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CPAMO’s news Issue 21 - September 2013

Welcome to the 21st Cultural Pluralism in the Arts Movement Ontario (CPAMO) newsletter. This is a regular digest that will introduce you to, and keep you updated on CPAMO‘s 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:



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Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginal and ethno-racial artists working with presenters to empower the arts communities of Ontario. CPAMO seeks to open opportunities for Aboriginal and ethno-racial artists to engage with presenters - in theatre, music, dance, visual arts - across Ontario and to enable presenters to develop constructive relationships with Aboriginal and ethno-racial artists. CPAMO is supported by Aboriginal and ethno-racial artists who are involved in theatre, music, dance and literary arts. They are members of CPAMO‘s 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), Canadian Dance Assembly and their members to build their capacities, cultural competencies and understanding of pluralism in the arts so that these members engage artists 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, the Canadian Centre for Policy Alternatives and the Ontario Ministry of Tourism, Culture and Sport. As the Summer comes to a close and the Performance Season leaps into full gear we wanted to highlight some of the great things we have been planning and doing with you; our members in mind. Kevin A. Ormsby was part of an interview process with members around our engagement and work with the majors and have complied a report with Charles Smith – CPAMO‘s Project Lead on your thoughts and suggestions. In the upcoming months we will be offering more workshops for organizational and artistic development, sending out our annual survey and also host an artist café and a volunteer session.

CPAMO‘s membership continues to grow and as we focus on building many more relationships with our members and other organizations there are some strong partnerships been forged that will benefit us all. To our new members we offer a heartwarming WELCOME! We look forward to your thoughts on any issues or best practices that you want to share. More importantly we


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also want to hear any suggestions that can make our facilitation to you better. If they are directed to Operations, partnerships etc. send to Charles C. Smith Send workshops, programming etc. to CPAMO‘s Consultant Kevin A. Ormsby We are always willing to engage with other CPAMO memberS in unique and interesting ways. We are cognizant of what it takes to run organizations and artistic practices in this new climate of change for the Arts in Canada. In solidifying your organizations and practices, we are also hoping that you are staying in touch with us on a regular basis. Hard? No, it might be easier than you think!!! We are hoping that you find our services beneficial and that you can help us in a very small way spread the word. Here are some ways how:  Our logo (request it and it will be sent) can it be placed on your membership and recognition page of your websites, enews etc. with link back to CPAMO‘s website? This allows others to know of CPAMO and the work that we do for organizations and artists Our Facebook page: Have you liked us on facebook? We Share a host of other information of pertinence to our members and everyone who engages the Arts and would love to increase our Social media online presence. As we try to navigate the Artistic climate it becomes a place for us all to reconnect. Like us! 

CPAMO has launched an advisory council. Starting last spring CPAMO‘s Project Lead, charles c. smith, started assembling an Advisory Committee to help advance the Movement‘s pluralism and capacity building agenda. The terms of reference for the Committee commits its members to: Support and act as goodwill ambassadors for CPAMO. As ambassadors the members will help develop awareness and advance the vision for the program within their own respective constituencies. Act as ‗door openers‘ to key individuals within their own community, company, industry or institution where CPAMO may be seeking participation and support. Give advice and guidance to CPAMO where needed, and may be invited to participate on working committees. The complete terms of reference and current members are located at the end of this newsletter. ―It is important to the success of the Movement that we have some of the most experienced arts leaders in Canada sharing their insights and advice on this important journey― said charles


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c. smith. To date, the Committee has met to discuss the development of a project proposal aimed at building the resilience of Aboriginal and ethno-racial arts organizations and supporting more collaborations and resource sharing amongst these artists and presenters. Members of the Advisory Committee have met with heads of the Ontario and Toronto Arts Councils, the Metcalf Foundation, the Toronto Community Foundation, and Business for the Arts to discuss this project proposal.

Looking At Our Communities From A Different Perspective

By Carol Beauchamp, Executive Director, Theatre Ontario At long last summer is here, and as the temperature rises it‘s a great opportunity to sit in my air conditioned office and take a few minutes to reflect and plan for the future. It is no secret that theatre companies and theatre artists around the province are grappling with the wicked challenge of building audiences for the future, and engaging with our audiences in new and exciting ways. There are many factors impacting audience development, including an uncertain economy, seismic technological changes, and shifting demographics. As I meet with people in large and small communities around the province, the question of engaging with diverse communities is a common thread to many conversations. At Theatre Ontario, we are always looking for ways to help our members proactively respond to challenges, and while there are no simple solutions, there are certainly a number of avenues that we can explore collectively, which is what inspired us to partner with the Cultural Pluralism in the Arts Movement Ontario (CPAMO) to present a panel discussion at our annual general meeting on Diversity, Engagement, and Inclusion in Theatre, with a goal of exploring some positive strategies for engaging with diverse communities. 4

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The panel discussion was moderated by charles c. smith, who in addition to being a published poet, playwright, and essayist, is a lecturer on Cultural Pluralism in the Arts at the University of Toronto Scarborough as well as being the Program Lead of CPAMO. In his remarks, charles stated that an important aspect of cultural pluralism is ―about unpacking those stories that all of us can connect to. We're all in the process of ‗trying to know.‘‖ This was a terrific opportunity for everyone who attended to hear the compelling and inspiring stories of the panelists: Yvette Nolan, Ravi Jain, Trevor Schwellnus, and Soheil Parsa, each of whom are busy theatre artists from diverse backgrounds who have navigated a unique path in the theatre sector by building inclusive practices and strong collaborative relationships. Yvette Nolan (Algonquin/Irish), a playwright, director and dramaturg and former Artistic Director of Native Earth Performing Arts, encouraged us to continue to look at our communities from different perspectives—she used the analogy of a tree; when you walk around a tree and look at it from a different position, you gain a different perspective or outlook. Yvette shared a recent experience she had working on a play with the hearing impaired and deaf culture, a challenging and rewarding experience that involved integrating and translating Shakespearean text, American Sign Language, and spoken word. Working with diverse cultures requires us to acknowledge where we come from and where we are now in order to know where we are going. As a community it is important that we take a look at who isn‘t represented on stage—what kind of theatre is going to talk about our community as a whole and tell our community's story? Ravi Jain, a multi-award-winning actor, director, producer, educator, arts activist, and Artistic Director of Why Not Theatre noted that ―in order to understand inclusion, it's important to understand exclusion." Ravi shared that as artists, much of how we work is often done out of necessity; for example, he created his theatre company in order to create work for himself and he shared a story about mounting a hit show in Urdu. Part of the success of this particular show was that he had staff working front of house who spoke the language of the community (Urdu), creating a welcoming and comfortable environment for the audience. He encourages us to put thought and care into how we communicate (both language and culture) to different cultural audience groups. For example, some cultural groups may not understand that it's important to arrive early to pick up tickets prior to the show.


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Trevor Schwellnus, a scenographer, and Artistic Producer of Aluna Theatre, together with his partner Beatriz Pizano, talked about how his company was similarly established out of necessity by Beatriz who is originally from Colombia. Trevor strongly believes that outreach into communities is important—working with individuals to help them own their story. Collaborative creation can help to unlock each person's and each community‘s story. An interesting and creative idea that Trevor shared to help outreach and communication, is to consider using subtitles as a design element for your show. You can use different languages for the same show depending on the audience you're reaching out to. You need to be able to speak to the community in order to build a space for the community. Soheil Parsa, an award-winning director, actor, writer, dramaturg, choreographer, and teacher, whose professional theatre career has spanned thirty years and two continents, shared his story of escaping revolutionary Iran and studying theatre at York University in the early 1980s —he was one of the first Middle Eastern theatre students in Canada. Soheil found that he was unable to easily connect with theatre in Toronto in the early 80s, and like our other panelists, Soheil created his own theatre company from a desire to explore avant garde theatre. He believes that we‘ve come a long way in terms of diversity and inclusion, but we also have a long way to go. Our panelists agreed that theatre is gradually becoming more intercultural, and that by working within each other‘s communities our resources can go further, especially when funding resources are shifting. Ethno cultural theatres are often more focused on community engagement—engaging with the broader community. Our panelists believe that there is a tremendous opportunity for collaboration and partnership for theatre companies with each other and with the communities that surround them—partnering to produce theatre that represents the story and voice of the community. Without doubt theatre is a dynamic art form that is continually evolving, telling our stories in new and innovative ways—it is a constant and exciting process of exploration, looking at different perspectives as part of the creative process, but also as part of the process of engaging with our audiences in a meaningful way. A point that I found compelling and was emphasized by each of the panelists was that need to step back and take another point of view or perspective when we engaging with diverse communities, whether they be ethno-cultural, geographic, seniors, or communities with disabilities:  Are we telling their story? In other words, do the plays we perform resonate with the people that live and work in the communities around us?  Are the plays we are performing in a language that the community can understand?  Does our audience understand the conventions of attending the theatre, for example, picking up tickets prior to performance time?  Are we accessible to the community? For example, is transportation or parking an issue? Is


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our marketing and outreach in a language or format that is readily understood by the audience/community we are trying to engage with?  Have we included members of the community in our volunteer group/paid staff to help us better respond?  Do the actors on our stages reflect the people that live and work in our community? Everyone that attended the AGM panel discussion was inspired and excited, and a number of people I spoke with felt that they had gained insights into new ways of becoming more inclusive by asking and answering some of these questions. There is no cookie-cutter approach. Building relationships and understanding takes time, but the first important step is understanding what we don‘t know, and then taking the time to see another perspective. For myself, I am looking forward to continuing these important discussions and helping to bring similar panel discussions to other communities across the province. I look forward to coming together, and challenging ourselves to look at theatre as well as the communities in which we create and perform our work, from a different perspective that just might open new and exciting opportunities to build our audiences and share unique theatrical experiences. Originally published:

In the last week of June, CPAMO participated in the first ever Welcome Ottawa Week (WOW). A series of public events to celebrate the diversity of the City of Ottawa, WOW began at a breakfast reception with business executives, civic leaders and representatives of faith communities in the region, the Ottawa Mayor Jim Watson will proclaim June 25 to 30, 2013 as the first-ever ―Welcoming Ottawa Week (WOW)‖. The Mayoral proclamation reception is one of several activities planned during WOW to bolster the capital‘s reputation as a welcoming city for newcomers. The calendar for the inaugural Welcoming Ottawa Week is marked by a series of engaging dialogues and celebratory activities, including community sports events, public lectures and seminars, a movie screening in a neighbourhood park, music, artists‘ gatherings, and the 2nd Annual Ottawa Immigration Forum. ―We have long recognized the value of immigration to our city‘s prosperity and vitality,‖ says the Mayor of Ottawa, Jim Watson. ―The Welcoming Ottawa Week will underscore our genuine respect and hospitality to newcomers, while at the same time creating opportunities for dialogue and interactions between newcomers and established residents.‖ This year‘s Ottawa Immigration Forum, hosted by the Ottawa Local Immigration Partnership (OLIP) in collaboration with the Réseau de soutien de l‘immigration francophone de l‘Est de l‘Ontario, is themed ―The Building Blocks of a Welcoming Community.‖ The Forum will take place on Thursday, June 27, from 8 a.m. to 12:00 noon, and coincides with Multiculturalism Day. 7

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Forum attendees will hear about Manitoba‘s model for welcoming and integrating newcomers from Gerry Clement, a former senior official with the Manitoba Government and one of the principal architects of Manitoba‘s highly acclaimed immigrant attraction and integration strategy. Representatives of Ottawa‘s post-secondary institutions will also reflect upon the opportunities and challenges they face as they seek to extend and enhance Ottawa‘s reputation as an international student destination hub. In 2012, Ottawa was the fourth-largest international student destination in Canada, after Toronto, Vancouver and Montreal, and the first choice for international students among Canada‘s midsized cities. ―As a community, we are committed to strengthening our capacity to welcome and integrate immigrants,‖ said Dick Stewart, Chair of the OLIP Council. ―The 2013 Ottawa Immigration Forum will help us learn from the successes of other cities; and enable us to discuss ways in which we can maintain and enhance what works well.‖ The Forum will also celebrate the successes of the OLIP partners over the last eight months and continued progress towards the goals of the Ottawa Immigration Strategy, launched in 2011. Welcoming Ottawa Week events begin on June 25 with two seminars: one on ―Building Sustainable Capacity for Welcoming Organizations‖ featuring three prominent speakers and the tabling of a summary report on Phase 1 of Ottawa‘s first -ever Equity Project; the other on ―Les Enjoux de l‘immigration francophone a Ottawa.‖ The Mayor‘s proclamation and breakfast reception anchored the Week, with an official proclamation ceremony on June 26. CPAMO convened two events – June 27 and 28 – with local artists and arts organizations to discuss Attracting and Retaining Volunteers from Diverse Communities, and, Collaborations and Resource Sharing To Promote Pluralism in the Arts. Attracting and Retaining Volunteers from Diverse Communities, CPAMO‘s volunteer recruitment event featured presentations by Will Coukell and Gabriel Jean-Simon. Their presentations can be found at - Will Coukell has been a leader in the not for profit sector for 33 years. As Executive Director he has lead various projects such as a shelter for youth, a community health centre, a settlement house and currently is the Executive Director of Volunteer Ottawa, the volunteer centre for the Ottawa region. As a trained adult instructor, he currently teaches a wide variety of diverse courses including Risk Management, Volunteer Screening, Board of Directors training, Outcome Measures and many others. As a volunteer leader, he has chaired various boards and done many different volunteer jobs; he headed a group of over 3,000 volunteers for several years at Toronto‘s Pride event. Since January 2013, Gabriel Jean-Simon is the Chair of ArtsScene Ottawa Gatineau, a Business for the Arts committee which aims at bridging young professionals and arts organizations. He is also a public servant and has been a proud resident of Ottawa since


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2005. For two years and in addition to his professional responsibilities, Gabriel co-chaired the National Capital Region Young Professionals‘ Network, a forum for Ottawa-Gatineau federal employees dedicated to bring positive change to the public service. Gabriel‘s volunteer involvement goes back to his student years during which he successively held several positions including Chair of his undergraduate students‘ association, member of the executive board of a student federation (Université de Montréal), Chair of his graduate students‘ association and Chair for the board of directors of the international student organization Simulation du Parlement européen Canada-Québec-Europe (SPECQUE). Thanks to these experiences, he‘s learned a lot about working with volunteers and received the Québec Lieutenant-Governor‘s Award and the Université Laval ―Graduate Student Personality of the Year‖ Award. Gabriel is an Action Canada fellow. Collaborations, Partnerships and Resource Sharing: Advancing Pluralism in Tough Times was the theme for the second Town Hall on Pluralism in the Arts. This session focused on collaborations in the arts to promote pluralism and inclusion. The key note was delivered by Natasha Bakht who is an Indian contemporary dancer and choreographer trained in bharatanatyam under Dr. Menaka Thakkar for 20 years, touring internationally with her company. As a member of the Shobana Jeyasingh Dance Company in London, England, Natasha performed in celebrated venues around the world. She has also worked with choreographers Roger Sinha, Wayne McGregor and Yvonne Coutts. Her choreography includes several solos for herself and group works commissioned by the Menaka Thakkar Dance Company, the CanAsian International Dance Festival and Sampradaya Dance Creations. Her dance works Obiter Dictum andDafeena were nominated for Dora Mavor Moore Awards in 2003 and 2010 for outstanding choreography. In 2008, she received the K.M. Hunter Artists Award, presented to artists in Ontario who have made a significant mark in their field. Her dances have been the subject of two films by Mouvement Perpétuel. She is a founding member of The Ottawa Dance Directive, a contemporary arts space for dance. Natasha has been described as ―a brilliant diamond‖ (Dance Current), a ―powerhouse‖ (Hindustan Times)…―all honed to the bone elegance and precision‖ (Vancouver Sun). She is also an associate professor of law at the University of Ottawa and mother to three-year old Elaan. The panelists are: Lisa Zanyk provided a presentation about her work as the Arts Centre Programmer for the Nepean Creative Arts Centre, a City of Ottawa Cultural Services facility. In addition to her many years in arts administration and programming, she has a diversity of of experience in radio broadcasting and writing (CBC Radio), writing for journalism and print, teaching; and in the arts of music, dance and drama. Lisa is also a writer, and co-Artistic Director and Producer of Chamber Theatre Hintonburg, who produce plays in taverns. The WOW concluded on June 30 with the Community Cup event at Brewer Park. Over 2,000 guests gathered to enjoy this fun-filled family event, with soccer competitions, demonstrations of sports such as cricket and Tai Chi which are popular among immigrants and minority residents, children‘s games, an international food bazaar, and a citizenship reaffirmation ceremony during which 200 Ottawans will renew their vows to Canada and to each other. ―We are excited about WOW‖ said Hindia Mohamoud, OLIP director. ―A lot of good work is


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being done by the OLIP partners and countless Ottawans are welcoming to immigrants. The Welcoming Ottawa Week is about joining our voices and conveying clearly and unequivocally that we are intentioned to being the most welcoming city in Canada to newcomers both current and prospective.‖ Initiated by the Ottawa Local Immigration Partnership and championed by the Mayor of Ottawa, Welcoming Ottawa Week is designed to create recurrent opportunities for Ottawans to express and reflect on the warmth of our welcome; and for newcomers and long-time residents of Ottawa to have quality-based recreational and intellectual interactions that will foster trust and understanding.

IMPACT (International Multicultural Platform for Alternative Contemporary Theatre), is a biennial international theatre festival organized by MT Space in Ontario‘s Waterloo Region. IMPACT is designed to stimulate the development of the indigenous and culturally diverse theatre landscape in Canada. The festival focuses on interdisciplinary, intercultural, and physical productions. IMPACT 13 presents some of the finest work locally, nationally and internationally. It provides

a unique platform to engage, play and rejuvenate with hundreds of artists and thousands of visitors from across Canada and beyond.
The festival runs from September 24–29, 2013 in Waterloo Region, Canada. For more details the following materials are available for you to view, download or print:  Buy a Festival Pass ($113)  Conference Registration & Festival Pass ($160)  KW Record article  Waterloo Chronicle - We Are Culture  Stephen Woodworth press release IMPACT 13 Conference IMPACT 13 will also host a national symposium titled Staging Occupation: At the Crossroads of Multiculturalism and Indigeneity from September 26-28. This conference will examine the notion of theatre as an act of occupying space and (re)claiming territory. Theatre artists, presenters and producers from across the country will come together to push the conversation forward. CPAMO is hosting three showcases. These include performances by anindienrightsreserve, Aluna Theatre and poets Sheniz JanMohamed and Soraya Peerbaye.


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Aluna Theatre is an artistically driven Canadian | Colombian theatre company based in Toronto. We create exciting new work that introduces audiences to diverse and rich performance practices from across the Americas. Aluna‘s bold productions in English and Spanish encourage a dialogue between cultures, artists, and communities - at home and internationally. Aluna creates original productions with a distinct theatrical language drawing from our heritages, cultures, and languages, including dance, physical theatre, and a multi-media design. In ten years of production we have received 17 Dora Award nominations for acting, writing, directing, and design - winning 5 of them. El Refugio de Freidel|Freidel’s Refuge is more than a woman‘s story. It is an account of an artist‘s journey and her craft. It is socially engaged, daring and deeply profound. It gives the typical immigration tale a real spin and challenges us to see our immigrant and refugee population in a new light. Most of all, it is about turning a difficult experience into a positive outcome, and of respecting the many things we need to do in order to survive; and in doing so, discovering and conquering new lands within ourselves. ―Freidel was a prolific artist who wrote, directed, and designed his plays. Some consider him to be the first modern Colombian playwright. His themes and subjects are deeply rooted in the human condition in a country at war. Liliana and I first met with the idea to produce one of Freidel‘s plays. Soon into the process, I realized that her experience as an actor in Colombia, and her subsequent life as a refugee, was an extraordinary and moving story; and one that many immigrants and Canadians could relate to. ―Liliana was opposed to two things: returning to the stage after so many years, and acting in English. However, after the first rehearsal, she was hooked. You can never take the actor out of the actor. And the language issue? Easy! At Aluna Theatre we have eliminated this barrier since 2010 by using subtitles in our productions. In 2011 Liliana and I create the Freidel Collective and with the support of Aluna we begin to develop this work on our feet. We presented the very first fifteen minutes at the Panamerican Routes|Rutas Panamericanas in May 2012 as part of an evening of works-in-progress. It was an emotional performance. Liliana had not performed in eight years since her arrival in Canada. The audience cried and laughed. We knew then that the work needed to continue. ―With El Refugio de Freidel our goal is to reach as many communities as possible. The work can be presented in any space, not necessarily a theatre. We are honoured to be participating in IMPACT and thank the festival for this amazing opportunity.‖ -Beatriz Pizano, director/cocreator anindienrightsreserve’s presentation includes excerpts from the composers‘ first and criticallyacclaimed opera, Giiwedin, performed by musicians who were involved in the work‘s development and first production. Attendees will also be provided a first sneak-peek at the


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composers‘ new work in development. This performance will be presented as a multi-media lecture recital to provide some historical context and also to explore the themes that permeate their work. Composers’ bios: Spy Dénommé-Welch is a Dora-nominated multidisciplinary artist who writes, composes, and produces work in theatre, opera, film and video, and plays the fiddle and guitar. He wrote and co-composed the Dora-nominated opera, Giiwedin, and is currently developing a new opera with collaborator Catherine Magowan with support from Toronto Arts Council and Ontario Arts Council. His is the winner of the Baroque Idol 2013 competition for his work ―Bike Rage,‖ which he co-composed with Catherine Magowan. His theatre and video work has been shown at festivals, theatres and conferences in Canada and internationally, and his music has been featured in The Music Scene and The Wholenote. He has made appearances on radio shows such as Alexa‘s Oasis on Classical 96.3 FM, CBC‘s Here and Now, Aboriginal Voices Radio, and Radio-Canada. Catherine Magowan is principal bassoonist of the Sudbury Symphony Orchestra and the Scarborough Philharmonic Orchestra. In 2010 Catherine was nominated for a Dora Mavor Moore for the opera Giiwedin, which she co-composed with writer and composer Spy Dénommé-Welch. She conducts workshops and presents at conferences with Dénommé-Welch on topics such as music, arts and education. Catherine‘s bassoon quartet, Das Fagott Mannschaft (―the bassoon team‖ in German) has been steadily gaining a reputation on the bar scene, and her comedy duo, Professor Quack & Grunt, has been entertaining audiences at poetry festivals and book launches. Performers’ bios: Lucas Harris studied at the Civica scuola di musica di Milano (as a Marco Fodella Foundation scholar) and at theHochschule für Künste Bremen. Based first in New York and since 2004 in Toronto, he has become one of North America‘s busiest lutenists. In addition to regular engagements with Tafelmusik Baroque Orchestra, he has worked with the Toronto Consort, Circa 1500, Apollo‘s Fire, Les Voix Baroques, the Smithsonian Chamber Players, The Harp Consort, the Boston Early Music Festival orchestra, Les Délices, and many other ensembles. He is the founder of the ‗pluck band‘ known as the Toronto Continuo Collective (, and also a founding member of both the Southern-Italian folk group known as the Vesuvius Ensemble ( and the new multi-ethnic Lute Legends Ensemble ( Lucas has also played with several moderninstrument groups, including the Boston, St. Louis, and Montréal Symphony Orchestras, the Metropolitan Opera, the Orchestra of St. Luke‘s, and Via Salzburg, with whom he was a


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concerto soloist. Recordings include the solo CD Baroque Lute Recital as well as a collaboration with violinist Geneviève Gilardeau, The Bach/Weiss Sonata. Catharin Carew. Described as ―a real personality with a dark edge to her mezzo as well as clear top notes" (WhatsOnStage, UK) as well as ―exhilarating‖ by Opera Canada, Canadian mezzo Catharin Carew holds Masters of Music in Vocal Performance both from the Guildhall School of Music and Drama, London England and McGill University, Montreal. Whilst pursuing her Bachelor of Music in Vocal Performance at the University of Toronto, Catharin studied vocal pedagogy with Lorna MacDonald and is, alongside being a classical soloist, a workshop technician specialising in vocal projection with choral groups. Ms. Carew's most recent operatic engagements include Zita in Gianni Schicchi with Essential Opera, Laurina in Eugene Onegin with Opera Tchai, Pepa in Granados‘ Goyescas with Opera Five, Judith in Bartok‘s A Kékszakállú Herceg Vára:Bluebeard‘s Castle also with Opera Five, Mrs. Nolan in Highlands Opera Studio‘s production of The Medium, La Zia Principessa in Suor Angelica with Toronto Opera Collaborative, Malika in Lakme with Opera By Request, Sesto in the RCM Summer Opera‘s production of La Clemenza di Tito, and Mrs. Grose in Britten‘s The Turn of the Screw with the Aldeburgh Britten-Pears Young Artist Programme. Miss Carew was the first prize recipient of the 2010 NYCO Mozart competition, a semi-finalist in the 2011 Eckhardt-Gramatté competition, and a finalist in the 2013 Clifford Poole Vocal Competition with Cathedral Bluffs Symphony Orchestra. For more information: Conference schedule:

Ontario CONTACT is Ontario‘s largest and longest running annual performing arts showcase and booking conference. Every year Ontario Contact engages over 500 artists, presenters, workshop leaders, and various government and arts service agencies in showcase performances, workshops, and an arts industry marketplace. It is our goal that Ontario Contact will continue to address the on going needs of Ontario‘s cultural presenters, and assist local, national, and international artists and their agents to tour and perform for Ontario audiences. CCI is pleased to be producing this 4-day conference and artist showcase platform, with assistance from the Ontario Arts Council, the Department of Canadian Heritage, and the generous support of our many sponsors.


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This year CPAMO will be setting up a table in the Contact Room and will share information on its members with presenters who attend. If you have any special materials – dvds, youtube and vimeo links – you'd like CPAMO to make available, let us know!!!!! For more information: To register:

Keeping a pulse on the needs of Aboriginal and ethno-racial arts‘ organizations and artists has always been close to CPAMO‘s work and our workshops provide valuable resources for our members and the staff/artists they engage. This Fall CPAMO will feature workshops with this in mind. The flowing workshops are being planned to round out the Fall programming:  October 1: Social Media – Making Sense of it All Though ever-present in our lives, Social media and its use in the everyday reality of the Arts is changing constantly. Don‘t allow yourself to be overwhelmed. It‘s not just what you create, but how you engage, how and when you use, find meaning and also create meaning for others that will make your social media experience worthwhile for you and beneficial to your organization and artistic practice.  November 7: Importance of Bilingual Publicity and Marketing Where are our audiences coming from? What are their mother tongues? How do they engage with your work? Is someone in your organization bilingual? How do we communicate with them? Do we do so effectively to maximize on the engagement? With the constant change in the demographic of Canada and those participating in the Arts, how do we think bilingually? What grassroots strategies can we create so that others realize the wonderful work we do as members? Maybe this workshop can help you navigate the changing realities of how we communicate and to whom.  December 3: Creating Marketing Decks This workshop will guide participants in understanding how these power point slides can help drive interest in and secure investment from those interested for our organizations. With Demographic, empirical and organization history Marketing Deck allow those interested to get a sense of an organization from a business perspective. With the need to build capacity, marketing decks are transferable information mapping the landscape of an organization.



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3.11 Benefit Photography Exhibit September 3 - November 9, 2013 Cost: Free Japanese Canadian Cultural Centre 6 Garamond Ct, Toronto, ON M3C 1Z5 A benefit photography exhibit will be held at JCCC in the hallway leading to Kobayashi Hall from September 3 – November 9, 2013. Photos from the peaceful temples and gardens of Kyoto will be on display for sale. Please bring your family and friends to enjoy the exhibit and choose a piece for your home or office. The photographer will donate part of the proceeds to the Japanese Red Cross Society to support its ongoing relief efforts. May the peaceful images of Kyoto bring comfort and peace to those affected by the 3.11 Tōhoku Earthquake/Tsunami. Sommet/Mandingue/Summit: West African Dance & Drum Festival Presented by: Baobab Afrikan Arts September 25-29, 2013 Cost: Free - $20 Daniels Spectrum (Regent Park) 585 Dundas Street East, Toronto ON A five-day multi-disciplinary festival celebrating traditional West African culture. The festival essentially shines a bright spotlight on the traditional music and dance of this region, by providing participants and audiences with a sampling of the richness and diversity of this incredible culture. For more information contact: Kaysie at 647-557- 3449 or Tango and more Presented by: Ayumi Moriwaki Sunday, October 6, 2013 at 3pm Cost: $20 Gallery 345 345 Sorauren Avenue, Toronto, ON An afternoon of traditional and nuevo tangos -- plus treats from the Italian and Japanese art song repertoire and more! Features: Ayumi Moriwaki (Vocal), Elbio Fernandez (Vocal), Soohyun Nam (Violoncello) Shinichiro Sudo (Piano) and Steve Yee & Marilena Stalteri (dancers). Tickets available at door. Reserve tickets at: For more information contact: Ayumi Moriwaki at 416-822-9781 or


CPAMO’s news Lovesick Child September 21 - October 26 2013 Reception: October 18 at 5:30 pm A Space Gallery 401 Richmond St W #110 Toronto, ON M5V 3A8 Copresented by: A Space Gallery, imagineNATIVE Film + Media Arts Festival and Aboriginal Curatorial Collective | Artists: Ahasiw Maskegon-Iskwew, Leslie McCue, Adrian Stimson | Curated by: Elwood Jimmy| Curator talk during the October 18th reception Lovesick Child is Toronto's first retrospective exhibition between A Space Gallery and the imagineNATIVE Film + Media Arts Festival on Aboriginal new media pioneer Âhasiw MaskêgonIskwêw. His work with the Canada Council for the Arts and the Banff Centre on a number of equity and new media initiatives such as Drum Beats to Drum Bytes in 1994 ensured Indigenous presence within the new territory of new media and the Internet. Âhasiw initiated a number of projects in collaboration with local artists, local youth, and street-involved people in North Central Regina, at the vanguard of interdisciplinary work that privileged and combined community stories and Indigenous worldviews & narratives. Part of a substantial body of work that spanned several years, practices, and communities, Lovesick Child—the audio/text project from which the title of this exhibition is derived—synthesizes a number of the different streams of art production that Âhasiw undertook in his lifetime. For this exhibition, this piece functions as a foundation for both a discussion of Âhasiw‘s work and influence on Canadian media art, as well as the two complementary works in the exhibition newly created by artists Adrian Stimson and Leslie McCue. Curated by Elwood Jimmy, Lovesick Child focuses on some of Âhasiw‘s key works, as well as on artists like Âhasiw, who locate community, collaboration, interactivity, and Indigenous knowledge and practice at the forefront of their respective practices. For more information:

Raghava KK: My 5 lives as an artist About the speaker: Raghava KK began his career in art as a newspaper cartoonist, and the cartoonist‘s bold line -- and dead-on eye for truth -- still powers his art. His work spans painting, sculpture, installation, film and iPad art, always linked by his challenging opinions on identity, conformity, gender, celebrity, ceremony. (He even views his lavish Indian wedding as a piece of performance art.) His early work as a painter made a complete break with his cartoon career -- he painted watercolors on canvas using only his hands and feet. Since then, his work has grown to knit together aesthetics from both worlds, as collage and complication play against flat color and 16

CPAMO’s news
precise lines. He shows in galleries and performance spaces around the world and often collaborates with other artists, most recently with musicians Paul Simon and Erykah Badu. In 2011, he launched his children's iPad book, Pop-it, shaking up the concept of an ideal family. He is currently working on a project that promises to shake up everything! From news to education. Link:

Lisa Bu: How books can open your mind About the speaker: At TED's annual staff retreat, everyone has to get up and talk about something -- either about work, or about something interesting from their own lives. In fall 2012, our own Lisa Bu prepared a talk about her love of reading. And our quiet, funny and efficient Content Distribution Manager simply brought down the house, with a story that's too good not to share. We are thrilled and proud that Lisa is the first TED staffer ever to be invited to speak on the mainstage at the TED Conference. Born and raised in Hunan, China, Lisa Bu has been with TED since 2011. Before that, she spent seven years as a talk show producer and a digital media content director at Wisconsin Public Radio. She's also a computer programmer, with a PhD in journalism and an MBA in information systems from the University of Wisconsin-Madison, as well as a BA in Chinese from Nanjing University in China. Link:

Ravin Agrawal: 10 young Indian artists to watch About the speaker: Ravin Agrawal has drawn on his time in the US and India to bring the best of each world to the other. Born in New Jersey, he grew up between Louisiana and Kolkata before entering Harvard Business School. Agrawal began his career as a business consultant for McKinsey & Co., helping global banks navigate the opportunities of Internet commerce. Since then, he has served as the managing director of Passport India Fund and Quantum India Fund, and today is the managing member of Corellian Capital in the San Francisco Bay area. Link:


CPAMO’s news
Background: Initiated in 2009, Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginal and ethno-racial artists engaged in empowering the arts communities of Ontario. CPAMO seeks to open opportunities for Aboriginal and ethno-racial professionals and organizations to build capacity through access and working relationships with cultural institutions across Ontario that will result in constructive relationships with Aboriginal and ethnoracial professionals and organizations. Through its initiatives, CPAMO has identified several challenges that are impacting the broader goal of equity and pluralism in the arts. CPAMO has convened numerous workshops, Town Halls, conducted research and issued reports on these matters. Several of these can be viewed on CPAMO‘s website ( which has documented these sessions, many of which have been conducted with CPAMO members as workshop resources and performers. CPAMO has also included art services organizations and major funders in the planning and implementation of these activities. CPAMO is supported bv Aboriginal and ethno-racial artists who are involved in theatre, music, dance and literary arts. These artists are members of CPAMO‘s Roundtable and include representatives of Sampradaya Dance, Native Earth Performing Arts, Diaspora Dialogues, Nathaniel Dett Chorale, Little Pear Garden Theatre Collective, Centre for Indigenous Theatre, Sparrow in the Room, b-current, why not theatre, urban arts and backforward collective, Culture Days, Canada Council Stand Firm members, Obsidian Theatre, the Collective of Black Artists, CanAsian Dance and others. A full list of these members is at the end of this document. With the involvement of artists from these organizations, CPAMO is working with several arts organizations to build relationships, capacities, cultural competencies and understanding of pluralism in the arts so that these organizations engage from Aboriginal and ethno-racial artists and, thereby, enable audiences across Ontario to access artistic expressions from diverse communities on a regular basis. Several CPAMO members are experiencing challenges in terms of their access to resources. With limited opportunities for increased grants support, a granting structure that does not fully support capacity building and few resources to dedicate to fundraising, marketing, administration and lack of time for skills development, grant writing and networking it seems imperative that CPAMO undertake a collective effort with and on behalf of its members to create working and risk capital for these artists funds and to dedicate professional support to enable its members to enhance their administrative/organizational capacities and governance including accessing capable volunteers and board members who are dedicated and have a passion for


CPAMO’s news
the arts. New models for governance and collaboration may be needed to achieve results.

To move on this initiative, CPAMO is establishing an Advisory Committee that can give input to the development of such a project. Advisory Committee Purpose: The Advisory Committee is a supportive body to CPAMO and its members that will address the challenges listed above through identification of resources and alternatives to enhance capacity and the services CPAMO can provide its members. The focus will be on two key areas: undertaking a collective or collaborative approach to fundraising to build working capital and organizational development initiatives aimed at supporting the individual and collective growth of CPAMO and its members. The Committee will provide advice and support to CPAMO‘s efforts to ensure the long-term health and stability of its members, many of whom are small arts organizations in music, dance, theatre and visual arts. The Committee will assist CPAMO in providing the tools and resources to enable its members to develop strong planning and financial skills, achieve organizational health and balance, and acquire and maintain a fund of working capital.

Advisory Committee Responsibilities: To achieve the purpose noted above, the Advisory Committee will:    Support and act as goodwill ambassadors for CPAMO. As ambassadors the members will help develop awareness and advance the vision for the program within their own respective constituencies. Act as ‗door openers‘ to key individuals within their own community, company, industry or institution where CPAMO may be seeking participation and support. Give advice and guidance to CPAMO where needed, and may be invited to participate on working committees.

Communications and Term of Commitment: The Advisory Committee will kept up to date on program developments and progress. Committee Membership will be for a three-year period, renewable for an additional four years, or until the completion of the program. Advisory Committee meetings will be held quarterly and working groups may be formed to address specific issues related to this initiative.


CPAMO’s news
Member Profile: The Advisory Committee will be comprised of no more than 25 individuals from arts services organizations, presenters, funders, centres for artistic development and members of CPAMO‘s Roundtable of creative artists.mmThis will include individuals who have distinguished themselves as supporters of Aboriginal and ethno-racial artists and will include representative members of CPAMO‘s Roundtable. The current members of the Advisory Committee are:                   Jeff Melanson, President Banff Centre for the Arts Kathleen Sharpe, Executive Director, Ontario Cultural Attractions Fund Tim Jones, President and Chief Executive Officer, Artscape John Ryerson, former Director Cultural Services, City of Markham Patty Jarvis, Executive Director, Prologue to the Performing Arts Ken Coulter, General Manager Oakville Theatre Eric Lariviere, General Manager Markham Theatre Alicia Rose, National Outreach and Program Manager, Business for the Arts Nathalie Fave, Executive Director, Canadian Dance Assembly Carol Beauchamp, Executive Director, Theatre Ontario Warren Garrett , Executive Director, Community Cultural Impresarios/Ontario Presenters Network Kevin A. Ormsby, Kashedance Helen Yung, Independent Artist and Former Co-Coordinator Canada Council Stand Firm Network (Ontario and Manitoba) Mimi Beck, CanDance Network Cindy Yip, Little Pear Garden Theatre Collective Harvey Weisfeld, wind in the leaves collective Anita Agrawal, Consultant and Former Co-Coordinator Canada Council Stand Firm Network (Ontario and Manitoba) Charmaine Headley, Collective of Black Artists


CPAMO’s news
As a resource to plan and coordinate its activities, CPAMO has set-up a Roundtable comprised of ethno-racial and Aboriginal creation-based arts organizations and individual artists from these communities.The members of the Roundtable are:                                 Anahita Azrahimi, Visual Artist 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 Anne Frost, Cultural Pluralism in the Arts/University of Toronto Scarborough Phillip Akin, Obsidian Theatre Marilo Nunez, Alameda Theatre Mae Maracle, Centre for Indigenous Theatre Brainard Bryden-Taylor, Nathaniel Dett Chorale Emily Cheung, Little Pear Garden Theatre Collective Spy Denome-Welch, Aboriginal Playwright Sedina Fiati, Actor Ravi Jain, why not theatre Sinara Perdomo-Rozo, alucine latino film festival Shannon Thunderbird, Teya Peya Productions Olga Barrios, Olga Barrios Dance Santee Smith, Kaha‘wi Dance Menaka Thakker, Menaka Thakkar Dance Company Kevin Ormsby, Kashedance Sandra Laronde, Red Sky Performance Ahdri Zena Mandiella, b-current Jenna Rogers and David Yee, fu-GEN Theatre Cahoots Theatre Bea Pizano, Aluna Theatre Korean Canadian Dance Studies of Canada Millie Knapp, Association for Native Development in the Performing and Visual Arts Gina Badger, Fuse Magazine Harvey Weisfeld, wind in the leaves collective Lua Shayenne Productions Sheniz Janmohamed, Ignite Poets


CPAMO’s news
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, ON M4E 2G6 416-686-3039