Metro Vancouver Cultural Grants2013 ApplicatIon for Regional Projects
Applicant Information
Unit/Pitt Society foi Art and Critical AwarenessN..,ii’ .4 the osqomzutnnl (leqully ic’ys.% wr.’d annie1
236 East Pender Street, Vancouvet BC V6A ITT4; lit c
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604 681 6740 infohelenpittgalIery.orgFn,ail
w-ww.unitpitt.ca
Keith Higgins, Executive Director
___________________________ ________
C’oi:act r.cfson, and title, regarding information contained in the application
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Nurnbes of staff in your organiation Number of volunteers in your organization
604 681 6740 in1ohelenpittgallery.org
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Annual budget Veer Founded
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BL Society Act Number
Concnuons anu Signature
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Kerth Htgqins. Executive Director
Und,P[ Soojety fur Art and Cnticai Awareness
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Comeha Wyngaarden. Chair
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Deaddne for submission
II 3 c’eseI two roinmJreter scricico ci ii_ rprcacc ti_in Mini by Wednesday, July 24, 2013, 4pmIU [veti a Vancouver, Cultural crams Program Estvrnar nrcatrorw 3 floor 4330 Krngsway Burnaby, B.C. V%H 408
ii you have any questions about this apoilcanon or e e[ugmamlity ci your project call Judy Robertson at 604432-620S or
UNIT/PITT Projects — Metro Vancouver Cultural Grants: Regional Projects July 2013
Regional Project Information
1) Organizatio&s Mandate and History:
urrriprrr Projects is a non-profit artist-run centre dedicated to the promot ion of experimentalcontemporary art that addresses social, political, cultural and critical issues. We promote and fiicilitatepublic dialogue concerning critical awareness, social consciousness. contemporary art practices andcommunity. Established in 1975 as the Helen Pitt Gallery, UNI’l’iPIfl’ has transformed itself severaltimes, culminating in its most recent incarnation as an incubator for new curatorial and organizationalapproaches to experimentation in visual and media art. Since 2010, UNfl’/PITf has shown its ability toengage with non-art communities and present public actions outside of lhe gallery with projects such asI’ublk Access: 1q99 and Beyornt the annual Wrong Wave festival of art and art-rock, and the RereadingThe Riot Act series of public actions, performance. and publications.
2 Project Description:
Title: Spacc’s ofC’onlesialion/(’ollectivc Walks (working title)
This project pairs professional visual artists with community groups and institutions to create four site-specific public actions, drawing on the visual art traditions of performance art and “happenings” but guidedby community members’ emotional. organizational, and intellectual responses to disputed or contested space.
Spaces ofConteslatlon/Goliective Walks is a project realized through UNIT/Plfl’s Curatorial Residenciesprogram. The project seeks to examine how the collective walk/protest/public demonstration, beingboth an event structure and social formation, can serve as framework to initiate community engagementand democratic use of public space via the realization of site-specific participatory performances. Inproducing this work, we hope to:
1- Research modes of producing and presenting site-specific performative work realized incollaboration with community groups and organizations.
2- Expand contemporary visual art discourses and practices through a study of the aesthetic andconceptual overlap existing between participatory performance, collaborative art-makingstrategies, and political self organized demonstrations.
3- Foster critical discussion around overlapping issues of urbanism, community activism andartistic practice.
The project involves the participation of three professional artists and one artists’ collective, fourcommunity organizations based in Vancouver and Burnaby, and one presenting partner, the SRIVancity Office ofCommunity Engagement. Unfolding over a period of one year and realized through aseries of artistic and discursive events, Spaces ofContesiationlCollective Wallcs aims to establishconnections between artistic and activist actions in urban space and initiate dialogue about thetransformative potential of these types of interventions on the collective urban experience.
The project includes three main components:
Component 1- Performance Series (March-May 2014): This component is the core ofourproject. Three professional artists and one professional artist-collective, working primarily in the fieldsofperformance art and visual-art-based social practice, will leadcommunity-building activities in the
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UNIT/PITT Projects Metro Vancouver Cultural Grants: Regional Projects July 2Oi
i)r( ot i sel’iin: 11L1llJe i lion in eoiiatit)iI \\ illi tour tijitVltl iuiliz.lllouls. in themonths eadmc to the prt’scuutation Of hit’ pnhhiu act ai. the artists skill iiict’t on a recular basis withpartner cominimitv organizations to lead activities in winch community members \vill develop thegoals, itinerary, content and material of the public action/art perfbrmancc that they will take part in inthe Spnng 2014 It ading workshops discussions md cnaiivc think t mks p utw ipating srtists willinvite communit v members to creatively explore how the collective walk is both a public action with1ndit R ml and ,ot ut signal mc m nt md m pa rfoi in utis r g st nit ss athin tha ouilc xt of ontr inpom irv sisui iiart, and to consider how the t\\ 0 aspects can hue nsed to jrodnce a puhhe action which expressesmandate of a eoinHitnntv &iomiiu, reflect the oals and concerns of eouiunnnmiv members, and creatediahoatie around contentious spaces and issues,
l’airincs bciwt’m’um partner oranuzutmons and ai tists were tl&:tt’rniuieth l)is(’d on possibilities presented b\the art isIs’ history and practice, and on time tdreseen potential fdr creative exchange between art isis andparticipants. The project fratures partnerships between professional art isis and communityorganizations with diverse mandates, that cater their activities to a wide range of publics.
Component 2 Gallery Exhibition and Realization of Publications (March 21 May 3 2011):I )ue to the site- specif e allah ephienierat nat nrc of’ the pertlirumance series, we have decided to organize agallery exhibit ion in order to increase the protect’s duration and public availability. Material realized inworkshops with coimiumunit v olga ruizat ions and used ni the public perioruiauces will be exhibited atU N i’l/’ I’ ITT Project’s gallery spt’. This initiative is meant to document and showcase the collaborative
leadine to the realization of’ the series of’ tour puluhie actions. Focus will he placed on thecontributions made by conununity participants. In conjunction with the exhibition, books drawing onthe process. research and outcomes of the individual projects will he published in collaboration withPublicaticn Studio Vancouver, These hooks are intended as works which will stand on their own ascomplete works, rather than exhibition catalogues.
Component 3 ‘Talk Series (October 2013 April 20 14): The Talk Series, co-organized with the SF13Vancitv Of’fiee of’ (‘omnmunitv Engagement (Vancouver), aims to contextualize the project as a whoha’and ground it critically by discussing issues pertaining to urbanism. community activism and artistic
practice. ‘taking as starting pomt the particular urban and social context of the city of Vancouver, thet ilk ScullS ssill a n ic w uthi lint ions of sp iii ml politics it sist muLe and it sth tic eng i4cmcnt Spa ikci ssvorkung in the fIelds of urban and economic geography, activism and creative writing, visual arts, andart history will he invited to engage with the topic from their particular research perspectives.Confirmed speakers include: Dr. Jamie Peck (UBC Geography Dept.), Urban Subjects (artist collective),and Dr. Stephen Collis (SFU English Dept.). Potential speakers include: Dr. Nicholas Blomley (SFU
eography Dept.>. and Dr. Kui’stv Robertson (Western University Art History Dept.).
Project’s Regional Impact:
‘T’hc realization of this project will build strong partnerships between community groups basedin Vancouver and Burnaby; it will address key issues pertaining to use of public space, urbandevelopment and artistic/activist interventions in the Metro Vancouver region; and developstrategies for public participation and outreach through artistic creation.
1- Knowledge transfer and skill development: In the months leading to the presentation of thepubhic performances. the participating artists will lead workshops and discussions with members of
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UNIT/PITT Projects — Metro Vancouver Cultural Grants: Regional Projects 3uty 2015
partner community organizations. In leading these workshops, the artists will share their visual art-making skills and knowledge including: creation of visual Identity and markers, print-makingtechniques. creative cartography. perlbrmance choreography. movement -based explorations. INYprocesses and modes at intervention in public space. Tlnougli this exchange process, artists willintroduce members of partner community organizations to artistic techniques and knowledge that willserve for the development of fixture projects, community-building activities and production of publicoutreach material.
2- Community and identity building: Collaborations between participating artists and communityorganizations will serve to equip partner organizations with tools and resources to facilitate thefulfilment of their mandates and increase services provided to members. Workshops that artists will leadin advance of the realization of the collective walk•performances and gallery exhibition will focus onidentity- building and community development around issues of use of public space and representation.Relationships amongst members of community partner organizations will be strengthened through theftactive involvement in the elaboration, planning and execution of the public performances and galleryexhibition.
3- Outreach and advocacy: Artists will contribute their skills and resources in light of communitypartners’ needs and interests towards the development ef resources that will increase communitypartners’ ability to outreach to the public and advocate on behalf of their members. For example, GabrielSaloman, in collaboration with BROKE, will develop a community-driven map of the undergroundpipeline system in Burnaby (outlining intersections of the pipeline system with schools, parks,community centres, etc..). The map will then serve as advocacy tool for BROKE to use in futurecampaigns. distribute at public events, and make accessible online. As another example, LaurenMarsden’s collaborative partnership with the VPL will enable the organization to educate the publicabout the necessity of the deaccessioning process due to material deterioration and outdated content
Project’s Impact on Organization:We hope to extend our organization’s reach, from one that is narrowly focused on the artistic life of theurban core, to one that develops relationships in neighbouring municipalities. This project will addcapacity by creating a useful paradigm for collaborations between Unit/Pitt and community groups andorganizations within the Metro region and beyond, producing mutual benefit.
3) Is this a new project or an expansion of an existing initiative?
This project is a new initiative and the primary goal of the project is the production ofnew artistic worksthrough the establishment of new partnerships between community organizations in the Metro Vancouverregion.
4) List of involved participants
Project Collaborators: Please see attached biographies (appendix 1)Professional Artists: Gabriel Saloman; Dither Morelli; Lauren Marsden; Zoe Kreye and Catherine GnuProject Cutator: Mariane Bourcheix-LaporteUNIT/PITT Director: Keith Higgins
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UNIT/PITT Projects — Metro Vancouver Cultural Grants: Regional Projects July 2013
rsFiis
(fomniunity partner organizations: Please see attached mandates (Appendix 2) and letters of support(Appendix 3)Burnahy Residents Opposing Kinder Morgan Expansion (Burnaby)‘1 he Outreach Alternative Prurain, Britannia Sccmdarv School (Vancouver)flie Vancouver Public Library (\iancouver)Dance Troupe Practice (Vancouver)
Presenting partners: Please see attached mandates (Appendix 2) letters of support (Appendix 3)The SRi Vancitv Office of Community Engagement (Vancouver’)Publication St udio Vancouver
Description of partnerships:
Gabriel Mindel-Saloman will collaborate with the Burnaby Residents Opposing Kinder MorganExpansion (BROKE), a grassroots residents’ association in Burnaby. The artist will collaborate withmembers ol BROKE towards the realization of an event that will act as perlormative protest to denouncethe Kinder-Morgan Trans Mountain Pipeline and jet Fuel Pipeline system’s existence and plannedexpansion in Bumnaby. The collaboration between BROKE and the artist will aim to increase publicawareness of the underground pipeline system existing in Burnaby through a combination of artisticinterventions and activist advocacy tactics. BROKE is already engaged with local First Nations groupsopposing the expansion of the pipeline system, notably the Soowahlie Nation, which will he invited totake part in the public perforinai ice.
I)idier Morelli will collaborate with the Outreach Alternative Program at Britannia SecondarySchool (Vancouver), an alternative education program for youth of aboriginal descent, The artist willwork with the program’s students, teachers and social workers towards the realization of a collectivewalk—perlhrmance that reflect the st udents’ particular relationship to the Commercial Driveneighbourhood. The goal of the project will be to activate and make visible the students’ presence andlived experience in this part of the city (Britannia Secondary School is located in the heart of thecoinfliercial Drive neighbourhood, a culturally diverse part of East Van). The process of realizing thiscollaborative project will complement the Outreach Program’s pedagogical activities, which integrateaboriginal learning and traditions in the classroom and provide high-risk students with resources tocomplete secondary education.
Lauren Marsden will collaborate with the Vancouver Public Library (VPL) and its patrons to createa public performance involving deaccessioned material from the library’s collection. The VPL hasidentified the deaccessioning process (the removal and discarding of damaged or out—of—date materialfrom the library s collection) as one 1i’aught with public controversy due to the public’s opposition tothe discarding of books, The artist will work with VPL patrons and staff’ to develop a public performanceproject that will investigate notions of’ information transfer and subsequent knowledge loss/gain. Indeveloping this project, the artist will host open workshops and public talks at the VPL’s main branch.
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UNIT/PITT Projects Metro Vancouver Cultural Grants: Regional Projects 3uIy 2013
Zoc Kre e and (at heriiie Grati s ill collaborate ss it Ii Dance Iroupe Practicc and a number ofselected participants to develop a series of i yemen! explorations and scored rituals exploring how toun write or re write hart itives iii public space 11w 1 illearuine Proces skin will be a mieratinc publicperturnitilee that p1(5(91K a series of moilt’s of Iuint itul knowine developed with ininlurs oi I )rnceI ioiqx Pt am thi ouph the kl im hugs itid v oikshops h idmi up t1 l storm hr 1) oarTroupe PIne! ice iiieets on a weekly basis and is run as a nuniiierarehical amateur dance ri oupiukretcd in islIalutithuit md tuoveineiht, Flie romip pen fir anyone 1 tom as a nietimler
Our project partner Publication Studio Vancouver will provide organizational and technical supportbar the design, production and distribut ioi i of books drawing on the pro ss. research and outcomes ofmite individual projects that pat tlcipatinn artists will realize in collaboration with pirttier community0 5hiii/ thus,
UNO7PVVI Projects will collaborate with the SEll Vancity Office of Community Engagement rithe out’auuization of ( oinponent of the project: paccs 0/ ( ‘ontu’s(almn;Cuutcsied Spaces: Art. Activismand I/ic (it V. a series of talks prcseuterl between October I and April o 11 at the World Art centreat SFU Woodward’s Vancouver. As co-organizer of the talk series, the SFU Vancity 0111cc ofCommunity Eu igagenient will provide financial and unkind support speakers’ honoraria, room rentaland stat hitt, audio\ usual doeuiuimeumt,ut iou and pi oniol lou ( iveu L lie SFU Vaneity ()fhce of (‘ouumunitvI n i elm nt s \itifl ir lit uonshups \ ith oinintinat 01 r, unuialions ha itid I luoughout tht 1 o’a ii
mainland, this partnership will increase the project s outreach,
Planning and hnanuial InforinaEion
hUroecL Budget
Please see attached project budget, including detailed revenues (anticipated aiid conhrmed) andexpenses.
UNH’/PIT’l’ Projects will allocate a portion of its existing operating budget, covering administrative costsand a share of artists and curators fes toward the protect. Other sources of revenue include: financialand in—kind ecuntribtit ions lioni the SFU Vancitv ()ffiee of Community Engagement presenting piurtuerof the talk series (confirmed), a private donation earmarked for this project, and a pending request to theBC Arts Council Arts—Based Community Development Program
$) Proiect Timetable
Please see Attached Project Timetable
9) Project Evaluation and Measures taken to ensure
The project’s success will be evaluated both quantitatively and qualitatively. Measurable goals include:audience size for public performances (our minimum target is 25 viewers), number of participantsattending artist—led workshops (our minimum target is 7 participants per workshop), gallery exhibition
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UNIT/PITT Projects Metro Vancouver Cultural Grants: Regional Projects July 2O13
\ isitoi (HilL iiiiilIiiiiiiiL I ii tt is (Hi o\ I th I till) Hid ith nd nit to I ilK st i ics (out nnnnnum Idi t is50 aIt iidt c s pt i talk) Qualit ths v tIn it tot is ol Wi. p1 ojt t will includi onductmg ink rvic w s withp irt it ip itits diii in md tilt I (lit oIl tlioi iti pi oi or tnt in di lit ii in st sions s iW Inicnihcrs 01 partner coniniiiiiitv olganh/ations alter presetilnie public perlorni;inces and exhibition, ;mdevil nation ol audience receptivity.
Project Management:
This project is realized as part of NIT Pl’l9 Projects’ Curatorial Residency Program and will bepreseutcd as part of We gallervs 2013 I I programming ear. Project curator Marianc Boureheix-Liporiewill oversee the artistic reah/ation of the project. I nrtlteixiaporte will act as intermediary agenthi. tx& & ‘.11 t JNI 1 P11 1 Pt oj t ts part iup it tug trUsts arid p in ncr c oimnuntt org mi/at ions In his capac1tof J)irector of 1 INIT’PIYi’ Projects, Keith Higgins will oversee the fInancial, logistical, public relations.and reporting aspects ot the project.
Between September 2013 and April 2(14, regular meetings between key members of partner communityorganizations, collaborating a rUsts and the proJect’s curator will be held. Maintaining directcoin muntcatloi i between part i ters, these meetings will ensure that involved partner communil vorganizations needs are met with respect to the project’s outlined goals, if concerns about projectorientation or terms of the collaboration arise, they will be addressed in these meetings. In addition, inthe case of Dadier \lorelli’s collaboration with high—risk youth enrolled iii the Ontreach AlternativeLducat ion I rograin. additional meetings involving the artist, the curator, and the Outreach Program’steachers and social workers will be organized to establish protocols and ensure that students will benefitfrom the collaborative process. The Program’s teachers anti social workers will he present antiian icapat e in the workshops that the artist ill lead with the students, and will be able to address issues
should they arise. I le—brieling sessions will be held ailer each workshop, and the artist will adjust hisproposed plan of activities in light of students’ interests and receptivity.
Required Documentation
Please see attached documents:
- Current Board of l)irectors list- Most recent Financial Statements
Regional Project Budget- Table of contents from a business plan
Support Documentation
Please see attached documents:
Appendix 1: Project Collaborators’ Biographies— Appendix 2: Mandates of Partner Organizations- Appendix 3: Letters of Support from Partner Organizations
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UNIT/PITT Projects — Metro Vancouver Guttural Grants: Regionat Projects Appendix 1
Keith Higgins (tiNITpt’[’ F Pro eels Director)A Vancouver hised visual artist and writer. tJnn :I’it t Ps iit1v Director Keith Higgins has worked in art:idiuimsti ition mu k tin busim ss onsnltml rultur ii policy id 01 ic non profit man igc mcnt mdgovernance, publishing, and internet development. lie was a co-founder of Art speak Gallery and of thePaeil)c Association of’ Artist Run Centres.
Mariane Bourcheix—Laporte (Project Curator)Mariane Bourcheix—Laporte is an interdisciplinary artist and independent curator currently living in\aneouver. She holds a BLA in Visual Arts from Concordia University (Montreal) and an MFA inI nterdisciplinarv St udies t rom Simon Fraser Universil v (Vancot ncr). Recently, she exhibited her work itthe FOFA Gallery (Montreal), Le Labo (Toronto) and was part of Low Live 4 International NetworkedPerGrmance Art Festival. Her writinc and research have been published l) Inter: art actuel, Fillip. Decoyand esse. Past curatorial projects include: Lava! Chronicles presented itt Verticale—ct’ntre d’artistes, Laval.Qc: the ( )uI of hounds Festival at the Audain Gallery. Vancouver; Furtive Conundrum: Practicinc theIurttve presented at 1612 Gallery, Vancouver; and the publication Leitres/Letters (MAAM, 2010). She isthe co—Grinder of’ the Montreal-based curatorial and publishing collective Palindromes, has taught asSessional instructor at SFU’s School Gr the Contemporary Arts and currently works as Services andOutreach development Coordinator bar the Pacific Association of Artist Run Centres (PAARC).
(labriel Salonian (Prok’ssional Artist)Saloman works as an artist, writer, curator and composer. lie currently collaborates with Aja Rose Bondunder the name Diadem and as The Strathcona Art Gallery / STAG Library. He is co-Ibunder of theLower Mainland Painting Co., an investigation into art, labour and art labourers. Since 2003 he hascollaborated with Red76 on such recent projects as “Fellow Travellers” for Manil’esta 8 in Murcia, Spain:“Surplus Senunar” at the Walker Art (‘enter: and “Counter—culture as Pedagogy” for CCA’s Wattislnstitute bar Contemporary Art. Past collaborations have also included “Power 201 2” at Unit/Pitt inconnection with Institutions by Artists and the Bronx Museum; ‘Second Home’ as part of’ the San Jose2008 Zero I Biennial: “The Battery Republic”. pirt of Creative Time’s “Democracy in America”; andCCAI) arid the Bureau bar Open Culture’s “Descent to Revolution”, ‘l’ogether with Sam Gould of Red76he is also (he creator of the No War U,S,O. initiative, and leads the semi-annual Liberation Seder.
Didier Morelli (Professional Artist)Didier Morelli works in perlormance, installation arid video and is currently based in Vancouver. He hasobtained a BA in Liberal Arts at Concordia University (2011) he goes on to completing an MA inPerbarmance Studies at the Centre of Drama, Theatre and Performance Studies, University of’ Toronto(2(112) where he bacuses on solo performances. He is now completing an MFA in interdisciplinary Artsat the School of Contemporary Arts, Simon Fraser University, in Vancouver (2014), His work has beenshown in a solo exhibition at Katherine Mulherin Gallery (Toronto), Nuit Blanche at WhippersnapperGallery (Toronto), Art Souterrain (Montreal), in a group show at the Audain Gallery in Vancouver, aswell as part of a group performance at the Tucson Museum of Art. Documentation of his work has beenpublished in the online publication KAJALOG and in Emergency Index 2013. Morelli has presentedpapers at confrrences, most notably at Running With Concepts, Blackwood Gallery at the University ofToronto, at the Theatre at L[BC Graduate Symposium in Vancouver. and at PSi #19: Stanford at StanfordUniversity in Paolo Alto, Calibarnia, Morelli is partaking in three artist residencies during the summer of
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UNIT/PITT Projects — Metro Vancouver Cultural Grants: Regiona Projects Appendix I
at tile ilivat\ 01 \\ or Ontario. in 1 ncsnn, Aroiia tas part of a desert traveIhnpt I toi In Ilk I.. I oft t I md it Wi N,ts Amtist Iidt iii in mg uti ond itt I intl
l,auren Nlarsden (l’r Wssionil Artists)Lauren \larsdeii woi Its priniaiilv s ith perlorilianci’. ideo and text to tidress livers of lace and time,She received a I3FA f rum the University of V id ma n 20O and an M IA m Social Pratt ice from the( alifoini i ( oiL g of thc Arts m 201(1 Rcc ntl slit lnbitt d it I rutta iallt iy (Ronu) Shuddrr (i tilt i(V iiitou\ i Si hi S hoof ((3 iF I md) mod Ii m pi i ho no d it SI di \i I p l( t (1 lomisfon) \dobt Books(SF), the Sni Francisco f\lIlklnc anti I esO&n MalL ‘freasure island Uahfornla), SOMArts (SI’), andQueen’s Nails Projects (SF). Slit’ is currently based iii Vancouver, BC.
Zoë krey’e Wi ulessional Artist)Lot’ krevc has produced collaboralis e conmuutv arts protects. independent lv, coileellVelV, and withininstitutional structures in Montreal,\1ancoLiver. Berlin, New York and Istanbul, In 2009, she completed aMFA at the Bauhaus Umversity Weiinar, specializing in community engagement and participatorysi rategics and cofounded the artist collective Process inst itnte, She is cnrrcntiv based in Vancouver andteaches studio and social practice at I-.milv (‘arr niversiiv of’ Art & I )esign She collaborates withCatherine Grau as the Unlearning Weekenders collective,
Catherine Grau (Professional Artist)Catherine ( ;rati works in the fIeld of’ collaborative public a ri practice. She has organized and partit’ipatedin a wide range of projects, includinc Oberlehenskunst at I laus der Kulturen der Welt, Soziokull urfonidfunded KoCA inn and the Flint Public Art Project. Since 2010 slit’ is cofounder of’ the artist collectiveProcess Institute. She holds an M FA in Public Art and New Artistic Strategies from the BauhausUniversit v, \Vennar. (;ermanv and is currently based in Ne\v York and Berlin. She collaborates with ZoëKreye as the Unlearning Weekenders collective.
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UNIT/PITT Projects - Metro Vancouver Cultural Grants: Regional Projeots AppendIx 2
Appendix ZMandatcs of Partner Organizations
Burnaby Residents Opposing Kinder Morgan Expansion (Burnaby)The Burnaby Residents t)pposnig Kinder Morgan Expansion (BROKE) is a non-profut. volunteer.community driven organization counting more than 200 members. BROKE’s goal is to prevent theexpansion of the Kinder Morgan pipelina, tank farms and tanker traffic through science education,advocacy, and partnerships.
The Outreach Alternative Program, Britannia Secondary School(Vancouver)Outreach is an alternative program for youths of Aboriginal heritage, who wish to improve theiracademic and snciah/eniotioiuil skills, prepare br posi secondary programs and complete courses leadingto a 1W. Secondary School Graduation Certificate (t)ogwood Certificate). Outreach provides grades 10to 12 core academics and selected electives to students who have not been able to find success in otherschools.
The Vancouver Public Library (Vancouver)Funded by the City of Vancouver, Vancouver Public Library is the third largest public library system inCanada with over 373.000 cardholders and more than 9 million items borrowed annually. Today, withexceptional collections. services and technologies offered ..t 22 branches and an extensive virtual library.VPL is accessil’le to all citizens of Vancouver.
Dance Troupe Practice (Vancouver)l)anee Troupe Practice (DTP) is a non—Inerarclucal amateur dance group interested in collaboration andmovement. The group is open for anyone to join as a member. This movement-based perlbrmancecollective was founded in 2007 in Vancouver.
The SFU Vancity Office of Community Engagement(Vancouver)SRi’s Vancity 0111cc of Community Engagement is involved with producing public talks, communitypartnerships. accessible education opportunities and SF13 student placements with communityorganizations.
Publication Studio Vancouver (Vancouver)Publication Studio Vancouver is part of an international network of like-minded studios dedicated to thesocial life of the book. PSV publishes and bind books using a combination of on-demand and artisanaltechniques. PSV publishes artists’ books. historical documents, and neglected but worthy works from thepublic domain, often collaborating with local art galleries or with our sibling studios in Canada, theUnited States, and Europe.
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UNIT/PITT Projects — Metro Vancouver Cultural Grants: Regional Projects AppendIx 3
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Attached documents:
• letter at support (rain BROKE
• Id icr of support (rain the Outreach Program• Letter of support from the VPL
• Letter of support from Dance Troupe Practice• Letter of support (rain the SF13 Vaiidty 0111cc of (ormnunity Engagement
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F JNI i/Pill Pr jeci Metro Vjiicouver Culturul (ririt : V eg ionjl Projects July 2013
P NUlype Description StatusLamed Revenues
On C. P ntj 0bhr ti F odir 0
Tot I am d Rev nues 500Private Sechir RevenuesF mdi ui mg Indiedinl IniK med 250
n or PU Von (liii FinC riUnrty fl r t ft F in Cf flu n d 1 0
p in or U Von ity OUrC ni norm ity P ng rijemnt Von ii r or ii iFit ro (In nd) Confirmed 6000
tEn (ifhrrd’ore P penso (coreUrdT,Pl1 F budgi I) C onVni U 1000To i Priv cc r Rev 14500
n Rev0 ArO C OUt oil Urvi Ii mpnm nt Pending 100001i tOt Vr re ouve r Cii It u rol C run Ut çjior ral P ri iji c L Pending 5000Total Grant Revenues 15000TO AL REVENU S 30000
EXPENSESType Description Amount (S)
tO 0i ct Aft tf 8000
Curotur fees 2000Speaker lees 1250
mUaterrals Perlormuni n related m terril 1000xhibttion go g hardware 1000
Photogr phy vid ography, audioI rhnical on edrOng & po tprndu Onn 4000
pace Rental World art centre at SPU Woodwards 5500Cunoessriio expr n e 250Publication D sign nd Printing 3000Total Production exp 26000dministrative expensesSalaries Administrator 2000Promotional materials 1500T I communication phone and internet 500Total Administrative exp 4000TOTAL EXPENSES - 30000
BUDGET SUMMARYTOTAL REVENUES 30000TOTAL EXPENSES 30000Total Revenues - Total expenses 0
UNIT/PITT Projects Metro Vancouver Cultural Grants: Regional Projects
LiNt fli t)Ni1FI I I ii iLi hoaid i iieCtOiS
ornelia Wynaardcn ((hair)Brian Mehay (treasurer)Jesse (;rav (Seci ci ary)(Tha ri je Sat let leeFjtui,i I’(}\Vic
artistartIst, administratorartist, educatorartist cdii orartist. educator
since April 2(310since November 2009since April 2011since i\pril 2011sInce April 20 I 2
Kcit Ii Higgins Executive Director (full time)Brvnn MeNith ()iiicc and hicility mauapcr (part time)Mmdv Ahramowitz Bookkeeper (contractor, part time)
Five parttimc volunteer positions arc tilled on a seasonal basis by Emily Carr Umversilystudents, for (‘oop Education credit, and will resume with new interns in Pall 2013:
Communications and Audience Development Assistant• UNIT/PITT’ Radio Assistant
• Video ( (intent Assistant
• PublisIiint Project intern• Archives z\ssistant
UNIT/PITT Projects — Metro Vancouver Cultural Grants: Regional Projeots
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Presentation Schedule
Public Actions March - May 2014 Site-Specific locations (TB))).(Dates TBD) Vancouver and Burnaby
Exhibition & March 21 - May 3, 2014 UNff/PY ProjectsPublicatIons 236 E. Pender, Vancouver
(confinned)Talk Series October 22, 20 1:3 (confirmed) World Art Centre at SPU
November 12, 2013 (confirmed) Woodwards, GoldcorpFebruary 12. 2014 (confirmed) Cenire For (he Arts.March 12. 2014 (confirmed) Vancouver
April 16. 2014 (ThC) (confirmed)
September 2013 — November 2013Project development for collaborative works. Monthly status meetings with artists andcommunity representatives.
September 2013Principal publicity deadlines for beginning ofTalk Series
November 2013First availability of podcasts using content from Talk Series
December 2013 - February 2014Project development for collaborative works continues. Status meetings continue. Publicationdevelopment (content and design)
February 2014 - March 2014Book production (printing and binding) for March/April launches
March 2014Principal publicity deadlines for exhibition, book launches, public actions
May 3, 2014Closing reception for exhibition
May 2014 — June 2014Availability of project documentation online (photo-documentation, video, podcasts). Follow-upmeetings with artists and project participants
UNIT/PITT Society for Art and Critical Awareness
Strategic Plan, Summer 2C13
uun/pm Strat.glc Plan 2013-2018
I What This Plan Is For ILI Goals of the planning process1.2 How we will evaluate our progressLi A note about plain language
2 Where We Stand 32.1 1 hstory and development
2.1.1 1975-20092.1.2 2009-2011
2. 1.2.1 2010 Strategic Plan2.1.3 2011-2013
2.2 Revisiting the 2010 plan 52.2.1 Mission2.2.2 Goals We Achieved2.2.3 (;ils We l)id Not Achieve
13 Self-evaluation 72.3.1 Internal strengths
13.1.1 Revenue generation from 236 East Pender2.3.1.2 Stability of venue2.3.1.3 Flexibility of program
2.3.1.3.1 Curatorial residents2.3.1.4 Innovation and efficient use of scarce resources2.3.1.5 How do we play to our strengths?
2.3.2 Internal weaknesses 82.3.2.1 Paying staff what they’re worth
2.3.2.1.1 Living wage standards2.3.2.2 Succession planning2.3.2.3 Donor development
2.3.2.3.1 Better utilization of CRM2.3.2.3.2 Time allocated to personal contact
2.3.2.4 Publicity and communication2.3,3 External threats 102.3.4 External opportunities 112.3.5 What is working 122.3.6 What isn’t working 132.3.7 Where we fit in to our community 14
2.3.7.1 The neighbourhood2.3.7.2 The city2.3.7.3 The region2.3.7.4 Local visual art2.3.7.5 Canadian visual art2.3.7.6 International visual art2.3.7.7 Comparison to local visual art organizations 16
2.3.7.7.1 Continuum: underground to official2.3.7.7.2 Continuum: budget level
2.4 Why the mission, vision, and mandate need refining 173 Where we’re going 18
3.1 Clarifying the mission, vision, and mandate
UNIT/PITT Strategic Plan, 2013-2018
3.1.1 Mission3.1.2 Vision3.1.3 Mandate
3.2 Revenue from studIos 193.2.1 15-year income and expense projection for 236 East Pender3.2.2 Future projects
3.3 Mentoring and fostering 213.3.1 Training artists as organizers
3.3.1.1 lnternships3.3.13 Developing a curriculum
3.3.2 Fostering collectives and other organizatIons 223.32.1 Pat activity3.32.2 Laboratory for artist-run practice
3.4 Public programs 233.4.1 Exhibitions3.4.2 Publishing3.4.3 Radio3.4.4 Screenlngi3.4.5 Wrong Wave Festival
4 Income and expense projections for the next five years 255 Measuring success 286 Prospects 297 Summary of recommendations 30
uun/pzTr strategic Plan 2013-2018
UNIT/PFfl’ SOCIETY FOR ART AND CRITICAL AWARENESS
FINANCIAL. STATEMENTh
AS AT MARCH 31, 2012
(unaudiled)
nvd 64brarnowkx, . Comm.,
Notice to Reader
1i[7 j’’S \sl (411 \\i1ui
Li. 1)H(1h ( •L IIIIILImI. V(i
1/1: O4 7120717 l, (004j 4: 1)/27
()n the basis ol infornial ion provided by management. 1 have compiled the Statement of FinancialPosition i Unit Pitt Society for Art and Critical Awareness as at March 3 I 201 2 and theStatement 01 Operatioii and Changes in Net Assets for year then ended from informationprovided by management.
I have not perlorined an audit or a review engagement in respect ol these financial statements and.accordingly, express no assurance thereon.
Readers are cautioned that these statements may not be appropriate for their purposes.
Vancouver, B.C.August 20, 2012 David Abrarnowitz, C.A.
UNIt/PITT 5 R1FT\ FOR Ri ANI ‘RIFI AL YIINKSS
sTA’iI:MKNroF FINAN(’L\L N)SITION5cc ccokanvHig \Ies to Fminial Slairiuciiis)
AS AT MAR(iI 31, 2012I naudtcd — see np.mying NotkcC to Reader
ASSETS 2012 2011
ASSETSCash 32,559 $ 47347Grants receivable 2000081ST receivable 1 150
7fl67054,415 48,657
t>ROP1R’fY, PLAN’i ANt) EQUIPMENT
L1321,277 1.732
55.692 50 389=====*==
LIABILITIES
CURRENT LIABILITIES
Accounts payable and accruals 3895Deferred rcenue (Note 4) 47 250 32 90
51,145 32,950NET ASSETS
Urestrietcd 4,547 1 7,43)4.537 17,439
55.692 50.389=-=--=-==
APPROVED ON BEHALF’ OF TilE BOARD:
*
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——
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———aa7
L’FI’/PITT SO(’Ii Ti FOR ARI ANI) UkITICAI. ‘VAkENESS
STVI’EMENT OF OPERATIONS
(See accompanying Ntcs to Financlal Statements)FOR TIlE YEAR ENDED MARCH 31, 2012Un tudliLd scc aL.ompany tug \oticc to Rc tdLr
2012 2011kEVLNUEB( Arts Council 15,250 12,000Canada Council 20,000 20,000City of Vancouver 25,000 1 7,500Coproductlons
1)onations 3,715 230Fmplovment suhsidies 4,288 3.360hvents and other reenue 3.323 2.237R )nfldai i ns I So 14. 1001nkind contributions Now 5 35,350 47.450Inwrest revenue 24Other grants 1 2,000Publication sales 2,804 417
________
109,904 1 30,078EXPFNSESAccountim and leaI 765 932Advertising and printing 339 185A mon i/at ion 454 625Artist and curator fees 24,578 14,210Bank charges and interest 185 114Consultants
- 13,870Contributed services (Note 5) 35.000 47,250OfFice supplies 1.940 1 . 176Projects and exhibitions 6.706 2.5 IIPublications 4.910 2,917Rent and property taxes 12,349 3.888Repairs and maintenance 3,188 -
Sub-contracts- 3,080
Telephone and utilities 801 479Travel
- 349Wages and benefits 3 1.581 20.014
122.796 111,600
(SHORTFALL)/EXCESS OF REVENUE OVER EXPENSES (12,892) 18.478
UNiT/PITT SOCIETY FOR ART AND CRITiCAL. AWARENESS
Notes to Financial Statements
March 31,2012
Unaudited - see accompanying Notice to Reader
1. PURPOSE OF THE ORGANiZATiON
Unit/Pin Society for Art and Critical Awareness is a non-profit organizationincorporated under the Society Act of the Province of British Columbia onNovember 23,1990. The purpose of the Society is to pmnw challengingcontemporary art that addresses socio-political issues.
2. SiGNIFiCANT ACCOUNTING POLICIES
a. Contrihuted services in kind are recorded at fair market value.b. Property. plant and equipment are recorded at cost. Amortization is provided
annually at rates calculated to write off the assets as follows:
Equipment 20% declining balance
Computer 30% declining balance
3. PROPERTY, PLANT AND EQUIPMENT
Property, plant and equipment comprise the following:
2012 2011
AccumulatedCost Amortization Net Net
Equipment $12,788 $12,265 $ 523 $ 654Computer 4.926 4.112 754 1.078
$117L4 £1Ai7 $1272 $LZ2
4. i)IIIRRII) RFi;NU F
I)clcrred rcvcntn.’ ciprlses (li h lln in.:
5. CONTRIBUTEI) SERVICES
The Iol1owin contributed revenues and expenses are includedslatements:
2012Revenues:In kind c.unhi lhution\ S5,000
Expenses:Contributed services $35OO0
in the financial
2011
$47,250
UNIT/PITT SOCIETY FOR ART ANt) CRiTIUL AWARENESS
Notes to Financial Stalenwnts
IarcIi 31, 2012
Unaudated — sti aconlpanyrng Notice 1(3 Reathr
2012 2011
13C Arts Council $10,250 $15,250BC Gaming Commission 30,000(iI of Vancouver 7,00(3 14,5001)onations 3,2(30lotil 477S() S329S0
$4L250
UNrr/PIfl SOCiETY FOR ART AND CRITICAL AWARENESS
FINANCIAL STATEMENTS
AS AT MARCH 31, 2012
(unaudiled)
avid ,4bramowkz, C,omm, C 4— I #317 12 t t ot \tii•t•ii ii
S jn& ttr 13iti 6 ( olumh 5611 1
fti (0 0 747 I 04 1’ 0
Notice to Reader
On the basis oF inhwmation provided by management. I have compiled the Statement of FinancialPosition of Unit Pitt Society for Art and Critical Awareness as at March 31, 2012 and theStatement of Operations and Changes in Net Assets fi.r year then ended from informationprt )V ided by management *
I have not perlormed an audit or a review engagement in respect of these financial statements and,acc trdinelv. c\press no assurance thereon.
Readers are cautioned that these statements may not he appropriate br their purposes,
Vancouver, B.C.August 20, 201’ David Abramowitz, C.A.
UNLrIPITTSOCWTY FOR ART AM) CRITH’L AWARENESS
STATEMENT 0)’ FINANCIAL POSITION(Sc accompanying Notcs to Hnan. oil Staicinenis)AS AT MARCH 31 2012!nauditcd see accompany9ig Nonce to Reader
ASSEIS 2012 2011
CURRENT ASSETSCash 5 12559 $ 41 147Grants rcccivihlc 20,061)
-
1181 reeisahk I 150 ((4
—
54,415 48.657
PROPERTY, PLANT AND EQUIPMENTIpcnvIit1c uOmient. net (Ntes 2 and 3) 1277 1732
1,277 1,73255,692 50,389
. ....... . ... .. . . ........ .. .... . . . ... .....
LIABILITIES
(‘URRINT IIABILI11ESAcourll:- payahk and ,iccnials 3,895
-
Deterred revenue t,Note 4) 47,250 32,95051,145 32,950
NET ASSETSUnrestricted 4.547 I 7,439
4.547 7.1395S 692 50 89r-tflrt
APPROVED ON BEHALF OF THE BOARD:
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S’[Aii:NiFNT OF 0I’L1{ii0NSSec unnpanYin N )tes to Financial StaIenIcnt\10k TilE YEAR ENIWI) NIA RCII 31. 2012I. naudi ted see accompan\ln Nut ice to Reader
2012 2011REV ENUEBC Arts Council 15,250 I 2,00<)Canada Council 20)00 20)00City of Vancouver 25,000 17,500Co-productions 750I )onations 3,715 23<)I’inployment subsidies 4,288 3,360lvents and other revenue 3.323 2,237Foundations 150 11.100lnkind contributions i Note 5) 35350 47,45<)Interest revenue 24( )ther grants I .2.0<1<)l’uhiica[ion sales 2.804 4 I 7
109,904 l30)78EXPENSESAccounting and legal 765 932;\dvertising and printing 339 185Amortization 454 625Artist and curator fees 24,578 14,2 10Bank charges and interest 185 114Consultants
- 13,870Contributed services (Note 5) 35,000 47,250Office supplies 1,940 1 ,176Projects and exhibitions 6,706 2,5 IPublications 4,910 2,917Rent and property (axes 12,349 3,888Repairs and maintenance 3,188 —
Sub-contracts- 3,08()
Telephone and utilities 801 479Travel
- 349Wages and benefits
(SHORTFALL)/EXCESS OF REVENUE OVER EXPENSES (12,892) 18,478
31,581
122,79620,014
111,600
UNIT/PElT SOCII [ 10k Ak[ \NI) CR1Tl(l. AWARFNESS
Notes to Finarwhd Statements
Nlarch 31, 2012
Unaudited see accornpanyrng Notice to Reader
I. I’URPOS[ OF THE ORCANIZATION
un/Pitt S )ciet \ tot Art and Ciiti ii A areness is a nonprofii olganizat ionincoipoiated under the Society Act of the I’wvince of lint ish Columbia onNovember 2. 1990 Ihe Purpose of the Society is to promote challengingcontemporary art that addresses sociopoIitiea1 issues.
2. SIGNIFICANT ACCOUNTING POLiCIES
a. Contributed services in kind are recorded at liir market value.h. Property plant and equipment are recorded at cost. Amontitat ion is provided
annually at rates calculated to write oft the assets as follows:
Equipment 2CY declining balance
Computer 30’ declining balance
3, 1ROPERTY. PLANT AN!) EQUIPMENT
Property. plant and equipment comprise the following:
2012 2011
AccumulatedCost Amortization Net Net
Equipment $12.7X5 S12,265 $ 523 $ 654Computer 4,326 1 14 LQ7
$l7,714 $16,437 $1,271 $1,732
4. I)I;FF:RRI:1) REVLNUE
I )elcned te’ciiLie cinijiiscs the 1ollvi,
5. CONTRIBUTEI) SERVICES
The Iillowin contributed revenues and expenses are includedstatements:
2012Revenues:In—kind contributions 35000
Expenses:Contributed services $35J)00
in the financial
2011
$47,250
1N1T/Pli1 SOCiETY FOR ART N1) CRITICAL AWARENESS
Notes to inaticial Stdements
Mardi 31, 2012
Unaudited see accompanying Notice to Reader
2012 2011
BC Arts Council $10,250 $15,250BC Gaming Commission 30,000Cit v of Vancouver 7,000 14,500I )onat ions
— 320Olotil s3725() S2)SC)
$47250
Metro Vancouver Cultural Grants2013 Application for Regional Projects
Applicant Information
7€+5cName of the rganizatlon (legally registered name)
Address
Mailing Address if different
hTelephone Email
Contact person, and title, regarding information contained in the application
;-
Number of staff in your organization Number of volunteers in your organization
1qL3z___ ZooAnnual budet Year Founded
3— 32eBC Society Act Number
Conditions and Signature
• Grant recipients must acknowledge the support of Metro Vancouver on all promotional materials related tothe funded project.
• Organizations making significant changes to the information provided in this application must discuss suchchanges with Metro Vancouver staff prior to the implementation.
• Grant recipients will be required to complete a folIowup report for Metro Vancouver. Receipt of this reportwill be a precondition for consideration of the organization’s future grant applications.
• Information provided in the Regional Project Grant application may be subject to disclosure under the BCFreedom of Information and Protection of Privacy Act.
Submitted by:li,JIrh I
r7S Tic.
On behalf of: Uiv keifr-1)00)0 0/ (lr)jlIfll?Ot (i_In
signature
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in ourapplication is complete and true in every respect.
Deadline for submission
Mail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pmTo: Metro Vancouver, Cultural Grants Program External Relations, 3 floor 4330 Kingsway Burnaby, B.C. V5H 4G8
If you have any questions about the application or the eligibility of your project call Judy Robertson at 604-432-6205 oremail [email protected]
Signature of of the Board of Dire ctors:
ME..tiroVancouverCufturaIGrants Regional ProjectsUpintheafr Theatre 2013
Regional Project Information
1) Describe your organization, its history, mandate and programs.
MissionUpintheair Theatre is a populist theatre company that creates, produces and presents theatricalevents exploring inspiration, collaboration and story. Narrative is very important to us.
Upintheair Theatre was formed by Daniel Martin and David Mott in 1999. After producing a seriesof sellmut Fringe hits, the company launched the Walking Fish Festival in 2003 as a way ofdeveloping links and relationships among emerging theatre artists in Vancouver. Walking Fishbecame a key event in the Vancouver calendar for emerging theatre artists. In nine years, over 400emerging artists participated in the production of 80 original, Canadian works. In 2010, we launcheda larger two-week theatre festival with a national scope, Neanderthal Arts. Neanderthalincorporated the Walking Fish Festival and full length shows from local and national emergingprofessional companies and artists. Its success spurred a period of intense growth, bringingonboard new and increased public and private funding and sponsorships, In 2013 Upintheairrebranded Neanderthal as the rEvolver Theatre Festival and moved from July to May, changeswhich increased the public image, attendance, and artistic reputation of the festival.
Upintheairs second major activity stream is the creation and production of new work. We havecreated shows for theatres, parking lots, abandoned warehouses, and campervans. Notable hitshave included Wedgie (the only original, locally created script to win Presentation House Theatre’sOn The House co-production award), Men of the World, l2Obpm, and Wagabondi Ho! In 2013 wewill be professionally presented for the first time, as our production of Inside The Seed by JasonRothery opens The Cultch’s 201344 season. We also begin work on a site-specific adaptation ofChina Mievilles acclaimed crime novel The City and the City for the stage. Organizationally weare working on implementation of our Strategic Plan and Development and Sponsorship Plan,
and a review of our Audience Engagement activities to ensure the continued growth andsustainability of our company.
2) Briefly describe the proposed project, its objectives and the benefits it will have to Metro Vancouver’sregion, your municipality, artists, and your organization. Why are you undertaking this project? What arethe anticipated results? What makes the project unique and innovative?
About the Festival:
The latest evolution in Upintheair Theatre’s ten-year history of Festival production, rEvolver builds onthe success of the Walking Fish and Neanderthal Arts Festivals, and takes place each May at The Cultchin East Vancouver. The festival presents adventurous, high energy, and sophisticated new work byemerging companies and artists, and brings audiences the full range of contemporary theatricalpractice, from script-based theatre to devised and site-specific works, staged readings of work-inprogress, and in-depth discussions with artists. rEvolver is the only venue in Vancouver dedicated tooffering professional presenting opportunities to emerging artists and companies. As such it is a keyincubator in the region for the next generation of professional theatre creators and producers — a placewhere they can gain invaluable experience producing new work, being presented as part of a festival or
Metro Vancouver Cultural Grants: Regional ProjectsUpintheair Theatre 2013
season (which is so different from selfproducing), developing invaluable networks with other artists,and connecting to audiences,
About this initiative:Following on from the 2012/13 r&branding of the Festival, our intention is to reach out beyond the cityof Vancouver to engage both artists and audiences from the Greater Vancouver Regional District. Thebulk of our local submissions (85%> and our audience (66%> currently come from the City of Vancouver.This project will have two primary stages:
1. To publicize our call for artists to emerging companies throughout the Lower Mainland. This willinclude contacting regional arts centres (The Gateway Theatre, Presentation House, Evergreen, TheShadbolt) to distribute our call for artists, as well as placing calls in arts newsletters and communitypapers (North Shore News, Burnaby Now, Now Regional, Richmond New, Delta Optimist & The Now).This will take place through September and October, 2013.
2. Marketing the festival to audiences outside the City of Vancouver through increased press outreach,advertising purchases in the abovelisted regional papers, and poster and flyer distribution to the abovelisted regional arts and cultural centres.
We feel that this is essential if we are to fulfill our goal of making rEvolver the regions key presentingvenue for emerging theatre artists. Connecting to both artists and audiences outside the City ofVancouver is a key component of continued growth for our organization, for providing opportunity toartists from throughout the region, and to reaching audiences who want to see new work by the regionsmost promising emerging artists.
3) Is this a new project or an expansion of an existing initiative?
This is an expansion of an existing initiative.
4) List the main participants involved in carrying out the proposed project (paid staff contractemployees, volunteers).
This project will be led by company Artistic Producers Daniel Martin and David Mott. They will engage acontract publicist to assist in distribution.
5) Describe any partnerships or collaboration involved in creating or producing the proposed project.Please attach letters of support.
There are no partnerships involved, however we will be reaching out to regional theatres and artscentres (The Gateway Theatre, Presentation House, Evergreen, The Shadbolt) as part of the outreachinitiative to reach artists outside Vancouver.
Planning and Financial Information
6. How will the grant money be spent? Please submit a detailed budget as a separate attachment.
Please see attached budget.
7) What other sources of project funding are you currently pursuing? Identify any groups, agencies or
Mtt Vanouve Crjjturl Giants: K pional Projects
Upintheair heatre 2013
businesses that you hatn- ,dentifu’d or approached as donors or sponsors.
We do not currently have other sources of funding.
8) Please attach a planning timetable, promotional material, sponsor package, etc. (if app!icable)
Please see attached
9) How will you evaluate this project? How will you determine whether it has been successful? What
measurable outcomes will you use in your evaluation?
1. Monitor Artist Submissions from outside Vancouver: Each year we compile the contact
information for all of our artist submissions, We hope to increase the number of submissionsfrom regions in Metro Vancouver other than the City of Vancouver by 5075% through thisinitiative.
2. Track Audience through our annua’ survey: Our annual audience survey tracks attendance from
distinct regions by mapping postal codes (alongside other demographic and marketing and
outreach information). In 2013, attendance was 66% Vancouver based, 5% North Vancouver, 8%Richmond / Delta / Surrey, 16% Burnaby, New West and Tn-Cities, and 5% outside the LowerMainland, For 2014, we will be looking to increase audience attendance from outside the City of
Vancouver by 30%.
Mrtr’ Vnouvor CuIturiI (-rin1: Regiona’ Projects
Upntheair Theatre 2013
Time Line
Aug-Sept • Development of project plan and critical path
• Submissions for funding• Analysis of 2013 audience survey• Development of sponsorship package• Final reporting on 2013 festival, along with continued PostMortem and
institution of new best practices
Oct2013 • CaflforArfists• n..r..ipna•.news..ae.rs
•Reorganizing databases and audience tracking
• Begin solicitation of sponsors
Nov - Dec 2013 • Selection of festival submissions and informing successful applicants
• Collection of Artist information for production (technical and marketing)
• Schedule Festival Program
• Launch Pass Sales campaign• Create page formats for new web content
• Finalize Case for Support and Sponsorship Plan for 2014
• Hire_Development_Co-ordinatorJan 2014 • Revised budget
. Work on sponsorship opportunities• Contracting of Festival Staff• Producers attend Push Assembly• Development and launch of new web content for 2014 Festival
• Festival launch party
Feb 2014 • Meet with venue• Set up ticket sales. Create technical schedule, festival LX plot• Publicity for Spring arts previews
March 2014 • Start of viral online publicity• Developmental workshops at Cultch• Marketing workshop for participants• Start sales for program advertising• Finalize show sponsorships• Brochure and poster print and distribution
April 2014 • Ongoing sales for program advertising
• Continue online publicity — develop & distribute short video clips
. Distribute individual show publicity• Provide artist support as necessary• Artist venue tour and technical meeting
May 2014 • Final publicity push for festival
• 3 week ad buy in Regional Newspapers• Produce festival performances
June 2014 • Festival wrap-up, evaluation and post-mortem
• Final reporting• Producers attend_Magnetic North
UPINTHEAIR ThEATRE SOCIETY a BOARD OF DIRECTORS
President: Joanna Ziotnik
Vice-President: Jason Laidlaw
Treasurer: Brenda Matthews
Secretary: Jenn Hogg
First Director: Vanessa Martin
First Director: David Robens
First Director: Maria Denholme
-
QUANTUM ACCOUNTaNG SERVKES INC.205-673 Beatty Street. Voncouve, BC V6B 2M6
NOTICE TO RFADER
We bees. compiled the. Bala.nce Sheet of Upin.th.cair Theatre as at July 31, 2hT2 and
the Sta:temnnE of Revenue arud Expensns the t:he year then. ended from irufórmat.ion p.rovid.ed by
mane.tte.m.ent. \kie have: not au.dite..d. revIewed or oi.he.rwi.se attempted to verIfi the accuracy or
completeness of such infomiation, Readers are cannoned that these statements may mu b
apruropriate for their purposes.
Quantum Accountine Services Inc.
Vancouver, British ColumbiaOctober26. 2012
tel: 604662.8985 fax: 604.662.8986. e-mail: [email protected]. web site: wwwqas.bc.ca
UPINTHEAIR ThEATRE
FINANCIAL STATEMENTS
JULY 31,2012
(Unaudited)
PREPARED DV
QUANTUM ACCOUNTING SERVICES INC
VANCOUVER. BC
UPIN1:’H.E.A.IR I1HI..EATR.E
BUAN(E SHillAS AT JULY 31, 2012
(U na udited)
2012 2011
A5SETS
Currrnt Msetc
Bank Operatinc \ntnt qg 4(74
Bank, Gamin Account 7C79
Petty Cash 66 74Damage Deposits 250 250Accounts Receivable S47 S433
TOTAl, ASSETS 37,835 1(1,432
LIABIL1TI ES
Current Liabilities
Accounts Payable 4,933 2,832Deferred Revenue (Note 3) 30,150 5,600Loans Payable 500 500
TOTAL LIABILITIES 35,583 8,932
EQUITY
Retamed Earnings 1,500 3,931Current Earnings 752 (1 243 I)
TOTAL EQUITY 2,252 1,500
TOTAL LIABILITIES AND EQUITY 37,835 10,432
Approved by the Board:
Position:
______________________
Signature:
_______________________
See Notes to Financial Statements Quantum Accounting Services Inc.
UPINTHEAIR THEATRESTATEMENT OF REVENUE AND EXPENSES
FOR THE YEAR ENDED JULY 31, 2012(Unnudited)
2011/2012 2010)2011
REVENUE
Earned RevenueBox 010cc SOle Tickets 13,813 24287
l3rta ()hicc Subscription 2,459 5,835
Co4’roduction I nconxc 2,37
NrclndiseiCcucessiun 515 1,209
Submission Fees 755 625
Workshops - 200
Interest Revenue 2
______________
ToLd Earned Revenue 17,544 34,528
Private Sector RseenueIn-Kind Donations 18,520 27,440
Corporate Sponsorship 9918 9J24
Dci ions 375 1,350
Fundraisine Special Leers
_______________
— 792
Total Private Sector Rcvcnne 28,813 38,706
Public Sector RevenueCanada Council 0,000CMHC (ICS Proicct 1,000
13C Arts Council 10,100 9,900Cite f Vancouver 15000 10,000
Civic Transit Advertisino 3 1 400 23.150
Other Grants 4,01)0
DCII Canada Arts Presentation Fund 20,000 20,000
Direct Access Gamma Revenue 12,000
____________
Total Public Sector Revenue SK5tltJ 80,050
TOTAL REVENUE 134,857 153,284
EXPENSES
Production ExpensesArtist Fees 36,807 31.553Venue Expc.ns.s 0,052 3•O, 562
Pre.senting Trusv.I &. Accommodation 431110 6,7.51)Co-P•roduction .Fee •- 7,066Cost.urnesfPropsiSc)!Ligitingi.Sovmd 86 2,0)9
Production Honarariunss 75.0 1 750Other Pr sduti n F e en vs 28M 4l9,
Total Production Expenses 61,570 85,893
Marketing & PublicityAdeertising $276IMarketina, I Publicity Fees 15., 100
Othe r Marketing expenses ,2 15Total Marketing & Publicity Expenses 64,056
Administrative ExpensesGeneral Manager Fees. 65)00 4,500
Ol’fic Rent 3,0.00OfFice Supplies 13 377I gesl//ccisrttt1ingJ(nsultstiofl 220 5,200
I8hier \dn tnt 0 ito e F pens 116 989
Total Administrative: Epeuses 9,639 I ,766
TI ii t 5FNSFS 134,i05
SURPLUSI(DE.F1C1T) FOR II1RIOD 752 (12,4 3))
t.IPINTIIEAIR 1[[EATREOTFS TO TilE F[\AN(’IAL STATE1EN[S
1011 [[IF \1:AR F\DFI) •JIJL.’ 31, 2012(Lii .1 Iii ((I)
t.ptiithc,iir leJite ‘sici’. meoroiated ttntk5 the Hrtti.h Coluinnta Soeieiv’ A-and a r uracted hurit’ tindar La Inconc jx Aei. I lie Ciii iXi5t5 to CiCate.
produce and p esent titetneaI events cxplot ing i spiration. collaboration and tory.
2.
For these statci nonEs, tim accrual basis o C accounting ss as used,
Ibtrtemad res ounceSome eottiribLtflOiH, such as pro}cct grants. UUC restricted in use by the eswrnal contributor.1 hose restricted contributions are recognized as revenue in the year in which the relatedcepattScs ire ncnrred.
mirestrieted revenuesF a’. enuc’. rcnets ad es i houi reeti ii. t on. tic I tide g tiaranteas and batik interest.Monies received 1mm these sources are reported as revenue at the time the product is
delivered or the services are substantially provided.
.1 1 )e l trert Revet tie
2012 2011
Canada Council his nt: Squad
500 5.60)I.titih r Foniirtittott I •5t)0
—
iannima 23,000—
Donation 150
‘l’otal S3Ql54) S5.600
UPINTIIEAIR THEATRE
FINANCIAL STATEMENTS
JULY 31, 2012
(Unaudited)
PREPARED BY
QUANTUM AC(:OtNTJNG SERVICES INC.
VANCOUVER, BC
UPINTHEAIR iIEATR.EEi[ANCF ff’F9[
AS A.[JUL.i,212(LJnaudited)
2012 2011
A•ETS
Cnrrent Assets
Bank Operating Account 9,693 4,674
Bank Gaming Account 22,279
Petty Cash 66 74
Damage Deposits 250 250
Accounts Receivable 5,547 5,433
lOlA! ASSI ES 3783 10432
LIAIII LIT! ES
Current [,inbilities
Accounts Payable 4,933 2,832
Dcierrcd Revenue (Note 3) 30,150 5,600
Loans Payable 500 500
TOTAL, LIABILITI ES 35,583 8,932
EQUITY
Retained Earnings 1,500 13,931
Current Earnings 752 (12,431)
TOTAL EQUITY 2,252 1,500
TOTAL LIABILITIES AND EQUITY 37,835 10,432
Approed by the Board:
Posit ion:
Signature:
_______________________
See Notes to Financial Statements Quantum Accounting Services Inc.
Ii P1?i1 I FA I k TIIEvikI:
NOTES 10 HI F F1NN(1A 1. STATEN1 ENTS
FOR TIlE \EAR ENDED JUI 31, 2012
( illtIll(lttC(I)
I.
I 1 iitliciir 1 hectic ‘uicieiv was incorporated under the LtritNh (olwnbin Scieivs Ae
mu is stered e hi w under the Income Tax Act. the society cx isis a create,
p oJee id I resent heatrical events exploring inspiration. cot laboraton nd story
2. jjkantccooioIicies
(ii tins ot iceoLiflttn
Rn these stflements, the accrual htsis of.: accounting, was used.
(b) Ru\ctiuc recog.nition
( I ) Restricted. revenues.Some osnrihut..ions, such as proe.ct rr.nts., are re.stricted in use b the e.xternaI contributor.these restricted contributions are recognized as revenue in the yea in which the relatedc\penses: are incurred,
ni eatricted revenuesRe entes received u ithout restrictions include guarantees and bank interest,
Monies received from these sources are reported as revenue at the line the product isdelis ered or the services are substantially provided.
.1 Deferred Revenue
2012 2011
— his inc Squad Shut) —
500
I Iith r 1-ounation —
lining 23,1)1(1 —
1 )onntioi 151)
‘lOt)) 530.15<) 55,600
Upintheair TheatreReçponal Marketing Plan - Budget
EXPENDITURESAdmin 500
2P
Gpiicdesi 960Pub’icist 1500Posters__________ 200Distribution 400Total_____ 10000
REVENUES10000
Total 10000
EXPEDITURES 10000REVENUES 10000PROFITILOSS 0
Upintheair Theatre
Organizational Assessment and Strategic Plan to Build Capacity
June 2011
1.
Contents:
Executive Summary
About Upintheair Theatre 48
Mission & Values 9
Organizational Assessment and Strategic Priorities 10
Strategic Priority: Strengthen and communicate artistic vision 11-13
Strategic Priority: Create a sustainable programming model 14-17
Strategic Priority: Create an appropriate level of company
Infrastructure 18-21
Strategic Priority: Increase financial resources 22-27
Producing Partnership: Neanderthal Arts Festival 2829
Governance Structure 30
2
UPINTHEAIR THEATRE SOCIETY
theatrefestivaL
rEvoLverTHE CHANGING STAGE
AUDIENCE SURVEY REPORT
July 24, 2013
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60
50
40
30
20
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0
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ii Neanderthal 2010 i Neanderthal 2011 Neanderthal 2012 B rEvolver 2013
Upn4ke3V 2
rEvolver Theatre Festival Audience SurveyYEAR BY YEAR ANALYSIS
4 of performances % of capacity % paid capacity
rEvolver Theatre Festival Audience Survey
YOU HEAR ABOUT rEvolver
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EMAIL FESTIVAL BROCHURE FESTIVAL POSTER
GEORGIA STRAIGHT AD i TWITTER E WORD OF MOUTH
FACEBOOK : WEBSEARCH & PRINT MEDIA PARTICIPATING COMPANY
GVPTA / ALLIANCE FOR ARTS TV / RADIO OTHER
rEvolver Theatre Festival Audience SurveyFREQUENCY OF THEATRE ATTENDANCE
ABOUT ONCE A MONTH
EVERY COUPLE MONTHS
TWO OR MORE TIMES A MONTH
ONCE OR TWICE A YEAR
LESS THAN ONCE A YEAR
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rEvolver Theatre Festival Audience SurveyAGE_RANGE
UNDER 21 21-29 30-39 40-49 50-64 65+
IN
rEvolver Theatre Festival Audience SurveyGENDER
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*1’cl,e( .‘‘
I
rEvolver Theatre Festival Audience SurveyHOW MANY SHOWS DID YOU SEE?
rEvolver Theatre Festival Audience SurveyGEOGRAPHICAL LOCATION
RICHMOND/DELTA/SURREY/LANGLEY/ABBOTSFORD
ii BURNABV/N EW WESTM INSTER/TRI-CITI ES
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1iW3kye IN
Metro Vancouver Cuftural Grants2013 Application for Regional Projects
Applicant Information
Vancouver Art Gallery
Name of the organization (legally registered name)
750 Hornby Street, Vancouver, British Columbia V6Z 2H7, CanadaAddress
Mailing Address if different
6O46624700 ext. 2410
Telephone
wwwvanartgallery.bc.ca
Website
Karen Love, Director of Foundation and Government GrantsContact person, and title, regarding information contained in the application
160
Number of staff in your organization
$ 14,503,099 1931Annual budget Year FoundedBC
1936
Society Act Number
326
Number of volunteers in your organization
Required Documentation
2 copFes of the Regional Project Grant Application• Current Board of Directors list name and position only (do not include personal contact
info)Most recent Financial Statements signed by the appropriate Board executive
• Regional Project BudgetTable of contents from a business plan or equivalent documentation
• Support material optional and will not be returned
Conditions and Signature
___
• Grant recipients must acknowledge the support of Metro Vancouver on all promotionalmaterials related to the funded project.
• Organizations making significant changes to the information provided in this applicationmust discuss such changes with Metro Vancouver staff prior to the implementation.
• Grant recipients will be required to complete a follow-up report for Metro Vancouver.Receipt of this report will be a precondition for consideration of the organization’s futuregrant applications.
• Information provided in the Regional Project Grant application may be subject todisclosure under the BC Freedom of Information and Protection of Privacy Act.
Submitted by: Karen Love, Director of Foundation and Government Grantsname, title
On behalf of: Vancouver Art Gallery
name of organization
signature
.
Signature of Chair/President of the Board of Directors:
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in ourapplication is complete and true in every respect.
Request to the Metro Vancouver Cultural Grants ProgramFrom the Vancouver Art Gallery, July 2013
1. ORGANIZATIONAL HISTORY, MANDATE AND PROGRAMS
Incorporated in 1931 and recognized as one of Canada’s leading cultural institutions, the VancouverArt Gallery is the largest public art museum in western Canada. Its mission is o spark curiositythrough the visual arts, instilling a greater cultural understanding by presenting the works ofoutstanding artists, using the power of art to engage, motivate and inspire. With 3.5 million visitors inthe last decade, the Gallery annually presents exhibitions of historical masterworks andgroundbreaking contemporary art, and makes its collection of over 10,300 works accessible to itsmany audiences. Our role in the community is to build a dialogue around contemporary ideas,encouraging higher levels of appreciation and support of the visual arts, and to promote a greaterunderstanding of society by linking our cultural histories with current times. We undertake this byoffering a broad program of educational activities for students and teachers, families, children andyouth, as well as an informative program of public events such as artists and scholar talks,symposia and performance events, and through our publication and exhibition touring programs.
2. PROPOSED PROJECT
The Vancouver Art Gallery’s many cultural programs benefit communities in the Metro VancouverRegion and well beyond. Its services are unique in the region and reflect the Gallery’s commitmentto facilitate and expand public dialogue about the connections between art and life. The followingdescribes some of the ways in which we interpret, disseminate and care for the art of our times andshare this with a very broad regional audience.
A. ACROSS THE PROVINCE: CELEBRATING BRITISH COLUMBIA ART HERE AND BEYOND
The Gallery’s permanent collection encompasses an exceptional array of over 10,500contemporary and historical works by artists from Vancouver, British Columbia and around theworld, and has a particular focus on local art. It is a significant cultural legacy for our region, aresource that the Gallery shares with a wide range of audiences. Dissemination of the Gallery’s artcollection and its exhibition projects is achieved in part through an ambitious touring program thathas exhibitions of BC art travelling to communities outside of central Vancouver—in MetroVancouver, throughout the province of BC, Canada and to other countries.
Across the Province, the Gallery’s provincial touring program, creates opportunities forcommunities throughout BC to access the cultural gems of our art collection. Since 2006, theGallery has organized and circulated six exhibitions for an expanding roster of regional partnergalleries. Taking into consideration the limited resources of participating venues, the Gallery waivesthe exhibition loan fee and absorbs all curatorial, administrative and preparation costs. Thisprovides an opportunity for our partners to mount significant exhibitions that are relevant for theirconstituents but not otherwise available to them. Each venue in turn produces public events andinterpretive programs to accompany the exhibitions, of benefit to their respective communities.Public and partner responses and attendance figures for Across the Province confirm that we arereaching a broad audience and increasing awareness about the art in our collection in particular,and the visual arts in general.
Across the Province began with five original partner galleries: The Art Gallery of Greater Victoria,Kamloops Art Gallery, Kelowna Art Gallery, Surrey Art Gallery and Two Rivers Gallery in PrinceGeorge. In response to growing interest, we expanded the program to include Evergreen CulturalCentre in Cocluitlam and The Reach Gallery Museum in Abbotsford. Every year, the Vancouver ArtGallery offers an exhibition to these regional galleries; each project tours to an average of three
Page 1
galleries and is accompanied by an exhibition brochure and public programming resources, Theexhibitions range from thematic projects with broad public appeal, to elegant solo exhibitions thatraise the profile of artists from Metro Vancouver and British Columbia.
In 2006 the program was launched with the spectacular exhibition, Dawn: Sketches of the Group ofSeven, with an overall tour attendance of 14,522 visitors. Subsequent exhibition tours included BCBinning, featuring the BC artist/architectural innovator Bertram Charles Binning: The Tree: Fromthe Sublime to the Social, exploring diverse representations of the tree in art from the earlytwentieth century to the present (with the Evergreen as part of the tour); Pop Prints, a survey ofBritish, American and Canadian art inspired by technology and popular culture (including Surrey):Eagle Transforming: The Prints of Robert Davidson (Surrey. among other venues), surveying fortyyears of Davidson’s work and featuring his innovative adaptations of Haida design in the medium ofprintmaking (Mr. Davidson traveled to each venue for artist talks and programmed activities.)
In 2012. the Gallery toured Bearing Witness, an exhibition of works by twentieth century artists whoexamine industrial exploitation, large-scale government action, atrocities of warfare, the history ofslavery and the representation of women in society (tour included The Reach Gallery, Abbotsford).In autumn 2013, we will circulate the exhibition Unreal, with art that conveys the marvelous, thefantastical, the weird and even the monstrous (including Evergreen.) Tour options being consideredfor the 2014-15 year include A Terrible Beauty: Edward Burtynsky with Emily Carr, presenting worksfrom the collection that observe the impact of human industry on the natural world.
In addition to the wide ranging Across the Province program, the Gallery promotes and nurturesartists from Metro Vancouver and British Columbia by sending their work out to the world wellbeyond the province, Following its BC tour, The Tree travelled to the McMichael Canadian ArtCollection in Kleinburg. ON. Traffic: Conceptual Art in Canada 1965-1980 (with many Vancouverartists) toured to our partner institutions in Edmonton, Montreal, Toronto and Halifax, and iscurrently on view in Karlsruhe, Germany. We were especially pleased to organize a Canadian tour(201344) of the highly popular Beat Nation: Art, Hip Hop and Aboriginal Culture (with numerouslocal and regional First Nations artists) to The Power Plant, Toronto; Kamloops Art Gallery; Museed’art contemporain, Montreal; Dalhousie Art Gallery and St. Mary’s University Gallery in Halifax; andthe MacKenzie Art Gallery in Regina. Many other tours of exhibitions on BC artists are forthcoming.
The Gallery’s art collection is a major asset held in trust on behalf of the citizens of Vancouverand British Columbia, and is central to the Gallery’s mandate. This enormous resource is theimpetus for organizing exhibitions, conducting research and lending artworks to other institutions—all of which give public access to this significant cultural legacy. The collection, with total estimatedvalue of $277,600,000 is international in scope yet maintains a strong emphasis on art made in BC,with two-thirds of the items having been produced in the last thirty years. Contemporary art continuesto be a strong focus of our acquisitions activity, primarily though donations and significantpurchases of work by local artists.
Museums and galleries borrow from the Gallery’s permanent collection, frequently, on a regional,national and international basis. Preparation tasks for outgoing loans included: requesting andreviewing facility reports, producing technical checklists, compiling and communicating costs toborrowers, preparing loan agreements, updating STAR records and installation instructions,consolidating and preparing works for exhibition including treatments, completing matting andframing and frame upgrades, completing mount-making, photographing works, preparation ofcrates and shipping.
In 2013-2014, the Gallery has approved loans (current and promised) of 97 works to 34institutions, a commitment that requires substantial conservation, preparation and processingwork by Gallery staff. These many loans include six paintings by Irene Hoffar Reid to the Burnaby ArtGallery, and a painting by Ronald Thom to the West Vancouver Museum.
Page 2
From July 2012 to June 2013, the Acquisitions Committee approved the acquisition of 278artworks through purchase and donation. The many regional artists whose works were acquired inthis way include: Pierre Coupey. Gathie Falk, Karen Geiger, Paul de Guzman, Euan Macdonald,Damian Moppett, Althea Thauberger, Stephen Waddell and Ian Wallace, We are always mostgrateful to receive works directly from artists and this year those contributors include, among manymore: Sonny Assu, Raymond Boisjoly, Myfanwv MacLeod. Alex Morrison, Elspeth Pratt. GordonSmith and Takao Tanabe. In 2012. the Audain Emerging Artists Acquisition Fund (and a CanadaCouncil grant) supported the acquisition of works by BC artists Rebecca Brewer, Heather Passmore,Etienne Zack, Sonny Assu, Corin Sworn, Brendan Tang and Raymond Boisjoly, and in 2013 this veryimportant Fund will make possible the purchase of new work by Vancouver based artist GarethMoore, a complex piece that will require a special storage/ conservation circumstance.
B. ART EDUCATION SCHOOL PROGRAMS
The Vancouver Art Gallery is privileged to offer educational programming fostering the developmentof the next generation of community leaders, art appreciators, practitioners and arts patrons. Itsacclaimed School Programs foster critical thinking skills in young people and a life-longappreciation for the arts. They annually provide 20,000+ children and teachers with guidedexhibition tours, art-making workshops and educator resources. Designed to augment the BCacademic curriculum and meet the needs of schools, teachers and students from kindergarten toGrade 12, they encourage students to consider how artworks resonate with their lives and theircommunity. Many of the Gallery’s educator resource tools, such as our Teachers’ Study Guides, areaccessible on-line and therefore available to teachers throughout Metro Vancouver.
It is clear that while a strong arts education complements a child’s academic experience, thebenefits also extend to their entire family and to the community in which they live. Led by highlyeducated and accomplished Gallery staff offering multiple points of access and a range of toolsthat facilitate and deepen intellectual, emotional interactions with art, the Gallery’s SchoolPrograms encom pass the following distinct programs:
• Elementary and High School Programs• Teen Art Group (TAG) for high school students• Other special programs organized with individual schools• A subsidized program for inner city schools• Educator resources• Professional development programs for Teachers and Gallery Docents
There is considerable evidence that arts education and participation in arts-related activities have adramatic, positive and lasting impact on children and youth, and are associated with a widespectrum of academic and social benefits. Studies reveal that children involved in the arts at anearly age are more likely to be recognized later on for academic achievement, less likely to tolerateracism, and more likely to perform community service. Learning through art helps students becomebetter listeners and thinkers, performing better in numerous categories of literacy and thinkingskills that include description, hypothesizing and reasoning.
Working with Schools and School ParticipationChildren from a broad range of communities and ethnic and economic backgrounds benefit fromour programs, which are consistently praised by teachers for their success in enabling students toengage in art in creative, participatory ways. Offering new experiences for students and teachers,the Gallery’s School Programs continually evolve to reflect ideas inspired by current exhibitions atthe Gallery. School Programs’ objectives carefully correspond, respond to and contextualize ourknowledge of the school curriculum and the best museum education practices, and we consultfrequently with advisors from the art, English and social studies teacher communities.
Participation in the Gallery’s School Programs: In 2012-13, 431 School Programs group tours wereconducted, with a total of 12,930 students participating. Our network includes 563 schools such
Page 3
as: ffjrnaby: 8 secondary and 40 elementary schools: Qpuiliam: 9 secondary. 13 middle and 45lementary D l 31 s hools S secoruiary and 18 r l( rnentry
Wflflsft 1 secondary 2 middle and 3 elementary NjrLflQQVr 38 schools Rjcfimond. 11secondary and 34 elementary; 123 schools; Vancouver School Board: 18 secondary and 91elementary; and e3 secondary, 11 elementary and 3 primary schools.
Subsidized Programs for Underprivileged Schools: The Gallery is committed o providing access toyoung people who may otherwise have very limited or no opportunity to engage with the arts due totheir individual economic circumstance. A subsidized program is offered by the Gallery to manyschools that have reduced financial resources. 74 groups totaling 1480 students benefitted fromthis program over the past year.
In 2012-2013, core Art Education School Program initiatives have included:
1. Educator Learning Tools: Educators are provided with many opportunities to expand theirknowledge of contemporary art practices through sessions held at the Gallery. Educatorsthroughout Metro Vancouver can access resources on the Gallery web page, including:Ier’sStidyuides, with comprehensive background information about exhibiting artists andworkshop projects; and our jl CarrWebSite, containingextensive information about thisrenowned artists including: a complete artist biography; Teacher’s Guides with lesson plans for allgrades: a glossary; and a library with downloadable images of works.
2. Guided Tours of Exhibitions and Accompanying Workshops: For students in grades 1 through 12,with storytelling, in-gallery activities and group exercises.
3. Self-Guided Tours: Available for teachers along with comprehensive Teacher’s Guides for eachexhibition, accommodating a large number of students.
4. Teen/Secondary School Initiatives: Intensive one-day residencies for secondary school studentsthat focus primarily on contemporary art.
5. Staff Professional Development Days: Schools bring their entire teaching staff for a full or halfday visit to learn about the Gallery and discuss best practices in arts education.
6. Teacher Orientations: These exhibition orientations are free to teachers.
7. Gallery School: An intensive, three-day residency for students,
8. Volunteer Docent Program and Docent Mentoring: Approximately forty docents undergo a six-month training program, followed by training sessions to learn how to work effectively with differentage groups and ESL students, and gain a broad understanding of the principals used to analyze art.
9. Special Programs Developed in Partnership with Schools.
3. NEW OR EXISTING?
This grant request is in support of an existing program of activities which the Vancouver Art Gallerywishes to continue to offer for the benefit of Metro Vancouver communities. Each year the variouscomponents of the two programs include new initiatives and services.
Page 4
4. MAIN PARTICIPANTS
Kathleen S. Bartels, DirectorPaul Larocque, Associate Director (oversees Education and Family programs)Stephen Webster Director of Marketing & CommunicationsBeth Mclnnis, Associate Director/Chief Financial OfficerTom Meighan, Director of Operations and Exhibition Production
CURATORIAL + PUBLIC PROGRAMSDaina Augaitis. Chief Curator/Associate DirectorBruce Grenville, Senior CuratorIan Thom, Senior Curator, Historical (p/t)Grant Arnold, Audain Curator of British Columbia ArtBruce Wiedrick. Exhibitions CoordinatorDiana Freundi, Associate CuratorEmmy Lee, Assistant CuratorExhibitions Assistant! Touring program (hiring of new person in progress)Stephanie Rehick. Assistant CuratorMandy Ginson, Administrative/Curatorial Assistant
EDUCATION PROGRAMSSusan Rome, Program Coordinator for Schools and YouthEducators: Sarvenaz Amanat, Laura Busby; Caroline Liffmann, Monica McGarry, Fiona Mowatt,Maureen Zetler
PREPARATIONGlen Flanderka, Senior Preparator IllLead Preparators: Keith Mitchell, Michael Trevillion. Rory Gylander, Dwight Koss, Steve Wood
REGISTRATION / CONSERVATIONRegistrars: Susan Sirovyak, Kim SvendsenMonica Smith, Conservator; Sabina Sutherland, Assistant
The above is a partial list of Gallery staff.
The Gallery has over 200 volunteers, many of whom assist with Education Programs
5. PARTNERSHIPS
See section 2 for description of our partners and collaborators for the Across the Province Programand our School Programs. As well, our activities related to the Permanent Collection include manyloans to other organizations, requiring professional relationships with a wide range of galleries,museums, community groups and other organizations.
6. BUDGET
Please see the Program budget. Grant monies from the Metro Vancouver Cultural Grants Programwould contribute to costs related to preparing exhibitions to send to our Across the ProvinceProgram regional gallery partners; caring for new acquisitions of works by regional artists enteringthe collection over the next year; and supporting docent training and the development of resourcesfor teachers, for our Art Education Program.
Page 5
7. OTHER ANTtCIPATED SOURCES OF FUNDING
BC GamingVisionary Partner: The Peeter and Mary Wesik FarniyRBC Foundationlelus Vancouver Community BoardCantorDavis LLPMotfat Family FundThe Diamond Foundation
9. EVALUATION
Gallery staff members thoroughly evaluate programs by reviewing attendance figures, user /partner comments and recommendations (including Teacher evaluation forms for our SchoolPrograms), media reviews and information derived from consultations with peers. Successindicators include frequency of the use of our services (eg, by individual schools) and of exhibition
tour bookings, for exam pIe, a well as partner and client levels of satisfaction with those services.
Page 6
VancouverArtgallery
Vancouver Art Gallery July 2013
Grant application to Metro Vancouver
SUPPORT MATERIALS:
Project Budget (in two parts)
Board of Trustees list
Audited Financial Statements for 2O1f2O12 (fiscal year end is June 30)
Photographs of School Programs at the Gallery
Brochures for the Across the Province exhibition touring program
750 Hornby Street Vancouver BC V6Z 2H7 CanadaTel 604 662 4700 Fax 604 682 1086
wwvanartgallerybcca
Vancouver Art Gallery Association
BC Gaming Application for 20132014
Program 1 Across the Province: Here and Beyond
Revenues 2012-2013 2013-2014
BC Gaining Grant
Other Grants
Admissions
Lundraisng
FeesInterest
METRO VANCOUVER
________________________
Inkind Rent
___________________________________
Expenses
Advertising
Bank Charges
Framing/Crating/Shipping
Insurance
LegalWages & Benefits & Artist FeesProgram Supplies
Telephone
_________________________________
Inkind Rent
S 100,000,00 S 75,0000027,330.00
35,784.00 50,000.00
Subtotal
Total
,. 5,000.00$ 135,784.00 $ 157,330.00
200.00 7,500.00$ 135,984.00 $ 164,830.00
S- $
23,771.88 32,743.802,500.00 2,600.00
98,196.78 100,160.7211,315.20 21,829.20
$ 135,783.86 $ 157,333.72200.00 7,500.00
$ 135,983.86 $ 164,833.72
$ 0.14 $ (3.72)
Subtotal
Total
Surplusf(Deficit)
Vancouver Art Gallery Association
BC Gaming Application for 2013-2014
Program 2 - Art Education School Programs
Revenues 2012-2013 2013-2014
BC Gaming GrantOther GrantsAdmissionsFundraisinqFeesinterestMETRO VANCOUVER
in-kind Rent
Expenses
PromotionBank ChargesHeat & LightInsurancePurchased ServicesWages & BenefitsProgram SuppliesTelephone
In-kind Rent
$ 50,000.0025,000.00
290,000.00164,700.00
$ 75,000.0020,000.00
290,000,00150,000.00
Subtotal
Total
Subtotal
Total
- 5,000.00$ 529,700.00 $ 540,000.00
7500.00 7,500.00$ 537,200.00 $ 547,500.00
$ 530.26 $ 1,000.00
130,645.87 132,952.33362,466.23 369,715.5536,082.93 36,443.76
$ 529,725.29 $ 540,111.647,500.00 7,500.00
$ 537,225,29 $ 547,611.64
$ (25.29) $ (111.64)Surplusl(Deficit)
Bruce Wright Chair, Board of TrusteesChair, Architect Selection Committee
Peeter Wesik ViceChairChair, Site Steering Committee
Bill Everett Secretary
Kevin Leslie Chair, Finance/Audit Committee
Jane Irwin Chair, Acquisitions Committee
Lesley Stowe Chair, Governance/Nominations Committee
David Aisenstat Past Chair
George Killy Chair Emeritus
Michael Audain Chair, Vancouver Art Gallery Foundation
Trustees:
Claudia BeckLeslie DiamondAsaph FipkeTerry HuiShenoor JadavjiSherry KillamPhil LindLarry LunnKeith L. PeckEric SavicsBarry ScottLisa TurnerShengtian Zheng
April2013
rwiiierArtgallery
Financial Statements of
VANCOUVER ART GALLERY ASSOCIATION
Year ended June 30, 2012
Opinion
In our opinion, the financial statements present fairly, in all material respects, the financial position ofVancouver Art Gallery Association as at June 30, 2012 and its results of operations and its cash flowsfor the year then ended in accordance with Canadian generally accepted accounting principles.
Report on other Legal and Regulatory Requirements
As required by the Society Act (British Columbia), we report that, in our opinion, these principles havebeen applied on a basis consistent with that of the preceding year.
id’
Chartered Accountants
September 19. 2012
Vancouver, Canada
VANCOUVER ART GALLERY ASSOCIATIONStatement of Operations
Year ended June 30, 2012, with comparative figures for 2011
Operating TotalGeneral Acquisitions Building Capital
Fund Fund Fund Fund 2012 2011
Revenue:Admissions $ 1695774 $ $ $ - $ 1,695774 $ 1,574,160Exhibition loan fees 102,775
- 102,775 177,617Fundraising(notes 6(c) and 11) 2088,465 343,000 346.102 2.777,567 2,347,435Gallery Store, Artist Editions andArt Rentals & Sales (note 9) 1898,932
- 1898,932 1,608305Investment income (note 10) 29,645 308,233- 337,878 425431Major bequests (note 6(b))
- -- 85,176Memberships 799,330 -
- - 799,330 831,283Public programming 60,420- - 60,420 53.300Rentals and restaurant lease 541,643 -
- 541,643 613,185Special events (note 8) 1,283,297 -- 1,283,297 1,487,686Sponsorships 863,250 -
- - 863,250 716.700Vancouver Art Gallery Foundationcontribution (note 11) 233,562 124,957 - 358,519 324,199Other 69,873
- - 69,873 1693589,666966 776,190 346,102 - 10,789,258 10,413,885Grants:
BC Arts Council/Province of BC 630,000 -- - 630,000 630,000BC Gaming Commission 200,000 - - - 200,000 37500Canada Council 300,000 -- - 300,000 330,000City of Vancouver 2,255,827 -- - 2,255,827 2,400,950Other 130,103- - 130,103 189.552
3,515,930 - - 3,515,930 3,588,00213,182,896 776,190 346,102 14,305,188 14,001887Expenses:
Administration and linance 931,068 -- - 931,068 1,021.847Art acquisitions (note 12)
- 963,582 - 963,582 938,295Board and management services 643,365 -- 643,365 744,140Curatorial and programs 1,471,487 - - - 1,471,487 1,645,767Exhibitions 2.205,012 - - - 2,205,012 2,446,498Gallery Store, Artist Editions and
Art Rentals & Sales (note 9) 1,655,033 - - - 1,655,033 1,435,814Maintenance and security 2,331,693 - - - 2,331,693 2,322,839Marketing, developmentand visitor services (note 8) 2,278,625 -
- 2,278,625 2,510,062Master planning- 346,102 346,102 534,765Museum services 1,064,466 -
- 1,064,466 1,206,50412,580,749 963,582 346,102 - 13,890,433 14,806,531
Excess (deficiency) of revenue over expensesbefore the undernoted 602,147 (187,392) - - 414,755 (804,644)
Amortization of capital assets (265,193) - - - (265,193) (230,345)Excess (deficiency) of revenue over expenses
before the undernoted 336,954 (187,392) - - 149,562 (1,034,989)Investment income - Building Fund (note 6(c)) 850,169 - - - 850,169 733,580
Excess (deficiency) of revenue over expenses 1,187,123 (187,392) - - 999,731 (301,409)
Balance, beginning of year (453,851) 211,197 1,458,310 - 1,215,656 1,517,065
Operating Capital Fund contributions (note 2(a))- - - 505,000 505,000
-
Interfund transfers (note 6(c)) (850,169) - 850,169 - - -
Balance, end of year $ (116,897) $ 23,805 $ 2,308,479 $ 505,000 $ 2,720,387 $ 1,215,656
See accompanying notes to financial statements,
2
VANCOUVER ART GALLERY ASSOCIATIONStatement of Cash Flows
Year ended June 30, 2012, with comparative figures for 2011
Cash provided by (used in):
2012 2011
Operations:Excess (deficiency) of revenue over expensesAmortization of capital assets, an item not involving cashNet change in non-cash operating working capital:
Grants, pledges, interest and accounts receivablePrepaid expenses and exhibition costsInventoriesAccounts payable and accrued liabilitiesDeferred memberships revenueDeferred contributions
$ 999,731265,193
(238,950)350,431392,950
(576,964)(37,969)588.047
1,742,449
$ (301,409)230,345
227,736370,224
33,976155,257(47,929)
(577,393)90,807
Investing:Purchase of capital assetsPurchase of term deposits
Financing:Increase (decrease) in bank indebtednessRepayment on obligations under capital leaseOperating Capital Fund contributions
See accompanying notes to financial statements.
(97,495)(336,224)(433,719)
(320,000)(93,181)505,00091,819
(182,067)(20,309,569)(20,491,636)
365,000(84,228)
280,772
Increase (decrease) in cash position 1,400,549 (20,120,057)
Cash position, beginning of year 31,955,227 52,075,284
Cash position, end of year $ 33,355,776 $ 31,955,227
Cash position is defined as cash and cash equivalents less outstanding cheques.
Non-cash investing and financing activity:Purchase of capital asset under capital lease $ 172,243 $ 17,919
4
VANCOUVER ART GALLERY ASSOCIATIONNotes to Financial Statements (continued)
Year ended June 30, 2012
2. Significant accounting poticies (continued):
(b) Basis of accounting:
(i) Cash and cash equivalents:
Cash and cash equivalents consist of cash and highly liquid investments with terms to
maturity of three months or less at the date of acquisition.
(ii) Short-term investments:
Short-term investments consist of highly liquid investments with terms to maturity
between three and twelve months at the date of acquisition.
(iii) Prepaid expenses and exhibition costs:
The balance is comprised primarily of exhibition expenditures that have been paid by the
Association, which relate to exhibitions to be held in subsequent years.
(iv) Inventories:
Inventories are comprised primarily of the following categories:
(a) Books, jewellery, paper products, gifts, reproductions and clothing held-for-sale in theGallery Store that is stated at the lower of cost and net realizable value. Cost is
determined on a weighted average basis.
(b) Owned artwork held-for-sale or rental in the Art Rental & Sales Department, where
the Association is the title holder and ultimate beneficiary, is stated at the lower of
cost and net realizable value.
Costs for inventories include all costs incurred in bringing inventories to their present
location and condition. Net realizable value is defined as the anticipated selling price lessthe costs to sell. Any previous writedowns to net realizable value are reversed when
there is a subsequent increase in the value of inventories.
(v) Revenue recognition:
The Association follows the deferral method of accounting for contributions which include
donations, bequests and government grants. Under this method of accounting, revenue
received with specific external restrictions is deferred and recognized in the period the
related expenses are incurred or the restrictions are met. Restricted capital contributions
to be maintained as part of the Operating Capital Fund are recorded as direct increases
in net assets.
The portions of membership fees and exhibition loan fees relating to future periods are
deferred and amortized into revenue over the period of membership or exhibition.
Gallery Store, Artist Editions and Art Rentals & Sales revenues are recognized at the
time the sales and rentals are made.
6
VANCOUVER ART GALLERY ASSOCIATIONNotes to Financial Statements (continued)
Year ended June 30, 2012
2. Significant accounting policies (continued):
(b) Basis of accounting (continued):
(xi) Use of estimates:
The preparation of financial statements requires management to make estimates andassumptions that affect the reported amounts of assets and liabilities and disclosure of
contingent assets and liabilities at the date of the financial statements and the reportedamounts of revenue and expenses during the year. Significant areas requiring the use ofmanagement estimates relate to the determination of useful lives of capital assets forpurposes of amortization, valuation of inventories, allowance for doubtful accountsrelated to accounts and pledges receivable, and provisions, if any, for contingencies.Actual results may differ from these estimates.
(C) Financial instruments:
Financial instruments are accounted for in accordance with the Canadian Institute ofChartered Accountants (‘CICA”) Handbook Section 3855. Financial Instruments —
Recognition and Measurement. and as permitted for not-for-profit organizations, Section3861. Financial Instruments — Disclosure and Presentation. These Sections require allfinancial assets and liabilities to be classified into one of the following five categories: held fortrading, held-to-maturity, loans and receivables, available-for-sale financial assets or otherfinancial liabilities. All financial instruments are included on the statement of financial position
and initially measured at fair market value. Subsequent measurement and recognition ofchanges in fair value of financial instruments depend on their initial classification. Held fortrading financial investments are measured at fair value and all gains and losses are includedin the statement of operations in the period in which they arise. Available-for-sale financialinstruments are measured at fair value with revaluation gains and losses recognized aschanges in net assets until the financial asset is disposed of or becomes impaired. Loans andreceivables, held-to-maturity financial investment and other financial liabilities are measuredat amortized cost using the effective interest rate method.
The Association classifies its cash and cash equivalents and short-term investments as heldfor trading. Grants, pledges, interest and accounts receivable are classified as loans andreceivables and are measured at amortized cost. Bank indebtedness, outstanding cheques,accounts payable and accrued liabilities, and obligations under capital lease are classified asother financial liabilities and are measured at amortized cost.
8
VANCOUVER ART GALLERY ASSOCIATIONNotes to Financial Statements (continued)
Year ended June 30. 2012
6. Deferred contributions:
(a) General Fund:
2012 2011
Contributions:City of Vancouver $ 68,086 $ 10,374Corporate sponsors 354,550 53,050Other 113,667 195,414
$ 536,303 $ 258,838
(b) Acquisitions Fund:
2012 2011
Contributions:Arts Partners/B.C. Legacies $ - $ 103,000
During 2010, the Association received a bequest of $2,852,477 from the Estate of Anne Eliza
Winn, which is held externally with a trustee. As a condition of the bequest, funds may only
be used to purchase original works of art from the original artists of the Group of Seven’ and
the Association is reimbursed from the bequeathed funds at the time of purchase. During the
year, the Association did not purchase any such work of art (2011 -$85,176). Amounts are
recorded as bequest revenue and art acquisition expenses under the Acquisitions Fund in the
year the purchase occurs.
(c) Building Fund:
2012 2011
Balance, beginning of year $ 50,980,034 $ 51,514,799Contributions:
Private donors 759,684 -
Disbursements (346,102) (534,765)
Balance, end of year $ 51,393,616 $ 50,980,034
On March 31, 2008, the Province of BC made a grant to the Association in the amount of
$50,000,000 restricting the use of the funds for the general purpose of planning, developing
and building of a new Vancouver Art Gallery. Disbursements during the year of $346,102from the Building Fund have been recognized as fundraising revenue in the statement of
operations.
10
VANCOUVER ART GALLERY ASSOCIATIONNotes to Financial Statements (continued)
Year ended June 30, 2012
8. Special events:
The Association performs certain fundraising activities considered to be ancillary to its ongoing
operations. These activities, which generated an excess of revenue over expenses for the year
ended June 30, 2012 of $959,219 (2011 -$1,082,715), have been presented in the statement of
operations on a gross basis. The gross revenue and expenses related to these activities are as
follows:
2012 2011
Revenue $ 1,283,297 $ 1,487,686
Expenses (included in marketing, development andvisitor services) 324,078 404,971
Excessofrevenueoverexpenses $ 959,219 $ 1,082,715
Gallery Store, Artist Editions and Art Rentals and Sales:
2012 2011
Sales - Gallery Store $ 1,666,637 $ 1,587,841- Artist Editions 15,780 20,464- Art Rental & Sales (note 11(c)) 216,515 -
1,898,932 1,608,305Expenses:
Cost of goods sold 1,002,870 875,345Salaries and employee benefits 454,445 410,554Administration 197,718 149,915
1,655,033 1,435,814
Excess of revenue over expenses from operations $ 243,899 $ 172,491
Cost of goods sold consists substantially of inventory costs expensed during the year.
9.
12
VANCOUVER ART GALLERY ASSOCIATIONNotes to Financial Statements (continued)
Year ended June 30, 2012
11. Related and other parties of economic interest (continued):
(a) Vancouver Art Gallery Foundation (continued):
Results of operations: 2011 2010
Revenue $ 549,480 $ 1,572,636Administrative expenses (28,826) (21 471)Donation to the Association (410,966) (359,644)Transfer to the Vancouver Foundation - -
Excessofrevenueoverexpenses $ 109,688 $ 1,191,521
Cash flows: 2011 2010
Cash from operations, being net increasein cash and cash equivalents $ 60,167 $ (1,495,849)
For the year ended June 30, 2012, the Foundation’s donation to the Association amounts to
$358,519 (2011 - $324,199), of which $67,741 is included in accounts receivable of theAssociation at June 30, 2012 (2011 - $66,721). The Foundation also maintains and receivesincome on endowment funds, which are permanently held and administered by theVancouver Foundation. The market value of these funds at June 30, 2012 is $8,722,814(2011 - $9,063,008).
(b) Friends of Vancouver Art Gallery:
Friends of Vancouver Art Gallery (“Friends”) is a non-profit organization incorporated in theUnited States in March 2003 and is independent of the Association.
Its purpose is to receive donations, gifts, funds, and property from residents of the UnitedStates for the benefit of the Association. During fiscal 2012, Friends donated cash donationsof $5,000 (2011 - nil).
(c) Associates of the Vancouver Art Gallery:
The Associates of the Vancouver Art Gallery (the “Associates”), an organization independentof the Association, was devoted to raising funds for the Association through social,educational and service enterprises. During the year ended June 30, 2012, the Associatesdonated $128,950 (2011 -$110,923) to the Association.
On February 1, 2012, the Associates dissolved the organization and donated net assetstotaling $91,864, primarily made up of artwork available-for-sale and assets and liabilitiesrelated to the Art Rental & Sales operation, to the Association. The Association recorded thenet assets transferred as donation revenue in the General Fund.
(d) Other:
During the year, the Association received approximately $1.16 million (2011 -$1.22 million) incontributions from members of the Board of Trustees comprising donations, sponsorshipsand special event support.
14
VANCOUVER ART GALLERY ASSOCIATIONNotes to Financial Statements (continued>
Year ended June 30, 2012
15. Capital management:
The Association receives its principal capital through admissions, memberships, store sales,
sponsorships, grants and gifts. The Association defines capital to be its net assets.
The Association is not subject to any other external capital requirements or restrictions.
16. Comparative figures:
Certain comparative figures have been reclassified to conform with the financial statement
presentation adopted in the current year.
16
Metro Vancouver Cultural Grants
2013 Application for Regional Projects
Appticant Information
A
4- TA
Name of the organization (legally reqictered name)
Address
Mailing Address if different
Telephone Email
-
--_
Website
-------
--_____
Contact person, and title, regarding information contained in the application
J
Number of staff in your organization Number of volunteers in your organization
1 ---
14
Annual budget Year Founded
IBC Society Act Number
CondItions and Signature
• Grant recipients must acknowledge the support of Metro Vancouver on all promotional materials related to
the funded project.
• Organizations making significant changes to the information provided in this application must discuss such
changes with Metro Vancouver staff prior to the implementation.
• Grant recipients will be required to complete a follow-up report for Metro Vancouver. Receipt of this report
will be a precondition for consideration of the organization’s future grant apphcations.
• Information provided in the Regional Project Grant application may be subject to disclosure under the BC
Freedom of Information and Protection of Privacy Act.
Submitted by:
On behalf of:
a’ne. r,H(-’
name of organization
Mail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pm
To: Metro Vancouver, Cultural Grants Program External Relations, 3rd floor 4330 Kingsway Burnaby, B.C. V5H 4G8
If you have any questions about the application or the eligibility of your project call Judy Robertson at 604-432-6205 or
email ud’.robertscn@metrDuancouveror
---—----...--
-..- —.-.....- ----..-.- -.-.- ---.-
s,gnoture
—..----— ),/
)egnarure /hair/Pres,dent of the Board of Directors:
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in our
application is complete and true in every respect.
Deadline for submission
Regional Project Information — The Bring Your Own Vision Project
1. Describe your organization, its history, mandate, and programs
Vancouver Asian Canadian Theatre (VACT) is a non-profit organization motivated to stage Asian-
Canadian productions. We were founded in 2000 and incorporated as a non-profit society in 2001. As
an ethnically diverse theatre company, our mandate in the Metro Vancouver artistic community is:
• To provide opportunities for Asian-Canadian actors in artistic and significant roles
• To reclaim the Asian stereotypes portrayed in mainstream media
• To stage productions that provide non-stereotypical roles
• To showcase Asian-Canadian cultural themes and stories
• To represent the hyphenated Asians on stage in a contemporary setting
• Promote Communication and understanding between Asian Canadians with our other communities
VACT has three types of programming: 1) Theatre productions 2) Theatre Lab, developing original Asian
Canadian material for the theatre stage 3) Sketch Comedy Nights
2. Briefly describe the proposed project, its objectives and the benefits it will have to Metro Vancouver’s
region, your municipality, artists, and your organization. Why are you undertaking this project? What
are the anticipated results? What makes the project unique and innovative?
The proposed project is called Bring Your Own Vision, and is a collaboration between VACT and the
Vancouver Fringe Festival. The project will begin with a call-out for scripts throughout the Metro
Vancouver region (Vancouver, Burnaby, New Westminster, Coquitlam, Richmond, Delta, Surrey)*, with a
strong emphasis on dramatic multi-ethnic character scripts by culturally diverse playwrights. One script
will be chosen and given an automatic spot in the Bring Your Own Venue category at the Fringe festival.
VACT’s off-site venue of choice is the Simon Fraser University Woodward Building’s studio theatre. The
chosen script and creative team will receive the following from VACT:
- 4 workshops with professional theatre artists (2 dedicated towards dramaturgy of the script, 2
dedicated towards the staging of the script)
- Free rehearsal space on Mondays, Wednesdays, and Fridays throughout August 2014 and the
first week of September 2014 at the VACT rehearsal space (228-475 Main Street, Vancouver)
- Fringe entrance fee and venue fee paid for
- All ticket sales directed to the artists (in keeping with the mandate of the Fringe festival).
1
The objective of this project is to encourage culturally diverse playwrights to write and develop scripts
that reflect their cultural backgrounds and to bring more cultural diversity to the Fringe festival (thus
greater reflecting the Metro Vancouver region). The benefits to the artists include development of their
writing and learning the vital skill of producing, which will empower them to produce their own work in
the future, The Metro Vancouver region will benefit because its culturally diverse population will be
represented at an internationally renowned theatre festival. Furthermore, audiences will gain exposure
to the issues facing the diverse populations of the Metro Vancouver area. Our organization will benefit
because VACT is always looking for culturally diverse work that we can further develop and stage.
The anticipated result for this project is that more culturally diverse submissions will be entered into the
Fringe due to this culturally inclusive initiative. If the project is successful, VACT plans to organize a local
tour of the production to cities such as Burnaby, New Westminster, Coquitlam, and Surrey.
This project is unique and innovative in that a collaboration between the Vancouver Fringe Festival and
an ethnically diverse theatre company such as VACT has never taken place before. The festival, noticing
an absence in the demographic makeup of their artists and audiences, is taking an active role in
improving the situation by working with VACT. This project is groundbreaking because both we and the
Vancouver Fringe have identified a persistent problem and are now doing something to remedy it.
*We plan to do outreach to all cultural and artistic centres in the Metro Vancouver region. We have already taken
personal meetings with Cory Philley, the Facility Services Coordinator at the Shadbolt Centre for the Arts, and Kent
Gallie, the Performing Arts Manager at the Surrey Arts Centre, regarding outreach into their cities. In the
oncoming months we plan to take personal meetings with representatives from the Burnaby Arts Council, the Arts
Council of Surrey, the Evergreen Cultural Centre, the Delta Arts Council, the Firehall Centre for the Arts (Delta
division), the Richmond Arts Centre, and the Arts Council of New Westminster. These meetings will ensure that
callouts for submissions are made to all municipalities in the Metro Vancouver area and that culturally diverse
playwrights from these regions are given an equal chance to submit to Bring Your Own Vision.
2
3. Is this a new project or an expansion of an existing initiative?
This is a new project and is the first collaboration between the Vancouver Fringe festival and VACT.
4. List the main participants involved in carrying out the proposed project (paid staff contract
employees, volunteers).
The main participants involved in carrying out this project include:
Artistic Director of VACT — Donna Vamamoto (paid staff)
Artistic Associate of VACT Andrea Vu (paid staff>
Artistic Associate of VACT — Annie Jang (paid staff>
Executive Director of the Vancouver Fringe Festival — David Jordan (paid staff via Fringe)
5. Describe any partnerships or collaboration involved in creating or producing the proposed project.
Please attach letters of support.
Our collaborative partner for Bring Your Own Vision is the Vancouver Fringe festival, with our main point
of contact being Executive Director David Jordan (see attached letter of support). We will also be
working with David Bloom, the Artistic Director of the professional theatre company Felix Culpa, who
will help to carry out the workshops (see attached letter of support).
Planning and Financial Information
6. How will the grant money be spent? Please submit a detailed budget as a separate attachment.
The grant money will be allocated towards the venue rental, the technician, VACT staffing fees for the
project, instructor fees for the workshops, promotional material (cards and posters), and office fees
pertaining to the project (i.e. printing scripts). The cost of tickets, volunteers, and 3rd party liability
insurance will be covered by the Fringe. Please see attached the detailed budget for this project.
3
7. What other sources of project funding are you currently pursuing? Identify any groups, agencies or
businesses that you have identified or approached as donors and sponsors.
There are several sources of project funding that we are pursuing outside of the Metro Vancouver Arts
Cultural Grant. Iven K. Ise, Barrister and Solicitor, has been a longtirne sponsor of VACT and makes a
yearly contribution to our company, $200 of which we intend to allocate towards the Bring Your Own
Vision project. We are also sponsored by Koffman Kalef LLP, a new sponsor that has contributed a
monetary amount to our company, $200 of which we intend to direct towards this project. Another
long time sponsor, Ganache Patisserie, will donate a large gift basket for our Opening Night raffle, which
draws in ticket sales of approximately $150. Our Artistic Director, Donna Yamamoto, and our board
president, Tetsuro Shigematsu, are currently working on a sponsorship with Clearly Contacts, in which
the amount donated by Clearly Contacts will be matched by ArtsVest Vancouver and allocated towards
VACT,
8. Please attach a planning timetable, promotional material; sponsor package, etc. (If applicable.)
Please see attached planning timetable.
9. How will you evaluate this project? How will you determine whether it has been successful? What
measureable outcomes will you use in your evaluation?
We will evaluate the success of our program based on several measurable outcomes. The first will be
based on the number of submissions that we receive. If we receive at least two submissions from every
municipality (equaling to approximately 14 scripts), then we will consider the submission process a
success. However, if the number does not meet these standards, we will continue to perform outreach
to discover why this is so.
The quality of the submissions will also be taken into account. Ideally, if three high quality scripts with
potential for development are discovered, then we will take one script to the Fringe and two scripts will
be considered for future workshops with our company.
Another measure of success will be the box office. We want our artists to feel encouraged by this
project, and audience attendance is a strong part of that. Houses of 30% or higher is our goal because
the audience size will be reasonable and the profit (given entirely to the artists) will be healthy.
4
Planning ilmetable The Bring Your Own Vision project
Aug.ust 2013
• Meetings between David Jordan and VACT staff regarding the implementation of the Bring Your Own
Vision project
• Outreach to Arts organizations throughout the Metro Vancouver area regarding the calF-out for scripts
S:e ptember 2013
• Confirmation with Simon Fraser University’s Woodward’s Building to reserve a spot for the Bring Your
Own Vision initiative at their Studio D theatre.
• Further outreach and meetings with Arts organizations throughout the Metro Vancouver region. Begin
contact with cultural societies (eg. S.U.C.C.E.S.S.) in neighbouring municipalities.
• Meetings with culturally diverse media outlets (eg. Fairchild, Channel M) and news publications regarding
the calF-out for scripts
October 2013
• Writing, finalizing, sending press release for the Bring Your Own Vision calF-out for submissions
• Further outreach and meetings with Arts and Culture organizations throughout the Metro Vancouver area
and touching base with preexisting contacts.
November 2013
• Online and social media announcement of the Bring Your Own Vision calF-out for submissions via the
Vancouver Fringe Festival and VACT’s websites, facebook accounts, twitter as well as theatre blogs and
Arts and Culture blogs
• Announcement of calF-out for scripts to all Arts organizations who have met with VACT and support the
project
• Television, print, and media announcements of the calF-out for submissions
December 2013
• Announcement of the Bring Your Own Vision project at the Fringe Lottery Party, where Mainstage acts for
the Fringe are chosen. Garner interest in Bring Your Own Vision with guests who are already interested in
the Vancouver Fringe Festival.
January 2014
• January20th
— Deadline for submissions to the Bring Your Own Vision project
February 2014
• Judging of scripts between David Jordan, VACT staff (Donna Yamamoto, Andrea Vu, Annie Jang), and SFU
Woodward’s staff. Announcement of winner
• Completi.o n. of Fringe paperwork and p••ymet fees well as venue paperwork and fees.
March 2014
• Meeting with winning playwright and discussion about creative team to be assembled.
April 2014
• First playwriting/dramaturgical workshop for winning script.
• Contact desired creative team (director/stage manager/designers)
May 2014
• Second playwriting/dramaturgical workshop for winning script.
• Confirmation of creative team’s participation.
June 2014
• Selection of actors for project.
• Auditions for roles not yet filled.
• First production meeting amongst creative team and producers (VACT),
• Photo shoot for promotional images.
• Development of show schedule.
July 2014
• Finalization of script.
• Writing and sending of press release to media and online outlets as well as Arts and Culture organizations
throughout Metro Vancouver region.
August 2014
• Rehearsal process begins. Staging workshops with professional artists, one during 2 week of rehearsals
and one during 4th week.
• Completion of promotional material (posters and flyers) as well as postering of Arts and Culture
organizations, theatres, community centres throughout Metro Vancouver region.
September 2014
• Sept. 3 — Load in, tech, cue to cue at venue
• Sept. 4 — Tech dress rehearsal during the afternoon, 8:00pm Opening Night show
• Sept.5—9—Showrun
• Sept. 9—Strike after final show
• Sept. 15 — 19 — Fringe tally of show profit, cheque written to VACT, VACT allocation of funds to artists
involved in Bring Your Own Vision.
• Sept. 2030 — Final report written and financial statements for project calculated
Board Members Vancouver Asian Canadian Theatre (VACT) — 2013/2014
1. Tetsuro Shigematsu
President
2. Tom Chin
VicePresident
3. Gina ‘laoTreasurer
4. Joyce Lam
Secretary
S. Donna Yamamoto
Director of Sponsorship
6. BelIe Chung
Board Member
7. Ray Hsu
Board Member
Vancouver Asian Canadian TheatreStatement of Operations and Fund Balances
February 2012 through January 2013
Revised on May 26
RevenuesTicket SalesGrantsDonation / Sponsorship RevenueConcession SalesFundrasing EventsRaffle SalesTalent Reqistration IncomeOther Income (mci. HST refund,
Total Revenues
ExpensesAdvertising and PromotionsBank Service ChargesComputer and InternetI nsu ra nrcLicenses & PermitsLine of Credit InterestMiscellaneous ExpensesMeals & EntertainmentOffice Supplies & MaterialsPostage & DeliveryPrinting & ReporoductionThearter Production ExpensesProfessional DevelopmentProfessional FeesRentService ChargeStorage RentTaxesTravel & TransportationConcession CostFundraising Expense
Total Expenses
Feb.1, 2012Jan.31, 2013
$10,222.29$24,075.00
$1,674.21$45456
$1,598.45$612.00$315.19
in $536.89$39,488.59
$781.66$122.58$270.99$850.00$145.00
$0.00$150.00$172.22$395.82$30.84
$1,252.84$20,079.51
$0.00$697.50
$0.00$0.00
$2,283.70$0.00
$224.80$123.86
887,46$28,468.78
RevenuesTicket SalesGrantsDonation / Sponsorship RevenueConcession SalesOther Income (mci. Fundraising, R
Total Revenues
ExpensesAdvertising and PromotionsBank Service ChargesComputer and InternetInsuranceLicenses & PermitsLine of Credit InterestMiscellaneous ExpensesMeals & EntertainmentOffice Supplies & MaterialsPostage & DeliveryPrinting & ReporoductionThearter Production ExpensesProfessional DevelopmentProfessional FeesRentService ChargeStorage RentTaxesTravel & Transportation
Total Expenses
Excess of Revenues over Expensi $11,019.81 Excess of Revenues over Expens
Fund Balance - Beginning of the yea $769.61 Fund Balance - Beginning of the yea
Fund Balance - Ending of the yea $1 1,78942 Fund Balance - Ending of the yea
Vancouver Asian Canadian TheatreStatement of Financial Position
As of 31 January 2013
Jan.31, 2013
ASSETSCurrent Assets
Chequincj/SavingsAccounts ReceivablesGST/HST Receivable
total Current Assets
ASSETSCurrent Assets
Chequing/SavingsAccounts ReceivablesGST/HST Receivable
Total Current Assets
TOTAL ASSETS $1b,2H9.UU TOTAL ASSETS
LIABILITIES & Fund BalanceLiabilities
Accounts PayableOther Current Liabilities
Total Current Liabilities
Total Liabilities
Fund Balance
LIABILITIES & Fund BalanceLiabilities
Accounts PayableOther Current Liabilities
Total Current Liabilities
$15,425 Og$453 44$41055
$16,28908
$4,49966$0.00
$4,499.66
$4,499.66 Total Liabilities
$11,789.42 Fund Balance
TOTAL UABILITIES & Fund Balat $16,289.08 TOTAL LIABILITIES & Fund Balai
AGM version
Feb.1, 2012 -
Jan.31, 2013Feb.1, 2011 -
Jan3i, 2012
$ 10,222.29$24,075.00
$1,674.21$330.70
$2, 1 75.07
$9,952.43$12,298.00
$506.00$1,142.50$3,347.35
$38,477.27 $27,246.28
$781.66$122.58$270.99$850.00$145.00
$0.00$150.00$172.22$395.82
$30.84$1,252.84
$20,079.51$0.00
$697.50$0.00$0.00
$2,283.70$0.00
$224.80
$2,640.08$21.30
$216.42$359.00
$65.00$133.21$506.14$228.84
$59.55$24.77
$288.79$16,758.19
$25.00$1,759.52$2,000.00
$39.60$1,075.00
$511.26$1,914.37
$27,457.46 $28,626.04
$11,019.81
$769.61
-$1,379.76
$11,789.42
Jan.31, 2013 Jan.31, 2012
$iS425..09$453.44$410.55
$16,289.08
$16,289.08
$4,499 66$0.00
$4,499.66
$4,499.66
$11,789.42
$273.53$0.00
$496.08$769.61
$769.61
$769.61
$769.61
1•!
// ,__....
//
_.._—
//
/,.
Tetsuro Shigematsu
President of the Board
Vincouver Asian Canadian Theatre Operating Budget 2013-2014
EXPENSES
Office Rental $9,600 $800/month x 12 months
Phone $480 $40/month x 12 months
Internet $255 $21.25/month x 12 months
Web Hosting $120 $10 x 12 months
Domain Renewal $25 $25/year
Constant Contact $260 $252/year in IJS funds
Insurance $850 $850/year general liability
lnsurance $600 $600/year property insurance
Parking $1,535 $12705 x 12 months
Office Supplies $1,200
Postage $150
Photocopies $150
Associates $7,800 $15/hr x 10 hrs/wk x 26 wks x 2Metro Van Arts $5,529
MSG theatre Lab $2,500
Comedy Night $2,640
Edges $45,935
Legal Fees $2,500 Acquisition of charitable status
Misc $806 Bank charges, parking refnd, etc
Total Expenses $82,935
REVENUE
Private Sector Revenue:
Corporate Sponsorship $9,600 Prospero Realty Inc. - In-Kind
Earned Revenue:
Office - Sublet $3,500
Ticket Sales (Comedy Night) $3,600
Ticket Sales (Edges) $9,660
Advertising (Program Guides) $900
Venue Rental (In-Kind) $1,275 MACC
Other Income $1,000 Raffle tickets, silent auction, bazaar
Donations $500
Public Sector - Revenue
Metro Vancouver Arts - Outreach $7,500
City of Vancouver - MSG Lab 2013 $5,000
Canada Council - Edges - pending $18,000
BC Arts Council Edges pending 10 000 —
Foundation Jack Gin Foundation $5 500 _— —
Arts Vest-VACTContribution $5,000 ..—“
/7 Tetsuro Shigematsu
Total Revenue $80,135 / President of the Board
Regional Project Budget - Bring Your Own Vision
REVENUE
Earned Revenue
Ticket Sales
Raffle
Concession
Sponsorships
yen K. Tse
Koffman and Kalef, LLC
lnkind Donations
VACT
Ganache Patisserie
Fundraising/Grants
Metro Vancouver - Cultural Grant $8,000
45 seats (30% x 150 seats capacity)
x $10/ticket x 6 shows
In-kind rehearsal space
In-kind gift basket for raffle draw
TOTAL REVENUE $12,340
EXPENSES
Programming
Venue Rental
Front of House Manager
Technician
Artist Fees (Playwright, Actors, Director)
Set Design
Costume Design
Prop Design
Fringe BYOV Entrance Fee
Concession
Marketing
Publicist
Promotional Material
Graphic Designer
Photographer
Webmaster
Office/Adm in
Office Rent
Tickets
Insurance
Outreach to Various Municapalities
Office supplies & Miscellaneous
Amount Explanation
$3,150
$600
$840
$0
$200
$200
$200
$500
$200
$800
$500
$400
$300
$150
$2,700
$150
$200
$200
$200
$840
$50
Sponsorship
Sponsorship
$450/day rental fee x 7 days
$25/hr x 4 hr call x 6 performances
$35/hr x 4 hr call x 6 performances
No upfront fees - full profit share
$500 for 1000 promo cards + 250 posters
Designing of promotional material
Photography of publicity/promotional shots
Provided by Vancouver Fringe Festival
Provided by Vancouver Fringe Festival
$400
$0
$0$400
$90
StaffArtistic Director $640 $20/hr x 4hr/week x 8 weeksArtistic Associates $1,080 $15/hr x 4.Shr/week x 8 weeks x 2 StaffWorkshop instructor fees $800 2 dramaturgy workshops x $200/workshop
2 staging workshops x $200/workshop
In-kind DonationsVACT $840 in-kind rehearsal spaceGanache Patisserie $50 In-kind gift basket for raffle draw
TOTAL EXPENSES $12,340
NET $0
2013 AGM Report
in replacement of a business plan
Included:
Notice of AGM
AGM Minutes
President’s Message
2013-2015 Board Nominees
VANCOUVER ASIAN CANADIAN THEATRE NOTICE OF ANNUAL GENERAL MEETING
NOTICE IS HEREBY GIVEN that the 2013/14 Annual General Meeting of theVancouver Asian Canadian Theatre (VACT) will be held at 228 475 Main Street(VACT’s new office), Vancouver, BC, on Friday, April 19, 2013 from 5pm — 9pm forthe following purposes:
1. to receive the Presidents Report;
2 to receive and approve the financial statements of VACT for the fiscal year2012/13 February 1, 2012 to January 31st, 2013;
3. a) to approve list of nominees for the Directors of the Boardb) to elect a Board of Directors for the 2013/14 years;
4. to transact such other business as may lawfully come before the meeting or anyadjournment thereof.
DATED at Vancouver, BC on March 19, 2013
BY ORDER OF THE BOARD OF DIRECTORS
Tetsuro ShigematsuPresident
Vancouver Asian Canadian Theatre (VACT) - Annual General MeetingFriday, April 19,2013VACT Office — 228 e 475 Main Street Vancouver BC
Attendance: 66 members (see list - attached)
Meeting started: 5pm - 7:30pm
1. Quorum was reached at 5:15pm.
2. Mi members received the Presidenfl Report (see attached)
3. Mi members received and approved the financial statements for the fiscal year 2012/13February 1,2012 to January 31, 2013 (see attached)
4. All members approved the list of nominees for the Directors of the Board (see attached)
5. Members elected the foiiowing Nominees as the Board of Directors for the 2013/14year:
• Belie Cheung• Tom Chin• RayHsu• JoyceLam• TetsuroShigematsu• Donna Yamamoto• Gina Yao
6. No other business was brought forward.
7. Meeting adjourned at 7:10pm
Minutes compiled by J.Lam, SecretaryApril 20,2013
PRESIDENT’S MESSAGE Feb 1, 2012 to Jan 31, 2013.
2012 marked VACT’s 13th anniversary, and represents a time of renewal and change.
The first and very important change was that VACT was in a position to hire its first part-timeArtistic Associate Director, Annie lang. With Annie taking some of the workload, VACT was ableto secure their finances through fundraising, sponsorships and grants.
VACT’s 13th year began marking the Chinese Lunar New Year with a Karaoke Fundraiser at TokoRestaurant in of Feb 2012,
In April, we held our 13th Annual Sketch-off Asian Comedy Night show, Etch-YQUR-SketchOFF 4Double Unlucky. Always an audience favourite, this production refills VACT’s coffers like a
yearly rainfall in the desert. June brought the blossoming of another fundraiser; Sing-A-Long tothe Flower Drum Song Movie.
September of 2012 saw the inauguration of our VACT’s very own mini-Fringe, dubbed The BrinkFestival, Like the Fringe on the Edge of Colour, with three productions by local improv champs,FOB lead by David Dimapalis, a one-woman show by Loretta Seto, and a Seattle productionhelmed by Leroy Chin.
With an eye towards developing an Asian-Canadian theatre canon, VACT began the MSGTheatre Lab — with 3 exciting new plays in development: Deep Water by Loretta Seto, Ga Tingby Minh Ly and The Measure of a Man: The Play by Ii Lee (May 1 — Nov 30, 2012).
2013 started off with a bang with director/actor/writer producer Rick Tae leading the twoworkshop programs: the Actors Master Class and the Directors-In-Training Program which led tothe Master Class’s production of The Theory of Everything with 469 people attending the Sperformances
2013 will begin our search for an additional Artistic Associate Director to work with andalongside Annie lang, culminated with the hiring of Andrea Yu,
With Donna Yamamoto, as Director of Sponsorship, she was able to spearhead a successfulfundraising campaign through Arts Vest which included acquiring a one-year lease on VACT’snew office space, thanks to the generosity of Prospero International Realty’s Derek Lee, a friendand colleague of Joyce Lam’s. Moreover, the success of the fundraising campaign incited byDonna’s leadership and initiative, would not have been possible without capitalizing on theconsiderable good will and cultural capital Joyce’s has built up within the community on VACT’sbehalf these past 13 years, and some 40 productions, a legacy whose significance andimportance cannot be overstated.
With Annie and Andrea on staff, and additional funds, the vast programming potential and newefficiencies of our new office space, 2013 looks to be VACT’s lucky year.
Tetsuro ShigematsuPresidentVancouver Asian Canadian Theatre
2013-2015 Nominees:
Belle Cheung - Belle is a recent graduate of the Theatre program at the University of BritishColumbia, having specialized in stage management. Past stage management creditsinclude: Don Giovanni (The Banff Centre), High Society (The Arts Club), Macbeth (Theatreat UBC), Salmon Row (Mortal Coil), Singin’ in the Rain (TUTS).
Tom Chin — Tom has been the Host to the Vancouver Asian Canadian Theatre’s Asian ComedyNight for over 10 years. He has helped develop the Wun Ton of Fun Players, Hot Sauce Posse,Assaulted Fish, and Hop Sing’s OffSpring. He has directed Sex in Vancouver: Intimate Secrets:played Vinnie in The Odd Couple, Dr. Li in Flower Drum Song and wrote and voiced a radio play,Non-Asian Club on CBC Radio. He has a BA from the University of British Columbia and a PDPfrom Simon Fraser University.
Ray Hsu Ray is the author of _Anthropy (winner of the Gerald Lampert Award; finalist for theTrillium Book Award in Poetry) and _Cold Sleep Permanent Afternoon (winner of an AlcuinAward). He has published over 150 works in over 75 magazines and anthologies internationally.Ray taught writing for over two years in a US prison and now teaches in the University of BritishColumbia Creative Writing Program. He collaborates across disciplines, districts, and dinnertables.
Joyce Lam Joyce is the volunteer Artistic Director and Co-founder of VACT. She has producedover 40 productions for VACT in its 13-year history: Asian Comedy Night,, F.O.B., Exit theDragon, Sex in Vancouver Series, The Odd Couple, Cowboy Versus Samarai, Bondage, FlowerDrum Song, and Red Letters, She is loves theatre and is most proud of creating an AsianCanadian theatre community in Vancouver. Joyce has a bachelor of Commerce from theUniversity of British Columbia.
Donna Yamamoto - Donna has been in numerous theatre, film and television productionsduring her twenty-five year career. Memorable theatre performances include MortalCoil’sSalmon Row; the Firehall Theatre’s Rosie’s Café (national tour), Golden Child, The YokoOno Project, Mom, Dad, I’m Living With a White Girl; Tamahnous’ Paradise and theWasteland; YPT’s Naomi’s Road; Touchstone’s Local Colour; Laluna’s Pillar Clock; and the Art’sClub Another Morning. Donna received a Jessie award for her performance in the ArtsClub Another Morning. Since 1993 she has owned and operated a successful small businesscalled “Good Nature Health Foods”. She has a BA from the University of British Columbia.
Gina Yao - Gina has worked in accounting and finance for over 10 years. Her responsibilitiesincluded full-cycle multi-currency accounting, financial reporting, business planning, treasury,and tax. She holds a Bachelor degree in Finance and a Master degree in Corporate Governance.She is a certified CICPA and currently working towards a CMA designation. Gina is an activecommunity volunteer and desires to leverage her knowledge and skills to help non-for-profitorganizations grow and succeed.
.V&nuvr Frino Ftiv1
11
July 18, 2013
To The Assessment Committee Members:
The Bring Your Own Vision project is an important collaboration between the Vancouver Fringe
Festival and the Vancouver Asian Canadian Theatre and I lend my full support to it. I also fullysupport VACT’s application for the Metro Vancouver Cultural Grant as a means to fulfill this
vision,
As the Executive Director of the Vancouver Fringe Festival, I am dedicated to an eclectic andexciting lineup of artists, However, I have noticed a lack of cultural diversity when it comes toour acts and our audience. I approached VACT with the intention of bringing more diversity toour stages and we developed the Bring Your Own Vision plan. I believe this is an effective way
to get more ethnically diverse playwrights and artists involved in the Fringe. I am also thrilled atVACT’s proposal for outreach, which would give artists from neighboring municipalities the
chance to participate in the Fringe.
This project is an important beginning to what we hope will be a yearly partnership between the
Fringe and VACT. We want to ensure that our festival is a welcoming and supportive place for
diverse artists and this partnership with VACT is the best way to do so. I also have full trust inthe company and admire its mandate and dedication to professional and quality productions.
Please join me in supporting this very worthwhile project with the Metro Vancouver Cultural
Grant.
Sincerely,David Jordan
Executive DirectorVancouver Fringe Festival
Metro ‘v incouverCultural (irants Program I xternal Rd itions3’ Floor 433 KmgswavBurnaby B( ‘v511 468
____
fuR 18 2013
lo Whom It Ma Concern.
I’m delighted to write this letter of support ftr Vancouver Asian Canadian Theatre’s application
for a MLtio Vancouver ( ultural Gr mt I strongly hLlicvL that the Ri ing tour Oii fl fWOfl projm.ct
a collabor loon betweLn ‘vancouver Asian Canadian I hcatre and thL Vancouver I nnge Festival
Dwill make a vital contribution towards greater cultural diversity in the. Metro Vancouver Arts
comm unit\
I am a Co-founder and Co-Artistic Director of Felix Culpa. a local non-profit theatre organization.
Were known br our original work, adaptations ofClassical material and provocative plays from[ the world repertoire. Our tbcus is on the power of language. moral and ambiguity and the
complexities of the human experience. We have a long history of vv orking with culturally diverse
actors, writers. directors. and designers from across the Metro Vancouver region as well ascreating projects with artists 01 different disciplines. In my own practice I have a long history of
supporting artists from a variety of backgrounds (I am currently mentoring a group of
performance poets, burlesque artists, singers and visual artists for the Queer Arts Festival, for
instance.) This background may explain why Vancouver Asian Canadian Theatre’s project is
exciting to me.
I have been teaching the creation of one-person shows at the theatre conservatory trainingprogram. Studio 58. In that course I guide young artists as they make inchoate ideas into fully
realized pieces. For the Bachelor of Performing Arts program recently created by Capilano
University. VUC. Langara and Douglas College I co-teach interdisciplinary collaboration and
creation of original performance pieces. I am honoured to facilitate the workshops in Bring Your
Own Vision and am excited at the prospect of working with culturally diverse emerging artists
from around the Metro Vancouver region.
Yours Sincerely.
David Bloom
Metro Vancouver CuIt.ura Gr.ir.ts
2013 App’ication for Regona Projects
Applicant Information
V( :Y ( 0 C.) )•‘••• / ‘a
Name of the organ zation (legally regiic tP’e name)
, -
- -
-
Address
Mailing Address if different
I..
L zL
telephone
Website
contact person, and title, reqarding informetton conto:imd in the application
z -‘ C 0 4
Na nber of staff in your organ o’ or! o volunteers in your orgari7or a
Y/,_i
o3,Annual budget Year Founded
S -.-
/ ()-! —J
BC Society Act Number
Regional ProjEct5 provide thr. following in language. Write as if wee were describing your
oreanication and prOJPct to -0.0’O -cOo m new VO°.0 ahoW you.
1, Describe your orgaisee ..; mn rcocans
2. Briefly describe the pronosed I5 objectives and the benefits it will have to Metro Vancouver’s region,
your municipality. artists, end yew oreer-ewinn. Why are you undertaking this protect? What are the
anticipated results makes tOe teens: ureque and innovative
3. is this a new project oc an expansion o.f an existing initiative?
4. List the main particpinw nve!mc cars !n 0- no proposed project tpad cee’i, contract employees,
volunteers).
S. Describe any partnerships or collaboration involved in creating or producing the oroposed project. Please
attach letters of suppcet
Planning and Financia! information6. How will the grant money be soent? Please submit a detailed budget as a separate attachment.
7. What other sources of oroiect boding are you currently pursuing? Identify any groups, agencies or businesses
that you have idennfc acacornacheci as donors. and soonsors.
8. Please attach a planning timetable, promotional material, sponsor package, etc. (If applicable.)
9. How will you evaluate the teo(est Hoe seen on determine whether it has been successful? What measurable
outcomes will you use a year evawcPc’n?
Required Documentation• 2 copies of the Regcna. branec: draw ;cpO:0000n
• Current Board of Direct am c: -is. 005; 0 ecseorc only (do not include perscna contact info)
• Most recent Financre, S:asemenos — sgnca sty toe apprcpriate Board executtve
• Regional Project Budges
• Table of contents from a business plan or equivalent documentation
• Support material — op’uanai and wIll not be returned 4
Conditions and Signature
• Grant recipients must acknowledge the.• support of Me.tro Vancouver on all promotional materials related to
the funded project.
• Organzations maki tcrrn ti n provided in his ,‘ cn mut discuss such
changes with Metre Jcncouvcr .tcc prior :c tin rnplementatien.
• Grant recipients w;lh wcunc Ic: foHow—up report for Metro Vt ccnjinr Receipt of this report
will be a precondition to: corcor ct toe oponhzation’s future grant dpecccios.
• Information provided in the Regionci Project Crant application may be subject to disclosure under the BC
Freedom of Information and Protection of Privacy Act,
Submitted by:
On behalf of: ,iferns esq0000tior
.1500
/ .7
7
1 I ..I/
- --—- ---Sqm,turef Cha,r/PreOdont of the Bei:r OC(tC’
By signing this form we do so:errniy ce/ate too:. to toe hest of our knowledge, the it/crmation given in our
application is complete and true n every respect.
Deadline for submission
Mail or deliver two completed ccoes Ct’ the 000:/coon term by Wednesday, July 24, 2013, 4tm
To: Metro Vancouver, Cultural Erects Prag’ao’ E>::errai Reiations, 3d floor 4330 Kingsway Burnaby, B.C. V5H 4G8
If you have any questions about the apoilcation or the eligibility of your project call Judy Robertson at 604-432-6205 or
Regional Project InformationPlease provide the following information. Be brief and use plain language. Write as if you
were describing your organization and project to someone who doesn’t know anything
about you.
1. Describe your organization, its history, mandate and programs.
oranate
The Vancouver Asian Fm Eesavai Socety dJAFF is the oldest film festival of its kind in
Canada. Since its inceotron n in additional to an annual film festival VAFF has also
organized workshops, panei drsccssions fundraising seminar, filmmaking contests, and
opportunities for filmmakers to network with each other and with industry representatives as a
means to develop, produce, mentor and disseminate media arts activities.
VAFF strives to promote dynamic nncvatve, cross-cultural images of Asrans—especially of
Canadian Asians ano then ethnic ougme— that are of contemporary relevance, in atypical roles
for mainstream North American film and televisiom VAFF operates on the belief that significant
creative control over the narrative must come from Canadian Asian filmmakers and their
communities. whether r’sduced in North A.menca or abroad—and was created to support them.
to promote their crossmuturai ano nojusue narratives, and to showcase the-jr work, to both
Asian and non-Asian mAcnoes. VAFF a inclusive all Canadian commundres and particularly to
develop open and appreciative communications and collaboration between all communities in
Metro Vancouver.
ProgramsThere will be 12—14 oa”mrn g content of at east O oj Canadian
independent filmmakers of Asian nentage, 2 panel discussions and networKing opportunities for
filmmakers, The films/video will include narratives, dramas, documentaries, animations and
experimental media works.
2. Briefly describe the proposed project, its objectives and the benefits it will have to
Metro Vancouver’s region, your municipality, artists, and your organization.
Proiect Description
The Vancouver Asian Am besrira. Wi cost its premiere film festival Novemtier 7—10, 2013 at
Cineplex Odeon lnternatmna. Vilaqe Cnemas and will be celebrating ts 17’ Anniversary in
2013.
VAFF 2013’s theme will be NAUGHTY ‘OR RICE, a play on the common saying and the Asian
stereotype of model citizenship and explores this double edged perception. As MetroVancouver’s municipalities and tee rest ot Canada’s demographics evoN’e dramatically over the
next twenty years, it is oncoral that there oe a-n. outlet for these diverse films :o be shown and an
organization that offers ooportuniues for these artists to hone their artistic craft for the larger
world stage.
Why are you undertakin... this project.?
VAFF operates on the beief that qnificart creative control over the nauahve must come from
Canadian Asian filmmakers and rnmr communities, whether produced ri North America or
abroad—and was created csupcoa them. to promote their cross-cultural and inclusive
narratives. and to showcase 0cc wore to coO Asan and non-Asian audiences. VAFF is
inclusive all Canadian communtles and particularly to develop open and appreciative
communications and collaboration between all communities in Metro Vancouver,
What are the antIcipated results?
VAFF anticipates two ames of rcmec msu:s Os year. One is an ncease n audience
attendance. We hope to conreve rho \rv’,tn ncreased online presence and moroved box office
management. VAFF s soca mccc teem consisted of three dedicated executives that kept
VAFF online presence active coo relevant throughout the year and helped many other
organizations promote their upcoming events. VAFF Facebook is a destination for many
organizations to post their upcoming events This should increase attendance,
The second anticipated result s continued positive filmmaker experience at this festival. We
strive to make every artenc.nc. fimmahe fee mportant and special from amort pick up and
providing particular arrent.cin d:or’ nalunteer filmmaker coordinators as tier are important
ambassadors for the tesava ace rce muncipaites. Through this speca attention, VAFF has
become an important festival for himmakers to attend on the Asian Film Festival circuit across
North America.
What makes the project unique and innovative?
The four-day film festva celebrates the most significant achievements in Canadian Asian film
and video. The festivai offers crcnrammng. from a Canadian Asian perspective with stories
rarely seen in mainstream meoa winch offer relevant and unique stc.ryteiirg from diverse
filmmakers to diverse audenoe members.
3, Is this a new project or an expansion of an existing initiative?
VAFF continues to excanc as macrye of banging unique stories to Metro Vancouver audiences
and operates on the firm oeef that artists and volunteers should be compensated forcontributing their taleri expertise rico dine to their work and to their communtv, and provides
screening fees, artists fees, h000rsriums ccc other forms of project-basec n-kind or financial
compensation as budget allows. Over the years, VAFF’s objectives have expanded to include
mentoring and support for filmmakers to bring their stories to film and to develop an audience
for these films. By meeting all these objectives, VAFF hopes to develop understanding and
appreciation for the diverse Asian communities in Vancouver by all communities in the City, and
to contribute toward fosterinc the viability of Canadian filmmaking not only as a form of artistic
expression that enriches the British Columbian and Canadian cultural landscape, but as a
sustainable career.
4. List the main participants involved in carrying out the proposed project (paid staff,contract employees, volunteers).
VAFFs organizationai structure consists of a 6 person board that acts tn an advisory role and
will deal with issues mat are reaea to poicy’ and governance of the society Below the Board is
the Executive team. Toe Presioer s:ts on the Board as well as on the Executive team. The
Executive team is hearted cnhy cv rue President and the Festival Director- The President
oversees the day to day operntcns to ensure fiscal responsibility. The Festtai Director
oversees the festival programming and outreach to ensure the Society’s mandate and mission
is achieved.
VAFF currently runs completely on a volunteer basis. with paid contract workers to fulfill roles
that are task specific ano for a inrOad euod of time. In the past these contract roles haveincluded adrninistratve ano ou:reacn sunport DJs. specific Art design, data inputting, video
editing, market survey!resesrch romonona. and community outreach oroiectionist and
publicist.
VAFF Board of Directors 2013
1, Barbara Lee — President. Filmmaker 19962. Deborah ReesLee — Lawier 19963. Mei Nor Lee — Mortqage Broxe r. 20004. Iven Tse — Lavye:, 20035. Andy Chu — Prooucer, 2c 06. Peter Leung — COO, Blanche MacDonald, 2012
VAFF Executive Team 20131 Grace Chin — Festiva Director2. Angelina Canrada — Assistant Festival Director and Filmmaker Liaison3. Edwin Ho— Director of Marketrng4. Clement Woo — rec:or nt oc;a Meda5. Jennifer Lee — Drecror of Programmrng6. Kathy Leung — Senior Programmer7. Winnie Tam — Programmer8. Danny Berish -, Programmer and Technical Support9. Brendan Uegama Programmer and Vdieographer10. Mona Mok —Wec deue;oper11 Mark Oh — Volunteer Cooro;na:or12. Lucy Lu — Volunteer Coorainator13. Callan Tay — Box Office Manager14. Felix Cheng — Lead Social Media Writer15. Ricky Choi — Art Director16. Allan Cho — Community Outreach Officer17. Brian Cheung — M.AMM Producer18. Lei Tian and Tna Coang — Graptic Lesigners
5. Describe any partnerships or collaboration involved in creating or uroducing theproposed project. Please artach ietters of support.
VAFF works extensively with many community partners across the many municipalities in theMetro Vancouver Area. One’ such example is the Nikkei National Museum and Cultural Centrein Burnaby and have cmpresented many films over the last 16 years. This included Jointpresentation of Opening film DAYLIGIHT SAVINGS in 2012 along with Powell Street FestivaL
Another collaboration VAFF is involved with is with Ricepaper and the Asian Canadian Writer’sWorkshop (ACWW) that promotes storytelling in various mediums.
Other Community partners from 20t2 were.• Out on Screen Co.present,ed the film TALES OF THE WARIA and WHITE FROG.• Other Community Pamtnershios and co-presenters included DOXA Film Festival.
Women in Film ann Teevwion, P:nov Pode Vancouver, 03 Korean Canadian Society,Chinese Varsity Club of UBC and the Jewish Film Festival.
Planning and Financial Information
6. How will the grant money be spent? Please submit a detailed budget as a separateattachment.
The funds will be used for omolect costs for presenting the film festival in November. Keyexpenses are Artist Fees, Venue Costs. Production and Technical Costs and Marketing andPromotions
See Attached Budget
7, What other sources of project funding are you currently pursuing? Identify any groups,agencies or businesses that you have identified or approached as donors and sponsors.
VAFF has partnered with Boiling Point Marketing who are in the process of identifying long termsponsors to obtain multi-year comrritrnerts with VAFF. Currently, other commited funders andsponsors include City of \Janccuver. River Dstrict. J0yTV, Shaw Multicuturai Channel, BacklotProduction, and Like Minded Media. Some other sponsors that have been approached includeIATSE 891, Toyota BC. and A:r Canada.
8. Please attach a planning timetable, promotional material, sponsor package, etc. (Ifapplicable.>
See attached. Promotionat material and program guide is from last year.
9. How will you evaiuate this project? How will you determine whether it has beensuccessful? What measurabie outcomes will you use in your evaluation?
Because all attendees must become members of VAFF to watch the films, VAFF sends out asurvey at the end of the festival to its members to obtain feedback. The success of the festivalis measured by the following evaluation tools:
1 Audience Feedback ac s..ix. a ‘eoakve fmm the audence survey2 Attendance dic? a - c e ac coking a over year growth
3. Positive flrnrnakers exam maca a acuah Jaoquefdiscussons and Q&ks with audiencesl
Audience Feedback:After the festival wraps, a survey m sent out to all attendees for some demographics but also
feedback about their experiences at the festival. There are generally 10 questions asked thatincludes what they enjoyed most at VAFF, where they can see improvements and generalcomments. Previous comments hmve generaly bee..n overwhelmingly positive. We take thisfeedback seriously and have made some imorovements or changes that audiences havesuggested through the
Attendance:Increased ticket sales ‘man be what md ulumatety ndicate whether or not the festival is growingwhich we consider as one mortan: ndcabon of success. We also look at where the ticketsales are coming from, individuals, groups. online, word of mouth, ads which wifl tell us whichmarketing strategy was the most successful and how to build on this for next year.
Filmmaker Experience:VAFF is the oldest festival of ths kmd and s one of the only two Asan film festival in Canada,Through positive experiences ann ccmd ;v:crci of mouth from past attending f.mmakers, VAFFhas become a must artenc festva. for dimmakers. This has resulted fl ngrter filmmakerattendance and better exoenences for me audiences because the filmmaker C&A sessions afterthe screenings give the mograni a no case and personal perspective.
6CI ft.L:
____
.Iuly I6 2013
:\sjan Canadian \\ ‘. \( \\ \V
P0 Box 74 I 74I lilicrest RPO\/anc uvcr. BC\‘5V 5L1
To wli rn ii ma ccwn.
(.)n behalf nithe Asr;o ( anjdian A ritwA \ orkshop ( AC\k\>, I am linac UHS letter in support
of the Vancouver Asian Film Fes tival’c: 2013 anplication for funding to the Metro Vancouver
Cultural (iranO
I ter ir titers I rom Al ihod h\ thc \saan ( in A A n’Lrs \k orkshop
ha coLrLd the hOA L nali ‘ IO put )fl hs V \ I for mans seam no In fact a number
ofereative tction ann now won thai ha\ c published in our literars tiacazine have
continued in the area 3 he k 1 coam an iiv organ i/inc thanks onporttintties offered by
VAFF, In 2013. the Asian Canadian Writers’ Workshop will co-present a series of short films at
VAFF 2013.. as commui iit.’v srtncws we step c loser to creating more collaboration.
In addition. ACW\V 3 aelin : an ‘. i a \ \FF on the inaugurai \sein 0 anadian Literary
Festi al” in Novembe: 2 1-24 2013 mAch ‘ ill celebrate and showcase the artist storytelling work
of writers. filmmaker, and ao rn wIlewoO ditArent media. Through thR collaboration, we plan to
increase public engaeam.e a ac e w narcase accessibility of both our orgnnjzations. The Asian
Canadian Writers’ A orkwea ioo An a: erd to parinering ith VAIF on Os initiative of
promotjng diversity in the. Metro \‘aneouver area.
Sincerely,
Allan Cho
Board of DirectorAsian Canadian Writers’ A orksnon
wwoariw5pa9ermaazifle.ca
-0
_______________
INikkeinational museum& cultural centre
July 18,2013
Dear Madam/Sir:
I am pleased to write this letter in support of the Vancouver Asian Film Festival’s 2013application for the Metro Vancouver Cultural Grant.
As an organization with the mission to support both emerging and estabiished Canadianfilmmakers of Asian heritage in honing their fllmmaking, the Vancouver Asian FilmFestival Society (VAFF) has provided community audIences opportunities to experiencefilms consistently for more than sixteen years. The Nikkei National Museum & CulturalCentre has been an active supporter of the Vancouver Asian Film Festival in the past,indudlng being a community partner in 2012’s VAFF program where we co-presentedThe Tsunami and the Cherry Blossom and the Spirit of the Nihonmachi.
The Vancouver Asian Film Festival is a strong supporter of culture and the arts in ourcommunity in the Lower Mainland. We are pleased to recommend and support VAFFfor this important funding opportunity.
Sincerely,
Sherri KajiwaraActing Executive Director
6688 Southoaks Crescent Bumaby. BC, Canada V5E 4W T 604.777.7000 F 604.777.7001 www.nikkelpl.ca.rg
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2013REVENUES:ADMISSION REVENUES:Single Tickets $10000Group/Discount Tickets $3,000MAMM Tickets $1,500
CORPORATE REVENUE.S:Corporate SponsorshipIndividual SponsorshipAd Sales
GOVERNMENT FUNDINGMetro Vancouver Gra.nt $10000City of Vancouver Project Grant $6,EOO
TOTAL REVENUES: $65600
EXPENSES:ARTISTIC EXPENSES:Artist Fees/Panehst FeesArtist HotelsArtist AirfaresArtist Honorariums
_________________
PRINTING EXPENSES:Tickets $500Passes $500Membership, etc. $250Program Guide/Materials/Program Handouts $5000Banners $900Transit Posters $850
PROFESSIONAL FEESProjectionist $1,000Misc. Fees $3,000Contract/Admin Fees $17000Legal/Accounting $1,000
PROGRAMMING EXPENSES:Travel $3,000Shipping $1,500
FACJLJTYIVENUE E.iXI7ENSES:OPOning SMIa $2,500Filmmaker Networking Luncheon $750Cl.osing Rec.ption $1,500Filmmake.r Meet and Greet $t000Centrepiece Spotlight Mixer $1,000Media Launch $60••0Volunteer Appreciation NightTheatre. Rental
RENTAL EQ UIPME.NT EXPS:JSES:He.adsetc $500HD, Digibeta Deck $2,500Red Carpet, etc $500Storage
_____
MARKETING!MEDIA EXPENSES:MAMM Expenses $1,500Fundraising Expenses $500Promotion/Communications $1500
ADMINISTRATIVE/MISC. EXPENSES:Supplies
TOTAL EXPENSES: $656OO
VAFF Board of
1. Barbara Lee Board Member/President
2. Deborah ReeeLee Board Member/Secretary
3. Peter Leung Bd Member
4. Mel Nor Lee Board Member
5, Iven Tse - Board Member
6. Andy Chu Board Member
JflCOU.VE:.r Asian F:llnn Festival
VAFF MANUAL
TABLE OF CONTENTS:
BACKGROUNDMission StatementHistory
ORGANIZATIONAL STRUCTUREBoard Of DirectorsBoard of Director& RoleExecutive Officer PositionsExecutive DutiesVAFF Executive Role Descriotlor s
President/Executive. DirectorFestival DirectorAssistant Festivul DirectorBox Office Ma acerVolunteer Cocrrnator ResponsibilitiesCommunity Oucreech LiasonDirector of PrccammnoFilmmaker La:sorProgrammersMedia & .. ,.ucdorro: lEAWebmasterArt DirectorGraphics Desqce
VAFF RULES AND REGULATtONS FOR EXECLtTtVESCorrespondenceFinancial CommitmentsProgrammingDealing with the PublcSponsorshipMiscellaneous
SUMMARY OF VAFF ACTIVITiES1 Raise Money2. Promote and Publicize Events and Festival3. Programming4. Volunteers5. Liaison witn Coramunrry
SETTING TIMELINES FOR TASKS
AGENDAS, MINUTES AND MEETINGSVAFF Meetings
VAFF EXECUTIVES’ TIMELiNESExpand Ffm nrc rcrc
2. Send out Open Oaf3. Once.. Subm Osk,ns crone in4. Organ ze Programming Committee5. Programm in Selection fl.rroia.6 Setting Proqorrm T.eof Fer-.tcrrai schenule7 BCLawsR8. Print Traffic
TEMPLATES/RESOURCES FOR PROGRAMMING (THESE MAY NEED UPDATING)1. Open Call Announcement2. Filrnmakers Entry Form3. Filmmakers Datrbase4. Submitted FiLes List5 Proqramrr c..al and Master L s6. Selected FEs Lot7. Accepted He :orrKe: ‘.‘ ‘
8 Letter of Aocno9. Notice of Acceptance Srqnature Requned — includes Screening Copj deadlines and Shipping Info)10. Letter of Rejection11. Program Schedule12. Shipping instructions•13. Letter to CORA to renoest letter for deanna Canada Customs14. Attending nrc t”.ercL’liior;rco: rOn while in town15 Filmmakers ‘eiercnroe
MARKETING AND SALES
1. Develop MarketIng Plan2. How to enhance existing VAFF mernbers involvement3. Organize Tcket G,veawrrn:s4. Develop a grea:rc- SOZE Or5. Sell more aa scone c rae Procrrrrr CoLe6 Plan the Pore An7. Refer to Menra ann Rrmioy Zerrefoc mom specific duties under mis area8. Update Templates and Resource Materials
- Cover of VAFF Sponsorship Package• Market Profile of VAFF Members• Corporate Sponsorshig Levels• Corporate Scoosc-srra Proosa.1rrtmod.cton Letter• Past Newsienrer• Corporate Sc.or.sc:sms ..oeee.er: LeEers• Ad Flyer• Ad Rate Sheet — Prcc•ram Gctr,m.e and Slides• Ad Booking Form• Ad Booking invoice• Ticket Giveaway lnstruc’hons• Ticket Gvea nay edricare• Sponsors reqAcog sle sr
VANCOUVER ASIAN FILM FESTIVAL SOCIETY
FINANCIAl. STATEMENTS
(Internally Prepared - UNAUDITED)
December 31,2012
INDEX
Page
Balance Sheet I
Statement of Operations anti Net Asscts 2
5*% :c( .S•••17 k s•i A 5. fl 5J Ff5116::1 SOC 1116s 1 61 S11 ‘51 ‘)1 (51’I 1461 U)5S 65i) 511 6551 15
1. :NA UDTTI7I))fl)14 All ( yp4j{ 15I)Ki) 1))f(14i41j4 31, 2Ti 2
% of % of
2012 Reenu 2(111 Teenue
Adnhwions 7,148 20,9% 1 0535 21:7%f.:orporteAdvernsmg II .477 33.5% 10,429 21.5%Munft ai aovernment as iso 7,000 2.1,47/6 154100 3•(79%
Fundraising I .798 5,2% 3,269 6,7%
[3CArts• Council 6.000 17.5% 7,580 15174.
%tional Fiha Board (iran: 0.0% 1,000 2.1%Islmrnaker’f entry f . 852 2.5% 791 I 6%)Iher Revenue 7 0.0% 13 0,0%
34,282 100% S 48,547 100%
OPIRATING KXINSUSt5vdverttssng and gross ions 511.9 1 5.7” 7 5.560 I I .5%Artist fees (001 1 7.5% 8.797 18.1%I BIkers 629 1.8% 95’) 2.0%( Bias and mesdi 3,592 I 0.5% 9.50 1 9.9%( )llice Supplies and Sunjrs 3,030 8.8% 2.809 5,8%Prof6sssional ides 2,560 7,5% 3,035 6.3%Program Guide 3,653 13.6% 0,4% 13.4%
I heatre and workshop renlss 5,390 15,7% 3,694 7.6%Travel 2,928 8.5% 6.942 14.3%
1 ulities 89 0.3% 547 1.1%
34,271 100% S 48.487 100%
I Deficiency) excess ol revenues user expenses I I .00 60
NiP!’ ASSI%tS. beginning of sear ( I ,031 .00) ( I. 1(11
5lT ASSETS ([)EFICIT). end olvear S (1,030) S (1.041
7...
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Table of Contents
Festival Profile 3
VAFF 2012 Statistics 4
Social Media Coverage 5-6
Audience Profile 7
VAFF Films & Programs 8
Media Coverage 9
Events & Initiatives Leading Up to
and During Festival 10
Sponsorship/Partnership
Opportunities 11-14
ER ASI,
Page 2
CELEBRATING Dfl1F:sn’Y I N FILM
Th V;mcou’i A’iw Hfm H’stv iov (VAI f) is riot lui prohi inivitinn ihrt
‘S div’isity 10 I if in by joc )VI( Ii 1 00 1110 tm lfl(IOp(flf for I Asiw-mid i;m md
im-Amorkm hImmikvi to showi iso thtii work to iudioino’ Lfl Moiro Vat ouver
\‘Al’I• 15 tht 10l1!,tSt Il1flfliflf /\iar film lostiviI ill (.anada ind is roIohriting its 17th
illnivorsaiy on Novomlor 10, “ I
FESTIVAL PROFILE
VAN’ i, ho oJd’st. Aim turn h’’ti u (:an.ida. It was Imindod in I 5 and debuted in
opL omhti I )7 Si 0(0 1 tio;, ! rio of hou nrfs of 0 or Io\’or s brv o:\pon0000d a diverso
solootion ot Nuith AHIrflt1iiAS!Jfl ah(f intornatiunal films.
I•:,irh VjlI: lttr((’tS t(i.S(’ :;,ouo (l1(fl(0 fll(’fl)beFs O’0F its tour—day fustivrI year
lOhiflhf OVOlltS. It also rorho; fl1flV lllOfl’ thFcflih word of nioiith, pro—festival events, and
tIWIitiOflIl 1i1(I S0(11i niritir tIi ;ho1I thy vcn
\‘Al+ is entirely organiiod md pt odorod by a ruup of dediratt’d volunteerS, hOd IS libidO
rossi h Ic bY generous Ii loin ca Si i-t ruin CO 11)01—ate SOflSUFS, public fu tiders and
f)i i’ito oloriots.
Page 3
2012 STATISTICS
,.‘1 /1 i(’h(’5I ¶ c-newsletters to suhscnhers er yearn),) Iik(S 1)11
‘i.3 followers on I Wit I
4 days13 programs40 films
1,896 audience members
lii volunteers
: Va i couve r premieres\AJes(.’ru Caiiada preni
2() ( Iia(lJcilI
2 world premieres
ASIAN POPULATION IN
METRO VANCOUVER
‘Vancouver has one of the most diverse
Asian communities in N orth America.
The two largest Asian groups in
Vancouver are Chinese and South
Asians. Vancouver has Canada’s second
largest Indo-Canadian population after
Toronto.Other significant ethnic groups in
Vancouver include Korean, Vietnamese,
Filipino, Cambodian and Japanese.
By the numbers:
Percentage of immigrants to BC from
2006-11 who are from an Asian country:
Over 70%
Percentage of population in Metro
Vancouver who are ethnic Chinese:
Over 17%
Page 4
SOCIAL MEDIA cOVERME
July 2012 (leading up lu idiwss)
I Ui <) viss / UH(h•
., L !;
lup tuimtit”: C IlI wil It’ l,H: with kw;t, Iudi)
Fup it it’s: Vi uvi, Rithiw wd, lu ii
;i.)’!/fl st’iitli tF1tIi( ( (Ik)
:;x rt’tf1riI tiiltu (I’l’Iu(k)
diiitjifh (It)ltl’1(•,r\M\1,Ii(l)
I ‘.4 I iitf I( ( 1H\ ‘t ‘I
(;I k thr()igl1 iitt’ t( \‘/\II .‘t’
(I i’()lli iit’wsltt I t’! ): ‘1
I(;J) countries: Cmidi nid IJSA
iIso: Suuilh I\nIi , I iilii
lop [ities: Vuu ouvt’r Rithmond Burnihy
August 2012 (leading up to MAMM screening)
1,187 visits / 781 unique
pgevivws
lop countries: C;mad md USA (also: India)
op Ci i es: Van C( )I ive 1 iii naby, Richmond.
‘18.1% search traffic ((:nole)
.3% i Ierra1 tiaflic ( I’cchonkj
I 7.S% direct traffic (homepagu, MAMM)
P.8% campaign trail Ic ( newsk’ttcr)
Clkk through rate to VAFF website
(from newsletter): 10
Top countries: Canada and USA
(also: India)
Top cities: Vancouver, Burnaby,
Richmond
Page 5
SOCIAL MEDIA COVERAGE
October (Pre-lestival)
6,087 visits / 4,186 unique
22,197 pageviews
:i65 pages / visit
30.4% search traffic (GoogleJ
34.7% referral traffic (Groupon, Pacebook)
31.9% direct traffic (hornepage, festival schedule)
3% campaign traffic (newsletter)
Click through rate to VAFF website (from newsletter): 183
Top countries: Canada , USA (also: China, Hong Kong, South
Korea)Top cities: Vancouver, Hurnaby, Richmond, North Vancouver
(also: Coquitlarn, Toronto, Surrey, Los Angeles)
November (VAFF 16 stats for November 1-5 only)
2,156 visits / 1,522 unique
7,233 pageviews
3.35 pages / visit
45% search traffic (Google)
27.6% referral traffic (Facebook)
26.1% direct traffic (homepage, MAMM, Bidness)
1.3% campaign traffic (newsletter)
Click through rate to VAFF website (from newsletter): 28
Top countries: Canada and USA
Top cities: Vancouver, Burnaby, Richmond, North Vancouver
(also Toronto, Coquitlam, Los Angeles , Surrey)
Top referrals from social media
Facebook: 70-90%Twitter: 10-20%also: Hootsuite/Yelp
Page 6
AUDIENCE PROFilE
\‘AII his irn’rnhi hp i u r ‘,
IH’uI1I whu in’ pnirninik LiritdI.u. U!
Asiin Iwni .it’. Our supp Liii ‘I s Irf’ \\ Cli
iuIrikd nUn (linulirn UI LIV \LIuTI
(n I I isi lv hM WUf’Ii ii n U1 5 UI 1 H Lu 1),
w’l I eduu;ii ‘d, h we sui ii] H,! ni d SI H
I1(( UTH’S, ifl( I i FL’ hii lv iiii I urn H I H I
Li l(’iII((i.
Ages
1824: 7.6%S-34: 34.8%:3549: 28.8%SO64: 21.2%65+: 7.6%
Household IncomeBelow $25,000: 27.3%$25,000-$49,000: 39.4%
$50,000-$99,000: 25.8%$100,000+: 7.6%
OccupationProfessional: 66.7%Trade: 1.5%Clerical: 18.2%Student: 13.6%
GenderMale: 37.9%Female: 62.1%
EducationHigh School: 1.5%College/Trade: 15.2%University: 71.2%Post-Graduate: 12.1%
Page 7
1 T T r.SA
ap
.— .e. ... . .. .—.
Each year VAFF screens an exciting array of features, documentaries and shorts from
filmmakers from across North America and around the world. They explore a wide
spectrum of subject matter, from portraying the struggles of immigrants and those who
wish to reconnect with their culture, to tales of a rising Bollywood star.
Often a member of the cast, director or producer will be in attendance, and audience
members have the opportunity to engage in panel discussions and Q&As.
Here’s a glimpse of last year’s highlights:
MIND YOUR BIDNESSThis is VAFFs premierefrndraiser in June The event offers a live auction ofpeople along
with all kinds ofgoodies followed by a raucous dance party Special appearance by DJ
Goddess and in partnership with High Society
Mighty Asian Moviemaking Marathon (MAMM)8 teams competed in a lOfllmmaking competition with a cultural twist The completed
films were screened at a sold out eventfollowed by ajam packedgala at Wild Rice
Opening night presentation - DAYLiGHT SAVINGSWith lead actor and co-writer Goh Nakamura and cast member Yea-Ming Chen
Rob Leickner’s World Premiere of LOST LAGOONLocal director Leickner brings entire cast and crew to his sold out screening
A LOT LIKE YOUWith director and writer Eliaichi Kimaro in attendance.
SPIRIT OF NIHONMACHIWith directo, Greg Masuda in attendance
Festival PanelFeaturing a panel oflocal emerging and established filmmakers includingJohn Bolton andJeremy Lutter
Closing night presentation - WHITE FROGWith director Quentin Lee and writers/producers Ellie Wen and Fabienne Wen, in
attendance
PageS
4—
MEDIA COVERAGE
Due to its multicultural film offerings and diverse participants, VAFF as well as the
events leading up to the festival, receive extensive coverage from both mainstream and
ethnic media. The amount of media coverage has been growing steadily over the years,
especially as the number of Asian audiences, as well as the influence of this demographic,
grows within the city
1-lere are some examples of the media coverage received In 2012:Fairchild Radio AM1470 / November 13, 2012
The Province! October 31, 2012LiirthiLeizoLamyie
Fairchild Radio AM1470 / October 31, 2012
k/0•.Er
Cap/lana Gourier / October 30, 2012
Goop Radio 1 005FM / October 29, 2012
BuILo,n Awafi’Show
Fairchild Radio / October26, 2012
MEFJnL2iew
The Georgia straight! October 25, 2012
.Nkii’irdriIiinc
JoytvNews / October 22, 2012
Vancouver Sun / October19, 2012
T3’ianhlmJo,tIvoJto_liqbtua rh 7encouver area
The Georgia Straight / October 12, 2012
Fallfiirn Jests: VancouverAsian Film Festival, Amnesty International. and more
And others, including:Asian Pacific PostFairchild RadioSing Tao DailyMing Pao NewspaperThe South Asian PostEveiythinghapa. cornAX3 BatteryChannelAPA Broadcasting Asian America and more.
Page 9
lAfllM( lip Tfl ANJfl— A K
A host of events and opportunities await audience, filmmakers and other industry
members during the festival and throughout the year. Each of these opportunities
presents unique opportunities for sponsors to take part in. Please contact us at
for more information.
The Mighty Asian Moviemaking Marathon (MAMM)
An annual sold-out filmniaking competition in July/August
Opening night film screening and gala
Centrepiece spotlight
Filmmakers karaoke party
Filmmakers’ and industry networking luncheon
Closing night film screening and gala
Festival VIP lounge
Panel discussions, workshops, lectures, forums during the festival and
throughout the year
Page 10
1.• .
As a VAFF sponsor, you will enjoy a high-profile association with a dynamic anddiverse film festival. Through your sponsorship you will demonstrate to our audiencesand the community at large that your organization supports community initiatives,muiticulturalism, and arts and cultural events. Your support will help us bring an excitingarray of Independent and commercial films to Metro Vancouver.
As a sponsor, you will:• Position and increase the exposure ofyour brand, product and/or service to desirableniche markets;• Build brand loyalty and positive brand image in local Asian communities;• Develop new business opportunities and markets;• Strengthen your organization’s ties to the community
We are committed to developing long-term relationships with our sponsors and areproud to offer an assortment of community initiatives that you can participate Inthroughout the year. Below are some of the opportunities available. Contact us for moredetails or to create an opportunity that is customized for you.
TITLE SPONSOR (1 spot) $35,000• Recognition as the title sponsor in all festival promotional materials.20 VIP tickets to the opening night festival reception.20 VIP tickets to the centerpiece reception.20 VIP tickets to the dosing night reception• 30 VIP festival passes (admission to all festival film screenings)• 100 individual program tickets (excluding the opening night program)• Full-page, full-colour ad on the outside back cover of the festival’s program guide• Exclusive opening night gala and closing night gala sponsorship• Corporate display booth at the festival• Opportunity to do promotional item giveaways at the festival• Logo on all festival posters, media releases and invitations• Right to use the VAFF logo on your company’s materials• Digital Ad Space (big box — 600 x 450 pixels) on VAFF web site• MAMM Event exclusive sponsor opportunity• Media partnership opportunity• Showing of a promotional ad (maximum 30 seconds) prior to each film screening• Acknowledgement on the festival’s website with a link to your company’s website• Opportunities to meet filmmakers and actors• Opportunities to develop other customized event and program sponsorship benefits• Company name and logo on the festival’s website and newsletters• Opportunity to speak at opening and closing programs
Pageil
::::‘ .y
tNRECtots CIRCLE SPONSOR (2 Spots) $20,000
• Recognition as a director’s circle sponsor in all festival promotional materials• 10 VIP tickets to the opening night festival reception• to VIP tickets to the dosing night reception.10 VIP tlcketi to the centerpiece reception• 15 VIP !esthal passes (adnilsslon to all festival film screenings)• 50 lndh#i4u4Øtogram tickets (excluding the opening night program)• Full-page, full-colourad on the inside front cover of the festival program guide• Corporate display booth at the festival• Digital Ad Space (Leader board banner 728 x 90 pixels) on VAFF web site• Promotional item giveaways• Logo on all festival posters, media releases and invitations• Rl&it to use the VAFF logo on your company’s materials• Showing ofa promotional ad (maxImum 30 seconds) prior to each film screening• Aclmowledgernent on the festival’s website with a link to your company’s website• Opportunities to meet filmmakers and actors• Opportunities to develop other customized event and program sponsorship benefits
MAJOR FESTIVAL SPONSOR (2 Spots) $7,500
• Recognition as a major sponsor In all festival promotional materials• 5 VIP tickets to the opening night festival reception• 5 VIP tickets to the centerpiece reception• S VIP tickets to the closing night reception• 10 VIP festival passes (admission to all festival film screenings).30 individual program tickets (excluding opening night program)• ½ page, colour ad of the festival program guide• Corporate display banner at the festival• Digital Ad Space (Leader board banner 728 x 90 pixels) on VAFF website• Logo on all festival posters and media releases• Right to use the VAFF logo on your company’s materials• Showing of a promotional slide prior to each film screening• Acknowledgement on the festival’s website with a link to your company’s website• Opportunities to meet filmmakers and actors• Opportunities to develop other customized event and program sponsorship benefits
Page 12
PATRON SPONSOR (3 Spots) $4,000
• : VIP tickets to the opening night test ival reception
• 3 VIP tickets to the centerpiece reception
• 3 VIP tickets to the closing night reception
• 6 VIP festival passes (admission to all festival him screenings)
• 20 individual program tickets (excluding the opening
night program)
• ¼ page 13W ad in the festival program guide
• Right to use the VAFF logo on your company’s materials
• Digital Ad Space (small box 250 x 250 pixels) on VAFF website
• Showing of a promotional slide prior to select film screenings
• Listing on all festival Posters• Acknowledgement on the festival’s website with a link to your company’s website
• Opportunities to meet filmmakers and actors
SUPPORTING CAST SPONSOR $2,000
• 2 VIP tickets to opening night festival reception
• 2 VIP tickets to centerpiece reception
• 2 VIP tickets to the closing night reception
• 4 VIP festival passes (admission to all festival film screenings)
• 10 individual program tickets (excluding opening night program)
• Business card 13W ad in the Festival program guide
• Right to use the VAFF logo on your company’s materials
• Digital Ad Space (logo) on VAFF website
• Showing of a promotional slide prior to select film screenings
• Acknowledgement on the festival’s website
• Opportunities to meet filmmakers and actors
FRIEND OF VAFF $1,000
• 2 VIP tickets to the opening night festival reception
• 2 VIP tickets to the closing night reception
• Business card BW ad in the festival program guide
• Right to use the VAFF logo on your company’s materials
• Digital Ad Space (logo) on VAFF website
• Acknowledgement on the festival’s website
Page 13
OTHER INDIVIDUAL EVENTS AND PROGRAMS AVAILABLE
FOR SPONSORSHIP:
• Opening night gala sponsor - $3O0O
• Closing night gala sponsor - $2,500
• Centrepiece spotlight presenter $2,000
• Festival VIP lounge $2,000• Filmmakers’ karauke party - $1,500
• Filmmakers’ and industry networking luncheon - $1,500
• Panel discussions, workshops, lectures, forums during the festival and throughout
the year• The Mighty Asian Moviemaking Marathon (opportunities to sponsor first, second and
third prizes for two categories: documentary and narrative)
• An online VAFF 30-second ad competition taking place in September
Each of the above events and programs offers unique appeal to particular audiences,
Partnership benefits can be customized to ensure that they achieve your specific corporate
objectives and goals. Please contact usfhi- inure details.
MEDIA AND IN-KIND SPONSORSHIP:VAFF welcomes all kinds of media and in-kind support. Sponsorships can be tailored to
your organization’s specific needs. Please contact us for more details.
Please join us in celebrating diversity in the community as we discover and support
independent artists in North America. Your gift to VAFF supports emerging artists in film
and helps to bring their work to the city
TO BE A PART OF THE 17THANNUAL VANCOUVER ASIAN FILM FESTIVAL,
PLEASE CONTACT:
Barbara K Lee Steve Kim Regina Leung
President, VAFF President, Boilingpoint Group Sponsorship Specialist
P: 604-254-7739 M: 604-315-2846 M: 604-961-7866
E: [email protected] E: [email protected] E: [email protected]
W: www.vaff.org W: www.boilingpointgroup.com W: www.boilingpointgroup.com
F: 604-251-6828
Page 14
Metro Vancouver Cultural Grants2013 Application for Regional Projects
Applicant Information
1jYName of the organization (legally registered name) C]
cAddress
VYI i W2.
S -
BC Society Act Number
Mailing Address if different
kTelephone Email
Website
:iu CContact person, and title, regarding iformation contained in the application
Numb rofstaff in your organization umber of volunteers in your organ&ation
Annual budget Year Founded
Conditions and Signature
• Grant recipients must acknowledge the support of Metro Vancouver on all promotional materials related tothe funded project.
• Organizations making significant changes to the information provided in this application must discuss suchchanges with Metro Vancouver staff prior to the implementation.
• Grant recipients will be required to complete a follow-up report for Metro Vancouver. Receipt of this reportwill be a precondition for consideration of the organization’s future grant applications.
• Information provided in the Regional Project Grant application may be subject to disclosure under the BCFreedom of Information and Protection of Privacy Act.
Submitted by:
On behalf of:
signature
IJ — I
—-4
Signature of Chair/President of the Board of Directors:
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in ourapplication is complete and true in every respect.
Deadline for submission
Mail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pmTo: Metro Vancouver, Cultural Grants Program External Relations, 3 floor 4330 Kingsway Burnaby, B.C. V5H 4G8
If you have any questions about the application or the eligibility of your project call Judy Robertson at 604-432-6205 oremail ertson’etroyancyer.or
(i U’?c1
/Ic(ro Vancouver Cultural Grants 2013keional I’rolect Information
Please provide the toIIoving information. Be brief and use plain language. ‘rite asii ou were describing your organhiation and project to someone who doesnt knowanything about you.
1. I)c’scrib’ i,’oUr orL,’(1niutioI?
The Vancouver Asian I leritage Month Society ( VA! I MS ) is a registered non—profitsociety that illustrates. celebrates and promotes understanding and appreciation of Pan—Asian arts and culture by organizing and promoting diverse educational and communityoutreach programs. Incorporated as a non-profit society in 1996. VAHMS hassuccessfully explored the di\ersity of Asian—( anadian life and culture, and has promoteddiscussion of relevant issues and concerns within and beyond ‘v ancouver s Asiancomnmnities.
In the last few years, we have deliberately rotated our key events to municipalitiesbeyond the City of Vancouver, For instanee,”expIorASLdN”, the annual Asian HeritageMonth festival was extended to New Westminster in 2011 at a one-day festival, withthousands of citizens from Metro Vancouver in attendance. lii 2() 1 2. the high—prolileAsian Ilerilage Month media launch was held in the Vancouver’s City I lall. and in 2013it was held in Richmond’s (‘itv Hall, Ii will he hosted by another City Hall in MetroVancouver in 2014.
As a nexus for Asian-Canadian culture and arts communities, VA[IMS serves as avehicle to initiate connections, organize collaborations, and promote access to e ents andprojects that take place in Metro Vancouver. Through us. Asian—Canadian artists caneducate and engage the public while promoting intercultural understanding andappreciation of relevant histories and issues,
Describe your historj’e.vpIorASI/L 2011 — a well—known musician (whose career was launched by VA[IMS adecade ago) was commissioned to write a theme song for VA! IMS to feature percussionmusic from the Near East to the Far East. which was played by over 30 local musiciansfrom those cultural traditions at the festival kick-off event at the C BC Plaza and studio.(Note: Some of these percussion/drumming groups had never heard of each other he/öre,hut a/icr coining together/or rehearsals and jamming sessions have later becomecollaborators in mounting shows on their own. They are grateful to VIfJAIS fOr helpingthem break out/ron, the cultural silos and/in’ bringing them out to the public arena.)
explor.4SIAN 2012 The Opening Gala performance titled “The Magical Encounter”put the spotlight on over 80 performing artists (from diverse Asian heritage backgroundand artistic disciplines) in a first-class performance venue (the Fei & Milton WongExperimental Theatre) to educate and entertain hundreds of people from MetroVancouver with traditional as well as experimental performances by artists from Asiandescent . (Note: Maui in the audience indicated that they were suiprisecl to see the
l’ichflL’SS and Vane/I ()//Il(’ nih ‘HIS u /‘atw’ed. Their concept o/ Asian (irI.V & ullita
was challenged and (Ij)(il , /( ‘ I)
exp1orAS1Ai 2013 \Vith most ol our signature programs taking place in (‘oquitlain,Richmond and many other acces’ohle enues throughout Metro \ancou\ ci, we chose tokick oil the month-long Iesti al in Vancouers historic Chinatown in () 13 to signal adeliberate return to the original site that gave birth to this worthy organitation and tohonour the history of’ our pioneers. A fler the [mist Nations welcome. olticial opening andnmlticuitural musical dance perflrnlances in the (‘C(’ Museum, the audience moved overto a teahouse on historic Pender Street fl.r an ;1or:LSIA Salon with our Asian—(‘anadian poets and musicians and storytellers ‘NoIc: Mani pt’rftn’nicnc as nc/I cis
/klFth -lpcuuIs coii/csV(’d 111(1 had IiL’Ic’l’ Vc’l/OOI in (‘h/na/own he/ore and rm ‘ic /elig/ited a,the ()ppo’tinhIIi /0 ej)I0i’ tiit hei’itcige V/k’ (flU1ga/li some iii Vigil/S 1111(1 1/ic his/on ofOHC of the oldest piom’el’ inhln!grt nit (-ommunitwv in B. ( ‘A
Describe j’our inundateOur Vision is to: Build a community where Asian arts, cultures, and contributions arelived, shared and celebrated as part of the harmonious diversity of Canada.
Our Mission is to: Promote ( ‘anadian understanding of’ Asian arts, culture and history.develop a broad and inclusive delmnition of’ “Asian’’ in Canada, and create an environmentof synergy and collaboration in our community
VAHMS is the organizer of Canada’s second oldest Asian Heritage Month festival. It is amajor part of Metro Vancouver’s diversity scene, and is a catalyst for culturalinclusiveness and inter-connectivity. Through VAHMS, its Directors and volunteers areable to create a space and plattorm for artists from the Pan Asian-Canadian Communityto explore and collaborate on a wide range of cultural and artistic endeavours, and toeducate all Canadians about the contributions of’ citizens of Asian heritage backgrounds.VAFIMS continues to serve as the driving force that helps our Asian Canadian culturalcommunities progress to another level of awareness and inclusivity.
Describe your programsWe are intercultural, multi-disciplinary and all-embracing in our approach. We havefeatured Asian-Canadian writers, poets, story-tellers, singers, composers, musicians, filmmakers, dancers from diverse heritage and cultural backgrounds. Sometimes we aim atintroducing Canadians to the best artistic works rooted in a particular Asian heritage ortradition; sometimes we feature the experimental and fusion works which come from theblending of cultures and perspectives by artists drawing from all the traditions availableto them in multicultural Metro Vancouver, Some good examples of how we have donethat can be drawn from the kick-off events of our past festivals at: www.explorasian.org
2. What is the proposedproject?The proposed project is “explorASlAN 2014 — Opening Ceremony”, the main signatureprogramming event produced by VAIIMS. The event will be held in May 2014,tentatively in the City of’ North Vancouver and will include:
I
i/c’
“Generation One — Art Exhibition” a two—week visual art exhibition showcasintinter—cultural and cross generational Pan—Asian artists.“Generation One — Artist Catalogue”, a print publication that includes artistbiography, photos and art work.Community educational and outreach activities held in Metro Vancouvercommunities and led by Pan—Asian artists.“Generation One — Documentary”, a documentary film that will tell the stories ofAsian Canadian immigrant artists, their struggle and journey from their homelandand life in Canada.
“Generation One — Art Exhibition” has been one of many VAIIMS signature programs inthe past four years. Now after many years, the artist’s works have matured and the caliberof work has grown significantly. We will now be putting their works on our main stage,the explorASIAV 2014 Opening Ceremony. The artists and art works will also beexhibited in a full-colour, 80-100 page, print publication titled “Generation One - ArtistCatalogue”. Catalogue”. We will select Pan-Asian artists who are first generationresidents in Canada and are currently experiencing challenges in promoting andexhibiting their works professionally. Proposed artists include these Asian, Proposedartists include these Asian Canadian immigrant artists currently residing in MetroVancouver Hai Ping Ice (Taian) Leo 0 Cunanan Jr (Phihppme) Jong Kook Kim(Korea) Ting Zhou (C hind), Ella Ha (Hong Kong) (Ian.. Yo (Singapore) Jaceqline Loh(Malaysia).
The “Community educational and outreach activities” will be led by Pan-Asian artists intheir primary community. We will select 6-8 artists and have them speak about their craftin an accessible and open environment. Proposed activities will include artdemonstrations (e.g. calligraphy, paper-cutting), and interactive and public discussion.
Through the “Generation One Documentary”, we will select immigrant artists who aresuccessful in their disciplines and will share their journey, their struggles, and stories toinspire emerging immigrant artists. The documentary will be screened at theexplorASl/IA”Opemng Ceremony in May 2014.
What are your objectives?We want to promote Asian Canadian immigrant artists and reach new audiences in theMetro Vancouver area.
Why are you undertaking this project?We are developing this project because we want to give Asian Canadian immigrant artiststhe platform to showcase their works through multiple mediums: outreach activities,visual arts exhibition, documentary film, and print publication. Through these mediums,our overall objectives are to create a legacy that inspires young artists and learn moreabout our diverse community. The selected artists and outreach activities will be inRichmond, New Westminster, Surrey, and Burnaby in venues such as: EvergreenCultural Centre, Richmond Cultural Centre, Nikkei Centre, New West CentennialCommunity Centre.
II hat arc i/ic beige/u.s ii will lime to lieTh, [a,icouier ‘ rez’io,i?
Mv e believe this v ill bcneht the Metro Vaticouver rerion because it will rain ureatcrawarenes ot /\siul ( anadian immigrant ssue, their struggles and their successes.
II hat are tile benefits to your municipality, artists, and tour orgu1li,atioil/
It II benefit our organization because we will have reached a wider audience in MetroVancouver and connect with marginalized artists communities. This project will alsobenefit the Asian Canadian immigrant artists in Metro Vancouver because they currentlydo not have the ability to showcase their works due to language barrier, location harrierand lack of publicity & marketing. Our project will eliminate their hurdles through ourorgani/ation and networks,
The anticipated results will include a greater awareness of Asian Canadian immigrantartists living and working in Metro Vancouver region. This project is unique andinnovaLi e because we are the only Asian Heritage Month organization that serves theMetro Vancouver region, and we are showcasing works that ire not represented in themain 51 ream arts and cultural community.
What arc the anticipated results?We anticipate a greater public awareness of PanAsian artists living and working in theMetro Vancouver region. Their works will be exhibited in multiple mediums to reach awider audience and thus creating a long lasting legacy for generations to come.
Illia! inaAes the project unique and in,,ovatn’e?ihe project is unique because there arc no other local arts and culture organizationfocusing on Pan-Asian artists in the City of Vancouver and Metro Vancouver. Theproject is innovative because we are exhibiting artist works in multiple mediums: visualart exhibition, print publication, outreach activities and film.
3. Is this a new project or an expansion of an existing initiative?This is an expansion ol the current explorASLiiV programming.New components include: “Generation One — Artist Catalogue”, Community Educationaland Outreach activities, and “Generation One Documentary”.
4. List the main participants involved in carrying out the proposed project (paidstaff, contract employees, volunteers).These are the main participants who will carry out the proposed project:
• VAIIM S administrative team of contract staff & strident interns (headed up byExecutive [)irector Winnie Cheung)
• Generation One Exhibition Comtnittee.Angela Leung, Esmie GayoMacLaren,Celia Leung. Katie Mak, John Leung, etc
• Artists teaching workshops and be flatured in exhibit catalogue.Artists include these Asian Canadian immigrant artists currently residing in MetroVancouver: Hai Ping Lee (Taiwan), Leo 0. Cunanan Jr. (Philippines), Jong KookKim (Korea), Ting Zhou (China), Ella Ha (Hong Kong), Clare Yow (Singapore)
Jaceqline Lob (Malaysia).Outreach Coordinators who will develop relationships with artists and coordinateworkshops and exhibit publication
• Volunteers to work at workshop sessions.• Contract staff to develop website, video project , etc.
5. flescribe any partnerships or collaboration involved in creating or producing theproposed project. Please attach letters of support.a!, The Dimasalang (a Filipino artists’ group) will continue to be a key collaborator in thevisual art component of this project; Letter of Support is attached.h/,The International Arts Gallery, which hosted one of the annual Generation One ArtExhibitions, has indicated great interest in becoming a venue sponsor for exp1orAS1AJ’again. We are still in negotiation with them as we write this application.c/. The Pacific Canada Fleritage Centre — Museum of Migration (PCHC-MoM) Societyis keen to support the proposed documentary component Letter of Support is attached.d/. Rice Paper magazine is keen to support our artists and wants to use the art works to beexhibited in explorASlAN 2014 in their own publications. Letter of Support is attachede/, CINEVOLUTION Media Arts Society cinevolution is eager to collaborate on thisproject.17, the VAHMS Board, Advisors and Sponsors stand behind this project and will commitsome of the hard-earned revenues and donations received in 201 3 to support thisinnovative project to give voice to struggling immigrant artists.
Planning and Financial information6. How will the grant money be spent? Please submit a detailed budget as a separateattachment.It will be spent paying artists fair artists wages, contract staffing costs, rental costs andmarketing/promotional costs.
7. What other sources of project funding are you currently pursuing? Identify anygroups, agencies or businessesOther sources of income will come from potential corporate sponsors of explorASIAN2014, and financial and in-kind support from VAI-IMS and other community partners.
8. Please attach a planning timetable, promotional material, sponsor package, etc.(If applicable.)
Timeline:September 2013
- Secure venues and dates in Metro Vancouver Area for Outreach Activities(Selected venues are Evergreen Cultural Centre, Richmond Cultural Centre,Nikkei Centre, New West Centennial Community Centre, and International ArtsGallery in Vancouver)
October 2013- Contact and confirm Asian Canadian immigrant artists from Metro Vancouver
Conwnittee Members begin to design the “Generation One Artist Catalogue”Select and confirm filmmakers to produce “Generation One Documentary
December, 2(31 3Artist information, biography, and artwork will be collected for production of“Generation One Artist Catalogue”
January 2014Committee members start to edit the “Generation One Artist Catalogue”Filming begins ibm “Generation One Documentary”
February 2014Final Drafi of the “Generation One Artist Catalogue” goes to printer
March * April 2014Marketing and Promotions for event, workshops and documentaryDocumentary — final editing and postproductionConfirm host & participating performers for Asian heritage Month media launch
April 2014Media launch of Asian Heritage Month
May 2014explorAsian Opening Ceremony with Generation One, 2week arts exhibitionOutreach activities Metro Vancouver by Asian Canadian immigrant artists
9. How will you evaluate this project? How will you determine whether it has beensuccessful? What measurable outcomes will you use in your evaluation?
We will evaluate the project by distributing evaluation surveys at the end of eachoutreach activity. We will determine the successes by number of people attending, thenumber of people completing the survey and overall responses from artists participating,stakeholders and members of the public.
This project will be successful if the following outcomes are achieved:Full capacity at the opening ceremony and outreach activities 500 people
2. Increased awareness of VAHMS, increase numbers in social media and webtraffic — Increase by 50%
3. Positive coverage by mainstream and ethnic media Increase by 50%4. Increased awareness of and support for immigrant artists across Metro
Vancouver, e.g.:• Positive reception by the public shown in survey results• Increase of people interested in engaging Asian Canadian artists• Increased of participating artists selling their work through our programs.
Last year was 2 artists sold their works, this year we expect 4 artists to selltheir works.
Board Members as at Jul 10
Name Last Name VAHMS tulle_______
ELECTED MEMBERS
Rrouz EBADYPOUR Dwector
Reminder VicePresident*
Michael HWANG PastPresident*
ene LEE Secretary*
John LEUNG Treasurer*
Patricia LJM Director
Ken McATEER President*
Esm Ic Gayo
Bev NANN VicePresident*
SarwanSingh
Ariadne SAWYER Director
Satie SHOTTHA Director
EX-OFFICIO MEMBER
Winnie CHEUNG Executive Director
Dennis Wong
Certified General Accountant
203-11240 Bridgepen Road. Kiditnond. B.C. Canada V6X Itfl
Tel: (6414) 321-9818 Fax: (604) 821-9836
E-mail: accouniant’€tdeniuswongcga.bc.ca
NOTICE TO READER
(hi the basis of intbrniai ion pros ideci h management. I have compiled the statement of
financial position of fhe Vancouver Asian heritage Month Society as at August 31. 2012
and the statement of operations and changes in hind balance fiw the year then ended. I
have not performed an audit or a review engagement in respect of these financial
statements and. accordingly. I express no assurance thereon. Readers are cautioned that
these statements may not be appropriate tbr their purposes.
LkCertified General Accountant
Richmond. January 9. 2013
‘IL’
The. Vancouver Asian MonthStatement of Fnanca Positon(Unaudited •ee Notice to ReadertAsdtAuciust31 2012
2012 2011
ASS. FTS.
Current assetsCash S 15218 $ 32254Accounts receivable C)c3
GST re.coverf54 1222Propaid e.xpenses 1 j29 779
..
17200 34255
2116TOTAL ASSETS $ 17 868 $ 35 77
LIABILmES AND FUND BALANCE
Current IiabIitiesAccrual liab hhes $ 6 215 $ 4 340
6215 4240
FUND BALANCEGeneral fund 12653 32431
TOTAL LtABILtT!ES AND FUND BALANCE S 17 868 $ 35 77
On behalf of the Board
C rector
rector
The accompanying notes are an integral part of these financial statements.
The Vancouver Asian Heritage Month Society
Statement of Operations and Changes in Fund Baiance
Unauatec See Nrjtce :c Reader)
F or toe Year Ended August 3 201’2012 2011
REVENUEOovernmer’ gratS S - S 4 000
Spcnsosno 4 030 u- ooo
lnkirid donations 13,493 43,681
Pox nOne 3 240
Bã’k rterest 14’ 4)
Donations 7,435 334
Menrxush aes 723 260
OThers -267
TOTAL REVENUES29.030 83,604
Programming and festvaI expenses
Advertising & Publicity 8.493 11 ,731
Artist fees 3 725 5 850
- eFood and beverages 2,828
Hcnoraua 1 000 7 320
Produc.on 8 475 4 438
Volunteers 835
Venues 3,000 923
28 518 30,262
Administrative expensesArortzauon 448 412
Goods for sales and g4ts 906
nsurance 1 645 1 317
Office 2 757 3407
Professonal fees 8,376 4.670
Rent1 908
Sa ares aria contractual fees 5460 46 637
Telephone and internet 907 1 ‘184
Travel expenses 69720,290 60441
TOTAL EXPENSES48808 90,703
EXCESS OF REVENUES OVER EXPENSES (19,773) (7099)
GENERAL FUND BALANCE, BEGINNING OF YEAR 31431 38,530
GENERAL FUND BALANCE, END OF YEAR S 11.653 $ 31 431
Tue accompanyina notes are an integra’ part of these fnanciai sta:ements.
3/
The Vancouver Asian Heritage Month Society
Notes to Financial Statements(Unaudite.d See Notice to Reader)
.
—..........— .
The Vancouver A.&an Hertaqe Month Socrety (the cxdetyT is a nomprofit or qanizahorr incorporated under i.e Society
Act, of enejmhu to celebrate Asian arts and culture n Metro \Jarrcouv throughout the year, and nresrnt the- <, R— / - vu c ri a q c
I. Summary of Significant Accounting Policies
Revenue recognition
A he Society recognizes grants when they are received or committed by fund firoviders in writing. Donations are
recognized as revenue based on cash received.
Capital assets
Pr coerty. plant rina equrosrent s recorded at roe: Arrortrzatror s ercv000 urmuaty at rrher and med cOn
aye’ therr esrnrated uncfui rues as fotcvis escept ;r. the year of acui’son when 010 half of the rate
Compute: equrpn:ecr acqurrea hehore. Mmcl: 33 2004
Computer equipment acquired sOar March 22, 2004Computer equipment acquired after March 18, 2007
Gctrce equipment
Statement of cash flows
20 C (recrinmo ha anne45eh, declini.ng haiance55th, declining baiance
20%, declining baiance
A statement of cash s no: oresemee as :t noes not prov:de any rtdOrr:onaln4orma’on to the readers of
tile finan ciai statements.
Financial instruments
the carryrng amourris for at of the Socretys financral ns:rurnents aoproxroated tbe:r fair values er at materar
respects at August 31. 2012. It rs managemenVs opinon that the Seemly s not exposed to significant
interest, currency or credit risks arising from these financial instruments.
2012 2011Net book value
$ OS 0C6 192228 507
Certain prior yeahs figures have been reclassified for comparative purposes to conform with current year
presentatron,
Ci/y
2 Capital Assets
Computer - c ass 5
Ccmouter - cass 45
Computer - crass 50QOtce equrpment
3 Comparative Figures
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Hiinasaiang III Inftrnahonal krtm( (groupIIIiitithSiihiiIIIfl 11(0 11 Hanoi,. ‘I n Sri n i Pc ‘61 l
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July 13, 2013
V5i3i AC; c:
2.k.v. J••4:.crtr.: Vancouver Culture I H Merrilers ot t.h..c. mnnt Panel
iHira earn. iii ii esnaaaessl artist srcai2. C . priaiit eec.: a nisawa:a, CtiaWVa nrsnea’a•ant a
national ffcffrarjç of the Asian leritasta Month. si iiav its i.neapt ion in 22(12. The Veneouver Asian Heritage Month
S in p u p, 3 we a ic nr nOne p 0 ;rgan 0 id I (01 XI I C fl ff’an I tet C and 00 is no ra( n’atu us Iron
,c( P to us icr’ toe w Ow in i ‘ a t \ a is ci ‘nprncd i ra Our 1’ dn sni u nu uf ‘ ii’ltr (c W1 l 2 ‘Cl I
to h hdght and share the bee nil idd works of art of serf ins Ash n nOn .as storing this. s:peei; I rnonth 1The
I I
I I
The proposed ore •t• t’ VAtJM3i will create more awareness to Asian a ts and. culture in Cana.da., it will promote
coninmn.cty i...n.volveme.nt a.nrl. partici ati.on, and will give artists a. m.nchsneed.ed voice.
13 i niasa tang Ill I uternado a.a I Ardst td .sffi ff115:. a n.dorses V A HMS ‘5; .pisyiect proposal. I have no hesita don in
I —
Sinscereiv sours,
SanØ ‘ Ii illis:/
Pocsident
Pacific Canada Heritage CentreMuseum of Migration Society
V,*’Pi si(l’ilt
Mt \ am iiiivcr ( iiiimal ( ,iaiit ( ii toe
4 ;tt kl’si5.
iiii H( \j
VA
41 S
Treasurer
Lyi ifl (T)PEL,AND•
It gives me great pleasure to endorse this project proposed by the Vancouver Asian I leritage MonthSociet (VA HMS) in support of immigrant artists residing m Metro Vancouver.
As a generation Asian(,’anadian whuse t4rst grapinc novel was launched last year with supportfrom litends and organi/ations such as VA I I MS. I know the value of has ing others rally around memd R nion m hook I tko esn mi i in ss h n it ts like for ness tmm i,t tnt ii ts ts slruggltng toliid then oss n sotces in their adopted o:iiitr\ to he without the means a reach out to regular(amid ins,
Directors
Hon Legal Advisor
Ii: the list I ‘t ‘cii’ \.\l IMx Ii,is built m ettecioi’ platfiirm itiruich then annual \sian ilci LiceMonth acw. ites ta showcase works at nilsic:aus, dancers, visual artists, tilnimakers and ssritcrs
horn disi e \si iii iiitt i, I ik ii in Is Ii hvi,n x t nuB nLres liii ni tisin,
awareness of h.ical talents and the richnecs at their heritage by promot no Item under the bannerSunic ol he locahhorn Aiant’anudian artists promoted h> VAt IMS in the last
decade hse become sseikkniiwn on the national (even international> stace, cc acclaimed ssriierson Clios, tuij musician Vitice Mai and dancer Andrea Nann & \ls in I ulenlinmi
In recent cars. ss lb waves ot rnniigrariis ruin nototraditional sendine. places c g. Korea. Iran,Vietnam & Philippmnest. VA! IMS has noticed the tnereasina number of itnmnierant artists ss ho donot have the networks that the larger aroups have—— to help them reach tile audience outside of theiross n hnouistic si los. By inviting these (ieneration One Canadians to e\hihit their works duringAsian I leritage Month, VAI IMS has attracted a large following of immigrant artists, Theirexpanded and innovative project for e.vp!or4SL4A 2014 will give voice tljrthcr to these strugglingartists: by documenting the stories ot the more established immigrant artists, VAHMS will he ableto inspire the struggling artists to perses cie. These stories will also add another dimension to thecollection at the Museum of Migration to he built in Pacific Canada right here in Metro Vancouver,
I would strongly recommend that a generous grant be awarded to VAHMS so that they can executetheir plans for expIorASIAA 2014 to benetit all in Metro Vancouver.
‘V ice— l’rcs bent
PCH MuM Societyc/n 4650 Fairtawn Drive, Burnaby, DC V5C 3R6
ricepciperAin Cand And (;ui
Cultural GrantsMetro Vancouver4330 Kingsway. l3urnahy. B.C.V5l1 4G8
July 8. 2013
Tb: Metro Vancouver Cultural Grants and Members of the Assessment Panel
I am pleased to write this letter in support of Vancouver Asian Heritage Month Society’sGeneration One — Asian Canadian Artists in Metro Vancouver Project. My name is KristinCheung. I am the Managing Editor of Ricepaper Magazine, an Asian Canadian Arts and CultureMagazine based in Vancouver, BC.
I support this project because it promotes local Asian Canadian Immigrant and Pan-Asianartists that need their voice to be heard in the local arts community. This project is planned topromote and showcase their works in an accessible environment open to the public. The projectincludes several workshops will be held in Metro Vancouver, exhibition during the explorAsianlaunch event and exhibition catalogue. In these workshops, they will be able to develop publicdiscussion on their artwork to their local community. The works will then be displayed at theexplorAsian Launch event in May 2014 for Asian Heritage Month. There are currently no otherplatform for these Asian Canadian immigrant visual artists to showcase the works.
Vancouver Asian Heritage Month Society’s mission is to promote Canada’sunderstanding of Asian arts, culture and history, develop a broad and inclusive definition of“Asian” in Canada and create an environment of synergy and collaboration in our community.We admire the Vancouver Asian Heritage Month Society because they fully represent theculturally diverse community and artists.
Ricepaper and Vancouver Asian Heritage Month Society have a long standingrelationship throughout the years. We support this particular project, given that it provides anexcellent means of highlighting the talents of Asian Canadians, and shines a light on theirinnovative roles within the greater artistic community. If you have any further queries to thisapplication, please contact me at 604-872-3464
Sin9pr1y,
eungManaging Editor, Ricepaper Magazine
Metro Vancouver Cultural Grants2013 Application for Regional Projects
Applicant Information
The Vancouver Book and Magazine Fair SocietyName of the organization (legally registered name)
901 — 207 West Hastings Street, Vancouver, BC V6B 1H7Address
Mailing Address if different — pJJerent
604-684-8294 ext 22Telephone
bcreative.coL!jEmail
www.wordvancouver.caWebsite
Val Mason, General ManagerContact person, and title, regarding information contained in the application
4 full time, 4 part-time temporaryNumber of staff in your organization
Approximately 160 including the Board of DirectorsNumber of volunteers in your organization
$369,570Annual budget
December 8, 1986Year Founded
S-21913BC Society Act Number
Regional Project InformationPlease provide the following information. Be brief and use plain language. Write as if you weredescribing your organization and project to someone who doesn’t know anything about you.
1. Describe your organization, its history, mandate and programs.
The purpose and mandate of The Vancouver Book and Magazine Fair Society is to advance educationand literacy, and increase the publics appreciation of literature by operating an annual literature festival inVancouver, British Columbia, with exhibits, workshops, panels, performances and hands-on activities topromote reading and writing.
Since 1995 the Vancouver Book and Magazine Fair Society has produced the annual The Word On TheStreet Festival which in 2013 is being rebranded with a new name — Word Vancouver. In 2011, itexpanded from one to three days and in 2013 it will grow to 5 days from September25 to 29.The mainlocation since 1995 has been the site of the Vancouver Public Library, inside the promenade, the moatand the three downstairs rooms, as well as outside in tents erected on Homer Street which is closed forthe Sunday of the festival. On the Wednesday, Thursday and Friday evenings the festival is at otherlocations including the Carnegie Centre, Historic Joy Kogawa House and Banyen Books & Sound.
Word Vancouver attracts between 25,000 to 35,000 attendees each year from the entire MetroVancouver region and beyond and because the festival is free, economic means is not a barrier. Itinvolves over 500 authors, performers, exhibitors, hosts and volunteers. The festival promotes a love ofthe written and spoken word and is a major gathering opportunity for the literary and literacy communities.
The Word Vancouver festival fully meets the objectives and mandate of The Vancouver Book andMagazine Fair Society. It provides comprehensive educational opportunities for writers, editors andpublishers as well as a gathering place. The general public are exposed to a very wide and diverse rangeof authors, books, publishers and exhibitors. Literacy organizations are provided with free exhibitor tablesand they create fun learning and literacy based activities for families.
The Vancouver Book and Magazine Fair Society has maintained consistent growth of the festival over its18 year history and continues the partnership with and location of the Vancouver Public Library. It is nowan established festival that has become a primary event in Vancouver and Western Canada’s literary andliteracy communities.
On the Sunday the festival site will once again be on the grounds of the Vancouver Public Library and onHomer Street. Around the perimeter of the library is an overhang and exhibitor tables are set up there aswell as inside the library promenade. The festival exhibitors include book and magazine publishers(including self-publishers and small presses), booksellers, literary organizations and educationalinstitutions that provide courses on writing and publishing. Most of the exhibitors return year after yearand that is an indication that it is beneficial to them. The lower concourse of the library is used for paneldiscussions, presentations, workshops, and a literary visual art installation in the Moat.
Festival programming for 2012 included 34 tents/venues,128 programmed activities and displays: 206authors, facilitators, and performers, 51 hosts and panelists, 130 exhibitors and 120 volunteers.
At the 2013 Festival we will continue to have the following tents: Canada Writes Tent (readings by bookauthors); Poetry Tent (poetry readings); Kids Tent (readings for children up to 12 years of age); MagazineLife Tent (presentations and panels by or for magazine writers); Sony Reader Lounge (presenting thelatest in e-readers); Family Literacy Tent (fun literacy activities for families), Information Booths (one oneach end of the Street); Official Book Seller Tent; and numerous exhibitor tents. The Poetry in Transit busis on site (a city bus which displays the poems selected to be in buses for the coming year) and there willbe a Main Stage with live performances (including music, dance, spoken word, slam poetry). The site willbe packed with author readings, storytelling, workshops, panel discussions, entertainment and exhibitors,
2. Briefly describe the proposed project, its objectives and the benefits it will have to MetroVancouver’s region, your municipality, artists, and your organization. Why are you undertaking thisproject? What are the anticipated results? What makes the project unique and innovative?
The proposed projects are the two newest programming elements of the Word Vancouver festival.New in 2013 will be the Automated Poetry Project. We will be purchasing five vending machines whichwill be set up to dispense poetry, for a Toonie a poem. These machines will be in various venues inVancouver during the month of September and will be moved to the Vancouver Public Library for theweekend of the festival. We are working with the Literary Press Group of Canada to select the poems thatwill be dispensed and to arrange five poetry readings in the venues that have the machines.In 2012 we created a new programming initiative called The Unwritten Word. It explores the power andimpact of story that is not in written form. There were seven programming events in 2012 from a panel onthe spoken word to a display about the story of a street mural, storytellers, a youth poetry slam and twovisual displays (one was photos that creators found inspiring and the other was photos taken by at riskyouth). In 2013 we will once again have storytellers, a youth poetry slam and a panel to discuss the oraltraditions of different cultures. We will explore more ways of communicating stories and thoughts with apresentation on the tradition of totem poles, the use of dance to convey stories and thoughts. and a visualexhibit by First Nations youth and other traditional cultural practices.
We are undertaking these projects to bring new and interesting elements to a festival that has beenaround for 18 years. With Automated Poetry we want to expand the appreciation for poetry and providegreater exposure for BC poets. With the UnWritten Word we are exploring a form of communicatingstories and thoughts which brings to the festival new artists and partners and provides exposure to theseforms.
The results we anticipate are greater exposure for the poets and artists that participate in these projects,a new and interesting addition for returning attendees and we believe the projects will also bring newattendees to the festival.
The Automated Poetry project is unique. There have been poetry vending machines in other regionshowever this will be a first for Vancouver, It is also an innovative and novel way to make poetry moreaccessible. The UnWritten Word is a unique addition to the festival which has previously focused onwritten words and it is innovative because it honours traditional and diverse forms of communication inthis time of technological advancement.
The benefits Word Vancouver provides to the public are innumerable: exposure to established andemerging literary art forms and authors; face-to-face contact with artists; exposure to new media, handson workshops, a diverse range of writings and the importance of literacy. The festival is backlit with musicand performances which creates an exciting festival atmosphere that is a draw for the general population.Many people stumble upon the festival, drawn in by the music, then find themselves right in the middle ofthe festival able to experience for free: readings by high calibre authors; direct contact with publishers andtheir books/magazines; direct contact with information organizations, writing/publishing schools andliteracy associations; and opportunities to explore the employment possibilities within the arts, writing andpublishing industry. Word Vancouver serves as an opportunity to highlight the importance of literaryculture in the lives of all Canadians.
3. Is this a new project or an expansion of an existing initiative?
Both projects are newer additions to the 19 year old Word Vancouver festival.
4. List the main participants involved in carrying out the proposed project (paid staff, contractemployees, volunteers).
The core staff of the festival are Bryan Pike, Executive Director; Val Mason, General Manager; KarenGreen, Publicist; Kristie Poole, Project Coordinator; Ann Phelps, Production Manager (volunteer>; and 3internship volunteers Gillian Dunks, Yana Kim, and Alma Wilson. There will also be approximately 150volunteers assisting with marketing distribution, and various tasks at the festival. (See attached bios ofpermanent staff)
5. Describe any partnerships or collaboration involved in creating or producing the proposed project.Please attach letters of support.
Our main partner is the Vancouver Public Library.Partnerships specifically for the Automated Poetry Project are Literary Press Group who are recruiting thepoets and Hasting Crossings BIA who are finding venues for the machines. The UnWritten Word ispartnering with Mascall Dance to explore the dance component, Sad Mag to present the photos by FirstNations youth and the Vancouver Youth Poetry Slam Team will present on the Mainstage. Otherpresenting partners have not yet been confirmed.
Word Vancouver has many successful partnerships.
• The Vancouver Public Library — Main Branch has been the location of the festival since thebeginning it provides us with a very well know and easily accessible location, a very functionalfacility and grounds with rooms for workshops, presentations and displays. We have sharedobjectives and a shared target audience and they assist with marketing the festival.
• Magazine Association of BC works with us to provide relevant programming and exhibitingopportunities for magazine publishers and they assist with promoting the festival.
• Association of Book Publishers of British Columbia works with us to ensure that we remainconnected to the publishing community and provide us with promotional opportunities.
• Vancouver Business Improvement Association appreciates the range of people we bring into thedowntown area and provide us with much needed financial assistance.
• Hastings Cross Business Improvement Association is a relatively new BIA and is looking foropportunities to increase their public exposure. We are working with them to find creative ways toachieve this and they provide us with financial assistance.
• The Carnegie Centre is a newer programming partner and this is proving to be very beneficial toboth organizations. We provide quality programming and they provide the venue at no costs anda new audience base. We are connecting with an often marginalized Downtown Eastsidecommunity that would not likely come to the other festival locations.
• Historic Joy Kogawa House and Banyen Books & Sound are also newer programming partnersand as known venues in the literary community they provide exposure to new audiences, providetheir venues at no cost and we ensure that we provide excellent programming.
• We also work collaboratively with a number of organizations and associations such as: TheFederation of BC Writers, The Alcuin Society, BC Teachers Federation, Canadian AuthorsAssociation, Editors’ Association of Canada — Vancouver Branch and Canadian Bookbinders andBook Artists Guild.
There are also sponsorships that have been cultivated.• Rosedale on Robson Hotel provides cash and accommodations for out of town authors.• Sony sponsors a tent at the festival for cash and displays the most current c-readers.• CUPE BC sponsors a tent at the festival for cash and provides programming• Mint Records sponsors the ezine and comic exhibitors• Media sponsors are The Georgia Straight magazine. The Peak Radio, the Epoch Times and CTV
• This year we also have a sponsorship from the design firm DDB who are developing our newlogo, designing new site signage, designing the posters, programs and bookmarks and providingus with a new website template.
The festival is on Culture Days weekend so we are also receiving promotional support from that Nationalprogram.Municipal support comes in the form of a City of Vancouver - Community Grant and marketing support byproviding in-kindlO bus shelter poster locations and video promo spots.Provincial support is received from the BC Arts Council and BC Gaming.Federal support is received from Canada Council, Canadian Heritage — Canada Book Fund andCanadian Heritage — Canada Periodical Fund.
Planning and Financial Information6. How will the grant money be spent? Please submit a detailed budget as a separate attachment.
The Metro Vancouver grant money would be spent on artist fees and marketing costs.
The detailed project budgets are attached.
7. What other sources of project funding are you currently pursuing? Identify any groups, agencies orbusinesses that you have identified or approached as donors and sponsors.
We have received funding of $7,500 from The Vancouver Foundation for the Automated Poetry Project.Hastings Cross BIA is a sponsoring partner and will be assisting us to secure venues for the vendingm achines
We have received funding of $2,800 from Multiculturalism BC (through BC Gaming) for the UnwrittenWord. We are approaching a number of multicultural and artistic groups to sponsor presentations such asMascall Dance, Sad Mag, Pangaea Arts and Vancouver Youth Poetry Slam Team.
We have approached Hemlock Printing to be a print sponsor.
8. Please attach a planning timetable, promotional material, sponsor package, etc. (If applicable.)
Schedule/Timeline for The Word On The Street Vancouver 2013
• November 2012-March 2013: generate year-end financial statements; hold AGM; submit grantapplications; sponsorship renewals and new pitches; exhibitor booking forms - distributed,received and processed
• April 2013: poster design created; sponsors confirmed; programming partners confirmed
• May-July 2013: programming begins for author readings, performers and workshops; book hosts.fundraising (author adoption, silent auction); ad sales booked for printed program; finalize allmaterials/info for printed program; exhibitor locations finalized; site maps created
• August, 2013: creation of promotional materials including printed program, posters andbookmarks; printing on book bags and t-shirts; ad bookings; major publicity begins; participantpackages and Letters of Agreement distributed; volunteer recruitment and coordination;production details finalized
• September, 2013: ads run (including transit shelters); publicity (including social media); mail-outs;distribution of promotional materials, volunteer orientation meetingFESTIVAL takes place on the 25th to the 2gm.
• October-November 2013: post mortem staff meeting; wrap up, data entry, analysis, reporting,etc.; develop budget for next fiscal year
• December 2013: final report completed, year-end prep, financial statements prepared
Promotional materials from 2012 are enclosed, the promotional materials for 2013 have not yet beenprinted.
9. How will you evaluate this project? How will you determine whether it has been successful? Whatmeasurable outcomes will you use in your evaluation?
We will evaluate both of the projects at our staff post mortem meeting. We would discuss the quality ofthe projects, the challenges faced and improvements for the future of the projects.
We will evaluate the Automated Poetry Project by surveying the poets after the festival to see if beinginvolved generated any added exposure for them, by the comments on social media and reactions at thepoetry readings.It will be considered successful if at least 70% of the poems are dispensed and there is at least 70%attendance at the poetry readings.The measurable outcomes will be the number of poems purchased from the vending machines and thenumber of attendees at the poetry readings.
We will evaluate the UnWritten Word by having a comments book at the visual art installations, by thecomments on social media and from the feedback of the artists involved.It will be considered successful if the presentations are of a professional quality and if attendees to theUnWritten Word events are diverse in age and culture.The measurable outcomes will be the number of attendees at the presentations and the positiveexperiences of the participating artists.
Required Documentation• 2 copies of the Regional Project Grant Application• Current Board of Directors list — name and position only (do not include personal contact info)• Most recent Financial Statements — signed by the appropriate Board executive• Regional Project Budget• Table of contents from a business plan or equivalent documentation• Support material — optional and will not be returned
Conditions and Signature• Grant recipients must acknowledge the support of Metro Vancouver on all promotional materialsrelated to the funded project.• Organizations making significant changes to the information provided in this application must discusssuch changes with Metro Vancouver staff prior to the implementation.• Grant recipients will be required to complete a follow-up report for Metro Vancouver. Receipt of thisreport will be a precondition for consideration of the organization’s future grant applications.• Information provided in the Regional Project Grant application may be subject to disclosure under theBC Freedom of Information and Protection of Privacy Act.
Submitted by;Val Mason, General Managernami’, nt/a
On behalf of; The Vancouver Book and Magazine Fair Societyname of organization
/ 4J y {c2-t‘ignature
Siqnawre of Suzanne Norman Board signing officer on behalf of thePresident of the Board of Directors, Taryn Boyd who is away on vacation
By signing this form we do solemnly declare that, to the best of our knowledge, the information given inour application is complete and true in every respect.
Deadline for submissionMail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pmTo; Metro Vancouver, Cultural Grants Program External Relations, 3rd floor 4330 Kingsway Burnaby, B.C.V5H 4G8If you have any questions about the application or the eligibility of your project call Judy Robertson at604-432-6205 or email [email protected]
IIWORDk15iTREET1
The Vancouver Book and Magazine FairSociety
Business Plan2010
Business Plan for The Vancouver Book and Magazine Fair Society
Table of Contents
1. Assessmentsa) Fundraising/Sponsorshipsb) Partnershipsc) Marketing/Promotiond) Festival Venuese) Productionf) Programmingg) Administrationh) National
2. Important Achievements
3. Strengths
4. Weaknesses
5. Opportunities
6. Threats
7. Financial Goals and Objectives
8. Programming Goals and Objectives
9. Organizational Goals and Objectives
The Vancouver Book and Magazine Fair SocietyBoard of Directors 2013
8 Board members
Taryn Boyd (President)
Louis Anctil (Vice-President)
Suzanne Norman (Signing Officer)
Carey Erickson (Secretary/Treasurer)
Zoe Grams (Member at Large)
Mary Ann Yazedijian (Member at Large)
Trevor Battye (Member at Large)
Emily Mackinnon (Member-at-Large)
Daniela Esparo (Library Liaison not a Board member)
Creative Team for The Word On The Street Festival - 2013
Bryan Pike — Executive Director (Programming, Fundraising, Sponsorships, Distribution)full time
Bryan brings to Rebus Creative more than 21 years of experience as a manager, fundraiser.marketer and producer. A seasoned arts administrator, he has sat on multiple juries for theBC Arts Council’s block grants to publishers program. He has served as the generalmanager of such organizations as the Fend Players, the Station Street Arts Centre and PinkInk (now P1) Theatre Productions. As development manager for the Vancouver InternationalWriters Festival, Bryan developed and successfully implemented fundraising and marketingcampaigns involving three levels of government, as well as community and corporatepartners. He has served on the boards of the Vancouver Professional Theatre Alliance andthe Alliance for Arts and Culture, and is the current president of Seismic Shift, the companythat produces the Dance House performance series.
Val Mason — General Manager (Programming, Scheduling, Production, Financials)full time
Val Mason was the Managing Director of Presentation House Cultural Society for 9 % yearsand was responsible for the daily operations and programming of the theatre as well asfacility management for the two heritage buildings. For 4 years she was the AdministrativeManager of PAL Vancouver, an organization which created affordable housing forprofessionals in the performing arts industries. She has been involved in the development ofmany cultural initiatives and strategic plans. She has been active on many arts committeessuch as FANS (Fund for the Arts on the North Shore), Chair of Theatre BC’s Backstage for 7years. Chair of the Membership Committee for the Greater Vancouver Professional TheatreAlliance and the Vancouver International Folk Music Festival administrative committee for 11years.
Karen Green — Marketing and Publicity Manager (Programming, Marketing and Publicity)part time
Prior to joining Rebus, Karen was marketing director for J. Gordon Shillingford Publishing inWinnipeg, projects coordinator for the Association of Manitoba Book Publishers and editor atPrairie Books Now. In her work with the AMBP, Karen facilitated several juries for theManitoba Book Awards. Widely recognized in the publishing industry for her marketing andcommunications work, Karen currently serves as vice chair of the Literary Press Group, anational association of publishers whose activities include advocacy, sales and marketing.She also sits on the board of the Association of Book Publishers of British Columbia. Sheholds, in addition to a two-year communications diploma (major in journalism), an MA inreligious studies. She is also the marketing manager of Anvil Press, one of Vancouver’slongest-running independent presses.
Kristie Poole — Project Coordinator (Programming, Administration)full time
Kristie grew up in Calgary, Alberta and moved to British Columbia to attend university. Shegraduated from the University of Victoria with a Bachelor of Science in Psychology in 2006.In 2008 she took the Applied Business Technology Program at Vancouver Island University.She then worked as an Administrative Assistant for the City of Nanaimo before deciding tomove to the Lower Mainland. In February 2011, Kristie applied for an internship with RebusCreative to assist with the BC Book Prizes On Tour program. When the BC Book Prizeswrapped up, she was offered the position of Project Coordinator.
Ann Phelps, Production Manager (Production Coordination, Site set up)part time volunteer
Ann has been the Production Manager for The Word On The Street Festival for the past 18years. She is also the Production Manager for the Vancouver Dragon Boat Festival.
Bndrets for Automated Poetry and Unwrittend Word at 2013 Word Vancouver
Revenue
Automated Poetry
Vancouver Foundation
Metro Vancouver Grant
Vending Revenue
Print Sponsor
Sub-Total
UnWritten Word
BC Multiculturalism - Gaming
Direct Access Gaming
Metro Vancouver Grant
Print sponsor
Sub-Total
Expenses
Automated Poetry
Project Coordinator
Artist Fees
Vending Machines & Materials
Portion of Marketing 10%
Printing
Sub-Total
UnWritten Word
Project Coordinator
Artist Fees
Materials
Portion of Marketing 10%
Printing
Sub-Total
$ 7,500.00
$ 3,000.00 *
$ 1,200,00
$ 1,000.00 lnkind
$ 12,700.00
$ 2,800.00
$ 2,750.00
$ 3,000.00
$ 1,000.00
$ 9,550.00
TOTAL $
$ 3,000.00
$ 2,000.00
$ 3,650.00
$ 3,050.00
$ 1,000.00 in-kind
$ 12,700.00
$ 3,000.00
$ 2,000.00
$ 500.00
$ 3,050.00
$ 1,000.00 in-kind
$ 9,550.00
*
In—Kind
22,250.00
Total $ 22,250.00
WORD Proposed Budget for 2013
EARNED REVENUESExhibitor toes (tables & extras)Program ud sales (NebBank Interest & Misc IncomeAutomated Poetry - vending machine revenueBook Ssie on siteMercharidso f-shirts, book bags
Total Earned Revenue
PRIVATE SECTOR REVENUESMemberships & Friends of WordFundrasinq Individuals. Silent AuctionFundraising Individuals Author AdoptionsIndie Go Go Crowd Funding automated poetryVancouver Foundation - automated poetryFou ndationsfOrga nizationsTelus automated poetryCorporate donationsRegional SponsorsCorporate In KindRegional Sponsors - In Kind
Total Private Sector Revenues
24.259 $9,121 $
35 $
444 $2.915 $
36,774 $
110 $5.211 $
$
2,000
22,000.0010,00000
10.001,20000
2.500 0035,710.00
$ 60000$ 3,500.00$ 3,500 00$ 2,000.00$ 7,500.00$ 1,500.00$$ 500.00$ 26.00000$ 160,000.00$ 8,000.00$ 213,100.00
Proposed2010 Actuals 2011 Actuals 2012 Actuals 2013 Budget
$$$$$$$
32.7238,540
7615.869
47,893
6066,724
500
1.05017,100
121,8153,100
150,896
20,00020,00025,000
3.76814.000
015,000
17,00000
114,768
26.1202211,01600
8.09
2.614 0039,758.31
236 001,566.003,000.00
$ 250.00
24,600 00108,681.00
1,500.00139,833.00
20,000 00 $20,000.00 $18,300.00 $14,600.00 $
- $13,000.00 $
- $$
22,000.00 $$
18,000.00 $• $- $
125,900.00 $
Notes
confirmedHamber conbrined
applied & denied
including DOB Design-$50,000
confirmedconfirmed
under assessment
confirmed
more than budgeted
confirmedconfirmed
GRANT REVENUESCanada Council: OperatingCanadian Heritage Canada Book FundCanadian Heritage Canada Periodical FundCanadian Heritage. Building CommunitiesHRDC Sumiuer StudentBC Arts Council. Project Arts FestivalsBC Arts Council: Enhanced Festival ProgrammingArtsVestDirect Access Gaming - FestivalGaming Multiculturatism Unwritten WordCity of VancouverCity of Vancouver 125Grant - Metro VancouverGrants Other
Total Grant Revenues
1.500 $23,500 $95,230 $14,865
‘ $142,416 $
20,000 $20,000 $25,000 $
- $- $
13.000 X $20,000 $
- $6,000 $
18,000 $8,000 $
$$
130,000 $
19,100.0020,000.0015.00000
16.00000
9,860.0014.000002,800.00
18,000.00
6,000.00
120,760.00
TOTAL ALL REVENUES 313,557 309,190 $ 305,491.31 $ 369,570.00
PRODUCTION EXPENSESContract Fees Volunteer CoordinationContract Fees Projects CoordinatorContract Fees Site Crew, SecurityArtists Fee.s Readinc.s & WorkshopsArtists ra.vei S transportationFestival site prcduction costsAutomated Foetry . vending machiines and feesUnwritten Word Matetlals and feesInsurance EventLicense Fee to W S CanadalnKind Production expenses
Total Production Expenses
MARKETING EXPENSESDesign FeesPublicistContract Fees DistributionPrinting & SinageDistnbutionPaid AdverbsngIn Kind Advertising
ADMINISTRATIVE EXPENSESSalaries: Administrators/Creative TeamSupport Staff: Summer StudentOffice Rent & StorageOffice/Society Administration CostsMerchandise costsFundraising costsMarket ResearchTravel Admin/ProducerBookkeeping/AuditInsuranceolirectorslnsuranceofficeInterest costs - credit cardUnrecoverable HST/GST
TOTAL ALL EXPENSES
Surplus/Deficit)
Previous Surplus//Deficit)
Accumulated Surplus/(Deficit)
Propo d2013 Budget
$ 2,5c0.OO$ fooo,oo$ 12000.00$ 12 ooo.oo$ 1400.00$ 22000.00$ 5650.00$ 2500.00$ 301100$$ 3000.00$ 64,850.00
$ 8,150.00 $ 8000.00$ 4,000.00 $ 4,00000$ 1500.00 $ 1500.00$ 6,475.94 $ 10,000.00$ 1400.06 $ 1500.00$ 3000.00 $ 5.500.00$ 10925000 $ 16000000$ 133,776.00 $ 190,500.00
74,460 $ 76,769 37 $ 79,680.00500 $ 750.00 $ 750.00
8628 $ 9,514.26 $ 9,700.007 020 $ 3 577 00 $ 3 600 003,211 $ 1,860.00 $ 2,000.00
$ $582 $ 55.00 $
5,002 $ 2,944.13 $ 600.00$ 2,600.00 $ 2800.00
700 $ 720.00 $ 275.00500 $ 500.33 $ 290.00
$ 5,100.00 $ 2,500.007,061 $ 5,224.00 $ 3,500.00
107,664 $ 109,614.09 $ 105,695.00
320 874 $ 307 295 00 $ 361 045 00
(11.684) $ (1,803.69) $ 8,525.00(13,000) X
$ (27,260.00) $ (20,538.69)
(27 260) $ (29 063 69)
X was intended for 2012 but received in 2011
2010 Actuals 2011 Actuals 2012 Actuals
$ 200C.00
$ 14,210.36$ 13,035.00$ 2,261.88$ 21,816.67
$ 4,650.00$ 5,000.00$ 93100$ 63,904,91
1,700
12.81413,533
110134,965
4.6505,000
1486586,928
1067935001500
11, ‘1561,4172800
95,230126,282Total Marketing Expenses
1 5’OO
5.107118052,025
41,898
4,650..5,0003,100
73,585
7,14130001,500
100142,864
0123415147,934
64950443182565,3083265
0335
3169
800901’
91,415
312,933
624
AutoPoetry&Unwritten Word
ShawSabey
Perry, postage’:.. courierGeorgia Straight & CIV
2 x 300 1 x 150
ShawSabeyShawSabey
Reduce Accumulated Deficit
Total Administrative Expenses
VANC()tJVER BOOK AND MAGAzINF: FAIR
FiNANCIAl. STATEMENTS
(UNAL Di fF1))
November 30, 2012
INDEX
PageNotice to Reader
Statement of Financial Position 2 3
Statement of Changes in Net Assets 4
Statement of Operations
NOIiCf To RlAl)ER
I have compiled the balance sheet of Vancouver I3ook and Magazine lur as at November 30, 2ff 1 2 andthe statements of income, retamed earnings for the year then ended from information provided hmanagement. I have not audited, reviewed or otherwise attempted to verify the accuracy or completenessof such in formation, Readers are cautioned that these statements may not he appropriate for theirpurposes,
Cran & Company(‘ertiOed General Accountants
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1. Describe your organization, its history, mandate and programs.
The 8th annual Vancouver Cherry Blossom Festival (VCBF) is a charitable non-profit
organization founded in 2005. The Festival mandate uses the cherry blossoms transcendent
beauty and spring themes as the inspiration to create new outdoor venues to produce
innovative cultural experiences, showcasing local performers and artists. The Festival’s arts and
cultural programming includes the performing and visual arts, design installations, film, media,
literary and culinary arts, cycling and walking excursions, outreach to schools, special needs, the
sick and elderly to bring our diverse cultures together in community, helping to break down
barriers. Programming actively engages community while celebrating diversity and urban
nature through Metro Vancouver’s unique cherry tree heritage. Accessible, inclusive, family-
friendly cultural programs bring joy to everyone with cross cultural sharing and understanding,
raising the aesthetic taste and artistic appreciation of the general public. The motto of the
festival there is no stranger under the cherry tree’ welcomes inclusion and participation of all
community groups.
Festival programming for April 3-30, 2014 includes:
• NEW Sakura Illumination Tour, April 3-30, Nikkei Museum & Cultural Centre in I3urnaby,
Steveston Community Centre, Queen Elizabeth Park, Stanley Park, Andy Livingstone Park
and Graveley and Lilloet street canopy — An evening multi-sensory video installation across
five Metro Vancouver neigh bourhoods.
• NEW Blossom Bollywood Dance, April 12, Metro Vancouver neighbourhoods — Building on
two successful years of the popular east-meets-west Umbrella Dance community program,
the Blossom Bollywood Dance will be produced in partnership with the highly engaging and
interactive Shiamak’s Vancouver Performance Dance Team (SDI) in an entirely new format
to better engage broader community.
• NEW Noh Theatre Performance, April 17, Consulate General of Japan Residence — The
Consulate General of Japan will open up his residence for a night of arts and culture under
illuminated cherry trees, presenting the Tagiki Noh Theatre (fire dancing group) and
Vancouver Rakuichi,
• NEW Blossom Block Parties, April 3-30 — In partnership with the City of Vancouver, VCBF
will enhance their existing Block Party Program, with the theme of flower viewing. This
provides communities the opportunity to celebrate with pride the beauty of the blossoms in
their neighborhood, while showcasing local talent.
• Cherry Jam Downtown concert, April 3, Burrard SkyTrain Station — Free, annual media kick
off event, featuring local talent including Vancity Soran, Carnival Band, Chinese fan dancing,
Shiamak Vancouver Dance Team and taiko drumming with new culinary demonstrations led
by Tojo and other local Japanese chefs.
• Sakura Days Japan Fair, April 5 & 6, VanDusen Botanical Garden — Contemporary family
friendly weekend celebration showcasing the cultural arts of Japan, presented in
cooperation with the Japan Fair Association of Vancouver.
o Haiku House: All-day workshops related to haiku education, haiku small book
making with haiku poet Terry Ann Carter, how to write haiku and Haiku Walk (Ginko)
1
with Michael Dylan Welch and haiku minstrels with James Mullin on wooden flute
accompanying readings of past winning poems.
NEW Haiku Prayer Flags: The Haiku House will emulate the Japanese age-old
tradition of hanging wishes or poems on cherry trees, by encouraging participants to
write haiku to hang inside the house.
• Plein-Air Blossom Painting Classes, April 5, 12, 19 & 26, VanDusen Botanical Garden —
Painting classes in the open air taught by P1cm-Air Master, Alfonso Tejada with Federation
of Canadian Artists teaching artists: Janice Robertson, Alan Wylie and Richard McDiarmid.
Classes bring students of all ages and levels together to learn painting techniques and how
to deal with nature’s elements, while connecting and sharing with other artists.
• Haiku Invitational, March 1 to June 2, online — The festival extends a global invitation to
poets to participate in this highly respected literary contest, sponsored by Leith Wheeler
Investment Counsel Ltd. for the 4th year. Marco Fraticelli of Quebec will be invited to judge
poems in 5 winning categories (Best BC, Canadian, United States, International and Youth).
• Flower Viewing, ongoing using the popular online Cherry Blossom Viewing Google Maps —
Sponsored by T&T Supermarket Inc., Festival Favourites and what’s Blooming Now features
1,300 cherry blossom viewing locations, connecting Metro Vancouverites through flower
viewing. The map has sparked a love of nature and a new outdoor culture by allowing
individuals, families and friends to catch the peak bloom in their neighborhood and discover
new neighborhoods while exploring for cherry blossoms.
• Cherry Scout Workshops, VanDusen Botanical Garden — These workshops teach the public
how to identify the city’s more than 55 cultivars, helping VCBF predict the Peak Bloom of
our 40,000 ornamental cherry trees to enable the general public to catch the show. Cherry
Scouts have discovered 1,300 cherry locations in Metro Vancouver on the Cherry Blossom
Viewing Google Map, making flower viewing accessible to all.
• BC Blossom Photo Watch, April 3-26, online — Presented in collaboration with TravelSmart,
the contest inspires Vancouverites to capture the fleeting beauty of cherry blossoms and
the joy they bring to everyone.
• Tree Talks & Walks, April 3-30, VanDusen Botanical Garden, UBC, Queen Elizabeth Park,
Downtown West End, Downtown Eastside, Stanley Park and new this year the Japanese
Consulate General Official Residence — Free, guided walks around Metro Vancouver (also
available in Mandarin) to learn about the horticulture and cultural history of the cherry tree.
With 100 people on the walks now the arborists and urban foresters now require a
megaphone! Led by Douglas Justice (Associate Director and Curator of Collections, UBC
Botanical Garden), Joseph Lin (President of Green Club), David Tracey (Executive Director of
Tree City), Bill Stephen (Park Board urban forester), Alex Downie (Supervisor of
Neighbourhood Parks), Chief Cherry Scouts - Wendy Cutler and Anne Eng.
• Blossom Biology, April 10, VanDusen Botanical Garden — Douglas Justice leads a free,
advanced educational workshop on our flowering cherry trees.
• Bike the Blossoms, April 26, East Vancouver — In collaboration with Velopalooza, VCBF
presents self-guided bike rides of the city’s peak bloom, and one guided three-hour tour led
by Park Board Arborist, Bill Stephen talking about the cherry tree.
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• Ornamental Cherries in Vancouver — Ongoing research has resulted in Cherry Scouts
identifying another 20 cherry cultivars. So this “indispensable guide to our flowering cherry
trees” (Steve Whysall — Vancouver Sun> will go into its third expanded edition including 55
varieties of cherry trees. It will be dedicated to the 125w anniversary of the Japanese
Consulate in Vancouver which started Japanes&Canadian diplomatic relations.
2. Briefly describe the proposed project, its objectives and the benefits it will have to Metro
Vancouver’s region, your municipality, artists, and your organization. Why are you
undertaking this project? What are the anticipated results? What makes the project unique
and innovative?
The proposed project for the Metro Vancouver Cultural Grant is the 8th annual Vancouver
Cherry Blossom Festival. In addition to annual core programming listed (from page 1), the 2014
Festival features new cultural programming with the Sakura Illumination Tour, Blossom
Bollywood Dance, Sakura Days Japan Fair and Blossom Block Parties.
The new Sakura Illumination Tour (sakura means cherry tree in Japanese> features the work of
visual media artist, Stuart Ward of Hfour Design. He uses the cherry tree as his canvas, painting
it with a projected stream of technicolor visuals. To add to the excitement and appreciation of
the cherry blossom after dark, Sakura illumination will be a community collaboration with local
talent, showcasing the talent of arts groups such as Steveston’s Tetsu Taiko and our diverse
Vancouver lntercultural Orchestra. Stuart Ward’s audioreactive video projection art will
react to and reciprocate the talent’s percussion, allowing viewers to immerse themselves in a
truly engaging art performance.
We want to now tour Sakura illumination to more of Metro Vancouver and bring more
neighbourhoods together in awe of this unconventional art form sparking new topics of
conversation, as proven by the successful soft launch of this program this spring in Vancouver.
In 2014, the Festival will illuminate cherry trees in peak bloom, including Nikkei Museum and
Cultural Centre in Burnaby, Steveston Community Centre, and Queen Elizabeth Park, Stanley
Park and Andy Livingstone Park in Vancouver, as well as under the Graveley and Lilloet canopy
in partnership with Hastings Community Centre. This evening installation celebrates Festival
themes of what is quintessentially spring: a celebration of life, rebirth, new beginnings, fleeting
beauty and anticipation for a bright future. The atmosphere of each location encourages
socialization and neighbourliness, allowing for admirers just to be in the moment with each
other in quiet contemplation. It will be an exciting and curious experience, inspiring community
members of all ages to come out of doors in the early spring evenings when there is nothing
else happening at this time, to appreciate the experience of each unique location. This program
also extends the festival hours of activity, providing even greater opportunities for personal
connections to be made through this interactive arts experience. The 2013 soft launch really
reinforced the Festival motto that there really are no strangers under the cherry tree and
Vancouver East Village even commented, “it s so greas to see so many geope appreciatng
nal.ure to this e”
3
Another new 2014 feature is the Blossom Bollywood Dance, an initiative evolved from the
extremely successful two year Umbrella Dance program. The east-meets-west dance
performance will be produced in partnership with North Vancouver resident and international
superstar choreographer Shiamak Davar and his highly engaging Shiarnak Vancouver
Performance Dance Team (SDI), From March, SDl will teach Bollywood dance moves on the
Shiarnak TV VouTube channel, to get everyone ready for the big dance event in April. Shiamak
wilt also design cherry blossom t-shirts on the Bollywood theme, to remind participants have
the option of purchasing to keep as a memory of this community-building event. A new dance
will be choreographed by Shiamak and performed by SDI at the Vancouver Art Gallery Plaza on
Saturday, April 12, 2014. SDI will use this performance opportunity to teach everyone the new
2014 Blossom Bollywood Dance. The simple and energetic dance moves are easy to follow and
will empower people to feel confident and experience first-hand the joy of dance. Participants
will then break out into smaller flash mob groups led by SDI’s Junior Advanced Team, popping-
up in iconic Vancouver locations from Gastown, Yaletown, Vancouver Public Library, Grosvenor
Plaza to Canada Place. The Festival will also include SDI’s Dance for Good special needs group,
who will join SDI in flash mob performances at hospices and care centres around North
Vancouver, Burnaby, Vancouver, Surrey and Richmond, reaching out to the sick and elderly.
Sakura Days Japan Fair (SDJF) is a popular weekend family-friendly event at VanDusen
Botanical Garden that showcases over 130 individual artists from the local arts and cultural
community. This event is presented in cooperation with the Japan Fair Association of
Vancouver and celebrates traditional and contemporary Japanese arts and culture, The event
draws diverse audiences from audience members donned in Japanese kimono and yukata and
this year a special large group of burn survivors took in SDJF. From our partnership with
Shiamak Davar in India we know see East Indian families also dressed in kimono to have their
family photographed with cherry blossoms. New this year is the Experience Japan tent
featuring hands-on with Japanese arts and culture activities from taiko drumming making and
lessons, ikebana (flower-arranging), haiku writing, calligraphy, origami and kirigami (origami
involving cutting) workshops. Other local performances showcased will include: choirs (JaVan),
traditional Japanese dances (Otowa Ryu Dance Group and Vancity Dance), shakuhachi (bamboo
flute), traditional martial arts with Shorinji Kempo, taiko drumming (Tetsu Taiko, Go Taiko and
Vancouver Ryukyu Taiko), Yayoi theatre, Japanese calligraphy live performance (Etsuko Inoue),
koto (traditional stringed instrument), introduction to anime and cosplay (parade of character
costumes), and Japanese tea ceremony. Traditional Japanese festival foods are also a big part of
the celebration. The long list of diverse community talent helps the event attract an average of
12,000 attendees over the weekend.
Blossom Block Parties is a new program to be presented to Metro Vancouver neighbourhoods
in partnership with the City of Vancouver. The universal theme of cherry blossoms will
reawaken neighbourhoods from winter hibernation, drawing people out of doors to experience
arts and culture in innovative new ways in celebration of the new season. VCBF will make Block
Parties even friendlier and more accessible to citizens with Blossom Block Parties by promoting
4
this new spring activity on our popular website, encouraging inclusion of local talent from the
neighborhood. VCBF will also work with our community partner, the Downtown Vancouver
Business Improvement Association and other Business Improvement Associations of the Lower
Mainland to promote Blossom Block Parties including arts and culture as a new spring program.
In order to guarantee the hiring of local talent, the Festival could disperse up to $150 to 20 local
artists with Metro Vancouver’s Cultural Grant funding. In this way VCBF could help develop
budding talent and open up more performance opportunities for local artists. As Vancouver
Mayor Gregor Robertson strongly believes that “Block Parties have been a great innovation for
Vancouver” (Metro News, May 22, 2013), the Festival would like to share this “ cure for urban
isolation and ‘detached’ citizens” (National Post, July 6, 2013) with other Metro Vancouver
municipalities to renew civic engagement through arts and cultural celebrations at the core
neighbourhood level.
ObjectivesThe underlying reason 200 passionate volunteers, board and staff work hard to present the
Vancouver Cherry Blossom Festival every spring is because we believe in urban planner, Jane
Jacob’s philosophy that cities need to create opportunities to bring people together. Our goal is
to spread arts and culture to diverse communities, with the fundamental objective to showcase
and bring local arts and culture groups, which are not highbrow, into the everyday lives of
Metro Vancouverites.
The program objective of Sakura Illumination is to use innovative ways to expose new
audiences to arts and culture, transforming common spaces in neighbourhoods into lively and
exciting new venues to present local artists. The tour will also attract new audiences of all ages
with this contemporary art form and give people the sense of safety and happiness in creating
closer bonds with their immediate neighbors and strangers in an engaging evening installation.
In 2014, the Blossom Bollywood Dance is to actively engage the general public to experience
the joy of collective dance. To encourage further engagement, VCBF will extend our invitation
to the general public to participate in community service by performing with SDI’s Dance for
Good group at hospices and care centres. This is a special platform to give the special needs
more opportunities to perform with professional dancers for the sick and elderly.
BenefitsThe Festival has a huge impact on the Metro Vancouver region, artists, and the general public.
We can identify audiences of at least 55,000 + and with the multiplier effect, from flower
viewing alone, the Festival impacts closer to 100,000 people. VCBF’s consistent positive media
coverage benefits the region greatly. This spring the Festival received international recognition
by BBC World Travel as “one of the world’s best cherry blossom festivals” (March 21, 2013)
when more established cherry blossom festivals did not receive this accreditation. SNAP
Downtown’s (coverage included) two page color spread in “Focus on Community” is testimony
to the multitude of ways the general public benefitted from Festival feature events, the World
Umbrella Dance, Sakura Days Japan Fair, and Cherry Jam Downtown. The Westender (April 4-
5
10, 2013) also referred to the Festival as “a bouquet of cultu es” (coverage included), bringing
Vancouver a “hes.•rty dose of multicultu.ralism” and Shiamak also quoted, “hundreds of pe.ople
coming tocether for the cherry blossom festyval is testimony to their ability t-o em race various
c.tre”. The Vancouver Cherry Blossom Festival presents Metro Vancouver as a beautiful,
welcoming, friendly place, exuding civic pride which attracts visitors and new residents to the
region. The Festival also connects Metro Vancouver internationally to other international cities
like Kyoto, Tokyo, New York, San Francisco, and Washington DC where people are also
celebrating cherry blossoms with arts and culture.
The Festival’s focus on active community programming like the Blossom Bollywood Dance,
Sakura Illumination and Sakura Days Japan Fair leads to positive interaction between
individuals, building healthier, happier communities, fostering greater civic pride, sense of
belonging and well-being for the entire Metro Vancouver region. Engaging arts and cultural
programming combined with the cherry blossom’s profound effect and ability to move people
deeply helps to raise everyone’s ROL (return on life). Having fun with individuals from different
communities and learning about different cultures at Festival events proves the power of the
cherry blossom to bring our diverse cultures together. The Blossom Bollywood Dance will
greatly enhance civic and personal pride as participants engage in learning easy dance steps
with their neighbours. People were ecstatic to be part of this empowering, community event in
2013 and participants new to the city benefitted, said that the creative process of the World
Umbrella Dance “increased my local knowledge and I made new friends too!”(Shannon
Sparkles). The Blossom Bollywood Dance flash mobs will bring even more people together.
Many attendees of different ethnic backgrounds shared their love and appreciation of Japan at
Sakura Days Japan Fair by dressing up in kimono and engaging in cultural learning, which
heightens their acceptance and tolerance of other cultures. Seeing so many people from
different cultural groups come together through cherry blossom programming shows that
engagement in arts and culture breaks down physical and cultural barriers to create a more
unified and cohesive society.
Artists benefit through productive cross-collaboration partnerships such as Shiamak Vancouver
Performance Team and Tetsu Taiko, who both worked very hard to make the previous
Umbrella Dance projects a winning success. It was wonderful to see true cross cultural sharing
in the 2013 collaboration with SDl getting into taiko and drumming on the Tetsu Taiko drums in
a dialogue with the Japanese drummers! VCBF succeeded in advancing these two cultural
groups in their professional arts development with a subsequent collaboration produced for
Surrey’s Fusion Festival this July. By making the right connections, the Festival has facilitated
SDl’s dream to tour Japan in the future. The Festival also introduced Stuart Ward and Shinobu
Homma, Chibi Taiko director and they are now working towards a collaboration for the future.
Cross-collaborative partnerships inspire cross-fertilization of artistic and cultural ideas, which
inspires even more arts and cultural opportunities and events for Metro Vancouver.
Innovation
6
As the nation’s only cherry blossom festival, the cherry blossom theme continues to inspire our
arts and culture community with innovative and creative ways to actively engage citizens more
directly in arts and culture. The experience of viewing cherries after dark with multi-sensory
video projection is a first in Canada, which is only possible through Stuart Ward’s innovative
projection art form. Dance performance in traditional venues does not allow for audience
participation. Spontaneous interactive dance segments at the Blossom Bollywood Dance allow
for active participation for everyone, stimulating feelings of excitement and self-worth as the
professional dancers allow people to perform as an artist. Our innovative cherry blossom
programming attracts recognition for Metro Vancouver as a creative, fun festival city from
citizens, visitors and local, national and international media.
3. Is this a new project or an expansion of an existing initiative?
The Vancouver Cherry Blossom Festival is an annual springtime celebration bringing exciting
new features to communities every year. In 2012 and 2013, VCBF featured the Umbrella Dance
and World Umbrella Dance, and in 2014 the Festival will bring the new Sakura Illumination
Tour and Blossom Bollywood Dance to more Metro Vancouver neighbourhoods.
4. List the main participants involved in carrying out the proposed project (paid staff, contract
employees, volunteers).
Paid Staff:
• Linda Poole, Founding Executive Director
• Managing Festival Director (currently in the interviewing process)
• Carina Thanabadeepathara, Project Manager
Contract Professionals:
• Greg Descantes of Pace Group
• Drive Digital
• Paul Belserene, creative story teller
• Brady Dahmer Design
• Lamar Advertising
Other Key Contributors
Kenneth Tam, new VCBF Board Chair will use his countless years of experience and expertise in
financial management and strategic planning to transform and grow the Festival for future
sustainability. He will write the sequel to our current Business Plan to successfully guide us into
the next five years. The board of directors advises the Executive Director on financial, business
agreements and management issues. Directors with defined volunteer functions become more
hands-on with any operational issues as required from entrepreneurial management of
contracting partner agreements to interviewing major new partners and the chairing of feature
programs. The Society Treasurer trains and advises on all financial management and oversees
budgeting.7
Volunteers
• Hart Kun — Event Assistant
• Maggie Wei Social Media
• Jennifer Yamasaki Graphics and Marketing
• Alison Butler — Special Events
• Alice Kim Administrative Intern
• Jeremy Langdon Special Events
• Keith Blackmore — Filming and Special Events
• Jessica Tremblay — Blossom Blog, Social Media and French Media Liaison
• Anne Lerner — Webmail correspondent
• Alison Butler — Community Centre Liaison
• Gladys Hsu — Webmaster
a Jonathan Wang — Web Developer
• Joseph Lin — Chinese Media Liaison and Photographer
• Mits Hayashi Japanese Media Liaison
• Fanny Ly — Volunteer Coordination
• Wendy Cutler — Leader of Cherry Scouts and organizes Tree Talks & Walks
• Douglas Justice — Author of Ornamental Cherries and Tree Talks & Walks guide
• Alex Downie — Tree Talks & Walks guide
a Bill Stephen — Tree Talks & Walks guide
a Anne Eng — Tree Talks & Walks guide
5. Describe any partnerships or collaboration involved in creating or producing the proposed
project. Please attach letters of support.
VCBF works with many community partners who help produce the Festival each year. We have
worked with Shiamak Davar and his Vancouver Performance Team (501) for 2 years, and the
2014 Blossom Bollywood Dance will mark the third year of another productive, busy
partnership together. SDI creates the choreography and provides excellent input on everything
from choice of soundtrack to the presentation of the event.
Another key partnership is with Stuart Ward (Hfour Design) whose passion for bringing
awareness to the beauty of cherry blossoms rivals Linda Poole. Stuart creates and presents the
content for the Sakura Illumination Tour.
Other prominent community partnerships:
a 65 Marketing and Drive Digital — Developing marketing strategy and social media
a DVBIA — Founding sponsor, advertising in DVBIA monthly newsletter
a Leith Wheeler Investment Counsel Ltd. - Haiku Invitational sponsor for the past 3 years
a TransLink — Producer of launch, Cherry Jam concert, providing On-Board advertising for two
months
8
• Skytrain — High profile advertising space inside Burrard SkyTrain Station for two months
• Japan Fair Association of Vancouver— Major event partners forSakura Days Japan Fairthat
includes representatives from Japanese Business Association of Vancouver (Konwakai),
Vancouver Mokuyokai Society, Vancouver Japanese Business Association (Kiyukai), Japan-
Canada Chamber of Commerce, and the Canada-Japan Society of British Columbia
• Consul General of Japan — Supports funding for Japanese talent and the new edition of the
Ornamental Cherries
7. What other sources of project funding are you currently pursuing? Identify any groups,
agencies or businesses that you have identified or approached as donors and sponsors.
The Festival has received confirmed and renewed support from the City of Vancouver and BC
Gaming grants, as well as sponsorship renewals from Leith Wheeler Investment Counsel Ltd.,
Downtown Vancouver Business Improvement Association, T&T Supermarket Inc., and Durante
Kreuk Ltd. We are currently awaiting confirmation from the Canadian Heritage Building
Communities through Arts and Heritage grant, who has been a huge supporter of the Festival
over the years. With the new Managing Director, we plan to secure another $40,000 in earned
revenue and new sponsorship dollars by approaching Target, CIBC, London Drugs, Toyota and
Starbucks as community partners. VCBF will also re-apply to Vancouver Foundation, The
Hamber Foundation, Lohn Foundation, The Andrew Mahon Foundation, and new foundations
like the Sasakawa Foundation and rotaries for support. We are constantly searching for new
funding opportunities.
8. Please attach a planning timetable, promotional material, sponsor package, etc. (If
applicable.)
9. How will you evaluate this project? How will you determine whether it has been
successful? What measurable outcomes will you use in your evaluation?
For continuous improvement, the Festival will proactively ask for feedback from event
attendees as the comments energize the festival and highlights the areas we need to focus on
in the for future. This feedback would be done through online and onsite surveys, online polls
and also via email. Another evaluation indicator would be the rate at which tickets or
registration are sold, if there was an increase in audience numbers at the events and whether
they were attracted by new features or core programming. The Festival will also evaluate the
amount of local and international media coverage of that year. Over the past few years,
international coverage has been steadily increasing which is testimony to the Festival’s growth.
9
Conditions and Signature
• Grant recipients must acknowledge the support of Metro Vancouver on all promotional materials related tothe funded project.
• Organizations making significant changes to the information provided in this application must discuss suchchanges with Metro Vancouver staff prior to the implementation.
• Grant recipients will be required to complete a followup report for Metro Vancouver, Receipt of this reportwill be a precondition for consideration of the organization’s future grant applications.
• nformation provided in the Regional Project Grant application may be subject to disclosure under the BCFreedom of Information and Protection of Privacy Act.
Submitted by:lame, title
On behalf of: \J /ç_ •Jname of oroniiaoa
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in ourapplication is complete and true in every respect.
Deadline for submission
\4ail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pmTo: Metro Vancouver, Cultural Grants Program External Relations, 3m floor 4330 Kingsway Burnaby, B.C. V5H 4G8
If you have any questions about the application or the eligibility of your project call Judy Robertson at 604-432-620S oremail jyobertson&ovancouvefg
Vancouver Cherry Blossom Festival2014 Planning Tirneline
June 2013• Grant and foundation reporting from the previous festival year
• Strategic planning for approaching new cash and In Kind Sponsors and Sponsorship
renewals• Research new funding opportunities and apply to foundations
July• Continued application to grants and foundations• Meetings with new Sponsors to discuss partnerships followed up with tailored proposals
• Enhancing VCBF Sponsor Deck by securing In Kind advertizing for 2014 (ie. Media sponsors,transit advertising, billboards, etc)
• Board development to bring on more directors• Rewriting of Festival story for website and to approach sponsors for proposals• Job search for hiring new Managing Festival Director position and interviews• Program development meetings with event partners to discuss new collaborations in
progress:o Shiamak Vancouver Performance Team on Cherry Blossom Danceo Stuart Ward (Hfour Design) on Sakura Illumination Touro Durante Kreuk Ltd. and Douglas Justice engaged on the new edition of
Ornamental Cherriesa Hidekazu Tojo board director, Dennis Shikaze structuring a business agreement
with Tojo for new evening fund raising event
o Consulate General of Japan on a new evening event at Japanese official
residence in celebration of the 125th anniversary of Japan’s first Consulate inCanada, beginning diplomatic relations with Japan
o Teresa Coady and lan MacDonald collaborating on a new lecture series on globalenvironmental sustainability
August• Continued application to grants and foundations• Sponsorship Drive continues
• Intern working with board secretary to prepare a ‘Welcome to VCBF’ information package
• Securing venues and program dates for next year
• Submitting designs for merchandise production• Evaluating of Haiku Invitational results by professional judge• Introduction of new board directors to the board for AGM vote in September
• Preparation for AGM• Launch of new website
September
• Haiku Invitational contest open for accepting submissions
• Distribution of press releases and Media Advisories by Pace Group
• Pitching to key media• Media interviews
April• Festival launch• Media interviews• Applying to Canadian Heritage Grant for the next year
May• Cherry Wrap appreciation party for volunteers
• Wrapping up the year for May 31 Fiscal Year End
• Pull together statistics for final reporting to funders
• Thanking and reporting to sponsors and funders, grants and foundations
Vancouver Cherry Blossom FestivalProjected Revenues & Expenses
For the Year Ended May 31. 2014
REVENUES Fiscal Year 2014VCBF Contribution 2,260Merchandising (Books/Pins)Ornamental Cherries Field Guide and Lapel Pins 5,000Blossom Bollywood Dance Tshirt Revenue Share 3,000SakuraB Bento Box (550 at $20) 5,000Sakura Days iapan Fair VCBF ticket revenue share 10,000UN Lecture on Environmental Sustainability 4,000
LsEvent2peoleL__ 25,000Nob Theatre Performance Revenue 5,000Plein Air Registration 1,000Program Guide 3,000Sponsorship
Leith Wheeler Investment Counsel Ltd. (Renewal confirmed) 10,000DVBIA (Renewal confirmed) 5,000T&T (Renewal inprocess) 5,000JTB (Renewal TBC) 3,000Durante Kreuk Ltd. (Renewal confirmed) 5,000Park Board 2,500Consul General of Japan (Renewal confirmed) 2,500New Sponsorship 40,000Grants and FoundationsCanadian Heritage (Pending) 50,000City of Vancouver Community & Neighbourhood Arts Development (Confirmed) 5,000Metro Vancouver (Pending) 10,000Lohn Foundation (Will Apply) 1,000Andrew Mahon (Will Apply) 500The Hamber Foundation (Will Apply) 2,000Other Foundations (Will Apply) 5,000Gaming (Confirmed) 12,000Total Revenue 221,760
-.,................-=-=.-.
EXPENSESCherry Blossom DanceArt Gallery Performance and Fee for Leading Flash Mobs 1,700
Remixing Soundtrack 350
Choreography 1,000
Training of Junior Advanced Team 700
Videographer Shooting and Editing 1,000
Travel 250
Tshirt Production (500 at $6) 3,000
Cherry Jam Downtown Talent 2,000
Sakura Days Japan Fair Talent 6,000
Blossom Block Party Talent 3,000
Sakura Illumination Tour
Technical Assistant 2,250
Travel 250
Content Creation 2,500
Equipment Rental 6,150
Talent 2,500
Noh Theatre Performance Talent and Production Expenses 4,000
Illumination for Tojos Event 3,000
Ornamental Cherries in Vancouver Printing Cost 5,000
P1cm Air Teaching Artists Fee 1,500
Haiku InvitationalJudge .
500
Publicity and MarketIngPrint Advertising 4,500
Pace Group - Publicity 4,000
Burrard Bridge Banner Installation 6,500
Media Buy-In 5,000
Program Guide 7,000
Brady Dahmer Design 1,500
Collateral Distribution 1,000
Signage 2,500
Production
Executive Director 55,000
Business Manager 40,000
Project Management 35,000
Communications - MailChimp, etc. 400
IT 750
Volunteer Appreciation - Cherry Wrap 1,500
Honorariums 3,000
Contingency 1,000
Administrative
Office Expense 1,500
MNPLLP 800
Borden Ladner Gervais LIP 500
Bank Charges 100
Insurance 600
Telephone 2,160
Transportation 800
Total Expenses 221,760
Excess of Revenues over Expenses
VANCOUVER CHERRY BLOSSOM FESTIVAL SOCIETY
BOARD OF DIRECTORS — 201344
Teresa Coady, Chair
Dennis S. Shikaze, 1 risurer
Maureen Healey, Secretary
Peter Kreuk, Director
Ian MacDonald, Director Mat keting & Communications
Korina Houghton, Community Development Director
Vancouver Cherry BlossomFestival Society
Financial StatementsMay31, 2013
(Unaudited — See Notice to Reader)
Notice To Reader
On the basis of information provided by management, we have compiled the statement of financial position of Vancouver Cherry
Blossom Festival Society as at May 31, 2013 and the statement of operations and net assets for the year then ended. We have not
performed an audit or a review engagement in respect of these financial statements and, accordingly, we express no assurance thereon.
Readers are cautioned that these statements may not be appropriate for their purposes.
Vancouver, British Columbia
June 17, 2013 Chartered Accountants
Vancouver Cherry Blossom Festival SocietyStatement of Financi& Position
As at May31, 2013(Unaudited see Notice to Reade0
______________
2013 201.2
AssetsCash
Operating 3,786Gaming 39 37Restricted 57,886 79,996
61,711 80033
Accounts receivable 5,840 28,436
HST receivable 4,150 4074
Prepaid expenses 4,000
Inventory 500 500
72,201 117,043
LiabiitesCurrent
Bank indebtedness - 6260Accounts payable and accruals 1,002 14040Deferred revenue 5,000
1,002 25,300
NetAssets 71,199 91,743
72,201 117,043
Apfoved on behalf of the Board
1
Director
Vancouver Cherry Blossom Festival SocietyStatement of Operations and Net Assets
For the year ended May31, 2013(Unaudited see Notice to Reader)
____________________________
2013 2012
Rove nueDirect Access 12,500 12,000Sponsors 34,725 15000Government grants and foundations 70,900 54930Donations 4,810 1387Sales 52,190 26513Ancilliary 5,373 29341
180,498 139171
Program expendituresCost of sales 30,481 13,175Program expense 36,413 24,704Festival director 55,000 55,000Event cc ordination 38 477 22 686
160,371 115,565
Marketing expendituresMedia and communication 14,979 4,438Advertising and promotion 8,372 10,596
23,351 15,034
Administration expendituresBank charges 165 413Harmonized sales tax 5,679 4,961Insurance 485 450Office and computer 6,370 2,108Professional fees 1,175 1,448Transportation 3,446 588
17,320 9,968
Deficiency of revenue over expenses (20,544) (1,396)
Net assets, beginning of year 91,743 93,139
Netassets,endofyear 71,199 91,743
Vancouver Cherry Blossom Festival SocietyNote to the Financial Statements
For the year ended May 31, 2013(Unaudited see Notice to Reader)
Restricted Fund
The Board of Directors approved that $80,000 of the $93,140 surplus as of May 31, 2011 be put into a restricted fund toensure continued sustainability of the Festival for future years In the May 31, 2013 year end, the Board of Directorsapproved a $22,110 draw from the restricted fund.
3
Vancouver Cherry Blossom FestivalBusiness Plan
Table of Contents1. Target Audience
Local Municipalities
Local BusinessesTourism Industry
2. OverviewDemographics
Board of Directors3. Regulatory Considerations
- Special Events
Vancouver Coastal Health4. Operations
Locations- VIP Media Launch- Dedications- Promotions
5. ProgrammingLocal BusinessesAlliance for Arts and Cultural Groups
6. Retail Opportunities7. Environment
8. MarketingWebsiteCultural
- Educational- Social
Economic- Sponsors
9. Communications- Local Media and Media Sponsor- Program Guide- Website and Social Media- Vancouver Tourism
10. Funding- Sponsorship; Cash, In-Kind- Grants- Programs
11. Sustainability
12. Executive Summary- Growth & Action Plan- Financial Plan- Volunteer Plan
Metro Vancouver Cultural Grants2013 Application for Regional Projects
Applicant Information
A(idres
Mailing Address if different
Telephone Email
Webs ite
Contact person, and title, regarding information contained in the application
::.
____ _________ ___ ___________________
Number of staff in your organization Number of volunteers in your organization
Annual budget Year Founded
BC Society Act Number
Name of the organization (legally registered name)
Conditions and Signature
• Grant recipients must acknowledge the support of Metro Vancouver on all promotional materials related tothe funded project.
• Organizations making significant changes to the information provided in this application must discuss suchchanges with Metro Vancouver staff prior to the implementation.
• Grant recipients will be required to complete a foUowup report for Metro Vancouver. Receipt of this reportwill be a precondition for consideration of the organization’s future grant applications.
• Information provided in the Regional Project Grant application may be subject to disclosure under the BCFreedom of Information and Protection of Privacy Act.
I —
Submtted by
______ __________________________ __________________
name, title
On behalf of:
signature
name of organization
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in ourapplication is complete and true in every respect.
Deadline for submission
Mail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pmTo: Metro Vancouver, Cultural Grants Program External Relations, 3rd floor 4330 Kingsway Burnaby, BC. V5H 4G8
If you have any questions about the application or the eligibility of your project call Judy Robertson at 604-432-6205 oremail [email protected]
Vwu ouver La’J Cultural Centre
Metro Vii,uouver Cultural GrOfltc 201 3
1) Descrthe your organization, its history, mandate and pro grains.
The Vancouver East Cultural Centre (“The Cultch”) is one of Vancouvers most diverse andinnovative arts and cultural institutions. For 40 years we have offered dynamic programming intheatre, dance, music, and the visual arts, bringing worldclass cultural presentations tothousands of patrons each year. Our mandate is to provide a venue for performance thatexplores contemporary art forms, serves the artistic community and brings together diverseaudiences. Our mission is realized through innovative performance, commissions, partnerships,and rental opportunities. Our core values are realized by supporting and encouragingexcellence in artistic practice, the development of youth and emerging arts practices, providingaccess to a diverse audience, and providing a creative and respectful working environment. Weprovide a variety of multi-evening presentations by internationally-respected artists incontemporary theatre, dance, and music; commissions with national and internationalpresenting partners; performing arts residencies and internships; numerous education andoutreach programs for children and their families, including an expansive youth program;discounted office space, theatre, and studio rent for professional arts organizations andcommunity groups; and advocacy and support initiatives for Vancouver artists and culturalworkers. In this wide and varied array of presentation, developmental, community-minded, andaudience-centric efforts and opportunities, The Cultch is focused on expanding on our place as
a presenter and rental venue to becoming an ongoing and driving force in our community andcity by operating the newly renovated York Theatre beginning in 2013 and replacing theGreenhouse with two multi-purpose spaces in 2014.
2) Briefly describe the proposed project, its objectives and the benefits it will have to MetroVancouver’s region, your municipality, artists, and your organization. Why are you undertakingthis project? What are the anticipated results? What makes the project unique and innovative?
BackgroundWe are currently in the midst of a lengthy transition/renewal period involving sustained and
massive growth driven by the renovation of existing spaces and construction of new buildings.This began with the renovation of our main facility and the construction of our new office spacesand the Vancity Culture Lab (completed in 2009), continues currently with the renovation of theYork Theatre on Commercial Drive (which is slated to open December of this year), and isanticipated to end only after we have completed construction on the new Jim Green House(comprising a multi-purpose rehearsal space and a floor of rental offices) in 2014, and both thatbuilding and the York Theatre are running smoothly and contributing to our mission. Once all ofour building projects are completed, we will be operating four facilities, up from one in 2008.There has been a substantial learning curve attached to this transformation; as our capacity hasincreased dramatically, we have experienced a significant increase in our operating costs, and
require new streams of revenue to sustain access to and programming in the facility.
The Project
Viiic 1)1/Vt! / tii ccliii, cii I li/it
A-hOc ‘cl!u ‘H/c I ( ciii Hi ii(,, ciHi )() I
0. MlteiIal to pUhll( I/V thV 0PeI1ln/ of till Yot k heltw
1. f\II lflItVliaI to her waled iii both 1)0111 lUll v/el) re.l(Iy foi nIt’
Our mar kellug lI1(l rentals skiff He already vvor kink ,it ( IpK ily, with HO time to Lln(leltake theI.IUH( h of the new 51( I’ 01 the i e,ition of new HIllel ills We need to hr ing in highly skilled
outside assmstanc e (a planning ( onsultant and a graph (lesigner) for thìe planning phase of thispFOje( I, Whi( h will then enable Hill (LIII ent still to move forward with implenientat ion.
) Is this 11111W pWi(’( / (U (11! (‘X/)UHsIHtI of cm tXisliIi(j initi(ltivC?
lIiisisi iut’imiiitii1iie.
4) / ist f/ti’ titan? fJclHi( ipants iivnivd ill ( alt yimj oil! f/li’ ptOpO5Vcl ptO/C( 1 paid staff, contract
‘tHf)IOy’c ‘5. L/HItit1!(’(’ts).
‘It/c will eri ige two outside (Out! a( tors ,l mai ket jug and riitals (Olisultant, arid a graphicdesigner. I hey will work with oum marketing and rentals departments, It_’ad by Dii ector ofPati on Development Ni( ole M( I uckie, and Rentals (0 ordinator Jennifer Spry, respectively
these ir e hot h pa id staff)
) Desc,thc any partners/lips or C ollahoration involved in C I eating at proclucinc the proposedproje( t. Please attach lcttc’t s of support.
We (10 not currently have any partners for this project.
6. How will the gtunt money be spent? Please submit a detailed budget as a separate
cmttuchment.
Please see attached project budget. This grant money will he utilized to cover contractor fees,the creation of marketing materials, and distribution.
7,) What 0117cr soutces of project funding are you currently pursuing? identify any groups,agencies or businesses that you have identified or approached as donors or sponsors.
We have applied for support for this project through the BC Arts Council’s Capacity Building
program.
9) How will you evaluate this project? How will you determine whether it has been successful?What measurable outcomes will you use in your evaluation?
1. Creation of Marketing Plan and Materials: This project will provide powerful new tools
for our rentals staff to undertake their job requirements. The creation of the materialsoutlined in the project description will be our first measure of success.
The Cultch Board of Directors
( inf1y/Elri1yr)Cupatiohl
Iwctor & L vokgarnnt (,ti,ir
Annalies Camfferman
[:gslcrcd f4uise (r toed)
Ptlauthropy, I ufldr 0:01g. YouthEducation in health care Rodcultural concetns
Df.r,ctcr
Elaine JongEndall Elliot Asaurfates Architecture
Architmt
Secretary I Treasurer
Frank CostanzoBank of Montreal CommercialDrive Branch
Branch Manager
thtence:Finance Chair
Director
an ForsythNorth Vancouver Office of CulturalAffairs
Executive Director
est/Exerience:Community Outreach, AudienceDevelopment, HR. Marketing
Director
Jamb Johnston
Mortgage Broker
Interest/Experience:Finance, Mortgage Broker
Past Chair
John MostowichJohn D. Mostowich Law Corporation
Lawyer
Interest/Experience:Lawyer, Governance, Marketing,NegotiationsJohn Mostowich and PatriciaOsoko
Director & Marketing Chair
Kathleen BourchierKathleen Bourchier StrategicCommunications
President
Interest/Experience:Communications
Board Terms: let term is for one year, followe
NameCompany/EmployerOccupation
Director
Louise SchwarzRecycling Alternative
CoFounder
Ii lence:
Director
Lydia LovisonLawson Lundell
Palalegal
ience
Chair
Rachel Welch O’Connor1 he Hay Group
Principal
hilersl!Exeriegce:Human Resources. Technology,Project Management
Deector
Sheldon ChandlerChandler Associates ArchitectureInc.
Architect
Vice Chair
Tony WongSelCemployedLawyer
est/Exerlence:Legal, Corporate Governance,Business Administration & Finance
Board Terms: 1st term is for one year, foliow€
VANCOUVER EAST CULTURAL CENTRE
2013 MetroVancouver Cultural Grants
PROJECT BUDGET
Rentals Planning / Graphic. Design ConsultantsPhotography for Marketing Materials
Print and Web Design Fees
Printing and Binding Costs
Distribution
Office and Meeting Expenses
Cultch Staff Salaries (inkind)
Total Expenses
Revenues
MetroVancouver Cultural Grant (this application)BCAC Capacity Grant
Expenses
Surplus / (Deficit)
Cultch Contribution (in-kind)
Total Revenues
14,000
2,250
7,500
4,000
1,000
1,250
6,000
36,000
10,000
20,000
6,000
36,000
VANCOUVEFI EAST CULTURAL CENTRE
Fnanca Statemerts
Year Eided May 31, 2C12
I. —
I
Page
AUDITORS’ REPORT 1
FINANCIAL STATEMENTS
Statement of FInancial PosItion 2
Statement of Operations 3
Statement of Cash Flows 4
Notes to the FinancIal Statements 6-15
J.Jç’pçfly J{)DS iJjpcIirB.,rd Accountanis Suite 1140 I 185 VSst GeOO:io Street
B41fl(O&er’, BC. cenada WE 456ISIre,J,onu (604) 688—7227
FuN: (604) 6807716
AUDITORS’_REPORT
To the Directors of Vancouver East Cultural Centre:
We have audited the accompanying financial statements of Vancouver East Cultural Centre whichcomprise the balance sheet as at May31, 2012 and 201 1, the statenients of operations, changes innet assets and cash flows for the years then ended, and notes comprising a summary of significantaccounting policies and other explanatory information.
Managements Responsibility los the Financial Statements
Management is responsible for the preparation and fair presentation of these financial statements inaccordance with Canadian generally accepted accounting principles, and for such internal control asmanagement determines is necessary to enable the preparation of financial statements that are freefrom material misstatement, whether due to fraud or error.
A editors’ Responsibility
Our responsibility is to express an opinion on these financial statements based on our audit. Weconducted our audit in accordance with Canadian Auditing Standards. Those standards require thatwe comply with ethical requirements and plan and perform an audit to obtain reasonable assuranceabout whether the consolidated financial statements are free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts anddisclosures in the financial statements. The procedures selected depend on our judgment, includingthe assessment of the risks of material misstatement of the financial statements, whether due tofraud or error. In making those risk assessments, we consider internal control relevant to the entity’spreparation and fair presentation of the financial statements in orderto design audit procedures thatare appropriate in the circumstances, but not for the purpose of expressing an opinion on theeffectiveness of the entity’s internal control. An audit also includes evaluating the appropriateness ofaccounting policies used and the reasonableness of accounting estimates made by management,as well as evaluating the overall presentation of the financial statements.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basisfor our audit opinion.
1
_____________ ______
A Limited LiabiIi Partnership
v,buck1inidoddscom
Basis for Qualified Opinion
In common with many charitable organizations, Vancouver East Cultural Centre receivesrevenue from donations, the completeness of which is not susceptible to satisfactory auditverification. Accordingly, our verification of these revenues was limited to the amounts recordedin the records of Vancouver East Cultural Centre and we were not able to determine whetherany adjustments might be necessary to donation revenues, excess of revenue overexpenditures, assets and net assets.
Qualified OpinionIn our opinion, except for the possible effects of the matter described in the Basis for QualifiedOpinion paragraph, the financial statements present fairly, in all material respects, the financialposition of Vancouver East Cultural Centre as at May 31, 2012 and 2011, and the results of itsoperations, changes in net assets and its cash flows for the year then ended in accordance withCanadian generally accepted accounting principles.
Vancouver, British Columbia “Buckley Dodds Parker LLP”October 19, 2012 Chartered Accountants
2
VANCOUVER EAST CULTURAL CENTRE
Ststement o Financia’ Position
May 31, 2012
2012 2012 2012 2011
Operating BuHding Totat Total
ASSETS
CURR[r’Jr
LIABILITIES AND FUND BALANCES
CURRENT
Accounts poyable and accrued Habihties
GST payahln
Due on building construction
Defurred re’Jonuo Note 8,)
S 159,255 S 1,6(35 $ 160,920 S 77,996
Term deposits (NoN 6 665,690 665,690 300,000
Accounts recoivablrr (Note 3,) 64,731 1,709 66,440 58,017
GOT recevnbIe
GST undr’r ipp€:1I -
—357,523
Prepaid oxpnro’, 42,562 42,562 80,490
Inventory 3,105 3,105 2,740
CASH SURRENDER ‘!ALUE OF LIFE INSURANO;E
VANCOUVER FOUNDATION ENDOWMENT FUND
PROPERTY, PIANI AND EQUIPMENT (NOte 4)
BUILDING UNDER CONSTRUCTION (Note 5,1
5 2(39,653 S 669,064 $ 938,717 S 879808
880 - 880 880
36,000 36,000 36,000
98,189 10,864,252 10,962,441 11,047,300
- 1,365,090 1,365,090 1,365,090
5 404,722 $ 12,898,406 $ 13,303,128 $ 13,929,078
5 74,002 $ 74,002 $ 46,844
10,425 193,191 203.616 2,791
304,813 - 304,813 253,034
389,240 193,191 582,431 302,669
15,482 1 2,705,215 12,720,697 1 3,626,409
$404,722 $ 12,898,406 13,303,128 $ t3,929,D78
FUND BALANCES
ON BEHAL
//
BOARD
rector
See accompanying notes to the audited financial statements 3
VANCOUVER EAST CULTURAL CENTRE
Statement of Operations and Changes hi Fund Balances
Year Ended May 31, 2012
2012 2012 2012 2011Operating Building Tota Total
S S5i,66S S1 19,586
112,816
57923
35465
14845
8150
5,930
4285
38,545
1,015,210’
473,454
4,597
561
5.158
$ 557,665179,586
112,81657,923
40,06214,845
8,150
5,930
4,846
38,545
1,020,368
473,454
252,331
127,212
99,272
81,448
6,37613,778
4,800
1,250
15,537
24,672
626,676
567,300
S
REVENUE
EARNEDCulrcn ProO’ucions rOVOiltie
f’rndctnrr and service ctrrrrqo revenue
RentalConcessions
Interest
FOH tees
Summer camp
Advertising
Miscellaneous
Volunteer 5OtViCOS inktrtd
GRANTS (Schedule 1)
FUNDRAISING AND SPECIAL EVENTSDonations inki.nd
Individual donations
Corporate snonsorstsps
Corporate donations
Gaming direct access
Foundations
Fundraising special evenls
Bingo
EXPENDITURES (Schedule 2)
NET REVENUES (EXPENDITURES) BEFORE
Amortization
EXCESS (DEFICIENCY> OF REVENUE OVER
FUND BALANCE, beginning of year
Interfund transfer
FUND BALANCE, end of year
159,955’-” - 159,95592.084 - 92,08474,275 - 74,27573,800 - 73,80072,001’ - 72,00113,989 13,98928,261 - 28,261
239,742
58,84943,163
90,600
40,000
68,500
18,34932,000
591,203
1,785,179
1,875,568
(90,389)
596,726
(687,115)
14,313,524
514,365
2,003,029
2,195,784
(192,755)
25,595
(218,350)
119,177
114,655
15,482
514,365
2,008,187
2,203,543
(195,356)
710,356
(905,712)
13,626,409
5,158
7,759
(2,601)
684,761
(687,362)
13,507,232
(114,655)
12,705,215S $ 12,720,697 $ 13,626,409
See accompanying notes to the audited financial statements 4
VANCOUVER EAST CULTURAL CENTRE
Statement of Cash Flows
Year Ended May 31. 2012
OPERATING ACTIVITIESNet Income (Toss) for the year
ferns not affechnq cash:Amortization
Changes in non cash ‘‘ rking capita!
ReceivablesGST receivablePrepaid.sInventoryPaya!:Ies and accruals.
Due un buiIdnq cca:fuctu.n
Defened revenue
Cash flow from operating activities
____________________________________________
INVESTING ACTIVITIESPurchase of property, plan! ann equipment
__________________________
C:’.sh flow used by investing activities
_________
DECREASE IN CASH AND CASH EQUIVALENTS
CASH AND CASH EQUIVALENTS - Begfnninq of year
___________ _________
CASH AND CASH EQUIVALENTS - End of year
2012 2012 2012 2011
Operating uilding Total Total
$ (218,350) $ (687,362) $
684,761
(905,712) $
710,356
(36714) 28,29! (8,423)
7,634 553,750 561,384
37,928 -37,928
(359) (359)
27,158 27,158
51,779 51.779
(105.329) 474,111
(687,115)
596,726
1 .0 1 5,48 181,145
(63,887>5,7515,083
(975 ,066i42,244
20,282$ $ 579,440 S $
(20,158( (5330) (25.497) (8604)
(87,604)
(125,487) 574,101 448,614 (67,322)
56 (1?7,868 377,996 445,318
S 380,369 S 44624! S 826,610 S 377,996
See accompanying notes to the audited financial statements 5
Notes to the Financial Statements
Year Ended May 31. 2012
1. NATURE OF THE CENTRE
Vancouver East Cultural Centre (the “Centre”) was incorporated under the Societies Act of
British Columbia on February 8, 1 973. The Centre is a notforprofit organization dedicated
to the development of the arts in the Vancouver comniunity. It is a registered charity for
income tax purposes and is not subject to income tax. The Centre takes a leadership role in
the development of new and innovative productions of dance, theatre, film, and community
based projects. The Centre depends on the financial support of both the public and private
sectors and attendance at performances to fund its activities. The Centre is also available to
community groups as a rental facility, and it depends on this revenue as well.
2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
accointi
The Centre follows the restricted fund method of accounting for contributions.
Operating Fund The operating fund reports operating grants, revenue and expenses
related to the Centre’s operating activities. The general fund was established to
record all day to day administration activities and production activities.
Building Fund The restricted building fund reports the members ownership and equity
related to the Centre’s land and buildings. The building fund was established to
record the VanCity Award to the Centre dedicated to the renovation of its current
facilities. Current funds are used for the construction and maintenance of the
buildings as well as other expenses as deemed necessary.
Use of estimates
In accordance with Canadian generally accepted accounting principles, management is
required to make estimates and assumptions that could affect the reported amounts of
assets and liabilities, the disclosure of contingent assets and liabilities, and the reported
amounts of revenues and expenditures during the reporting period. Actual results could
differ from those reported.
Revenue recognition
Grants and contributions are recognized when they are earned. Contributions are
recognized as receivable if the amount to be received can be reasonably estimated and
collection is reasonably assured. Investment income earned on the Endowment Fund and
bank balances is recorded as earned and is recognized as revenue of the appropriate fund.
Deferred revenue
Deferred revenue represents funds received by the Centre, where the corresponding
expenditure for such funds has yet to be incurred. As the expenditure is incurred, the
corresponding deferred revenue will be reallocated to revenue.
6
VANCOUVER EAST CULTURAL CENTRE
Notes to the Financial Statements
Year Ended May 31, 2012
2, SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (Continued)
Donations in-kind
Donations in-kind are recorded at their estimated fair market values.
Contributed materials and services
The Centre’s policy is to recognize contributions of materials and services to the extent that
the fair value of the materials and services can be reasonably estimated and when the
materials and services are used in the normal course of the Centre’s operations and wouldotherwise have been purchased.
Property, plant and equipment
Property, plant and equipment purchased by the Centre are recorded at cost and thosedonated to the Centre are recorded at their fair market values at the date of acquisition when
fair market value can be reasonably determined. Property, plant and equipment are
amortized on the declining balance basis at the follovving rates:
Lighting system 10%Furniture and equipment 20%Sound system 10%Computer equipment 45%Website development 10%Building 4%Theatre equipment 10%Physical plant equipment 20%Computer software 55%
Building (Theatre) 20 yrs SLTheatre equipment 10 yrs SLPhysical PP&E 10 yrs SLComputer software 5 yrs SL
Leasehold improvements are recorded at cost, with amortization provided on a straight-line
basis over 10 years.
The above rates reflect the anticipated life expectancy of the assets.
Impairment of lonq-lived assets
The Centre reviews the carrying amount of long-lived assets for impairment whenever
events or changes in circumstances indicate that the carrying amount may not be
recoverable or has been impaired. The determination of any impairment would be based on
a comparison of estimated future cash anticipated to be generated during the remaining life
of the asset to the net carrying value of the asset. If impairment is determined, the assets
are written down to their fair values.
7
VANCOUVER EAST CULTURAL CENTRE
Notes to the Financa Statements
Year Ended May 31, 2012
2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (Continued)
Financial Instruments
The Centre classifies its financial instruments into one of the following categories based onthe purpose for which the asset was acquired or liability incurred. The organization’saccounting policy for each category is as follows:
Assets held-for-trading
Financial instruments classified as assets held-for-trading are reported at fair value at eachbalance sheet date, and any change in fair value is recognized in net income (loss) in theperiod during which the change occurs. Transaction costs are expensed when incurred. Inthese financial statements, cash and term deposits have been classified as held-for-trading.
Available-for-sale investments
Financial instruments classified as available-for-sale are reported at fair value at eachbalance sheet date, and any change in fair value is recognized in net assets in the period inwhich the change occurs. In these financial statements, there are no assets classified asavailable-for-sale investments.
Held-to-maturity investments
Financial instruments classified as held-to-maturity are financial assets with fixed ordeterminable payments and fixed maturities that the organization’s management has thepositive intention and ability to hold to maturity. These assets are initially recorded at fairvalue and subsequently carried at amortized cost, using the effective interest rate method.Transaction costs are included in the amount initially recognized. In these financialstatements, there are no assets classified as held-to-maturity investments.
Loans and receivables and other financial liabilities
Financial instruments classified as loans and receivables and other financial liabilities arecarried at amortized cost using the effective interest method. Transaction costs areexpensed when incurred. In these financial statements, accounts receivable and GSTreceivable have been classified as loans and receivables and accounts payable andaccrued liabilities and due on building fund have been classified as other financial liabilities.
8
VANCOtJV. EAST CULFURAL C.ENThE
Nctet. to the F nai.ctal Statem nts
Yaar Ended May 31. 2012
3. ACCOUNTS RECEIVABLE
Grants receivable from various supphers constitute approximately of accounts
receivable. The remainder of the balance is made up of various receivables froni rental
clients and others.
4 PROPERTY, PLANT AND EQUIPMENT
Accumulated NFBV NBV
Cost Amortization 2012 2011
S $ $ S
Lighting system 5 177,804 $ (165,112) $ 12,693 S 15,865
Furniture and equipment 449,480 (423,563) 25,916 23,010
Leasehold improvements 424,970 (41 5,956) 9,013 1 1 ,268
Sound system 67,795 (54,165) 13,630 12,566
Computerequipment 22,234 (17,112) 5,122 3,498
Website development 52,277 (20,462) 31,815 37,418
Building 11,514,216 (1,312,128) 10,202,088 10,772,461
Theatre equipment 472,909 (155,849) 317,060 364,351
Physical plant and equipment 333,363 (81 ,343) 252,020 285,356
Computersoftware 142,113 (49,029) 93,084 121,507
$ 13,657,160 $ 2,694,719 $ 10,962,441 $1 1 .647,300
5. BUILDING UNDER CONSTRUCTION
The Centre has entered into an agreement to collaborate on the preservation and renewal of
the York Theatre. The Cultural Centre receives grants from Canadian Heritage which are
used to restore the York Theatre, and the Centre also receives management fees for its
services in managing the project.
6. TERM DEPOSITS
The Centre holds term deposits in the amount of $665,690 with Vancity. This amount is
made up of two separate term deposits. The first term deposit in the amount of $565,690 is a
1 2-month term and matures on March 30, 2013. The second term deposit in the amount of
$100,000 is a 12-month term and matures on December 14, 2012. Interest on the term
deposits is compounded annually at a rate of 1.2%.
9
VAOjVER rA3 CULTURAL Ca:’iTRiE
Notes to the Ftnenclai Statements
Year Ended May 31, 2012
7. ENDOWMENT FUND
The Centre has an Endowment Fund witi the \!ancouver Foundation, The Centre earns
interest income on the fair market value of the units held in the fund. The carrying value is
the DO[iiOn of the fund that is refundable to the Centre.
A summary of units owned in the fund is as follows:
S $
ra9.tsina foundationscan Awara
Deferred rent, box office deposits, and other
Number of units owned in the endowment fund
2012
5,842
2011
5,842
16M0 16.18Market value per unit at May 31
Contributions to the endowment fund are as follows:
Refundable portion of Endowment Fund contributedby the Centre 25,000 25,000
Nonrefundable portion of Endowment Fund contributed
by the Centre 10,000 10,000
Donation by a third party 11,000 1 1,000
Matching by Vancouver Foundation 25,000 25,000
71,000 71,000
Less: non-refundable portion 35,000 35,000
Endowment Fund 36,000 36,000
8. DEFERRED REVENUE
Deferred revenue consists of funds received pertaining to activities of future years.
2012 2011$ $
$ 2,88
63,432
$ 304,813
$18,374
$ 253,034
10
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ft \t11 \l Ii i’ll:uiK 1W5
I F iii i I I H Hi. Iii I I ii I H I 1 iii I II I’ I ‘1 Ii II i II” I I’
ii I!. :1 ivil ii r. F F) I c;viv. iii! 11:1; JIll fr; ry hi ii d .i I H ibihhc nc I .ini
Ii Wi lH I. Iii Ii HI I’ ill II tour Hi IH I ii rcj;j H Fr hi or ,hm:rli . tb it H to
IlIjil j .Iu 1:1 Ii ni c,r,Tr .i ‘I . :1 I ,il_ill I i/i)! ( I II’’H
.1 mi ci, cry; Lii ; I; HI IcHI I ci ii ii HIHiO ., ; ci ii! 1 c 01 lii rn )xlm if: Hiii I. ur
iii, H H t liii 1 II
ii IF I I H k
ii’ ( iii I iii 0 p ic I in .qi jhc;ic II liii’ H ;j I II’ rl r, It fiOcH, ill ii OII cIii ni
I III I I
( hi ri I
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ii;!. H H iII1Icic 1,11 ; ill ;uIli H; Him i(,c,IVIh!I; Ii nomily c!IVr from (I0\’ -IJIc1Hili
(IfcI;iIiI/;liI cii’, ii tim li,iin cf frIImtS.
—---—----
10. CAPITAL
The Centre defines its capital as the amounts included in fund balances.
The Centre’s objectives when managing its capital are to safeguard its assets, and its
ability to continue as a going concern, while ensuring sufficient funding is available to
support anticipated capital expenditures and ensuring it can continue to fulfill its mission,
ii. ECONOMIC DEPENDENCE
At May 31, 2012, the Centre remains dependent upon government financing to sustain its
operations.
r,-trr,p--’—a—
11
JANJR EAST CULTURAL CENTRE
Notes to the Financial S4fitmeflts
Year Ended May 31, 2012
. s*Ir
12. CONTINGENCIES
The City ot Vancouver owns the builchnci and land on which the Centre is situated. Under an
agreement dated June 21, 2007, the City of Vancouver has granted the premises occupied
by the Centre at a rental rate of $1 (one dollar) per annum for a term of ten years plus two
ten year renewal periods. If the City of Vancouver should withdraw the rental support, in the
renewal periods the Centre would be required to pay rent at fair market value, which cannot
be estirnated at this time.
There is a claim against the Centre in the amount of $947105.16 arising from work
performed for the Centre by a contracting company. Management of the Centre believes that
the matter will be settled for an amount less Ihan the original claim amount. However,
management has ascertained that the potential amount of the settlement is not discernable
at this time.
13. NONMONETARY TRANSACTIONS
During the year, the Centre received advertising and other services valued at $159,955
(201 1 $239,742) in exchange for advertising and other services. These transactions are
accounted for at the market value of the services received.
14. CASH SURRENDER VALUE OF LIFE INSURANCE
The Centre is the owner and beneficiary of a life insurance policy for $25000. The cash
surrender value at the end of the year is $880 (201 1: $880).
15. CHANGE IN ACCOUNTING STANDARDS
The Accounting Standards Board (AcSB) and the Public Sector Accounting Board (PSAB)
are assessing the strategic direction of financial reporting standards for nOt-for--profit
organizations (NFPO5) in Canada.
The AcSB proposes private sector NFPOs be given a choice to follow new accounting
standards for NFPOs orto follow International Financial Reporting Standards (IFRS). The
AcSB proposes that NFPOs select one of the two available sets of accounting standards
and apply that set for annual financial statements relating to fiscal years beginning on or
after January 1, 2012. At this time, the Centre is still evaluating the accounting standards
which will best suit its needs.
12
VANCOtJVE? EAST CULTURAL CENTRE
Not..s to the Financfai Sta.trnents
Year Ended fVlay 31, 2012
16. COMPARATIVE FIGURES
Some of the comparative figures have been reclassified to conform with the current year’s
financial statement presentation.
17. INCOME TAXES
The Centre is registered as a notfoeprofit organization under section 149 of the Income Tax
Act. Accordingly donations to the Centre are deductible for income tax purposes by donors
and the Centre is not subject to income tax on its excess of revenue over expenses.
18, BAD DEBT
During the year, the Centre entered into a copresentation agreement forthe production of a
shovv entitled “Hunchback”. The Centre incurred expenditures on behalf of the copresenter
(the Vancouver Playhouse Theatre Company), which were to be reimbursed to the Centre.
As at May 31, 2012, management has determined that the amounts are not collectible from
the Vancouver Playhouse Theatre Company, so a provision for bad debt has been made.
13
VANCOUVER EAST CULTURAL CENTRE
Schedule 1: Schedule ol Grant Revenue
Year Ended May 31. 2012
2012 2012 2012 2011Operating Building Total Total
OPERATING FUND GRANTS(3 nadian HcritncF’rovnco of BC oporatinqF Tovnce of BC roject(aty of VancouvorF u con ovcrun nt
Municipal Meir’: VancouverCanada Council [ravel/residency
Canada Council DanceCanada Council Flying SquadCanada Council International Touring2010 Legacies NowOther
BUILDING FUND GRANTSCanadian HeritageCity of vancouver
YORK BUILDING GRANTSCanadian Heritage
$ 200.000 594, a00
S 180,00094 5J
61800140,000 11000(1
8,800600(1
11,00039,1)00
9,0009,654 32,000
$ 200,00094,500
140,0008,800
11,000
9,654
9500 9,500 5,000
5 473,454 S - $ 473,454 S 537.300
S S . $ S -
-— 30,000
$ $ $ - $ 30.000
S $ - $
5 473,454 $ - $ 473,454 $ 567,300
14
vicouv2 EAST CULTURAL CLTRE
Schedule 2: Schedule of Expenses
Year Ended May 31, 2012
- 2012 2012 2012 2011
Operating Building Total Total
EXPENDITURES
Iji—[uiJ (t,)iii ii
iblieiI’ md lsert;sinijOffice
f)!’]’ 14 ckctirej roesLJtilijiPS
HesirteniocSoncessie re; on’..] GallerySouth cut rcProfessionS fcursProduction expensesTelephonePresenting exponsesInsuranceRepairs and maintenanceSummer campLicenses, dues and subscriptionsProject developm cotStorage arid securityfviiscellaneoi isVolunteer services inkiodI heatro expense
S 57.1,13,’ S06,331
I 59.955105,49873,15364,04948,647313,69737,598.27,19125,40924,81321,59416,56515,88015,65411,07910,0229,1214,718
1,45839,583
$ 973,157406,534159,955105,49873,74664,04948,64738,69737,5f..827,19125,40924,i1321,59416,56515,88015,65411,07910,022
9,1214,7183,6203,5461,458
39,583
t361 .20%263,085257742
50,56164,10337,4312,38638,28124,98555,00042,4872.2,53417,2933,472
14,15917,30910,4269,6099,8302,972
30,4804,0671,328
28,826
3,6203,346
Bad debts
EXPENDITURES BEFORE APJORTIZATION
AIv1ORTI ZATION
TOTAL EXPENDITURES
65,409 - 65,409
$ 2195,784 $ 7,155 $ 2,203,543 $ 1,875,568
25,595 684 761 710,356 596.726
5 2,221.379 $ 692,520 $ 2,913,899 S 2,472.294
15
Table of Contents
Executive Summary 3
Introduction 4
Vision Statement 6
Mission Statement 6
Organizational Values 6
Key Alms 6
Major Targets 7
Our Structure 8
ArtIstic 8
• PresentatIons 9
• Youth 9
• Rentals 9
• Technical 9
• FacIlities 10
Patron Development 10
• Ticket and Ad Sales 10
• Donations and Sponsorships 11
• Special Events 11
• MarketingBusiness Development 11
• Human Resources 12
• Finance 12
• Bar and Front of House 12
• Board of Directors 12
AppendicesA Evaluation of Goals YE12 13
B 5 years pro-forma budget
C Organizational Chart
D New or updated Job DescrIptions 17
E Strategic Plan Consultations YEll 23
AttachmentsYork Theatre Business Plan
Jim Green House Business Plan
The (.‘ultchStraIegicPIan2OII-2016Revised November2012
I
The Cuitch
Strategic PlanJune 2011 — May 2016
Heather Redfern Executive Director
RevIsed November, 2012
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ratro Vancouvei Cu5ua1 GrantV,jncou’er internatona. Chikirens IesSvaJ Juiu 203
Regional Project InformationDescribe your organization, its history. mandate and programs.History, mandate, mission, values and goalsIncorporated on December 11° 1975, producing its first Festival in 1978 the Vancouver
International Children’s Festival (VICF) is the longest running Festival of performing arts for
young audiences in the world, In its first year the Festival, under the artistic direction of Liz and
Cohn Gorrie, was an International Theatre Festival funded by the City of Vancouver. In its second
year, under the direction of Chris Wootten, dance and music was included turning it into an
international performing arts festival. The core direction from the beginning of the Festival was
to ensure that it presented international, national and regional artists who were creating work
for young people. This focus created two opportunities: first for Canadian audiences to view
work that had been previously inaccessible, and secondly for the Canadian artists to showcase
their work. The artistic growth was invaluable as artists from around the world shared, and
continue to share, their knowledge and artistry with each other.
Thirtysix years later, the weekiong Festival still presents international and Canadian performing
artists, has included opportunities for youth performers, and various interactive arts activities.
The Festival’s primary target audience is families and educators with children ages 6months-’12.
Audiences are drawn from every community in Metro Vancouver, and across B.C.
VICFS Mission StatementTo provide the finest quality performing arts programs to young people in an environment thatencourages critical thinking and a lifelong interest in learning, ideas and cultural exploration.
VICFS Objectivesto initiate activities that contribute in a major way to the development of young people
and to the field of arts and culture for young audiences;to passionately promote the culture and performing artists of B.C. and Canadaregionally, nationally and internationally;
• to introduce high quality international performing arts to B.C. audiences andperformers;
• to maintain the accessibility of cultural programs to children and young people
regardless of social or economic background;• to provide employment opportunities for B.C. performers, technicians, writers, directors
and administrators in the professional performing arts field
2. Briefly described the proposed project, its objectives and the benefits it will haveto Metro Vancouver’s region, your municipality, artists, and your organization.Why are you undertaking this project? What are the anticipated results? Whatmakes the project unique and innovative?
Commissioned by the VICF Me On The Map (working title) is a multi-media installationperformance about city living and civic responsibility sourced from real children’sexperiences organized by professional BC artists and created for children and the folkswho love them.
Me On The Map is a two-phase project. In Phase One lead artists Adrienne Wong andJan Derbyshire are engaging with children ranging in age from 4-12 in workshopsfocused on how kids view the city and their own places within it.
C ‘vC ncouver CuI uri (rardncowe intemton ( idrens
Activities include.Introduction to cartography (what are maps and their uses)Exploration of the poetics of mapping (i.e. mapping your backyard as a dog,mapping play spaces in your neighbourhood)Creation of walking tours of their neighborhoods (conducted live or as audiorecordings or podplays)
The objectives are one to gather the childrens stories, anecdotes and observations andtwo to synthesize this material into a 30-40 minute narrative play that speaks to thechildren s experience of what they would hke metro Vancouver cities to look and feel like
The piece will be performed in 2014 at the VICF, The audience (children and adults,alike) will enter a three-dimensional performance environment. Envisioned as a small-scale City (like a model train set), where there wilt be portholes to peer into to see andhear more secrets and stories of the city. At the centre of it alt is a child (played by anactor) who adventures through the city, encountering obstacles and allies and, ultimately,discovers her place on the map. The performance environment will be designed withinclusivity at the core, making assistive technologies like scrolling readers and audiodescription an integral part of the performance and not a clunky add-on to accommodatepatrons with disabilities. The environment also doubles as an installation where kids canexplore and listen to the words of voices of the children who participated in theworkshops. We plan to draw children’s attention to what it means to build communityand safe neighbourhoods in the hopes of addressing the urban isolation so many feelwithin our cities. We have no doubt that the children who participate will also lead us toimagine the possibilities of what our city can be.
The project is unique in a couple of ways first the sourcing of material from children thatwill be the basis of the work and two the use of integrated technology that is being builtinto the script as though it is a character creating a seamless flow for the audienceregardless of their abilities. We will be marketing this work to the communities for thehearing and sight impaired which is a new initiative for the VICE.
The response to the workshops has been positive with the children engaged and excitedto participate in the creation of their own community. Given our experience so far weanticipate that the project will engage and encourage our audience members to attendthe performance/installation and to continue the conversation about building communityand safe cities. Our outreach has included all cities in metro Vancouver and weanticipate all workshop participants attending the show.
The benefits to the region, the company and the artists is that this creation speaks to ourlocal cities offering us an avenue to explore the theme of building community through theeyes of the next generation.
Phase one of the project is already funded and will be complete by the end of August of2013. We are applying for funding for the creation and production elements for phasetwo.
3. Is this new project or an expansion of an existing initiative?This is a new commission by the VICF with the research component almost completethe production and presentation component will begin in September.
4. List the main participants i.n :oive.d in carrying out th:.... proposedKatharine Carol presenteLucie Lareau — project managerNeworld theatre crea.lors/writersActor Jan DerbyshireProduction Manager David KerrTechnical Director — Jeremy BaxterFront of House Manager — Steve Adams2.8 volunteers to assist with front of hous.e and the installation component
5. Describe any partnerships or collaborations involved in creating or producing theproposed project.
The partnerships for this project are between the Vancouver International ChildrensFestival, Neworld Theatre and OCAD University in Toronto, Ontario.
Planning and Financial Information6. How will the grant money be spent?
Please see attached budget.
7. What other sources of project funding are you currently pursuing?We have received $20,000 both from the Vancouver Foundation and the BCAC.Neworld theatre and the Vancouver International Children’s Festival are contributingfrom their operating funding towards the project. See attached detailed budget
8. Timeline2013 September Secure Design Team, App Design Complete2013 November Design Concept Locked; write first draft of the script2013 December Intensive Creation Period: write second draft of script, build set/installation,
record sound2014 January ?cdevelomentwojsho: actors, designers, director/dramaturge present
to test installation concept and script, test App, record audio2014 May resaIerio: assemble installation, rehearse and prep for Festival2014 May/June 1 week presentation at Vancouver International Children’s Festival
9. How will you evaluate this project? How will you determine whether it has beensuccessful? What measurable outcomes will you use in your evaluation?
The evaluation of this project is based on audience feedback through post-festivalsurveys conducted within one week after the completion of the festival. We create onesurvey for the schools and one for the public. We are specific questions about eachparticular show providing us with instant feedback as to the impact.
Our measurable outcomes are as follows:1. Completion of a survey for the schools2. Completion of a survey for the public3. Impact on our ticket sales4. Anecdotal feedback provided by the Front of House staff5. The Artistic Director of both organizations provide each other with feedback
Me on the Map Budget Phase Two
[ENSEs Project — Notes
Forecast
1 PRODUCTION EXPENSES
2 Salaries: Artists3 Technicians/Curators4 Contracts Fees: Artists $ 38,000.00
5 Other (Technical Director, Production Manager, Stage Manag $ 11,100.00
6 Materia[ (Multi Media Materials) $ 3,500.00
$ 7.00 Set Materials $ 4,000.00
9 Technical Expenses: ( Sound equiptment, mics, editing ext) $ 1,500.00
10 “ Set Contruction $ 6,00000
11 Royalties12 Rehearsal Space (In Kind) $ 4,500,00
13 Other Expense: (Specify)
14 ‘ Recording Booth ( In kind) $ 2,000,00
15 Design of App and Inclusive Design Consultation (in $ 10,000.00
16 “ Transportation/storage $ 2,000,00
17 TOTAL PRODUCTION ( Lines 2 to 16 $ 82,600.00
18 ADMINISTRATiVE EXPENSES19 Salaries: Administrator $ 6,000.00
20 Support Staff
21 Benefits
22 Office Rent
23 Office Supplies
24 Equipment Rental/Maintenance
25 Other (Marketing Materials and Fees) $ 2,500.00
26 Other (Video and Photography and editing) $ 3,400.00
27 TOTAL ADMINISTRATIVE EXPENSES $ 11,900.00
28 TOTAL ALL EXPENSES $ 94,500.00
100
LREVENUES C/P Project
Forecast1 EARNED REVENUES
2 Single Admissions - ticket sales $6,500 70% house
3 Discounted Admissions -
4 Guarantees - commission C $17,500 Confirmed
5 Concessions/Gift Shop
6 Publications
7 Program Advertising
9 Other P
10 TOTAL EARNED REVENUES $24,000 Uric 2 to9
11 PRIVATE SECTOR REVENUES
12 Fundraising: Corporate13 Individuals
14 Sponsors
15 Metro Vancouver C 10000
l6Vancouver Foundation 20000 Confirmed
17 Bank Interest
18 Fund raising Special Events19 In kind (Rehearsals Space and Sound Booth) 6500
20 Other (In-Kind Design of App, inclustvity consultat C 10000
21 TOTAL PRIVATE SECTOR REVENUES $ 46,500 00 Line 12 to2O
22 GRANT REVENUES23 BC Arts Council: Operating C 2000 Confirmed
24 Project (this project)
25 Government of BC: Innovations 20000 Confirmed
26 Canada Council: Operating C 2000 Confirmed
27 Project
28 Touring29 Other (Specify)
30 Dept. of Canadian Heritage31 Federal Employment Programs
32 Other Federal (Specify)
33 Local Government
34 Community Gaming Grants
35 Other (Specify)
36 TOTAL GRANT REVENUES 24000 Line 23 to 35
37 TOTAL ALL REVENUES 94500 Line 10 + 21
38 SUMMARY
39 TOTAL REVENUES 94500 Line 37
40 TOTAL EXPENSES $ 94,500.00 Line 38 (p. 2)
41 SURPLUS/(DEFICIT) $ - Line 39—40
Conditions and Signature
• Grant recipients roust acknowledge the support of Metro Vancouver on all promotional materials related to
thn tunded project.
(Jr ganriations making significant changes to the niormation provded in this application must discuss such
changes with Metro Vancouver staff prior to- the implemental ion
Grant recipients wil he required 10 comnlete a fotfowup report for Metro Vancouver Receipt of this reporT
will be a precondition for consideration of the organization’s future grant applications.
• Information provided in the Regional Project. Gra.n.t application may be subject to disclosure under the BC
Freedom of Information and Protection of Privacy Act.
Submitted by: I ( I ( - / (r
On behalf of: /Tt\) cet Cname of orqanimtion
/ ..)
By signing this form we do solemnly declare that, to the best of our knowledge, the information given in our
application is complete and true in every respect.
Deadline for submission
Mail or deliver two completed copies of the application form by Wednesday, July 24, 2013, 4pm
To: Metro Vancouver, Cultural Grants Program External Relations, 3t floor 4330 Kingsway Burnaby, BC, V5H 4GB
If you have any questions about the application or the eligibility of your project call Judy Robertson at 604-432-6205 or
Siqnu urn of
VANCOUVER INTERNATIONAL CHILDREN’S FESTIVAL SOCIETY2013 BOARD OF DIRECTORS
Chair - 2008Tom Stulberg CEOFIreworks Marketing Group Inc.
UL iii’ JI. .LJIJ
I
Secretary - 2007Kerry Slater — Events Manager
Treasurer - 2010John Hammond, DirectorTowers Watson Canada
Members at Large2009Kathleen Bourchier, ABC CEOKathleen Bou rchier Strategic Communications
2010Lisa Cohen, Small Business Owner
2012Yasmin S. Laiji - Teacher
Paul Hippel — Finance DirectorLIt 1
L- -I-1-
2013Christina Pyra— Lawyer
Teresa Sutherland — Principal
Sarah Hancock — Director of Client Services & Strategic Planr”’
I
VANCOUVER INTERNATIONAL CHILDRENS FESTIVALSOCIETY
FINANCIAL STATEMENTS
FOR THE YEAR ENDED
SEPTEMBER 30, 2012
11th Floor, 1 FF0 West Ponder St.reet, Vancouver, Be., Canada V6E 307
cc,’. 7 ic. (ia Fsc -0’. 7 ‘0 oc IWO: ii’.
INDEPENDENT AUDITOR’S REPORT
____ ____________ _______________
To the Members of:Voncouver International Children’s Festival Society
Report on the Financial Statements
‘lie have audited the accompanying financial statements of Vancouver International Children’s Festival Society, which
comprise the statement of financial position as at September 30, 2012, and the statement of operations, statement of
changes in net assets (deficit) and statement of cash flows for the year then ended, and a summary of significant
accounting policies and other explanatory information.
Management’s Responsibility for the Financial Statements
Management is responsible for the preparation and fair presentation of these financial statements in accordance with
Canadian generally accepted accounting principles, and for such internal control as management determines is
necessary to enable the preparation of financial statements that are free from material misstatement, whether due to
fraud or error.
Auditor’s Responsibility
Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in
accordance with Canadian generally accepted auditing standards. Those standards require that we comply with ethical
requirements and plan and perform the audit to obtain reasonable assurance about whether the financial statements are
free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial
statements. The procedures selected depend on our judgment, including the assessment of the risks of material
misstatement of the financial statements, whether due to fraud or error. In making those risk assessments, we consider
internal control relevant to the entity’s preparation and fair presentation of the financial statements in order to design
audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the
effectiveness of the entity’s internal control. An audit also includes evaluating the appropriateness of accounting policies
used and the reasonableness of accounting estimates made by management, as well as evaluating the overall
presentation of the financial statements.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our qualified
audit opinion.
Basis for Qualified Opinion
In common with many charitable organizations, the Society derives revenue from donations, the completeness of which
is not susceptible to satisfactory audit verification. Accordingly, our verification of these revenues was limited to the
amounts recorded in the records of the Society and we were unable to determine whether any adjustments might be
necessary to donation revenue, excess of revenue over expenses, and cash flows from operations for the years ended
September 30, 2012 and 2011, total assets as at September 30, 2012 and 2011, and net assets at both the beginning
and end of the September 30, 2012 and 2011 years. Our audit opinion on the financial statements for the year ended
September 30, 2011 also contained a qualification because of the possible effects of this limitation in scope.
11th blo or, 10.50 West Pender Street, Vancouver, BC, Canada V6E 7
Tel: 604. 714. 3600 Fax: 604. 714, 3669 Web: mannmae.ihott,eom
INDEPENDENT AUDflOR’S REPORT
Qualified Opinion
In our opinion, except for the possible effects of the matter described in the Basis for Qualified Opinion paragraph, thefinancial statements present fairly, in all material respects, the financial position of Vancouver International Children’sFestival Society as at September 30, 2012 and the results of its operations and cash flows for the year then ended inaccordance with Canadian generally accepted accounting principles.
Emphasis of Matter
We draw attention to Note 2 in the financial statements which indicates that the Society has a net accumulated deficit of$26688 at September 30, 2012 and, as of that date, the Society’s current liabilities exceeded its current assets by$26,688. These conditions, along with other matters as set forth in Note 2, indicate the existence of a materialuncertainty that may impact the Society’s ability to continue as a going concern.
Report on Other Legal and Regulatory Requirements
As required by the British Columbia Society Act, we report that, in our opinion, the Society’s financial statements arepresented on a basis consistent with that of the previous year.
L&t L€i
Chartered Accountants
Vancouver, British Columbia
December 5, 2012
VANCOUVER INTERNATIONAL CHILDRENS FESTIVAL SOCIETY
STATEMENT OF FINANCIAL POSITION
AS AT SEPTEMBER 30, 2012
2012 2011
ASSETS
CURRENT ASSETSAccounts recevabe 21,824 $ 44,010Prepid expenses nd deposfts 5764 6,509
$ 27,588 $ 50,519
LIABILITIES
CURRENT LIABILITIESBank indebtedness (Note 6) $ 15,800 $ 72,599Accounts payable and accrued liabilities 32976 68,369Deferred revenue and_security deposits (Note 7) 5,500 9200
54,276 150168
COMMITMENTS (Note 9)
NET ASSETS (DEFIC1T)
UNRESTRICTED (26,688> (99649)
S 27,588 $ 50,519
Director
Director
VANCOUVER INTERNATIONAL CHILDRENS FESTIVAL SOCIETY
STATEMENT OF CHANGES IN NET ASSETS (DEFICIT)
FOR THE YEAR ENDED SEPTEMBER 30, 2012
Invested inCapital assets Unrestricted 2012 2011
BALANCE, BEGINNING OF YEAR S $ (99649) S (99.649; S (144791)
Excess of revenue over expenses 72,961 72961 45.142
BALANCE. END OF YEAR $ 5 (26688) S (26688) 5 (99,649)
VANCOUVER INTERNATIONAL CHILDREN’S FESTIVAL SOCIETY
STATEMENT OF OPERATIONS
FOR THE YEAR ENDED SEPTEMBER 30, 2012
2012 2011
REVENUEContributions inkindEarned ncomeGa minG
Government operatin arantsGovernment prciect grantsPrivate sector fundingProvince of BC discretionary grant
Sundry income
3 310,694184.420149768330,100
13000297.73960,000
3.189
355,254279195
50,127302,25063,150
330.196
18,057
1,348,930 1398.229
EXPENSESAdministrative salaries and consulting 344.911 287,985
Artistic costs 49,597 223.541
Earned income costs 8,180 5,808
Gaming expenses (Community programming) 149788 50127
General administration 81,955 77,967
Marketing and promotion 410,758 444,258
Miscellaneous 14,101 12,039
Production costs 193,872 210,102
Program and sponsorship development 9,659 6,528
Volunteer and crew services 4,638 3,116
Warehouse 8,510 31,616
1,275,969 1,353,087
EXCESS OF REVENUE OVER EXPENSES FOR THE YEAR $ 72,961 S 45,142
VANCOUVER INTERNATIONAL CHILDRENS FEST!VAL SOCIETY
STATEMENT OF CASH FLOWS
FOR THE YEAR ENDED SEPTEMBER 30, 2012
2012 2011
CASH FROM (USED IN).
OPERATING ACTIVITIESCash receipts from all revenue sources $ i,367416 $ 1372923
Cash paid to suppllers,_employees and others (1,3i0.6i7 (1374069)
56799 (1,146)
INCREASE (DECREASE) IN CASH DURING THE YEAR 56799 (1146)
CASH (BANK INDEBTEDNESS). BEGINNING OF YEAR (72599) (71,453)
CASH (BANK INDEBTEDNESS). END OF YEAR $ (15.800) $ (72599)
VANCOUVER INTERNATIONAL CHILDRENS FESTIVAL SOCIETY
NOTES TO FINANCIAL STATEMENTS
FOR THE YEAR ENDED SEPTEMBER 30, 2012
PURPOSE OF SOCIETY
The Society’s objective is to provide quality performing arts programs to young people in an environment
that encourages critical thinking and a lifelong interest in learning, the arts and cultural development.
This objective is achieved through the passionate promotion of culture and performing artists of British
Columbia and Canada, initiation of activities that contribute to this development and continued
maintenance of accessibilt’ to these cultural programs to chldren and young people regardless cf social
or economic background. The Society is a registered charity under the Income Tax Act. and as such, is
exempt from income taxes and is able to issue donation receipts.
2. CONTINUING OPERATIONS
These financial statements have been prepared on a going concern basis which contemplates the
realization of assets and the payment of liabilities in the ordinary course of business. Should the Society
be unable to continue as a going concern, it may be unable to realize the carrying value of its assets and
to meet its liabilities as they become due.
As at September 30 2012 the Society had a net accumulated deficit of $26,688 (2011 $99,649) and a
working capital deficit of $26,688 (2011 - $99,649).
The accompanying financial statements do not include any adjustments relating to the recoverability and
classification of recorded asset amounts and classification of liabilities that might be necessary should
the Society be unable to continue in existence.
3. SIGNIFICANT ACCOUNTING POLICIES
The financial statements of the Society have been prepared in accordance with Canadian generally
accepted accounting principles. The financial statements have, in management’s opinion, been properly
prepared within reasonable limits of materiality and within the framework of the significant accounting
policies summarized below.
a) Cash and cash equivalents
Cash and cash equivalents consist of cash on hand or in banks and bank overdrafts.
b) Non-monetary transactions - contributions in-kind
The Society receives donated materials and services for activities of the Society. These
transactions have been recorded in the accounts at fair value as contributions in-kind. The Society
utilizes volunteer labour during fundraising projects that is not recorded in the financial statements.
c) Revenue recognition
The Society follows the deferral method of accounting for contributions. Restricted contributions are
recognized as revenue in the year in which the related expenses are incurred. Unrestricted
contributions are recognized as revenue when received or receivable if the amount to be received
can be reasonably estimated and collection is reasonably assured.
d) Financial instruments
The Society classifies its financial instruments as “held for trading” which means that all financial
instruments are measured and reported at fair value. Subsequent changes in fair values of financial
instruments are recognized as gains or losses in the statement of operations in the period in which
the changes in value takes place.
VANCOUVER INTERNATIONAL CHILDREN’S FESTIVAL SOCIETY
NOTES TO FINANCIAL STATEMENTS
FOR THE YEAR ENDED SEPTEMBER 30. 2012
SIGNIFICANT ACCOUNTING POLICIES (Continued)
C) Use of estimates
The preparation of the financial statements in conform.ity with Canadian generally accepted
accounting prinoples reouires management to make estimates and assumptions about future
events that affect the reported amounts of assets. liabilities, revenues and expenses as at the end
cf or during the reporting period. Management believes that the estimates used are reasonable and
prudent however, actual results could differ from those estimates. Significant areas of
management estimates include Such items as allowance for doubtful accounts, accrual of liabilities
and deferred revenue.
f) Recent accounting pronouncements
In September 2010. the CICA’s Accounting Standards Board confirmed that noEforprofit
organizations will be required to prepare financial statements in accordance with Canadian
Accounting Standards for NoCForProfi1 Organizations (“ASNPO) or International Financial
Reporting Standards (“IFRS”) for fiscal years beginning on or after January 1, 2012. The Society will
adopt ASNPO for its year ending September 30, 2013 and has not yet determined its effect on the
Societys financial statements
4. FINANCIAL INSTRUMENTS
The Society’s financial instruments consist of accounts receivable, bank indebtedness, and accounts
payable and are recorded at their fair value as described in Note 3(d). In managements opinion the
Society is not exposed to significant interest rate risk, foreign currency exchange rate risk, or credit risk
arising from these financial instruments.
5. CAPITAL ASSETS
The Society owns office furniture and equipment, which have been fully amortized and have no value
recorded in the financial statements but continue to be used for the Children’s Festival or administrative
purposes.
6. BANK INDEBTEDNESS
The Society has a $150,000 operating line of credit. All amounts outstanding are repayable on demand
and are secured by a general security agreement covering all of the assets of the Society. Interest is
charged at the credit union’s prime rate plus 2% per annum.
A financial covenant of the loan agreement requires the Society to maintain a debt service coverage of a
minimum of 1.10 times (earnings before interest and depreciation/amortization divided by all principal
and interest payments>. This financial covenant has been met in the current year.
VANCOUVER INTERNATIONAL CHILDREN’S FESTIVAL SOCIETY
NOTES TO FINANCIAL STATEMENTS
FOR THE YEAR ENDED SEPTEMBER 30, 2012
DEFERRED REVENUE AND SECURITY DEPOSITS
Revenue received in the current year which relates to projects in the following year is deferred and
recorded as revenue in the subsequent year. The changes in the deferred revenue balance are as
follows2012 2011
Beginning balance $ 9,200 5 20,000
Less amount recognized as revenue in the year (8,700) (20,000)
Add amounts received related to next fiscal year 5,000 8,000
Add rental deposits received 1,200
$ 5,500 $ 9.200
8 ENDOWMENT FUND
The Society has a total of $110000 (2011 $110,000) contributed into the Vancouver Foundation’s
‘Children’s Festival Fund”. At September 30. 2012, the market value of the fund is $117,685 (2011 -
$111 ,019) The capital of the fund is invested in perpetuity with the Vancouver Foundation. The income
earned is available to the Society on a periodic basis. In the current year, an accrued receivable of
$4,498 (2011 - $4,413> has been recorded for income earned.
9. COMMITMENTS
The Society leases its premises under a long term lease which expires on February 28, 2013. The lease
commitment for the year ended September 30, 2013 is $7,654.
10. ECONOMIC DEPENDENCE
The Society is economically dependent on the continued funding from the Government of Canada, the
Province of British Columbia, the City of Vancouver, and various other private sources.
11. CAPITAL MANAGEMENT
The Society considers its capital to be the balance maintained in its Unrestricted Net Assets. The
primary objective of the Society is to invest its capital in a manner that will allow it to continue as a going
concern and comply with its stated objectives. Capital is invested under the direction of the Board of
Directors of the Society with the objective of providing a reasonable rate of return, minimizing risk and
ensuring adequate liquid investments are on hand for current cash flow requirements (see Note 2). The
Society is not subject to any externally imposed requirements of its capital with exception of the
operating line of credit as indicated in Note 6.
newordf
July 12, 2013
Metro Vancouver Cultural Grants3rd Floor, 4330 Kingsway,Burnaby. BC. V5H 4G8
Dear Ms. Robertson,
Please accept this letter in support of Vancouver International Children’s Festival’s applicationto the Metro Vancouver Cultura Grants Program.
Katharine Carol, Executive Director of Vancouver International Children’s Festival, approachedme many years ago about doing a project for the Festival, but it was only recently that I foundthe right idea. The seed for Me On The Map evolved from the way I’ve been looking at alternateways of mapping in my work for several years now. Notably in PodPlays, where we use anaudio track to guide audience through a story that is linked to a specific walking route in the city,essentially mapping the street with stories.
With Me On The Map, I am seeking to take a practice central to Neworid’s mandate — askingquestions about political responsibility, identity, and difference — to an audience we don’t usuallyaddress: children ten and under. This is also, potentially, the audience for whom our work couldhave the most significant and long-lasting impact. We believe that greater awareness amongchildren of what citizenship is will promote greater civic engagement, higher voter participationand, ultimately, safer neighbourhoods.
This is also an opportunity for Neworld to deepen our relationship with theatre and multi-mediaartist, Jan Derbyshire. We are drawn to Jan’s background with disability arts and her currentstudies in inclusive design. With Jan’s guidance, we will use assistive technology like screenreaders, captioning and audio description. These elements become an integral part of theinstallation environment, rather than a clunky add on or special accomodation.
In addition to the workshop facilitation and artistic creation, Neworld Theatre is contributing thefollowing to the Me on the Map:
• Rehearsal space for development workshops and rehearsals (In Kind)• Recording and editing facilities (In Kind)• $20,000 cash from our operating budget• A dedicated project manager and outreach coordinator (In Kind)
• Partnership with Inclusive Design Research Centre (IDRC) for development ofsmartphone app (used in development process) and performance environment
We are very excited about this new partnership with Vancouver International Children’s Festivaland the potential lasting impact this project may have on Vancouver’s next generation. We lookforward to your support.
Yours truly,
Adrienne Wong, Artistic Producer
July 12, 2013
Metro Vancouver Cultural Grants
3rd Floor, 4330 Kingsway,Burnaby. BC. V5H 4GB
Dear Members of the Assessment Comm[ttee,
I am writing to express the Inclusive Design Research Centre’s (IDRC) intention to
partner with Neworld Theatre for their Me on the Map project. Jan Derbyshire is
currently completing her graduate degree at the Masters program in inclusive
design associated with the IDRC and has been a very valuable addition to the
program. The IDRC is a research and development centre at OCAD University where
an international community of open source developers, designers, researchers,
advocates, and volunteers work together to ensure that emerging information
technology and practices are designed inclusively. The IDRC is recognized
internationally as a leader in digital inclusion. The group promotes inclusion in a full
complement of activities:
• growing design and development practices,
• creating tools that others can use and extend,
• teaching the principles and techniques of inclusive design,
• advocating for inclusion in international standards, and
• providing services that match solutions with individuals.
Although the IDRC has collaborative partnerships with over 95 organizations around
the world, this will be our first time partnering with a theatre company and we are
thrilled to be able to apply our program and expertise to this project. The arts are
an invaluable way to educate children about the world and set positive examples
for the next generation. This project is particularly important to us for two
reasons: 1) it will incorporate inclusive design from its conception and 2> it will
include children’s perspectives in its development and creation. We are also
excited to be partnering with an arts organization from British Columbia. Even
though, we are an international organization it is important to us that we make
national connections and partnerships like this one.
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Submitted by: Leslee Silverman,Director of Strategic PlanningVancouver International Children’s Festival
I. Introduction
II. Strategic Directions, Outcomes, Measures and Critical Results
Ill, Visioning and Futures Planning Document
1V. Timeline of the Three Phases of the Strategic Plan
V. Report and Recommendations:UCSC Strategic Consulting Partnership