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CPAMOs news Issue 17 - November 2012

Welcome to the 17th Cultural Pluralism in the Arts Movement Ontario (CPAMO) newsletter. This is a regular digest that will introduce you to, and keep you updated on CPAMOs initiatives, and act as a portal to relevant research in the field of pluralism in the arts, innovative artists, and links to interesting talks about pluralism in the arts. The newsletter is intended to be your go-to resource for information on cultural pluralism in the arts. You have received this e-mail because you are a member of the CPAMO listserv. Please let others who share our professional and artistic interests know about this listserv and encourage them to subscribe by visiting The listserv is moderated and is for sending out newsletters and CPAMO updates. You may unsubscribe at any time. For more information, you can look us up here: Website: Facebook: search CPAMO or click here! Twitter:

Content 1) What is CPAMO? 2) Helen Yung Activist, Artist, Change Agent 3) Ottawa in the Fall 4) Diversity in Dance at Flato Markham Theatre 5) Canadian Dance Assembly Annual Meeting 6) CPAMO Volunteer Recruitment Event 7) Capacity Building Workshops 8) Collaborations in the Arts CCI and CPAMO 9) News You Can Use Fundraising Tips and Volunteer Consultants 10) Upcoming Events 11) TED Talks on Diversity 12) Who We Are 13) Contact Us

CPAMOs news What is CPAMO?

Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginal and ethno-racial artists working with presenters to empower the performing arts communities of Ontario. CPAMO seeks to open opportunities for Aboriginal and ethnoracial performers to engage with presenters across Ontario and to enable presenters to develop constructive relationships with Aboriginal and ethno-racial performers. CPAMO is supported by Aboriginal and ethno-racial artists who are involved in theatre, music, dance and literary arts. They are members of CPAMOs Roundtable and include representatives of Sampradaya Dance, Nathaniel Dett Chorale, Little Pear Garden Theatre Collective, Centre for Indigenous Theatre, Kaha:wi Dance, Sparrow in the Room, b-current, why not theatre, urban arts and backforward collective, TeyyaPeya Productions, Culture Days, Sheyanne Productions, Obsidian Theatre, the Collective of Black Artists, CanAsian Dance and others. With the involvement of artists from these organizations, CPAMO is working with Community Cultural Impresarios (CCI) and its members to build their 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. CPAMO gratefully acknowledges the funding support it has received for its activities from the Ontario Trillium Foundation, the Canada Council for the Arts, the Ontario Arts Council, the University of Toronto Scarborough Campus and the Ontario Ministry of Tourism and Culture.

Helen Yung Activist, Artist, Change Agent:

Helen Yung has been an active member of CPAMO since we began in 2009 and played a major role behind the scenes and in public forums bringing forward key issues and advocating for change in the arts ecology. Helen has also been a resourceful facilitator in the arts working for both Culture Days and the former Stand Firm Network of the Canada Council for the Arts Equity Office. Helen had begun working with CPAMO this year to assist in supporting Stand Firm members to join CPAMO and giving her guidance to and input on projects CPAMO is now implementing. Sadly, for CPAMO, Helen has chosen to move on and pursue her arts practice. With the greatest of respect, CPAMO reprints here her letter to us and to the arts community about this change in her focus and work in the arts. Dear friends and colleagues in diversity: A few months ago, in August, I gave official notice to leave CPAMO. Charles, Victoria and Anita were most gracious and accepting of my decision. Though it comes somewhat

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later than is perhaps expected, I am writing this note, because after Stand Firm and CPAMO, it's worth explaining, where did I go? Diplomacy is an Art, but a practice that was beginning to eat away at me. "You can't do everything."* Though I fret over "unfinished work; there's still more to do" - with the distance of a few months between CPAMO and me - I can only say I've made the right decision for me at this time. As consultants, we look to artists and change-makers for inspiring practices that can be expanded into programs. Clearly, making art is another way of initiating and being the change one want to see. Art is transformative disruption. It is also so satisfying, if "short-sighted" some say, being able to witness immediate impact. My daily practice now consists of making experiential marginalia (a kind of dramaturgymeets-relational-aesthetics-meets-arts-animation-meets-public-engagement), hybrid puppetry (repurposing underutilized technology in the service of new theatrical experiences), writing (nonsense!), and giving away art. CPAMO has a wonderful group of colleagues engaged in voluntary and paid roles. Before leaving, I presented my colleagues there with detailed notes on ideas and conversations that I had been developing, which CPAMO continues to consider strategically - following consultation and with your support. Among them: "Good Buy" - a socially conscious debit and credit card transaction system that splits typical transaction processing fees between the transaction system provider and a non-profit/charitable fund of the merchant's choice. Good Buy is interested in setting up a program whereby venue operators and larger arts organizations that process their own payments would switch to this transaction system, and a portion of the transaction fee would be given back to the equity-seeking arts community. Since transaction fees are typical, the participating merchants would not feel any kind of pinch - it would cost them nothing to give. A kind of "rising tide raises all boats" program of reciprocity: as the larger members of our community increase earned revenues, smaller equity-seeking groups would benefit from a higher "pay-out." Engaging condo communities - from builders to condo management to owners and inhabitants and condo corporation Boards, there are many ways of engaging new and changing condo communities in Toronto to become more involved in the local arts and culture around them. Cultural concierges, cross-condo social committees (mixers involving 3 - 5 condo buildings in a similar neighbourhood), welcome packages for new home-owners, VIP exclusive access events, etc. Cultural bus tours - building on the successes of the Mississauga Art Bus and other similar programs, and working with culture-specific tourism operators (e.g. Chinese-Canadian Tai Pan Tours), a more expansive cultural bus tour program could be initiated to bring suburban families to shows downtown. Stay-at-home moms and older citizens in the suburbs are under-serviced audience segments. Many of them may feel less comfortable with English and/or with navigating

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downtown Toronto by car or public transit. By offering a consistent service (ideally with a known brand such as Tai Pan Tours) that will pick up and drop off these groups and their friends at a familiar meeting place in the suburbs (e.g. an ethnic mall, community centre, local library branch, or church), the program would directly address perceived and real barriers to participation. CPAMO recently sent out a survey to its members requesting feedback on upcoming plans / new directions. Are you a member yet? Did you receive the survey? Having just come from that side of the work, I urge you to stay in touch with CPAMO. It is very hard to keep working without hearing consistently from the community you are trying to serve. Join the roundtable discussions to listen and offer your perspectives. Please keep in touch, with CPAMO, and with me... You have my email. On Twitter I am @helenyung. If you're curious about my art, consider coming by this November 23, 24 or 25 when I will be presenting work with Dreamwalker Dance. Thank you. Helen Yung

Ottawa In the Fall

In working with our partners ( CPAMO has convened several recent events and is planning for further work in 2013. Over the past months, CPAMO coordinated and supported: September 20 - 21 - Town Hall on Aboriginal and Ethno-Racial Communities in Ottawa and Implications for the Arts. The Ottawa community is changing and there are increasing signs of this in the growth of Aboriginal and ethno-racial communities. To address this, several arts organizations in Ottawa have come together to discuss these changes and what they mean to promoting arts and culture in the Ottawa region. Together with CPAMO, such organizations as MASC (Multicultural Arts in Schools and Communities), Coalition of New Canadians for Arts and Culture, the Ottawa Art Gallery, Shenkman Centre for the Arts and Centre Point Theatre, One World Dialogue, CARFAC National, the Ottawa Local Immigration Partnership and others are hosted a TOWN HALL ON PLURALISM IN THE ARTS: ABORIGINAL AND ETHNO-RACIAL COMMUNITIES IN OTTAWA AND IMPLICATIONS FOR ARTS AND CULTURE. This Town Hall provided an opportunity for Ottawa artists and arts organizations to discuss these changes in the Ottawa region and to share strategies for engaging these communities and building audiences for and from them. This first Town Hall shed light on the characteristics of Aboriginal and ethno-racial communities and the importance of community engagement and audience development. The full day session involved presentations by Cathy Shepertycki (City of Ottawa Cultural Services), Professor Brian Ray (University of Ottawa), and Jerry Longboat (Artistic Director Circadia Indigena). These panelists addressed issues related to Aboriginal communities and their engagement in the arts as well as on ethno-racial and immigrant communities, their

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interests in the arts and their social capital. The panel session was followed by facilitated discussions on the importance and extent of community-based organizations in Aboriginal and ethno-racial communities and how to work with them. In this context, the following questions were discussed: 1) What has happened and will continue to happen in terms of the numerical growth and areas of settlement of these communities; 2) The implications/significance of these changes in terms of social, economic, political and cultural perspectives; 3) The key characteristics of these growing communities, particularly in terms of cultural interests/retention and how this might lead to programming, employment and marketing opportunities; 4) The social capital of these communities and some geographic mapping of them as well. The presentations took place in the morning followed by facilitated workshops aimed at learning from each other what artists and arts organizations are doing to connect with these growing communities, what's working and where there is need for assistance. The results of this Town Hall have been recorded and will set the stage for future workshops aimed at developing strategies for Ottawa arts organizations to connect with Aboriginal and ethno-racial communities in the Ottawa Region.

Oct. 1 2012 on Local Partners and Immigrant Settlement. OLIP held a morning session with its members to discuss issues related to immigrant settlement. Convened at Ottawa City Hall with the Mayor presiding along with OLIPs masters of ceremony, several recent immigrant community members were given awards for their work in various fields, e.g., business, services, etc. Following the awards ceremony, there was a panel session to discuss key issues related to employment, the arts and collaboration in the work to settle immigrants in the Ottawa region. CPAMOs Project Lead was one of the panelists and discussed the interest of immigrants for the arts and the importance of OLIP and CPAMO working together with Ottawa-based artists and arts organizations. As a follow-up to these meetings, in partnership with Creative Trust and Heather Young and Associates, a workshop on the uses of digital technology for data management for office administration, financial matters, grant preparation and community/audience development/engagement will be held. More information about this session will be released soon.


Conversations and concrete actions about engagement through dance in a diverse community Presented by Flato Markham Theatre in partnership with CPAMO Supported by the City of Markham and TixHub. October 14th, 2012 Flato Markham Theatre, Markham Civic Centre Flato Markham Theatre implemented a new dance series with the 2010-11Season. This world-class series included Canadian and international companies and has also been part of Markham Theatre Discovery, the theatre umbrella providing educational/outreach programs. For the 2011-12 season, the theatre joined the group of select presenters as part of the Ontario Dances initiative and supported by the Ontario Arts Council. This enriched the dance program of the Theatre with Ontario based dance companies as part of the program mix and expanding the outreach portfolio. At the conclusion of the 2011-12 season, the theatre management reflected on its various dance programs and initiatives and, based on this, it discovered that the Dance community is vibrant in Markham with each sector doing great work and that the Markham region has a growing and rich community of diverse dance ensembles and schools, representing the areas demographic trends. However, since much of this work is in silos, this forum was held to build future success for dance in Markham and address the key question on how to engage with the various dance sectors in the region with the goal of a cohesive and comprehensive plan in making the discipline more vibrant, increasing participation and grow audiences. In this context, the goals of this gathering were to: 1. Bring people together and engage a conversation between the various sectors; 2. Better understand the needs of the various sectors of the dance community vs. theatre programs and services; and 3. Identify opportunities to Increase community engagement and build a vibrant audience for dance in the Markham Region. This gathering received presentations by several active in the field of dance as artists, presenters and educators, including Emily Cheung, Artistic Director of Little Pear Garden Theatre Collective; Vivine Scarlett, Artistic Director of Dance Immersion; Menaka Thakkar, Artistic Director of Menaka Thakker Dance; and Soraya Peerbaye, former Dance Officer for the Toronto Arts Council now working on a dance mapping project in Markham. The panel presentations were then followed by small group discussions that addressed the following: Table A: Theatre and Dance 1. What can the Theatre/Markham do for the dance community? Role? 2. Diversity in Dance: What is the next step for the Theatre and Markham? 3. What initiatives can we imagine for community engagement through dance at the

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Theatre and in Markham? Table B: Dance organizations and studios 1. Community engagement: Is it worth it? Why do it? 2. Diversity in Dance: What would be the value? How do we do it? 3. How can we work together (between the various sectors)? Partnerships opportunities? Table C: Dance Education 1. What is needed to grow the curriculum and develop the profession? 2. What are the employment opportunities? Dance studios? Companies? 3. How should the Theatre be engaged in dance education? 4. How can we work together (between the various sectors)? Partnerships opportunities? Minister Michael Chan, MPP, was also on hand to thank the presenters and speak to those gathered and the day ended with a keynote address delivered by Tre Armstrong. For further information about this gathering, please contact: Eric Lariviere General Manager T.: 905-415-7546 C.: 647-205-6375

CANADIAN DANCE ASSEMBLY, CPAMO AND THE AGA KHAN MUSEUM Step in Time Technologies and Pluralism in Dance
Inspired by the intersection of pluralism and technology in a rapidly changing environment, and in collaboration with CPAMO and the Aga Khan Museum, the Canadian Dance Assembly held its 6th National Conference October 20-22, 2012 in Ottawa. This gathering with the dance community was full of exciting and inspiring exchange and dialogue about shaping the future of dance in Canada. Heres an excerpt of the conference proceedings. Keynote Address, "Witnessing Dance: Mediation and the Technologies of Representation" Proudly Sponsored by The National Ballet of Canada | Speaker: Douglas Rosenberg. Unashamedly utopian, this talk addressed how we look, how we discuss, how we circulate and inscribe images of dancing bodies in a pluralistic world. Presenting ideas in a relational framework, Douglas Rosenberg situated dance within a larger conversation, as a discipline within a system of discourse, signifiers and conversations about markmaking, about presence, about bearing witness to a particular kind of humanness that

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has the potential to speak about both democracy and egalitarianism even as it conforms to contemporary esthetics. Technology and democracy are often mentioned in the same breath (the Arab Spring and social media for instance, or the internet as a force for democratizing information).The technologies of representation (as they relate to dance) are inextricably linked to access: to the tools of media, to who controls how the results of media/dance collaborations circulate in the culture and most importantly how the technologies of representation, (film, video, moving image production) reinforce ideas about women, race, disability, beauty, and such. When dance artists translate their choreographic ideas from stage to screen, often the result is that the screen version repeats unhealthy and damaging tropes that are antithetical to inclusion, democracy, and egalitarianism. This talk suggested models to re-articulate the possibilities of technology and dance and to create opportunities for creative and critical discourse in our dance communities that focus on the human condition.

Panel - Changing demographics in dance - The successful practice of artistic pluralism Proudly Sponsored by Decidedly Jazz Danceworks | Moderator: Warren Garrett Speakers: Charles Smith, Amirali Alibhai, Michele Moss, Lata Pada, Zab Maboungou. The successful practice of artistic pluralism requires cross-cultural respect, dialogue, and understanding. The arts demonstrate and manifest the potential of thinking and creating together across differences. In times of changing demographics, considering the integration of new cultures within the Canadian mainstream, this panel discussed how we can adapt to current increasing changes, the intersection between artists from different origins mean. It also discussed: what are the questions that need to be addressed in order to attract people coming from different backgrounds, and what are the obstacles, challenges and success stories related to this topic. Innovation Forum I: "Dance From Stage to Screen: Five Journeys, Five Stories" Moderator: Douglas Rosenberg | Speakers: Priscilla Guy, Paulina Ruiz Carballido, JoDee Allen, Izabel Barsive, Olga Barrios This panel was story-telling time! The five artists shared their journeys through the life of a lens and discussed how . dance artists use new technologies as a component of their work; how they approach this form of expression and performance from behind the screen, how it alters the experience, why have they chosen to work this way, and what are the advantages and disadvantages of this digital age? At the same time, the CDA celebrated exceptional members of the dance milieu with Canadas first National Dance Awards The I love dance/Jaime la danse Awards! 1. Rosco Floors I love dance community award WINNER: Kaeja dDance. Kaeja dDance bridges dance art and the public. Co-Artistic Directors Karen & Allen Kaeja.

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2. En Pointe I love dance youth award WINNER: Love 2 Groove. Julia Gutsik Founder/artistic director of Luv2Groove is recognized for her versatility as a dancer, and distinct flavor and high energy as a performer and teacher. 3. I love dance seniors award WINNER: Charmaine Headly of COBA Collective of Black Artists. As Co-Founding Artistic Director of COBA, Collective of Black Artists, Charmaine Headley champions Africanist dance, and is inspiring new generations while playing a vital role in our community. 4. AFBS I love dance healthy citizens award WINNER: Dance Our Way Home. Dance Our Way Homes visionary director, Erica Ross, infused the dance practice with her personal relationship to life and the lens through which she sees it; her love for and relationship with Earth-based spirituality, the divine feminine, and the wisdom teachings of Buddhism and Shamanism. 5. I love dance award for a creative economy WINNER: Christianne Blanger Danse. Christiane Blanger-Danse, founded in 1989, now counts 600 students, and is the biggest dance school specialized in classical ballet in Quebec. heading many events for National Dance week 6. Aga Khan Museum I love dance international award WINNER: RUBBERBANDance Group. Since it was founded 10 years ago, RBDG had the opportunity to perform in several internationally recognized locations in the dance world, being a shining example of Canadian dance. 7. CPAMO I love dance award for the promotion of pluralism WINNER: Menaka Thakkar. Now celebrating 40 years in Canada, Dr. Menaka Thakkar is the founder and artistic director of the first professional school of Indian dance known as Nrtyakala Academy of Indian Dance and the first professional Indian dance performance company known as Menaka Thakkar DanceCompany. of a world- renowned dance school and company. 8. I love dance award for innovation WINNER: Julia Taffe of Aeriosa Dance. For the past 14 years Julia has pursued her artistic practice in non-traditional settings. She is the founder and artistic director of Aeriosa dance society, and stages her choreography in (and on top) of theatres, on mountains and on buildings. 9. I love dance audience member award WINNER: Henry Kim Wong. Henry was nominated as Vancouvers biggest dance fan, attending almost every contemporary dance performance in the city.

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10. I love dance corporation award WINNER: TD Bank Group. TD Bank Group has been a consistent supporter of Canadas National Ballet School for nearly 30 years and have made over 100 gifts totaling more than $2.2-million in support. They have been the lead sponsor of flagship fundraising events and have contributed more than $1.2-million to support bursaries and scholarships for talented students in need in the professional ballet program. 11. I love dance organization award WINNER: Dance Collection Danse. Dance Collection Danse (DCD) is Canadas national research centre, archives and publisher dedicated to the preservation and distribution of Canadian theatrical dance history.. 12. I love dance donors award WINNER: Jeanne Lougheed. Jeanne Lougheed has supported dance and the performing arts all her life, donating to the Alberta Ballet School, the Alberta Ballet Company, the Banff School of Fine Arts, and the Royal Winnipeg Ballet. For more on the CDA conference see

CPAMO Volunteer Recruitment Event:

Date: Tuesday December 4th, 2012 Time: 5:00-9:00pm Location: Art's lounge, Regent Park Arts & Cultural Centre 585 Dundas Street East, Toronto, ON
CPAMO is hosting the much awaited "Fall in Love with the Arts Speed Dating Event" on December 4th! What's this? It's where you get the opportunity to meet with volunteers who want to work with your organization. We've organized this previosly for Stand Firm and it was a good success, now we're organizing this with CPAMO. This fun and flirty annual event will allow you to showcase your organization, will offer mouthwatering food and lots of incredible door prizes. Admission is free. Do you want to get involved? Do you have tickets you want to enter in the draw? Contact Anita by November 23 at or at 416.836.3470 Even if you don't get a match, last year we had many members of the media attend and the event was featured in SNAP!, the Downtown Bulletin and it was televised on a South Asian News Program. So this is a great opportunity for you to get invovled and get some media exposure as well. Check out this great endorsement from the Dub Poets Collective:



DATA SMART WORKSHOPS: We are pleased to partner with Neighbourhood Arts Network (NAN), Creative Trust and Young and Associates to bring you the Advanced Excel Skills + Drop-In Clinic for Database Questions Workshops started on November 6th 2012. Each session will focus on many aspects of Database Management. Over the sessions participants will learn how to manage your data, research your database, creating organizational consistencies about retrieving/entering data and central management of databases. We know there are many members whose eyes begin to roll back in their head at the mere mention of the D word. Young and Associates however, aim to demystify the stigma related to database and its management and will demonstrate how having a working database will influence your organization on many levels. A networking session is also planned - stay tuned for more information. Please note that due to demand, workshops emails will go out confirming attendance and what will be required at each workshop. We have agreement for a capacity of 20 participants from both arts service agencies, CPAMO and NAN. Connecting the Dots: A Path to Effective Technological / Administrative Practices: Our final workshop will be facilitated by charles smith with Kevin A. Ormsby and will focus on connecting the applicability of all the workshops for our organizations and members. While workshops over the course of the year focused on specific information, we will use this information to show the applicability of, for example effective database management and its use in fundraising (e.g. Online fundraising, or donation drives or using technology from screen sharing programs to social media) to enhance the work we do. For some, there may be deep-rooted insecurities about how to navigate around the different elements and how your organizations can use them. This session will be a working session, where we would like to show you how to use the collective knowledge base of your employees and organizations. The workshop dates are forth coming and will be at the end of all other workshops organized through partnerships with other service organizations.


We want to take a moment to say thank you to all our members for taking the time to complete our survey. The survey results will shape our programming for the upcoming year as we continue to build the profile of CPAMO and, more importantly, the profile of our members. We suspect youre curious to know what was of interest based on the survey questions. We had eighteen (50%) members respond to the survey and here are the results: 1. Of the upcoming workshops for end of 2012, interests lied in the following areas Advanced Excel Skills + Drop-In Clinic for 50.0%


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Database Questions Online Fundraising Campaigns - Tips and How83.3% Tos Screenshare for Virtual Meetings and Remote 16.7% Troubleshooting Effective Technological / Administrative 50.0% Practices 2. Of the workshops proposed for 2013, here are where interest lies and will be pursed. Working within Communities 50.0% 11.1% Working with Older Adults Effective Marketing and Engagement 66.7% Strategies Strategies to Seeking, Nurturing and Keeping 66.7% Donors Making Pitches to Presenters for Performances 38.9% and Gallery Showings Collaboration with presenters 61.1% There are many intriguing results to the survey that will frame our relationships into 2013. Curious to see the entire survey results? Let us know and well send them to you!!!

Collaborations in the Arts CCI and CPAMO:

In the winter and spring, 2011,exploratory meetings were convened with several large Toronto-based arts organizations, e.g., the National Ballet School, Luminato, the City of Toronto Economic Development Department, SONY Centre for Performing Arts, the Royal Conservatory of Music. Similar meetings have been held with Oakville Theatre, Markham Theatre, Rose Theatre (Brampton), Ontario Contact and Meadowvale Theatre (Mississauga), Prologue to the Performing Arts, the CanDance Network and the Canadian Dance Assembly. These meetings were held to discuss possible collaboration between the CPAMO Roundtable members and larger cultural organizations for the purposes of information sharing and project development aimed at supporting the Roundtable members and these arts organizations to: Develop collaborative promotional/marketing and audience development strategies aimed at connecting with Aboriginal and diverse communities interested in the arts; Develop access to volunteers and other organizational resources, e.g., staff and board members; Enhance CPAMO members understanding of how to attract private sector foundations and corporate sponsors interested in the arts;


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Provide organizational support for financial and administrative systems development amongst CPAMO members. CPAMO is now undertaking the following actions to implement this activity: a) Identifying successful collaborative strategies involving ethno-racial and Aboriginal arts organizations that have worked with large well-established arts organizations as well as corporate and private sector funders. Several CPAMO members have experienced such collaborations. These members include: Manifesto with the Toronto International Film Festival and Luminato; Sampradaya Dance Creations with Luminato; REELAsian Film Festival with Richmond Hill Theatre and the University of Toronto Scarborough; South Asian Visual Arts Collective with the Art Gallery of Ontario; Red Sky Performance with Young Peoples Theatre. b) Consulting with Roundtable members to discuss these strategies and to develop a plan of action for meetings with: (i) enable presenters; (ii) ethno-racial and Aboriginal business associations and media; and (iii) corporate and private sector funders, including Business for the Arts. c) Developing a joint strategy with the Roundtable to identify how to engage presenters, ethno-racial and Aboriginal business and media, and corporate and private funders. Based on the interests of all concerned, CPAMO and CCI will soon convene meetings with presenters and CPAMO Roundtable member to develop and implement project proposals for furthering this conversation and bringing these arts organizations together to work on initiatives that will support each other in tangible and measureable ways.


Fundraising Webinar Series - Canada's Performing Arts Alliance

Statistics Canadas 2010 Performing Arts figures, summarized by Hill Strategies Research, tell us that private donations represent the third major source of revenues for Canadian not-for-profit organizations after box office and grants. If you are part of charity organization looking at ways to make the most of private, foundation and corporate donations, this webinar series may be just what you need! The Performing Arts Alliance is proud to offer a series of three webinars on Fundraising for Arts Organizations, developed and presented by renowned Canadian fundraisers, R. Scott Fortnum, ACFRE, and Luce Moreau, CFRE.


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This webinar series offers a multi-stage look at key aspects of fundraising: participants may register for a single webinar or for the full series. From every webinar, participants will take away information and tools they can use immediately to help increase the funding critical to their organization and its programs. These webinars are intended for beginner and intermediate-level fundraisers: cultural workers and board members who may be performing fundraising duties as part of their responsibilities, and who want to hone their understanding of fundraising. Cost: Single webinar: $35 (plus HST) All three webinars: $80 (plus HST) Members of a Performing Arts Alliance association (Canadian Dance Assembly, CAPACOA,, Orchestras Canada, PACT) are entitled to a 25% discount. For more information and to register, click HERE.

14 tips and tricks for a successful silent and live auction

By Heather Wardle ( Posted on October 25, 2012 My friend Gareth Duncan, Director of Development at the Vancouver International Fringe Festival knows a thing or two about how to run a great silent and live auction event. Each year, the Fringe holds a fun opening night event on Vancouvers Granville Island to showcase some of the performers and to raise funds for the festival. Gareth kindly shared his expertise with me and Ive added some tips of my own that Ive gleaned over the years. Here are 14 tips and tricks for succeeding with your charitys silent and live auction: Register your guests. This gives you a chance to report back to them on the success of the event and how it helped your mission. It also allows you to enter this information in your donor database and to segment your mailing list. They will also be the first people you can contact for your next auction event. At the registration table, give each person a bid paddle and number. One side of the paddle can have an image that will reinforce your brand or mission (at the Fringe they use their mascot Jimmy) and the other side, in very large type so it can be read across a dark room, is the bidders number. Having a paddle in your hand also has an interesting psychological effect encouraging people to take part in the live auction. Make sure you have some inexpensive items in your live auction. Having some accessible items gets the energy going in the room and encourages people to take part.


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Have a great MC and auctioneer. Your auctioneer or MC can really make the event exciting, circling back to the mission, recognizing those people who have bid and reinforcing how by upping the bids they are helping accomplish whatever the goal of the event is. Silent auctions might be places where people are looking for bargains, but in a live auction you can really educate about philanthropy. Use your live auction to ask for straight donations. After youve auctioned off all the physical items, the auctioneer can auction off donations to the cause. Make this process fast and start high and work down to the lowest donations, say $50 or $25. Put some of your charitys items in the silent auction. Another way to get straight donations for specific projects for your charity is to include them in your silent auction. For instance, at the eye care charity I worked for, we had a bid sheet for specialized lenses for cataract surgeries for children in Africa. Each lens cost $100, so we created a bid sheet and photo display for that item and people signed up to provide 1 or more lenses for childrens eye surgeries. If your silent auction is aimed at, lets say, providing a school bus, you could auction off seats on the bus and take names and bid numbers of people who pledge to donate a specific amount per seat. Have multiple volunteers record the bids. Volunteers should be placed around the room and each one should be equipped with a clipboard with a spreadsheet listing auction items and item numbers so they can easily record final bid value and the bidders number. Recognize that people make mistakes, so have multiple volunteers recording the bid values and numbers and then compare their lists immediately after the live auction to make sure that there is agreement on who bid what. Make sure your item lists have lines for the donation amounts too, as #5 above. Market each item well. Print bidding sheets with the item number, the name of the item, how much it is worth, a short compelling description and a minimum bid. You can dress up your bid sheets with photos, logos, etc., (or even get a business to sponsor them) too. Other ways of marketing the items are to provide a printed catalogue with the above information and a visual slide show of all the items. Make sure that your bid sheets have a large enough font and are easy to read. Dress up the item with props, e.g., a plate with cutlery, napkin, and the menu of the restaurant whose gift certificate you are auctioning. Set a minimum bid. While theres debate on whether or not to have bid increments, its definitely good to have minimum bids. Ive seen recommendations of anything from 20% to 40% of the value of items for the minimum bid. Buy out bid amounts are good, too, e.g., bidding 110% of the items value secures it. Have plenty of pens that work. If they cant write, they cant bid. Make sure you have plenty of good pens available, caps off and ready to go at each bid sheet, since some pens will disappear. Station informed volunteers behind the silent auction tables. These volunteers arent just there to smile sweetly; they need to know about your organizations mission and they need to know about the items on their table so that they can promote and sell them. They should be coached in advance about their roles and be told how they can help move the auction along. For instance, if an item is not getting bids, they can say, This is a really great bargain and nobodys bidding


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you should get in on this. For fast-moving items, they can say, This is a really hot prize. Make sure you put a bid down now so you dont miss out. They can even create some commotion when theres a hot battle for an item. Theres nothing like a bit of chaos to create excitement and a bidding frenzy! (This principle works well in the live auction, too.) More items does not equal a better auction. Too many auction items, whether live or silent, just paralyzes decision making and can reduce yields. As a general rule, for a silent auction, have no more than one item for every two guests. Combine items into packages or attractive baskets. Fewer items (live or silent) can mean more competition (i.e., bidding). Traffic flow is important. Plan your table layout for good traffic flow and be mindful of where you place your food and drinks tables. Make it easy for people to see what is there and circle back to bid again. Have clear closing times and encourage last-minute bids. Its a good idea to close your silent auction in sections, with the highest-value items grouped and closed last. Make sure that you announce your countdown times clearly (10 minutes, 5 minutes etc.) and encourage last-minute bidding and some friendly competition. Close your silent auction in plenty of time to be able to gather prizes and process payments efficiently and not have your guests feeling frustrated as they hang around to check out. Many delayed bidding winners will leave early, causing you the headache of days or weeks of follow-up and auction item storage.

Why Endeavour (

Consult with Endeavour to improve your organizational capacity and community impact. Our volunteer consultants work with non-profits that otherwise cannot afford professional consulting. Vision and Mission: We envision a world where access to professional consulting services is not a barrier to non-profits in achieving their goals, regardless of their financial capacity. Endeavour Volunteer Consulting for Non-Profits (Endeavour) is a registered Canadian charity that provides management consulting to improve organizational capacity and community impact. We focus on serving non-profit organizations that otherwise cannot afford professional consulting. Since 2007, Endeavour has recruited and managed more than 300 volunteers to provide management advice to more than 50 non-profit organizations in Ontario, helping communities in many areas, such as the arts, children and family services, disabilities, education, environment, healthcare, immigrant services, rural development, skills training, poverty relief, and youth development. Our Mission: Endeavour is dedicated to enabling non-profit organizations to improve


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and sustain their community impact. To achieve our mission, we are committed to the following goals: 1) Providing volunteer consulting to non-profit organizations that otherwise may not be able to afford professional consulting services; and 2) Engaging the community in providing volunteer consulting Our Values guide us in achieving our mission. Our Expertise: Our expertise in strategy consulting and volunteer management enables us to effectively serve non-profit and charitable organizations that otherwise cannot afford professional consulting. Find out how our expertise may be a match with your organization.Our Approach: We match your non-profit organization with a team of volunteer consultants who will work with you to develop a strategy that meets your needs. Learn more about our approach to consulting.Our Impact: Our client testimonials are a great way to gauge the impact Endeavour is making in our communities. Hear what past clients have to say about working with Endeavour and their successes.

Feng (Wind/Breeze) Presented by: Little Pear Garden Collective November 16 and 17, 2012 at 7:30pm Winchester Street Theatre 80 Winchester Street, Toronto A Collage of Six short contemporary choreographies on various emotions and slages of wind inspired by Chinese myths and poetry. Choreographed by our Artist in Residence, Jack Shi and Artistic Director, Emily Cheung. Lighting Designer, Gabriel Cropley. Tickets: $28 Tickets and information: 416-504-6429 ext. 21 |

Beautiful Girl Presented by: Polycultural Immigrant and Community Services August 16, 2012 - December 31, 2012 Every Thursday from 4pm to 6pm | Free Polycultural Immigrant and Community Services 3363 Bloor Street West Islington Avenue and Bloor Street West


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The Beautiful Girl Initiative facilitated by Polycultural Immigrant and Community Services, gives teenage girls an opportunity to meet in a safe and friendly environment, in person and on-line, to discuss issues and challenges that come along their paths. During our on-site sessions, we use different arts to facilitate artistic exploration and selfunderstanding and to increase awareness of how our habits, thoughts, beliefs and imagination create our reality. We use visual arts, writing, drama, movement as well as discussion. If you dont consider yourself an artist, do not be afraid. No professional experience required! It is impossible that you will not find an artistic expression within yourself! For more information: | | 416-2330055 Intimacies Artists: My Le Nguyen, Immony Men | Essay by: Stephanie Lam Presented by Aspace Gallery November 2 - December 8, 2012 Aspace Gallery (Main Gallery) 401 Richmond Street West, Suite 110 Toronto, Ontario M5V 3A8 Canada Dwelling in the space between private memory and public display, Immony Mens installation work,Effections: We need to talk,and My Le Nguyens photographic seriesMy ParentsandSwitch,draw on the idea of the screen as a mediating surface. While both these artists use very different work processes, they are ultimately engaged in acts of translation. In the case of Menwhose work involves the painstaking process of repeatedly crumpling sheet after sheet of paper and scanning them into a computer translation occurs at the level of the material, wherein the labor of the hand has the power to reinvest the digital image with an artisanal value typically associated with analog forms. In the case of Nguyens photographs of watched or unwatched television screens, translation occurs at the level of cultural positioning: waiting, observing, documenting moments and spaces where communication does not happen, where translation in fact fails. Common to both these artists is an attempt to activate the screen as a surface for exteriorizing that which we would consider privateinterior landscapes, amorphous worlds that are specific to us as individuals, as families, and as members of larger communities. For more information: 416- 979- 9633 | Ballet Creole: Soulful Messiah Presented by: Harbourfront Centre


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Friday, November 30 and Saturday, December 1 2012 at 8pm Sunday, December 2, 2012 at 3pm Prices$20 - $45 Fleck Dance Theatre 231 Queens Quay West, Toronto This performance is a Ballet Creole signature piece, which breathes the universal language of spirituality and pure happiness that we all yearn to share, especially during the holidays. Soulful Messiah infuses tap, African-Caribbean, ballet, jazz and modern dance into a unique celebration of life through dance and music. Soulfully danced to Quincy Jones Grammy Award-winning R&B rendition of Handels Messiah, this universal holiday tradition will leave you singing, Hallelujah! Enriched by the uplifting voices of Aretha Franklin, The Boys Choir of Harlem, Stevie Wonder and Gladys Knight, there is no question why this holiday production is celebrating its 11th year anniversary in Toronto. Guest performer David Cox (formerly of STOMP), returns to tap his way through this emotionally driven dance accompanied by the Ballet Creole professional dance company. Illuminated by the talents of lighting director, Brad Trenaman, each piece signifies humanitys core emotions. Ticket: $20-45 Ticket purchase URL: Jane Ash Poitras: New Acquisitions of Contemporary First Nations Art Presented by: Royal Ontario Museums Ongoing Royal Ontario Museums Daphne Cockwell Gallery of Canada: First Peoples, Level 1 Contemporary expressions Exhibition Space 100 Queen's Park, Toronto ON M5S 2C6 Four paintings recently acquired by the ROM explore colonialism and traditional knowledge of the therapeutic properties and spiritual significance of plants, wisdom now lost but which we hope to reclaim. These works incorporate knowledge that is taught and knowledge that is revealed, in combination with a powerful artistic vision. I think that the role of an artist today is to become free, to transcend. Then they can transform, enlighten, and become empowered. - Jane Ash Poitras, 1997, Hart House, Toronto


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Winter Family Festival Presented by: Japanese Canadian Cultural Center December 9, 2012 12-4pm Japanese Canadian Cultural Center Kobaysshi Hall and Shokokai Court 6 Garamond Court, Toronto ON M3C 1Z5 Last December, the JCCC held its first ever Winter Family Festival, a day of fun for families and kids of all ages. With over 300 people in attendance, the festival was a great success. Thanks to the overwhelming show of support, we are happy to announce that the 2nd Annual Winter In addition to the many activities which were popular with kids, such as the Christmas ornament craft booth, gingerbread cookie decorating table, and of course the photos with Santa Claus, were also bringing back the popular magician. To find out what other exciting activities we have in store, grab a friend and come on out to this years festival and join in the fun. Everyone is sure to go home with some warm memories and lots of great crafts and goodies. We look forward to seeing you there! Gingerbread House Decorating Contest Back by Popular Demand! Last year we had some incredible entries for the Gingerbread House Decorating Contest, and we hope everyone will participate again this year. We are currently open to entries for this years contest, and we have added some new categories to include Best Overall Winner, Most Original and Childrens Choice. Theres a limit to the number of entries this year, so register early to avoid disappointment. For more information: Admission: Adults $5, Children $3 (3 15 years old) Kids under 3 are free! General inquiries: 416-441-2345 | Booth registration and volunteering: Yuki Hipsh at or 416-441-2345 ext. 235 Sponsorship: Terry Takashima at Gingerbread House Decorating Contest submissions: Sandy Chan at or 416-441-2345 ext. 226


CPAMOs news Ted talks:

On October 29 TEDxToronto took place in Toronto and in this issue we would like to include ted talks form previous TEDxToronto. TEDxToronto 2012 Talk: Heather Jarvis & Sonya JF Barnett About the speaker: Heather Jarvis is a queer, sex- and body-positive feminist. With experience in gender studies, social work and community activism she has spent several years supporting and initiating projects around gender equality, sexual education, supporting marginalized communities and safer spaces for support. She co-founded SlutWalk in early 2011, a small idea that began in Toronto to fight sexual violence and has since spread across the world. Described as an eternal optimist by some who know her, Heather refuses to believe things cannot change. Over the years, Sonya JF Barnett has been championing womens sexual rights in a variety of ways. In 2009, she founded The Keyhole Sessions as a safe and welcoming community for artists to experience the marriage between sex and art. In early 2011, she coined the term SlutWalk and became Co-founder of SlutWalk Toronto as a way to combat victim-blaming, slut-shaming and sexual profiling. An activist and advocate for sex positivity, shes got a clean conscience, but a filthy mind. Link:

TEDxToronto 2012 Talk: Ronald J. Deibert About the speaker: Ron Deibert is professor of Political Science, and Director of the Canada Centre for Global Security Studies and Citizen Lab at the Munk School of Global Affairs, University of Toronto. The Citizen Lab is an interdisciplinary research and development hothouse working at the intersection of the Internet, global security, and human rights. He is a co-founder and a principal investigator of the OpenNet Initiative and Information Warfare Monitor projects. Deibert was one of the founders and (former) VP of global policy and outreach for Psiphon. Link:

TEDxToronto 2012 Talk: Ryan Henson CreightonandCassandra Creighton About the speaker: Ryan Henson Creighton is the President and founder of Untold Entertainment Inc., a boutique game development studio in downtown Toronto. Cassandra Creighton is a grade one student who likes building furniture forts, catching bugs, and putting her swimsuit on the cat. Together, they are both father and daughter, and a game design duo who created an endearing video game that has charmed fans the world over (Sissys Magical Ponycorn Adventure). Cassandra is the model for her fathers conviction that kids should be taught to use technology from a young age to create, entertain and inspire.


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Who We Are
CPAMO Roundtable Members As a resource to plan and coordinate its activities, CPAMO has set-up a Roundtable comprised of individuals involved in the performing arts from ethno-racial and Aboriginal creation-based arts organizations and those involved in performing venues. The members of the Roundtable are: Anahita Azrahimi, Sparrow in the Room Farwah Gheewala, Education Coordinator, Soulpepper Theatre Denise Fujiwara, Canasian Dance Charmaine Headley and Bakari Eddison Lindsay, Collective of Black Artists Lata Pada, Sampradaya Dance Creations Nova Bhattacharya, Nova Dance Seema Jethalal, Manifesto Festival of Community and Culture Cian Knights and Anne Frost, Cultural Pluralism in the Arts/University of Toronto Scarborough University of Toronto Scarborough Campus Phillip Akin, Obsidian Theatre Marilo Nunez, Almeda Theatre Mae Maracle, Centre for Indigenous Theatre Brainard Bryden-Taylor, Nathaniel Dett Chorale Emily Chung, Little Pear Garden Theatre Collective Spy Denome-Welch, Aboriginal Playwright Sedina Fiati, Actor Ravi Jain, why not theatre Shannon Thunderbird, Teya Peya Productions Olga Barrios, Olga Barrios Dance Santee Smith, Kahawi Dance Menaka Thakker, Menaka Thakkar Dance Company Kevin Ormsby, Kashedance Sandra Laronde, Red Sky Performance Mark Hammond, Sony Centre for Performing Arts Ahdri Zena Mandiella, b-current Jenna Rogers and David Yee, fuGEN Theatre Sandra LeFrancois, Cahoots Theatre Cindy Yip, Korean Canadian Dance Studies of Canada Wanda Nanabush, Association for the Development of Native Arts Michelle Kopczyl, Fuse Magazine charles c. smith, wind in the leaves collective Lua Sheyenne Productions


CPAMOs news Contact Information

charles c. smith Project Lead of CPPAMO Lecturer, Cultural Pluralism and the Arts/University of Toronto Scarborough Victoria Glizer Project Assistant Website: Facebook: search CPAMO or click here! Twitter: Mailing Address: 32 Costain Avenue Toronto, ONM4E 2G6 416-686-3039