Step in Time – Technologies and Pluralism in Dance

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Canadian Dance Assembly, CPAMO and the AgoKhanMuseum: Step in Time Technologies

and Pluralism in Dance

(http://www.cda-acd.ca/en/programs-services/2012-national-conference )
http://www.cda-acd.ca/en/programs-services/2012-national-conferencehttp://www.cda-acd.ca/en/programs-services/2012-national-conferencehttp://www.cda-acd.ca/en/programs-services/2012-national-conferencehttp://www.cda-acd.ca/en/programs-services/2012-national-conference


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TABLE OF CONTENTS

Introduction 3

Background 3

The Conference 6

The Workshops 7

Actions Needed 17

Appendix 19


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Introduction:

In collaboration with Cultural Pluralism in the Arts Movement Ontario (CPAMO) and the AgaKhan Museum, the Canadian Dance Assembly (CDA) held its 6th National ConferenceOctober 20-22, 2012in Ottawa.This was a gathering with the dance community to dialogue,build community, gain new insights, and help shape the future of dance in Canada with a focuson pluralism and new technologies used in dance creation, performance and promotion.

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 CDA recognized and celebrated exceptional members of the dancemilieu with Canadas first National Dance Awards theI love dance/Jaime la danseAwards!

In preparing for this conference, CPAMO with the full involvement of CDA applied to theOntario Arts Councils ASO Project Grants as Lead Applicant. The purpose of this applicationwas to enable CPAMO and the CDA to work as partners on building interest in and enablingartists of Aboriginal and diverse backgrounds to contribute to and participate in theConference. Because of its expertise in pluralism, CPAMO agreed to develop and provideguidelines on pluralism/diversity to the CDA which showed significant interest within itsmembers for this project. In this context, CPAMO and CDA were the project collaborators andhave been active participants in developing, promoting and coordinating this Conference.

In terms of accountability, the project called for the development of a final report documentingthe process and making it available in diverse formats for distribution and use. This report has

been developed by the CPAMO Project Lead and reviewed by CDAs Executive Director andBoard of Directors. The report will then be distributed to all funders as well as to the CDABoard of Directors. It will also be communicated to CPAMOs list-serve membership of over300 individuals.

Background:

CPAMOs Project Lead and the CDA Executive Director began working together in the spring2012 with the coordination and launch of the CDA National Dance Week and I Love DanceCampaign. Held at the National Ballet School, the dance performances Carlos Martinez(Red Sky Performance), Olga Barrios (Olga Barrios Dance) and Kevin A. Ormsby and Gaby

Parsons (KasheDance) were all by CPAMO members and selected for their excellence indance and the visual evidence of pluralism each brings to her/his work. Further, bothCPAMOs Project Lead and the CDA Executive Director were able to bring greetings to thosegathered for this event.

Following this launch, CPAMOs Project Lead began to review literature gathered for thepublication ofPlural ism in the Arts in Canada: A Change is Gonna Comewhich he editedand had released in June 2012 at the annual meeting of Community Cultural Impresarios inOttawa. This contributed to identifying appropriate themes for conducting interviews and focus
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groups and to selecting case studies that addressed organizational commitment and methodsof engaging diverse artists/communities in decision-making. The case studies are discussed

below in the section addressing the two workshops that featured CPAMOs Project Lead.

In the summer, CPAMOs Project Lead convened two focus groups with a total of 12individuals and 10 individual telephone interviews. The focus groups were held in Toronto andthe telephone interviews included dance artists from the Newfoundland, Nova Scotia, Quebec,Ontario, Manitoba, Saskatchewan, Alberta and British Columbia. These dance artists werefrom various communities, including: South Asian, Aboriginal, Asian and African descent,Latino and European and were involved in small-to-medium sized dance companies.

The focus groups were for approximately 1.5 hours and each interview was for 30-45 minutes.Both information-gathering methods probed the same set of questions that were:

1) Are you a member of the CDA? If so, what benefits do you receive or would like toreceive as a member? How active are you in the CDA?2) If you are not a CDA member, why not?3) Are you familiar with the CDAs structure and other members?4) Are you familiar with the CDAs activities?5) Do the CDA activities address your needs?6) Are there any past experiences that have influenced you about your relationship with

the CDA?7) What do you think the CDA needs to do to include Aboriginal and

racially/culturally/regionally diverse dance artists in meaningful ways? Would you beactive in the CDA if it were to move in this direction?

The responses to these questions were recorded and synthesized to assist in developingworkshops for the CDA Conference. Despite the diversity of these artists and the forms theypractice, they shared several common concerns regarding their thoughts, feelings andconcerns about the CDA. Key amongst there were:

there was little knowledge of the activities of the CDA and a strong perception that theCDA was not interested in addressing the concerns and needs of dance artists fromdiverse communities;

the CDA needs to develop an appreciation for the dance forms of artists from diversecommunities and expand the notion of what is contemporary to include these forms. Inexpanding the notion of the contemporary, a revised focus would need to deconstructthe Eurocentric framework that defines the contemporary and build in the exploration

of what is considered traditional as part of the aesthetic expression of many diversedance artists; there are significant resource issues that limit the development of several artists and

dance companies from diverse communities. Access to funding and performanceopportunities limits the capacity of artists and companies to rehearse, develop newwork, engage with presenters and communities, and build audiences;

the CDA structure is not conducive to receiving input from diverse dance artists andcompanies. The CDA standing councils are not set up to discuss diversity issues andseem uninterested in the conversation on pluralism;


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there were several dance artists/companies that were not and did not want to be part ofthe CDA because of past experiences with the CDA. Such experiences had a negative

impact on these artists/companies and made them feel unwelcome and imparted thesense that their practice was not important or valuable; several artists commented that they were not aware whether they were members of the

CDA or not while others felt that they were located in an inappropriate council inside theCDA;

some artists felt that the CDA operates out of the Ontario/Quebec ecology and, withoutappropriate consultation, takes the strategies developed in this context and forces themon to eastern, western and rural dance communities. Some cited the National DanceWeek as an example of this;

most artists were not familiar with the CDA history, how it came to be, what its effortswere in the past, what its structure and activities are;

dance artists from the west, east and rural communities articulated that there needs to

be a way for the CDA to hear their concerns and interests without them being mediatedthrough the current CDA standing council structure; several were concerned that the CDA standing council structure may duplicate other

dance forums/structures. For example, the CDA has a standing council on presentersand one on dance artists while there is both the CanDance network for the former andthe Canadian Association of Dance Artists for the latter. Concerns were expressedregarding this apparent duplication and the reasons for it. The question Why does theCDA need these standing councils when these other structures exist? What is thebenefit to dance?

the CDA needs to get involved in promoting and educating regarding the diversity ofdance forms, artists, traditions and notions of the contemporary from a pluralisticperspective;

the CDA needs to get involved in supporting networking amongst dance artists todiscuss issues related to pluralism and diversity in definition and artistic form;

the CDA needs to learn about and promote the values of cultural competence as a wayof looking at pluralism in dance practice;

while the National Dance Campaign is an effective way of raising the profile of dance, itmust begin to shift to advocacy regarding needs within the dance ecology, particularlyto address the needs of Aboriginal and racially/culturally diverse dance artists andpractices;

advocacy is a key role for the CDA to play in the arts communities and danceartists/companies of Aboriginal and racially/culturally/regionally diverse backgroundsneed to be at the forefront of concerns being advocated by the CDA;

many were concerned about the CDAs focus on new technologies as a creative part of

dance. These artists were concerned about the costs of this technology and the timethey would need to learn how to use it well; organizational membership is probably best done by size as opposed to discipline since

some small organizations are in the same standing council as much larger dancecompanies and have very little in common other than discipline;

many dance companies need to grow to better sustain themselves. In an environmentof restraint, this is difficult to do so the CDA should address this as part of its advocacy;

in addressing pluralism/diversity in dance, the CDA will need to be clear about itsdefinitions so that it has a precise focus on what and who it wants to address and


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support; several found the CDAs services to be out of touch with the needs of Aboriginal and

racially/culturally/regionally diverse artists and this needs to be addressed immediatelyif the CDA is to be relevant; the issue of accountability to diverse dance artists and companies needs to be

addressed. The CDA needs better ways to communicate with these artists; and a key issue for the CDA to begin advocating about is the relative inequity in funding for

Aboriginal and racially/culturally diverse artists and dance companies.

The Conference:

There were two keynote addresses at this conference presented by Douglas Rosenberg

"Witnessing Dance: Mediation and the Technologies of Representation" and Sashar ZarifDialectic Movement.

Rosenberg addressed how we look, how we discuss, how we circulate and inscribe images ofdancing bodies in a pluralistic world. Presenting ideas in a relational framework, Rosenbergsituated dance within a larger conversation, as a discipline within a system of discourse,signifiers and conversations about mark-making, presence, bearing witness to a particular kindof humanness that has the potential to speak about both democracy and egalitarianism evenas it conforms to contemporary esthetics. The technologies of representation (as they relate todance) are inextricably linked to access: to the tools of media, to who controls how the resultsof media/dance collaborations circulate in the culture and most importantly how thetechnologies of representation, (film, video, moving image production) reinforce ideas about

women, race, disability, beauty, and such. When dance artists translate their choreographicideas from stage to screen, often the result is that the screen version repeats unhealthy anddamaging tropes that are antithetical to inclusion, democracy, and egalitarianism. This talksuggested models to re-articulate the possibilities of technology and dance and to createopportunities for creative and critical discourse in our dance communities that focus on thehuman condition.

As a multi-disciplinary performing artist, educator and researcher whose artistic practice invitesa convergence of creative and cultural perspectives, Zarifs interests are identity, globalizationand cross-cultural collaborations. His practice is steeped in the artistry and history of traditional,ritualistic and contemporary dance and music of the Near Eastern and Central Asian regions.He is a research associate at the York University Centre for Asian Studies, a sessional faculty

member of York University's Dance Department and on the board of directors of Dance Ontarioand the World Dance Alliance - Americas. Hiskeynote discussed the intersections betweencultures, migration and globalization.


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In addition to these keynote presentation, the conference convened a number of paneldiscussions that are pertinent to this paper. These were the panels addressing:

1) Changing demographics in dance - The successful practice of artistic pluralism.Moderated by Warren Garrett Speakers: Charles C. Smith, Amirali Alibhai, MicheleMoss, Lata Pada, Zab Maboungou, this panel addressed successful practices of artisticpluralism in regard to cross-cultural respect, dialogue, and understanding. The artsdemonstrate and manifest the potential of thinking and creating together acrossdifferences. In times of changing demographics, considering the integration of newcultures within the Canadian mainstream, this panel discussed how we can adapt tocurrent increasing changes, the intersection between artists from different origins mean.It also discussed: what are the questions that need to be addressed in order to attractpeople coming from different backgrounds, and what are the obstacles, challenges andsuccess stories related to this topic.

CPAMOs Project Lead, Charles C. Smith, provided a written text for his presentationthat set the stage for the other presenters. Smiths text looked at the demographics ofthe dance community in comparison with other demographic data regarding Canadiansociety. This presentation was critical to setting the context for both this panel and forthe CDA conference. It is attached to this report as Appendix 1.

2) 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. The five artists shared their journeys throughthe life of a lens and discussed how dance artists use new technologies as acomponent of their work; how they approach this form of expression and performance

from behind the screen, how it alters the experience, why have they chosen to work thisway, and what are the advantages and disadvantages of this digital age?

As well, the conference convened two workshops led by CPAMOs Project Lead and entitledPolicies to Promote Pluralism in Dance Organizations and Governance Models toSupport Pluralism in Dance Organizations.

Conference Workshops:

On Sunday, October 21, 2012, CPAMOs Project Lead led two workshops at the CDAConference. Entitled Policies to Promote Pluralism in Dance Organizations and

Governance Models to Support Pluralism in Dance Organizations these workshops werestructured to address the research noted above.

In particular:

1) Policies to Promote Pluralism in Dance Organizations focused on the currentcircumstance where many arts organizations across Canada and internationally arereviewing and updating their approaches to being inclusive of diverse and marginalized


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artists and arts organizations. Such organizations have adopted specific policies andimplementation plans that will guide them in ensuring inclusion is a fundamental value

and that actions are put in place to support this. This workshop reviewed some of thesestrategies and suggested ways in which similar approaches can be put in place by theCDA.

2) Governance Models to Support Pluralism in Dance Organizations focused on whomakes decisions for dance organizations and the communities they represent. It alsodiscussed the artistic forms they bring forward and how artists and arts organizationsfrom diverse and marginalized communities are involved in this. Decision-making, andwho has access to it is critical to the voice of such organizations and to whom theyspeak with and for and can indicate the organizations real commitments. Thisworkshop reviewed governance models that are inclusive, serving to provide a full

voice to dance artists and models that can be put in place by the CDA.

Each of these workshops explored research conducted by CPAMOs Project Lead who drewattention to several sources.

For the first workshop, references focused on organizational will and commitment as theguiding force of any change initiative. Excerpts of the information imparted in this workshopare provided below.

Actions in this area show the organizations leadership and involve individuals and artistsfrom diverse communities in the organizations decision-making. There are five key areasto address here. These are: (a) Looking at who you are; (b) Identifying challenges; (c)Communicating commitment; (d) Policies and Procedures; (e) Workplace norms.

a. Look ing at who you are

Starting the implementation process is critical so the organization should set this as a highpriority and put the resources in place to plan for and achieve results. This could include:

If you only read one section of this report, this is the one to read, because thesingle most important finding of the Not for the Likes of You project isthat: successful organizations model internally what they wish to express

externally. Morton Smith, p.13

You have to be the change you wish to see in the world. Mahatma Ghandi

For commentary on organizational leadership, see powerpoint

presentat ion for key n ote address presented at CPAMO Town Hall on

Janu ary 29, 2010 by Sara Diamon d, President On tario College of Art

and Design

(https:/ /s i tes.goog le.com /site/cppamo/reports-and-resources-1/wor kshop -


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Determining how best to explore equity and diversity issues in the organizationin an

inclusive way;Looking at how individuals from diverse communities participate in work both insideand outside the organization, e.g., involved in organizational discussions/decision-making,networking with Aboriginal and ethno-racial communities, visiting schools;

Assessing best ways of gaining input by individuals from diverse communities withinthe organization on the organizations goals and actions, e.g., as advisors, board members,in focus groups and consultations;

Placing a high priority on integrating equity and diversity into the organizationsplans, particularly in such areas as community engagement, programming, audiencedevelopment and employment;

Making sure all equity and diversity plans are clear, well-communicated across theorganization and community, and have specific goals, objectives, timeframes, deliverables

and positive outcomes.

b. Identi fy ing Challenges

It is important to identify the challenges faced by individuals from Aboriginal and ethno-racial communities to participation. This could include looking at:

their number in the organization as staff, volunteers, board members,audience;

participation of individuals from diverse communities in key organizationalactivities, e.g., community engagement, program development, marketing, outreach, artseducation, internal committees and external organizations;

c. Communicat ing Commitment

Transparency (an open agenda), inclusiveness and follow up are key to communicatingequity and diversity initiatives. The organizations general manager, artistic director, andboard should develop a system so that timely information is shared. This can be done by:

Having communications inclusive of and sensitive to individuals from diversecommunities, e.g., in images (if used), language chosen and subjects;

For comm entary regarding the imp ortance of organizational commitm ent

and representat ion on bo ards of d irectors, see the paper presented by

Shahin Sayadi, Art ist ic Director One Lig ht Theatre, at the CPAMO Town

Hall co-sponsored w ith CAPACOA on Nov . 7, 2011

(https:/ /s i tes.google.com/site/cppamo/reports -and-resources-1/worksho p-3)


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Using diverse strategies to communicate commitment to equity and diversity,particularly expectations and results within the organization and externally, e.g., website,

emails, social media, involvement in community activities;Establishing an equity and diversity committee with representatives of individualsand artists from diverse communities and from across the organization, headed by acommitted champion;

Having equity and diversity asan agenda item at key meetings and retreats.

Organisations that have repositioned understand the power of language.

In your copy and other communications with potential audiences, you takeseriously the need to speak to people on their own terms. The main ways you dthis are:

You interrogate your own assumptions about what youre writing and saying.You dont just get someone in marketing to write copy and send it straight to

print. Instead:

you ask around for other peoples views;

you make sure several team members read what youve written;

you dont always have the same person doing the writing;

you involve people in other departments (in your own organizations

and/or in the venues you tour to) in commenting on whats been written;

you sometimes get them to have a go at writing it, too, to bring a fresh

perspective to the whole exercise; and last but not least, you get audience members to comment in customer (or

potential customer) circles and the like.

Morton Smith Not for the Likes o f You (p.41)


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d. Polic ies and Procedures

Policies are needed at times to guide organizations in their development andimplementation of actions to promote equity and diversity. The main components of suchpolicies should:

state commitment and have definitions consistent with human rights, addressingnon-discrimination/harassment and promoting equity and diversity;

Set clear expectations of what is meant, how things will be done, how people (i.e.,staff, board and community members, particularly ethno-racial and Aboriginal communitymembers) can become involved;

Through the organizations equity and diversity committee, provide regularcommunications inside and outside the organization;

Establish proactive policies and procedures to ensure equity and diversity initiativesare supported;

Provide ongoing education and training for all within the organization on equity anddiversity policies and procedures to ensure they are clearly communicated and understood.

In sum, its as Morton Smith indicates in Not for the Likes of You:

key themes kept recurring in terms of positive leadership behavior:

a clear vision, communicated to all;active listening;creating the right systems and structures;setting high standards;managing risks and mistakes;using a range of leadership styles;using the whole person;ensuring strong support; andsticking at it. (p.13)

For commentary on bo ards of directors, see Diversity in Governance: A

Toolkit for Nonpro fi t Boards, Maytree


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For the second workshop, references focused on community involvement andengagement. Excerpts of the information imparted in this workshop are provided below.

It is important to engage communities in the decision-making of arts organizations beyondbeing on the organizations board of directors. Arts organizations can do this by:

a. Identi fy ing Art ists and Indiv iduals from Diverse Comm unit ies to Work With

Developing an accessible and transparent process in recruiting and selectingcommunity connectors, ambassadors and artists from diverse communities;

Being clear regarding the desired roles and functions, (e.g., outreach, curatorialdevelopment, audience development) in the relationship between presenters, communityconnectors, ambassadors and artists from diverse communities;

Setting aside the time and resources needed to develop constructive, mutually

beneficial relationships between presenters, community connectors, ambassadors andartists from diverse communitiesDeveloping strategic alliances and partnerships with other like-minded arts

organizations/artists and individuals from diverse communities to address common issuesand look at ways of sharing resources, expertise, results;

Connecting with diverse communities through their own organizations and networksto develop long-term relationships;

Working with Aboriginal and ethno-racial artists to increase understanding of diversecultural histories, traditions, ways of engaging in the arts, and contemporary expressions;

Appointing artists and key individuals from diverse communities to the organizationskey committees;

Engaging diverse communities in creating and promoting a seasons program;

Setting up an advisory committee or group to work with the arts organization in itsefforts to connect and build relationships with diverse communities.

b. Exchanging Know ledge and Skil ls Presenting and Curatoria lDevelopment

The learning relationship is critical to building long-term relationships between all partiesand can be done by:

Establishing a program that ensures supportive and nurturing relationships areprovided to presenters, artists and individuals from diverse communities;

Encouraging and supporting senior staff, artists and individuals from diversecommunities to be actively engaged;Providing education and training to those who will be involved so that they have

clear expectations of the relationship and of their responsibilities to each other, theirorganizations and diverse communities;

Ensuring all education and training include equity and diversity considerations;Providing opportunities for individuals and artists from diverse communities to

discuss their cultural background and values and what they may add to the organization;


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Having the organizations key committees meet with individuals and artists fromdiverse communities to discuss the arts organization culture and how individuals can

contribute to its growth and development.

For comm ents on the re lat ionsh ip between communi ty

engagement, progr ammin g and audience development, see paper

present ed by Ajay Heble, Artistic Dir ector of th e Guelph Jazz Festival, at

the CPAMO Tow n Hall of Jan uary 28-29, 2010 (Openin g the Gate: Town Hal

on Plural ism in Performing Arts, pp.21-25

(https:/ /s i tes.google.com/site/cppamo/reports-and-resourc es-1/wor kshop -

See the work of MT Space and Neruda Produc tions regarding

imm igrant and ethno-racial youth(http:/ /www.volunteeringeh.com/). See

also the work of Puente Theatre in engaging immig rants in playdevelopment(http://www.puentetheatre.ca/theatre_forum_plays). As well ,

see the work in Quebec on c ultural mediat ion

(http:/ /www.culturepourto us.ca/forum /2009/PDF/compterendu_eng.pdf)

What is a cultural diversity programming lens?

A lens enables people to see. The purpose of a cultural diversity lensis to raise awarenessand open minds to new ways of thinking. Thelens thereby opens the way to new solutions and activities.It is a supplementary tool which can be used to evaluate whether

programmes, policies, proposals and practices promote and safeguardcultural diversity and therefore enhance work efficiency.It is a check-list or a list of criteria and questions supplemented byindicators(e.g., in the context of the cultural diversity programminglens, take into accountstat ist ical quanti tat ive and proxyindicatorsas well as other means of v eri f ication.)It can be used at all stages of a programme: planning, implementation,

monitoring and evaluating. For example, the lens can be used to plana project, and then re-usedduring the monitoring stage to comparethe plans with the outcomesIt is ideally created in a participatory manner by those who use it.There is no perfect lens. Each programme can develop its own lens.

The Cultural Diversity Progr ammin g Lens: a toolk i t (p.6)
https://sites.google.com/site/cppamo/reports-and-resources-1/workshop-3https://sites.google.com/site/cppamo/reports-and-resources-1/workshop-3http://www.volunteeringeh.com/http://www.volunteeringeh.com/http://www.volunteeringeh.com/http://www.puentetheatre.ca/theatre_forum_playshttp://www.puentetheatre.ca/theatre_forum_playshttp://www.puentetheatre.ca/theatre_forum_playshttp://www.puentetheatre.ca/theatre_forum_playshttp://www.volunteeringeh.com/https://sites.google.com/site/cppamo/reports-and-resources-1/workshop-3


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Ensuring artists from diverse communities are aware of what it takes to developrelationships with presenters and receive the information they need to be successful in

promoting their work;Taking steps to ensure traditional audiences are receptive to the inclusion ofperformances/exhibits by artists from diverse communities.

Making equity and diversity a key criteria in programming development anddecision-making and that this is communicated to diverse community networks, artist andarts organization to attract artists and audiences;

Providing concrete support to artists from diverse communities who may experiencedisrespectful and discriminatory treatment;

Supporting program development activities that target non-traditional sources andwithin diverse communities;

Working with community connectors, animators, ambassadors to developrelationships with individuals in diverse communities;

Making connections and learning from other organizations, both inside and outsideof the arts communities, that have developed ways of engaging artists and individuals fromdiverse communities in programming and education about diverse histories, traditions andcontemporary expressions;

Working with community members and supporting them to become ambassadorsfor the arts organization, taking the issue into communities to raise awareness and engagein dialogue;

Working with other presenters to co-commission and tour work developed by artistsfrom diverse communities;

Identi fy ing and Remo ving B arriers Points to Consider

Undertake appropriate consultation and research to identify the typesand nature of barriers to targeted audience participation.

If these barriers relate to physical or cultural access issues, you mustfirst assess your capacity and resources to address them in terms of:

o Information and communication;o Venue and staging;o Staffing;o Cost;

If they relate to product type, you must assess your resources and abilityto develop product which will attract these audiences andincrease participation.

If they relate to lack of interest, you must be able to determine thelong-term benefit of working with the target groups to develop interestand, through that interest, participation.The world is yo ur audience (p.48)


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Working with other presenters to promote the work of artists from diversecommunities, e.g., through marketing, touring, block booking, public education and other

ways to create community awareness;Examining how programs will create access points for diverse communities, e.g.,addressing possible language barriers, looking at diverse community characteristics andinterests, providing ways for diverse communities to participate

We formed an advisory board to guide our strategy. All the members of thisboard had strong connections to the black community, and marketing/groupsales experience. Equally important was that they were committed, smart andcreative. Our goals:

Form a task force charged with the responsibility of promoting and sellingHarlem Song ;

Create an unprecedented level of multicultural awareness, involvementand patronage for the show;

Maximize ticket sales by enlisting support from local organizations infund-raising and audience development;

Develop partnerships with the community, encouraging people who liveand work in Harlem to invest time and resources in the production;

Invite and engage individuals from Latino and African Americancommunities to support, promote and sell tickets forHarlem Song.

We met monthly. We began each meeting by generating ideas about how best

to promote the show

We made the Harlem Song website as informative, educational and collaborativas possible. The producers and web designerdid a thorough job, providinglinks, history and the study guide. Earlier on in the campaign, I met withmembers of the Harlem Strategic Cultural Collaboration (HSCC), a member-based entitycomprising of the largest and oldest Harlem arts organizationsEachorganization identified a way to promote the production, because eachrecognized Harlem Songs value to the community. In turn, we included links toeach member organization on our website. We donated a dollar of every ticketsold to the

HSCC to support the Harlem community

Donna Walker-Kuhne, Invitation to th e Party (p.118 and p.123)


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Actions Needed:

Based on the process and information provided above, it is clear that there is a strong intereston the part of diverse dance artists and the CDA to enhance their relationship into the future.To assist in this regard, there are several matters the CDA will need to address to undertakethe work needed to engage these artists in meaningful ways. At the same time, it is incumbenton these dance artists to connect with the CDA and to contribute to the development of thispromising relationship.

The actions needed for this are noted below.

I) CDA:

Given concerns expressed by several dance artists about past experiences and/or lack of

connection with the CDA, it is incumbent upon and imperative for the CDA to make meaningfuloffers to engage these artists. The action items noted below represent a starting point and, asstarting points, these actions will open doors for greater involvement by diverse artists whichmay lead to other issues over time for the CDA to address.

1) Advocacy. It is clear that dance artists from diverse backgrounds confront inequities interms of their access to resources, particularly funding, performance opportunities andin their incomes. The CDA should undertake to address this as a high priority and, withthese artists, undertake raising the profile of these dance artists, the value of theircontributions to dance and the need for their presence in Canadas dance milieu. TheCDA can address this by profiling such artists in its National Dance Campaign and canraise concerns about funding, income and performance inequities to arts councils as

well as in communications with presenters.

2) A CDA Advisory Council on Pluralism. There was broad interest amongst danceartists to have a standing structure within the CDA to address issues of diversity andpluralism on an ongoing basis. This Advisory Council would be inclusive of diversecommunities and be based on several factors such as race, culture, immigration status,regional location, physical ability and be of equal importance as the CDA Strategic

Advisory Committee. The Council would meet monthly in its first years to develop anagenda, action plans and to contribute to developing and supporting CDA activities onbehalf of diverse dance artists;

3) CDA Policy and Responsibility of all Standing Councils. The CDA should develop a

vision to articulate its commitment to pluralism in all of its activities. This vision shouldbe developed in consultation with the newly created Standing Council on Pluralism andwith all other Standing Councils as well as the CDA Executive. This process of vision-statement development is integral to all parts of the CDA getting on board with thisdirection and to enable each Standing Council to develop an understanding of its rolesand responsibilities in implementing a pluralistic approach in their work. In this regard,while the Standing Council on Pluralism can be seen as the catalyst to identifying andproposing solutions to issues related to pluralism/diversity, each Standing Councilshould equally in its own way undertake similar responsibilities. This will ensure that all


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components of the CDA are engaged in this process and that a healthy dialogue cutsacross the CDA on this timely issue.

4) Reduction of Duplicating Standing Councils. Several concerns were raised in theinterviews and focus groups about potential duplication of efforts. This was mostnotable in regard to areas addressing presenters and dance artists since it was felt thatthese issues are being addressed through the CanDance Network and CADA. It wasalso felt that the CDA may be more able to take on this new area of pluralism if had thecapacities to do so. In this regard, eliminating standing councils that may beduplicating other organizations efforts may free up resources so that the CDA might bein a better position to focus on issues of pluralism. At the same time, this reduction ofduplication might also prompt the CDA to enhance relationships with those bodies thatare mandated to work with dance presenters and artists.

5) Recruitment of New Members. As part of the roll out of the CDA initiatives to supportpluralism in dance, the CDA should also focus on recruiting new members based on theissues it will be addressing. For example, the I Love Dance campaign can beenhanced with visual imagery and promotion of diverse dance traditions andperformances that support the values of pluralism and raise to the national level theexpansive dance landscape in Canada. This sign of commitment is valuable incommunicating sincere intent in being inclusive and promoting pluralism in the shortand long-term.

To undertake actions on these recommendations, the CDA will need to:

a) discuss with and receive adoption by CDA board to ensure support for these new

directions;b) promote and communicate these directions nationally and, particularly, to Aboriginaland diverse artists (racially, culturally, regionally);

c) begin the process of recruitment and setting up of the Advisory Council on Pluralism;d) once the Advisory Council on Pluralism is set up, engage all Standing Councils and the

CDA Executive in dialogue on the pluralism vision statement and theroles/responsibilities of all CDA Standing Councils for implementation of activities topromote pluralism;

e) prepare advocacy challenge regarding inequitable access to funding/resources as partof the CDA National Dance Campaign.

Given concerns expressed by several dance artists about past experiences and/or lack of

connection with the CDA, it is incumbent upon and imperative interested diverse dance artiststo engage with the CDA, provided the CDA undertakes the activities noted immediately above.These action items represent a starting point and, as starting points, they are aimed at openingdoors for greater involvement by diverse artists which may lead to other issues over time forthe CDA to address


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Appendix 1

CANADIAN DANCE ASSEMBLY:

THE DEMOGRAPHICS OF DANCE

By c har les c sm ith

Oc t. 21, 2012


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Introduction:

According to the 2006 Census, Canada had a population of 31,612,897. A key part of Canadaspopulation growth has been the increased levels of immigration and the rapid growth of Aboriginalcommunities. Other key factors within Canadas population are the increasing numbers ofindividuals either retired or approaching retirement and the self-identification of persons withdisabilities.

As part of these demographic changes, it is evident that in 2006:

a) persons with disabilities currently comprise 14.3% of the Canadian population for allages and 16.6% of those 15 years of age and older;1

b) 47% of Canadian citizens have an ethnic origin that is other than Anglo or French;

c) immigration accounts for more than 50% of Canadas population growth and thatimmigrants are 100% of net labour force growth in Canada;

d) 16.2% of Canadians self-identified as racialized (i.e., visible minority);2

e) Aboriginal peoples comprise 1,172,790 of the Canadian population for an increase of45% between 1996 and 2006, almost 6 times more than other communities;

f) the Aboriginal population has experienced significant growth in Nova Scotia (95%),New Brunswick (67%), Newfoundland and Labrador (65%), Quebec (53%) and Ontario(68%); and 54% of Aboriginal people live in urban areas, an increase of 50% from 1996;

g) the Mtis are the most rapidly growing Aboriginal group in Canada increasing by 91%since 1996, in 2006 they totalled 389,785.3

Resulting from changes to selection criteria, recent immigrants to Canada are highly educated,skilled and have significant economic capacities. For example, the Conference Board of Canadasuggests that immigrants account for 33% of Canadas economic growth in the past ten years andby 2011 will account for all labour force growth. This report further suggests that racialized peoplescurrently account for 16% of those in the labour force and that this will increase to close to 18% by2016.4

1 See Participation and Activity L imi tation Survey 2006: Analyti cal Report, Statistics Canada 2006 at 92 Visible minority population, by age group (2006 Census) Statistics Canada

http://www40.statcan.gc.ca/l01/cst01/demo50a-eng.htm. While Statistics Canada censusdata refers to racialized groups as visible minorities, there has been strong distaste

amongst critical race scholars about the imprecision of this term. See footnote # 2 for

some references to the term racialized and racialization.3 See Abori ginal Peoples in Canada in 2006: I nui t, Metis and Fi rst Nations, 2006 Censusat 6-74 See Making a Visible Di ff erence: The Contri bution of Vi sible Mi nori ties to Canadian Economic

Growth, 2004 at 3-5.
http://www40.statcan.gc.ca/l01/cst01/demo50a-eng.htmhttp://www40.statcan.gc.ca/l01/cst01/demo50a-eng.htm


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According to the 2006 Census, there were 140,000 artists in Canada5. In terms of demographiccharacteristics relevant to this research, this data indicates significant discrepancies between groups.

For example:

i) those with English as mother tongue comprise 75% of all artists but are 68% of theoverall labour force or a upward swing of 7% in terms of their engagement in thearts;

ii) those with French as a mother tongue comprise 18% of all artists but are 21% ofthe overall labour force or a downward swing of 3%;

iii) those with mother tongue other than English or French comprise 6% of all artistsbut are 10% of the overall labour force or a downward swing of 4%;

iv) the English-language minority in Quebec comprises 4% of all artists but are 2.4% ofthe overall labour force for an upward swing of 1.6%;

v) French Language Minoritiesoutside of Quebec comprise 1.3% of artists but are1.8% of the overall labour force or a downward swing of 0.5%;

vi) Aboriginal peoples comprise 2.4% of artists but are 2.9% of the overall labour forceor a downward swing of 0.5%;

vii) Racialized peoples comprise 11% of all artists but are 15% of the overall labourforce or a downward swing of 4%;

viii) Immigrant artists comprise 20% of the arts labour force but are 21% of the overalllabour force or a downward swing of 1%; and

ix) Persons with disabilities comprise 5% of all artists and are also 5% of the overalllabour force. 6

To contextualize these findings, it is useful to review data related to the change in the demographics ofthe arts and overall labour force from 1991. In this regard, while the arts labour force experienced anincrease of 7% between 1991 and 2006, the overall labour force experienced an increase of 22%.Regarding specific demographic groups, this breaks down as follows:

a) Aboriginal peoples were not successfully captured for either the arts or overall labour

force in 1991 but have had a 5% increase from the 2001 to 2006 census;

b) Racialized peoples have experienced a 28% increase in the arts labour force since1991 or a 123% change since 1991 and a 109% increase in the overall labour force;

5See A Statistical Pr ofi le of Ar tists in Canada: Based on the 2006 Census, Hill Strategies February 2009

at 5 and 6.6Ibid at 18 and 20 and 22


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c) Immigrants have experienced an 8% increase in the arts labour force or a 41% changesince 1991 and a 43% increase in the overall labour force.7

In examining this data, it is evident that:

1) Aboriginal, racialized and immigrant groups are more engaged in the overall labourforce than in the arts labour force;

2) The variations between the make-up of these groups in the arts labour force and theoverall labour force quite clearly favour those whose mother tongue is English andclearly disadvantage those whose mother tongue is neither English or French and that

Aboriginal and racialized artists face similar disparities; and

3) The impact of some of these disparities is very notable in the downward earnings of

Aboriginal, racialized and immigrant artists who respectively have seen their earningsfrom the arts drop 16%, 20% and 20% from 1990 2005 even though the earnings forracialized peoples in the overall labour force increased by 3% and was -1% forimmigrants.8

These differences are even more profound when comparing with overall population data.

Arts Labour Force in Specific Disciplines:While the data and supporting charts above provide very strong evidence of funding disparities, theyare not broken down by artistic disciplines. This is an important issue as funding parity should be bothin aggregate, operating and project and within specific disciplines. Council and other funders may wish

to address this matter in going forward with the implementation of their equity initiatives. In this regard,the following baseline data may be helpful as it provides insight into the composition of specificdisciplines by Aboriginal and equity groups. This data can be used by funders to assess and developstrategies within each discipline by comparing this data with the composition of these groups within thearts and overall labour force as well as with the general population. This would then be compared tofunding allocated in each discipline to these groups and, based on the results of this assessment,strategies developed to achieve equity in funding to Aboriginal and equity groups.

According to data derived from the 2006 census, the arts labour force for specific disciplines breaksdown as follows:

musicians and singers(33,600 reported earnings, or 24% of the 140,000 artists);

authors and writers (24,500 or 18%); producers, directors, choreographers and related occupations (22,400 or 16%); artisans and craftspersons (17,400 or 12%); visual artists (17,100 or 12%); actors and comedians (11,700 or 8%); dancers (7,300 or 5%);

7Ibid at 33

8Ibid at 36


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other performers (3,630 or 3%); and conductors, composers and arrangers (2,300 or 2%).9

Regrettably, there isnt comparable data for Aboriginal and equity groups from the 2006 census.However, data for specific disciplines based on the 2001 census is provided below10.

The data in this Chart indicates that racialized peoples are:

3,145 or 10% of all musicians and singers(31,000); 1,435 or 6.8% of writers (21,145);

1.525 or 7.9% of producers, directors, choreographers and related occupations(19,240);

9Ibid at 10

10In calculating these percentages, I have had to rely on the Hill Strategies report Diversity in Canadas

Ar ts Labour F orce: An Analysis of the 2001 Census Datasince that report is the only one that provides

comparative detail based on census data. This is not the best of situations given changes from one Census to

another. However, there appears to be no other data to assess these comparisons.

Musicians and singers

30%

Writers14%

Producers,

directors,

choreographer

s, related

15%

Artisans and

craftspersons

17%

Visual artists

11%

Actors and

comedians13%

Racialized Artists by Discipline


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1,760 or 9% of artisans and crafts persons (19,575); 1,180 or 7.7% of visual artists (15,250);

1,290 or 5.8% of actors and comedians (22,200).11

The data in this Chart indicates that Aboriginal peoples are:

300 or 1.0% of all musicians and singers(31,000); 295 or 1.4% of writers (21,145); 305 or 1.6% of producers, directors, choreographers and related occupations (19,240); 1,295 or 6.6% of artisans and crafts persons (19,575); 515 or 3.4% of visual artists (15,250); 410 or 1.8% of actors and comedians (22,200);

11Ibid at 4


10%

Writers9%

Producers, directors,

choreographers, related

10%

Artisans and

craftspersons

41%

Visual artists

17%

Actors and

comedians

13%

Aboriginal Artists by Discipline


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The data in this Chart indicates that Immigrants are:

6,215 or 20% of all musicians and singers(31,000); 4,300 or 20.3% of writers (21,145); 3,180 or 16.5% of producers, directors, choreographers and related occupations

(19,240); 4,660 or 23.8% of artisans and crafts persons (19,575); 3,775 or 24.8% of visual artists (15,250); 2,055 or 1.9% of actors and comedians (22,200); 425 or 18% of conductors and composers (2,290).

Some of the numbers for racialized, immigrant and Aboriginal peoples are comparable to their make-up

of the arts labour force. However, the significance of these findings are enormous given thatoperational funding for racialized artists is 4.2% which is approximately 7% below their composition ofthe national arts labour force and 11% below their composition of the overall labour force. Similarly, for

Aboriginal peoples, operational funding is 1.5% or 0.9% below their composition of the national artslabour force and 1.4% below their composition of the overall labour force. For racialized peoples this isan astounding level of disparity in funding; for Aboriginal peoples, while the percentages are closer,there is a unique concern that requires separate consideration beyond the scope of this research, i.e.,First Peoples status and the fiduciary responsibility of the federal government and all of itsdepartments, including arms length agencies, to work with First Nations and Aboriginal peoples in


27%

Writers

19%

Producers, directors,

choreographers, related

14%

Artisans andcraftspersons

21%

Visual artists

17%

Actors and comedians2%

Immigrant Artists by Discipline


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addressing issues related to self-determination and the ongoing relationship of the Canadian state toAboriginal peoples.

The following Charts provide data that compares Aboriginal, equity groups and non-Aboriginal/non-equity groups in specific disciplines. This data demonstrates the vast inequities in the distribution ofartists by discipline. For example:

Non-equity groups comprise 90% of all actors and comedians while racialized peoplescomprise 6% even though they make-up 10.6% of the arts labour force, 15.4% of theoverall labour force and 16.2% of the national population while Aboriginal peoples are at2% even though they comprise 2.4% of arts labour force, 3% of the overall labour forceand 3.8% of the national population. Immigrants comprise 2% of this cohort;

Non-equity groups comprise 90% of artisans while racialized peoples comprise 7% even

though they make-up 10.6% of the arts labour force, 15.4% of the overall labour forceand 16.2% of the national population while Aboriginal peoples are at 2% each eventhough they comprise 2.4% of arts labour force, 3% of the overall labour force and 3.8%of the national population. Immigrants comprise 24% of this cohort;

Non-equity groups comprise 69% of all musicians/singers while racialized peoplescomprise 10% even though they make-up 10.6% of the arts labour force, 15.4% of theoverall labour force and 16.2% of the national population while Aboriginal peoples are at1% even though they comprise 2.4% of arts labour force, 3% of the overall labour forceand 3.8% of the national population. Immigrants comprise 20% of this cohort;

Non-equity groups comprise 90% of all producers/directors/choreographers actors while

racialized peoples comprise 8% even though they make-up 10.6% of the arts labourforce, 15.4% of the overall labour force and 16.2% of the national population while

Aboriginal peoples are at 2% even though they comprise 2.4% of arts labour force, 3%of the overall labour force and 3.8% of the national population. Immigrants comprise16% of this cohort;

Non-equity groups comprise 64% of all visual artists while racialized peoples comprise8% even though they make-up 10.6% of the arts labour force, 15.4% of the overalllabour force and 16.2% of the national population while Aboriginal peoples are at 3%even though they comprise 2.4% of arts labour force, 3% of the overall labour force and3.8% of the national population. Immigrants comprise 25% of this cohort;

Non-equity groups comprise 72% of all writers while racialized peoples comprise 7%even though they make-up 10.6% of the arts labour force, 15.4% of the overall labourforce and 16.2% of the national population while Aboriginal peoples are at 1% eventhough they comprise 2.4% of arts labour force, 3% of the overall labour force and 3.8%of the national population. Immigrants comprise 20% of this cohort;

Non-equity groups comprise 90% of all actors and comedians while racialized peoplescomprise 6% even though they make-up 10.6% of the arts labour force, 15.4% of theoverall labour force and 16.2% of the national population while Aboriginal peoples are at


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2% each even though they comprise 2.4% of arts labour force, 3% of the overall labourforce and 3.8% of the national population;

Non-Equity Group

90%

Racialized

6%

Aboriginal

2%

Immigrants

2%

Other

10%

Demographic Breakdown of Actors and Comedians

by Equity Group


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Non-Equity Group60%

Racialized

9%

Aboriginal

7%

Immigrants

24%

Demographic Breakdown of Artisans and Craftspersons

by Equity Group


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Non-Equity Group69%

Racialized

10%

Aboriginal

1%

Immigrants

20%

Demographic Breakdown of Musicians and Singers by Equity Group


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Non-Equity Group

74%

Racialized

8%

Aboriginal

2%

Immigrants

16%

Demographic Breakdown of Producers, Directors, Choreographers

and related fields by Equity Group


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Non-Equity Group

64%Racialized

8%

Aboriginal

3%

Immigrants

25%

Demographic Breakdown of Visual Artists by Equity Group


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Population Projections:

Most population estimates suggest that the changes in these provinces, cities and communities willonly accelerate over time and the proportion of Aboriginal, immigrant and racialized communities willcontinue to increase at rates faster than their European counterparts. Some provinces and citieshave already witnessed changes in the numerical majority of their communities and most of this hascome about during the last twenty years, a short period of time.12For example:

in 2017, racialized peoples will likely be between 19% and 23% of the Canadianpopulation and that racialized communities in the countrys largest urban centres(e.g., the Greater Toronto Area, Vancouver and Richmond B.C.) will be more than50% of the population. Further, Aboriginal peoples are likely to comprise 4.1% of

the Canadian population;13

12See Alain Belanger and Eric Caron Malenfant Ethnocultur al Di versity in Canada: Prospects for 2017,

and, Krishna PendakurVisible Minorities in CanadasWorkplaces: A Perspective on the 2017 Projection13 See Ar ts Fact Sheet Seri es: Cultu ral DiversityOur Regenerati ve Strength in the 21stCentury, Sharon

Fernandez, May 2006, unpaginated, from Study: Canada's visible minority population in 2017 from 2005

http://www.statcan.gc.ca/daily-quotidien/050322/dq050322b-eng.htm

Non-Equity Group

72%

Racialized

7%

Aboriginal

1%

Immigrants

20%

Demographic Breakdown of Writers by Equity Group


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racialized peoples will likely comprise between 29-32% of the Canadian populationby 2021 or between 11.4 to 14.4 million people. This population will also have

more youth under the age of 15 (36%) and South Asians and East Asians will bethe largest of all racialized groups;

Arabs and West Asians are projected to grow the fastest between 2006 and 2031,increasing from 806,000 to 1.1 million Arabs and 457,000 to 592,000 for West

Asians between 2006 and 2031;

Muslims are anticipated to increase to being 50% of those who self-identify as non-Christian;

those whose Mother Tongue is neither English or French will increase to between29% and 32% by 2031, up from 10% in 1981;

96% of racialized peoples would live in urban areas in 2031 with 72% of theseresiding in Toronto, Vancouver and Montreal;

55% of those living in urban centres are anticipated to be immigrants in 2031 withToronto and Vancouver expected to reach 78% and 70% respectively;

60% of those living in Toronto and Vancouver will likely be racialized peoples in2031 and they will likely be 31% of those residing in Montreal.14

These figures indicate an apparently irreversible trend in terms of the growth of the Canadianpopulation over the next two decades. These changes will have significant impact socially and

culturally and will require those in the arts to analyze and assess the significance of thesedemographic changes as they relate to artistic expression, funding policies and financialcommitments, peer assessment and criteria and other elements of the arts ecology. Coming toaccept and work with this is inevitable.

Growth and Socio-economic Characteristics of Aboriginal and Equity Group Artists:

The change in demographics is evident in the growth of artists from Aboriginal and equity groupcommunities. Trends in these areas will increase almost exponentially given the growth of Aboriginaland equity communities and artists, and challenges resulting and/or imminent due to the aging ofartists and their dispersal in urban and rural settings. There is little statistical data on persons with

disabilities in the arts; however, there is anecdotal information that is useful to understanding thechallenges these artists face. Further, this section will also provide information on some of theinequities in the socio-economic achievement of artists in some of these groups.

The socio-economic achievement for Aboriginal and equity group artists is somewhat similar to theperformance of these communities in other sectors of society. For example, it has been consistentlydocumented that Aboriginal and racialized persons as well as persons with disabilities do not fare as

14Proj ections of the Di versity of the Canadian Popul ation , 2006 to 2031, Statistics Canada 2010 at 1-2


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well as their counterparts in economic achievement. A recent report by the Wellesley Institute andthe Canadian Centre for Policy Alternatives15 suggests that racialized peoples:

earn 81.4 cents for every dollar paid to non-racialized persons;

have higher levels of labour market participation (67.3% v. 66.7%) but alsoexperience higher levels of unemployment and that the work they get is temporaryand low-paying and, further, racialized men are 24% more likely to be unemployedthan their counterparts and racialized women are 48% more likely to be unemployedthan racialized men;

see their incomes decline between 2000 and 2005 by 0.2% while the earnings fortheir counterparts grew by 2.7% and while the economy grew by 13.1%;

particularly immigrant women, earn 48.7 cents for every dollar of a non-racializedmale16;

occupy only 14.7% of all occupations compared to 85.3% for non-racialized groups.Within the arts and cultural sector, racialized people occupy 10.4% of alloccupations compared to 89.6% for non-racialized groups;

in terms of industry, are composed of 8.5% of the arts, entertainment and recreationsector compared with 91.5% of their counterparts;17

in terms of gender, racialized men make $48,631 compared to $60,044 for non-racialized men while racialized women make $37,932 compared to $52,345 for

non-raciailized women. Combined the difference is $43,979 earnings for racializedpeoples compared to $52,345 for non-racialized peoples;18

while these gaps may narrow, they do not evaporate for second and third generationwage earners. There is still a significant gap that widens where racialized men in thesecond generation make $57,237 compared to $75,729 for non-racialized men andracialized women earn $42,804 compared to $46,391 for non-racialized women.The differential in the third generation indicates that racialized men earn $66,137compared to $70,962 for their counterparts while racialized women earn $44,460compared to $44,810 for their counterparts;19

in terms of poverty, 19.6% live in poverty compared to 6.4% of their counterparts.20

15See Canadas Colour Coded Labour Market: The gap for racialized workers, Sheila Block and Grace-

Edward Galabuzzi, 201116

Ibid 3-417

Ibid at 9-1018

Ibid at 1219 Ibid at 1320 Ibid at 15


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As might be expected, similar to the increased percentage of the population comprised of Aboriginalpeoples and racialized groups, there has been a significant increase in the artists, particularly

performing artists, within these communities. This is especially evident for ethno-racial artists,including racialized and immigrant groups. As well, the growth of work by Inuit artists has beencaptured in Art s & Cultu re in Canada: Fact Sheet Contempor ary Inuit Arts in Canada.21

According to the Economic Impact Study: Nunavut Arts and Crafts, commissioned by theGovernment of Nunavut Department of Economic Development & Transportation:

There are roughly between 3,000 and 6,500 artists in Nunavut. An artist is defined as:Any Nunavut resident over the age of 15 years with the ability to produce arts andcrafts products for resale. Given the wide range estimate, it is possible that morethan 6,000 Nunavut residents produce arts and crafts to some extent, even if onlyfor personal use, gifts or an extremely modest economic return. However, whenexamined in the full context of the territory, accounting for total sales amounts and

other employment statistics, the number of artists in Nunavut that earn a moderateor even supplemental income from arts and crafts sales is likely closer to 2,500-3,500.22

Based on analysis of the 2001 census, Hill Strategies Diversity in Canadas Arts LabourForce

23suggests many revealing pieces of information, including:

of the 131,000 artists in Canada, 11,700 (8.9%) are racialized, 3,100 (2.5%) areAboriginal and immigrants accounted for 20% of all Canadian artists. Racializedartists earnings were 11% less than other artists while earnings for Aboriginalartists were 28% less than other artists;24

Ontario accounts for 50% of the racialized and immigrant artists in Canada with theoverwhelming number of these artists living in metropolitan areas while Aboriginalartists tend to live outside metropolitan areas;

B.C. is home to 25% of racialized artists with the highest concentration of racializedartists in its arts labour force with 13% of all provincial artists;

90% of racialized artists live in urban areas (Census Metropolitan Areas/CMAs)with Vancouver, Toronto and Montreal combining for 39% of all racialized artists. Ofthese racialized artists, Torontos CMA has the highest concentration (39%),followed by Vancouver CMA (24%) and Montreal CMA (11%);25

21 Canada Council for the Arts,

2009,http://www.canadaCouncil.ca/publications_e/fact_sheets/zs128945748721381306.ht

m22 Government of NunavutDepartment of Economic Development & Transportation.Economic Impact

Study: Nunavut Arts and Crafts, Submitted by: Nordicity Group and Uqsiq Communications, June 2010. 23Statistical Insights on the arts, Vol. 3 No.3,February 200524 Ibid at 125 Ibid at 1-3
http://www.canadacouncil.ca/publications_e/fact_sheets/zs128945748721381306.htmhttp://www.canadacouncil.ca/publications_e/fact_sheets/zs128945748721381306.htmhttp://www.canadacouncil.ca/publications_e/fact_sheets/zs128945748721381306.htmhttp://www.canadacouncil.ca/publications_e/fact_sheets/zs128945748721381306.htmhttp://www.canadacouncil.ca/publications_e/fact_sheets/zs128945748721381306.htmhttp://www.canadacouncil.ca/publications_e/fact_sheets/zs128945748721381306.htm


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corresponding with increases in immigrant settlement, racialized and immigrantartists grew strongly between 1991 and 2001 by 74% and 31% respectively;26

between 1991 and 2001, the number of racialized artists more than doubled in suchprofessions as actors, dancers, producers, directors, choreographers and relatedoccupations, exceeding the increase in the number of artists in all other groups;27

Ontario is home to 50% of all racialized artists and these artists comprise 11% ofthe provinces artists while B.C. is home to 25 of these artists who comprise 13% ofall B.C. artists and Quebec has 12% of these artists or 5% of all Quebec artists;28

in the aforementioned CMAs, racialized artists earn less than their counterpartswith Toronto 26% less, Montreal 27% less and Vancouver 22% less;

between 1991 and 2001, there was a slight widening in earnings betweenracialized and other artists (9.8% to 11.3%), however, this small disparity is notablyincreased in such professions as acting (-21%), dancing (-14%), as well asamongst musicians and singers (-18%), and producers/directors/choreographers (-20%);29

racialized artists in Ontario have the highest average earnings ($22,800) whencompared to their counterparts in other provinces, i.e., B.C. ($19,800) and Quebec($19,400). Respectively, these artists lag 15% behind all other artists in Ontario,10% less in B.C. and 19% less in Quebec;30

across Canada, while most Aboriginal artists are involved in crafts, there are

numerous artists involved in performing arts as musicians and singers, writers,producers, directors and choreographers;31

B.C. was home to 29% of all Aboriginal artists who comprised 2.6% of theprovinces artists. This was followed by Ontario which was home to 20% of all

Aboriginal artists comprising 1.2% of all Ontario artists

71% of Aboriginal artists reside outside CMAs while 29% reside within them acrossCanada;32

Aboriginal artists earned on average 28% less than all other artists in Canada withactors, dancers and other performers making 13% less, and, producers, directors,

choreographers making 30% less;

33

26 Ibid 427 Ibid 3-428 Ibid 429 Ibid 730 Ibid 831 Ibid 1032 Ibid 1133 Ibid 2-13


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while Aboriginal artists have their highest earnings in Ontario, these artists make

21% less than the average earnings of all other Ontario artists. Aboriginal artists inB.C. earn 25% less than other artists while in Quebec their earnings are 38% lessthan other artists;34

the largest number of immigrant artists arrived in Canada between 1991 and 2001with the most common areas of creative expression as musicians and singers(20%), writers (20%), and producers, directors and choreographers (19%) withactors amongst this group more than doubling;35

Ontario is home to 49% of all immigrant artists while B.C. is home to 24% andQuebec to 13%. These three provinces combine for 86% of immigrant artists inCanada;36

83% of immigrant artists reside inside CMAs with Vancouver, Montreal and Torontocomprising 75% of these and Toronto has 33% of these artists, Vancouver 30%and Montreal 11%;37

Immigrant artists earnings are 1.4% less than the average for all other artists.However, between 1991 and 2001, their earnings increased 13% which is 50% lessthan the average increase for all other Canadian artists.38

Hill Strategies provides additional data on these artists.39 In a report based on the 2006 Census, it isnoted that:

there were 140,040 artists in Canada with 105,345 whose first language is English or75% of all artists; 24,585 whose first language is French or 18% of all artists; 8,630

whose first language is a non-official language or 6% of all artists. Of these artists,5,555 are English-language minorities residing in Quebec (4%) and 1,755 OfficialLanguage Minorities (Francophones) (1.3%);40

Anglophone artists made $22,776 per year compared with Francophone artists whomade $24,520, Non-official language artists who made $17,373, English-languageminorities who made $26,069 and French-language minorities who made $22,738;41

there were 3,295 Aboriginal artists (2.4% of all artists), 14,910 racialized artists (11%)and 28,355 immigrant artists (20%). Respectively, these artists earnings were

$15,883, $18,796 and 20,877;

42

and34 Ibid 1435 Ibid 1636 Ibid 1837 Ibid at 17-1838 Ibid 1939 See A Statistical Profi le of A rti sts in CanadaBased on the 2006 Census, Hill Strategies, 200940 Ibid at 1841 Ibid at 19


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there were 6,300 artists with disabilities (5% of all artists) who indicated that they are

often limited in their activities and 13,500 artists with disabilities (10% of all artists)who indicate that they are sometimes limited in their activities. Average earnings forthe former are $15,300.00 or 42% less than other similarly situated workers and forthe latter earnings are $17,700.00 or 43% less than other similarly situatedworkers.43

In terms of changes in artists income from the 2001 to the 2006 Census, Hill notes that while allartists income fell 14%, Aboriginal artists income fell by 16% and income for immigrant andracialized artists each fell by 20%.44 Further, regarding specific disciplines and in order of thehighest number of artists within each discipline:

racialized artists are predominantly active as musicians and singers,

artisans/craftspersons, producers/directors/choreographers, writers, visual artists,actors and dancers;45

Aboriginal peoples are predominantly active as artisans/craftspersons, visual artists,actors and performers, producers/directors/choreographers, musicians and singers,and writers;46

immigrant artists are predominantly active as musicians and singers,artisans/craftspersons, writers, visual artists, producers/directors/choreographers,actors, other performers, and conductors/composers/arrangers.47

Unfortunately, these Hill Strategies reports do not correlate racialized and immigrant artists.

However, judging from the immigrant settlement patterns noted earlier, it is quite likely that manyimmigrant artists are also racialized. What is also very notable is the dramatic increase in thenumber of Aboriginal, racialized and immigrant artists since 1991. While this has contributed to thediversity of Canadian artists, and has likely provided a broader span of cultural forms, histories andartistic standards and values to audiences, it is also likely that the significant disparities in earningsfor Aboriginal, racialized and immigrant artists are attributable to them being less employed thanother artists.

This may be due to a number of factors, including the relative newness of these artists as well as thediverse cultural forms and values they bring to the arts that are different than the Eurocentric valuesand practices of the current Canadian arts ecology. In fact, the latter may be directly related to thelesser rate of earnings of Aboriginal, racialized and immigrant artists since their forms of culturally

specific expressions and stories (including costumes, myths, iconography, references, techniques,etc.) may draw on the rich histories and traditions of their own cultures and not be based on

42 Ibid at 20-2143

Ibid at 2244 Ibid at 3645 SeeDiversity in Canadas Arts Labour Force, Kelly Hill, 2005 at 446 Ibid at 1147 Ibid at 17


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Eurocentric norms. Many in the arts field, including presenters, may see this as being notappropriate for their audiences.

Another issue is that whats considered contemporary by Aboriginal, racialized and immigrantartists are often not considered to be contemporary enough by the current arts system and peers 48.This likely occurs because of the given different evolution of styles, trends and artistic movements indifferent parts of the world. The contemporary arts milieu is very much based upon the standards ofthe West and rarely takes into consideration the important histories and artistic practices that hadbeen suppressed during centuries of European domination and its insistence on universal valuesthat were implicit in European systems of thought, governance, economics and civil society.Further, while some of these values have been eschewed by contemporary post-modernistphilosophies and its influence on artistic expression, there are divergent perspectives by Aboriginal,racialized and immigrant artists about the value of post-modernism to their world and their work asthese artists see post-modernism as the latest salvo of European hegemonic thought.

The change in demographics is supplanting traditional notions of Canadian culture as Eurocentricand addressing issues concerning groups marginalized within the Eurocentric, ablest and urban-centric framework, e.g., persons with disabilities, rural communities, official language minoritycommunities, etc. The trend in these areas will increase almost exponentially given the increasedsizes of racialized, Aboriginal and other equity-seeking communities and artists, and the resultingand/or imminent challenges due to the aging of artists and their dispersal in urban and ruralsettings.

The obvious challenge here is for the arts community generally to begin to understand that it is notpossible to use traditional Western modes to assess the merits of diverse artistic forms andexpressions of Aboriginal and racialized communities.49 Long-standing standards of excellence only

need to be re-assessed against the measure of a critical capacity, one that considers thestandpoint of presenters, i.e., their relationship to the production of knowledge and their adherenceto a selective tradition that honours the notion that universal values in the arts derive from the

48See Natasha Bakht Mere Song and Dance: Mu lti cultur al Imperati ve in the Arts. This paper was first

presented in 2009 at the Canada Dance Festival and then has been published by Between the Lines Press in

Unsettli ng Mu lti cultu rali sm: Lands, Labours, Bodies, May Chazan, Lisa Helps, Anna Stanley, And Sonali

Thakkar, (Eds.), , (2011) and is forthcoming in Plur alism in the Ar ts I n Canada: A Change is Gonna

Come, compiled, written and edited by charles c. smith for the Canadian Centre for Policy Alternatives.

See also Kevin A. Ormsby Between Generati ons Towards Understanding the Di f ference in Realiti es and

Aspir ations of the F ir st and Second

Generation of Culturally Di verse Ar tists, and, George Elliot Clarke The Stage I s Not Whi te

And Neither I s Canadaforthcoming in Plur ali sm in the Arts In Canada: A Change is Gonna Come,

compiled, written and edited by charles c. smith for the Canadian Centre for Policy Alternatives 49 For a more in-depth discussion on this issue, see Cornell West The New Cultu ral Pol iti cs ofDifference(1990),Homhi Bhabha The Location of Cul ture (1994), Frances Henry and Carol Tator

Challenging Racism in the Ar ts (1998), Althea Prince Being Bl ack (2005), Michael M. Ames Cannibal

Tours and Glass Boxes: the Anth ropology of Museums (1992),Natasha Bakht, Mere Song and Dance

(2009), Michael Greyeyes Notions of I ndian-ness (2009), Kevin A. Ormsby Between Generations:

Towards Understanding the Dif ference in Reali ties and Aspirat ions of the F ir st and Second Generation

of Cul turally D iverse Arti sts (2009), Little Pear Garden Theatre Collective Demystif ying Chinese

Aesthetics (2009), Mennaka Thakker Dance Company and Kalannidhi Fine Arts of Canada Contemporary

Choreography in I ndian Dance (2009)


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European systems against which others are then measured. Such an approach cuts short anydialogue about the values and selective traditions of Aboriginal and racialized groups and their

importance in influencing the creative expressions of artists from these communities.

Documents

Step in Time – Technologies and Pluralism in Dance