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OPENING THE GATE: TOWN HALL ON PLURALISM IN PERFORMING ARTS Prepared by Charles C. Smith April 2010

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TABLE OF CONTENTS

1) Introduction 2) Roundtable Activities 3) CCI Members Involved in the Town Hall 3.1 3.2 3.3 Oakville Centre for Performing Arts Markham Theatre Rose Theatre

3 4 6 6 7 7 8 11 14 17 18 20 25 28 42

4) The Town Hall 5) Results of Workshops 6) Results of Town Hall Developing Audiences 7) Appendices A) Organizations At the Town Hall B) Ajay Hebles Presentation C) Tim Whalleys Presentation D) Workshop Notes E) Sara Diamonds Keynote Presentation

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1. Introduction:

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Artists from Aboriginal and ethno-racial communities are growing in number across Ontario. According to a report by Hills Strategies, these artists are most active in Ontario as compared to other provinces. In the performing arts, Aboriginal and ethno-racial artists are seeking spaces to perform their works. At the same time, presenters are looking to diversify their programs, increase the diversity of their audiences and engage with these growing Aboriginal and ethno-racial communities. Developed in response to these issues, Cultural Pluralism in Performing Arts Movement Ontario (CPPAMO) is a collaborative movement or Aboriginal and ethno-racial artists as well as presenters aimed at mobilizing and empowering the performing arts communities of Ontario. CPPAMO seeks to open opportunities for Aboriginal and ethno-racial performers to engage with presenters across Ontario and to enable presenters to develop constructive relationships with Aboriginal and ethnoracial performers1. CPPAMO is currently working with Community Cultural Impresarios (CCI) to provide opportunities for CCI to develop its resources and capacities to support pluralism in the arts through its member services. Even though CCI has established itself within the performing arts community, it has not until recently focused on pluralism in performing arts. Working with its members in this regard, CCI now has a keen interest to undertake work in this area based on its understanding of its members interest and its interactions with Aboriginal and ethno-racial performing artists. To enable this, CCI began a relationship with CPPAMO in early 2008 and has placed the work of CPPAMO within the current movement for change within performing arts organizations. CCI has undertaken work with its members that will enable this project to take place with little difficulty. CCIs work on the Healthy Arts project as well as its efforts to build the curatorial capacities of its members in the discipline of dance are excellent points of intersection with the goals of CPPAMO.

CPPAMOs mandate is to: 1) identify the challenges in promoting cultural pluralism in performing arts organizations; 2) identify and promote evidence-based practice models of cultural pluralism in performing arts organizations on such matters as: a. b. c. d. developing audiences inclusive of diverse communities; promoting/marketing performances to diverse communities; developing collaborative touring projects with performing arts organizations from diverse communities; recruiting board, staff, volunteers and artists from diverse communities;

3) providing education and training to performing arts organizations to build their knowledge, skills and capacities in the area of cultural pluralism; 4) develop and provide resource support to performing arts organizations engaged in integrating cultural pluralism into their organizations, e.g., programming, marketing, board/staff/volunteer engagement.

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CCI members are engaged in processes of change and CPPAMO can assist this since CCI members are looking to showcase performances by diverse Aboriginal and ethno-racial artists. To enable this to take place, CPPAMO is working with CCI and its members to build their will, capacities, cultural competencies and understanding of pluralism in performing arts so that CCI and its members engage performers from these communities and, thereby, enable audiences across Ontario to access artistic expressions from diverse communities on a regular basis. This process is being implemented through several vehicles for change, including: facilitated consultations; bi-annual Town Halls on Pluralism in Performing Arts; workshops and professional development opportunities; development of resource guides, toolkits and model action plans; and research into evidence-based practices on pluralism in performing arts. As a result of these processes, it is anticipated that the following momentum will be developed: Aboriginal and ethno-racial performers will have opportunities to showcase their work to and build relationships with presenters across Ontario; Presenters will have opportunities to see and learn about the diverse cultural values, histories and practices of Aboriginal and ethno-racial performing artists and to develop relationships with these performers; Education and training programs on cultural pluralism will be set up to provide performing arts organizations with practical guidance on successfully integrating culturally diverse values and principles in their operations, planning, programming and decision-making processes; The performing arts community in Ontario will have useful and appropriate tools and guides related to cultural pluralism; and Diversity practice and implementation will be guided and facilitated by a professional equity/diversity arts specialist with hands-on and ongoing field experience.

The commitment of CCI and its members along with Aboriginal and ethno-racial artists to the CPPAMO project will increase interest and proactive engagement throughout the sector as well as other arts disciplines. This report captures the main messages of CPPAMOs first Town Hall on Pluralism and Performing Arts and the activities that will be implemented to follow-up on this event.

2. Roundtable Activities:
In the beginning of 2008, CPPAMO initiated a Roundtable on Pluralism in the Arts which is made up of cultural workers engaged in a community of practice with demonstrated passion for pluralism in the arts. The Roundtable is set-up to identify, discuss and support CPPAMOs work. The members of the Roundtable include: Ms Anna Azrahimi, Sparrow in the Room Ms Farwah Gheewala, Education Coordinator, Soulpepper Theatre Mr. Perry Voulgaris, Director Digital Media Program CBC Ms Lata Pada, Sampradaya Dance Creations

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Ms Andrea Baker Ms Helen Yung, Canadian Arts Coalition, Culture Days and Canada Council Stand Firm Project Dr. Wayne Dowler, Cultural Pluralism in the Arts/University of Toronto Scarborough Mr. Dan Brambilla, Chief Executive Officer Sony Centre for the Performing Arts Mr. Phillip Akin, Obsidian Theatre Ms Mae Maracle, Centre for Indigenous Theatre Mr. Brainard Bryden-Taylor, Nathaniel Dett Chorale Ms Emily Chung, Little Pear Garden Theatre Collective Mr. Spy Denome-Welch, Aboriginal Playwright Ms Denise Fujiwara, CanAsian Dance Ms Charmaine Headley, Collective of Black Artists Mr. Bakari Eddison Lindsay, Collective of Black Artists Ms Sedina Fiati, Obsidian Theatre Mr. Ravi Jain, why not theatre Ms Danielle Smith, urban ink and backforward collective Ms Shannon Thunderbird, Teya Peya Productions Ms Santee Smith, Kaha:wi Dance Mr. Kevin Ormsby, Kashedance

The Roundtable is also supported by the Collective of Performing Artists (COPA) in KitchenerWaterloo. COPA is collective of grassroots arts organizations working on the development of a local creative hub within the Kitchener-Waterloo community. COPAs members are representatives of: Lost & Found Theatre KW Youth Theatre Flush Ink Performing Arts NUMUS Concerts JM Drama The Multicultural Theatre Space (The MT Space) KW Childrens Drama Workshop Friends Of The Floor Dance-Theatre collective Pat the Dog Playwright Development Centre eyeGO to the Arts Neruda Productions Waterloo Dance Project / Starlight Theatre Presents! The Singers Theatre Dancetheatre David Earle Shadow Puppet Theatre The WARMER Project InterArts Matrix Waterloo Regional Arts Council Dr. Andy Houston, UW Drama & Speech Communication The Roundtable also connects with the Canada Council Stand Firm ethno-racial and Aboriginal arts organizations.

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3. CCI Members Involved in the Town Hall:

In building the relationships noted immediately above, CCI and its members are beginning to engage in activities to promote pluralism. This is particularly evident in Oakville, Markham and Brampton, each ocf whom took lead roles in planning, participating in and facilitating the success of this first Town Hall. 3.1 Oakville Centre for Performing Arts:

The Oakville community has grown by 6.6% from 2001 to 2006, from 144,738 to 165,613 and with: 41,595 reporting a first language other than English or French; immigrants comprising 50,250 of the total population whereas this group was at 31,710 before 1991 and grew by 11,270 between 1991 and 2000 and then again by 6,820 between 2001 and 2006 for a total of over 18,540 peoples over a 15 year period; the Aboriginal community comprising 665 of the total population in 2006 while racialized groups comprised 30,315 of the total population with the most significant numbers in the South Asian (9,945), Chinese (5,260) and Black (3,535) communities

The Oakville Centre for Performing Arts is looking to create and sustain a dialogue with ethno-racial and Aboriginal performers and communities. A draft culture plan is being developed for Oakville and staff of the Oakville Centre are interested in meeting with the Roundtable and participating in the upcoming Town Hall on Pluralism in Performing Arts. At this time, Oakville Centres staff have an interest in engaging with Aboriginal and ethno-racial communities within Oakville and surrounding communities. Key to this is the Centres interest in developing programming that is of interest to these communities and hosting members of these communities at events within this program. In considering such an initiative, the Centres staff recognize the importance of building relationships with Aboriginal and ethno-racial artists and with these communities. As part of this, the Centres staff acknowledge that these artists may feel that they have not bee included in past programming and excluded from the Centres stage. The Centres staff also acknowledges that these communities may be unfamiliar with the Centre and may feel that the Centre is not concerned with its interests and programming desires. Over the past few years, the Centre has diversified its programming but has had little success in increasing the diversity of its audience. To address this, the Centre wishes to engage with the Roundtable to discuss its current program, both direct and rental, and to develop and conduct outreach to diverse artists and communities to ensure they are included in the Centres main programming and are welcomed to the Centres performances.

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3.2 Markham Theatre:

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The Markham community has grown by 25.4% from 2001 to 2006, from 208,615 to 261,573, and with: 152,440 reporting a first language other than English or French; immigrants comprising 147,400 or over 50% of the total population whereas this group was at 68,845 before 1991 and grew by 58,680 between 1991 and 2000 and then again by 18,875 between 2001 and 2006 for a total of over 77,000 peoples over a 15 year period; the Aboriginal community comprising 405 of the total population in 2006 while racialized groups comprised 170,535 or over 50% of the total population with the most significant numbers in the Chinese (89,300) and South Asian (44,9,95) communities. The Markham Theatre has recently hired a new General Manager who is initially engaged in coming to understand the Theatres programs, becoming accustomed to the responsibilities of the Theatre and undertaking a strategic review in preparation for the development of a strategic plan. In this context, it is an ideal moment to work to ensure pluralism is included in the strategic review and development of the Theatres strategic plan. This would ensure that the focus on pluralism/diversity is part of the Theatres core vision, mandate and activities as it moves forward into the future. To facilitate this, CPPAMO will work with the Theatres General Manager in the strategic review and development of the strategic plan. Further, the Theatre will meet with members of the Roundtable to discuss possible collaborative efforts in terms of developing relationships with Aboriginal and ethnoracial performers as well as communities. 3.3 Rose Theatre:

The Brampton community has experienced population changes at many levels with a 33.3% population increase from 2001 to 2006, from 325,428 to 433,896 persons and with: 190,610 reporting a first language other than English or French; immigrants comprising 206,190 of the total population whereas this group was at 94,675 before 1991 and grew by 68,620 between 1991 and 2000 and then again by 42,890 between 2001 and 2006 for a total of over 110,000 peoples over a 15 year period; the Aboriginal community comprising 2,665 of the total population in 2006 while racialized groups comprised 246,150 or over 50% of the total population with particularly strong numbers in the South Asian (136,750) and Black (53,340) communities Resulting from several factors, e.g., urban sprawl and immigrant settlement, during this time the population of Brampton has more than doubled and, particularly through immigrant settlement patterns, this city has become one of the most racially and culturally diverse centres in Canada.

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This growth has brought about opportunities for increasing the attractiveness of Brampton as a place of destination for diverse communities as well as cultural and economic development. One of the underpinnings to such development is the people of Brampton and the way they both live and wish to live their lives, how they express this and how this is supported both formally and informally, e.g., through investments from business and government as well as through local community-based and neighbourhood volunteer activities.

4. The Town Hall:

Given the activities described above, it is clear that CPPAMO is initiating a process of cultural and community building that will be beneficial to both Aboriginal and ethno-racial artists as well as presenters. It appears from the process to date, that CCI and its members engaged in CPPAMOs work are concerned about the same issues as members of CPPAMOs Roundtable. This is a unique and desirable situation as it provides opportunities for the Roundtable and CCI members to come together to discuss common issues and work out ways to support each other. In this context, the Town Halls on Pluralism in Performing Arts are a cornerstone of CPPAMOs work as they enable presenters and performers to engage in creative brain-storming on what needs to be done to create a sense of home for performances and artists from culturally diverse communities, i.e., ethno-racial and Aboriginal artists and arts organizations. On January 29 and 30, 2010, CPPAMO held its first Town Hall. This Town Hall was chaired by Kathleen Sharpe, President of the Canadian Conference for the Arts and Executive Director, Ontario Cultural Attractions Fund and Chair of Artscape and Sara Diamond, President of the Ontario College of Art and Design, delivering the keynote address. This event was held at the University of Toronto Scarborough Campus and included performances by some very dynamic dancers and dance companies as well as an astounding panel of individuals engaged in promoting pluralism in dance, music and local arts. Over 80 individuals attended this session and there were over 40 presenter and performing arts organizations involved. Some of these organizations included The CanDance Network, Diaspora Dialogues, Rhapsody Entertainment Inc., Collective of Black Artists, The Lightbulb Company, York University, Sparrow In The Room Collective, Canada Council for the Arts, Institute for Canadian Citizenship, CCI-Ontario Presenting Network, University of Toronto, City of Brampton; Arts, Culture and Theatre, Dance Umbrella of Ontario, Menaka Thakkar Dance/Nrtyakala School, Kalanidhi Fine Arts/Menaka Thakkar Dance and the backforward collective2. Starting off the evening of January 29, the Town Hall began with a dance performance by Kevin Ormsby of Kashedance. Kevins solo was based on his artistic vision to present works based on revealing humanity through kinetic movement, spirituality and rhythmic vitality. With the use of an emerging dance technique called kashedantek, technically versatile in its execution and delivery, movements of traditional and modern dance are fused with ballet to reflect a contemporary synthesis. Kevins style is explosive, subtle, confronting, virtuosic yet passionate and combines the historic traditions of Africa and the Caribbean in its representation of Diasporic Canadian society.
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See Appendix A for full list of organizations in attendance

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This is the essence behind Kevins work with Kashedance, which aims to give voice to the complexity of the human spirit through contemporary dance. It is the only company of its kind in Torontos history to be formed and directed by a Jamaican-Canadian and seeks to: promote and represent the uniqueness of human interactions through dance; present dance as art through traditional and contemporary dance; and give a voice to the realities of Diasporic people in a multifaceted Canadian society. The dance performance was followed by an exciting panel of speakers. Ajay Heble, Artistic Director of the Guelph Jazz Festival, spoke to the importance of improvisation and hybridity in development of contemporary improvised music (Appendix B). He also discussed the importance of looking to marginalized communities for new forms of artistic expression as the Guelph Jazz Festival honours the pioneering work of peoples of African descent who created jazz, an art form that is now known around the world. As well, Ajay addressed the importance of working with communities to grow audiences and to introduce the complexity of the art form through story and workshops. Ajay was followed by Santee Smith of Kaha:wi Dance. Santee spoke of her journey as an Aboriginal woman in the contemporary dance world and how she has been influenced by traditional Aboriginal dance, ballet and contemporary dance and, further, how these three are points of arrival and departure for her companys creations. As part of her dialogue, Santee discussed her concern that many seem to think she would offer more traditional Aboriginal dance and the importance for Aboriginal dancers/artists to break down stereotypes about who they are and their forms of expression. She pointed out that Aboriginal dancers/artists are engaged in the world today and bring their traditions with them while, at the same time, learning, absorbing and integrating other forms into contemporary expressions. Artistic Director of the Canada Dance Festival, Brian Webb addressed the challenges he has been facing regarding the CDFs intent to stage excellence in contemporary dance and to include dance forms from Aboriginal and racialized peoples as part of the palate of Canadian dance. Brian spoke in depth about the CDF conference of 2009 which focused on diversity in dance and featured panel presentations, workshops and dance performances on this theme. He then spoke of the need to be daring in ones creativity as a dancer and dance curator and, as part of this, to be open to and understanding of the diversity of vocabularies in the dance world. This he saw as a doorway for dance practitioners to develop their curatorial competence in order to go beyond the mold of Eurocentric art forms as being seen as universal and of the highest quality. Tim Whalley, Executive Director of the Scarborough Arts Council, then spoke about the importance of working with local community groups in either high-needs areas and or in immigrant communities (Appendix C). Tims spoke of the Arts Councils new project to engage members of these communities and to actively support their involvement in the local Scarborough arts scene as both a way to grow audiences as well as to understand and support the diversity of artistic expressions coming from these communities. On Saturday, January 30th, the Town Hall received a keynote address by Sara Diamond, President of the Ontario College of Art and Design (OCAD). Sara is quite an accomplished artist with past art works in video, television, photography and fabric reside in collections as diverse as the Museum of Modern Art in New York City, the National Gallery of Canada and the Museo des Bellas

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Artes in Buenos Aires. From the 1970s through 1995 she led the Womens Labour History Project, producing documentary and experimental videos, photography and texts that represented the history of working women in British Columbia. She received the Bell Canada Award for excellence in video, the Simon Fraser University Gold Medal for History and other diverse awards such as the Woman of Vision Award. Sara was the Artistic Director of Media and Visual Art and Director of Research at the prestigious Banff Centre, where she created the Banff New Media Institute (BNMI) in 1995 and led it until 2005. She currently serves on the Ontario Ministry of Cultures Ministers Advisory Council on Arts & Culture, the Board of Directors of the Toronto Arts Council Foundation and ORANO, Ontarios high speed network. She is founding chair of the Mobile Experience Innovation Centre. As president of OCAD, Sara spoke of her intent to engage Aboriginal and racialized communities as artists, students, educators, volunteers and board members (Appendix E). She addressed the critical importance of leadership and the challenges of working to ensure OCAD, as a contemporary arts institution, is deeply engaged in the visioning and work of pluralism. In doing so, she acknowledged the challenges of moving a learning institution in such a direction and the many challenges from either faculty, board members and students in doing so. At the same time, she also pointed out the benefits and rewards of engaging in and enabling the process of organizational change and seeing new faces, bodies, identities and cultural forms of expression emerge in the institution. For Sara, this is all part of transforming OCAD so that it becomes the University of the Imagination. Saras keynote addressed was followed by a remarkable dance performance of the Sampradaya Dance Creations. Sampradaya is a dynamic award winning Toronto based Canadian dance company, internationally recognized for forging new paradigms in Canadas dance milieu. The Company was founded in 1990 by its Artistic Director Lata Pada, internationally acclaimed for her excellence in bharatanatyam. Lata is the creative force behind the Company and has recently been conferred the Order of Canada, the first South Asian artist to be honoured by this prestigious award. The New York Times describes SAMPRADAYA as a dance company of rare vitality. The Company is committed to showcasing bharatanatyam as a world art form as it explores diverse movement styles, contemporary themes and innovative dance creations. We believe that dance is a mirror to society, inspired and rooted in the expression of human experience. Sampradaya Dance Creations explores dance as a medium for meaningful communication, engaging and enriching the lives of its collaborators and viewers. For this Town Hall, Sampradaya showcased its recent collaborative project entitled Samvad. Signifying anything spoken in true spirit and right earnestness leads to a samvd or dialogue taking place between two or more learned people. Samvad is a brilliant performance of three young women: Nadine Jackson, Meena Murugesan and Shelley Ann McLeod who are respectively of African descent, South Asian and Aboriginal. During the performance, the dancers address issues of identity in Canada today and issues related to gender, violence against women, self-empowerment, racism, and self-determination. The performance was accompanied by live music and spoken word provided by Ndere Nimon HeadleyLindsay, Santosh Naidu and Meredith Zwicker. As well, the performers were mentored by Lata

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Pada, reknowned Aboriginal dancer/actor Michael Greyeyes, and co-founder of the Collective of Black Artists Charmaine Headley.

5. Results of the Workshops:

To round out the day, small group workshops were held to address the themes of pluralism in terms of curatorial/cultural competence, diversity in performances, audience development, employment in performing venues, relationship with funders, and board representation and development. Key issues were discussed in each of these areas and recommendations made. There were five concurrent workshops held on Saturday, January 30. Participants in each workshop discussed the following questions: What needs to be done to increase the number of performances by ethno-racial and Aboriginal artists in performing arts venues across Ontario? How do we build the curatorial capacities of performing arts venues so that they are more aware of the cultural values of performers from culturally diverse communities? What do culturally diverse performing artists and arts organizations need to do to build relationships with performing arts venues across Ontario? How can performing arts venues work with culturally diverse artists to build audiences within ethno-racial and Aboriginal communities? What concrete steps need to be taken by culturally diverse performing artists and performance venues to build strong relationships? Several key messages were discussed during these workshops, including that3: Issues of language and communication continue to plague artist, presenters and funding bodies; There is need to define curatorial/cultural competence as an awareness of the diversity of forms of expression, their near-incomparable intrinsic value. and that presenters, artists, funders recognize and support this; Performers and presenters need to work more closely in developing a relationship and understanding of each others needs, interests, capacities, possibilities and limitations; Presenters need to provide an intimate experience as a catalyst to build relationships with Aboriginal and ethno-racial performers and audiences, i.e., these performers and communities must have a sense of being at home, at comfort in the environment;
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The full notes of the workshops are attached as Appendix D.

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Presenters and performers find a need to better understand the rapid change in demographics and ways of engaging these communities as audiences; Reciprocity is integral to the exchange between performers and presenters not just transactional but, rather, transformative so that the face and substance of performance fully embeds Aboriginal and ethno-racial contributions; A more complete understanding of the contemporary needs to be seen from the lens of diverse Aboriginal and ethno-racial artists. This can be done by having performance demonstrations followed by animated discussions between artist and audience; There is benefit to performers and presenters working together to increase pluralism within programming and audiences but the roles and responsibilities must be developed and then supported; Audiences are curious about other cultures and cultural performances, particularly those that employ hybridity a mixture of cultural styles; however, these must be promoted/marketed properly and to do this requires performers and presenters to discuss best ways of doing so; It is important to excite the thirst of the audience by bringing them work that will meet and exceed their expectations. In terms of pluralism, this may mean going beyond whats expected and providing audiences opportunities to engage with animators to probe the performances style, etc.; Presenters needs to take leadership in bringing in Aboriginal and ethno-racial performers from Canada on a regular basis. The importance is to engage with performing artists in Canada to promote their work and to enable them to produce more of it; It is important to connect with the community in its neighbourhoods. The Scarborough Arts Council and OCAD work are good examples of meeting Aboriginal and ethno-racial communities where they are at and then working with them to gain their trust and confidence; Relationships with Aboriginal and ethno-racial communities will likely take time to build so presenters need to be ready to engage in a long-term effort to do so; Funders are particularly interested in supporting the change work of presenters and performers and such assistance can come by way of grants or by advice and support in terms of identifying trends and models for action which may assist those seeking grants; It is useful to cultivate a relationship with funders so that they have a good understanding of the presenter and/or performer. This assists the funder in being able to give good advice to the potential applicant because the funder will have a better understanding of the organization seeking to apply, its history, background, capacities, goals, etc,;

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Presenters and performers should seize the opportunity to speak to funders face-to-face to understand better funder cycles, language, decision-making processes and granting priorities; Presenters need to increase the Aboriginal and ethno-racial presence on their boards and/or advisory bodies. This is key to gaining input from these communities and building meaningful relationships with them; In moving to diversify the representation on boards, presenters need to go beyond just the few folks who seem to be everywhere. The demographics are changing so much, it is important to be on top of these changes and to be actively involved in communities so as to encourage their interest and participation; The composition of local populations needs to be reflected in the programming and not just through rentals but through the presenters work itself; Cultural/curatorial competence has to be a measure of excellence and not an add-on to consider once excellence is established. This means the standards must take pluralism into account so that all performances are measured in the same way; There is a need to immerse programmers into the forms of expression coming out of Aboriginal and ethno-racial communities so that they have a better sense of the history and traditions coming through contemporary forms of expression; Performers and presenters need to engage audiences by exposing them to more and varied performances from Aboriginal and ethno-racial artists. This will set a new norm which, over time, will be established within the presenters venue and amongst the presenters audiences; Presenters need to hire more Aboriginal and ethno-racial peoples to work in their venues and to be seen by their communities. This builds confidence within these communities; Performers and presenters need to work together to build relationships with communitybased organizations as these organizations tend to be where communities go for assistance and information. Such relationship building should be part of performer/presenter audience development strategies; CPPAMO should play a role in building relationships between performers/presenters and communities. This can be done through social networking, attending meetings of community organizations, engaging these organizations in CPPAMO activities and providing opportunities for presenters, performers and community members to meet faceto-face.

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6. Results of the Town Hall - Developing Strategies for Building Audiences from Aboriginal and Culturally Diverse Communities:
The key themes of the workskhops have led to the Developing Strategies for Building Audiences from Aboriginal and Culturally Diverse Communities. This project will involve CCI and its members from Markham, Toronto, Ontario Contact, Brampton, Mississauga, Oakville, Kingston, Peterborough and Ottawa in a series of educational workshops aimed at producing concrete strategies for implementation by these members and CPPAMOs Roundtable. There will be six (6) workshops conducted between June 2010 and February/March 2011 to enable implementation in spring 2011. These workshops will address the following issues and engage resources appropriate for each session: 1) Examining the characteristics of Aboriginal and ethno-racial communities and relationship to audience segmentation. This full day session will involve presentations by Professors Myer Siemiatycki and Nadia Caidi related to data on immigrant settlement and the capacities and interests of immigrants and how they go about gathering information on programs and services. Similar presentations will also be made by Michael Greyeyes (York University) and Sandra Laronde (Red Sky Performance) regarding their work in Aboriginal communities and development of Aboriginal audiences (TENTATIVE). This will be followed by facilitated discussions on the importance and extent of community-based organizations in diverse communities and how to work with them in attracting Aboriginal and ethno-racial communities. Additional resources for this will include representatives of the Institute of Canadian Citizenship, Toronto International Film Festival Volunteer Department and the Scarborough Arts Council. Timeframe: June 2010; 2) What makes for a good relationship with presenters. A full day session, this will be led by CCI members and Ontario Contact and will provide information to and facilitate discussion with CPPAMO Roundtable members, Canada Council Stand Firm members and other Aboriginal and ethno-racial performing arts organizations interested in developing relationships with presenters. Timeframe: August 2010; 3) Curatorial competencies and performances by Aboriginal and ethno-racial artists. This full day session will be led by CPPAMOs Roundtable members and explore the histories (cultural traditions) and contemporary artistic standards that inform the development of performing arts by Aboriginal and ethno-racial artists. This session will also explore terminology related to Aboriginal and ethno-racial artists and communities. Timeframe: September 2010; 4) Developing audience segmentation for CCI members and identifying successful audience development strategies. This full day session will draw on research related to developing diverse audiences from the U.K. and Australia (e.g., adjust your view: developing multuicultural audiences for the arts) and will also involve presentations by CPPAMO Roundtable members involved in marketing and audience development with African descent, Asian, South Asian and Aboriginal performing arts organizations, e.g., Ballet Creole, b-current, Menaka Thakker Dance, Kahawi Dance. Timeframe: October/November 2010;

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5) Exploring links between programming and audience development. This full day session will be led by CPPAMOs Artistic Director, charles c. smith, with CPPAMO Roundtable member Anahita Azrahimi and will explore the relationship between performances by Aboriginal and ethno-racial artists and audience interest. This session will be based on data gathered through the Values and Benefits Study conducted in Aboriginal and ethno-racial communities. Timeframe: January 2011; 6) Finalizing strategies for audience development within Aboriginal and ethno-racial communities. This full-day session will be led by CPPAMO Artistic Director, charles c. smith, and involve CCI members and Roundtable members in developing concrete, time-specific action plans aimed at increasing programming of performances from Aboriginal and ethno-racial communities and engaging audiences from diverse communities. Timeframe: February/March 2011. In addition to developing these workshops, evidence-based research will be conducted to assist participating organizations in addressing their challenges and needs. In this regard, the evidencebased research will be implemented through a participatory process that will aim to build on the work done in the aforementioned workshops. It is anticipated that this will enable participating organizations to learn from and reflect on the developments in other performing arts organizations. The consultations, workshops and research on evidence-based models will be key to developing future programs within participating organizations so that they can anticipate community expectations, benchmark their efforts and institute efforts that are cutting edge, bringing together new forms of cultural expressions while providing venues for exploring diverse and hybrid forms of such expression. The development of governance models to support this will be approached in a similar manner involving all participating CCI members in a process of organizational change. Based on this, guides and toolkits will be developed to address the core mandates of performing arts organizations, specifically their operations, planning, programming and decision-making processes in such areas as: 1. Employment. This will address recruiting, retaining, educating, training and promoting individuals from diverse communities; 2. Programming and Curatorial Decision-making. This will address staging events from diverse communities while, at the same time, collaborating with diverse communities in promoting cultural productions; 3. Training and Development. This will address the need to ensure staff of performing arts organizations have the opportunity to develop the knowledge and skills needed to implement cultural pluralism in their organizations; 4. Media and Communications. This will address opportunities to promote artistic and cultural activities in diverse communities and the most effective means of communicating to dverse communities, e.g., local media, community and arts/cultural organizations;

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5. Governance. This will address how to recruit, support, maintain and develop a Board of Directors and volunteers reflective of diverse communities and who exercise their governance function with knowledge and sensitivity to core values and principles of cultural pluralism.

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APPENDICES

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APPENDIX A

ORGANIZATIONS REGISTERED FOR THE FIRST TOWN HALL ON PLURALISM IN PERFORMING ARTS
0The CanDance Network 1Diaspora Dialogues 2Rhapsody Entertainment Inc. 3Collective of Black Artists 4The Lightbulb Company 5 York University 6 Sparrow In The Room Collective 7 Canada Council for the Arts 8 Institute for Canadian Citizenship 9 CCI-Ontario Presenting Network 10 University of Toronto 11 City of Brampton; Arts, Culture and Theatre 12 Dance Umbrella of Ontario 13 Menaka Thakkar Dance/Nrtyakala School 14 Kalanidhi Fine Arts/Menaka Thakkar Dance 15 backforward collective 16 Markham Theatre

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17 Neruda Productions for Arts and Culture 18 The Assembly Hall, City of Toronto 19Hart House St. Kitts Music Inc. CanAsian Dance Festival Canadian Dance Assembly Department of Canadian Heritage Little Pear Garden Collective SAMPRADAYA Dance Creations Festival of the Sound Oakville Centre for the Performing Arts University of Toronto Scarborough Campus Fujiwara Dance Inventions Canada Council Stand Firm UTSC Department of Humanities: Studio/VPA Brampton Arts Council Ontario Trillium Foundation Prologue to the Performing Arts Rose Theatre Brampton Town of Markham

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APPENDIX B

Diversifying the Base of Valued Knowledges: Jazz, Improvisation, and the Cultural Politics of Arts Presentation
Ajay Heble Presented at Cultural Pluralism in the Performing Arts Movement Ontario: Town Hall on Equity and Diversity in the Performing Arts, January 29, 2010 University of Toronto Scarborough Id like to use my comments today to talk to you about music curation and arts presentation as a form of community-based education and activism. As the Artistic Director of The Guelph Jazz Festival, an arts organization dedicated to presenting innovative jazz and creative improvised music, Ive become increasingly aware of the ways in which the choices I make (about what artists to present, in what context, etc.) ought to be understood not simply as programming matters, but as pedagogical acts, acts which frequently question static relations of power, which seek to build alternative visions of community and social cooperation, and which often explicitly set out to challenge taken-for-granted representations. Programming decisions, in short, involve choices that are connected in complex and important ways to broader struggles over resources, identity formation, knowledge production, and power. In this context, festivals might purposefully be considered as opportunities to recast the histories, identities, and epistemologies of diverse (and often marginalized) peoples and to promote counternarratives that invite and enable an enlargement of the base of valued knowledges. In todays talk, Id like us to open up consideration of the extent to which the act of music curation should itself be understood as a form of pedagogical activism. Our programming choices and omissions, as arts presenters, are not neutral expressions of meaning; they inevitably and necessarily reflect some kind of interest, whether it be racial, sexual, national, and so forth. I want, then, to make the case that as arts presenters we must learn to see our work as being concerned with more than just programming. While its impossible to predict the exact outcome of this work, or to know in advance whether it will have liberatory effects, it is my belief that the communitybased work of cultural institutions (such as arts organizations) can occasion a purposeful disturbance to orthodox habits of response and judgement. As a presenter of improvised music, my work, at least as I see it, is largely about creating new knowledges and opportunities, about generating alternative ways of seeing (and hearing) the world. This commitment to an activist pedagogical approach to arts presentation as a vital social-purpose enterprise mandates fresh new ways of thinking about programming approaches that involve a willingness to take risks, to resist orthodoxy, to shake listeners (and to shake ourselves) out of settled habits of response and judgement. As presenters working with improvising musicians, I want to suggest that we are uniquely positioned to cultivate purposeful resources for listening, to provide our audiences with encounters that encourage them to hear the world anew. And at issue, if we take seriously the notion of arts presentation as a form of community-based practice that can and does

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lead to social change, is the need to create more equitable and non market-driven structures of inclusion. Taking such a challenge seriously, I would contend, means attending rigorously to matters of diversity (of, for example, race, gender, and sexuality), not only in terms of the artists we present, but also at the level of our audience members, our boards of directors, our staff, and even our sponsors. We need to think of the presentation of improvised music, in short, as an opportunity to radicalize public understanding. In this presentation, Id like, then, to talk about the role that arts presentation can play as an important part of this process that Im calling the radicalizing of public understanding. Ill do so by using as my point of departure two related areas of inquiry: programming and audience development. I hope through our conversations today also to encourage us (perhaps during the question period) to reflect on some of the questions the organizers of this town hall have asked us to consider: What are the challenges in promoting cultural pluralism in performing arts organizations? What needs to be done in building the curatorial capacities of performing arts organizations so that they are more aware of the cultural values of performers from culturally diverse communities? As Ive already noted, our Festival, from its inception, has sought to be somewhat distinct in its artistic vision. Rather than trying to offer something for everyone (which seems to be the programming strategy advanced by many of the other festivals in the region and the country), we have focussed our efforts on the presentation of innovative forms of jazz and creative improvised music both to community audiences and to aficionados who come from far and wide, and on bringing underexposed and often unrecognized artists to our stages. This mandate involves the programming of an art form that has derived primarily out of the experiences and experimentalist impulses of peoples of African descent that now has practitioners and enthusiasts from around the world. Now, in thinking about how my artistic vision and programming mandate has sought to create opportunities and audiences for performances by culturally diverse artists, Im particularly interested in reflecting on the question of how, as arts presenters, we might best play a role in inter-culturalizing the field i, that is in terms of the range and scope of cultural references that the field (in this case, the field of innovative jazz and creative improvised music) takes on. Well, I can tell you that at The Guelph Jazz Festival Ive sought to inter-culturalize the field by bringing together ad hoc groupings of artists from different cultures. Much of the music that I program involves real-time improvisational encounters among such artists . Think about what happens in such a context: a group of people who may never have met, who, in many cases, know very little, if anything, about one another, who may not even speak the same language, can create inspired and compelling music. And they can do this on the spot with no explicit prearranged musical direction (remember that they are improvising, and, in many cases, the first time they are meeting is on stage). What makes it work? And what does this tell us? How might such musical examples enable us to think about what it means to negotiate differences and diversity within a community, what it means to be living in a culturally diverse society? In addition to creating opportunities for these sorts of inter-cultural improvised musical encounters, Ive also sought to extend the range and scope of cultural references in the

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field of innovative jazz and creative improvised music through the commissioning of new work. Of particular interest in the context of this town halls focus on cultural pluralism in the arts is a new jazz opera that I commissioned to mark our Festivals 10 th anniversary in 2003. Entitled Qubcit, the opera , with music by D.D. Jackson and a libretto by George Elliott Clarke, explicitly reflects and supports our Festivals continuing efforts to present culturally diverse forms of music both to new audiences and to aficionados. Enlarging on the success of George Elliott Clarke's previous opera, Beatrice Chancy--about slavery in CanadaQubcit was, in part, an attempt to encourage more artists to base creative projects on themes and subjects of more specific and immediate social and cultural relevance to Canadians. Qubcit is a three-act, multicultural romance set in modernday Quebec City. The plot tells the story of two inter-racial couples whose respective and developing romances expose the inherent minefield of establishing relationships that cross racial and cultural boundaries. The principal characters are Laxmi Bharati, a student architect who was born in Bombay, India; Ovide Rimbaud, an architect originally from Haiti; Colette Chan, a law student whose parents, avid jazz fans, fled the Tien An mien massacre to find refuge in Canada; and jazz pianist Malcolm States, a native Black Nova Scotian currently playing at the jazz club owned by Colettes parents. As the story unfolds, the couples learn to navigate the stormy waters of gender, race and culture in order to establish relationships based on love that are firmly rooted in mutual respect and understanding--relationships strong enough to withstand the trials of opposing parents and clashing cultures. The story, in short, demands involvement from artists who are sensitive to the politics, the pitfalls, and the possibilities of cross-cultural communication. As composer, D.D. Jackson was ideally positioned to take on such a challenge not only because of his own mixed-race background, but also because, as so many of his projects demonstrate, he is a relentless innovator whose work has always sought to find creative and articulate ways to synthesize a diverse range of influences The featured vocalists for the opera included Haydain Neale (the dynamic young African-Canadian leader of the popular R&B/acid jazz group JackSOULHaydain as many of you will know, passed away last month after a battle with lung cancer), acclaimed Toronto-based Indian vocalist Kiran Ahluwalia, avant-jazz/ gospel singer Dean Bowman, and New York-based Korean-Canadian experimental jazz vocalist Yoon Choi. The opera was directed by African-Canadian director Colin Taylor. From my deliberate emphasis on the diverse and hyphenated identities of the productions principals, youll recognize that, in casting the opera, we deliberately sought to choose artists (many of whom, including the composer and the librettist, had not previously worked together) who enabled us to broaden and diversify the constituency traditionally defined as a jazz audience. Diverse in cultural backgrounds, and also, of course, in the musical contexts for which they are best known--Punjabi folk songs, acid/hip hop jazz, classical music, gospel/roots, alternative rock, avant garde jazz, r and b, creative improvised music, etc--the opera's unique cast played a key role in helping us reach out to new target audiences with this production: especially more young people, opera fans (who might not otherwise attend our Festival), and audiences associated with the musics of various world-folk traditions. Add to this mix the fact that the libretto was

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written by African Canadian author George Elliott Clarke, and the result was an explicit broadening of the cultural scope of (and subject matter for) new Canadian opera. And this, of course, is in keeping not only with our nation's stated multicultural objectives, but also with the democratizing impulses that, in its most provocative instances, have shaped so much of the history of jazz and improvised music. The opera was, in short, part of an effort to reflect (and to project) a much desired image of Canadian plurality and diversity across the nation, and, indeed, throughout the world. Ive already said a few words about audience development through my comments about the jazz opera. To that, I would add here that the other most significant aspects of our audience building strategies for the festival have to do with our educational and outreach efforts. The Guelph Jazz Festival is the only jazz festival in Canada to offer an ongoing educational colloquium as part of its regular schedule of events. The colloquium seeks to bring together diverse constituencies and communities of interest by providing a unique educational forum for dialogue and discussion among scholars, musicians, and members of the general public. It has, perhaps more than any other aspect of our event, helped to broaden and diversify the audiences weve built for the music we present at the festival. Additionally, the Festival has expanded its outreach initiatives with an offseason jazz-in-the-schools program, and, more recently, and in association with the Improvisation, Community, and Social Practice research project, weve partnered with community-based social service organizations to run workshops on improvisation. Through these partnerships, weve put improvising musicians in direct and meaningful contact with marginalized youth in our community. The benefits of such partnerships are many: they serve to break down silos, to bridge gaps, and to enable different kinds of people, and different kinds of organizations to come together, to engage in a productive process of knowledge-exchange. Part of whats at issue here, in fact, is the need to increase and diversify the base of valued knowledges, to enable understanding of a diversity of educational principles and sources of knowledge. Using improvisation as a pedagogical model in these communities, in other words, allows creative practitioners to tap into principles of learning that come out of diverse communities that have not historically been valued. These improvisational workshops have been an important tool in building new and diverse audiences for the music. The challenges? Well, theres the obvious and ongoing problem of funding (always challenging, but the difficulties are compounded when, as in the case of our festival, were dealing with non-mainstream forms of artistic expression). Theres also the need to unsettle implicit but lingering assumptions among some presenters that the exercise of diversifying may be happening at the expense of tradition and quality (read: mainstream music-making). What kind of paradigm shift would it take, then, to encourage the development of a community of practice for arts organizations to build their knowledge and their capacities in the area of cultural diversity? What kinds of changes in policies and institutions would we need to implement such a vision? The examples Ive discussed through my work with The Guelph Jazz Festival are, at least in some measure, offered to you as documents of hope, for they suggest, in their own modest way thatwell, yesit is possible, even for arts organizations presenting avant garde improvised music in small community-based markets, to develop purposeful

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relationships that will bring about greater understanding of culturally diverse performances and their audiences.

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APPENDIX C
Tim Whalley, Executive Director Scarborough Arts Council

1) Scarborough Arts Council Tonight I am going to talk about the arts program planning process as it pertains to a new project recently undertaken by Scarborough Arts Council. The project I discuss is multidisciplinary, involving performing, visual and other art forms, but its methods are applicable to a variety of community-engaged projects and programs. To provide some background, I work for a community arts council, a not-for-profit organization that serves Scarborough through arts programs and services. We are not a granting body, but rather develop and implement programs of all artistic disciplines, often working with partners to achieve this. We recently celebrated 30 years since incorporation growing from a small volunteer-led organization to one of the larger community arts councils in Ontario. SAC programs and services emphasize community engagement, professional development and youth-focused programs geared towards skill development. In order to be as accessible as possible, and respond to service gaps in socially and culturally diverse communities, programming has been brought directly to communities throughout Scarborough. We also support and facilitate existing arts activities and programs in service of the community, providing promotional and program support to a number of emerging arts initiatives, with a particular focus on under-served neighbourhoods. 2) Scarborough demographics/realities graphs/pictures etc.? (map of Sboro with priority neighbourhoods) The history of Scarborough -as a sparsely populated area that grew considerably in the mid-20th century as a area dominated by suburban development - has impacted its cultural landscape, activity and infrastructure, but it has developed its own distinctive traits conditions that provide tremendous opportunity for arts and culture and also obstacles for funding, access to the arts and recognition for artists and arts groups. The planning process for the new project looked to social conditions in Scarborough as a starting point. Scarborough is among the most diverse communities in Canada. According to the 2006 Census, visible minorities make up 67% of its population, for example, compared with 47% for Toronto as a whole, and 23% for Ontario (2006 Census). Newcomers make up 57% of its population, in contrast to 50% for all of Toronto. In addition, its rates of child poverty are now above those of the City as a whole. It is also underserved, having, for example, seven of the thirteen Priority Neighbourhoods identified by the City of Toronto and the United Way for their lack of key services. There is an identified lack of after school and in-school programs and arts programming connected with school communities. North-east Scarborough, for

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example, ranks among the lowest areas of child care available in Toronto. The Toronto Community Arts Action Plan, adopted by the City in 2008, put forward recommendations following series of community consultations conducted across Toronto. The community arts consultation process revealed key areas that require development/attention: 1) increased funding/resources 2) creating more accessible space for arts 3) raising profile of community arts sector 4) sharing resources. These issues are particularly pronounced in Scarborough. While these facts are important, it is the discussions that we had with community members and organizations that really informed the project. 3) Creative Mosaics process SAC sought to work with other arts organizations, cultural and community organizations, social service and settlement agencies to create a program that sought to serve service gaps - for newcomers in Scarborough. A sample question What sorts of issues and obstacles do newcomers and youth in Scarborough face and how can arts programs play a role in serving these needs? Through the development phase of Creative Mosaics, the Scarborough Arts Council reached out and held roundtable discussions representatives from cultural organizations, grassroots arts and community groups, settlement and social service agencies and other bodies. The organizations and groups involved included Arising Women, Ontario Council of Agencies Serving Immigrants (OCASI), Childrens Aid Society of Toronto, South Asian Visual Arts Centre, Kapisanan Philippine Centre for Arts and Culture, ACCESS Employment, Chinese Cultural Centre of Greater Toronto, Toronto District School Board Newcomer Services for Youth, Justice for South Asian Women, Younited Neighbourhoods Festival, Philippine Advocacy Through Arts & Culture and others. The first stage of the process: - at this stage, looked at more general social needs of newcomers a. Discussion of gaps and needs among newcomers in Scarborough - more generally b. What programs/services could work to serve these needs The second stage of the process more of a focus on arts and cultural programs Focus on needs assessment a. What should be included in the needs assessment?/form/distribution? The third stage of the process: Worked towards defining roles of the collaborative and formalizing the workplan Secure resources to support a full-year needs assessment.

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4) Creative Mosaics findings Generally

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Decision made that resources needed to conduct a full-year needs assessment

The first two stages of the process brought many issues to the fore, some wellknown and established and others not so. The process ensured that there was a input from many stakeholders that the needs assessment proposal was informed by discussion and dialogue. This process revealed a series of findings that informed the work of the Creative Mosaics collaborative. We were able to arrange the responses into a few categories: For social and cultural programs and services for newcomers, there is a need for outreach and greater accessibility. Organizations are often not visible and immediately accessible and there is a lack of knowledge about resources at the community level. Organizations need to operate at the neighbourhood level. Several participants say arts as a way to outreach, and increase capacity for non-arts organizations to deliver programs. Programs need to serve and reach out to Scarboroughs diversity of cultural communities. As with all community arts programs, accessibility was an issue that was discussed in this case, schools were highlighted as neighbourhood-based and local and sites for potential arts programs. Programs must be free or low cost. The process revealed that a need for resources was pressing. Lack of funding for groups and organizations was, not surprisingly, a huge issue. For artists who have recently settled in Canada, they may have been able to make a living in their home country, but this becomes difficult after settling in Canada something we also often see at the SAC. There is not only a need to connect artists, groups to infrastructure but to facilitate sharing across communities. As you know, there are certain perceptions of the arts that prevent participation and access. Addressing these perceptions and definitions and investigating ways to overcome them was also seen as an issue. Arts are not seen as a viable career choice, with many parents wanting their children to select a more traditional career path. Definitions and perceptions of the arts differ among communities. Several participants mentioned that the arts need to be presented in ways that can be accessed across cultures and backgrounds. Participants also discussed some key elements of a potential arts program: free space develop hubs for information and resources

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programs that express culture and identity emphasis on mentorship for youth Offer free workshops (e.g. on theatre, poetry) in exchange for volunteering

The group identified significant gaps in programs and services involving new Canadians and culturally diverse communities in Scarborough and how arts programs could be used to serve these needs. These gaps included a lack of venues for cultural programs and events, lack of funding and support, deficiency of networking and resource sharing opportunities and difficulties in gaining recognition and exposure. More generally, the round table discussions, meetings and other exercises revealed a lack of arts programming for youth that reflected cultural identities and diverse cultural practices in what has been identified as the most culturally diverse area in Canada. 5) Creative Mosaics Needs & Capacity Building Assessment As of next week, the Creative Mosaics Needs & Capacity-Building Assessment will begin. Involving seven organizations in the collaborative, Creative Mosaics will set out to identify and respond to the needs of newcomers and culturally-diverse communities with the goal of developing an intergenerational, youth-focused arts program. The Ontario Trillium Foundation, an agency of the Government of Ontario, has awarded a grant to support the one-year project that will commence in January 2010. Creative Mosaics will involve a comprehensive community needs and capacity building assessment in order to develop a proposal for an arts program that integrates afterschool, mentorship and intergenerational components, providing learning opportunities in the arts and an exploration of diverse cultural identities. The Creative Mosaics collaborative includes Scarborough Arts Council, Catholic Cross-Cultural Services, Children's Aid Society of Toronto, Kapisanan Philippine Centre for Arts and Culture, Arising Women, Ontario Council of Agencies Serving Immigrants (OCASI) and Philippine Advocacy Through Arts and Culture. Creative Mosaics will include engagement with youth, mentors, artists and cultural leaders, organization of community discussions and focus groups, distribution and collection of surveys, outreach, exploration and development of arts program models and writing of the final report.

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APPENDIX D
Town Hall January 29-30, UTSC Workshop Notes

Q: How do you protect artist and works from being exploited for the sake of diversity? o A: Policy from funding bodies. o But how does change come about? They too need to be held accountable and culturally competent. Issue of language and communication continue to plague artist, presenters, works, funding bodies. Lack of training for competent artist managers, administrators, agents etc. Competencies o Interact with educators to shape the present What does cultural competencies mean? o Awareness of art forms o Educated o Mores than in the past Expected o New level of knowledges o To know what you dont know recognize limitations o Doesnt mean you have to be an expert Notes on Key Note Sara Diamond o Impressed about how fast Aboriginal initiative at OCAD has happened o We question though, can this model be transferred to other diverse groups and will the change happen this fast? o Which comes first, funding or initiative and need from presenters? o Fulfilling a diversity quota seems to be an issue. Who should be competent? o Presenters o Audiences o Funders o Shareholders o Artists If not an expert, then: o Curious/aware/know where to find accurate information Work needs to be inspiring artistic quality How to educate? o Support with expertise (presenters) o Funding taking risk be specific/increase competencies? Dont necessarily need extra money OAC/Dance => very smart Relationship building with presenters Come from top-down

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Presenters to advocate board of directors Building Audiences o Education: awareness o Intimate experience catalyst to build audience o Outreach: workshops and such Artist competencies role to educate visiting communities. Action: o Taking OCAD initiative and transferring it to individual organizations i.e. statistics on diversity within an organization o Looking for tools to being able to understand demographic make up o Putting pressure on granting bodies to include the above in funding practices o Using organizations like CCI to gain access to said tools o Being accountable for quality of work

Own notes taken during the day: The mainstream is not foreign o Well then what is mainstream exactly? Immigrant experience of pressure to integrate vs. the settled 2nd generation experience. Audience barriers: financial or psychological? Aboriginal and ethno-racial artists dont just want to tell their stories to their people want to tell it widely to everyone Hybridity is key Alan Brown o What kind of person are you determines what kind of show you go to, personality, not just ethnicity Good work is good work, period. Word of mouth marketing works in building audiences, not necessarily targeted marketing Funding o How to compete with big groups who want the same money? Problematic division between community organization and professional organization for purposes of marketing, curating etc. Downtown/suburb division is an important one for thinking about funding, curating, marketing, ethnic/mainstream o Downtown suburban people dont want to go o Uptown shows are packed, but critics/media dont show up perception that these shows are not professional enough, perception that the suburbs are not good enough o Perception that community productions = amateur o Perception that the suburbs dont deserve to have professional performances o Why does a performer need to be in a theatre setting on a stage for it to have value? Ethnic communities have innovation o Why fight for big spaces?

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o Intimate spaces build audiences Cultural competency what is it? o A criteria for hiring people o A criteria of citizenship[ o Presenters, audiences, funders, stakeholders the criteria should be extended to all levels Funding policy o Make creating cultural competency a requirement for funding like through workshops etc. o Grant applications should ask what are you going to do this year to increase cultural competency Keynote o Reciprocity is key exchange of experience o Change comes in waves and iterations o Embeddedness in community o we is negotiable and fluid How do we keep from affirmative action and tokenism? Audience building o This group reinforces the difference between community and professional performance = there certainly is a difference in value based on venue, production etc and there is a reason for the perception of unprofessionality in community theatre Contemporary vs. traditional distinction o How do you get people to come to both or one set of audiences to the other? o Definitions of each category? o Presenters have expectations of what is contemporary but they need to understand what is contemporary is different in the context of each ethno-racial group. Have demonstrations and then informal discussions for the art and why it is valuable etc. to educate presenters Incorporate mixed presentation/programming to get wider audiences How to get ethnic audiences to shows? o Why is the question framed that way? It is unfair when the effort isnt being made to get more mainstream audiences to our ethnic performances, its a one way question.

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AUDIENCE BUILDING AND MARKETING How do we target ethnic groups? What is mainstream?

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Observation: Diverse groups will see major Broadway-esque shows, nit just the projected idea of western, middles class people. Excite the thirst of the audience

Observation: how can we reassure the audience? Diverse ethnic groups not necessarily want to see what is expected for their own ethnic group. Diverse artists what to reach everyone, not just what is expected

Hybridity Audiences are curious about other cultures Do ethnic media have it wrong? Good work = Good work = Period! Not all about target marketing, rather lets examine word of mouth. Resources and capacity to fuel good work; successful work Community groups and Art? Community org. vs. professional org Different Marketing for both? Audiences gun shy to go to other areas of the city, want to stay near home Critics will not go to certain performance venues, hinders funders groups of performance groups Concerns around when taking performances outside accepted venues, the perception is the performance is not professional and limited publicity hurts at the funding level. Performing in the GTA is perceived lower than in metro Toronto, not up to snuff Undeserved areas perceived to not deserve great art or that it will not happen there Anxiety around the veneer of the funders: language and perception issues

Suggestion: Professional groups must go to undeserved areas CULTURAL COMPETENCY Brian Webbs biggest lesson: to democratize the process, to listen to others o How many presenters fear venturing into the unknown? Brian successfully presented diverse work because he sought experts in those forms to advise him o self education o humility, to know what you don;t know o give tools to others

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Brian was not 100% positively received Be careful about programming to your own tastes Open decision making and exploration process Make inquiries Do your research Review submissions "Cultural appropriation"- fear of this label Venue rental- bypassing presenter's contributions and control Neruda Productions: : we don't choose performers, they choose us o Informal presentations to social agencies that send them new immigrants with professional arts practices Is it going to be powerful? Meaningful? Relevant? Not many co-creating opportunities for 1 of exp, to new Canadians Be persistent Do it often Mentorship

RELATIONSHIP WITH FUNDERS Seize opportunity to talk face to face Non-profit vs. some profit o some funders want revenue to match expenses others want to see profit Difficult to understand language and parameters of funders "I have to have a PhD in grant writing." Keep calling and emailing; be persistent! Successful applicants in the past, not any more- are there current trends or changes in the landscape? Unfamiliar with our work- we have to present ourselves in 10 minutes, or less Have to build relationships over time, not just in one phone call Be courageous about seeking out funding officers with expertise in your area- myth that we (officers?) don't want calls Be aggressive Access to information about shifting priorities or other factors that impact the success of our applications Relationship with service organizations o What are service orgs doing to include and reach out to culturally diverse creation and production companies? Artists? o What can be improved? Call and meet your funders Ultimately a juried process Cultivating relationships with funders, not only through program officer, but program officer can offer contextual info- equip team! Support material has to enhance the project proposal-make sure is compelling, powerful Applications are increasing in numbers, pressure build to deliver finite amounts Municipal venues can access, municipal funds, but much "proof" & writing & reporting Get help with writing budget grants

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Lack of arts consultants and service organizations helping very small companies Have to get a grant to get someone help you write a grant Using volunteer grant writers o issue in itself We cant work for free either Artists have to make a living too; we can't keep asking people to volunteer grant writing for us; not a sustainable way to give artists a livelihood Why do artists work for free when the concession stand staff get paid? Paid artists valued differently from artists volunteering their time All orgs. rely to some degree on volunteers

BOARD/GOVERNANCE Resources: board match Talk to professional recruiters who know people looking to beef up their resumes Challenges: have to raise $ to retain board members, liable for org o ways to present that liability Time required for them to contribute Ddifficult to recruit-who do you pick? Defining and maintaining boundaries around mandate and art. Dir's role Giving board members a sense of pride Finding the right people and giving them the right job o they feel engaged Some communities (or their members) dont see value in volunteering, although they do it for church Representation sits heavily on shoulders of the few who are present (and of colour) Seeing shifts in composition potential of service clubs (re: rotary club)-great board members exist, you just need to know where to find them Newer generation more open to volunteering Demographics changing so much Composition of population not reflected in programming

Idea: different programs presented in accessible places (new, alternative venues) so people can see what is available Marketing materials do not reflect the population; can draw you in or repel you, might not reflect programmer or program TV is too expensive to advertise in, Some communities not used to having to access arts and culture outside of their ethnic cultural groups or institutions Ads placement-what/where Are your audiences reading? Consuming?

CULTURAL COMPETENCE Measure of excellence Education and exposure (of the audience) Bringing audiences together

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In small communities o opportunity regardless of #s o non-risk taking audience o presenters "living in a box" The word "educate" makes assumptions about the audience. "Exposure" is a better word Connecting with the artwork rather than thinking of the diversity behind it It is ok to not be connected to traditional art forms Should there be more democracy in the process of programming? o long way around: outreach to create partnerships that will take people back to the theatre Old formulas don't work with new audiences engagement: better word choice than education "Playful learning" What is the artistic experience like to the audiences? what are they gaining? Immersion of programmers into art forms that they are not familiar with increases competence at the programming level Competence from the audience perspective: o engaging o no need to understand the presentation fully o social occasions bring people to the theatre o word of mouth (difficult for ticket sales) Pricing Taking risks Happy union between artists and presenters Staff needs to understand audience experience Presenter's notes explain reasons behind programming effectively Successful programming is based on trust between presenters and audience Huge disconnect between presenters and artists; paperwork relationships through agents etc Better "managers of anticipation"

DIVERSITY IN PROGRAMMING Several years of outreach before audiences come to "us" Opportunities for community o create o classes o festivals Interweaving audiences and artists in a welcoming space "Color blind" casting policy" Cross-polinization in production and/or audience development The more the multidisciplinary the presentation, the more successful Younger age groups are more integrated Risky productions may turn into co-productions Communication between venues in same geographical area Systemic barriers o space/ # of artists vs. funding

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EMPLOYMENT IN PRESENTING VENUES

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o Specialized training Presenters need frameworks to make decisions

Not a lot of applications from visual minorities Men are usually in management Different priorities for immigrants No diverse leadership in diverse communities

AUDIENCE DEVELOPMENT AND MARKETING Cross-polinization Matching groups with calendars and holidays Brochures are difficult to relate to Different types of intelligence in audiences Develop partnerships with community organizations Challenging existing perceptions Youth as key starting place Communities need to know they are welcomed into presenting facilities Focus on relationships Flipping the expertise from the presenter to the community

Key message: Communication and Engagement

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TOWN HALLNOTES Workshop I Room BV340

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A) CULTURAL PLURALISM IN PERFORMING ARTS What is cultural competence in a pluralistic society? Does this mean we can change standards on how performances are selected? If so, how much do we educate about this? Who should be educated? What research would be useful to assisting in this area? i) How do people make meaning of different art forms when they encounter those from different cultures that one may not be aware of? - what constitutes culture? personal influences (artistic or otherwise) - importance of COMPETENCE (the nuances of this word) cultural literacy - want to have competence to present artists of different cultural backgrounds - artists and presenter having a responsibility to communicate accurate messages culturally - cultural sensitivity, awareness - competency lies with the artist as well to communicate ideas - mainstream defined different. e.g Afro-Canadian or Punjabi therefore competence is everyone knowing/learning, being open to diversity of cultures. ii) Standard of Performance Selection - maintain flexibility on programming standards, need to push art forms, evolve it, maintaining artistic integrity - pluralism changes artform how is artistic artform remained with integrity while still being competent culturally - developing relationship with presenter - presenters exposed to diverse cultures - market crucial for representation - getting people together physically to exchange ideas, build relationships Research how do presenters reach audiences when they dont have access to all types of diversity? - advertise with newsletter prior to each show Cultural Competence - multigenerational multi definitions? - immigrants definitions - first Generation Canadian - collision with pop culture - traditional rituals are sometimes only artform some people are exposed to, therefore grassroots practices need to have representation Artists and Presenters need to continue self education regarding cultural competency

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B) DIVERSITY IN PROGRAMMING What can be done to increase the number of and enhance the presentation of ethnoracial and aboriginal performers? How can this be communicated to performers and to presenters? What opportunities are there for doing this? What research would be useful to assisting in this area? one on one connection with decision makers audience develop for all, inclusive as possible develop new events, festivals representative of community engage those who need to know! Reason to research connect the dots for those with space Roadblocks need to be communicated and placed into mainstream Intraculture how would one understand ones culture in various forms?

C) ISSUES WITH HIRING; BUDGETS Are Aboriginal and Ethno-racial Communities working in presenting venues? If not, why not? If not, how do we get people interested? What do they need to know to get hired? What research would be useful to assisting in this area? opportunities of various channels Unionism: good or bad? Filter(s) for access to employment arts, difficult to attain work with money as in other work options largely based on volunteers

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Workshop II Room BV355 Morning session: AUDIENCE DEVLEOPMENT:

CPPAMO

How to bring in people from other cultures? - can be easy to bring in an ethnic performer; but this is problematic when the focus is on ethnicity only - Mainstream pressures and integrating people of other colors - Political sensitivity about asking people who they are o when you find out who they are then you quantify who they are in terms of their ethnicity - Representation on boards o incentives to be involved; what can you get out of it? o time is limited, so getting volunteer engagement is an issue - Categorization of ethnic art as filling in/being separate is problematic - ethnicity departments; charitable vs. equitable - attracting an audience to your space o new audience members o new artform to current audience - reliance on Manager/Curator for vision - how to build relationships with new artform to know what they are/how to evaluate them - relationships with artists - E.g. if I dont know about dub poetry, how do I find out about it? Evaluating: seeing clarity, technique, discipline and appreciating that despite not understanding (i.e. in a dance) more information/explanation about the artform in advance for potential audience members (i.e. online) ; makes it easier to explore when purchasing things online could include performance information political factors can affect comfort level with the art expectations; if you call yourself an ethnic artist there are expectations for your art casting: what is the Directors lens? Being aware of audience perception getting younger people into audiences assumptions about audiences; i.e. Korean violinist and marketing to Korean community when this artist could reach a broader audience without that focus (but this is still a good starting point) finding a balance o good to have the Korean community involved but how do you get them to come to other events? taking advantage of cultural spaces (e.g. coffee shops used for after-show; engaging with the community outside of the theatre space) exposure

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CPPAMO

Afternoon session: HOW TO BUILD COMMUNITY CONNECTIONS: Network - how to track? how/who will implement? who will update? focus groups identifying resource people beyond their job titles transparency easy access (websites) ambassadors to reach out to communities. o creates a bridge between community and artist availability of online information for new/upcoming performers what can make it easier? a one stop shop for all the info o a website with links to external sites Information sharing between cities (i.e. Markham Toronto) online resources/communication self serving content management CPPAMO newsletter (quarterly?) make a meaningful connection with a few o attend events, chatting, must be ongoing to form a relationship CPPAMO could provide more opportunities like this to make face-to-face connections o using technology to make human connections e.g. web based forums/ Skype? fees: differ for Self-employed artists vs. people from institutions transactional change vs. TRANSFORMATIONAL change audience surveying o surveymonkey o paper-based customer service barrier (i.e. with renters of a facility) o need to build relationships with them as simple as a cup of tea! Take the one time attendees and offer them a 2 for 1 for the next time to keep them coming financial barriers o e.g. people may not want a whole set of tickets; may just want one show having a database of what your patrons actually want (i.e. I will only attend two performances per year)

GRANTS: - not being able to get them as a new/emerging artist - Grants need to support emerging artists

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Catch22 of inexperience/trying to get started teaching artists how to write grants CPPAMO as a place for emerging artists to learn about grants? many artists dont know about the business side of things (bank account, registration, etc.) o CCI could be involved with this - microgranting/loans? companies taking emerging artists under

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I borrow the phrase from George Lewis, from his keynote talk at Partnering Diversity, The Canadian New Music Network Forum, Halifax, Nova Scotia. January 7-9, 2010.
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