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CPAMO’s news Issue 22 - February 2014

Welcome to the 22nd Cultural Pluralism in the Arts Movement Ontario (CPAMO) newsletter. This is a regular digest that will introduce you to, and keep you updated on CPAMO‘s initiatives, and act as a portal to relevant research in the field of pluralism in the arts, innovative artists, and links to interesting talks about pluralism in the arts. The newsletter is intended to be your go-to resource for information on cultural pluralism in the arts. You have received this e-mail because you are a member of the CPAMO listserv. Please let others who share our professional and artistic interests know about this listserv and encourage them to subscribe by visiting The listserv is moderated and is for sending out newsletters and CPAMO updates. You may unsubscribe at any time. For more information, you can look us up here: Website: Facebook: search ―CPAMO‖ or click here! Twitter:



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Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginal and ethno-racial artists working with presenters to empower the arts communities of Ontario. CPAMO seeks to open opportunities for Aboriginal and ethno-racial artists to engage with presenters - in theatre, music, dance, visual arts - across Ontario and to enable presenters to develop constructive relationships with Aboriginal and ethno-racial artists. CPAMO is supported by Aboriginal and ethno-racial artists who are involved in theatre, music, dance and literary arts. They are members of CPAMO‘s Roundtable and include representatives of Sampradaya Dance, Nathaniel Dett Chorale, Little Pear Garden Theatre Collective, Centre for Indigenous Theatre, Kaha:wi Dance, Sparrow in the Room, b-current, why not theatre, urban arts and backforward collective, TeyyaPeya Productions, Culture Days, Sheyanne Productions, Obsidian Theatre, the Collective of Black Artists, CanAsian Dance and others. With the involvement of artists from these organizations, CPAMO is working with Community Cultural Impresarios (CCI), Canadian Dance Assembly and their members to build their capacities, cultural competencies and understanding of pluralism in the arts so that these members engage artists from these communities and, thereby, enable audiences across Ontario to access artistic expressions from diverse communities on a regular basis. CPAMO gratefully acknowledges the funding support it has received for its activities from the Ontario Trillium Foundation, the Canada Council for the Arts, the Ontario Arts Council, the University of Toronto Scarborough Campus, the Canadian Centre for Policy Alternatives and the Ontario Ministry of Tourism, Culture and Sport. As the Summer comes to a close and the Performance Season leaps into full gear we wanted to highlight some of the great things we have been planning and doing with you; our members in mind. Kevin A. Ormsby was part of an interview process with members around our engagement and work with the majors and have complied a report with Charles Smith – CPAMO‘s Project Lead on your thoughts and suggestions. In the upcoming months we will be offering more workshops for organizational and artistic development, sending out our annual survey and also host an artist café and a volunteer session.

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 and Markham; 2) facilitate development of Community Roundtables in Ottawa and Markham; and


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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 CPAMO‘s 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; and Projected Activities for 2014.

The full report is available at:

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 CPAMO‘s 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 2000 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,


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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 CPAMO‘s 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 CPAMO‘s recent establishment of its Advisory Committee that has significant membership from amongst CPAMO‘s 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 co-coordinated. 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 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


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The value of partnerships has been key to CPAMO‘s 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.

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 assessingCPAMO‘s 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 follow-ups to those conducted in 2013 and will focus on mentorships and knowledge-sharing 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 next steps; 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/skill-building 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 CPAMO‘s values, goals/objectives and activities.


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D. Partnerships. CPAMO will continue its Artist Café 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 Arts Services Working Group, the Steering Committee for the Canadian Arts Coalition and the Ontario Non-Profit Network‘s Working Group on Shared Platforms.

CPAMO held "Fall in Love with the Arts Speed Dating Event" on December 7, 2013 at the Daniel‘s 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 fourth 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 several arts organizations including: COBA; Aluna Theatre; Six Ah Wi; Prologue to the Performing Arts; Apus Theatre; Akwaba Cultrual Exchange; Cahoots Theatre; Theatre Works Production; Community Cultural Impresarios/the Ontario Presenters Network; wind in the leaves collective; Ontario Association of Art Galleriesand Ballet Creole. In addition to meeting potential volunteers, this year CPAMO held a workshop for interested arts organizations related to recruiting, orienting and retaining potential volunteers. This workshop was planned and delivered in partnership with Business for the Arts, Maytree Foundation‘s Diversecity on Board, and the Neighbourhood Arts Network. A follow-up session for arts organizations is now being planned for the first quarter of 2014. Look for more information on this soon!!!


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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. 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.

To register please visit:

CPAMO has been very busy working with local arts and service groups in the Ottawa community. This unique partnership has focused on supporting Aboriginal artists through Circadia Indigena and a gathering of artists and community-based organizations interested in supporting pluralism in the arts in the National Capital Region. What follows are some notes on what we achieved in Ottawa in 2013 and what we‘ll be working on in 2014. Collaborations and Resource Sharing to Promote Pluralism in the Arts Our June 29, 2013 session was so important that participants wanted a follow-up which was held on November 19, 2013. The keynote for this session was provided by Audrey Churgin, Executive Director of MASC (Multicultural Arts in Schools and Communities). Audrey was joined by Peter Honeywell, Executive Director or Arts Ottawa, and Nancy Oakley, Arts Administrator.


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Audrey led the presentation with a summary of a major report commissioned by MASC in 2009 and completed in 2011. This report can be found on Peter Honeywell and Nancy Oakley contributed their perspectives to this ground-breaking report and its relevance to the Ottawa arts communities. After an open discussion on the keynote, there were presentations made on the theme of collaboration by:  Jerry Longboat (Circadia Indigena) regarding the efforts to coordinate and present the first Aboriginal Winter Festival in Ottawa;  Rima Zabian (Under One Roof) regarding the intention of this physical space to offer areas for artists to meet and work;  Jaime Koebbel (Independent Artist) regarding her work with the National Arts Centre on the exhibit of 2013; and  April Britski (Carfac National) regarding the availability of affordable legal services for Ottawa-based artists. Most of these presentations can be seen at As a result of this session, those present agreed to: 1) develop a calendar of cultural activities to share and promote each other‘s events and programs; 2) convene 2 Town Halls in 2014 further the conversation on collaboration and resource sharing and to develop an action plan; 3) advocacy, e.g., sharing information about and positions of the Canadian Arts Coalition and its advocacy toolkit. Participants would also share their advocacy work and consider how best to take action on the Coalition's recommendations. For longer term issues - these would be discussed in 2014 to develop action strategies related to developing: 1) a list of space-sharing resources and artists services. we agreed to begin compiling a registry of space and other resources available for artists use, e.g., arts vest, volunteer Ottawa; 2) local leadership to continue this dialogue. we agreed to look at how best to continue the ottawa pluralism project with local leadership and resources; and 3) an online information-sharing site and resource to keep each other informed about projects and activities and to promote each other‘s work.


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A WINTER VILLAGE OF ABORIGINAL CULTURE, FEBRUARY 21-23, 2014, by Jerry Longboat (Circadia Indigenia)
“We will meet at the intersections of Culture, Story, Tradition and History…” Our mission is to plan, organize, and deliver a 2.5 day Cultural Gathering that will bring together Aboriginal Orators, Traditionalists, and Cultural Presenters within a traditional storytelling format. The objective is to create an open, welcoming and intimate space for sharing traditional stories and culture over a weekend in late February, 2014. We will do this at the time of mid-Winter, the First Nation‘s ―New Year‖, which marks the return of the sun with ceremony and thanksgiving. This proposal responds to the points listed in the final terms of reference and directly addresses the following gaps identified by Ottawa‘s culture plan renewal process: commemoration, reclamation, development, awareness, investment and access to First Nations, Inuit and Métis arts, heritage, and culture in the area. We will build on the momentum and sincere community interest created by the Winter Village Festival and Aboriginal Artists Forum we delivered a year ago. The vision is to plan, organize, and deliver a traditional gathering that will bring together Aboriginal storytellers, traditionalists, and cultural presenters of the region within a storytelling format to: a) b) c) Connect, share, and engage in meaningful discussion and dialogue inspired by Aboriginal story and oral traditions; Highlight the diverse and distinct cultures of First Nation‘s, Inuit, and Metis peoples in the region; and Respond to the City of Ottawa, Council-approved renewed action plan for arts, heritage and culture.

This work continues to be best served through the planning and implementation of an open community gathering that offers access to knowledge and cultural understanding delivered through traditional spoken forms of expression, storytelling, teachings, and orator. Project needs include:


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1. 2. 3. 4. 5. Identifying presenting opportunities with established and emerging First Nations, Inuit and Métis storytellers within a variety of disciplines who reside locally and regionally; Connecting with Algonquin Anishinabe leaders, Elders, knowledge keepers and Community members (particularly Youth); Connecting with First Nations, Inuit and Métis organizations and the broader settler community in the NCR; Overseeing the planning, promotion, and delivery of an open community gathering based on the sharing of traditional Aboriginal cultural traditional as outlined above; Officially reporting on the gathering‘s outcomes through liaising with Cultural Development and Initiatives Department at the City of Ottawa, and further share successes and best practices.

As noted in our annual report, CPAMO supported a number of arts organizations through our Artists’ Café initiative. This initiative provides support to CPAMO Roundtable members by promoting their activities, highlighting their importance and inviting presenters to see the work. In partnership with Community Cultural Impresarios, CPAMO invites presenters to see the work of Aboriginal and ethno-racial artists and to engage in dialogue with these artists. In 2013, CPAMO developed partnerships with alucine Latin Film Festival, Association for Native Development in the Performing and Visual Arts, the IMPACT 2013 Festival and a special partnership with COBA and Luminato Festival. For 2014, CPAMO is supporting at least two events. These are with Aluna Theatre and with Luminato Festival.

Aluna Theatre is proud to announce the second edition of panamerican ROUTES | RUTAS panamericanas: an International Festival of Performing Arts taking place between February 27 and March 9, 2014, at the newly opened Daniels Spectrum. This prestigious theatre event will bring Canadian, Indigenous and Latin American artists from across the Americas including Argentina, Peru, Colombia, Mexico, the United States and Canada. Programming includes main stage performances, gallery exhibits, installations, concerts, and master classes with international artists and an engaging four-day conference on performance and human rights where artists, academics and activists meet with the public to discuss how art can mobilize social change.


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―Since our first festival in 2012 we‘ve traveled around the Americas to f ind some of the most fascinating and controversial performers,‖ says festival director Beatriz Pizano. ―These artists have incredibly strong messages and are not afraid to shatter the status quo.‖ Also new this year is Aluna Theatre‘s festival partnership with the oldest professional Indigenous theatre company in Canada, Native Earth Performing Arts. For more information, please see -

Stay tuned for more information on this collaboration!!!! This year CPAMO will be working to support its Roundtable members to meet and engage with CCI presenters and Luminato Festival events. The details of this are now being developed!!!! Should be exciting!!!

In the past year, the Metcalf Foundation has released two significant reports addressing the challenge in granting and arts administration. One report is by Jane Marsland, entitled Shared Platforms and Charitable Venture Organizations: A powerful possibility for a more resilient arts sector ( The Metcalf Foundation makes the following statement on its website regarding Marsland‘s report: ―The environment for the arts in Canada and our arts funding system have changed dramatically over the past 20 years. It used to be that funding to arts organizations was based on ensuring an institutional structure, in many cases even a building, that would house and support the art for the long term. There were fewer arts organizations, which meant that it was possible to provide a substantial percentage of public funding to their operations. But over the last couple of decades, the arts sector has experienced explosive growth. ―One consequence of this change is that there are no longer enough resources in the public arts funding system to make it feasible for many of our artists to establish fully independent, adequately capitalized, charitable, non-profit organizations. ―At the same time, there is less desire among many artists to incorporate as a charitable, non profit organization, because they realize it is increasingly difficult to raise the resources required to support an ongoing organizational structure and keep it healthy. They are exploring various producing models and often prefer to work on a project-to-project basis, building appropriate relationships and collaborations to produce each work of art.


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―This report focuses on the concept of shared platforms as a potential response to these challenges – one that could make a significant impact on improving the health of the sector. It examines the structure developed by Tides Canada Initiatives for their environmental and social justice work, considering the concepts and lessons of that model and whether a similar structure could be effective for the arts community. Three possible models for shared platforms are compared, hoping to stimulate sectoral dialogue around the idea and to galvanize the community to develop and implement models that will work for them.‖ As for the other report, it was written by Shannon Litzenberger. Below is a response to her report prepared by John Ryerson, a member of CPAMO‘s Advisory Committee.

RESPONSE TO “CHOREOGRAPHING OUR FUTURE” This is a well written and timely report. These issues needed a consolidation which has been achieved. As is often the case in systemic issues there is an underbelly that drives the issues and the lack of ability to effect the change.In working with smaller organizations including my participation in CPAMO it is evident that lack of time and skills are two of those ―underbelly‖ items. Not just skills in governance or fundraising but skills in how to do partnerships and collaboration and skills in relationship building. We all know relationships take a lot of time and that in itself is a huge challenge. I think it was Holden that wrote about cultural tourism i.e. the chase for big numbers and said we have it all wrong. A 100 people i.e. relationships, that really care about what you do is far more important for sustaining your organization. It gets you both resources and core audience of support for what you do. Part One Fuelling Innovation I fully concur with your analysis and recommendations about grant funding in particular moving away from the silos of discipline funding. What is disconcerting is why the changes like moving away from discipline based funding take so long, and why a system would be written for the bureaucratic process and not the creators they serve? E.g. continuous granting vs deadline granting. There are clearly barriers at work that need airing. I think the report could be stronger with direct references to mentoring including the transition from the boomer generation of managers that control so much of the cultural leadership. Engagement I have found that too often we silo our community activity. However, as cities shift planning into neighborhoods the silos fall away. Culture is one of the key ingredients for healthy neighborhoods. For example, the Police Chief of York Region adopted my expression that ― not every kid plays basketball‖


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Before more resources go into more research and studies lets look at data mining and the indicators that tell us about our engagement. We also do not want to see our overstretched cultural producers spending more time listing every engagement activity they have. This has nothing to do with outcomes. We could all march in the Santa Claus parade and achieve the numbers. Here are two documents that indicate the breadth of impact of culture in civic engagement. Chiara‘s work in The Enabling City is a useful tool in looking at engagement and civic relevance. Chiara is now a fellow of the Trudeau Foundation. How the Arts impact Communities - Schools are a big part of building future audiences as we know. Through my involvement with Space Coalition on community use of schools, there is a real concern that these spaces are both underutilized or at risk of closing. Closings will remove a key community public asset from neighborhood for cultural activity and community engagement. There are systemic problems. On the arts organization side, it is very difficult to find the resources to create the curriculum relevant program and sell it to schools. These challenges may well be served by greater collaboration amongst arts organizations and artists. We are very good at looking at who already comes into our buildings or uses our programs. The challenge, well covered in literature is: who is not coming in and why? E.g. Victoria Dickinson, when in Montreal, did a study for the Province that showed a 20 yr gap in new arrivals and arts participation. One key strategy is to take the program to the people. Ballet Jorgen last year did excerpts of Swan Lake in the Pacific Mall food court with somewhere in the order of 500 people watching each performance. This was organized by Markham Theatre with kudos to Bengt. CPAMO is focused on the barriers of equality and access. There is still much to be done. We all know the text book case of ―Out of Africa‖ at the ROM that did marketing with no real engagement. Creating an effective enterprise These are solid recommendations.The major systemic issue for me is the lack of ability to take risk – and this is in a creative sector! As stated in part one, simplifying low amount grants is one way to offset this issue. Another would be putting more emphasis on the creator and their track record than on their project. As a choreographer said to me this week, a project can take a couple of years to develop and of course it will change. Risk is about an opportunity to learn, it is not about failure. John Ryerson (


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While CPAMO is keenly interested in the follow-up to both of these reports, we are deeply concerned about the way in which both reports have homogenized artists’ concerns and interests. Through many forums, reports, books, articles, research, workshops etc., it has been established over and over again that Aboriginal artists, artists of colour and artists from other diverse communities, e.g., persons with disabilities, face challenges that are profoundly different from those who come from majoritarian communities. And while a shared platform or a different approach to granting may be useful, the likelihood is that they will both miss the mark with these artists unless there is specific attention given to their unique position as artists within an increasingly diverse community and an arts milieu with diverse modes of practice, creation and standards of excellence.

Kuumba Film Series: Black Identity - Soundtrack for a Revolution February 8, 2014 | 2:00pm – 3:30pm |Cost: free Studio Theatre at York Quay Centre 235 Queens Quay West,Toronto, ON Kuumba shines a light on the struggle for identity and survival with a series of films that showcase works by emerging and innovative Canadian and international film makers. Family films, features, Q&A's and more! Soundtrack for a Revolution tells the story of the American Civil Rights Movement through its powerful music – the freedom songs protesters sang on picket lines, in mass meetings, in paddy wagons and in jail cells as they fought for justice and equality.

Space Fictions February 1 - March 15, 2014 A Space Gallery (Main Gallery) 401 Richmond streetwest, suite110, Toronto, ON M5V 3A8 The exhibition is presented by A Space Gallery. The artist talk is presented as a collaboration between A Space Gallery and Gendai Gallery‘s Model Minority Series. A Space Gallery is pleased to present projects by artists Jacqueline Hoang Nguyen and Juan Ortiz-Apuy. Both artists make archival recoveries that reveal the ongoing fictionalizations of national spaces. Nguyen‘s video, ―1967: A People Kind of Place‖ is an exploration of the world‘s first UFO landing pad that was built as a celebratory Centennial project in the small Alberta town of St. Paul. The welcoming of beings from other planets into Canada was concurrent with the implementation of Trudeau‘s point based immigration system. Ortiz-Apuy‘s ―The Freedom Fighter Manual‖ is the inversion of a 17-page CIA manual that was airdropped over Nicaragua in 1983, with the goal of overthrowing their revolutionary government. By using anachronistically


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humorous moments in history as foils to view the present, Nguyen and Ortiz-Apuy‘s find ways to fray the boundaries between nations, migration and politics. Artsist: Jacqueline Hoang Nguyen, Juan Ortiz-Apuy | Curated by: Vicky Moufawad-Paul For more information:

ONYX CINEMA NIGHT event series. Presented by OCAD U's Euphonically OSO in Collaboration with ÁCCENTS BOOKSTORE February 23rd and March 2nd 6pm OCAD University 100 McCaul Street, Torornto A special movie night focused on highlighting and celebrating diverse and unique Artists of the African diaspora through film, join us for the 2 special night of celebration. Each night will consist of free snacks and refreshments, drumming and dancing, live performances, a presentation highlighting local and international Artists of African decent. Then after the film there will be a discussion about the topic of the night with renowned artists in attendance. 1st night is Sunday February 23rd with visionary artists, Abdoulaye Kone and Robert Small. The Film Screening is ―Moi Aussi‖ View Trailer here: Facebook Event Page: Robert Small will be selling exclusive prints of his 2014 Legacy Poster as well as his Nelson Mandela tribute Bookmark. Abdoulaye Kone will be exhibiting and Auctioning original paintings of special Artist, Adamo Traore from Cote d'Ivoire. All proceeds will go back to the artists. 2nd night is Sunday March 2nd with artist and educator Audrey Hudson with multi-discinplinary artist Charmaine Lurch. The Film screening will be ―Colored Frames: A visual Documentary". View Trailer here: Facebook Event Page: Each night will feature vendors selling valuable goods (Books, Jewellery, clothing, Original Art pieces and Art Prints, Exclusive DVDs, Shea Butter, natural cosmetic products and more This event night is co-sponsored by The Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies. The Onyx Cinema Events are also supported by OCAD University,OCAD Student Union, Accents Bookstore, ONYX SOCIETY At OCADU (OSO), ACHA (African Canadian Heritage Association), Robert Small of Legacy Posters and the African Drum Arts and craft Store onDundas st. W.


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Ochawan Transformation Exhibition February 2 - March 31, 2014 Japanese Canadian Cultural Centre 6 Garamond Ct Toronto, ON M3C 1Z5

A most utilitarian vessel, ochawan is a bowl used daily for drinking tea and eating rice throughout Japan and the rest of Asia. The JCCC Gallery has distributed over 70 ochawan to artists to make their own personal statements. Come see how the modest rice bowl can be transformed by creative minds to provoke, prod, make us laugh and make us cry. Opening on February 2, 2014, the exhibition continues to March 31, 2014. The exhibit is an artistic idea from Akira Yoshikawa and the NAJC in celebration of the Redress.

The Peking Acrobats Rose Theatre Main Stage March 28, 2014 at8pm|Tickets:$53- $67 One of the premiere Chinese acrobatic companies in the world today, The Peking Acrobats continually redefine their ancient art form, defying gravity with amazing displays of contortion, flexibility and control. Accompanied by live musicians and high-tech special effects, they perform wondrous feats of daring, trick-cycling, precision tumbling and gymnastics. This elite group pushes the envelope of human possibility with astonishing juggling dexterity and incredible balancing acts, showcasing a kaleidoscope of skill. More information and tickets:

Liu Bolin: The invisible man About this talk:Can a person disappear in plain sight? That‘s the question Liu Bolin‗s remarkable work seems to ask. The Beijing-based artist is sometimes called ―The Invisible Man‖ because in nearly all his art, Bolin is front and center — and completely unseen. He aims to draw attention to social and political issues by dissolving into the background. About the speaker:Artist Liu Bolin began his "Hiding in the City" series in 2005, after Chinese police destroyed Suo Jia Cun, the Beijing artists' village in which he'd been working, because the government did not want artists working and living together. With the help of assistants, he painstakingly painted his clothes, face, and hair to blend into the background of a demolished studio. Since then, the so-called "Invisible Man" has photographed himself fading into a variety of backgrounds all over Beijing. Spot him embedded in a Cultural Revolution slogan painted on a wall, or spy him within tiers of supermarket shelves stocked with soft drinks. Just as with Bolin


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himself, the contradictions and confusing narratives of China's post-Cultural Revolution society are often hiding in plain sight. Link:

Thelma Golden: How art gives shape to cultural change About this talk: Thelma Golden, curator at the Studio Museum in Harlem, talks through three recent shows that explore how art examines and redefines culture. The "post-black" artists she works with are using their art to provoke a new dialogue about race and culture -- and about the meaning of art itself. Opening minds and showcasing new voices -- it's all part of the job description for Studio Museum in Harlem executive director Thelma Golden About the speaker: Culling an interest in art history from a childhood board game, Thelma Golden knew her dream job even before she knew what to call it. She stumbled upon the title and role she was looking for -- curator -- at the age of 12, and started up the ladder early, landing at the Whitney Museum in 1991, four years out of college. She was a co-curator of the 1993 Whitney Biennial, a landmark show, hotly debated at the time, that showcased overtly political art made by a significant percentage of nonwhite nonmales. Golden first burst into the limelight as a solo curator with "The Black Male" at the Whitney in 1994. Brilliantly imagined and carefully envisioned (and provoking controversy from a few corners), the show cemented her reputation as a formidable and fearless curator. In 2005, Golden became executive director for the Studio Museum in Harlem, re-dedicating the institution to forward-facing art from all corners of the African Diaspora. She keeps an eye on young and developing artists, while using the Studio Museum to write the history of collecting and art-making in Harlem and around the world. Link:


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


CPAMO’s news
charles c. smith Project Lead of CPPAMO Lecturer, Cultural Pluralism and the Arts/University of Toronto Scarborough Victoria Glizer Project Assistant Website: Facebook: search ―CPAMO‖ or click here! Twitter: Mailing Address: 32 Costain Avenue Toronto, ON M4E 2G6 416-686-3039


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