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PROMOTING PLURALISM IN THE ARTS THROUGH COLLABORATION AND PARTNERSHIPS

ONTARIO TRILLIUM FOUNDATION ANNUAL REPORT 2013 Submitted Community Cultural Impresarios And Cultural Pluralism in the Arts Movement Ontario November 2013

TABLE OF CONTENTS
1) Introduction 2) Background 3) Planning and Roundtable Engagement 3.1 3.2 Survey and Interviews Advisory Committee 4 4 8 8 11 19 20 21 22 24

4) Program Activities and Events 4.1 Circadia Indigena 4.2 Community Engagement 4.3 Diversity in Dance 4.4 Theatre Ontario 4.5 Artist Cafes: aluCine Latin Film Festival, ANDPVA, COBA and Luminato Festival, Flato Markham Theatre/Sampradaya Dance Creations 4.6 CPAMO in Ottawa: Welcome Ottawa Week and Town Halls 4.7 IMPACT 2013 Festival 4.8 Ontario Contact 4.9 Town Hall Fall in Love with the Arts 4.10 Making a Successful Pitch 5) Capacity Building Initiatives/Partnerships 5.1 5.2 5.3 5.4 5.5 5.6 Creative Trust and NAN Smart Data Tech Soup Connecting the Dots Business for the Arts Black Chick Media

25 32 40 42 42 43 44 44 46 46 46 47 48 49

6) Artists Engaged by Presenters

7) Engagements in the Broader Arts Communities 7.1 7.2 Canadian Dance Assembly Other Engagements

49 49 51 53 54 56 58 59

8) Communications 9) Impact of Work To Date 10) 11) a. b. c. d. e. 2014 Projected Activities Appendices CPAMO Activities 2009-2013 Advancing Pluralism Feasibility Study Theatre Ontario Panel Article Canadian Dance Assembly Report Canadian Arts Coalition

N.B. All appendices are available on request or can be found on the CPAMO website.

1.

Introduction:

At the start of 2012, the Ontario Trillium Foundation (OTF) provided a 3-year grant totaling $180,000.00 or $60,000.00 per year to support Community Cultural Impresarios (CCI) in a strategic collaboration with Cultural Pluralism in the Arts Movement Ontario (CPAMO). The CCI/CPAMO project proposed to: 1) convene Town Halls On Pluralism in the Arts in Toronto, Ottawa, Kingston and Markham; 2) facilitate development of Community Roundtables in Ottawa, Kingston and Markham; and 3) coordinate and conduct capacity building workshops for the CPAMO Roundtable members. This is the second annual report detailing the activities and impact of CPAMO.This report provides an overview of CPAMOs activities for 2013 and points to the implementation of activities for 2014. To provide a thematic structure, this report is divided into the following sections: Background on CPAMO; Planning and Committee Activities; Program Activities and Events; Capacity Building Initiatives; Artists Engaged by Presenters; Engagements in the Broader Arts Communities; Impact of Work To Date; Projected Activities for 2014; Appendices.

2.

Background:

CPAMO is an Ontario-based movement of artists, arts organizations, presenters, associations, and others who are committed to advancing cultural pluralism in the arts. With the active involvement of Aboriginal and ethno-racial artists working with presenters, CPAMOaims to empower the arts communities of Ontario by developing opportunities for Aboriginal and ethno-racial artists to engage with presenters 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 participants on CPAMOs Creators Roundtable that includessome of the most prominent ethno-racial and Aboriginal arts organizations in Ontario and reflect the growing activities of Aboriginal and ethno-racial artists. The members of the Roundtable are: Anahita Azrahimi, Independent Artist 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 Andrea Baker 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 Ahdri Zena Mandiella, b-current David Yee, fuGEN Theatre Marilyn Chan, Cahoots Theatre Korean Canadian Dance Studies of Canada Millie Knapp, Association for the Development of Native Arts Gina Badger, Fuse Magazine Harvey Weisfeld, wind in the leaves collective Lua Sheyenne, Sheyenne Productions Mark Campbell, Nia Centre for the Arts Esmeralda Enrique, Esmeralda Enrique Spanish Dance Company

In Ottawa, CPAMO is now working with the Coalition of New Canadians for Arts and Culture (CNCAC), MASC (Multicultural Arts in Schools and Communities), the Ottawa Chinese Canadian Heritage Centre, Circadia Indigena, One World Dialogue, World Folk Music and independent artists Natasha Bakht, Jaime Koebel and Dipna Horra. CPAMO has involved and will continue to involve several partners in its activities including: Community Cultural Impresarios/the Ontario Presenters Network (CCI); the Ottawa Art Gallery (OAG); Centre Pointe Theatre and Shenkman Centre for the Arts (Ottawa); The Great Canadian Theatre Company (Ottawa); Markham Theatre; the University of Toronto Scarborough Campus Cultural Pluralism Advisory Committee (CPA); Canadian Arts Presenters Association (CAPACOA); Creative Trust; the Harmony Movement;

the CanDance Network; the Neighbourhood Arts Network of Toronto (NAN); Scarborough Arts; Canadian Artists' Representation/le Front desartistes canadiens (CARFAC) National and Ontario; the Media Arts Newtwork of Ontario (MANO); the Independent Media Arts Alliance (IMAA); Artscape; Theatre Ontario; Canadian Dance Assembly; and Prologue to the Performing Arts.

Each of these partners and Roundtable members participate in developing, promoting and becoming involved in CPAMO activities. Each partner provides support to implementing the proposed project plans and working with CPAMO to develop the relationships between the partners, Aboriginal and ethno-racial artists and communities, other presenters/curators, and with funders and policy-makers. With the involvement of artists from these organizations, since 2009 CPAMO has been working with 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. Through presentations, workshops, performances and dialogue, CPAMO has helped CCI and its members build their capacities and understanding of pluralism in performing arts practices. CCI presenters understand that adopting culturally pluralistic approaches is essential for them to better serve and engage the increasingly diverse audiences in their community. Over the last 3 years, CCIs members have learned about the diverse cultural values, histories and practices of Aboriginal and ethno-racial performing artists. They were provided with practical guidance on successfully integrating culturally diverse values and principles in their operations, planning, audience development, marketing, programming and decision-making processes. A summative toolkit has been created for presenters to refer back to as they move forward with implementing the knowledge, values and new approaches they have learned to embrace cultural pluralism in the arts. CPAMO is now involved in building on its relationships in Ottawa, Markham and Kitchener and enhancing ongoing relationships between presenters and artists and to help build new ones with the public. CPAMO has broadened its work to include artists from diverse disciplines, eg., visual arts and literature, and has developed new partnerships within the arts creation, arts services and presenting field (for the purposes of this project, galleries will be considered as presenters). CPAMO has also engaged with presenters and arts services organizations in literature and visual art in several communities across Ontario. CPAMOs growth and credibility in Ontarios arts communities is evident amongst the Aboriginal and ethno-racial producers of art (i.e., artists), its presenters (i.e., venues that stage performances, publish literature, display visual arts in galleries) and arts services organizations in the fields of performing arts (e.g., CCI), visual art (CARFAC, IMAA and MANO) and capacity building in the arts (e.g., Creative Trust, Institute for Canadian Citizenship, and the Harmony Movement).

In 2013, CPAMO expanded its reach and now has constructive working relationships with the Canadian Arts Coalition, the network of national arts services organizations and the Artist Run Centres and Collectives of Ontario. Further, through its Project Lead, CPAMO also has strong connections to the University of Toronto Scarborough campus (UTSc) Visual and Performing Arts Program and Arts Management Program and, through this, contributes to preparing aspiring artists and arts managers to enter into the world of arts in Ontario, a world that values diversity and pluralism. As well, CPAMOs links with UTSc enhance its research functions as is evident in the preparation of the CPAMO tool-kit on evidence-based practices to promote pluralism in the arts that was released in 2012. A listing of CPAMO activities to date is included at the end of this report as Appendix 1.

3.

Planning and Committee Activities:

To begin 2013, CPAMO initiated activities to gain a better understanding of the needs of its Roundtable members and to participate in broader community conversations about the arts and pluralism. In particular, CPAMO undertook to: Conduct an annual survey and interviews with Roundtable members; and Establish a high level Advisory Committee.

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Survey and Interviews of Creative Roundtable Members:

In 2012, CPAMO expanded its Roundtable membership by including some of the organizations involved in the former Stand Firm initiative of the Canada Council Equity Office. As part of this, CPAMO has now undertaken efforts to support the capacitybuilding work that had begun by the former Stand Firm initiative. Through presentations, workshops, performances and dialogue, CPAMO has worked with its Roundtable members to build their capacities in the areas of organizational infrastructure (e.g., using new technologies for financial management and audience development), in developing relationships with presenters and in enhancing their understanding of changing demographics and methods to engage diverse communities as audience and volunteers. A summative toolkit has been created for these organizations and artists to use to assist them in moving forward with implementing the knowledge, values and new approaches they have learned to embrace cultural pluralism in the arts. Based on activities begun in 2012 and supported by the Ontario Trillium Foundation and Canada Councils Equity Projects Grants, CPAMO provided several workshops to further build the capacities of its Roundtable members in such areas as: 1. Providing tools for the development of effective organizational systems and practices; 2. Attracting volunteers to engage with CPAMO Roundtable members in various capacities, e.g., board members, fundraising, governance; 3. Improving understanding of how Aboriginal and ethno-racial communities access information in order to enhance marketing and promotion activities by CPAMO members interested in building audiences from these communities; 4. Building relationships between major presenters and CPAMO Roundtable members to undertake mutually beneficial exchanges of resources; and 5. Developing the capacities of Roundtable members to make successful pitches to presenters to stage work by Aboriginal and ethno-racial artists. A CPAMO survey of its Roundtable members in December 2012 helped in creating CPAMOs 2013 series of workshops. The survey results indicated that: 1. For the 2013 workshops, CPAMO Roundtable members indicated interest in the following areas Advanced Excel Skills + Drop-In Clinic for 50.0% Database Questions Online Fundraising Campaigns - Tips and How- 83.3%

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 Working with Older Adults Effective Marketing and Engagement Strategies Strategies to Seeking, Nurturing and Keeping Donors Making Pitches to Presenters for Performances and Gallery Showings Collaboration with presenters 50.0% 11.1% 66.7% 66.7% 38.9% 61.1%

Based on this, CPAMO worked with its Creators Roundtable members to involve them in capacity building workshops and other related activities to: 1. Provide tools for the development of effective organizational systems and practices; 2. Improve understanding of how Aboriginal and diverse communities access information in order to enhance marketing and promotion activities to build audiences from these communities; 3. Buildrelationships between presenters and CPAMO Roundtable members to undertake mutually beneficial exchanges of resources; and 4. Develop the capacities of Roundtable members to make successful pitches to presenters to stage work by Aboriginal and ethno-racial performing artists In addition to the survey, 15 interviews were held between February and June 2013 with the intent of gaining Roundtable member feedback on CPAMOs initiatives. An overview of these interviews indicates that CPAMO Roundtable members: Had some information and knowledge about presenters, dance presenters, festivals and arts services organizations; Wanted presenters to be more accessible and offer more information about their selection process; One interviewee indicated that she felt you have to know them (presenters) personally, that she had emailed some but did not have her email acknowledged. She stated that she was not at all familiar with their network and did not have enough information on how to get them involved in her work or to become involved in theirs. Roundtable members had several ideas about how to best connect with presenters and indicated that constructive engagement with them could include: Partnership in presentation: Sharingresources in presentation e.g. donated space, shared box office

Commissioning Toronto/international based artists for presentation Sharing programming Networking events with presenters, including information sessions, showcases where the presenters engage the artists and make it a mandate to be there Assisting in producing work where you can see the work for its artistic value Presenters need to be responsive to the needs of the community. There is a great dollar value for producing and developing locally. Seek those relationships when producing work Holding workshops with dance companies and artistic directors for musicians etc. Performing abroad, creating links for that to happen Convening a dance festival in Toronto close to April by presenters or with involvement of presenters

Mentorship supports: Administrative (an intern to work with marketing and sponsorship/fundraising capacities with presenters. This person then becomes a currency for both entities Production capacities (technical etc.) Youth geared/focus initiatives facilitated by the CPAMO members and presenters Space at a discount rate or free: A possible showcasing of only Toronto based artists Do a presentation night as part of the Luminato Festival Site Specific performances in the spaces of presenters before performances (What does access means for audience and the organizations) Create connections to nurture relationships with the initial access to presenters and providing access to our organizations? Create a working document based on the professional standards, equity rules Maybe a new approach would be we create the product in the work of presenters, e.g., a curated set of performances and engagements Administrative Support: Marketing using the network and influence to reach new audiences via engagements Marketing support and internship opportunities between organizations Integrate internships into the PTAP (professional training apprenticeship program) Provide a parallel careers component for the professional artists of the company via internships job opportunities/training with Luminato or other presneters More explorations in partnerships and shared risk in presentation and making it developmental...Build the community. It would constitute another level of programming for Toronto artist that might be the value. Have presenters attend our shows (collective cost cutting in showing the works) We need to press the issues of agents, showings, cultivating presenters as agents Database sharing is important but will need to be framed through curation of program specifics Mentorships in Administrative capacities, Marketing, Fundraising. (mid-size theatre company)

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Aesthetics to presenting what do they want to see. Conversations around how they interpret and view the practice.

Building Relationships: Need to look at the fact that administrative components are lacking in many small organizations. How does that work with presenters? An Intern for a year from presenters working with an organization Sustainability of the art practice should be at the forefront of any relationships with presenters Cautious not to ghettoize the artistic practice unless presenters are onboard totally.. Perception was a big concern as some felt many people are not familiar with Art and so there is an education of the general audience that should always be sought in this relationship Broker with presenters for consultants from CPAMO member organizations not as an advisor to working with a presenter but an employee Shared access to potential audience via these partnership for both parties Bringing a wider a level of schools together to experience the Arts, how can CPAMO or the members to facilitate this

3.2

CPAMO Advisory Committee:

Given the number of concerns expressed by CPAMO Roundtable members in the survey and interviews, one unmistakable response was the extraordinary situation most members find themselves in at this time. Several CPAMOmembers 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 as well as 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 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 the arts. New models for governance and collaboration may be needed to achieve results. To move on this initiative, CPAMO established an Advisory Committee that can give input to the development of such a project. Current membership on this Committee include: Jeff Melanson (Banff Centre for the Arts), Kathleen Sharpe (Ontario Cultural Attractions Fund), Tim Jones (Artscape), John Ryerson (former Director of Culture/Markham), Patty Jarvis (Prologue to the Performing Arts), Ken Coulter (Oakville Theatre), Eric Lariviere (Markham Theatre), Alicia Rose (Business for the Arts), Nathalie Fave (Canadian Dance Assembly), Carol Beauchamp (Theatre Ontario) and Warren Garrett (Community Cultural Impresarios). This group will also have membership from CPAMOs Roundtable including Cindy Yip (Little Pear Garden Theatre Collective), Charmaine Headley (Collective of Black Artists), Helen Yung (Independent Artist and former co-Coordinator of the Stand Firm Network/Ontario) and others. The Advisory Committee has met three times since its inception and has reviewed and supported the development of CPAMO initiatives to enable its members to continue on a

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trajectory of growth. The goal of CPAMO, with the assistance of the Advisory Committee, is to establish a program that will address the most significant needs of CPAMO members as indicated in the survey and interviews. Currently in draft, this program is entitled Advancing Pluralism Capacity Building of Aboriginal and Ethno-Racial Arts Organizations

Advancing Pluralism Capacity Building of Aboriginal and Ethno-Racial Arts Organizations - Draft Program
This is a three-year pilot program designed to assist CPAMO Roundtable members and other Aboriginal and ethno-racial artists, collectives and arts companies involved in creati ng Canadas cultural identity, to develop sustainable organizational support structures for their work, through shared learning, mentoring, skills development, fundraising and a collaborative search for new and innovative solutions. It is a structured and progressive course of learning and development that will focus on building and refining organizational skills as well as sharing of new models and ideas to support a wide range of artistic expression, creation and production options. Specifically, this program aims to enhance the capacities of CPAMO Roundtable members and other Aboriginal and ethno-racial arts organizations in in the following areas: Building organizational resilience by providing support for financial and administrative systems development and maintenance and enabling participants to effectively engage in a rapidly changing arts ecology; Providing community engagement, promotional/marketing and audience development strategies aimed at connecting with diverse communities; Enhancing access to volunteers and other organizational resources, e.g., staff and board members; Increasing access to financial support by enhancing access to foundations and corporate sponsors interested in the arts; and Conducting research on the future of the arts in Canada and challenges to the arts ecology, including funding and other resource support mechanisms. This program is proposed to be available to CPAMO Roundtable members and other Aboriginal and ethno-racial arts organizations and artists. An open process of application will be conducted and juried to select project participants. The application process will include interviews with interested organizations in order to ensure full understanding of the project, its goals/objectives, participation requirements and expected outcomes. Selected participants must be ready to learn, share, and actively participate in the development of new ways of working. They will be required to fully participate in the program's learning activities, and to attend the roundtable discussions. There are three components of this program. These are: (1) Building Organizational Resilience (2) Developing Collaborative Practices; and (3) Research on the Future of Canadian Arts.

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Details for each of these program components are provided below. Mentorship opportunities are embedded in several of these program components. At the end of each year, participating organizations will be eligible to receive Organizational Resilience Funds as well as Innovation Funds to assist them in their growth and development. There will be three rounds of Organizational Resilience Funds available to program participants to enable them to use the program's learnings to develop their own organizational support systems and sustainability. The Innovation Funds will be structured to support collaborative activities and initiatives of the project participants.

Theme 1: Building Organizational Resilience: There are many challenges today in the arts across Canada. Some of these include: increasing demand on arts funding while there are no increases in the arts funding available; significant growth of Aboriginal and ethno-racial artists and evidence of disparities in the levels of funding they receive and income they earn; increasing interest by presenters in all fields to understand, attract and stage Aboriginal and ethno-racial artists; changes in community demographics with dramatic increases in Aboriginal and ethno-racial communities; and challenges regarding community engagement and audience development and how the arts are engaged with diverse communities. These challenges will continue for the immediate future. As a result, artists and arts organizations, particularly from Aboriginal and ethno-racial communities, are seeking to identify and develop appropriate organizational models to support and sustain their efforts so that they can not only survive but thrive in these volatile times. To assist these artists and their organizations, Building Organizational Resilience is structured as both a peer-to-peer learning and one-on-one systemic intervention to support participants to build organizations that have the capacity to work in this environment and to use their resources toward this ened. In this regard, resiliency is key, i.e., the ability to adapt to rapidly changing circumstances and to build functional supports and networks that are conducive to this. As such, within this element of the project there are 4 areas to address: These are: 1) 2) 3) 4) Articulating Vision, Mission, Mandate; Clarifying Organizational Leadership and Structure; Building Sustainable Entrepreneurial Approaches; and Diversifying Board and Volunteer Engagement

1) Articulating Vision, Mission, Mandate: This component of the program will provide two workshops each year followed by two facilitated peer-learning circles. This is a total of six workshops over the life of this

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project and six peer-learning circles. The workshops will focus on the importance of clarity in the arts organizations vision, mission and mandate and how this can form a solid basis for an organizations program planning, communications, recruitment of staff, volunteers, board members and audience support. It will also focus on the importance of clarity in attracting corporate and foundation funding as well as financial support from individual donors. In the peer learning circles, participants will bring their Vision and Mission statements for discussion and feedback that will be followed with facilitated processes to enable participants to revise their statements folding in ideas and insights from this process. These will be brought back for further discussion at a second circle. The peer learning circles will feature a discussion of insights, common themes, interesting variations, and use of the statements in developing committed teams, partnerships and supporters

2) Clarifying Organizational and Leadership Structures, Including Roles, Responsibilities and Decision making (Governance) Most arts organizations work within some formal structure. Whether as a collective, nonincorporated or incorporated entity, such organizations require leadership as well as formal and/or informal structures to develop and guide their work. To enhance participants focus in this area, there will be two workshops each year on organizational and leadership structure options. This is a total of six workshops that will address: how to adapt the traditional nonprofit or charitable structure to meet your needs; board and volunteer recruitment and management; defining responsibilities and clarifying the decision making processes within your structure. A key part of this program component will be a peer-to-peer discussion on embracing leadership and mentoring opportunities that will be facilitated by CPAMO resources, with involved arts services organizations and presenters. This component will also feature learning collaborations with Business for the Arts and Maytree regarding board, volunteer recruitment/retention and governance. 3) Building Sustainable Entrepreneurial Approaches/Expanding Donated-Earned Revenues Given the increasing demand and competition for grants and the limited growth of arts council funding, many arts organizations are involved in finding alternative sources of funding to support their projects. As such, this project component will provide three workshops each year on the following: i. Individual, foundation and corporate fundraising ii. Community engagement, programming and audience development, marketing and earned revenues; and iii. Using the data in your data base

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A key feature of this component will be facilitated and peer-to-peer discussion of traditional and entrepreneurial/social enterprise models. Mentoring opportunities will be developed featuring one-on-one with CPAMO resources as well as with CCI presenters and Business for the Arts. Learning collaborations will also be offered through Business for the Arts on sponsorships, fundraising and marketing and data base management will be offered by Young Associates. In addition to the above, to support hands-on learning, project participants will be matched with presenters to assist in developing fundraising activities and to enhance capacities in data systems development/maintenance for the following: sponsors/donors, audience, volunteers, fundraising, reports, grant and other applications

4) Increase Diversity of Board and Volunteers: CPAMO Roundtable members and other Aboriginal and ethno-racial arts organizations have expressed an interest in engaging with board and volunteer members who have resources and capacities to enhance their organizations. Such skills as human resource management, fundraising, networking and community connections, understanding of new technologies for data management, capacities in social media, etc, are important to all arts organizations and CPAMO members in particular. To assist in the process of board and volunteer recruitment, this program component will provide two sessions each year in partnership with Maytree, Neighbourhood Arts Network, Institute of Canadian Citizenship, Harmony Movement and Business for the Arts. The elements of these sessions will include focus on the how tos of recruitment, retention, support to and development of potential board members and volunteers. Such will address matters related to: having clear job descriptions for board members and volunteers; recruiting strategies, including soliciting specific skills from potential board members and volunteers; managing board members and volunteers and clarifying reporting relationships. Each year will feature a board and volunteer recruitment session that will invite potential board members and volunteers to meet with program participants. Theme 2: Developing Collaborative Practices: There are several examples of collaborations in the arts that have had a number of arts organizations work together for a common cause in which their own visions and creative outputs benefit, e.g., they receive higher attendance at their events and share outreach and communications with other artists and arts organizations, while at the same time they support the work of other artists and arts organizations. To address this, there are two aspects to this project component. These will involve selected arts organization and CPAMO Roundtable members:

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a) working together to share successful strategies and to discover collaborative approaches to developing and promoting their work; and b) sharing with presenters to enhance mutual understanding, community engagement, curatorial competence and resource sharing. In terms of (a), the limited resources available from arts funders requires new ways of developing and promoting artistic creation and performance. Given the disparities impacting on Aboriginal and racialized artists and arts organizations, it is imperative that these individuals and organizations engage in considering a process of collaborative approaches to supporting their individual and collective efforts. This might include sharing of audience data bases, developing and producing shared marketing and promotional materials, resource sharing to promote the value and importance of the collective interest in advancing pluralism in the arts as a public benefit. To support discussion here, this project component will engage project participants in peet-to-peer information sharing and brainstorming on approaches to collaborative activities. Regarding enhancing relationships with presenters, Aboriginal and ethno-racial artists are not often commissioned to create a new work and, when this happens, they begin to consider how to use this opportunity to leverage support for their organization. To address this, this program component will feature two sessions each year to assist Roundtable members to create an effective sponsorship package and to enhance the organizations pitch. At these sessions, project participants and CPAMO Roundtable members will develop pitches to stage shows in venues operated by presenters and presenters will review and discuss these pitches to assist in enhancing them. An additional aspect of this program component will be assessing ways to provide space toCPAMO Roundtable members who need such for rehearsals and workshops.

Theme 3: Research on the Future of Canadian Arts: Inclusion, Representation, Funding Options and Organizational Structures Given the current challenges in the arts ecology across Canada resulting from increasing artistic creation, especially from Aboriginal and ethno-racial artists, it would be useful to engage scholarship on such artistic developments, the impact they are having and how this can be documented, assessed/analyzed and sustained to support artistic development and production that represents an inclusive, equitable and pluralistic vision. CPAMO will work with an academic department (U. of T. Scarborough, York U., OCAD U. and/or Ryerson U.) to seek SSHRC funding to study this project initiative and to research visionary models. This would be an interdisciplinary approach involving programs in the creative arts, arts and business management, historical and cultural studies, urban studies and have links with other university SSHRC studies, e.g., University of Guelph and Guelph Jazz Festival, Simon Fraser University and Arts and Social Change, as well as with developments in Banff Centre for the Arts and OCAD U. As part of this program component: a series of research pieces will be commissioned to address the current challenges in the arts ecology and the positioning of Aboriginal and ethno-racial artists in this context; (2) seminars and forums will be convened to release these papers for discussion purposes.

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the published work will be disseminated to funders, artists and the general public with the express purpose of proposing sustainable support systems for the arts; and the research will influence arts education in areas of artistic practice and arts management. Organizational Resilience Funds: At the end of each year, participants in this project will receive Organizational Resilience Funds (up to $5,000.00 in the first year and $15,000.00 in the second and third years) provided through a process of discussion and application. In this regard, participants will be invited to submit their plans on how they will implement changes arising from the program's learnings. They will also be required to report on the implementation of their plans. The program coordinator role will work with such organizations to assist them in this endeavor.

Collaborative Innovation Funds: In addition to the aforementioned Organizational Resilience Funds, this project endeavours to raise funds to provide project participants with innovation funds to enable them to explore collaborative activities and to have access to either working and/or risk capital. These funds will assist these organizations in developing innovative practices aimed at supporting collaborative activities developed by these artists. In order to do this, there will be a review of each participating organizations financial systems, including cashflow, revenues/deficits and how these are managed. It will build on the ideas shared in Theme 2 and, based on this, the project will seek to provide funds for those organizations interested in engaging in collaborative activities. Such awards will be done on a case-by-case basis and will be provided in two installments, i.e., in the second year of the project and at its end. In this context, each organization will be assessed within the projects first year so that there is a clear target in terms of allocation of funds for participating organizations. Project Outcomes: As outcomes, this project aims to deliver cost-effective opportunities for CPAMO Roundtable members to: I. develop their administrative functions in such areas as database management and financial controls; II. stage their performances in diverse venues; III. enhance their capacities for submission of proposals for performances; IV. develop their understanding of fundraising strategies for capital and/or program purposes; V. provide access to space for rehearsals. As part of this projects intent to build sustainable collaborations between CPAMO Roundtable members and presenters, this project will support involved presenters to:

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I. enhance their understanding of diverse communities and how they access information about cultural activities and what cultural activities interest them; II. enhance their entry points into diverse communities for purposes of marketing and audience development; III. develop collaborative promotional mechanisms and programming with CPAMO Roundtable members; IV. attract volunteers and other resources from diverse communities.. In addition to these, there will also be the results of research commissioned through the partnership with the university connections. At the end of each year, CPAMO will convene a session with all participants to share results of their activities, to share what they have learned and to discuss how best to continue with this initiative over the long-term. Achieving these outcomes will build strategic networks and relationships that will enhance participants capacities to sustain the support provided. A proposal for a feasibility study to establish this programs parameters is attached as Appendix # 2. The proposal for the feasibility study has been submitted for funding to the Ontario Arts Council, the Toronto Arts Council and the Toronto Community Foundation. With receipt of funds, the feasibility study will be conducted in 2014 and completed by the end of that year. Provided funding is in place, the full program will begin implementation in 2015.

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4.

Program Activities And Events:

As the project proposal to the OTF indicates, CPAMO sought to coordinate a series of Town Halls and several workshops to explore issues of pluralism in the arts and to build capacities or artists and arts organizations, particularly Aboriginal and ethno-racial artists and arts organizations. These events help identify challenges arts organizations are facing on these issues, particularly relating to what steps can be taken to: develop collaborative projects between Aboriginal and culturally diverse arts organizations and presenter venues across Ontario; develop audiences from Aboriginal and culturally diverse communities; and promote and market arts activities of Aboriginal and ethno-racial communities to diverse communities. The workshops also build knowledge and skills for those involved and are of particular importance to Aboriginal and ethno-racial arts organizations. The dialogue at these events promote collaborations between Aboriginal and ethnoracial performers and those responsible for performance venues. They also educate these individuals on what needs to be done to engage in ongoing dialogue and in building relationships that will bring about greater understanding of culturally diverse performances and the needs of venues to attract audiences from these communities. In essence, each of the CPAMO Town Halls have involved presenters and artists from ethno-racial and Aboriginal communities to develop the goals, objectives, format for them and to identify panelists and performers to participate. As for the workshops, one of the keys to enhancing the relationship between presenters and artists is to develop the infrastructure of Aboriginal and ethno-racial arts organizations in such areas as digital technology, use of social media and other communications technologies, development of fundraising campaigns and recruitment of volunteers. These areas are also key for Aboriginal and ethno-racial artists to develop their relationships with diverse communities to ensure communities are aware of what these companies are doing and can attend their performances as well as join them in their work. Many Aboriginal and ethno-racial arts organizations have small administrative units of between 2-5 people, some of whom are not full-time. These staff are pressed to keep up with the demands of carrying out day-to-day administrative functions, e.g., coordinating meetings, securing venues for performances, coordinating tours, and working with volunteers. Given the many demands placed on such small administrative support functions, many Aboriginal and ethno-racial artists on CPAMOs Creators Roundtable have asked CPAMO for assistance in addressing matters related to fundraising, use of digital technology and social media, as well as communications with diverse communities to attract audiences and volunteers. To implement the activities noted above, CPAMO coordinated: 5 Town Halls. Two of these events were in Ottawa, one in Markham and two in Toronto. All of these events were coordinated in partnership with other

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organizations; and 12 workshops. 10 workshops were held in Toronto and 2 in Ottawa; the former were for the data smarts and other technology sessions; and the latter were to plan the Town Halls, the volunteer recruitment session and for one data smart session held in February 2013. CPAMO also coordinated the Diversity in Dance Showcases as part of the Canadian Dance Assemblys National Dance Week campaign. As well, CPAMOs Project Lead was a member of the steering committee for the MT Spaces 2013 IMPACT Festival and, as part of this, CPAMO coordinated three showcases. Information about CPAMOs activities for Town Halls, workshops and presentations are provided below. These are followed by summaries of CPAMO communications activities, projected activities for 2014 and budget expenditures. This section describes CPAMO activities and events in Toronto, Ottawa, Markham. Kitchener.

4.1 Circadia Indigena - First Peoples Art and Performance in Canadas National Capital
A Winter Village ~ Indigenous Arts & Culture Festival was coordinated by Circadia Indigena,an organization devoted to the presentation of First Peoples art and performance in Canadas National Capital Region. Circadia Indigena is dedicated to developing, producing, and presenting outstanding visual art and performance by First Nations, Inuit, and Mtis artists. This weekend arts festival took place from Feburary 22-24 at the Richelieu Vanier Community Centre, Ottawa within the traditional season of storytelling, and occurred during the beginning and renewal of the years ceremonial cycle. This gathering offered exceptional multi-disciplinary arts and cultural programming, and was a platform for celebrating Indigenous winter culture by highlighting the storytelling traditions of First Nations, Inuit, and Mtis Peoples. Indigenous storytelling has many forms; Creation stories, history, visions, teachings, news, ceremony, messages, songs, and many more. This gathering drew on these forms and showcased them through Elders, cultural presenters, and artists in a presentation and workshop format. The gathering provided a space for the sharing of Indigenous knowledge through storytelling, cultural presentations and performances by First Peoples artists. This event gathered artists together across three different themes within the Winter Village: (1) The beginning and renewal of the ceremonial cycle provided opportunities to share the ways First Peoples mark this time with celebration and ceremony. (2) The highlighting of storytelling traditions within this traditional storytelling time of the winter cycle. (3) The sharing of the beauty of the winter cultures of First Nations, Inuit and Mtis peoples.

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tanakiwin ~ Indigenous Artists Forum, the gathering offered a platform for First Nations, Inuit and Mtis artists to dialogue, share information, and generate ideas to effect action and development for the First Peoples community in the National Capital Region. This was a facilitated gathering that made use of a dynamic dialogue process to reach the following outcomes: 1. Create common understanding of the current issues related to recognition, awareness, commemoration, reclamation, investment and access to First Nations, Inuit and Mtis arts and heritage in the National Capital Region. 2. Identify the relative importance of issues and establish clear and workable priorities to assist in focusing resources and ensuring action on the issues; 3. Formulate a working document that formalizes and identifies priorities to inform and direct future initiativesfor the development of the First Peoples arts and culture in the National Capital Region. 4. Offer opportunities to maximize networking development by building a contact list of artists, arts organizations, and key public and private sector partners. Circadia Indigena has been created to foster a gathering place where First Nations peoples can remember, reclaim, and create works that restore oral traditions, performance cultures, and visual arts aesthetics. It supports indigenous artists to tell their stories through theatre, dance, film, music, and new media. Circadia Indigena works with artists, Elders, youth and the broader community in creative partnerships. We produce festivals events, workshops, performances, and artists-in-residence programs throughout the year. Approximately 150 people attended this event.

4.2

Community Engagement:

There has been considerable discussion about community engagement in the arts. Or, as put in the CPAMO toolkit, how arts organizations find themselves in the heart of the community. To support work on this, CPAMO linked up with the Neighbourhood Arts Network which also researched and published a toolkit on community engagement and recently Made in B.C. has released a draft Community Engagement Workbook. This was circulated at CAPACOA shortly after Doug Borwick made a presentation for Ontario Dances related to his recent book Building Communities, Not Audiences. These interests, concerns and strategies on community engagement have been a fundamental value to CPAMO since its creation. To this end, CPAMO invited artists and presenters to discuss the ways they connect to communities and what they have learned in their efforts. CPAMO has also done considerable research on this topic and how it is being explored, developed and implemented in other countries and across Canada. These stories are included in the CPAMO publication Pluralism in the Arts in Canada: A Change is Gonna Come. Clearly, given the increasing focus on this topic, it is important to sustain the conversation and to provide opportunities to explore examples of community engagement activities in the arts and how this has enhanced the capacities of arts organizations that have gone this route. To this end. CPAMO convened a forum to discuss this on March 21.

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This session began with a keynote address by Sandra Laronde, Artistic Director of Red Sky Performance who discussed her companys work with developing and sustaining community connections through its Deep Waters project. Following a plenary discussion, a panel of experienced arts and community activists shared their perspectives. These panelists were: JiniStolk who discussed the Creative Trust Experience and the success of a shared platform on working capital for the arts; Professor Nadia Caidi who discussed access to information strategies used by diverse groups; Robert Daly, Associate Producer Pan Am Games, who discussed the activities of the Games to connect artists to communities as part of the process of developing cultural activities surrounding the Games; and Beatriz Pisano, Artistic Director Aluna Theatre, who discussed community engagement in the Latino context.

The wrap up and next steps was provided by CPAMOs Project Lead, charles c. smith, editor of Pluralism in the Arts in Canada: A Change is Gonna Come. This session was attended by 30 people.

4.3

CDA National Dance Week Diversity in Dance Showcases:

CPAMO, Canadian Dance Assembly (CDA) and Dancemakers in conjunction with the National Dance Week presented a unique showcase of culturally diverse dance artists called Dancing in Diversity, April 24th 2013 at Dancemakers Center for Creation. The presentation featured some of Toronto's leading artists working in a pluralist model from creation to presentation. Artists included, Little Pear Garden Collective, Sampradaya Dance Creations, Jasmyn Fyffe Dance, Sashar Zarif, Lua Shayenne and Company, KasheDance, Roshanak Jaberi, Nova Bhattacharya and Olga Barrios. A special video by Red Sky Performance opened the showcase. Different forms, varying approaches to presentation, a myriad of dance genres all under one roof in the celebration of Canada as a Dance Nation. Created by the CDA, National Dance Week / Semaine canadienne de la danse National Dance Week leads up to International Dance Day as part of the I love dance/Jaime la danse National Campaign. During the week, one theme will be celebrated each day across Canada to embrace the rich and varied landscape of Canadian dance. On April 24th the focus was on pluralism, diversity and social cohesion in the efforts to engage communities across the country from diverse backgrounds and skill levels. The campaign is not just for dance professionals, it's for everyone who loves dance. This event was a full house at Dancemakers with over 100 people in attendance.

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4.4

Theatre Ontario:

Renowned theatre artists Ravi Jain, Yvette Nolan, Soheil Parsa and Trevor Schwellnus participated in a panel discussion, Diversity, Engagement and Inclusion in Theatre co-sponsored with Theatre Ontario and CPAMO. This session took its place alongside conversations convened by CPAMO and in partnership with Magnetic North, CAPACOA, Community Cultural Impresarios, Flato Markham Theatre, MT Space and its biennial IMPACT Festival, and others who have been interested in exploring the challenges and opportunities of pluralism and diversity in contemporary Canadian arts. This conversation provided opportunities to reflect upon changes in Canadian society and innovations in theatre, looking at diversity in both form, bodies on stage, and content, i.e., the stories revealed, their uniqueness and universality, how they open doors to histories and experiences of the world that come from the deep reservoirs of Aboriginal and ethno-racial artists, are central to our times and how we see the world through the lens of theatre. As well, this conversation is seen as central to the drive to engage communities who want to see theatre that is immediate to them, that brings to the stage stirring content, enabling them to see the diversity of expression presented by artists from Aboriginal and diverse communities and, through this, to see the fullness of our society, its peoples and how they contribute to artistic expression in ways that are stimulating, challenging, sad, humourous the full spectrum of human experiences. Held on Saturday, May 24, CPAMO was honoured to partner with Theatre Ontario to share ideas and thoughts that emerged in this conversation. Together with the artists on this platform, CPAMO and Theatre Ontario are committed to exploring and providing valuable insights into changes taking place within Canadian cultural activities and to inviting others into this conversation. In hosting this session, the goal for CPAMO and Theatre Ontario was to highlight some of the key issues and models for developing and supporting the important contributions to theatre being made by Aboriginal and ethnoracial artists and how this enriches theatre and communities. In convening this session, CPAMO and Theatre Ontario initiated a conversation amongst theatre practitioners that will grow over time and become a common reference point for the theatre community. This event was attended by forty people. For an article on this event, see Appendix #3.

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4.5 CPAMO Artists Cafes And Presenter Engagement alucine Latin Film Festival, ANDPVA, Luminato Festival and Flato Markham Theatre:
How to engage presenters, ethno-racial and Aboriginal business and media, and corporate and private funders? How can CPAMO facilitate these types of engagement? The idea of an Artist Caf was suggested in the interviews CPAMO conducted in the beginning of 2013 and, based on this, CPAMO formulated three collaborative and informative sessions geared at bringing artists together with presenters, Arts Service organizations and funders in an informal setting to engage with the art making process. These cafs provided a forum for not only networking but feedback opportunities as CPAMO continues to support the development of meaningful relationships in the arts industry. Artists and arts organizations will get to understand the process for proposal submissions while learning more about the development of the artistic product that presenters are looking for. For its first year, CPAMO held Artist Cafs with the Association of Native Development in the Performing and Visual Arts (ANDPVA), aluCine Latin Film Festival, the Luminato Festival in partnership with COBA and Flato Markham Theatre in partnership with Sampradaya Dance Creations. This is an exiting program and CPAMO worked with Community Cultural Impresarios to attract Ontario presenters to see and hear these and other amazing performers. CPAMO also looks forward to engaging with its other members who wish to participate in its Artists Caf project.

aluCine Latin Film Festival:


aluCine is a Latin, Canadian and international festival showcasing the worlds best in short film, video and media art with a strong focus on works made by Latino/a artists living in Canada and abroad. As a festival, aluCine creates platforms of communication aimed at fostering a critical discourse among film/video makers, media artists, curators and audiences in Canada, Latin America and the world through screenings, touring exhibitions, installations, performances, artist talks and workshops. All films are screened with English subtitles. aluCine Latin Film & Media Arts Festival returned to the Toronto festival scene March 21st to 31st. aluCine provides a bounty of flavours that will heat up Toronto during the chilly month of March with a festive explosion of Latin American culture said festival director Sinara Rozo. The two-week festival featured gallery installations, short and feature film programmes, performances, artists talks, panels discussions, workshops and, new this year, an online programme. Afro Latin Cinema and el Cine Negro was the focus of this festivals programming, exploring the influences of African culture in Latin-American contemporary art. AfroLatinidad the boomerang effect! The festival began its thirteenth edition with internationally renowned Cuban artist Juan-

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Si Gonzalez exhibition of his current project: Stay at Home Dad which extended into an artists talk and a performance. The festival also featured a film retrospective entitled: Afro Caribbean Decolonial Queer Strategies /Estrategias Decoloniales Queer Afro Caribeas and artist talk with Cuban-born director Raul Ferrera Balanquet considered to be one of the pioneers of Latino/Queer aesthetic in cinema. Other programming highlights at aluCine included a selection of award winning short films such as Salon Royal (Argentina) Apocryphal (Mexico) Tela (Brazil) and Luminaris (Argentina). New this year, aluCine announced an online extension of the festival, showcasing a selection of programming that reflect Afro-Latinidad culture. Starting on March 31st, the public can visit the festival site and continue to watch film programs for free. www.alucinefestival.com Approximately 500 people attended this Festival.

Association Of Native Development In The Performing And Visual Arts (ANDPVA) ---- The Red Revue Featuring Cheri Maracle And Wabs Whitebird
As part of CPAMOs Artists Cafes, CPAMO has supported two performance events by ANDPVA. This was for ANDPVAs Red Revue on Friday May 24 which released Cheri Maracles CD, If I am Water and Wab's CD, The Urban Round Dance. Cheri Maracle is a Canadian actress, musician, and a member of the Six Nations of the Grand River First Nation. She is best known for her roles in the television series Blackfly and Moccasin Flats, the 2007 film Tkaronto and stage productions of Tomson Highway's Ernestine Shuswap Gets Her Trout. As a musician, she has performed as a backing vocalist for Jerry Alfred and the Medicine Beat, Tamara Podemski and Sandy Scofield, and as both a lead and supporting vocalist for Tiyoweh and The Showbiz Indians. Wabs Whitebirds newest album, The Urban Round Dance, is a reflection on the origins of music. A residential school song, Home, was nominated at the Native American Music Awards for Best Historical Recording 2009. He was born and raised in Toronto's inner city. There were over 100 people who attended this event. The second Red Revue supported by CPAMO will be at The Sister at 1554 Queen Street West and features Joey Stylez, Daybi, Niiko Soul, Deejay Elmo, Wabs Whitebird, and Adam Jack on the Feather and Rosary Tour. These performances will be hosted by Cheri Maracle.

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Luminato Festival with COBA Long Shen Dao and Rasta: A Souls Journey:
On Thursday June 13, CPAMO partnered with COBA and the Luminato Festival to host an artists talk and meeting with the Beijing-based reggae group Long Shen Dao and the makers of Rasta: A Souls Journey. Held at the Daniels Spectrum, this event brought together artists from MT SPACE in Kitchener, York Universitys Theatre Studies, danceImmersion, alucine Latin Film Festival, and local musicians. The evening featured an artists talk with the Long Shen Dao band members and with the makers of the film Rasta: A Souls Journey. The dialogue spoke to the global reach of reggae culture and the intersections between Rastafari and Taoist philosophy and practice. RasTa: A Souls Journey, a feature-length documentary by director Stuart Samuels is an exploration of Rastafari, the inspiration for Bob Marleys music and his granddaughters desire to dispel any misconceptions about the world of Rastafari. The documentary had its world premiere at the Festival du Nouveau Cinma in Montreal. The documentary features interviews with British/Jamaican writer and dub poet Benjamin Zephaniah, who is strongly influenced by the music and poetry of Jamaica and what he calls street politics; reggae artiste and successful entrepreneur Ras Levi-Roots, a Rastafarian who stands for peace, love and harmony amongst all people; Bob Marleys youngest son Damian Marley, wife Rita Marley; and Dr Jake Homiak, curator of the exhibit Discovering Rastafari at the National Museum of Natural History, Smithsonian Institute. Produced by Patricia Scarlett and Marilyn Gray, RasTa: A Souls Journey is a documentary that moves away from the more familiar images of Jamaica, towards the various ways in which the Rastafarian movement has gone beyond the tiny Caribbean Island. It reveals the ways in which the message of Rastafari has manifested itself in diverse cultures, how the tenets of Rastafari are rooted in history and how they are made relevant to contemporary issues.As evidence of the global reach of reggae, Long Shen Dao is dedicated to performing reggae. All six members of this Beijing group, who made their North American debut at the 2013 Luminato Festival, have earned solo success across various genres. But they come together to embrace the reggae spirit in a distinctly vibrant way that draws on rock, hip hop and ska, combined with traditional Chinese instruments like the guzheng (zither). Aptly, the group's name translates as The Way of the Dragon God, for they are ferociously talented and heavenly sounding. Fifteen people attended this event.

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Flato Markham Theatre and Sampradaya Dance Creations - TAJ Public Workshop:
Built in 17th Century India by a Mughal emperor in memory of his third wife, the Taj Mahal is regarded as a symbol of enduring love and devotion. The epic love story behind this wonder of the world is celebrated through poetry, music, dance and multimedia in TAJ, a deeply evocative story of an era filled with grandeur, ambition, love and revenge. TAJ makes an exclusive GTA stop on its 12-city Canadian tour at Flato Markham Theatre on November 1, 2013, at 8 PM. Commissioned for the 2011 Luminato Festival, where it experienced four sold-out nights, TAJ features the star power of famed Bollywood actor Kabir Bedi and Canadas own Lisa Ray (Bollywood/Hollywood, Water), supported by an international creative team of award-winning artists. A unique Canada-India collaboration, TAJ features a script by Canadian playwright John Murrell, choreography by kathak legend Kumudini Lakhia, and dancers from Sampradaya Dance Creations, Canadas award-winning South Asian dance company. As a prelude to this performance, Flato Markham Theatre and Sampradaya Dance Creations participated in a public forum to discuss the creation of Taj and to showcase some of the dances in this production. There were 200 people who attended this event.

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4.6

CPAMO In Ottawa:

One of the key methods CPAMO has used in its work is to engage in partnership with arts organizations in local communities. In Ottawa, CPAMO has been working with: the Ottawa Art Gallery, CARFAC National, the Great Canadian Theatre Company, the Coalition of New Canadians for Arts and Culture, the Ottawa Chinese Heritage Association, the Ottawa Local Immigration Partnership, Gallery 101, Centre Pointe Theatre and Shenkman Arts Centre, One World Dialogue, MASC (Multicultural Arts in Schools and Communities), World Fok Music, CAPACOA and individual artists in dance and visual arts. CPAMOs first Town Hall on - Aboriginal and Ethno-Racial Communities in Ottawa and Implications for the Artsin Ottawa was in September 2012. Excerpts of the notes for the Town Hallare copied below and the report on this as well as speakers presentations can be seen on CPAMOs website (http://cpamo.posterous.com/presentations-from-ottawa-town-hall-september). CHALLENGES: Artists have to go to art galleries, to promote and that is difficult. Artists are poor and do not have the resources to do so. The questions they ask themselves is how to get into the mainstream? Aboriginals find a lot of red tape. Proposals are complicated and artists are not into those activities, do not know what to do. Art has become a business and artists are not business people. A big concern is that there are great voices to be heard but also to compete for grants. You need business skills to be successful in the system, be able to manage the lexicon, forms. Artists live a solitary existence. One challenge is that the money goes to projects and there is the requirement to justify relevance, so the artist has to take a lot of her/his time to do the proposal instead of working on her/his art, therefore core funding goes to the project language not to the art. Support systems, access to resources are difficult for artists. Resources should be accessible; an artist should be able to get the help needed. There are organizations like CARFAC that organize workshops about proposal writing and budgeting but the challenge is that sometimes artists do not think they need those tools. There are systemic issues that immigrant groups face like the paternalistic approach of some organizations and also that they want artist to volunteer, to perform for free Creators live in poverty. The challenge is that to get grant money there is need to have a non-for-profit organization registered so a big sum of the money goes to the agencies to pay for staff not to the artists. Challenge: Outreach Is any one getting a diverse audience? CNCAC: not engaging enough people for new Canadians its hard.

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VALUABLE STRATEGIES USED: CARFAC standard of how and artists should be paid. There is pressure to do more with some amount of money and also shows discrepancy between mainstream artists and minority and aboriginal artists. (MELISSA) There is an online resource Crowd Source. There is a network that might support and artists. There is not experience known of the results for this resource in the Canadian artistic context. There is an experience of capacity building between the production of a play and the Ukrainian community, which was the target audience. In order to engage the community, the theatre asked for funding and they created a mentorship program. It was the right fit because some of the people mentored became arts publicist and wardrobe crew. Mentoring is a lucrative partnering, we have the expertise, they have the community and getting access to physical spaces has been successful

NEXT STEPS FOR OTTAWA COMMUNITY Community engagement. Having round tables, consultations make a difference. To have an informal conversation about the use of resources can be a success to piggy back on those resources It is important to have an initial conversation before engaging in a project.Try to be more inclusive. Look at the stakeholders and invite them for a conversation. Outreach. Who we can partner with in the aboriginal organizations and invite people to get to know better the spaces, resources and organizations (galleries, groups) Track down people. Change the attitude and ask what is that you need, what are you producing, when you are a presenter.Work with community leaders. Be innovative. Have fun, go back to play, colours, craft, exchange, beauty. How to get to target audiences, example: community organizations, community health centre, accessibility important. Need to know the communitys challenges for access to help bring people from the community. Importance of bringing in cultural specialists who can speak about how to approach and manage the relationship.The importance of long time relationships instead of the one off. Partnerships were successful, speakers , spot light on local filmmakers, opening night on Victoria Island. City has buildings that are unused around, there are some issues such as insurance but they can be used. Artists can be very self sufficient and can help beautifying the area.

Welcome Ottawa Week:


To follow-up on the Town Hall noted above, in the last week of June, CPAMO participated in the first everWelcome 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 where Ottawa Mayor Jim Watson proclaimed June 25 to 30, 2013 as the first-ever Welcome Ottawa Week (WOW). The Mayoral proclamation reception was one of

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several activities planned during WOW to bolster the capitals reputation as a welcoming city for newcomers. The calendar for the inaugural Welcoming Ottawa Week was filled with 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 citys prosperity and vitality, said 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 years Ottawa Immigration Forum, hosted by the Ottawa Local Immigration Partnership (OLIP) in collaboration with the Rseau de soutien de limmigration francophone de lEst de lOntario, was themed The Building Blocks of a Welcoming Community. The Forum took place on Thursday, June 27to coincide with Multiculturalism Day. Forum attendees learned about Manitobas model for welcoming and integrating newcomers from Gerry Clement, a former senior official with the Manitoba Government and one of the principal architects of Manitobas highly acclaimed immigrant attraction and integration strategy. Representatives of Ottawas post-secondary institutions also reflected upon the opportunities and challenges they face as they seek to extend and enhance Ottawas reputation as an international student destination hub. The WOW events began 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 Ottawas first -ever Equity Project; the other on Les Enjoux de limmigration francophone a Ottawa. The Mayors 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 SharingTo Promote Pluralism in the Arts. Attracting and Retaining Volunteers from Diverse Communities, CPAMOs volunteer recruitment event featured presentations by Will Coukell and Gabriel JeanSimon. 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 Torontos Pride event.

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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 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. Gabriels 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 (Universit de Montral), Chair of his graduate students association and Chair for the board of directors of the international student organization Simulation du Parlement europen Canada-Qubec-Europe (SPECQUE). Thanks to these experiences, hes learned a lot about working with volunteers and received the Qubec LieutenantGovernors Award and the Universit Laval Graduate Student Personality of the Year Award. Gabriel is an Action Canada fellow.

Their presentations can be found at: http://cpamo.wordpress.com/2013/08/02/presentations-from-the-volunteer-recruitmentsession-on-june-27-in-ottawa/ This event was attended by representatives of 15 arts organizations. Collaborations, Partnerships and Resource Sharing: Advancing Pluralism in ToughTimes 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 keynote 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 Perptuel. 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. 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 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-

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Artistic Director and Producer of Chamber Theatre Hintonburg, who produce plays in taverns. This event was attended by 30 people.

Collaborations and Resource Sharing: Advancing Pluralism in the Arts in Tough Times Part II
The Town Hall in June was considered by those involved to be important to follow-up on and to continue the conversation. To this end, CPAMO is convening a second Town Hall on November 18 and 19, 2013. This will feature Keynote SpeakerAudrey Churgin, Executive Director, MASC (Multicultural Arts in Schools and Communities). Audrey is a visual and sound artist, who professionally collaborated with children for many years. She is represented in Ottawa by Galerie St. Laurent-Hill, and has exhibited her extensive collection of drawings and pastels across North America, in Montreal, Toronto, Washington and Scottsdale. Her collaborative audio work is included in several radio collections, and has been broadcast in North America and Europe, and in Chile. Samples of her work can be seen and heard on-line at artengine.ca, and at the Galerie St.Laurent-Hill web site, galeriestlaurentplushill.com. In addition to dedicated work on volunteer boards, such as the Ottawa School of Speech and Drama, Cultural Human Resource Council, and the Canadian Association for Sound Ecology, Audrey has been a teacher for over two decades at the Ottawa School of Art. She also worked for many years as the National Director for CARFAC, the Canadian visual artist advocacy organization. Audrey is currently serving as Executive Director for MASC, a regional arts education organization bringing artists in all disciplines into schools. In addition to Audrey, the session will have the following panelists: Nancy Oakley has been an arts administrator since 1990, managing and working in performing arts venues from Ottawa to Yellowknife. As a presenter, producer and festival organizer, she has been responsible for a variety of tasks from financial management and revenue generations to operations, planning and implementation. Nancy has managed Ottawa's Canada Dance Festival, Great Canadian Theatre Company, Passionate Balance Theatre Company, and the Northern Arts and Cultural Centre in the Northwest Territories. As a graduate of the Income Managers Program, Nancy interned at the Guelph Spring Festival and the National Ballet of Canada. Nancy is a graduate of the Leadership Ottawa a professional development leadership program. She has served on juries for the Ontario Arts Council, Canada Council for the Arts and the City of Ottawa, as well as consulted for theatre companies and participated in community volunteering. Peter Honeywell was born and grew up in Ottawa. He worked as visual artist specializing in textile design from 1973 to 1988, and exhibited extensively in galleries in Ottawa, Toronto and Montreal. His involvement with the Council for the Arts in Ottawa began in 1986 when he joined the Board of Directors. He accepted the position of Executive Producer of the Festival of the Arts in 1988 and 1989, and the position of Executive Director in 1990, which he has held since that time.

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Over the past 25 years, Peter has held memberships on a variety of municipal advisory panels and committees. He has also been an advisor to numerous arts organizations and special projects.He currently holds a position on the Grants Committee of the Community Foundation of Ottawa, and the Algonquin College General Arts and Science Advisory Committee.At the provincial level he has held Board, Chair and Steering Committee positions with different organizations. He received the Sandra Tulloch Award for Innovation in the Arts in 2007, and in May 2012 was reappointed to the Ontario Ministers Advisory Council for Arts and Culture.In 2013, the Council for the Arts in Ottawa accepted a position on the Ottawa Art Gallery Expansion and Arts Court Redevelopment Steering Committee. Jaime Koebel was born in Edmonton, Alberta and grew up in Lac La Biche, Alberta. From the age of 15 years old, she has been a vocal youth advocate with the National Association of Friendship Centres for 9 years and co-chaired the Urban Multi-purpose Aboriginal Youth Centres Initiative for 3 years. In 2004 she received a Bachelor of Arts Degree from Carleton University in Canadian Studies and that same year I began a Masters of Arts degree with a focus on the holistic healing and health benefits of Metis cultural dance. During her years as a youth advocate, Jaime was appointed as an Adviser to the Secretary of State for Multiculturalism and Status of Women through the Department of Canadian Heritage for the World Conference Against Racism on Aboriginal, youth and womens issues. After that, she was an adviser to the Minister for the Department of Canadian Heritage on the Traditional Knowledge Gatherings and, in 2004-2005, received a Role Model award from the National Aboriginal Health Organization. In 2009 she was invited by the Governor General of Canada on an official State visit to Mexico, Guatemala and Costa Rica for her past youth activism, artistic abilities and to speak on women's issues. As a successful visual artist, Jaime has been fortunate to have works that have been showcased world-wide and held in many prestigious personal and public galleries. As a performance artist, she danced with the well-known troupe, Jig on the Fly for five years until 2010 when I started a new dance group with her children called Jaime and the Jiglets. Jaime has won many individual dance competitions in Canada and the United States and, in addition has published many literary pieces in a small number of magazines and has academic pieces in journals and books which focus on engaging Aboriginal youth and issues surrounding Indigenous identity and culture. Jerry P. Longboat is Mohawk-Cayuga, Turtle Clan from Six Nations of the Grand River in Southern Ontario. Jerry has a Bachelors of Fine Arts Degree from the University of Michigan and the Ontario College of Art and Design. He has extensive professional training and practice in Traditional and Contemporary forms of visual art, dance, theatre, and storytelling. Jerry creates from the oral traditions of his people - history, teachings, and stories. In 2002, after a 15 year artistic career, Jerry began work as a Program Officer at the Canada Council for the Arts primarily assisting Aboriginal Dancers and Dance organizations across Canada. In 2010, Jerry joined the Wabano Centre for Aboriginal Health as Cultural Coordinator to deepen his work with community. He is very excited to bring his passion for sharing the rich cultural and artistic legacies of First Peoples to the Conference. Rima Zabian is the Executive Director of Under One Roof (UOR), an exciting new

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registered non-profit organization that houses other non-governmental organizations (NGOs) and progressive individuals, created to meet their needs and get them out of isolation. UOR is dedicated to creating, for downtown Ottawa, an innovative workspace that, over the next few years, will house dozens of NGOs and progressive individuals to pool resources and foster an environment of collaboration, learning, and multi-sectoral knowledge. April Britski has an MA in Canadian Art History from Carleton University, and a BA in Art History and Studio Art from the University of Saskatchewan. She joined the staff of CARFAC National in 2005. She has worked and volunteered as an art educator, curator, and arts administrator since 1998, and has served on the board of directors of Galerie SAW Gallery, the Canadian Senior Artist Resource Network, and the Coalition for Cultural Diversity. She is a co-founder of Artists Legal Services Ottawa, and the Visual Arts Alliance. In 2010, she spent five months working in the UK, researching how the Artists Resale Right is applied internationally. During her time in Europe, she worked on secondment with various visual arts organizations, including Artquest, the Design and Artists Copyright Society, and Artists Interaction and Representation (AIR). The Town Hall will begin with a MASC Monday on November 18. It is anticipated that 75 people will attend this event.

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4.7

Impact 13 Festival And Conference:

IMPACT (International Multicultural Platform for Alternative Contemporary Theatre), is a biennial international theatre festival organized by MT Space in Ontarios 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 was held from September 2429, 2013 in Waterloo Region, Canada. IMPACT 13 also hosted a national symposium titled Staging Occupation: At the Crossroads of Multiculturalism and Indigeneity from September 26-28. This conference examined the notion of theatre as an act of occupying space and (re)claiming territory. Theatre artists, presenters and producers from across the country came together to push the conversation forward. CPAMOs Project Lead was on the steering committee that planned the IMPACT 13 conference as its format is consistent with CPAMO Town Halls. CPAMO also hosted three showcases during the conference. These included performances by anindienrightsreserve, Aluna Theatre and poets Sheniz JanMohamed and Soraya Peerbaye. Aluna Theatre is an artistically driven Canadian|Colombian theatre company based in Toronto. It creates exciting new work that introduces audiences to diverse and rich performance practices from across the Americas. Alunas 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|Freidels Refuge is more than a womans story. It is an account of an artists 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 Freidels 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

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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/co-creator anindienrightsreserves presentation included excerpts from the composers first and critically-acclaimed opera, Giiwedin, performed by musicians who were involved in the works development and first production. Attendees will also be provided a first sneak peek at the 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. Over 200 people attended the CPAMO components of the IMPACT Festival and conference.

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4.8

Ontario Contact Exhibitors Booth:

Ontario CONTACT is Ontarios 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 ongoing needs of Ontarios 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 (October 23-26), with assistance from the Ontario Arts Council, the Department of Canadian Heritage, and the generous support of many sponsors. This year CPAMO set up a booth in the Contact Room to share information on its members with presenters. The CPAMO booth featured materials, including dvds of their work, from the following artists: Lua Sheyenne Productions Roshanak Jaberi KasheDance MT SPACE (Kitchener) Nisha Ahuja and Sedina Fiati Battery Opera (Vancouver) Prismatic Theatre Festival and One Light Theatre (Halifax) Nova Dance wind in the leaves collective African Theatre Ensemble Olga Barrios

Approximately 200 people attended this event.

4.9

Town Hall - CPAMO Volunteer Recruitment Event:

CPAMO held "Fall in Love with the Arts Speed Dating Event" on December 4, 2012 at the Daniels Spectrum (Regent Park Arts & Cultural Centre). This event matched individuals interested in volunteering with CPAMO Creators Roundtable members who were looking to recruit volunteers for specific functions within their organizations. The event provided opportunities for the Roundtable members to showcase their organization and to attract needed volunteers. This event was co-hosted by CPAMO Roundtable member COBA (Collective of Black Artists) and was the third annual Fall in Love with the Arts [formerly Spring Fling]. "Fall in Love with the Arts opens the door to show people how they can get involved in the arts using whatever skills or expertise they already possess. Over forty (40) potential volunteers attended this event and 10 Roundtable members participated, including: Native Earth Performing Arts; Nova Dance; KasheDance; danceImmersion; COBA; Regent Park Youth Theatre; b-current; Aluna Theatre; Diasporic Dialogues; and Ballet Creole.

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Fifty people attended this event. The next Fall in Love with the Arts event is planned for December 7, 2013. This year CPAMO is working in partnership with Business for the Arts, Maytree Foundations Diversecity on Board, Community Cultural Impresarios and the Neighbourhood Arts Network. The event will be held at the Daniels Spectrum once again with COBA as cosponsor. This years event will be open to 20 arts organizations and it is anticipated that 100 people will attend. It is anticipated that 100 people will attend this event.

4.10 Making a Successful Pitch:


CPAMO is currently working on coordinating a session for its Roundtable members and others interested in learning best approaches to making a pitch to presenters to stage their works. This session will be held either at the end of December 2013 or midJanuary 2014. Over the past years, CPAMO Roundtable members such as Manifesto, KasheDance, FuGen Asian Theatre, Sampradaya Dance Creations, IMAGINATIVE Film Festival, Red Sky Performance, South Asian Visual Arts Collective, why not theatre and others have made successful ptiches to Luminato, University of Toronto Scarborough, Hart House, the Art Gallery of Ontario, Rose Theatre (Brampton) and other venues. Such a session would pair the aforementioned CPAMO members with the presenters across the GTA. The session will feature the following speakers: Lata Pada, Sampradaya Dance Creations; Naomi Campbell, Luminato Festival; Ronnie Brown, Oakville Centre for the Arts; Ravi Jain (tentative), why not theatre; Daniel Northway-Frank, ImagiNative Film Festival; and Eric Lariviere, Flato Markham Theatre.

It is anticipated that 30 people will attend this event.

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5.

Capacity Building Initiatives:

This section provides a summary of the skill building workshops CPAMO has either coordinated or been involved in partnership to deliver. The partners for these session were with Creative Trust, Heather Young and Associates and the Neighbourhood Arts Network.

5.1 CPAMO in partnership in Partnership with Creative Trust, Heather Young and Associates, Neighbourhood Arts Network.
CPAMO partnered with Neighbourhood Arts Network (NAN), Creative Trust and Young and Associates to offer workshops Advanced Excel Skills + Drop-In Clinic for Database Questions Workshops. These sessions were held onin November and December 2012 and repeated in January and February 2013. Each session focused on many aspects of Database Management andsession participants learned how to manage data, research databases, creating organizational consistencies about retrieving/entering data and central management of databases. Young and Associates demystified the stigma related to database and its management and demonstrated how having a working database can influence an organization on many levels. The following provides a summary of the themes addressed in these workshops. Singing from the Same Songbook: Harmonizing Database and Accounting Software Every organization is likely to have at least two databases: its accounting package and a marketing, membership or fundraising package. Work is greatly streamlined when information is entered only once but whats the best way to harmonize the reporting so that both databases tell the same story? This workshop will consider the primary point of data entry, and options for capturing summary information without repeating all the details. In addition, we will explore reporting formats that will help you tell a story about your impact and celebrate your successes, supported by good, quantitative data both financial and statistical. Case studies will be presented for discussion. Garbage into Gold: Housekeeping for your Database The information you get out of your database is only as good as the data you put into it. In this seminar we will explore ways to create consistencies in the collection and data entry processes to ensure that your data is telling the true story. Finding lots of duplicate entries? Sinking staff time into maintaining multiple data files with overlapping contents? Losing opportunities because of missing patron information? Not sure if youve accurately tracked all your donations? Learn how to identify errors and omissions in your database, and get your data working for you again. Managing Data: Policies and Procedures for Populating Your Database Is your organization not big enough to warrant purchasing a fundraising database? Are you using spreadsheets to track your audience? No problem! Who should be tracked in your spreadsheet? What is enough information about a contact to warrant a spot in your

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database? Is an email address enough? Are you sure that your patrons information is safe in your spreadsheet? During this introductory seminar we will explore the basics of tracking contacts and donations within spreadsheets, and keeping consistent records when more than one person is working in the file. Managing Data: Policies and Procedures for Populating Your Database So you have a database system.now what? Who should be tracked in your database? What is enough information about a contact to warrant a spot in your database? Is an email address enough? Are you sure that your patrons information is safe in your database? During this introductory seminar we will explore the basics of adding contact records to your database, and how with a few clicks you can create your own network of supporters that works for you. Researching Your Database: Advancing Marketing and Fundraising with Database Research Youre on your way to a clean and consistent database, but where does that get you? Its time to research your database. Learn how to analyze your database for Marketing and Fundraising purposes to grow your audience and further your mandate. Expand your patron base, target your marketing, and meet or exceed your fundraising goals. Learn tips and tricks for mining your data and expanding your potential. Managing Up, Down and Across: A Peer Exchange about Buy-In on Database Investment, Training and Policies How much time does your database require to be properly maintained? Whose job is it to monitor the database? Can your data give you the answers youre looking for? Are your organization's expectations of your database realistic? Join us as we open a discussion among peers on how to manage database expectations. Whether you are responsible for database maintenance, or you supervise or participate in the process, you will benefit from the opportunity to share ideas for improving the process. Everyone needs to understand what goes into best database practices. Individuals from all organizational levels are encouraged to attend (staff, volunteers, board members). Organizations are welcome to send multiple representatives. 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.

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A total of 60 people participated in these five (5) sessions in January and February 2013.

5.2

SMART DATA: GETTING YOUR DATA WORKING FOR YOU

This session was delivered by Heather Young and Associates in partnership with Creative Trust and CPAMO for artists and arts organizations CPAMO is working with in Ottawa. Held on Thursday, February 21, 2013, this full day session addressed the following: 1. Managing Your Data: Making it Work for You and Your Organization: What is a database? What do I want to get out of it? What data is relevant? How can I create consistency? This 2 hour seminar from Young Associates was designed to provide an overview of good database management practices for the arts and cultural sector. The seminar covered goal setting, policies and procedures, and tips and tricks, and was geared to those working in both a spreadsheet or relational database environment; and 2. Managing Data: Peer Exchange: The seminar noted above was followed by a peer exchange where participants were able to share best practices, challenges, goals, and questions around data management and discuss case studies presented by the instructors.

5.3

CPAMO in partnership with Tech Soup Canada

Expanding Your Capacity for Connections: Emerging trends in Online meeting Capabilities The workshop offered capacities for understanding Google+ Hangout with demonstrated features such as the video chat, screen sharing, document collaboration etc. The presentation offered ideas on online meetings. Discussions were held in what kind of options are available, examples of tools, things to think about when choosing a tool as well as discussions on how online connectivity applied to artists and arts organizations. Participants were asked to brainstorm scenarios where this would be applicable. This hands one workshop allowed everyone to practice using online meeting tools with the opportunity to try out 3 tools: Skype, Google+ Hangout and GoTo Meeting. "TechSoup Canada is a non profit who connects you to the technology you need to do your work. We partner with major technology companies to make their software more affordable for registered charities, non-profits and libraries. http://techsoupcanada.ca.

5.4 Connecting the Dots: A Path to Effective Technological/ Administrative Practices


This workshop was facilitated by CPAMOs Project Lead and Project Consultant and focused on connecting the applicability of all the workshops for CPAMO organizations and its members. While workshops over the course of the year focused on specific skills set, the information from all of the CPAMO workshops was used to show the applicability

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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 that our members do. This session addressed the implications of pending changes in the funding sector and looked also at the equity forums in which many CPAMO organizations participated. For many, there are deeprooted insecurities about how to navigate around the different elements and how their organizations could effectively apply their uses.

5.5 CPAMO Partnership with Business for the Arts and Sudarshan Jagannathan
Effective Marketing and Sponsorship Strategies Teaming up with Business for the Arts and a private consultant, CPAMO delivered a workshop focused on Effective Marketing / Sponsorship Strategies. The workshop was a 2 phase process into how arts organizations brand, market, seek sponsorship and initiate fundraising strategies and covered how organizations and artists speak about their work, develop a fundraising strategy, understanding their total reach and which clientele they serve, understanding where in the city/province do most of their audience come from and corporate sponsorship. Business for the Arts aims to strengthen arts and culture in Canada by connecting arts organizations to business patrons and volunteers through our artsScene and boardLink programs; by stimulating investment in the arts through matching incentives and sponsorship training for arts organization with artsVest; by communicating the value of investing in the arts through advocacy and research Sudarshan Jagannathan, Professionally, manages strategic sales and marketing functions across Canada for Travelport, a global travel technology provider. Prior to this, Suds has been in similar functions in Telecom and Finance, after arriving in Canada in 2002. Suds is also part of Toronto's little known secret, http://www.masadvise.ca/, a volunteer consulting group, where Suds focuses on Marketing, Sales, Fundraising and Branding initiatives.

The Effective Marketing/Sponsorship Strategies Workshop was one of the most popular, with members and many non-members delving into the topics. In the first of a new relationship, CPAMO teamed up with Business for the Arts and Sudarshan Jagganathan to deliver our first workshop on the topic. June 20: Crowd Sourcing Who: Understanding Crowd Sourcing/Online Fundraising Strategies

Who is the crowd? Are they all over the world? Separated in cities, countries by language; connected only by you and your artistic product. This workshop allowed participants to utilize the information from the previously heldsessions on Smart Data and Effective Marketing/Sponsorship, to understand how Crowd Sourcing can be an effective alternative to traditional fundraising. What guides your sourcing? Who is the crowd? Do you know them? Do they know you? Have they interacted with you? How big is your ask? Are more small fishes easier than a few big fishes? Crowd Sourcing has

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been used to much success across the world and this session provided information on how this works. December 3: Creating Marketing Decks and 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? This workshop is designed to help CPAMO members and CCI presenters to navigate the changing realities of how we communicate and to whom. This workshop will guide participants in understanding how to develop interest in and secure investment from those interested in the arts. With demographic, empirical and organization history, this session will 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 that can enable mapping the landscape of an organization.

5.6

CPAMO in partnership with Black Chick Media Group

Social Media Workshop - Making Sense of it All This workshop sought to orient CPAMO members with social medias use in the everyday reality of the arts. It emphasized that it was not just what you create, but how you engage, how and when you use, find meaning and also create meaning for others using the social media experience while creating benefit to their organization and artistic practice. Centered around understanding Socials, Big 6 and what theyre good f or(Facebook, Twitter, YouTube, Google+, LinkedIn, Pinterest) as well as the Experiential Review Leading to the Creation of a bolder Social Strategy, getting clear about social goals, designing a strategy for results, content marketing why your story is important, sharing value the importance of giving to receive, meaningful social - engagement and organic community building and measuring impact- listening and acting accordingly. These were some of the issues covered in this session. Though ever-present in our lives, social media and its use in the everyday reality of the arts is changing constantly. Dont allow yourself to be overwhelmed. Its 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. Lucy Hamlet, CEO and VP of Business Development at the Black Chick Group. The Company provides consulting services and resources for entrepreneurs and small business owners in a variety of arenas including Social Media, Event Management & Production, Business Start-up and Development and Community Empowerment.

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6.

Artists Engaged by Presenters:

In 2013, several CPAMO Roundtable members successfully performed, or will be performing in 2014, on the stages operated by presenter members of Community Cultural Impresarios. These were/are: Sampradaya Dance Creations at the Living Arts Centre (Mississauga), Flato Markham Theatre, Grand Theatre (Kingston) Kaha:wi Dance Theatre at Oakville Centre for the Arts, Grand Theatre (Kingston), Flato Markham Theatre and Prologue to the Performing Arts Lua Sheyenne Productions in schools as part of Prologue to the Performing Arts REELAsian at Richmond Hill Theatre Nova Dance has been engaged by presenters for various workshops and projects, including Sioux Lookout.

7.

Engagements in the Broader Arts Community:

In addition to its programming work summarized above, CPAMOs Project Lead was involved in a number of initiatives promoting pluralism in the arts. An overview of these is provided below.

7.1

Canadian Dance Assembly Advisory Council on Pluralism

In collaboration with CPAMO and the Aga Khan Museum, the Canadian Dance Assembly held its 6th National Conference October 20-22, 2012in Ottawa.This was a gathering with the dance community to dialogue, build community, gain new insights, and help shape the future of dance in Canada with a focus on pluralism. CDA's National conference was inspired by the intersection of pluralism and technology in a rapidly changing environment. It featured panel discussions, keynote speakers, workshops on video, and new modern applications in dance in an innovative forum. In conjunction with this year's conference, the Canadian Dance Assembly recognized and celebrated exceptional members of the dance milieu with Canadas first National Dance Awards the I love dance/Jaime la danse Awards! As a follow-up, the CDA received a report from CPAMOs Project Lead identifying key issues and strategies for the CDA to consider in order to embrace pluralism as an organizational value and core component of its work. The actions needed for this are noted below band were adopted by the CDA at its Board meeting of January 13, 2013. In this context, the CDA and CPAMO will continue working together to implement these recommendations. 1) Advocacy. It is clear that dance artists from diverse backgrounds confront inequities in terms of their access to resources, particularly funding, performance opportunities and in their incomes. The CDA should undertake to address this as a high priority and, with these artists, undertake raising the profile of these dance artists, the value of their contributions to dance and the need for their presence in Canadas dance milieu. The CDA can address this by profiling such

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artists in its National Dance Campaign and can raise concerns about funding, income and performance inequities to arts councils as well as in communications with presenters. 2) A CDA Advisory Council on Pluralism. There was broad interest amongst dance artists to have a standing structure within the CDA to address issues of diversity and pluralism on an ongoing basis. This Advisory Council would be inclusive of diverse communities and be based on several factors such as race, culture, immigration status, regional location, physical ability and be of equal importance as the CDA Strategic Advisory Committee. The Council would meet monthly in its first years to develop an agenda, action plans and to contribute to developing and supporting CDA activities on behalf of diverse dance artists; 3) CDA Policy and Responsibility of all Standing Councils. The CDA should develop a vision to articulate its commitment to pluralism in all of its activities. This vision should be developed in consultation with the newly created Standing Council on Pluralism and with all other Standing Councils as well as the CDA Executive. This process of vision-statement development is integral to all parts of the CDA getting on board with this direction and to enable each Standing Council to develop an understanding of its roles and responsibilities in implementing a pluralistic approach in their work. In this regard, while the Standing Council on Pluralism can be seen as the catalyst to identifying and proposing solutions to issues related to pluralism/diversity, each Standing Council should equally in its own way undertake similar responsibilities. This will ensure that all components of the CDA are engaged in this process and that a healthy dialogue cuts across the CDA on this timely issue. 4) Reduction of Duplicating Standing Councils. Several concerns were raised in the interviews and focus groups about potential duplication of efforts. This was most notable in regard to areas addressing presenters and dance artists since it was felt that these issues are being addressed through the CanDance Network and CADA. It was also felt that the CDA may be more able to take on this new area of pluralism if had the capacities to do so. In this regard, eliminating standing councils that may be duplicating other organizations efforts may free up resources so that the CDA might be in a better position to focus on issues of pluralism. At the same time, this reduction of duplication might also prompt the CDA to enhance relationships with those bodies that are mandated to work with dance presenters and artists. 5) Recruitment of New Members. As part of the roll out of the CDA initiatives to support pluralism in dance, the CDA should also focus on recruiting new members based on the issues it will be addressing. For example, the I Love Dance campaign can be enhanced with visual imagery and promotion of diverse dance traditions and performances that support the values of pluralism and raise to the national level the expansive dance landscape in Canada. This sign of commitment is valuable in communicating sincere intent in being inclusive and promoting pluralism in the short and long-term.

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To undertake actions on these recommendations, the CDA will work with CPAMO to: a) promote and communicate these directions nationally and, particularly, to Aboriginal and diverse artists (racially, culturally, regionally); b) begin the process of recruitment and setting up of the Advisory Council on Pluralism; c) once the Advisory Council on Pluralism is set up, engage all Standing Councils and the CDA Executive in dialogue on the pluralism vision statement and the roles/responsibilities of all CDA Standing Councils for implementation of activities to promote pluralism; d) prepare advocacy challenge regarding inequitable access to funding/resources as part of the CDA National Dance Campaign. The full report on this is located as Appendix 4.

7.2

Other Engagements:

In addition to the above, CPAMO has joined and collaborated with the following organizations: Prologue to the Performing Arts Vital People Application. CPAMO and Prologue supported the application of CPAMO Resource, Kevin A. Ormsby, to this grants program of the Toronto Community Foundation. The purpose of this project is to provide Kevin with an opportunity for professional development with a specific focus on how to support an organization in its efforts to address pluralism. The specific project is to increase the diversity of artists on Prologues roster. In keeping with Prologues mandate, these artists would then be eligible to conduct workshops and stage performances in schools. Steering Committee of the Canadian Arts Coalition. In the spring, CPAMOs Project Lead was invited to join this Steering Committee and he accepted. As part of the CPAMO time in this forum, CPAMOs Project Lead contributed to the Coalitions statement on the needs of the arts in terms of funding, professional development and the economic impact of the arts. CPAMOs contribution was based on its considerable research on demographic changes and challenges faced by artists and presenters in terms of understanding these changes and engaging with diverse communities. The Coalitions position paper is attached as Appendix 5. ONN Shared Platform Working Group. In the beginning of the year, CPAMOs Project Lead joined the working group convened by the Ontario Non-Profit Network. This group consists of representatives of the Laidlaw Foundation, Metcalf Foundation, United Way, TIDES Canada, SKETCH and other organizations exploring and/or providing shared administrative services to support community initiatives. CPAMOs involvement has been to learn from these organizations in order to consider its own growth and to share the CPAMO experience to date.

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Working Group of National Arts Services Organizations. For the past three years, CPAMO Project Lead, charles c smith, has attended the annual meeting convened by Canada Council for the Arts with representatives of national arts services organizations. This has provided CPAMO with invaluable networking and information sharing opportunities with arts organizations across Canada. These meetings have made evident the unique role CPAMO plays in the arts ecology and CPAMO has made several constructive connections as a result of these gatherings. In the October 2013 meeting, Canada Council for the Arts turned over responsibility for coordinating future meetings to a working of these representatives. CPAMOs Project Lead volunteered to participate on this working group and this was well-received. Presentations and Facilitations.CPAMOs Project Lead was invited to facilitate gatherings of artists in the fall and spring of 2013. In the spring, CPAMOs Project Lead facilitated a conference entitled The Gathering held in April as part of the Vancouver International Dance Festival. In May, CPAMOs Project Lead facilitated a dialogue on cultural appropriation for the Ontario arts educators network, PAONE. In September, CPAMOs Project Lead facilitated a conversation on equity and diversity as part of the Artist Run Centres and Collectives Ontario addressing the importance of such arts organizations working with Aboriginal and ethno-racial artists. As a follow-up to each of these presentation, CPAMOs Project Lead is in conversation about next steps and the support CPAMO can provide.

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8.

Communications

To maintain regular communications with its Roundtable members, individuals on its listserve and the broader community, CPAMO used several communications methods, including print, digital and social media. In this context, CPAMO communications activities completed in 2013 were: Managing the website and social media for CPAMO (CPAMO website:

http://cpamo.wordpress.com) 72 posts posted on CPAMO website from January 2013 to September 2013 People like us! 224 Likes on Facebook and 75 Follower on twitter Overall 419 posts on Facebook/ twitter Online registration pages on Eventbrite for: Marketing Decks: What exactly do they do?! Importance of Bilingual Publicity and Marketing Social Media Making Sense of it All Collaborations, Partnerships & Resource Sharing: Advancing Pluralism Volunteer Recruitment: Pluralism on Boards and in the Community Effective Marketing and Sponsorship Strategies Community Engagement in the Arts: What's Happening in Communities Connecting the Dots: Creating Imaginative Ways of Using Information Smart Data - Getting Your Data Working for You Expanding Your Capacity for Connections Fall in Love with the Arts Speed Dating Event

Managing CPAMOs list serve including 320 contacts and 110 emails were sent since December 2012 Releasing CPAMO Newsletters: Issue # 17 (November 2012) Issue # 18 (February 2013) Issue # 19 (April 2013) Issue # 20 (June 2013) Issue # 21 (September 2013)

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9.

Impact of work To Date

With the new change in funding and direction of the arts organizations post the recession period, CPAMO sought to develop relationships with partners but also focus on the best practices learning model where artists and arts organizations were able to share with CPAMO what has worked for them in their artistic tenures. From the annual survey to the workshops and forums, CPAMO aimed to better understand our relationships with our members but also our relationship with funders and other arts services organizations. Overall, CPAMO continued to work in partnership with various organizations to achieve its goals. This has resulted in a higher number of public participants in CPAMO events and events coordinated by others with CPAMOs involvement. For instance: 1) Events CPAMO convened on its own or was the lead organizer for attracted approximately 800 people 2) Events CPAMO participated in as co-sponsor or supported attracted approximately 1,200 people. These events include those coordinated by Circadia Indigena, alucine Latin Film Festival, Association of Native Development in the Performing and Visual Arts, IMPACT Festival 2013, Ontario Contact, Flato Markham Theatre and Sampradaya Dance Creations. This demonstrates the influence that CPAMO has generated across several arts communities in Ontario. CPAMO has worked with organizations in the Greater Toronto Area, particularly in Markham, as well as in Kitchener-Waterloo, and Ottawa. In each of these communities, CPAMO has either led or worked with arts organizations taking the lead to promote pluralism in the arts and to engage artists and presenters in dialogue and relationships. Whether through knowledge and skill building workshops, Town Halls, and artist showcases, CPAMO has achieved its objectives and provided support to platforms sharing similar goals. At the same time, the involvement of CPAMOs Project Lead in forums as a facilitator, session leader, steering committee member and speaker has confirmed the interest of local, provincial and national organizations interested in making substantive connections with CPAMO and to engaging the issues, concerns and ideas CPAMO has articulated and/or is developing tocontinuing to promoting pluralism in the arts. This is enhanced in CPAMOs recent establishment of its Advisory Committee that has significant membership from amongst CPAMOs Roundtable members, arts services organizations and provincial and national leaders in the arts. As such, CPAMO has had considerable influence on other arts organizations. This is notable in the forums, showcases and workshops CPAMO has either sponsored or cocoordinated. For example, CPAMO has partnered with the following organizations to sponsor, co-sponsor and/or co-coordinate Town Halls and showcases: Neighbourhood Arts Network (Toronto) Circadia Indigena (Ottawa) The Ottawa Local Immigration Partnership and City of Ottawa Flato Markham Theatre and Sampradaya Dance Creations Theatre Ontario

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IMPACT Festival 2013 alucine Latin Film Festival Association for Native Development in the Performing and Visual Arts Luminato Festival

The workshops CPAMO has been involved in have focused on the sustained knowledge transfer of these best practices and also the deepening of the modes of operations in how artists and organizations administer their organizations. To do this, CPAMO has developed partnerships with: Tech Soup Heather Young and Associates Creative Trust and the Neighbourhood Arts Network Business for the Arts Sudarshan Jagannathan Lucy Hamlet / Black Chick Group Josee Duranleau / Duranleau Publicity

The value of partnerships has been key to CPAMOs work. As a movement to promote pluralism in the arts, CPAMO recognizes that it cannot achieve this without the involvement and input of its Roundtable members and other arts organizations that are working toward a common goal. Such opportunities for collaborative work have enabled CPAMO to expand its reach and, most importantly, to expand its objective of promoting pluralism in the arts in Ontario.

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10.

2014 Projected Activities

The upcoming year, 2014, is the final one for this grant from the Ontario Trillium Foundation. CPAMO activities for this final year have begun in November 2013 with the Ottawa Town Hall on Collaborations and Resource Sharing. This is to be followed in December with the workshop on marketing, Marketing Decks, and the Fall In Love With the Arts Town Hall on Volunteer Engagement in partnership with the Collective of Black Artists, Neighbourhood Arts Network, Maytree Foundation, Business for the Arts and CCI. These events lead into the final year and will include ways to solicit feedback from participants and partners. This will assist in assessingCPAMOs impact over these three years, addressing the outcomes and learnings from its activities while, at the same time, identifying future directions. To coordinate this, the following activities are projected for 2014: A. Workshops. CPAMO will convene 4 workshops in 2014. These will be followups to those conducted in 2013 and will focus on mentorships and knowledgesharing between Roundtable members, presenters and arts services organizations. Part of this will address alternative methods of fundraising, financial administration and data base management, marketing/communications and engaging diverse communities; B. Town Halls. CPAMO will continue its work in Ottawa to convene two Town Halls. One will be in partnership with the Welcome Ottawa Week in June and the other will take place in the fall. CPAMO will also convene two Town Halls in the Toronto area; one will be to gather input on the CPAMO project for the past three years and the other will be for the annual Fall In Love with the Arts in December; C. Roundtable and Advisory Committee Activities. CPAMO will pursue its work with its Roundtable and Advisory Committee to develop the Advancing Pluralism project noted earlier in this report. As part of this, CPAMO will initiate a number of working groups combining Advisory Committee and Roundtable members to address the following: (i) identifying resources for knowledge/skillbuilding workshops; (ii) identifying speakers and artists for Town Halls; (iii) fundraising from foundations and the private sector; and (iv) building a network of CPAMO friends, e.g., significant people in the arts who support CPAMOs values, goals/objectives and activities. D. Partnerships. CPAMO will continue its Artist Caf program and is currently negotiating such with the Aluna Theatre/Native Earth Pan American Routes gathering in February and with the Luminato Festival in June. CPAMO has also entered into conversation with Lula Lounge regarding its not-for-profit LuLa World program and CPAMO will continue its relationship with Flato Markham Theatre. Discussion is also underway with Prologue to the Performing Arts, the Artist Run Centres and Collectives of Ontario and Theatre Ontario regarding follow-up to the initiatives summarized earlier on in this report. E. Ontario Contact. CPAMO will again stage a booth to provide information on its members at this annual gathering of presenters, artists and artist agents. F. Sector Initiatives. CPAMO will continue to participate in broader sector initiatives that promote and support pluralism in the arts. These include participation on the Canadian Dance Assembly Pluralism Committee, National

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Arts Services Working Group, the Steering Committee for the Canadian Arts Coalition and the Ontario Non-Profit Networks Working Group on Shared Platforms.

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APPENDICES

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APPENDIX 1

CPAMO ACTIVITIES: A CHRONOLOGY 2009 - 2013

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CPAMO has been working with Community Cultural Impresarios (CCI) since January 2009 and began its public work in January 2010. Over 2010 2011, CPAMO has held several sessions aimed at bringing presenters together with ethno-racial and Aboriginal performing arts companies. Working with its Roundtable members (i.e., Aboriginal and ethno-racial artists), the staff and board of CCI and CCI presenter members across the GTA as well as in Ottawa, Peterborough and Kitchener-Waterloo, CPAMO has convened the following forums: i. September 2009. Ontario Contact presentation. CPAMOs Project Lead, Charles C. Smith, made a presentation at the 2009 Contact. This workshop drew close to 40 presenters and stimulated dialogue and information sharing on demographic changes, diversity in artistic standards and traditions, interesting initiatives being implemented to address these challenges and opportunities to do so. November 2010. This was a session with presenters and CPAMO Roundtable members to plan CPAMOs first Town Hall on Pluralism in Performing Arts which was later held at the University of Toronto Scarborough Campus on January 29 and 30, 2010; January 2010. CPAMO held its first Town Hall on Pluralism in Performing Arts at the University of Toronto Scarborough Campus. This event was cosponsored by the Universitys Cultural Pluralism in the Arts Program and close to 100 individuals attended. This Town Hall included two dance performances by Kevin Ormsby of Kashedance and Sampradaya Dance Creations, a panel session, a keynote address delivered by Sara Diamond, President of the Ontario College of Art and Design and workshops; June 2010. CPAMO partnered with the Kitchener-Waterloo Region Coalition of Performing Artists (COPA) and Magnetic North to convene a Town Hall that included a plenary and two workshops addressing pluralism in theatre. There were over 150 people who attended these sessions; June 2010. CPAMO initiated its first of a series of six workshops on Audience Development and Working with Ethno-Racial and Aboriginal Communities. Held at Hart House at the University of Toronto, this event had close to 90 participants and examined demographic changes taking place across Ontario and their implications for connecting with communities; September 2010. In partnership with COPA of Kitchener-Waterloo, CPAMO convened a performance event as part of Culture Days in Ontario. This event featured local musicians, poets and theatre artists and was held at the Conrad Centre for Performing Arts. Over 80 people attended this event; November 2010. CPAMO held its third Town Hall in partnership with CAPACOA. With close to 50 people in attendance, this Town Hall included dance performances by the Collective of Black Artists, Ipsita Nova and Kaha:wi Dance Theatre. A keynote address was provided by Governor-General Awardwinning poet George Eliot Clarke and two workshops were held with presentations in these workshops provided by Shahin Sayadi (Artistic Director One Light Theatre,Halifax), Jeanne Holmes (Chair, CanDance Network) and Sandra

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Laronde (Artistic Director, Red Sky Performance) which was CPAMOs second workshop on audience development; viii. November 2010. CPAMO convened its third workshop on audience development. With close to 40 people attending, this workshop focused on the history of colonization and important developments in the history of Aboriginal artists, e.g., the important work of Daphne Odjig, Thomson Highway, Alannis Obansawin and otherswhose practice was bothadvocacy for art created by Aboriginal peoples and resistance to colonization. The session also discussed strategies on partnering with Aboriginal artists and arts organizations with examples: from Harbourfront Cultural Centre and Planet IndigenUS, a multi-disciplinary arts festival coordinated through a partnership between Harbourfront and the Woodlands Cultural Centre located on Six Nations; Soundstreams work with the Thomson Highway opera, Pimweeotin, and the Ottawa Art Gallerys ongoing commitment to present Aboriginal art through development of long term relationships and collaboration with Aboriginal artists and arts organizations. In addition, there was also a presentation on information gathering practices of immigrant, ethno-racial and Aboriginal communities. January 2011. CPAMO convened its fourth workshop on audience development. Held at Markham Theatre, this full day session built on the previous ones and provided an opportunity for presenters and performers to discuss common issues and concerns related to staging performances by Aboriginal and ethno-racial artists. This workshop involved presentations by general managers of performing arts venues who discussed what presenters need to do to set up a season's schedule, the criteria and methods they use to select performances and how performers can build a relationship with presenters. A number of performers also made presentations on how their companies create their work, the influences (traditional, modern, contemporary) on their work and how it fits into Canadian culture today. March 2011. CPAMOs fifth in a series of workshops focusing on audience development was held in partnership with the University of Toronto Scarborough Campus Cultural Pluralism in the Arts Program. It focused on audience engagement studies, results and ongoing work in building audiences from diverse communities, particularly Aboriginal and ethno-racial. The session involved presentations by Creative Trust, Creative Mosaics (Scarborough Arts Council), the Neighbourhood Arts Network (Toronto), CCI/CPAMO, Kashedance and Menaka Thakker,

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Values and Benefits Initiative. In partnership with CCI, CPAMO is developed a sample study of Aboriginal and ethno-racial audiences. Working with Sampradaya Dance Creations, Kaha:wi Dance Theatre, the Arts and Events Planning Office of the University of Toronto Scarborough Campus, Modern Times Theatre and danceImmersion, CCI will educate CPAMO volunteers who will then interview audience members from each of these arts organizations. Following the interviews, the data will be analyzed and a creative summit held with each of these organizations to discuss the samples findings and next steps.

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June 2011. Workshop on Toolkit to Promote Pluralism in the Arts To capture these experiences and others, CPAMO is developing a toolkit for presenters and artists to refer to as they move forward with implementing the knowledge, values and new approaches they have learned to embrace cultural pluralism in the arts.This toolkit will address issues related to the following areas: 1) Employment and Professional Development, e.g., staff recruitment, training and promotional opportunities for individuals of diverse backgrounds; 2) Programming and Curatorial Decision-making, e.g., assessing productions from diverse communities as well as the collaboration with, and between these communities in programming development and promotion; 3) Community Engagement, e.g., making connections and building constructive relationship with organizations and community groups from Aboriginal and ethnoracial communities; 4) Audience Development, e.g., marketing and outreach in diverse communities, and various means of effective communications; and 5) Governance, e.g., the development and involvement of governance diverse communities in organizational decision-making, as well as the cultural pluralist awareness and practices of people in governing positions.

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Town Hall at IMPACT 2011. CPAMO participated in the planning and implementation of the MT Space biennial IMPACT Theatre and Performing Arts Festival held in September 2011. As part of this project, CPAMO presented two showcases. Criteria for Co-Commissioning New Work - Fall 2011. A) Workshop One October 2011. Beginning with a presentation by Mimi Beck of the CanDance Network which regularly co-commissions work, this workshop will involve all presenters and performers in a discussion on what is needed to develop guidelines and criteria for the selection of presenter-performer partnerships and the co-commissioning of performer works by presenters. The guidelines and criteria for presenter-performer partnerships will determine the purpose of the partnerhships, the role to be played by performers and presenters, the desired outcomes and timeframes for implementation. Regarding cocommissioning, this session will develop the application/selection process, including criteria, for the co-commissionining of performers work and the intentions of presenters to present the work within their communities, share it with other Ontario presenters and promote the work in other national and international forums. Once the criteria for co-commissioning performer work has been established, the presenters and performers will agree upon a jury to review and select the work. B) Workshop Two November 2011. Beginning with a presentation by Patty Jarvis of Prologue to the Performing Arts, this workshop will discuss the importance of arts education in schools and the importance of such education to building communities. Following the presentation, this workshop will pair

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presenters and performing arts organizations based on the guidelines and criteria drafted at the first session and including ideas related to arts education in schools. C) Workshop Three December 2011. Beginning with a presentation by Skye Louis and Leah Burns of the Neighbourhood Arts Network/Toronto Arts Foundation, this workshop will focus on the importance of community engagement as an integral component of building audiences amongst Aborioginal and ethno-racial communities. The workshop will also provide opportunities for presenters and performers to begin to share the results of their work, network with each other and receive information on other similar collaborative projects within Canada and from other countries. The latter will be provided by CPAMO Project Lead, charles c. smith, based on research into 'best practices' of audience development with Aboriginal and ethno-racial communities. xiii. October 2012 June 2013. CPAMO Project Lead met with several artists and arts organizations in the Ottawa community and began workshops to develop plans for seminars, workshops and performances involving Aboriginal and ethnoracial artists in the Ottawa region; April 2012. CPAMO supported a MASC (Multicultural Arts in Schools and Communities) and Coalition of New Canadians for Arts and Culture (CNCAC) performance. June 2012. CPAMO Project Lead made a presentation at the CARFAC annual meeting to address matters of concern to Aboriginal and ethno-racial visual artists June 2012. CPAMO launched Pluralism in the Arts in Canada:A Change is Gonna Come, edited by CPAMO Project Lead and published by the Canadian Centre for Policy Alternatives. This launch was part of the Community Cultural Impresarios annual meeting. September 2012. CPAMO convenes its first Town Hall on Pluralism in the Arts in Ottawa. This Town Hall featured panel presentations by Jerry Longboat of Circadia Indigina. Cathy Sherpetyci of the City of Ottawa Cultural Office and Brian Ray of the University of Ottawa. The session focused on Aboriginal arts activities, the development of the City of Ottawa Cultural Plan and demographic changes in the National Capital Region. September 2012. CPAMO co-sponsors the One World Dialogue Peace Art Exhibit at Shenkman Centre for the Arts Ottawa October 2012. CPAMO co-sponsors the Flato Markham Theatres full day conference on Diversity in Dance. This conference featured as panelists CPAMO Roundtable members from Little Pear Garden Theatre Collective and danceImmersion. November 2012-February 2013. CPAMO co-sponsored and participated in the delivery of 9 data management workshops 8 in Toronto and 1 in Ottawa. These workshops were sponsored by Creative Trust and co-sponsored by the Neighbourhood Arts Network of Toronto and delivered by Young and Associates.

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December 2012. CPAMO convenes a volunteer recruitment session at the Daniels Spectrum in Regent Park. This event attracted 12 CPAMO artist members who stationed booths to meet with potential volunteers. Close to 40 potential volunteers attended this event. January 2013. CPAMO delivers report on pluralism in dance to the Canadian Dance Assembly (CDA). This report recommends that the CDA establish an Advisory Council on Pluralism which is adopted by the CDA Board. February 2013. CPAMO co-sponsors the weekend long Winter Festival coordinated by Circadia Indigena as the first First Nations artists gathering in the National Capital Region (Ottawa). This event featured storytelling, music, dance, video/film and panel presentations by Aboriginal artists such as Ron Naganok, Leanne Simpson, Louise Proffet-Leblanc and others. Winter-Spring 2013. CPAMO convened four workshops aimed at providing information on: (i) marketing and communications; (2) alternatives sources of revenue generation. March 2013. CPAMO convened a session on community engagement featuring a keynote presentation by Sandra Laronde of Red Sky Performance and panel presentations by Robert Daly, Pan Am Games, Nadia Caidi, Professor of Information Management at U. of T., Jini Stolk of Creative Trust and Bea Pisano of Aluna Theatre. April 2013. CPAMO co-sponsored tha alucine Latino Film Festival. April 2013. As part of the Canadian Dance Assembly National Dance Awareness Week, CPAMO convened the Diversity in Dance Program featuring 10 dance artists/companies: Red Sky Performance, Sampradaya Dance Creations, Sheyenne Productions, Little Pear Garden Theatre Collective; Sashar Zarif, Olga Barrios, Kashedance, Lucy Rupert/Nova Dance, Roshanak Jaberi, Jasmyn Fyffe. Aprll 2013. CPAMO establishes Advisory Committee to contribute to its project proposal Strengthening Voices: Advancing Pluralism in the Arts Through Collaborations and Resource Sharing. Some of the members of this Advisory Committee include: Jeff Melanson of the Banff Centre, Tim Jones of Artscape, Kathleen Sharpe of Ontario Cultural Attractions Fund, Patty Jarvis of Prologue to the Performing Arts, Mimi Beck of CanDance Network, Carol Beauchamp of Theatre Ontario, Cindy Yip of Little Pear Garden Theatre Collective, Charmaine Headley of Collective of Black Artists. May 2013. CPAMO coordinated a panel on pluralism in theatre with Theatre Ontario. Convened at Theatre Ontarios annual meeting, this panel featured the following speakers: Yvette Nolan (former Artistic Director of Native Earth Performing Arts); Ravi Jain of why not theatre; Trevor Schwellnuss of Aluna Theatre; and Soheil Parsa of Modern Times Theatre.

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May 2013. CPAMO co-sponsored the Red Revue of the Association of Native Development in the Performing and Visual Arts. This event featured a performance and cd release by Cheri Maracle. June 2013. As part of the first Welcome Ottawa Week coordinated by the City of Ottawa and the Ottawa Local Immigration Partnership, CPAMO convened a volunteer recruitment event and a Town Hall on Collaboration in the Arts. The volunteer recruitment event featured panelists Will Coukell of Volunteer Ottawa and Gabriel Jean-Simon of Business for the Arts. With a focus on Collaborations in the Arts and Resource Sharing, the Town Hall featured dancer/choreographer Natasha Bakht as the keynote and Lisa Zanyk of the City of Ottawa as a panelist. June 2013. CPAMO co-sponsors with Luminato an artist meet-and-greet session featuring Long Shen Dao, a Chinese reggae band from Beijing contracted by Luminato, and the showing of the film Rasta: A Souls Journey that featured a journey of discovery by Donisha Williams, grand-daughter of Bob Marley. June-August 2013. CPAMO works with the CDA to recruit members to the CDA Advisory Council on Pluralism September 2013. CPAMO sponsors the IMPACT Festival 2013coordinated by MT SPACE in Kitchener-Waterloo. Regular meetings with Roundtable. The CPAMO Roundtable meets quarterly and has contributed to the development and implementation of CPAMO Town Halls and workshops. Serving as advisors, facilitators, workshop leaders and performers, the Roundtable members have offered a significant gesture to engaging with presenters. Their quarterly meetings have given them the opportunity to focus on collective and individual opportunities and growth. Newsletters and List-serve. CPAMO has put out twenty-one newsletters as a service to the over 360 individuals on its List-serve. These newsletters provide information on CPAMO activities, activities of Aboriginal and ethno-racial performing arts companies, research on contemporary issues and links to talks and lectures related to pluralism in society and in the arts. Website and Social Media. Through its website and social media, i.e. Facebook and Twitter, CPAMO regularly promotes the work of the members of its Creators Roundtable and other artists and organizations engaged in promoting pluralism in the arts.

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Funding for these initiatives has been provided through various sources including: Canada Councils Equity Office, the Ontario Trillium Foundation, the Ontario Arts Council, the University of Toronto Scarborough Campus Cultural Pluralism in the Arts Program and the Ontario Ministry of Tourism and Culture.

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