Promoting Pluralism in the Arts through Collaboration and Partnerships Ontario Trillium Foundation - Annual Report 2012

7/28/2019 Promoting Pluralism in the Arts through Collaboration and Partnerships Ontario Trillium Foundation - Annual Report

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PROMOTING PLURALISM IN THE ARTSTHROUGH COLLABORATION AND

PARTNERSHIPS

ONTARIO TRILLIUM FOUNDATIONANNUAL REPORT 2012

Submitted Community Cultural ImpresariosAnd Cultural Pluralism in the Arts Movement

Ontario

December 2012


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TABLE OF CONTENTS

1. INTRODUCTION 3

2. BACKGROUND 3

3. WHAT CPAMO HAS DONE 6

3.1 OTTAWA 73.2 MARKHAM 103.3 CANADIAN DANCE ASSEMBLY 123.4 CPAMO BOOK LAUNCH 153.5 CAPACITY BUILDING WORKSHOPS 183.6 TOWN HALL VOLUNTEER RECRUITMENT 193.7 PRESENTATIONS 20

4. 2013 PROJECTED ACTIVITIES 21

4.1 OTTAWA TOWN HALLS 214.2 MARKHAM AND KINGSTON TOWN HALLS 224.3 VOLUNTEER RECRUITMENT IN OTTAWA AND THE GTA 224.4 COLLABORATIONS BETWEEN ARTISTS AND PRESENTERS 254.5 CREATORS ROUNDTABLE 29

5. PROMOTION AND COMMUNICATIONS 37

6. BUDGET EXPENDITURES AND REVENUES 37

7. APPENDICES 39

7.1 CPAMO ACTIVITIES SUMMARY 407.2 NOTES FROM OTTAWA TOWN HALL 457.3 NOTES FROM MARKHAM TOWN HALL (under separate cover) 57.4 DOUGLAS ROSENBERG KEYNOTE/CANADIAN DANCE ASSEMBLY

(under separate cover) 527.5 SASHAR ZARIFF KEYNOTE/CANADIAN DANCE ASSEMBLY 53


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1. Introduction:

At the start of 2012, the Ontario Trillium Foundation (OTF) provided a 3-year grant totaling$180,000.00 or $60,000.00 per year to support Community Cultural Impresarios (CCI) in astrategic collaboration with Cultural Pluralism in the Arts Movement Ontario (CPAMO). TheCCI/CPAMO project proposed to:

1) convene Town Halls On Plural ism in the Arts in Toronto, Ottawa, Kingston andMarkham;

2) facilitate development of Community Roundtables in Ottawa, Kingston and Markham;and

3) coordinate and conduct capacity building workshops for the CPAMO Roundtablemembers.

This report provides the OTF with a review of the CCI/CPAMO activities during the 2012.

2. Background:

CPAMO is an Ontario-based movement of artists, arts organizations, presenters, associations,and others who are committed to advancing cultural pluralism in the arts. With the activeinvolvement of Aboriginal and ethno-racial artists working with presenters, CPAMOaims toempower the arts communities of Ontario by developing opportunities for Aboriginal andethno-racial artists to engage with presenters across Ontario and to enable presenters todevelop constructive relationships with Aboriginal and ethno-racial artists.

CPAMO is supported by Aboriginal and ethno-racial artists who are involved in theatre, music,dance and literary arts. They are participants on CPAMOs Creators Roundtable thatincludessome of the most prominent ethno-racial and Aboriginal arts organizations in Ontarioand reflect the growing activities of Aboriginal and ethno-racial artists.

The members of the Roundtable are:

Anahita Azrahimi, Sparrow in the Room Farwah Gheewala, Education Coordinator, Soulpepper Theatre Denise Fujiwara, Canasian Dance Charmaine Headley and Bakari Eddison Lindsay, Collective of Black Artists Lata Pada, Sampradaya Dance Creations Andrea Baker Nova Bhattacharya, Nova Dance Seema Jethalal, Manifesto Festival of Community and Culture Cian Knights and Anne Frost, Cultural Pluralism in the Arts/University of Toronto

Scarborough University of Toronto Scarborough Campus Phillip Akin, Obsidian Theatre Marilo Nunez, Almeda Theatre Mae Maracle, Centre for Indigenous Theatre Brainard Bryden-Taylor, Nathaniel Dett Chorale Emily Chung, Little Pear Garden Theatre Collective Spy Denome-Welch, Aboriginal Playwright Sedina Fiati, Actor Ravi Jain, why not theatre


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Shannon Thunderbird, Teya Peya Productions Olga Barrios, Olga Barrios Dance Santee Smith, Kahawi Dance Menaka Thakker, Menaka Thakkar Dance Company Kevin Ormsby, Kashedance Sandra Laronde, Red Sky Performance

Mark Hammond, Sony Centre for Performing Arts Ahdri Zena Mandiella, b-current Jenna Rogers and David Yee, fuGEN Theatre Sandra LeFrancois, Cahoots Theatre Korean Canadian Dance Studies of Canada Wanda Nanabush, Association for the Development of Native Arts Gina Badger, Fuse Magazine Harvey Weisfeld, wind in the leaves collective Lua Sheyenne, Sheyenne Productions

In Ottawa, CPAMO is now working with the Coalition of New Canadians for Arts and Culture(CNCAC), MASC (Multicultural Arts in Schools and Communities), the Ottawa Chinese

Canadian Heritage Centre, Circadia Indigena, One World Dialogue and independent artistsNatasha Bakht, Jaime Koebel and Dipna Horra.

CPAMO has involved and will continue to involve several partners in its activities including:

Community Cultural Impresarios/the Ontario Presenters Network (CCI); the Ottawa Art Gallery (OAG); Centre Pointe Theatre and Shenkman Centre for the Arts (Ottawa); The Great Canadian Theatre Company (Ottawa); Markham Theatre; Grand Theatre (Kingston); the University of Toronto Scarborough Campus Cultural Pluralism Advisory Committee

(CPA); Canadian Arts Presenters Association (CAPACOA); Creative Trust; the Harmony Movement; the Institute of Canadian Citizenship; the CanDance Network; the Neighbourhood Arts Network of Toronto (NAN); Scarborough Arts; Canadian Artists' Representation/le Front desartistes canadiens (CARFAC) National

and Ontario; the Media Arts Newtwork of Ontario (MANO); the Independent Media Arts Alliance (IMAA);

Artscape;Canadian Dance Assembly; and

Prologue to the Performing Arts.

Each of these partners and Roundtable members will be active participants in developing,promoting and becoming involved in CPAMO activities. Each partner commits to providingsupport to implementing the proposed project plans and working with CPAMO to develop therelationships between the partners, Aboriginal and ethno-racial artists and communities, otherpresenters/curators, and with funders and policy-makers.


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With the involvement of artists from these organizations, since 2009 CPAMO has beenworking with CCI and its members to build their capacities, cultural competencies andunderstanding of pluralism in performing arts so that CCI and its members engage performersfrom these communities and, thereby, enable audiences across Ontario to access artisticexpressions from diverse communities on a regular basis.

Through presentations, workshops, performances and dialogue, CPAMO has helped CCI andits members build their capacities and understanding of pluralism in performing arts practices.CCI presenters understand that adopting culturally pluralistic approaches is essential for themto better serve and engage the increasingly diverse audiences in their community. Over thelast 3 years, CCIs members have learned about the diverse cultural values, histories andpractices of Aboriginal and ethno-racial performing artists. They were provided with practicalguidance on successfully integrating culturally diverse values and principles in theiroperations, planning, audience development, marketing, programming and decision-makingprocesses. A summative toolkit has been created for presenters to refer back to as they moveforward with implementing the knowledge, values and new approaches they have learned toembrace cultural pluralism in the arts.

CPAMO is now involved in creating new relationships (in Ottawa, Markham and Kingston) andenhancing ongoing relationships between presenters and artists and to help build new oneswith the public. CPAMO has broadened its work to include artists from diverse disciplines,eg., visual arts and literature, and has developed new partnerships within the arts creation,arts services and presenting field (for the purposes of this project, galleries will be consideredas presenters). CPAMO has also engaged with presenters and arts services organizations inliterature and visual art in several communities across Ontario.

CPAMOs growth and credibility in Ontarios arts communities is evident amongst theAboriginal and ethno-racial producers of art (i.e., artists), its presenters (i.e., venues that stageperformances, publish literature, display visual arts in galleries) and arts services

organizations in the fields of performing arts (e.g., CCI), visual art (CARFAC, IMAA andMANO) and capacity building in the arts (e.g., Creative Trust, Institute for CanadianCitizenship, and the Harmony Movement).

Through its Project Lead, Charles C. Smith, CPAMO also has strong connections to theUniversity of Toronto Scarborough Campus (UTSC) Visual and Performing Arts Program and

Arts Management Program and, through this, contributes to preparing aspiring artists and artsmanagers to enter into the world of arts in Ontario, a world that values diversity and pluralism.

As well, CPAMOs links with UTSC enhance its research functions as is evident in thepreparation of the CPAMO tool-kit on evidence-based practices to promote pluralism in thearts that was released in June 2011 and is to be published in 2012.

A listing of CPAMO activities to date is included at the end of this report as Appendix 1.


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3. What CPAMOHas Done and With Whom:

As the project proposal to the OTF indicates, CPAMO sought to coordinate a series ofTownHallsand several workshops to explore issues of pluralism in the arts and to build capacitiesor artists and arts organizations, particularly Aboriginal and ethno-racial artists and artsorganizations. These events help identify challenges arts organizations are facing on these

issues, particularly relating to what steps can be taken to:

develop collaborative projects between Aboriginal and culturally diverse artsorganizations and presenter venues across Ontario;

develop audiences from Aboriginal and culturally diverse communities; and

promote and market arts activities of Aboriginal and ethno-racial communitiesto diverse communities.

The workshops also build knowledge and skills for those involved and are of particularimportance to Aboriginal and ethno-racial arts organizations.

The dialogue at these events promote collaborations between Aboriginal and ethno-racialperformers and those responsible for performance venues. They also educate theseindividuals on what needs to be done to engage in ongoing dialogue and in buildingrelationships that will bring about greater understanding of culturally diverse performances andthe needs of venues to attract audiences from these communities.

In essence, each of the CPAMO Town Hallshave involved presenters and artists from ethno-racial and Aboriginal communities to develop the goals, objectives, format for them and toidentify panelists and performers to participate.

As for the workshops, one of the keys to enhancing the relationship between presenters andartists is to develop the infrastructure of Aboriginal and ethno-racial arts organizations in suchareas as digital technology, use of social media and other communications technologies,development of fundraising campaigns and recruitment of volunteers. These areas are alsokey for Aboriginal and ethno-racial artists to develop their relationships with diversecommunities to ensure communities are aware of what these companies are doing and canattend their performances as well as join them in their work.

Many Aboriginal and ethno-racial arts organizations have small administrative units of between2-5 people, some of whom are not full-time. These staff are pressed to keep up with thedemands of carrying out day-to-day administrative functions, e.g., coordinating meetings,securing venues for performances, coordinating tours, and working with volunteers. Given themany demands placed on such small administrative support functions, many Aboriginal andethno-racial artists on CPAMOs Creators Roundtable have asked CPAMO for assistance inaddressing matters related to fundraising, use of digital technology and social media, as well

as communications with diverse communities to attract audiences and volunteers.

To implement the activities noted above, CPAMO coordinated:

4 Town Halls. Two of these events were in Ottawa, one in Markham and onein Toronto. All of these events were coordinated in partnership with otherorganizations; and

10 workshops. 7 workshops were held in Toronto and 3 in Ottawa; the former


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were for the data smarts and other technology sessions; and the latter were toplan the Town Hallas well as other events for 2013 and for one data smartsession to be held in 2012.

CPAMOs Project Lead also made presentations:

as a panelist at CARFAC Nationals annual meeting; to launch the book Plural ism in the Arts in Canada: A Change is Gonna Comeat

CCIs annual meeting; and as a panelist at the Ottawa Local Immigration Partnership annual meeting in Ottawa.

Information about CPAMOs activities for Town Halls,workshops and presentations areprovided below. These details are followed by summaries of CPAMO communicationsactivities, budget expenditures and an overview of CPAMO activities since its inception.

3.1 Ottawa Workshops and Town Hall (http://cpamo.posterous.com/pages/cpamo-in-ottawa):

As noted in the CCI/CPAMO project proposal, one of the key methodologies has been to workin partnership with arts organizations in each local community. In Ottawa, CPAMO has beenworking with: the Ottawa Art Gallery, CARFAC National, the Great Canadian TheatreCompany, the Coalition of New Canadians for Arts and Culture, the Ottawa Chinese Heritage

Association, the Ottawa Local Immigration Partnership, Gallery 101, Centre Pointe Theatreand Shenkman Hall for the Arts, One World Dialogue, MASC (Multicultural Arts in Schools andCommunities), CAPACOA and individual artists in dance and visual arts.

These individuals and organizational representatives have worked together in workshops tohelp plan and coordinate the September 20, 2012 Town Halland December 17, 2012 DataSmarts sessions. They have also contributed to promoting the MASC Mondays

performances (April 16, 2012 and September 20, 2012) and One World DialogueInternational Peace Art Show (September 21-22, 2012).

The planning workshops were held on April 16 (full day), June 12 and August 20 (half days).The first workshop offered presentations by the OAG, CNCAC and MASC followed by smallgroup sessions. A MASC Monday was held in the evening, April 16. The artists whoparticipated in this evenings performance were: Sonia St. Michel, Phil Jenkins, CelticRathskallions and Kathy Armstrong.

The other two workshops were held to review the results of the previous session and to clarifylogistics for the promotion of the Town Hall .

The Town Hall on - Aboriginal and Ethno-Racial Communit ies in Ottawa andImplicat ions for the Artswas a full day session held at 219 Argyle Avenue, the offices of theOttawa Local Immigration Partnership. As part of this event, a MASC performance event washeld in the evening and the following day, Sept. 21, the One World Dialogue's "InternationalPeace Day Art Exhibit" was held at Shenkman Arts Centre.

The Ottawa community is changing and there are increasing signs of this in the growth ofAboriginal and ethno-racial communities. To address this, several arts organizations in
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of Culture, Ukraine.

After working at the Ottawa School of Art as a program manager for several years, Catherinejoined the City of Ottawas Culture Division in 1989 and has worked in the areas of public art,cultural funding and arts development.

Catherine led the transition of the municipal cultural portfolio from Ottawa-Carletons 12 formermunicipalities into the new, amalgamated City of Ottawa (2001). Since that time, she hassuccessfully led the development of the Ottawa 20/20 Arts Plan (2003), the Arts InvestmentStrategy (2007), and the Renewed Action Plan for Arts, Heritage and Culture (2013-2018) allin full partnership with the community.

As Co-ordinator, Cultural Development and Initiatives at the City of Ottawa, Catherine iscurrently working on a range of municipal cultural initiatives with a diverse team of passionatepeople.

Brian Rayis a social geographer who is interested in the diverse ways that urban people

organize their everyday lives in multi-ethnic cities. For the most part, Brians work examinesdifferent aspects of immigrant integration in North American and European cities. His researchprojects have emphasized the following issues: the importance of cultural identity and genderin integration processes among new immigrants, housing affordability and homeownershiptrends among refugees and ethno-cultural groups, the social networks of immigrant women,the spatial segregation of immigrant and ethnic groups in large cities, geographies ofemployment and social mobility, and the social construction of race and racist practices.Beyond the fields of immigration and cultural diversity, his research also examines the socio-cultural meaning of neighborhood spaces for marginalized groups and geographies of genderand sexuality.

The notes for the Town Hallare attached as Appendix 2and the speakers presentations can

be seen on CPAMOs website ((http://cpamo.posterous.com/presentations-from-ottawa-town-hall-september).

Fifty-five (55) people attended this session. There were several issues emerging from theafternoon session that will be discussed at planning meetings in December 2012 and January2013. These issues will form the basis for follow-up activity in 2013-14. In the evening,CPAMO and MASC held the second MASC Monday performance. Approximately thirty-five(35) attended this performance which featured the following artists: Galitcha, Fana Soro, MariaHawkins and Colores.

As part of this Town Hall , CPAMO supported the International Peace Day Art Show whichisthe main annual event for One World Dialogue (OWD) to celebrate the United Nations

International Day of Peace on September 21, 2012 from 7:00 10:00 pm at the ShenkmanArts Centre in Ottawa. The purpose of this show was to bring awareness and promotecollaboration in the community around Peace Day by bringing different artists together fromdiverse backgrounds to dialogue on peace and integration in the Ottawa community. In thiscontext, art creates a space for positive public engagement in a non-threatening setting.
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Jaime Koebel, 2011 Basement Artists, 2011 HArt of Ottawa, 2011

At this International Day of Peace Art Show some art was also presented by youth both fromCanada and Tanzania and on Saturday September 22, 2012 there were childrens art activitiesat the Shenkman Centre to engage youth in the Ottawa community on themes of dialogue andpeace.

The artists who participated in this event were: Jaime Koebel, Sandy Woods, HArt of Ottawa,

Basement Artists, K.C. Geoffrey Ng, Sandra Millar, Sau Lan Mo, Art Camp, Maria Gomez,ElBagir Osman, Suzanne Valois, Olaf Krassnitzky, Tanzanian Childrens Art (Karama HouseOrphanage and Good Hope Orphanage), Saudia Rafiquddin

One World Dialogue (OWD) is a non-profit organization that applies the principles ofintegrative thinking, art and design to social issues. OWDs mission is to examine how tocreate an effective dialogue that works towards greater integration and fostering a lastingpeace. OWD works off building partnerships and promoting collaboration to showcase how thework around us can promote dialogue.

Approximately two hundred (200) participated in this Art Show.

The DATA Smarts workshop is scheduled for December 17, 2012 at the offices of the OttawaLocal Immigration Partnership(http://smartdataottawa.eventbrite.ca/). Convened inpartnership with Creative Trust, this session is a workshop on the uses of digital technology foroffice administration, particularly on financial matters, sponsor and audience engagement,report writing, etc.The details for this workshop are provided below in Section 3.5. One topicwill be chosen for this initial session.

3.2 Together in Dance at Flato Markham Theatre(http://cpamo.posterous.com/pages/cpamo-in-markham ):

Together In Dance ForumAt Flato Markham Theatre: Conversations and concreteactions about engagement through dance in a diverse communitywas presented onOctober 14, 2012 by Flato Markham Theatre in partnership with CPAMOand supported by theCity of Markham and TixHub.

As a follow-up to Flato Markham Theatres new dance series with the 2010-11Season, thisworld-class series included Canadian and international companies and has also been part ofMarkham Theatre Discovery, the theatre umbrellaproviding educational/outreachprograms.For the 2011-12 season, the theatre joined the group of select presenters as partof
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the Ontario Dances initiative and supported by the Ontario Arts Council. Thisenriched thedance program of the Theatre with Ontario based dance companiesas part of the program mixand expanding the outreach portfolio.

At the conclusion of the 2011-12 season, the theatre management reflected onits variousdance programs and initiatives in order to:

a) Collect intelligence: We initiated a conversation with the dance field inYork Region, withthe goal of continuous improvement and the tackling of keyissues. The process helped usbetter understand the ecology of the field, andprovides meaningful information that we aregoing to be able to use for future efforts.

b) Identify sectors of the dance field in the Markham region:

i. Education sector (dance programs in educational institutions e.g.UnionvilleHigh School, York University;

ii. Recreational/private sector e.g. private dance studios, communityschoolsand dance companies; and

iii. Professional sector e.g. dance professionals, companies, presenterssuchas Flato Markham Theatre.

Based on this, it was clear that the Dance community is vibrant in Markham and that theMarkham region includes a growing and rich community of diverse danceensembles andschools, representing the areas demographic trends. However, much of this work is in silos.

As such, this forum aimed to build future success for dance in Markham and address the keyquestion on how to engage with the various dance sectors in the region with the goal ofdeveloping a cohesiveand comprehensive plan in making the discipline more vibrant,connecting with diverse communities, increasing their participation and grow audiences.

In this context, the goals of thisTown Hallwere to:

1. Bring people together and engage a conversation between the various sectors;2. Better understand the needs of the various sectors of the dance community vs.theatre

programs and services; and3. Identify opportunities to Increase community engagement and build a vibrant audience

for dance in the Markham Region.

This gathering received presentations by several active in the field of dance as artists,presenters and educators, including Emily Cheung, Artistic Director of Little Pear GardenTheatre Collective; Vivine Scarlett, Artistic Director of Dance Immersion; Menaka Thakkar,

Artistic Director of Menaka Thakker Dance; and Soraya Peerbaye, former Dance Officer forthe Toronto Arts Council now working on a dance mapping project in Markham.

The panel presentations were then followed by small group discussions that addressed thefollowing:

Table A: Theatre and Dance1. What can the Theatre/Markham do for the dance community? Role?2. Diversity in Dance: What is the next step for the Theatre and Markham?3. What initiatives can we imagine for community engagement through dance at theTheatre and in Markham?


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Table B: Dance organizations and studios1. Community engagement: Is it worth it? Why do it?2. Diversity in Dance: What would be the value? How do we do it?3. How can we work together (between the various sectors)? Partnerships opportunities?

Table C: Dance Education1. What is needed to grow the curriculum and develop the profession?2. What are the employment opportunities? Dance studios? Companies?3. How should the Theatre be engaged in dance education?4. How can we work together (between the various sectors)? Partnerships opportunities?

Minister Michael Chan, MPP, was also on hand to thank the presenters and speak to thosegathered and the day ended with a keynote address delivered.

Sixty (60) people attended this Town Halland the detailed report on this session is attached asAppendix 3. CPAMO will be working with Flato Markham Theatre and Markham groups tocontinue this dialogue in 2013-14.

3.3 Canadian Dance Assembly, Cpamo And The Ago KhanMuseum: Step in Time Technologies and Pluralism in Dance (http://www.cda-acd.ca/en/programs-services/2012-national-conference)

In collaboration with CPAMO and the Aga Khan Museum, the Canadian Dance Assembly heldits 6th National Conference October 20-22, 2012in Ottawa.This was a gathering with thedance community to dialogue, build community, gain new insights, and help shape the futureof dance in Canada with a focus on pluralism.

CDA's National conference was inspired by the intersection of pluralism and technology in arapidly changing environment. It featured panel discussions, keynote speakers, workshops onvideo, and new modern applications in dance in an innovative forum. In conjunction with thisyear's conference, the Canadian Dance Assembly recognized and celebrated exceptionalmembers of the dance milieu with Canadas first National Dance Awards theI lovedance/Jaime la danseAwards!

Below is a snapshot of the conference proceedings.

Keynote Address:Douglas Rosenberg "Witnessing Dance: Mediation and theTechnologies of Representation" (Appendix 4):

Unashamedly utopian, this talk addressed how we look, how we discuss, how we circulate and

inscribe images of dancing bodies in a pluralistic world. Presenting ideas in a relationalframework, Douglas Rosenberg situated dance within a larger conversation, as a disciplinewithin a system of discourse, signifiers and conversations about mark-making, about presence,about bearing witness to a particular kind of humanness that has the potential to speak aboutboth democracy and egalitarianism even as it conforms to contemporary esthetics.Technology and democracy are often mentioned in the same breath (the Arab Spring andsocial media for instance, or the internet as a force for democratizing information).Thetechnologies of representation (as they relate to dance) are inextricably linked to access: tothe tools of media, to who controls how the results of media/dance collaborations circulate in
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the culture and most importantly how the technologies of representation, (film, video, movingimage production) reinforce ideas about women, race, disability, beauty, and such. Whendance artists translate their choreographic ideas from stage to screen, often the result is thatthe screen version repeats unhealthy and damaging tropes that are antithetical to inclusion,democracy, and egalitarianism. This talk suggested models to re-articulate the possibilities oftechnology and dance and to create opportunities for creative and critical discourse in our

dance communities that focus on the human condition.

Panel - Changing demographics in dance - The successful practice of artistic pluralismModerator: Warren GarrettSpeakers: Charles Smith, Amirali Alibhai, Michele Moss, Lata Pada,Zab Maboungou.

The successful practice of artistic pluralism requires cross-cultural respect, dialogue, andunderstanding. The arts demonstrate and manifest the potential of thinking and creatingtogether across differences. In times of changing demographics, considering the integration ofnew cultures within the Canadian mainstream, this panel discussed how we can adapt tocurrent increasing changes, the intersection between artists from different origins mean. Italso discussed: what are the questions that need to be addressed in order to attract people

coming from different backgrounds, and what are the obstacles, challenges and successstories related to this topic.

Innovation Forum I: "Dance From Stage to Screen: Five Journeys, Five Stories"Moderator: Douglas Rosenberg | Speakers: Priscilla Guy, Paulina Ruiz Carballido, JoDee

Allen, Izabel Barsive, Olga Barrios

This panel was story-telling time! The five artists shared their journeys through the life of alens and discussed how . dance artists use new technologies as a component of their work;how they approach this form of expression and performance from behind the screen, how italters the experience, why have they chosen to work this way, and what are the advantagesand disadvantages of this digital age?

Keynote Address: Sashar Zarif Dialectic Movement (Appendix 5):

Sashar Zarif is a multi-disciplinary performing artist, educator and researcher whose artisticpractice invites a convergence of creative and cultural perspectives. His interests are identity,globalization and cross-cultural collaborations. His practice is steeped in the artistry andhistory of traditional, ritualistic and contemporary dance and music of the Near Eastern andCentral Asian regions. He has toured across the Americas, in Europe, North Africa, Centraland Western Asia and the Middle East, promoting cultural dialogue through intensive fieldwork,residencies, performances and creative collaborations. He is the recipient of numerousnational and international awards for his collaborations with outstanding Canadian artists,along with international icons such as Alim Quasimov (a collaborator on Yo-Yo Ma's Silk RoadProject), and universities and arts institutions across continents. Zarif is a research associateat the York University Centre for Asian Studies, a sessional faculty member of YorkUniversity's Dance Department and on the board of directors of Dance Ontario and the WorldDance Alliance - Americas. Among recent awards are a Chalmers Fellowship, New Pioneers

Award for Arts and the Queen Elizabeth II Diamond Jubilee Medal.

Sashars keynote discussed the intersections between cultures, migration and globalization.


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At this annual gathering, the CDA also celebrated exceptional members of the dance milieuwith Canadas first National Dance AwardsTheI love dance/Jaime la danse Awards!

1. Rosco Floors I love dancecommunity award WINNER:Kaeja dDance. KaejadDancebridges dance art and the public. Co-Artistic Directors Karen & Allen Kaeja.

2. En Pointe I love danceyouth award WINNER: Love 2 Groove. Julia Gutsik Founder/artisticdirector of Luv2Groove is recognized for her versatility as a dancer, and distinct flavor andhigh energy as a performer and teacher.

3. I love danceseniors award WINNER: Charmaine Headly ofCOBA Collective of BlackArtists. As Co-Founding Artistic Director of COBA, Collective of Black Artists, CharmaineHeadley champions Africanist dance, and is inspiring new generations while playing a vital rolein our community.

4. AFBS I love dancehealthy citizens award WINNER: Dance Our Way Home. Dance OurWay Homes visionary director, Erica Ross, infused the dance practice with her personalrelationship to life and the lens through which she sees it; her love for and relationship withEarth-based spirituality, the divine feminine, and the wisdom teachings of Buddhism andShamanism.

5. I love dance award for a creative economy WINNER: Christianne Blanger Danse.Christiane Blanger-Danse, founded in 1989, now counts 600 students, and is the biggestdance school specialized in classical ballet in Quebec. heading many events for NationalDance week

6. Aga Khan Museum I love dance international award WINNER: RUBBERBANDance Group.Since it was founded 10 years ago, RBDG had the opportunity to perform in severalinternationally recognized locations in the dance world, being a shining example of Canadiandance.

7. CPAMO I love dance award for the promotion ofpluralism WINNER: Menaka Thakkar.Now celebrating 40 years in Canada, Dr. Menaka Thakkar is the founder and artistic directorof the first professional school of Indian dance known as Nrtyakala Academy of Indian Danceand the first professional Indian dance performance company known as Menaka ThakkarDanceCompany. of a world- renowned dance school and company.

8. I love dance award forinnovation WINNER: Julia Taffe of Aeriosa Dance. For the past 14years Julia has pursued her artistic practice in non-traditional settings. She is the founder andartistic director of Aeriosa dance society, and stages her choreography in (and on top) oftheatres, on mountains and on buildings.

9. I love danceaudience memberaward WINNER: Henry Kim Wong. Henry was nominatedas Vancouvers biggest dance fan, attending almost every contemporary dance performance
http://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.rosco.com/quicksites/dance.cfmhttp://www.kaeja.org/http://www.kaeja.org/http://www.kaeja.org/http://en-pointe.com/http://luv2groove.com/http://www.cobainc.com/http://www.actrafrat.com/public/index.phphttp://www.actrafrat.com/public/index.phphttp://www.danceourwayhome.com/http://www.christianebelanger-danse.com/http://www.christianebelanger-danse.com/http://www.akdn.org/museum/http://rubberbandance.com/https://sites.google.com/site/cppamo/http://www.menakathakkardance.org/http://www.menakathakkardance.org/https://sites.google.com/site/cppamo/http://rubberbandance.com/http://www.akdn.org/museum/http://www.christianebelanger-danse.com/http://www.danceourwayhome.com/http://www.actrafrat.com/public/index.phphttp://www.cobainc.com/http://luv2groove.com/http://en-pointe.com/http://www.kaeja.org/http://www.rosco.com/quicksites/dance.cfmhttp://www.cda-acd.ca/en/programs-services/ilovedance-awards


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in the city.

10. I love dance corporation award WINNER: TD Bank Group. TD Bank Group has been aconsistent supporter of Canadas National Ballet School for nearly 30 years and have madeover 100 gifts totaling more than $2.2-million in support. They have been the lead sponsor of

flagship fundraising events and have contributed more than $1.2-million to support bursariesand scholarships for talented students in need in the professional ballet program.

11. I love danceorganization award WINNER: Dance Collection Danse. Dance CollectionDanse (DCD) is Canadas national research centre, archives and publisher dedicated to thepreservation and distribution of Canadian theatrical dance history..

12. I love dancedonors award WINNER: Jeanne Lougheed. Jeanne Lougheed hassupported dance and the performing arts all her life, donating to the Alberta Ballet School, the

Alberta Ballet Company, the Banff School of Fine Arts, and the Royal Winnipeg Ballet.

Approximately one hundred and twenty (120) attended this event. The artists supported byCPAMOs involvement in this event were: Cathleen Enns, Caroline Liffman, ChristianneBelanger, Cindy Yip, Corinne Brethes, Jean Assamoa, Jennifer Bennett, Josh Martin, KimSato, Louis Laberge-Cote, Maria Osende, Michael Caldwell, Mirna Zagar, Rhodnie Desir, SusiNalliah and Susanne Chui.

3.4 CPAMO Book Launch and NAN Toolkit:

On June 13, 2012, CPAMO Project Lead, charles c. smith, presented the results of a three-year research project entitled Promoting Plural ism in the Arts A Change is GonnaCome.This took place at CCIs annual meeting in Ottawa on June (DATE) 2012 and involvedthe publisher, the Canadian Centre for Policy Alternatives, along with Natasha Bakht andKevin A. Ormsby, two authors who have articles in the book.

The tool-kit addresses areas that arts organizations have been discussing through theCPAMO project, its Town Hallsand workshops, and in other conversations, i.e., what isneeded and what is being done to lead and build collaborations in bringing about differentways of seeing and understanding through the arts. It also looks at practices by artorganizations that have found ways to successfully transform their organizations so that theyare deeply engaged in change activities, particularly in building and sustaining relationshipsbetween arts organizations and Aboriginal and ethno-racial communities.

It gives concrete suggestions on how to go about implementing change work it sets out togive information that can assist arts organizations, whether presenters and/or creators, to lookat what they need to do to engage with our rapidly changing communities and what theyboth need and can do together to bring the mutually desired change about. It looks to thecentral requirement of organizational leadership, particularly as it relates to risk, and thensuggests a sequence of key activities with concrete suggestions and case studies of strategiesthat have been used by other arts organizations.
http://www.dcd.ca/http://www.dcd.ca/


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This tool-kit is based on the premise that change is a good thing, a creative and engagingprocess, and a very rewarding one. The suggested strategies, concrete activities, casestudies and annotated bibliography provide ample evidence of change work being not onlypossible, needed and desirable but, as well, leading to positive outcomes related to supportinga broad range of artistic expression, centering the arts within the day-to-day lives ofcommunities, empowering and enabling communities and generating increased community

involvement in arts organizations through increased audiences, retention of staff, board,sponsors and volunteers.

This tool-kit is comprised of several sections. The first sections CPAMOs Work andThe Need provide a context for why this tool-kit has been created and the need for it in thearts community. These two sections are then followed by a series of discussions related tothe integral functions of an arts organization and what arts organizations, presenters andcreators, might want to look at and do to implement equity and diversity initiatives in their work.These functions are organized in a sequential way to suggest what needs to be done first andhow this will flow into other initiatives in other areas.

In this context, the section on CPAMOs Work gives an overview of CPAMOs activities

since 2009 and how it has engaged artists and presenters in a growing dialogue on pluralismin the arts, its significance to each of them, what is being done to promote it and what artistsand presenters might do together.

The section entitled The Need looks at current challenges in the arts ecology related todemographic changes, challenges facing Aboriginal and ethno-racial artists and thearticulation of needs by presenters to engage with diversity and Aboriginal and ethno-racialartists and audiences in particular.

These two sections provide background information and set the stage for introducing variousstrategic approaches to bringing about positive and constructive change. They need not beread first, or at all, but are provided to tell the story from developments happening locally and

through the context of the CPAMO experience.

In terms of strategic approaches, the sections in Strategies and Practices discuss keyareas of an arts organization and are presented in an order of priorities. These priorities havebeen developed based on CPAMOs work over the past two years, including researchconducted for this tool-kit. The strategies begin with the important element ofOrganizational Commitment. There is no movement on this or any other issue without thecommitment of the organization, from its leadership in particular, to want to make changehappen.

Given some of the common challenges faced by arts organizations locally and in other parts ofthe world, organizational commitment might best be followed by reaching out to engage

communities. The strategies and processes ofCommunity Engagement are varied but eachis premised on the notion that the arts, and arts organizations, need to be an integral part ofcommunity life as expressed in ways communities organize themselves and share resourcesas well as network with each other, particularly to ensure valuable information is activelycirculated within communities, providing individuals with invaluable knowledge about what isavailable to them and how they can access and participate in these opportunities. This sectionsuggests the critical importance for arts organizations, particularly presenters, to become partof that process and become active participants in community life rather than using traditionalapproaches of marketing and communications and waiting for people to come to see a show.


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Successfully carried out processes of community engagement will undoubtedly open doors forarts organizations to pursue other elements of the tool-kit. For example, having a higherprofile in diverse communities can lead to engaging community members and artists inProgramming Decisions and Curatorial Development of the arts organization. Thisrequires processes of empowerment, information sharing and learning about the histories,

traditions and contemporary arts practices of Aboriginal and ethno-racial communities. It alsorequires demystifying the process of presentation and the challenges, opportunities andconstraints the presenting field must work with to support the arts. Empowering and sharingwith communities in this way can build their confidence and trust in the arts organizationwhich, in turn, can lead to Audience Development and ensuring individuals from diversecommunities are aware of Employment and other service opportunities within the artsorganization, e.g., volunteering, assisting in an advisory capacity and/or participating on theboard of directors.

In essence, one section leads to the other. However, it is very possible that creative andspontaneous things might happen and arts organizations need to be open to these and tobring them in to the change process. Oftentimes these developments can really ignite the

change process as when the artists, presenters and communities are in agreement on neededareas of change and are open with each other about how to change and what each willcommit to the process.

The material in this tool-kit is presented in several ways. In each of these sections, there aresummaries of some case studies and references to others. These highlight what artsorganizations have done and/or are doing to address the issue under consideration. As thereare many examples, the tool-kit summarizes only a few for each section and makes referenceto others. To try and summarize all researched examples would make this tool-kit unwieldyand too lengthy. It would also take away the need for initiative from arts organizations andcommunities to dig in on their own in order to gain greater ownership and understanding ofapproaches to change work. For ease of reference, given the common use of the terms

equity and diversity in most of the case studies, these terms are used in most cases insteadof pluralism.

At the tool-kits end is a comprehensive annotated bibliography. The bibliography is included inorder to provide artists and arts organizations with sites to look up other examples of changework. This is important because no tool-kit contains all of the answers to any or everyorganization. Each organization interested in and committed to the process of change needsto do its own work in order to gain the benefits of the change process. In this regard, theannotated bibliography is a source that can be used to find additional examples of changestrategies that might be as relevant as the case studies summarized in each section.

The Neighbourhood Arts Network launched itsArts & Equity Toolkiton September 20,

2012. A brand new resource for community-engaged artists, this toolkit is designed to provideartists and groups with practical tools to reduce barriers to community participation in the arts,the Arts & Equity Toolkitis a comprehensive document that includes case studies, worksheets,resource links, and quotes from Toronto-based artists and groups. The Arts & Equity Toolkitshares innovative ideas and models from over one hundred Toronto-based artists andorganizations, and marks an important milestone for equity in the arts in Toronto.The Arts & Equity Toolkit is available for free through the Neighbourhood Arts NetworkReading Room. Excerpts from the Arts & Equity Toolkit, along with related toolkits from
http://www.neighbourhoodartsnetwork.org/resources/reading-roomhttp://www.neighbourhoodartsnetwork.org/resources/reading-roomhttp://www.neighbourhoodartsnetwork.org/resources/reading-room


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Cultural Pluralism in the Arts Movement of Ontario and a number of essays by prominentCanadian artists, are also included in the recent Canadian Centre for Policy Alternativespublication Pluralism in the Arts in Canada. Edited by charles c. smith, this book will beincluded as a text for Arts Management students at the University of Toronto this fall. 3.5 Capacity Building Workshops:CPAMO partnered with Neighbourhood Arts Network (NAN), Creative Trust and Young and

Associates to offer workshops Advanced Excel Ski l ls + Drop-In Clinic for DatabaseQuestions Worksho ps.These sessions were held on November 6th,, 13th, 20th, 27th andDecember 4th, 2012. Each session focused on many aspects of Database Managementandsession participants learned how to manage data, research databases, creatingorganizational consistencies about retrieving/entering data and central management ofdatabases.

Young and Associates demystified the stigma related to database and its management anddemonstrated how having a working database can influence an organization on many levels.

A total of 100 people participated in these five (5) sessions.

Singing from the Same Songbook: Harmonizing Database and AccountingSoftware

Every organization is likely to have at least two databases: its accounting package and amarketing, membership or fundraising package. Work is greatly streamlined when informationis entered only once but whats the best way to harmonize the reporting so that bothdatabases tell the same story? This workshop will consider the primary point of data entry, andoptions for capturing summary information without repeating all the details. In addition, we willexplore reporting formats that will help you tell a story about your impact and celebrate yoursuccesses, supported by good, quantitative data both financial and statistical. Case studieswill be presented for discussion.

Garbage into Gold: Housekeeping for your Database

The information you get out of your database is only as good as the data you put into it. In thisseminar we will explore ways to create consistencies in the collection and data entryprocesses to ensure that your data is telling the true story. Finding lots of duplicate entries?Sinking staff time into maintaining multiple data files with overlapping contents? Losingopportunities because of missing patron information? Not sure i f youve accurately tracked allyour donations? Learn how to identify errors and omissions in your database, and get yourdata working for you again.

Managing Data: Policies and Procedures for Populating Your Database

Is your organization not big enough to warrant purchasing a fundraising database? Are youusing spreadsheets to track your audience? No problem! Who should be tracked in yourspreadsheet? What is enough information about a contact to warrant a spot in your database?Is an email address enough? Are you sure that your patrons information is safe in yourspreadsheet? During this introductory seminar we will explore the basics of tracking contactsand donations within spreadsheets, and keeping consistent records when more than oneperson is working in the file.
http://www.policyalternatives.ca/publications/ourschools-ourselves/pluralism-arts-canadahttp://www.policyalternatives.ca/publications/ourschools-ourselves/pluralism-arts-canadahttp://www.policyalternatives.ca/publications/ourschools-ourselves/pluralism-arts-canada


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Managing Data: Policies and Procedures for Populating Your Database

So you have a database system.now what? Who should be tracked in your database? Whatis enough information about a contact to warrant a spot in your database? Is an email addressenough? Are you sure that your patrons information is safe in your database? During thisintroductory seminar we will explore the basics of adding contact records to your database,

and how with a few clicks you can create your own network of supporters that works for you.

Researching Your Database: Advancing Marketing and Fundraising withDatabase Research

Youre on your way to a clean and consistent database, but where does that get you? Its timeto research your database. Learn how to analyze your database for Marketing and Fundraisingpurposes to grow your audience and further your mandate. Expand your patron base, targetyour marketing, and meet or exceed your fundraising goals. Learn tips and tricks for miningyour data and expanding your potential.

Managing Up, Down and Across: A Peer Exchange about Buy-In on Database

Investment, Training and Policies How much time does your database require to be properly maintained? Whose job is it tomonitor the database? Can your data give you the answers youre looking for? Are yourorganization's expectations of your database realistic? Join us as we open a discussionamong peers on how to manage database expectations. Whether you are responsible fordatabase maintenance, or you supervise or participate in the process, you will benefit from theopportunity to share ideas for improving the process. Everyone needs to understand whatgoes into best database practices. Individuals from all organizational levels are encouraged toattend (staff, volunteers, board members). Organizations are welcome to send multiplerepresentatives.

Connecting the Dots: A Path to Effective Technological / AdministrativePractices:

Our final workshop will be facilitated by charles smith with Kevin A. Ormsby and will focus onconnecting the applicability of all the workshops for our organizations and members. Whileworkshops over the course of the year focused on specific information, we will use thisinformation to show the applicability of, for example effective database management and itsuse in fundraising (e.g. Online fundraising, or donation drives or using technology from screensharing programs to social media) to enhance the work we do. For some, there may be deep-rooted insecurities about how to navigate around the different elements and how yourorganizations can use them. This session will be a working session, where we would like toshow you how to use the collective knowledge base of your employees and organizations. The

workshop dates are forth coming and will be at the end of all other workshops organizedthrough partnerships with other service organizations.

3.6 Town Hall- CPAMO Volunteer Recruitment Event:

CPAMO hosted" Fal l in Lov e with the Arts Speed Dating Event"on December 4th at theDaniels Spectrum (Regent Park Ar ts & Cultu ral Centre). This event matched individuals


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interested in volunteering with CPAMO Creators Roundtable members who were looking torecruit volunteers for specific functions within their organizations. The event will providedopportunities the Roundtable members to showcase their organization.


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Over forty (40) potential volunteers attended this event and 10 Roundtable membersparticipated, including: Native Earth Performing Arts; Nova Dance; KasheDance;danceImmersion; COBA; Regent Park Youth Theatre; b-current; Aluna Theatre; DiasporicDialogues; and Ballet Creole.

This link is an endorsement of this event from the Dub Poets Collective:

http://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcp

3.7 Presentations:

In addition to planning, coordinating and participating as a panelist or workshop resource atthe various Town Hallsand workshops discussed above, CPAMOs Project Lead made anumber of presentations on various aspects of CPAMOs work. Two of these were for nationalgatherings and another for local Ottawa-based groups.

These presentations were for:

1) June 9, 2011 CARFAC NationalArt and Law Conference(http://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/). The text of this presentation is on CPAMOs website athttp://cpamo.posterous.com/carfac-national-conference-on-art-law#

2) June 13, 2012 CCI Annual Members Meeting. This was the book launch forPlural ism in the Arts in Canada: A Change is Gonn a Comepublished by theCanadian Centre for Policy Alternatives and, along with CPAMOs toolkit on evidence-based practices of pluralism in the arts, this book contains several essays andspeeches that were presented by CPAMO workshops and Town Halls.

3) Oct. 1 2012 Local Partners and Immigrant Sett lement. The Ottawa LocalImmigration Partnership held its first annual to discuss issues related to immigrantsettlement and featured CPAMOs Project Lead for a session on the arts.
http://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcphttp://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcphttp://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/http://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/http://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/http://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/http://cpamo.posterous.com/carfac-national-conference-on-art-lawhttp://cpamo.posterous.com/carfac-national-conference-on-art-lawhttp://cpamo.posterous.com/carfac-national-conference-on-art-lawhttp://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/http://www.carfac.ca/national-conference-for-visual-artistsjune-9th-10th-lord-elgin-hotel-ottawa/lang-pref/en/http://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcp


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4. CCI/CPAMO Activities for 2013:

Having developed significant partnerships and coordinated important initiatives, CPAMO hasalready begun the process of planning and coordinating its initiatives for 2013. Some of thedetails of this are provided below.

4.1 Ottawa:

In Ottawa, CPAMO will continue to work with local arts organizations and the Ottawa LocalImmigration Partnership (OLIP) to convene two Town Hallsand two workshops. The planningfor the first Town Hallis underway in partnership with Circadia Indigena and will focus on

Aboriginal artists in the capital region. A summary of this event, to be held in February, isbelow.

The Ottawa planning group will be meeting in December 2012, January and February 2013 toplan for the second Town Halland to continue the workshops on Data Smarts.

First Peoples Artists Forum:

The Ottawa 20/20 Arts and Heritage Plan was approved by Ottawa City Council in 2003. Inaddition to 20-year strategic directions, the Plan identified strategies, policy statements and afirst five-year action plan. The Plan was to be renewed every five years, and a renewalprocess began in August 2009.

This renewal process brought together the strongest diversity of representation andparticipation ever for municipal cultural planning purposes in the area. Voices of First Nations,Inuit and Mtis individuals and communities; representatives of the Anglophone andFrancophone cultural mosaic; diverse citizenry from rural, suburban and urbanneighbourhoods; new Canadians and arts, heritage, festival and fair representatives wereheard.

On February 8, 2012, City Council unanimously approved a renewed action plan for arts,heritage and culture (2013-2018) framed on the following four strategies:

1. Celebrate Ottawas Unique Cultural Identity and Provide Access to Culture for All2. Preserve and Develop Cultural and Creative Places and Spaces3. Get the Word Out About Ottawas Vibrant Local Culture and Unique Identity4. Invest in Local Culture and Build Cultural Leadership

A significant gap was uncovered during the above renewal process related to recognition,commemoration, reclamation, development, awareness, investment and access to FirstNations, Inuit and Mtis arts, heritage and culture in the Region.

There is a need to bring together Indigenous and Aboriginal artists of the region to:

a) Connect, build meaningful relationships, and engage in meaningful dialogue;b) Discuss reclamation of First Peoples culture and needs of First Peoples Artists in

the region; andc) Respond to current opportunities within the region, including the renewed action plan for

arts, heritage, and culture in the Ottawa region.


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This phase of work is best served through the planning and implementation of a First PeoplesArtists Forum in early 2013. The proposal is as follows:

Circadia Indigena will organize a First Peoples Artists Forum at the Richelieu VanierCommunity Centre, and will:

1. Identify and connect with established and emerging First Nations, Inuit and Mtisartists in all disciplines who reside locally and regionally;

2. Connect with Algonquin Anishinabeg leaders, Elders, and Knowledge keepers as theFirst Nation of the area;

3. Connect with local First Nations, Inuit and Mtis organizations and community-at-large;4. Oversee the planning, promotion, and implementation of a February Artists Forum

(February 22 to February 24, 2013);5. Officially report on the Forum findings and recommend next steps;6. Liaise with the Cultural Pluralism in Performing Arts Movement Ontario to disseminate

relevant information and findings from the forum.

4.2 Town HallsKingston and Markham:

Preliminary planning is underway to coordinate a Town Hall in Kingsto n. This involvesworking with the City of Kingstons Director of Cultural Services for an event to discusspluralism in the arts in Kingston that will dovetail with a major municipal activity that will likelyinvolve the Mayor of Kingston and local councilors along with the University of Queens, thelocal arts council and artists as well as others from diverse communities. At this time, GeorgeElliot Clarke has been invited to deliver a keynote address that will be a pre-performance talkon Africville touching on slavery and the Empire Loyalists in relationship to Kingston. Thiswould be prior to the performance of Africville by Joe Sealy.

The second Town Hall in Markhamwill be held toward the fall of 2013 and will build on theoutcomes of this years event noted above.

4.3 Volunteer Recruitment Toronto and Ottawa:

In 2013 CPAMO proposes to convene two volunteer recruitment events one in Ottawa andthe other in the Greater Toronto Area. Entitled Linking Abor iginal and Ethno-racial/culturalVolunteers to the Artsthese two events will recruit arts organizations and presenters to meetwith and involve individuals from diverse communities as volunteers. It is anticipated thatapproximately 120 potential volunteers will attend and meet with representatives ofapproximately 40 arts organizations. The purpose of thesetwo events is to link individualsfrom diverse Aboriginal and ethno-racial/cultural communities to arts organizations, particularly

Aboriginal and ethno-racial/cultural organizations, to develop volunteer opportunities that willbenefit each and support the capacity building of these organizations while providingprofessional development and networking opportunities for volunteers.

To achieve this, CPAMO will undertake the following activities:


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1) Identify arts organizations that wish to be involved and assist them in developing theirvolunteer opportunities. Timeline: winter 2013 for Ottawa and fall 2013 for the GreaterToronto Area;

2) Conduct outreach to potential volunteers through promotional activities involving theInstitute for Canadian Citizenship, the Coalition of New Canadians for Arts and Culture,MASC (Multicultural Arts in Schools and Communities, the Ottawa Chinese Heritage

Centre, Artscape, Diversecity on Board/Maytree Foundation, the HarmonyMovement/Arts4Equity Project. Timeline: - Feburary/March 2013 Ottawa;October/November 2013 for the Greater Toronto Area;

3) Solicit background information from potential volunteers e.g., resumes, c.v.s, bionotes and provide feedback to assist them in preparing for the Town Hall. Timeline:March/April 2013 for Ottawa; October/November 2013 for the Greater Toronto Area;

4) Identify panelists/workshop resources to lead and facilitate conversations on engagingvolunteers. Timeline: April 2013 for Ottawa and October 2013 for the Greater Toronto

Area;5) Identify and confirm artists to perform at the Town Hall. April 2013 for Ottawa and

October 2013 for the Greater Toronto Area;6) Prepare promotional materials e.g., press releases, social media to promote the

event to the public. Timeline: June 2013 for Ottawa and November 2013 for theGreater Toronto Area;

7) Convene the Town Hall. Timeline: June 2013 for Ottawa and December 2013 for theGreater Toronto Area; and

8) Prepare and circulate a report on the outcomes of the Town Hall identifying key issuesand follow-up actions. Timeline: September 2013 for Ottawa and January 2014 for theGreater Toronto Area.

The format for the Town Halls in Ottawa and the Greater Toronto Area will be structured asfollows:

1) Opening Remarks by charles c. smith, CPAMO Project Lead

2) Morning Keynote Presentation3) Aboriginal Arts Performance by CPAMO Roundtable members (e.g., Kaha:wi DanceTheatre, Red Sky Performance4) Workshop sessions with panelists, e.g., Catherine Winter (Diversecity On Board/MaytreeFoundation), Kevin Ormsby (Artistic Director Kashedance), Anita Agrawal (CPAMO), BushraJunaid (Outreach Manager, Ontario Arts Council)5) Ethno-racial/cultural performances by CPAMO Roundtable members (e.g., SampradayaDance Creations, Collective of Black Artists, Little Pear Garden Theatre Collective, fuGen

Asian Theatre, Why Not Theatre, Olga Barrios Dance to be confirmed)

The event will be implemented by opening with a performance by an Aboriginal artsorganization that will be followed by the first keynote presentation. Participating arts

organizations will staff display booths for potential volunteers to seek out information onvarious volunteer opportunities and to make connections with representatives of participatingarts organizations for any necessary follow-up. This will be a feature for the full day.

Following the morning keynote, there will be a series of workshops with resources experiencedin volunteerism in the arts. These workshops will address such issues as: (i) being on a boardof directors; (2) assisting in fundraising and financial management; (3) engaging in communityoutreach; (4) using social media and digital technology. These workshops will be run in boththe morning and the afternoon to allow participants to select at least two sessions.


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After lunch therewill be another performance and a final performance at the end of the day.The discussion of these sessions will be recorded and will form the basis of a report on theTown Hall. This report will be provided to those who attend and made available to all CCImembers, CPAMO Roundtable members and others in the broader performing artscommunities. The goal of this report is to enhance the dialogue on pluralism and diversity in

volunteerism in the art and to provide examples of what is being done to address this matter.

For the Ottawa Town Hall, CPAMO wil l wor k with Ott awa-based resour ces, i.e., speakers

and performers.

This activity has several anticipated outcomes. These are:

1) recruiting 100 individuals from Aboriginal and ethno-racial/cultural communities who areinterested in volunteering for arts organizations within their own communities and/or with othercommunities;2) recruiting 20 - 30 arts organizations, particularly from Aboriginal and ethno-racial/culturalcommunities, to participate in convening booths and determining opportunities available to

volunteers;3) providing a template to assist interested volunteers in preparing their resumes and offers forpresentation to interested arts organizations;4) providing a template to assist interested arts organizations, particularly Aboriginal and etho-racial/cultural, in preparing descriptions of their volunteer needs;5) providing a template to interested volunteers and arts organizations to assist them indeveloping and sustaining the volunteer experience;6) enabling volunteers, particularly from Aboriginal and ethno-racial/cultural communities, andarts organizations, particularly from Aboriginal and ethno-racial/cultural communities, to makeconnections so that volunteers are able to provide services in areas needed by artsorganizations, e.g., board representation, community outreach, translation/interpretation,fundraising, social media, digital technology, etc.

7) where appropriate, developing collaborative working relationships between Aboriginal andethno-racial/cultural arts organizations to share volunteers;8) showcasing three-to-four performances by Aboriginal and ethno-racial/cultural artists as ameans to celebrate volunteerism by individuals from Aboriginal and ethno-racial/culturalcommunities;9) providing information on the social capital of Aboriginal and ethno-racial/culturalcommunities and the capacities of these communities for volunteer activities.

As a follow-up this event, CPAMO will continue to build on the previous work done by theOntario Stand Firm network by:

a) Addin g to the basel ine database of volunteers based on the results of

the former Stand Firm Netwo rk in the sprin g of 2011 and the CPAMOevent in December 2012. Timefram e: January 2013;

b) Continue outreach to: (i) Aboriginal and ethno-racial community

organizations; (i i ) the Harmony Movement, Inst i tute for Canadian

Cit izenship and t he Maytree Foundation Diversecity On Bo ard project;

(i i i ) community-based networks and m edia, includ ing the Aborigin al

and ethnic press, the Local Imm igrat ion Partnerships across t he GTA

and in Ottawa as well as Native Friendsh ip Centres in these areas.

Timeframe: May September 2013;


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TIMEFRAME: In 2013, CPAMO proposes to coordin ate two volun teer recruitment

events matching v olunteers with A borigin al and ethno -racial arts organizations in the

late Spring (in Ottawa) and Fall (in the Greater Toronto Area) of 2013.

4.4 Collaborations In The Arts:Developing Pluralism In The Arts Across The Gta

In the winter and spring, 2011, exploratory meetings were convened with several largeToronto-based arts organizations, e.g., the National Ballet School, Luminato, the City ofToronto Economic Development Department, SONY Centre for Performing Arts, the RoyalConservatory of Music. Similar meetings have been held with Oakville Theatre, MarkhamTheatre, Rose Theatre (Brampton), Ontario Contact and Meadowvale Theatre (Mississauga),Prologue to the Performing Arts, the CanDance Network and the Canadian Dance Assembly.

These meetings were held to discuss possible collaboration between the CPAMO Roundtablemembers and larger cultural organizations for the purposes of information sharing and projectdevelopment aimed at supporting the Roundtable members and these arts organizations to:

Develop collaborative promotional/marketing and audience development strategiesaimed at connecting with Aboriginal and diverse communities interested in the arts;Develop access to volunteers and other organizational resources, e.g., staff andboard members;Enhance CPAMO members understanding of how to attract private sectorfoundations and corporate sponsors interested in the arts;Provide organizational support for financial and administrative systems developmentamongst CPAMO members.

CPAMO is now undertaking the following actions to implement this activity:

a) Identifying successful collaborative strategies involving ethno-racial and Aboriginalarts organizations that have worked with large well-established arts organizations aswell as corporate and private sector funders. Several CPAMO members haveexperienced such collaborations. These members include: Manifesto with theToronto International Film Festival and Luminato; Sampradaya Dance Creations withLuminato; REELAsian Film Festival with Richmond Hill Theatre and the University ofToronto Scarborough; South Asian Visual Arts Collective with the Art Gallery ofOntario; Red Sky Performance with Young Peoples Theatre.

b) Consulting with Roundtable members to discuss these strategies and to develop aplan of action for meetings with: (i) enable presenters; (ii) ethno-racial and Aboriginalbusiness associations and media; and (iii) corporate and private sector funders,

including Business for the Arts.

c) Developing a joint strategy with the Roundtable to identify how to engage presenters,ethno-racial and Aboriginal business and media, and corporate and private funders.

Based on the interests of all concerned, this project proposes several concrete proposals forfurthering this conversation and bringing these arts organizations together to work oninitiatives that will support each other in tangible and measureable ways.


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In this context, CPAMO Roundtable members will be called together as follows:

a) Aboriginal Arts. The companies included within this grouping are: Red Sky

Performance, Native Earth Performing Arts, Association of Native Development in the

Performing and Visual Arts, Kaha:wi Dance Theatre;

b) South Asian Arts. The companies included within this group are: Sampradaya Dance

Creations, Why Not Theatre, Menaka Thakker Dance, Nova Dance, South Asian Visual

Arts Collective;

c) Asian Arts. The companies included in this group are: Little Pear Garden Theatre

Collective, fuGen Asian Theatre, Cahoots Theatre, REELAsian Film Festival;

d) African Diasporic Arts. The companies included in this group are: the Collective of

Black Artists, KasheDance, the wind in the leaves collective, b-current, Theatre

Archipelago, Nathaniel Dette Chorale, six awe, danceImmersion; and

e) Latino Arts. The companies included in this group are: Alameda Theatre, Aluna

Theatre, alucine film festival, Olga Barrios Dance, Vanguardia Dance, Maracatu Aber.

For the presenters, this approach allows for them to have several entry points into specificcommunities. It also provides them with opportunities to work with the organizations in eachcommunity on common marketing and program promotional strategies that may have a betterchance of penetrating these communities. For example, rather than working with oneorganization in any given community, the presenters will have access to several, therebyenhancing their profile in a given community through use of diverse promotional mechanisms.

To support this approach, CPAMO will undertake to connect with and involve the followingorganizations:

a) the Institute of Canadian Citizenship. A legacy project of the former Governor-

General Adrianne Clarkson, this organization provides access to cultural institutions fornew Canadian citizens. It currently partners with galleries and museums to enable

interested citizens to use a cultural access pass to access these institutions. The

Institute has connected with over 15,000 individuals with this program since its

inception. The Institute will be involved to communicate to these individuals to

determine their interest in the possibilities offered through this project;

b) the Diversecity On Board/Maytree Foundation.DiverseCity onBoard welcomes

qualified candidates with a passion to serve from visible minority and under-

represented immigrant communities. This initiative connects with many individuals

interested in serving on boards and as volunteers for a wide-range of organizations,

including the arts.

c) the Harmony Movement. Harmony Movement provides interactive diversity education

programs that empower and inspire youth, educators and those in the social service

sector to develop an equity lens, empathy, respect, and leadership skills as leaders for

social change.

d) the Neighbourhood Arts Network.The Neighbourhood Arts Network is the place

where arts and community engagement meet in Toronto. NAN collects research and

shares information to assist artists and community organizations do what they do best:


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enrich Toronto and transform it into a more vibrant, beautiful, liveable city. NAN is

Toronto-wide network of over 750 members, including artists, arts organizations,

cultural workers and community agencies working throughout the City of Toronto, from

North York to the downtown core, and from Etobicoke to Scarborough.

e) Local Immigration Partnerships across the Greater Toronto Area. These include:

York-South, North West Scarborough, West Downtown Toronto, EglintonEast/Kennedy, Toronto South as well as in the York and Peel regions. These

partnerships have been created to enhance access to programs and services for

recent immigrants to settle more readily in their new environment.

Action Plan:

Based on the above, an action plan will be implemented in 2013 involving collaborationbetween participants of all sectors. The elements of this action are:

Match CPAMO members with presenters to develop fundraising activities:

Partners: CPAMO Roundtable members and presentersTimeline: Jan 1, 2013 - Dec 31, 2014Output: (1) Match presenters with CPAMO Roundtable members by communities noted above(2) Presenters enable CPAMO Roundtable members to develop fundraising strategiesOutcome: CPAMO Roundtable members undertake fundraising activities with specific targets

Activities: (1) 2 information meetings with arts groups by communities noted above (re.,CPAMO Roundtable members) and a list of what they're looking for in terms of fundraisinginitiatives (e.g., capital/equipment, operating/project funding); (2) 4 one-on-one meetingsbetween and CPAMO Roundtable members to develop and implement organization specificstrategies

CPAMO shares information on outreach/marketing strategies:

Partners: CPAMO Roundtable members and presentersTimeline: March December 2013Output: CPAMO Roundtable members enhance outreach/marketing capacities of presentersin diverse communities with connections to media and community networksOutcome: Greater promotion of the arts to Aboriginal and ethno-racial communities

Activities: 2 information meetings with arts groups and follow-up by CPAMO Roundtablemembers with individual presenters to develop/implement outreach/marketing/communicationsstrategies targeting media and community networks

CPAMO members access spaces:

Partners: CPAMO Roundtable members and presentersTimeline: Jan 1, 2013 - Dec 31, 2014Output: CPAMO Roundtable members who need have access to space of for rehearsals andworkshopsOutcome: (1) CPAMO Roundtable members are able to use rehearsal space and deferfunding for space rental to organizational and project costs; and (2) receive profile throughpromotional/outreach/marketing in communities of CPAMO Roundtable


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Activities: (1) CPAMO undertakes survey of its members to determine needs; (2) City ofToronto canvases to determine availability of space; (3) CPAMO and City of Toronto meet toassess need and space availability; (4) based on this, space is allocated

CPAMO members pitches to stage work:

Aboriginal and ethno-racial artists are not often commissioned to create a new work and, whenthis happens, they begin to consider how to use this opportunity to leverage support for theirorganization.

Partners: CPAMO Roundtable members and presentersTimeline: Jan 1, 2013 - Dec 31, 2014Output: CPAMO will hold four sessions to assist Roundtable members to create an effectivesponsorship package and to enhance the organizations pitch.Outcome: (1) CPAMO members will make pitches to stage shows in venues operated by the ;(2) venues will receive pitches and make selections of performances to be be staged

Activities: 2 information meetings will take place each year as follows: (i) CPAMO Roundtable

members. Over the past years, CPAMO Roundtable members such as REELAsian FilmFestival, Manifesto, KasheDance, FuGen Asian Theatre, Sampradaya Dance Creations,IMAGINATIVE Film Festival, Red Sky Performance, South Asian Visual Arts Collective, WhyNot Theatre and others have made successful ptiches to Luminato, Richmond Hill Theatre,University of Toronto Scarborough, Hart House, the Art Gallery of Ontario, Rose Theatre(Brampton) and other venues. Such a session would pair the aforementioned CPAMOmembers with the major organization(s) they have worked with. Timefram e: Sprin g 2013;(ii) . CPAMO has worked successfully with several presenters who are interested insupporting the CPAMO Roundtable members. Some of these presenters include: OakvilleTheatre, Markham Theatre, Prologue to the Performing Arts, CanDance Network. Thissession will be delivered by representatives of the who would provide insight into theirdecision-making processes and curatorial perspectives. Timefram e: Fall 2013.

Projected Outcomes:

As outcomes, this project aims to deliver opportunities for the presenters to:

I. enhance their understanding of diverse communities and how they access information

about cultural activities and what cultural activities interest them;

II. enhance their entry points into diverse communities for purposes of marketing and

audience development;

III. develop collaborative promotional mechanisms and programming with CPAMO

Roundtable members;IV. attract volunteers and other resources from diverse communities.

This project also aims to deliver opportunities for CPAMO Roundtable members to:

I. stage their performances in venues operated by ;

II. enhance their understanding of the presenters in terms of submission of proposals for

performances;


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III. develop their understanding of fundraising strategies for capital and/or program

purposes;

IV. gain access to space for rehearsals.

At the end of 2013, CPAMO will convene a session with all participants to share results of theiractivities, to share what they have learned and to discuss how best to continue with thisinitiative over the long-term.

4.5 CPAMOCreators Roundtable:

In 2012, CPAMO expanded its Roundtable membership by including some of organizationsinvolved in the former Stand Firm initiative of the Canada Council Equity Office. As part ofthis, CPAMO has now undertaken efforts to support the capacity-building work that had begunby the former Stand Firm initiative. Through presentations, workshops, performances anddialogue, CPAMO has worked with its Roundtable members to build their capacities in theareas of organizational infrastructure (e.g., using new technologies for financial managementand audience development), in developing relationships with presenters and in enhancing theirunderstanding of changing demographics and methods to engage diverse communities asaudience and volunteers. A summative toolkit has been created for these organizations andartists to use to assist them in moving forward with implementing the knowledge, values andnew approaches they have learned to embrace cultural pluralism in the arts.

Based on activities begun in 2012 and supported by the Ontario Trillium Foundation andCanada Councils Equity Projects Grants, CPAMO seeks to further build the capacities of itsRoundtable members in such areas as:

1. Providing tools for the development of effective organizational systems and practices;2. Attracting volunteers to engage with CPAMO Roundtable members in various

capacities, e.g., board members, fundraising, governance;

3. Improving understanding of how Aboriginal and ethno-racial communities accessinformation in order to enhance marketing and promotion activities by CPAMOmembers interested in building audiences from these communities;

4. Building relationships between major presenters and CPAMO Roundtable members toundertake mutually beneficial exchanges of resources; and

5. Developing the capacities of Roundtable members to make successful pitches topresenters to stage work by Aboriginal and ethno-racial artists.

Building Capacit ies of Aboriginal and Ethno-racial Arts Organizations to Sustain

Plural ism in the Arts in Ontario is a key part of CPAMOs activities begun in 2012. Thisproject will build on work currently underway within CPAMO and the former Ontario-basedStand Firm initiative. It will begin in February 2013 and end in January 2014. It is an initiative

focusing on two geographic areas: the Greater Toronto Area, including Brampton, Oakville,Scarborough, Markham and Mississauga; andOttawa.

A CPAMO survey of its Roundtable members in the fall 2012 has helped in creating CPAMOs2013 series of workshops that will focus on Broadening Relationshipsto enhancerelationships amongst Roundtable members but and with wider communities, organizations,artists and funding bodies. The survey results indicate the following:


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1. Of the upcoming workshops for end of 2012, interests lied in the following areasAdvanced Excel Skills + Drop-In Clinic for DataQuestions

50.0%

Online Fundraising Campaigns - Tips and How-T 83.3%Screenshare for Virtual Meetings and ReTroubleshooting

16.7%

Effective Technological / Administrative Practices 50.0%

2. Of the workshops proposed for 2013, here are where interest lies and will be pursed.Working within Communities 50.0%Working with Older Adults 11.1%Effective Marketing and Engagement Strategies 66.7%Strategies to Seeking, Nurturing and Keeping Do 66.7%Making Pitches to Presenters for PerformancesGallery Showings

38.9%

Collaboration with presenters 61.1%

CPAMO will continue to work with its Creators Roundtable members (including neworganizations that have recently joined from the former Stand Firm Network) and involve themin the capacity building workshops and other related activities. These are:

1. Providing tools for the development of effective organizational systems andpractices;

2. Improving understanding of how Aboriginal and diverse communities accessinformation in order to enhance marketing and promotion activities to buildaudiences from these communities;

3. Building relationships between major presenters and CPAMO Roundtablemembers to undertake mutually beneficial exchanges of resources; and

4. Developing the capacities of Roundtable members to make successful pitchesto presenters to stage work by Aboriginal and ethno-racial perfo

Documents

Promoting Pluralism in the Arts through Collaboration and Partnerships Ontario Trillium Foundation - Annual Report 2012