The North-South Partnership for Children sent 17 people into the community, partly in response to the crisis. The agency brings together philanthropists in southern Ontario with northern First Nations.

When the southerners arrived, young people in Neskantaga asked them to help organize an art and music festival.

“Art and music is one of the ways that the young people in Neskantaga First Nation cope with what’s going on in a positive way,” said Lauren Akbar, the youth engagement co-ordinator with the North-South Partnership.

The evening festival was a hit, according to Moonias, who looked around the community centre and saw smiles for the first time in months.

“I’d say that was magical because I haven’t seen that in our community for a while, where our young people felt there is hope. They’re starting to feel hope again.” (Read more)

Lauren Akbar is the Youth Engagement Coordinator for the North-South Partnership’s campaign, Southern Youth In Motion. SYiM aims to connect youth from southern Ontario with youth in northern Ontario’s First Nation communities through art, music, videos, etc. If you’d like to get involved with North-South Partnership or SYiM, please contact Lauren Akbar at lauren.akbar@northsouthpartnership.com or connect with SYiM on Facebook here.

- Submitted by Skye Louis, ArtReach Toronto

To read other ArtBridges’ posts about SYiM, please click here.
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“Scarborough Arts is looking for dynamic, enthusiastic individuals to apply to join our Board of Directors and various Committees. Please read below and download the applicable application – we look forward to hearing from you!

Scarborough Arts Call for New Board Members

Scarborough Arts is looking for dynamic, enthusiastic individuals to apply to join its Board of Directors.

We are looking for individuals who can help guide our organization and provide professional skills in areas such as policy, contracts, finance, business planning, fundraising, governance and human resources. Meetings are held approximately 8-10 times per year. Scarborough Arts encourages community members with a Scarborough connection who reflect the diversity of the local community to apply.

Those interested are asked to please submit a letter of interest, CV and Board application to: Board Nominating Committee, Scarborough Arts, 1859 Kingston Road, Scarborough, ON, M1N 1T3; fax to 416-698-7972, or e-mail ed@scarborougharts.com. Application deadline is June 7, 2013.

SA Board Candidate Application

For more information and to acquire the Board application, please contact Tim Whalley at 416-698-7322 or ed@scarborougharts.com.

Scarborough Arts Call for New Committee Members

Scarborough Arts is looking for dynamic, enthusiastic individuals to apply to join its Programming, Fundraising and Scarborough Arts Centre Committees.

We are looking for individuals who can help provide feedback and guidance in these key areas:

Programming Committee – Committee members discuss program frameworks, strategies and goals, provide input on new program concepts and review annual programming plans.
Fundraising Committee – Committee members provide input, guidance and hands-on support for fundraising initiatives, including the annual Homegrown Scarborough fundraiser.
Scarborough Arts Centre Committee – Committee members provide guidance and input into next steps involved in this planned new arts hub and location for Scarborough Arts, including the communications strategy, feasibility study, outreach and other logistics.
Committee meetings are held approximately 3 – 6 times per year depending on the committee. Scarborough Arts encourages community members with a Scarborough connection who reflect the diversity of the local community to apply.

Those interested are asked to please submit a letter of interest, CV and application to: Scarborough Arts, 1859 Kingston Road, Scarborough, ON, M1N 1T3; fax to 416-698-7972, or e-mail ed@scarborougharts.com. Please indicate which Committee you are interested in applying to join. Application deadline is June 7, 2013.

SA Committee Application

For more information and to acquire the Committee application, please contact Tim Whalley at 416-698-7322 or ed@scarborougharts.com.
Scarborough Arts is a not-for-profit community arts organization that has brought artists to the community and community to the arts for 35 years. As the only arts organization of its kind in Scarborough, Scarborough Arts develops, delivers and promotes arts programming and cultural initiatives in collaboration and partnership with the community. Scarborough Arts is dedicated to making the arts accessible to all within our diverse community, including youth and under-represented groups. Our activities include after-school arts programs, exhibitions, outdoor festivals, film screenings, digital arts workshops, professional development opportunities and much more. For more information, please visit www.scarborougharts.com“

-submitted by Tim Whalley, Scarborough Arts

Read previous ArtBridges’ posts about Scarborough Arts and their profile.
See ArtBridges’ Google map for contact info.
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“Join the Pan-Canadian Conversation:
Culture Days adds live stream to National Congress May 24th

Culture Days organizers [...] announced that in an effort to ensure national access to the first ever National Congress on Culture taking place in Toronto on May 24th at the Royal York Hotel, the keynote speeches, panels and discussions will be live streamed allowing Canadians across the country the opportunity to follow the program and join the conversation. Online viewers will be able to chat alongside the live stream with fellow online participants, as well as pose questions and comments during Q&A sessions with speakers. A dedicated online host will help facilitate a fluid exchange between the two parallel conversations, representing points of interest from the digital world to the gathering at the Royal York Hotel.

A small number of tickets are still available to attend the event in person. For tickets and live-streaming information, visit www.culturedays.ca. For full program and speaker information, visit National Congress.”

Click to read details from press release.

-from Culture Days press release

Please see ArtBridges’ Google Map for more information.

For ArtBridges/ToileDesArts sponsorship opportunities: Simon Constam, Sponsorship Director, simon@artbridges.ca, 905-537-7227
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“SAVE THE DATE!

5th Annual BIG BAM BOOM
Youth-Led Arts Festival

Exhibition: June 4-9, 2013
Free After Three: June 5, 2013
Performance: June 8, 2013

Art Gallery of Ontario
Weston Family Learning Centre
317 Dundas St W

About Arts for Children & Youth (AFCY):
AFCY is a registered charitable organization. We ally with high priority communities and empower marginalized children and youth by engaging them in hands-on, community and school-based arts education programs that respect existing cultural and community activity, resulting in participatory action and social awareness. To learn more about us, please visit http://www.afcy.ca. You can email us at info@afcy.ca or call us at 416-929-9314.”

- Submitted by Arts For Children and Youth (AFCY)

To read other ArtBridges’ posts about AFCY, please click here.
See ArtBridges’ Google Map for more information.

For ArtBridges/ToileDesArts sponsorship opportunities: Simon Constam, Sponsorship Director, simon@artbridges.ca, 905-537-7227
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We think that if ‘mentorship grants’ could be provided by funders, seasoned community-engaged arts initiatives could be paired with emerging community-arts initiatives and many of these challenges could be addressed via peer support…

Last Friday, we posted a summary from a telephone survey on needs and challenges of community arts organizations in Ontario that Maxine Sidran, our ArtBridging Ontario Researcher, did.

The following is a companion piece to last week’s summary:

An OCAD grad student worked with Maxine’s survey results and tallied all the mentions of various needs and challenges that were expressed by each of the 39 (30%) of the 132 English-speaking community arts organizations in Ontario previously profiled on this blog.

In order of top needs/challenges here is the list:

21 — sustainable funding, alternate funding, donations
12 — volunteers, presenters
9 — space, venue
8 — board members, how-to
8 — increased profile, promotion, networking, publicist
7 — partner organizations, collaboration
7 — how-to info, toolkits, best practices
6 — grant writing info, grant writer
6 — staff, personnel, “capacity”
4 — corporate funding, sponsorship, partner
4 — time
3 — IT, tech support
3 — administrator
2 — web design, presence
2 — professional development, staff training
2 — strategic planning
2 — social media
2 — showcase
1 — forum, Q&A
1 — community research
1 — sustainability plans

If anything, the tally reflects that we are not alone with issues; many challenges are shared in this field.

One thing that Maxine and I found in the comments she recorded, was that people are keen collaborate, mentor and help other initiatives work through issues they’ve already worked through successfully—but, this takes time. And time is a resource that no one seems to be able to spare much of.

We think that if ‘mentorship grants’ could be provided by funders, seasoned community-engaged arts initiatives could be paired with emerging community-arts initiatives and many of these challenges could be addressed via peer support. The outcome would positively effect the quality of service and capacity of these and similar organizations and lead to more arts in communities—the ensuing benefits to communities.

We’d love to keep the discussion going, so share your thoughts with us: info@artbridges.ca.

On behalf of ArtBridges/ToileDesArts, thank you to everyone who participated in the survey:

Aiding Dramatic Change in Development, Amnesty International Toronto, Art City in St. Jamestown, Art House for Children and Youth, Art Starts, Arts Council Windsor and Region, ArtsSmarts, ArtReach Toronto, Arts for Children and Youth, bARTer, Broken City Lab, Cabbagetown Community Arts Centre, CARFAC National, CFRC 101,9FM, Collaborative Connections (TDSB), Creative Spirit Art Centre, Cultural Appreciation from a First Nation Perspective, Debajehmujig-Storytellers, Definitely Superior Art Gallery/Die Active Art Collective, Environmental Defence, Fred Victor Arts Program, Inner City Angels, Kids Up Front Foundation, Luc Sculpture School and Studio, MABELLEarts, Making Room Community Arts, Mixed Company Theatre, Neighbourhood Arts Network, North-South Partnership for Children, North York Community House, Ottawa Innercity Ministries, Prologue, Scarborough Arts, Sketch/CUE, Smooth Rock Falls Art Centre, South Etobicoke Youth Assembly (SEYA), Suite Life Arts for Youth, Supporting Our Youth, Toronto Pan/ParaPan Am Games, Up Front Theatre Foundation, Willow Springs Creative Centre.

-Seanna Connell, ArtBridges/ToileDesArts Project Director

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A table full of creative tools

The Oral History and Art-Making Workshop, put on by Jumblies Theatre February 20-23 2013, began as any good workshop does – with tea and coffee, healthful snacks and gracious, welcoming hosts. As one participant said, “you can tell how supportive an environment is in the first eleven seconds you walk in the room”, and this environment was very supportive from the outset.

Fifteen participants were welcomed in this way into the Toronto Fringe Festival’s rehearsal space at CSI Annex, a bright and airy space overlooking Bathurst Street in Toronto. We were given various printed resources, as well as a small notebook we could decorate using the provided art supplies. This small creative task allowed us some informal time to connect and chat with one another.

My group’s activity: write a postcard to your childhood home

To open the workshop, our first exercise was to write down a question we would like to be asked. We were then told to turn around and ask that question of the person next to us. It was interesting to see how many people felt that the question their interviewer put to them was exactly the question they had wanted to be asked, or that it resonated with them in an unexpected way.

This would become a common theme throughout the workshop: recognizing that although we each carry different stories, we also share common experiences, and so can all relate to one another’s stories on some level. This fun, simple task also provided immediate insight into the magic that is held within each of our stories, and that what might seem trivial to us can in fact be inspiring to others.

As the workshop progressed, we learned many practical and technical skills related to interviewing. For example, you should always wear headphones when recording, and you should record a moment of the silence of the space before interviewing – this can be used in editing the audio later. We learned that you shouldn’t be afraid to hold the audio recording equipment close to someone’s mouth – as awkward as it might feel, it’s necessary, and they will quickly learn to ignore it.

Our spoon people – later we danced a jig with them

We also learned techniques and tips about how to make the interviewee comfortable, how to listen and ask appropriate questions, and how to hold ourselves back from making interjections – such as sighs, gasps, or sounds of agreement – as much as possible, so we would be able to use the audio recording later on. We learned to not be afraid of silence, and to not overreact or under-react when being told shocking or traumatic stories; that it is often best to just listen, and show empathy through body language, as opposed to projecting our own reaction onto someone else’s experience. We learned that in order to downplay the potential for intimidation in interviews, it can help  to lead with a simple question unrelated to the topic you’re looking to explore. This will often  provide a natural transition into the topic at hand, as opposed to jumping right into the subject – especially if it is a traumatic or painful topic.

At one point in the workshop we collectively created a long list of disciplines that could be used to creatively represent stories. These ranged from puppetry and poetry to music and myth, dance and theatre to soundscapes and collage. Other suggestions included geocaching stories; setting a table or creating a meal using stories; making a quilt or other fabric project with stories interwoven throughout it; creating a board game; planning an audio walk; creating public art, pageants and parades; writing a novel; creating sacred spaces for people to explore their own stories; live sculpting; live painting – the list goes on. We also learned that there are different options for incorporating the original story; you could use the original audio in a performance, repeat parts of the recording verbatim, or even choose to leave the original audio behind and take from it only the main themes or images that stand out most and incorporate those into the work.

The writing is on the wall: brainstorming and questions

Following this task, close to the end of the workshop we had the opportunity to interview each other and then represent these stories through mini performances using some of the disciplines we had collectively named. I found this to be an unexpectedly difficult task, which drove home the sense of responsibility and accountability we as artists have to the stories we represent. We were dealing with memories which, even if happy, remind us of an emotional state that has long been forgotten. When someone takes those memories, distills them to their essence, and represents them using an artistic form, it can be one of the most powerful, validating, and beautifully heart-wrenching experiences imaginable.

Preparing to perform our pieces based on each other’s stories

Overall, what I took away from the Oral History and Art-Making workshop was a deep appreciation for the possibilities and the importance of  working with peoples’ personal stories. I learned that oral history is inherently relational, as it requires both a teller and a listener. There is great responsibility placed on one who draws out and represents the story of another; this act must be taken seriously, and treated with respect. At the same time, once a story is passed to another it becomes more than personal; what was your story is now everyone’s story. Although this sounds terrifying, it can be an incredibly joyful and cathartic act of letting go – handing your lived experience over to another and giving them permission to do what they will with it can be very freeing. And, as the artists who receive these stories, we are then tasked with not only doing justice to the stories we are handed, but with bringing even more life to them in the retelling.

My story, beautifully represented using a table and food

This workshop was made possible thanks to funding from the Canada Council for the Arts (Interarts), the J.W. McConnell Foundation and operating support from the Toronto and Ontario Arts Councils. Robin Sutherland took part in the project thanks to the Theatre Ontario Professional Theatre Training Program, funded by the Ontario Arts Council.”

- Robin Sutherland, Founder and Artistic Director, Thinking Rock Community Arts
All photos courtesy of Robin Sutherland
robin.a.sutherland@gmail.com

Previous posts from Robin:
05/03/13 – Inspiration and Trepidation: Starting a Community Arts Organization “Where It Started” (Algoma, ON)
04/05/13 – Inspiration and Trepidation: Starting a Community Arts Organization (Algoma, ON)
01/16/13 – Thesis: Community Arts and Social Change in Rural Northern Ontario

For ArtBridges/ToileDesArts sponsorship opportunities: Simon Constam, Sponsorship Director, simon@artbridges.ca, 905-537-7227
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“MASQ’ALORS, le Festival international du masque du Québec à Saint-Camille, tiendra sa 3^e édition du 23 mai au 2 juin prochain, à Saint-Camille, dans les Cantons-de-l’Est.

10 jours
30 événements
6 pays
50  artistes, conférenciers et invités
http://masqalors.ca/

C’est une invitation au voyage autour du monde, à travers des spectacles, des expositions, des conférences, des ateliers et activités festives.

Pour son 50^e anniversaire, le mythique Bread and Puppet Theater nous fera l’honneur de s’arrêter chez nous avec sa dernière création. Les masques de la Côte Ouest, prisés par les amateurs d’art du monde entier, s’animeront devant nous dans les danses de la troupe autochtone Git Hayetsk. Le théâtre nô, tradition ancestrale du Japon, arrive rarement jusqu’au Québec et nous sommes d’autant plus fiers d’accueillir parmi nous le maître nô Masato Matsuura.

Autre tour de force : l’exposition de photos Kanaval de l’artiste britannique Leah Gordon fera halte au festival, jetant un œil d’artiste engagée sur le carnaval de Jacmel, et ce en collaboration avec Fondation Kanpe qui vient en aide à la reconstruction haïtienne.

L’objet masque ayant fait jaser de lui au cours du printemps érable, nous ne pouvions faire autrement que de pousser plus loin la réflexion sur sa place controversée dans l’espace public, ici et ailleurs, aujourd’hui et à travers l’histoire. Pour cela, nous avons convié les intervenants suivants autour d’une table ronde intitulée “Le masque hors-la-loi” : Amir Khadir, député de Mercier pour Québec solidaire, Véronique O’Leary, femme de théâtre, Denis Poitras, avocat, et André Poulin, historien.

Toute une panoplie d’activités festives viendront compléter la programmation, dont notre incontournable défilé masqué.

Ainsi, pendant 10 jours, notre petit village des Cantons-de-l’Est deviendra le village masqué – et grâce aux nombreux tricoteuses et tricoteurs, même les arbres n’y échapperont pas!

Le P’tit Bonheur de Saint-Camille, sera le chef-lieu de cet événement unique en Amérique. Sur place, outre les diverses activités, vous trouverez tous les jours le resto-bar du festival.”

-soumis par Hildegund Janzing, Les productions des paysages éclatés

Lisez notre profil des Productions des paysages éclatés ici.
Veuillez s.v.p visiter la carte Google pour l’information de contact.

For ArtBridges/ToileDesArts sponsorship opportunities: Simon Constam, Sponsorship Director, simon@artbridges.ca, 905-537-7227
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This video was created by Toronto videographer, Kyle Montaque, and stemmed from the actual showcase itself. It provides a compelling glimpse into the day’s events that included musical performances, a live mural painting with community artist, Michael Cywink, a blessing from Elder Pauline Shirt and interviews with the youth as they share how art inspires them and their visions for the future.

Watch video HERE. Credit: Kyle Montaque

During the showcase a group of youth from Waterloo presented a video they made that asked several questions about life in Ontario’s remote communities, from ‘do they have running water on reserves?’ to ‘what about shopping malls?’. With 1, 172, 790 First Nations, Metis and Inuit people in Canada, the youth wondered how they could know so little about Canada’s aboriginal population. To help bridge the gap between north and south, youth from one northern community discussed the possibility of producing their own video in an attempt to answer some of these questions.

In addition to the second issue of SYiMzine, SYiM has a number of other initiatives currently in the works so check the ArtBridges blog in the coming weeks for news and another update from Lauren Akbar, the Youth Engagement Coordinator at SYiM. For more information or to get involved, visit the Facebook page or contact Lauren at lauren.akbar@northsouthpartnership.com.

- Cora-Rae Silk, ArtBridges

To read other ArtBridges’ posts about SYiM, please click here.
See ArtBridges’ Google map for contact info.

For ArtBridges/ToileDesArts sponsorship opportunities: Simon Constam, Sponsorship Director, simon.constam@gmail.com, 905-537-7227
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“Position: Cultural Program Coordinator
Supervisor: Reports to the Executive Director
Summary: The creation of cultural programming to meet the needs and requests of the Aboriginal community of Toronto.
Duties and Responsibilities:

• Coordinate and manage the delivery of educational programs that cover Aboriginal history, spirituality, stories, songs, dances, regalia, languages, cultural values and beliefs for the community.
• Submit monthly reports to Executive Director and to develop all reporting and statistical gathering of cultural events and gatherings.
• Coordinate staff and volunteers associated with the programs facilitated through the cultural department.
• Submit receipts for program expenditures to the finance department.
• Prepare and submit yearend report to Indian and Northern Affairs Canada and the Executive Director.
• Source funding opportunities and prepare grants/proposals for the Cultural Department.
• Liaise with Elders and Traditional Teachers.
• Assist the Elders and Traditional Teachers with their personal and functional requirements while they are participating in a NCCT initiative.
• Maintain high personal and professional standards.
• Supervise weekly “Big Drum Social”.
• Promptly respond to any inquires about our Cultural programming.

Qualifications:

• Thorough knowledge of the culture, language, history and traditions of First Nations, Métis and Inuit Peoples.
• Native language skills an asset.
• University/College graduate or work related experience with project facilitation, public relations and office management.
• Excellent organizational skills and ability to manage several priorities simultaneously.
• Ability to work independently and as part of a team.
• Ability to prepare minutes, proposals, budgets and financial reports.
• Event planning and management.
• Good working knowledge of Microsoft Office.
• Good verbal and written communication skills for interactions with Elders, Traditional Teachers, students and staff.
• Minimum three years’ experience working in Aboriginal communities, two of which have been in an urban setting.
• Ontario Drivers Licence an asset.
• Excellent relationship building skills.
• Ability to effectively present information and respond to questions from various community members.
• Current CPIC Required (Police Check)

All resumes must be received by Tuesday May 21st, 2013 at 4:00pm.
Please email or forward resume and 3 references to: Larry Frost, Executive Director Larry.frost@ncct.on.ca * 16 Spadina Road * Toronto, Ontario* M5R2S7 * 416.964.9087
We thank all applicants; however only those selected for an interview will be notified.”

See job description for more details.

-posted with permission from the Native Canadian Centre of Toronto

For more information read ArtBridges’ profile on Native Canadian Centre of Toronto or visit www.ncct.on.ca.
Please see ArtBridges’ Google map for contact information.
For ArtBridges/ToileDesArts sponsorship opportunities: Simon Constam, Sponsorship Director, simon@artbridges.ca, 905-537-7227
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ArtBridging Ontario Researcher, Maxine Sidran, shares valuable feedback from her recent Ontario-wide survey to community-engaged arts initiatives that have been previously profiled on the ArtBridges/ToileDesArts network:

“I spoke with 39 of the 132 English-speaking community-engaged arts organizations in the ArtBridges network (30%). My initial approach told them we were looking for input regarding their major challenges and how they might be able to help other groups meet their own challenges.

Although they were told that the survey would take only 15-20 minutes, many of the interviews ran to half an hour or more, with people happy to talk about their pride in their organizations and their people’s commitment to its goals. They knew the road was hard, but they believed it was worth it, and they were aware of the wide variety of obstacles that stood in their way.

Funding was by far the biggest concern (21 comments), followed by Time (12 comments). Most of these organizations are run by only one or two full-time staff (the number I heard a lot was one full time and one part-time staff). Many spoke about the difficulty of finding appropriate granting organizations and having the time or expertise to follow up on them.

There was an interest in collaboration, but time, staff and financial constraints often got in the way. It is clear that we are a community of givers at heart and are looking for ways to make sharing and cooperation possible.

The smallest groups were proud of the ways they had been able to create something with nothing (bartering, trading, etc.) and had adopted the attitude that there was often a solution if you think outside the box.

Comments on the need for funding:
“Funding, funding, funding! Those are our top three needs”… “Public funding is drying up, both provincially and federally, and there are more groups vying for it”… “We know where the funding is and how to write the proposals, but there is not enough time to do it”…”An “incubation tank” is needed. Granters want you to have a developed idea. We need help learning what that looks like”…

Comments on the need for volunteers:
“Growth depends on volunteers…How do you get people who are right for you, and how do you manage them?”… “It’s always a scramble. There’s a need for continuity.”

Comments on the need for space:
“It is holding back growth”… “We’re a little squished here”… “Our space issues are precarious”… “We keep small purposely, because space for programs is limited.”… “We have to turn people away every week so it’s difficult to dream.”

Comments on the need for Board Members:
“A universal challenge. Board members need to really “get” what their job is and not “buy into” the roadblocks that funders throw up.”… “Lawyers are necessary on a Board, because they cut through to the heart of a problem and are well connected and solution-focussed”… “Board members with financial expertise”…”We want to see a PR person, accountant, lawyer and community members there”.

Comments on increased profile, promotion, etc.:
“We have no advertising. It’s all word of mouth”… “We need a publicist who knows mainstream promotion”… “How do you convey and present youth artists as talent and not just at-risk youth”… “We have lots of supporters, but we are preaching to the choir”…

Comments on the need for partnering and collaboration:
“We worry that partnerships might skew us away from our mission”…”We try to facilitate partnerships but it is difficult and challenging”… “If we do partner, we have to keep our core issues strong”…”We want to develop a wider creative community locally”… “We’re interested in partnering across sectors.”

Comments on sharing resources with others:
11 groups would share resources if they could “afford” it or would receive money/assistance in exchange.
“I try my best to answer “how to” questions from beginning arts organizations, but I find that when the younger group finally gets themselves together, the grant money goes to them.”… “Some administrators have the attitude, “We did it on our own, so you go do it yourself, too.””… “I believe grant applications should have lines for money to cover the cost of “sharing ideas.””… “We’re stretched beyond stretched.”… “We can share information on how to operate outside the cash economy and finding alternate ways to get resources without funding. I want to dispel the assumption that without money you can’t do what you want”… “I feel there is a dynamic opportunity in collaborating with other organizations. Different mandates can come together”… “Can see this happening as a Skype call-in.””

Maxine Sidran, ArtBridging Ontario Researcher
May 4, 2013

photo credit : nyuszika (sxc)

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