the Treasurer’s report. Soraya Peerbaye. Seconded by Jim Smith. All in favour. Motion carried.

Motion to approve that the membership gives the National Council authority to appoint prospective auditors, including past auditors Hogg, Shain, and Scheck, for the upcoming year. Kevin Ormsby.Seconded by Ann Kipling Brown. All in favour. Motion carried.

7. ADVOCACY COMMITTEE REPORT • Presented by Kate Cornell, Kate makes note that Amy Bowring and Alain Dancyger, Co-Chairs the Advocacy Committee could not be here. • The Standing Committee on Canadian Heritage was a monumental opportunity for the CDA this year. Kate highlights some of the recommendations that came out of the report, particularly #3 surrounding the hiring of Temporary Foreign Workers which has been achieved. • The new money at the Canada Council, New Chapter funding addresses item #4 around Canada150. • This coming year will be spent addressing some of the other recommendations. • Kate highlights the importance of meeting with MPs and goes through a list of MPs she’s engaged with over the past year.

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• The 2016 federal budget included $35 million for Canada Arts Abroad, $168 million for Cultural Spaces, and the doubling of the budget of the Canada Council by 2021. • Jason opens the floor for questions/comments: Jim asks what we see as the next chapter forward after seeing such a successful advocacy year. Kate responds that CDA will be coordinating the next Arts Day on the Hill with the Coalition. The committee will help craft that messaging and it has been brought forward that there should be focus on the training institutions as well as the presenters in that messaging. - Focus will also be surrounding the follow up from the Standing Committee on Heritage’s recommendations, particularly around dance and health. - R105 taxation issue is another area where CDA is working closely with presenters.

Motion to accept the Advocacy report. Gilles Savary. Seconded by Charmaine Headley. All in favour. Motion carried.

8. NOMINATING REPORT • Jason goes through the Nominating report and reviews the Chairs who have been elected by those Standing Councils. • Jason then reads through the additional Members at Large that are brought forward to the AGM by the National Council for approval. • Jason opens the floor for any additional nominations or self-nominations.

Motion to accept the Nominating report. Jim Smith. Seconded by Amanda Hancox. All in favour. Motion carried.

9. OTHER BUSINESS, OPEN FORUM / DISCUSSION • Lys asks a question regarding the nomination process, does CDA ever do a general call for nominations to the membership leading up to the AGM? • Jason – Yes, general calls are sent out to the members via our newsletters. For this year, we had a full slate and all current National Council wished to remain so there were no vacancies on the Board. Standing Council Chairs are elected by their particular council. As positions do become available on the National Council, those will be made known to members should the wish to nominate or self-nominate leading up to the AGM. • Jason thanks everyone for coming and welcomes them to the Canada Dance Festival.

Motion to adjourn the 2016 Annual General Meeting. Jim Smith seconded by a show of hands to approve. All those in favour. Motion carried.

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P R E S I D E N T ' S R E P O R T

Dear Fellow CDA Members:

I am pleased to report that in 2016, the CDA significantly entrenched its importance amongst fellow national arts service organizations by coordinating, with the Canadian Arts Coalition, the largest to date Arts Day on the Hill. The CDA continues to play an important role at the national table through Kate Cornell’s leadership as Co-Chair of the Canadian Arts Coalition, her participation in the Arts Summit, and her ongoing interactions with policy makers and bureaucrats in Ottawa. The dance community, and issues important to the sector, continue to be more well represented than ever before in Ottawa and this is thanks to you, our members, who have continued to support the CDA and recognize its crucial role in ensuring a healthy future for dance in Canada. As members, we each have a role to play in bringing our colleagues around the CDA table so that dance can continue to have a strong national presence.

The 2016 year also involved significant work to impress upon Ottawa the importance of removing barriers to international artistic exchange – specifically those related to the CRA Regulation 105 Waiver process. The CDA has been working closely with our colleagues at CAPACOA and much progress has been made in improving the situation for the presentation of international artists in Canada.

On behalf of my National Council colleagues, I wish to offer a sincere thank you to the CDA staff, especially Kate and Aviva who, in an under-resourced environment continue to ensure the success of the CDA and who tirelessly represent the interests of our members.

I would also like to thank my colleagues on the CDA National Council. It has been an honour and a pleasure to serve with such a dedicated group of leaders who are so passionately committed to the health of our sector and the importance of courageous representation for dance at the federal table. As I complete my term as President, I look forward to continuing to serve as an active member, donor and supporter of the CDA along with each of you.

Respectfully submitted,

Jason DuboisPresident, Canadian Dance Assembly

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E X E C U T I V E D I R E C T O R ' S R E P O R T

The CDA advocates for and supports the dance sector – I am proud to stand as its national spokesperson.

In my fourth year as Executive Director, I have consulted with the members and non-members, ended the fiscal year with another surplus, led federal advocacy at Arts Day on the Hill, and began difficult sectoral conversations about the role of service organizations. It has been a collaborative and demanding year.

1. AdvocacyAdvocacy work, valued by members, enhances the political currency of dance in these extraordinary times. As Co-Chair of the Canadian Arts Coalition and English-language spokesperson, I was invited to participate in several significant national gatherings such as the Arts in a Digital World and the Canadian Arts Summit, as well local gatherings such as MP Julie Dzerowicz’s dance townhall and the Mayor Tory’s Arts Awards Lunch. The CDA has spent a considerable amount of time building relationships this year with colleagues at Regroupement québécois de la dance, Playwrights Guild of Canada, TAPA, and CAPACOA. This past year’s advocacy work was all about collaboration and strategy.

Most notably, the CDA successfully coordinated the Canadian Arts Coalition’s largest Arts Day on the Hill in October 2016. The delivery of this complex event was a testament to the CDA’s ability to collaborate with and lead the entire arts sector in federal advocacy.

2. Pluralism, Decolonization, and EquityThe CDA convened the National Roundtable on Pluralism in Canadian Dance in June 2016. This significant gathering has galvanized the National Council and the CDA to move forward with sector-wide action. As a result, the CDA is leading conversations to reimagine service organizations titled Decolonizing Canadian Dance, which will culminate with a retreat in September 2017.

3. Deficit Reduction and StrategyThe 2016-17 fiscal year ended with another surplus, which moves the organization closer to realizing the Financial Recovery Plan. The deficit is now below 10% of operations; but financial stability continues to be a concern for the organization. The CDA’s financial status is a clear reflection of the precariousness within the dance sector itself.

Lastly, thanks to the support of the Canada Council’s Hobday Award, I had the privilege to mentor with Ontario Cultural Attraction Fund’s Executive Director Kathleen Sharpe in 2016. It was an incredible opportunity for me to expand my skills and for the CDA’s network to grow. I am deeply grateful for Kathleen Sharpe’s guidance, expertise, and support.

Moving forward, the CDA is prepared to imagine a better service organization.


Kate CornellExecutive Director, Canadian Dance Assembly

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T R E A S U R E R ' S R E P O R T

Overall results for the year are: • Revenues of $223,208 • Expenses of $218,887 • Operating surplus of $4,321 • Accumulated deficit (18,674)

R E V E N U E A N A L Y S I S

Grants - Grants continue to represent the largest contributor at 74% Canada Council for the Arts – CDA received a $2,600 increase to our operating funding taking us to $85,000 for the 2016-17 year, the organization was also moved from annual to multi-year. CDA received some additional project funding towards a two-day gathering of service organizations and partners in discussing the evolving role of service organizations and strategic partnerships. Ontario Arts Council - CDA’s operating funding was maintained at $22,315.

Canadian Heritage – The organization received Heritage funding in the amount of $5,000 for translation services.

City of Toronto – CDA continues to receive funding through the City of Toronto towards contracting one-year employment positions within the organization.

Membership – Membership revenues decreased by 6% over the last year due to some larger organizations not being able to renew. As other organizations become financially fragile, this affects our ability to retain membership revenues.

Conferences – No conference this year, next gathering will be October 19-20, 2017 in Calgary

Fundraising – Fundraising targets were achieved.

Other Earned Revenues – This largely represents Advocacy travel support and reimbursed expenses.

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Comparison of Revenues: 2016 & 2017 Actuals, Budget, and Comparison to the 2015/16 Year

E X P E N S E A N A L Y S I S

Operations and Staff remain the largest expense items. CDA continues to experience a Human Resource deficit and is looking to employment programs and Internships to help fill that gap.

Membership Services include advocacy, research, and community meetings.

Communications and profile budget expenses show higher than actuals, as CDA had applied for a grant related to communications that was not successful.

Cash flow was not an issue at year end due to some additional funding received from the Toronto Arts Council and the Metcalf Foundation relating to the Strategic Partnership project. We are seeing the cash flow issues improving year to year as we continue to report multiple surpluses.

21

Comparison of Expenses: 2016 & 2017 Actuals, Budget, and Comparison to the 2015/16 Year

In the 2016/17 fiscal year, staff and finance committee closely monitored the financial health of the organization to ensure that a surplus position, in alignment with the financial recovery plan, was met. The Finance Committee meets regularly via conference calls and is sent monthly cash flow and forecast updates from the General Manager. Corrective actions are identified and implemented if objectives are not being met. The financial recovery plan aims to see CDA out of its deficit by the year 2021.

I would like to thank my colleagues on the Finance Committee for their work and diligence in continuing to ensure a surplus: Jason Dubois, Jane Marsland, Aviva Fleising, and Kate Cornell. Also thank you to our bookkeeper Natalia Volyev and Ademir Iglesias and auditors Hogg, Shain, & Scheck for their services.

Respectfully Submitted,

Sue Edworthy Treasurer

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C A N A D I A N D A N C E A S S E M B L Y F I N A N C I A L S T A T E M E N T S Y E A R E N D E D M A R C H 3 1 , 2 0 1 7

Independent Auditor's Report 23

Financial Statements 24 Statement of Financial Position 24 Statement of Operations and Deficit 25 Statement of Cash Flows 26 Notes to Financial Statements 27 Schedule of Expenses - Schedule 1 30

HOGG

SHAIN &

SCH ECK

Professional Corporation, Cl'As

Tax I Audit I Advisory

INDEPENDENT AUDITOR'S REPORT

To the Directors of Canadian Dance Assembly

We have audited the accompanying financial statements of Canadian Dance Assembly, which comprise the statement of financial position as at March 31, 2017 and the statements of operations and deficit and cash flows for the year then ended, and a summary of significant accounting policies and other explanatory information.

Management's Responsibility for the Financial Statements

Management is responsible for the preparation and fair presentation of these financial statements in accordance with Canadian accounting standards for not-for-profit organizations, and for such internal control as management determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

Auditor's Responsibility

Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with Canadian generally accepted auditing standards. Those standards require that we comply with ethical requirements and plan and perform the audit to obtain reasonable assurance about whether the financial statements are free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements. The procedures selected depend on the auditor's judgment, including the assessment of the risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity's preparation and fair presentation of the financial statements in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity's internal control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by management, as well as evaluating the overall presentation of

the financial statements.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion.

Opinion

In our opinion, the financial statements present fairly, in all material respects, the financial position of Canadian Dance Assembly as at March 31, 2017 and the results of its operations and its cash flows for the year then ended in accordance with Canadian accounting standards for not-for-profit organizations.

Toronto, Ontario June 8, 2017

MS! Global Alliance [ndcpcndcnt Member Firm

1800 - 22 35 Sheppard Ave. Ea.st Toronto, Ontario, Canada M2J 585

Authorized to practise public accounting by the Chartered Professional Accountants of Ontario

1 0 I - I 71 John Street Toronto, Ontario, Canada MST IX3

Tel (416) 499-3100 Web W\\ .. w.hss-ca.com

23

CANADIAN DANCE ASSEMBLY

Statement of Financial Position

As at March 31, 2017

2017 2016

ASSETS

CURRENT Cash $ 10,771 $ 4,291 Accounts receivable 11,179 12,927 Harmonized Sales Tax recoverable 4,987 1,988 Prepaid expenses 2 435 756

29,372 19,962

CAPITAL ASSETS (Note 3) 1 102 1,377

$ 30,474 $ 21,339

LIABILITIES

CURRENT Bank indebtedness (Note 4) $ $ 9,250 Accounts payable and accrued liabilities 7,348 13,284 Government remittances payable 4,100 Deferred revenues (Note 5) 41 800 17,700

49,148 44,334

DEFICIT

UNRESTRICTED (18!674} (22,995}

$ 30,474 $ 21,339

COMMITMENTS (Note 8)

APPROVED ON BEHALF OF THE BOARD

Director - - -- -- -- - - - --

Director - ---- ---- - - --

See the accompanying notes to these financial statements

24


Statement of Operations and Deficit

Year Ended March 31, 2017

2017 2016

REVENUES Grants (Note 6) $ 166,234 $ 123,506 Membership 43,206 46,393 Donations and fundraising (Note 7) 9,537 12,961 Other 4,231 5,040 Conference registration 8,523

2232208 196

2423

EXPENSES (Schedule 1)Operations 187,741 157,359 Membership services 16,098 24,841 Communications and profile (Note 7) 15

2048 11

2326

2182887 193,526

EXCESS OF REVENUES OVER EXPENSES 4,321 2,897

DEFICIT - BEGINNING OF YEAR (222995} {25,892}

DEFICIT - END OF YEAR $ {18z674l $ {22,995l


25


Statement of Cash Flows


2017 2016

OPERATING ACTIVITIES Excess of revenues over expenses $ 4,321 $ 2,897 Item not affecting cash:

Amortization of capital assets 275 344

4 596 3,241

Changes in non-cash working capital items: Accounts receivable 1,748 (7,573) Harmonized Sales Tax recoverable (2,999) (1,988) Prepaid expenses (1,679) (40) Accounts payable and accrued liabilities (5,936) {1,042) Government remittances payable (4,100) 14 Deferred revenues 24

2100 16,200

11 134 5 571

INCREASE IN CASH 15,730 8,812

CASH (BANK INDEBTEDNESS) - BEGINNING OF YEAR {42959) (13,771)

CASH (BANK INDEBTEDNESS) - END OF YEAR $ 10,771 $ (4,959)

CASH CONSISTS OF: Cash $ 10,771 $ 4,291 Bank indebtedness (9,250)

$ 10,771 $ (4,959)


26


Notes to Financial Statements


1. ORGANIZATION AND OPERATIONS

Canadian Dance Assembly (CDA) is a national arts service organization for professional dance in Canada.

CDA promotes, in both of the official languages of Canada, dance throughout Canada through publicawareness, education, research, communication, information exchange, and other activities.

CDA commenced operations in June 2002 and was incorporated on September 10, 2004 as a non-profitmember organization. It was granted charitable status on May 1, 2006, and as such is exempt from incometax under Section 149(1) of the Income Tax Act.

2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

These financial statements are the representation of management and have been prepared in accordance withCanadian accounting standards for not-for-profit organizations in Part III of the CPA Canada Handbook andinclude the following significant accounting policies.

Revenue recognition

CDA follows the deferral method of accounting for contributions.

Restricted contributions, including government grants, are recognized as revenues in the year in which therelated activity occurs and expenditures are incurred. Unrestricted contributions are recognized as revenuewhen received or receivable if the amounts to be received can be reasonably estimated and collection isreasonably assured.

Membership and conference registration fees are recognized as revenues when received.

Other revenues consists mainly of advocacy travel support and reimbursed expenses.

Financial instruments

CDA initially measures its financial assets and financial liabilities at fair value. It subsequently measures allits financial assets and liabilities at amortized cost. The financial assets subsequently measured at amortizedcost include cash and accounts receivable. The financial liabilities subsequently measured at amortized costinclude bank indebtedness and accounts payable.

Capital assets

Capital assets are recorded at cost less accumulated amortization. Capital assets are amortized over theirestimated useful lives on a declining balance basis at the following rate and method:

Furniture and equipment

Measurement uncertainty

20% declining balance method

The preparation of financial statements in conformity with Canadian accounting standards for not-for-profit organizations requires management to make estimates and assumptions that affect the reported amount of assets and liabilities at the date of the financial statements and the reported amounts of revenues and expenses during the period. Such estimates are periodically reviewed and any adjustments necessary are made to revenues and expenses as appropriate in the period in which they become known.

Donated services

Much of the operations of CDA are dependent on the voluntary service of members and others. Since these services are not normally purchased by CDA, and because their fair value cannot be reasonably determined, such donated services are not reflected in these financial statements.

5

27




3. CAPITAL ASSETS

Cost

Furniture and equipment $

Accumulated amortization

9,228 $ 8,126 $

2017 Net book

value

1,102 $

2016 Net book

value

1,377

4. BANK INDEBTEDNESS

CDA has an operating account at a major Canadian bank, under which it has available a bank credit facilityof $15,000 for general operating purposes. Advances under this credit facility bear interest at the bank primerate plus 2.85% per annum (5.55% at March 31, 2017), with interest payable monthly, and are secured by ageneral security agreement over its assets.

5. DEFERRED REVENUES

6.

Deferred grants and other revenues at March 31 are as follows:

Toronto Arts Council Metcalf Foundation Canada Council for the Arts Other

GRANTS REVENUES

Revenues from grants recognized during the year are as follows:

Canada Council for the Arts - Operating Canadian Council for the Arts - Project Department of Canadian Heritage Ontario Arts Council Toronto Arts Council City of Toronto employment grant Metcalf Foundation

$

$

$

$

2017

31,000 10,800

41,800

2017

85,000 15,200

5,000 22,315 18,000 16,519

4 200

166,234

$

$

$

$

2016

15,200 2,500

17,700

2016

89,618

22,315

11,573

123,506

7. DONATIONS IN KIND

From time to time, CDA receives donations of goods and services such as advertising, venue rentals, andcommunications that would normally be purchased. The fair value of these contributed items in 2017 was$2,200 (2016 - $4,126). This amount is recognized in the statement ofoperations and deficit as donations andfundraising revenues and communications and profile expenses.

6

28

8. COMMITMENTS




Under an operating lease for premises that expires on May 1, 2018, CDA is required to pay a base rent of$650 plus HST per month, which is inclusive of security, hydro, phone, internet, and insurance. Futureminimum lease payments as at March 31, 2017, are as follows:

2018 2019

9. FINANCIAL INSTRUMENTS

$

$

7,800 650

The fair value of CDA's financial instruments approximates their carrying value due to the short term tomaturity of the instruments. It is management's opinion that CDA is not subject to significant market, creditor liquidity risk in respect to its financial instruments.

CDA's bank and credit facilities are sufficient to cover accounts payable as they come due.

Accounts receivable are monitored regularly to ensure collectibility.

10. COMPARATIVE FIGURES

Some of the comparative figures have been reclassified to conform to the current year's presentation.

7

29


Schedule of Expenses - Schedule 1


2017 2016

COMMUNICATIONS AND PROFILE

Writing and translation fees $ 8,541 $ 3,161 Internet and website 2,758 3,033 Advertising and promotion 2,358 3,178 Telephone 653 1,423 Design 550 400 Printing and postage 188 131

$ 15,048 $ 11,326

MEMBERSHIP SERVICES

Conferences $ $ 15,024 Advocacy 4,854 4,944 Community/Regional meetings 4,425 2,085 Research 3,579

National Council and other meetings 1,812 1,168 Other 1 428 1,620

$ 16,098 $ 24,841

OPERATIONS

Salaries, fees, and benefits $ 169,076 $ 135,882 Rent, repairs, and insurance 9,059 10,583 Administration 4,288 4,806 Accounting and audit 3,832 4,295 Bank and interest charges 1,211 1,449 Amortization of capital assets 275 344

$ 187,741 $ 157,359

See the accompanying notes to these financial statements 8

30

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A D V O C A C Y C O M M I T T E E R E P O R T

The 2016/17 advocacy year was all about Arts Days at the federal, provincial, and municipal levels.

As Co-Chair of the Canadian Arts Coalition and English-language spokesperson, Cornell played a large role in Arts Day on the Hill 2016. The CDA took the lead on the biggest Arts Day on the Hill in Ottawa in recent history. On October 25th, 160 arts advocates from across the country gathered in Ottawa to say thank you for the arts funding in Budget 2016, but to also ask for investments in Cultural Spaces and Social Infrastructure. Following 112 meetings, the Canadian Arts Coalition’s language was used in the announcement of Cultural Spaces and Social Infrastructure funding in Budget 2017. The CDA coordinated this historic event for the Canadian Arts Coalition, supported generously by the Canadian Arts Summit, and in partnership with Global Public Affairs.

Cornell was on the PASO planning committee for Arts Day at Queen Park in November 2016. This event encouraged the Ontario government to reconsider its freeze on funding at the Ontario Arts Council. The Arts Day was unsuccessful but many of the advocacy leaders from the PASO group wrote detailed briefs to the provincial Standing Committee on Finance and Economic Affairs which resulted in a modest increase for the Ontario Arts Council in the provincial Budget 2017.

Finally, Cornell was on the Advocacy Committee of the Friends of the Arts Network hosted by TAPA. Cornell was actively involved in the municipal advocacy meeting with Budget Chief Gary Crawford. Although there were no increases to arts funding this year, the group has a new strategy for 2017. As a result of all the advocacy activity of 2016, Cornell was asked to sit on the Toronto Arts Council’s Advocacy Committee.

Throughout the year, Cornell met and consulted with Members of Parliament to move several issues forward. The 2016/17 meetings included: Mélanie Joly, Randy Boissonault, Adam Vaughan, Julie Dzerowicz, Celina Cesar-Chavannes, Pierre Nantel, Julie Dabrusin, Francesco Sorbara, Arnold Chan, Salma Zahid, and Senator Frances Lankin. Equally important were the meetings with bureaucratic and political staff in the Department of Canadian Heritage, the Department of Global Affairs, the Department of Finance, and the Prime Minister’s Office.

Clearly this year, CDA has proven itself as a trusted voice in advocacy and a reliable partner in strategy.


Alain Dancyger Amy BowringAdvocacy Co-Chair Advocacy Co-Chair

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C O M M I T T E E M E M B E R S

2 0 1 6 - 2 0 1 7 A D V O C A C Y C O M M I T T E E : Alain Dancyger, Les Grands Ballets Canadiens (Co-Chair)Amy Bowring, Dance Collection Danse (Co-Chair)Amanda Hancox, Dancer Transition Resource CentreLata Pada, Sampradaya Dance CreationsStephanie Ballard, Stephanie Ballard Dance ProjectsMirna Zagar, The Dance CentreMal Nowacka, Chimera ProjectCharles C. Smith, Cultural Pluralism in the Arts Movement OntarioRichard Stoker, Dance NLChantal Cadieux, Université de MonctonMolly Johnson, Independent ArtistMelanie Kloetzel, Kloetzel & Co. / University of CalgaryRachel Gorman, York UniversityKate Cornell, Canadian Dance AssemblyLesley Bramhill, Canadian Dance Assembly

2 0 1 6 - 2 0 1 7 P L U R A L I S M C O M M I T T E E :

Kevin Ormsby, KasheDance (Chair)Charles Smith, Cultural Pluralism in the Arts Movement OntarioCharmaine Headley, COBA Collective of Black ArtistsSusan Chalmers-Gauvin, Atlantic Ballet Theatre of CanadaSoraya Peerbaye, Arts ConsultantStarr Muranko, Raven Spirit DanceKelsie Acton, CRIPSiELindsay Eales, CRIPSiECarolyn Clare, Doctoral candidate from Simon Fraser UniversityMichéle Moss, University of Calgary

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N O M I N A T I N G R E P O R T

The National Council consists of between 3 and 17 members. One Director representative of each of the Standing Councils in existence, and not to exceed ten (10) representatives, who are elected by the membership of his or her respective Standing Council. Additionally, a maximum of seven (7) additional Directors are elected by the membership at the AGM. Each Director must be a Member of CDA or an individual of a Member organization.

The terms for the Chairs of Standing Councils are three years, unless a Council has to fill a position that has been vacated during that term’s cycle. The Members at Large serve for terms of one year, which may be renewed, to ensure flexibility in representation. The maximum term of service for a National Council member is six consecutive years.

The National Council would like to thank outgoing National Council members Jeff Herd, Louis Laberge-Côté, and Branislav Henselmann. Jeff Herd has served on the National Council as President and well as on the Governance committee when complying with the new Canada Not for profit corporations act. Jeff also participated on the Finance Committee and assisted CDA in establishing its Financial Recovery Plan. We would like to thank Louis for his tremendous work as Independent Artist Standing Council Chair. He is a bilingual leader in the dance community who has provided invaluable insight to our National Council and staff and has served on both the Executive and Advocacy committees. We would also thank Branislav for his time, dedication, and guidance over the years and for the active role he has played on many advocacy files as well as Chairing the Ballet Companies Standing Council. We look forward to working with Jeff, Louis, and Branislav in other capacities in our continued work as the National voice and advocate for dance in Canada.

The Canadian Dance Assembly proposes the following National Council slate for 2017-18:

Standing Council Positions (up to 10 standing council positions permissible) Candice Pike (NL) Chair of the Service and Support Standing Council (2018)Kevin Ormsby (ON) Chair of the Dance Companies Standing Council (2018)Calla Lachance (NL) Chair of the Dance Presenters Standing Council (2019) Brandy Leary (ON) Chair of the Independent Artists Standing Council (2020)Ann Kipling Brown (SK) Chair of the Research & Writing/Training & Education Standing Council (2020)Sue Edworthy (ON) Chair of the Freelancers/Consultants Standing Council (2020)In Process Chair of the Ballet Companies Standing Council (2020)

Members at Large (up to 7 Member at Large positions)Jason Dubois (ON)Peggy Reddin (PEI)Soraya Peerbaye (ON)Margaret Grenier (BC)Cliff Le Jeune (NS)*Fannie Bellefeuille (QC)*Susan Chalmers-Gauvin (NB)

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*Pending election by the members at the 2017 AGM. Any member in good standing may chose to self nominate or bring forward a nomination to the office at [email protected]

Officers of the National CouncilThe Officers of the National Council are appointed by the National Council following the Annual General Meeting. An announcement of the new Executive Slate will be circulated to members after their appointment.

CommitteesCDA manages various committees that work alongside the National Council and staff to maintain the activities of the organization. The committees for the 2017/18 year are as follows: Advocacy, Pluralism, and Finance. If a member wishes to join any of these committees for the upcoming year they should express their interest to the office at 416-515-8444 or email [email protected]

Respectfully Submitted,Nominating Committee, Canadian Dance Assembly

Documents

ANNUAL GENERAL MEETING OF MEMBERS 2017 (2).pdf · Adoption of 2016 AGM Minutes IV. President’s Report V. Executive Director’s Report VI. Treasurer’s Report VII. Advocacy Report