CPAMO Newsletter 17

7/28/2019 CPAMO Newsletter 17

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Issue 17 - November 2012

Welcome to the 17th Cultural Pluralism in the Arts Movement Ontario (CPAMO)

newsletter. This is a regular digest that will introduce you to, and keep you

updated on CPAMOs initiatives, and act as a portal to relevant research in the

field of pluralism in the arts, innovative artists, and links to interesting talks about

pluralism in the arts. The newsletter is intended to be your go-to resource for

information on cultural pluralism in the arts.

You have received this e-mail because you are a member of the CPAMO listserv.

Please let others who share our professional and artistic interests know about

this listserv and encourage them to subscribe by visitinghttp://tinyletter.com/Cultural-Pluralism-in-the-Arts-Movement-Ontario-CPAMO.

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:http://cpamo.posterous.com

Facebook: search CPAMO or clickhere!

Twitter:http://twitter.com/_CPAMO

Content

1) What is CPAMO?2) Helen Yung Activist, Artist, Change Agent3) Ottawa in the Fall4) Diversity in Dance at Flato Markham Theatre5) Canadian Dance Assembly Annual Meeting6) CPAMO Volunteer Recruitment Event7)

Capacity Building Workshops

8) Collaborations in the Arts CCI and CPAMO9) News You Can Use Fundraising Tips and Volunteer Consultants10)Upcoming Events11)TED Talks on Diversity12)Who We Are13)Contact Us
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What is CPAMO?

Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginaland ethno-racial artists working with presenters to empower the performing artscommunities of Ontario. CPAMO seeks to open opportunities for Aboriginal and ethno-racial performers to engage with presenters across Ontario and to enable presenters todevelop constructive relationships with Aboriginal and ethno-racial performers.

CPAMO is supported by Aboriginal and ethno-racial artists who are involved in theatre,music, dance and literary arts. They are members of CPAMOs Roundtable and includerepresentatives of Sampradaya Dance, Nathaniel Dett Chorale, Little Pear GardenTheatre Collective, Centre for Indigenous Theatre, Kaha:wi Dance, Sparrow in the Room,b-current, why not theatre, urban arts and backforward collective, TeyyaPeyaProductions, 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 withCommunity Cultural Impresarios (CCI) and its members to build their capacities, culturalcompetencies and understanding of pluralism in performing arts so that CCI and itsmembers engage performers from these communities and, thereby, enable audiencesacross Ontario to access artistic expressions from diverse communities on a regularbasis.

CPAMO gratefully acknowledges the funding support it has received for its activitiesfrom the Ontario Trillium Foundation, the Canada Council for the Arts, the Ontario ArtsCouncil, the University of Toronto Scarborough Campus and the Ontario Ministry of

Tourism and Culture.

Helen Yung Activist, Artist, Change Agent:

Helen Yung has been an active member of CPAMO since we began in 2009 and playeda major role behind the scenes and in public forums bringing forward key issues andadvocating for change in the arts ecology. Helen has also been a resourceful facilitatorin the arts working for both Culture Days and the former Stand Firm Network of theCanada Council for the Arts Equity Office. Helen had begun working with CPAMO thisyear to assist in supporting Stand Firm members to join CPAMO and giving her

guidance to and input on projects CPAMO is now implementing. Sadly, for CPAMO,Helen has chosen to move on and pursue her arts practice. With the greatest of respect,CPAMO reprints here her letter to us and to the arts community about this change in herfocus and work in the arts.

Dear friends and colleagues in diversity:A few months ago, in August, I gave official notice to leave CPAMO. Charles, Victoriaand Anita were most gracious and accepting of my decision. Though it comes somewhat


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later than is perhaps expected, I am writing this note, because after Stand Firm andCPAMO, it's worth explaining, where did I go?

Diplomacy is an Art, but a practice that was beginning to eat away at me. "You can't doeverything."* Though I fret over "unfinished work; there's still more to do" - with thedistance of a few months between CPAMO and me - I can only say I've made the rightdecision for me at this time. As consultants, we look to artists and change-makers forinspiring practices that can be expanded into programs. Clearly, making art is anotherway of initiating and being the change one want to see. Art is transformative disruption. Itis also so satisfying, if "short-sighted" some say, being able to witness immediateimpact.

My daily practice now consists of making experiential marginalia (a kind of dramaturgy-meets-relational-aesthetics-meets-arts-animation-meets-public-engagement), hybrid

puppetry (repurposing underutilized technology in the service of new theatricalexperiences), writing (nonsense!), and giving away art.

CPAMO has a wonderful group of colleagues engaged in voluntary and paid roles.Before leaving, I presented my colleagues there with detailed notes on ideas andconversations that I had been developing, which CPAMO continues to considerstrategically - following consultation and with your support. Among them:

"Good Buy" - a socially conscious debit and credit card transaction system that splitstypical transaction processing fees between the transaction system provider anda non-profit/charitable fund of the merchant's choice. Good Buy is interested insetting up a program whereby venue operators and larger arts organizations that

process their own payments would switch to this transaction system, and aportion of the transaction fee would be given back to the equity-seeking artscommunity. Since transaction fees are typical, the participating merchants wouldnot feel any kind of pinch - it would cost them nothing to give. A kind of "risingtide raises all boats" program of reciprocity: as the larger members of ourcommunity increase earned revenues, smaller equity-seeking groups wouldbenefit from a higher "pay-out."

Engaging condo communities - from builders to condo management to owners andinhabitants and condo corporation Boards, there are many ways of engaging newand changing condo communities in Toronto to become more involved in thelocal arts and culture around them. Cultural concierges, cross-condo socialcommittees (mixers involving 3 - 5 condo buildings in a similar neighbourhood),welcome packages for new home-owners, VIP exclusive access events, etc.

Cultural bus tours - building on the successes of the Mississauga Art Bus and othersimilar programs, and working with culture-specific tourism operators (e.g.Chinese-Canadian Tai Pan Tours), a more expansive cultural bus tour programcould be initiated to bring suburban families to shows downtown. Stay-at-homemoms and older citizens in the suburbs are under-serviced audience segments.Many of them may feel less comfortable with English and/or with navigating
http://helenyung.com/marginalia/http://helenyung.com/2012/04/11/video-what-kind-of-artist-are-you-anyway/http://helenyung.com/2012/04/11/video-what-kind-of-artist-are-you-anyway/http://helenyung.com/2012/05/23/the-gift-list/http://helenyung.com/2012/05/23/the-gift-list/http://helenyung.com/2012/04/11/video-what-kind-of-artist-are-you-anyway/http://helenyung.com/2012/04/11/video-what-kind-of-artist-are-you-anyway/http://helenyung.com/marginalia/


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downtown Toronto by car or public transit. By offering a consistent service(ideally with a known brand such as Tai Pan Tours) that will pick up and drop off

these groups and their friends at a familiar meeting place in the suburbs (e.g. anethnic mall, community centre, local library branch, or church), the programwould directly address perceived and real barriers to participation.

CPAMO recently sent out a survey to its members requesting feedback on upcomingplans / new directions. Are you a member yet? Did you receive the survey? Having justcome from that side of the work, I urge you to stay in touch with CPAMO. It is veryhard to keep working without hearing consistently from the community you are trying toserve. Join the roundtable discussions to listen and offer your perspectives.

Please keep in touch, with CPAMO, and with me... You have my email. On Twitter I am@helenyung. If you're curious about my art, consider coming by this November 23, 24 or

25 when I will be presenting work with Dreamwalker Dance.

Thank you.Helen Yung

Ottawa In the Fall

In working with our partners (http://cpamo.posterous.com/pages/cpamo-in-ottawa)CPAMO has convened several recent events and is planning for further work in 2013.Over the past months, CPAMO coordinated and supported:

September 20 - 21 - Town Hall on Aboriginal and Ethno-Racial Communities inOttawa and Implications for the Arts. The Ottawa community is changing and thereare increasing signs of this in the growth of Aboriginal and ethno-racial communities. Toaddress this, several arts organizations in Ottawa have come together to discuss thesechanges and what they mean to promoting arts and culture in the Ottawa region.Together with CPAMO, such organizations as MASC (Multicultural Arts in Schools andCommunities), Coalition of New Canadians for Arts and Culture, the Ottawa Art Gallery,Shenkman Centre for the Arts and Centre Point Theatre, One World Dialogue, CARFACNational, the Ottawa Local Immigration Partnership and others are hosted a TOWNHALL ON PLURALISM IN THE ARTS: ABORIGINAL AND ETHNO-RACIALCOMMUNITIES IN OTTAWA AND IMPLICATIONS FOR ARTS AND CULTURE.

This Town Hall provided an opportunity for Ottawa artists and arts organizations todiscuss these changes in the Ottawa region and to share strategies for engaging thesecommunities and building audiences for and from them. This first Town Hall shed lighton the characteristics of Aboriginal and ethno-racial communities and the importance ofcommunity engagement and audience development. The full day session involvedpresentations by Cathy Shepertycki (City of Ottawa Cultural Services), Professor BrianRay (University of Ottawa), and Jerry Longboat (Artistic Director Circadia Indigena).These panelists addressed issues related to Aboriginal communities and theirengagement in the arts as well as on ethno-racial and immigrant communities, their
http://cpamo.posterous.com/pages/newsletterhttps://twitter.com/helenyunghttp://helenyung.com/2012/10/16/in-toronto-this-november-23-24-25-in-the-distillery-district/http://helenyung.com/2012/10/16/in-toronto-this-november-23-24-25-in-the-distillery-district/http://helenyung.com/2012/10/16/in-toronto-this-november-23-24-25-in-the-distillery-district/http://helenyung.com/2012/10/16/in-toronto-this-november-23-24-25-in-the-distillery-district/https://twitter.com/helenyunghttp://cpamo.posterous.com/pages/newsletter


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interests in the arts and their social capital. The panel session was followed by facilitateddiscussions on the importance and extent of community-based organizations in

Aboriginal and ethno-racial communities and how to work with them. In this context, thefollowing questions were discussed:

1) What has happened and will continue to happen in terms of the numerical growthand areas of settlement of these communities;

2) The implications/significance of these changes in terms of social, economic, politicaland cultural perspectives;

3) The key characteristics of these growing communities, particularly in terms ofcultural interests/retention and how this might lead to programming, employmentand marketing opportunities;

4) The social capital of these communities and some geographic mapping of them aswell.

The presentations took place in the morning followed by facilitated workshops aimed atlearning from each other what artists and arts organizations are doing to connect withthese growing communities, what's working and where there is need for assistance. Theresults of this Town Hall have been recorded and will set the stage for future workshopsaimed at developing strategies for Ottawa arts organizations to connect with Aboriginaland ethno-racial communities in the Ottawa Region.

Oct. 1 2012 on Local Partners and Immigrant Settlement. OLIP held a morning

session with its members to discuss issues related to immigrant settlement. Convenedat Ottawa City Hall with the Mayor presiding along with OLIPs masters of ceremony,several recent immigrant community members were given awards for their work invarious fields, e.g., business, services, etc. Following the awards ceremony, there wasa panel session to discuss key issues related to employment, the arts and collaborationin the work to settle immigrants in the Ottawa region. CPAMOs Project Lead was one ofthe panelists and discussed the interest of immigrants for the arts and the importance ofOLIP and CPAMO working together with Ottawa-based artists and arts organizations.

As a follow-up to these meetings, in partnership with Creative Trust and Heather Youngand Associates, a workshop on the uses of digital technology for data management foroffice administration, financial matters, grant preparation and community/audience

development/engagement will be held. More information about this session will bereleased soon.


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TOGETHER IN DANCE FORUMAT FLATO MARKHAM THEATRE:

Conversations and concrete actions about engagement through dance in a

diverse communityPresented by Flato Markham Theatre in partnership with CPAMO

Supported by the City of Markham and TixHub.October 14th, 2012 Flato Markham Theatre, Markham Civic Centre

Flato Markham Theatre implemented a new dance series with the 2010-11Season. Thisworld-class series included Canadian and international companies and has also beenpart of Markham Theatre Discovery, the theatre umbrella providing educational/outreachprograms. For the 2011-12 season, the theatre joined the group of select presenters aspart of the Ontario Dances initiative and supported by the Ontario Arts Council. Thisenriched the dance program of the Theatre with Ontario based dance companies as partof the program mix and expanding the outreach portfolio.

At the conclusion of the 2011-12 season, the theatre management reflected on itsvarious dance programs and initiatives and, based on this, it discovered that the Dancecommunity is vibrant in Markham with each sector doing great work and that theMarkham region has a growing and rich community of diverse dance ensembles andschools, representing the areas demographic trends.

However, since much of this work is in silos, this forum was held to build future successfor dance in Markham and address the key question on how to engage with the variousdance sectors in the region with the goal of a cohesive and comprehensive plan inmaking the discipline more vibrant, increasing participation and grow audiences. In thiscontext, the goals of this gathering were to:

1. Bring people together and engage a conversation between the various sectors;2. Better understand the needs of the various sectors of the dance community vs.

theatre programs and services; and3. Identify opportunities to Increase community engagement and build a vibrant

audience for dance in the Markham Region.

This gathering received presentations by several active in the field of dance as artists,presenters and educators, including Emily Cheung, Artistic Director of Little Pear GardenTheatre Collective; Vivine Scarlett, Artistic Director of Dance Immersion; MenakaThakkar, Artistic Director of Menaka Thakker Dance; and Soraya Peerbaye, formerDance Officer for the Toronto Arts Council now working on a dance mapping project in

Markham.

The panel presentations were then followed by small group discussions that addressedthe following:

Table A: Theatre and Dance1. What can the Theatre/Markham do for the dance community? Role?2. Diversity in Dance: What is the next step for the Theatre and Markham?3. What initiatives can we imagine for community engagement through dance at the


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Theatre and in Markham?

Table B: Dance organizations and studios1. Community engagement: Is it worth it? Why do it?2. Diversity in Dance: What would be the value? How do we do it?3. How can we work together (between the various sectors)? Partnershipsopportunities?

Table C: Dance Education1. What is needed to grow the curriculum and develop the profession?2. What are the employment opportunities? Dance studios? Companies?3. How should the Theatre be engaged in dance education?4. How can we work together (between the various sectors)? Partnershipsopportunities?

Minister Michael Chan, MPP, was also on hand to thank the presenters and speak tothose gathered and the day ended with a keynote address delivered by Tre Armstrong.

For further information about this gathering, please contact:Eric LariviereGeneral ManagerT.: 905-415-7546C.: 647-205-6375

CANADIAN DANCE ASSEMBLY, CPAMO AND THE AGA KHAN

MUSEUM

Step in Time

Technologies and Pluralism in Dance

Inspired by the intersection of pluralism and technology in a rapidly changingenvironment, and in collaboration with CPAMO and the Aga Khan Museum, theCanadian Dance Assembly held its 6th National Conference October 20-22, 2012 inOttawa. This gathering with the dance community was full of exciting and inspiringexchange and dialogue about shaping the future of dance in Canada.

Heres an excerpt of the conference proceedings.

Keynote Address, "Witnessing Dance: Mediation and the Technologies of

Representation"Proudly Sponsored by The National Ballet of Canada | Speaker: Douglas Rosenberg.

Unashamedly utopian, this talk addressed how we look, how we discuss, how wecirculate and inscribe images of dancing bodies in a pluralistic world. Presenting ideas ina relational framework, Douglas Rosenberg situated dance within a larger conversation,as a discipline within a system of discourse, signifiers and conversations about mark-making, about presence, about bearing witness to a particular kind of humanness that
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has the potential to speak about both democracy and egalitarianism even as it conformsto contemporary esthetics. Technology and democracy are often mentioned in the same

breath (the Arab Spring and social media for instance, or the internet as a force fordemocratizing information).The technologies of representation (as they relate to dance)are inextricably linked to access: to the tools of media, to who controls how the results ofmedia/dance collaborations circulate in the culture and most importantly how thetechnologies of representation, (film, video, moving image production) reinforce ideasabout women, race, disability, beauty, and such. When dance artists translate theirchoreographic ideas from stage to screen, often the result is that the screen versionrepeats unhealthy and damaging tropes that are antithetical to inclusion, democracy,and egalitarianism. This talk suggested models to re-articulate the possibilities oftechnology and dance and to create opportunities for creative and critical discourse inour dance communities that focus on the human condition.

Panel - Changing demographics in dance - The successful practice of artisticpluralism

Proudly Sponsored by Decidedly Jazz Danceworks | Moderator: Warren GarrettSpeakers: Charles Smith, Amirali Alibhai, Michele Moss, Lata Pada, Zab Maboungou.

The successful practice of artistic pluralism requires cross-cultural respect, dialogue, andunderstanding. The arts demonstrate and manifest the potential of thinking andcreating together across differences. In times of changing demographics, consideringthe integration of new cultures within the Canadian mainstream, this panel discussedhow we can adapt to current increasing changes, the intersection between artists fromdifferent origins mean. It also discussed: what are the questions that need to be

addressed in order to attract people coming from different backgrounds, and what arethe obstacles, challenges and success stories related to this topic.

Innovation Forum I: "Dance From Stage to Screen: Five Journeys, Five Stories"Moderator: Douglas Rosenberg | Speakers: Priscilla Guy, Paulina Ruiz Carballido,JoDee Allen, Izabel Barsive, Olga Barrios

This panel was story-telling time! The five artists shared their journeys through the life ofa lens and discussed how . dance artists use new technologies as a component of theirwork; how they approach this form of expression and performance from behind thescreen, how it alters the experience, why have they chosen to work this way, and what

are the advantages and disadvantages of this digital age?

At the same time, the CDA celebrated exceptional members of the dance milieu withCanadas first National Dance Awards TheI love dance/Jaime la danse Awards!

1. Rosco Floors I love dancecommunity award WINNER:Kaeja dDance. KaejadDancebridges dance art and the public. Co-Artistic Directors Karen & Allen Kaeja.
http://www.decidedlyjazz.com/http://www.decidedlyjazz.com/http://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.rosco.com/quicksites/dance.cfmhttp://www.kaeja.org/http://www.kaeja.org/http://www.kaeja.org/http://www.kaeja.org/http://www.rosco.com/quicksites/dance.cfmhttp://www.cda-acd.ca/en/programs-services/ilovedance-awardshttp://www.decidedlyjazz.com/


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2. En Pointe I love danceyouth award WINNER: Love 2 Groove. Julia GutsikFounder/artistic director of Luv2Groove is recognized for her versatility as a dancer, and

distinct flavor and high energy as a performer and teacher.

3. I love danceseniors award WINNER: Charmaine Headly ofCOBA Collective ofBlack Artists. As Co-Founding Artistic Director of COBA, Collective of Black

Artists, Charmaine Headley champions Africanist dance, and is inspiring newgenerations while playing a vital role in our community.

4. AFBS Ilove dancehealthy citizens award WINNER: Dance Our Way Home. DanceOur Way Homes visionary director, Erica Ross, infused the dance practice with herpersonal relationship to life and the lens through which she sees it; her love for andrelationship with Earth-based spirituality, the divine feminine, and the wisdom teachingsof Buddhism and Shamanism.

5. I love dance award for a creative economy WINNER: Christianne Blanger Danse.Christiane Blanger-Danse, founded in 1989, now counts 600 students, and isthe biggest dance school specialized in classical ballet in Quebec. heading many eventsfor National Dance week

6. Aga Khan Museum I love dance international award WINNER: RUBBERBANDanceGroup. Since it was founded 10 years ago, RBDG had the opportunity to performin several internationally recognized locations in the dance world, being a shining

example of Canadian dance.

7. CPAMO I love dance award for the promotion ofpluralism WINNER: MenakaThakkar. Now celebrating 40 years in Canada, Dr. Menaka Thakkar is the founder andartistic director of the first professional school of Indian dance known as Nrtyakala

Academy of Indian Dance and the first professional Indian dance performance companyknown as Menaka Thakkar DanceCompany. of a world- renowned dance school andcompany.

8. I love dance award forinnovation WINNER: Julia Taffe of Aeriosa Dance. For the

past 14 years Julia has pursued her artistic practice in non-traditional settings. She is thefounder and artistic director of Aeriosa dance society, and stages her choreography in(and on top) of theatres, on mountains and on buildings.

9. I love danceaudience memberaward WINNER: Henry Kim Wong. Henry wasnominated as Vancouvers biggest dance fan, attending almost every contemporarydance performance in the city.
http://en-pointe.com/http://luv2groove.com/http://www.cobainc.com/http://www.actrafrat.com/public/index.phphttp://www.actrafrat.com/public/index.phphttp://www.danceourwayhome.com/http://www.christianebelanger-danse.com/http://www.christianebelanger-danse.com/http://www.akdn.org/museum/http://rubberbandance.com/https://sites.google.com/site/cppamo/http://www.menakathakkardance.org/http://www.menakathakkardance.org/http://www.menakathakkardance.org/http://www.menakathakkardance.org/https://sites.google.com/site/cppamo/http://rubberbandance.com/http://www.akdn.org/museum/http://www.christianebelanger-danse.com/http://www.danceourwayhome.com/http://www.actrafrat.com/public/index.phphttp://www.cobainc.com/http://luv2groove.com/http://en-pointe.com/


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10. I love dance corporation award WINNER: TD Bank Group. TD Bank Group hasbeen a consistent supporter of Canadas National Ballet School for nearly 30 years and

have made over 100 gifts totaling more than $2.2-million in support. They have been thelead sponsor of flagship fundraising events and have contributed more than $1.2-millionto support bursaries and scholarships for talented students in need in the professionalballet program.

11. I love danceorganization award WINNER: Dance Collection Danse. DanceCollection Danse (DCD) is Canadas national research centre, archives and publisherdedicated to the preservation and distribution of Canadian theatrical dance history..

12. I love dancedonors award WINNER: Jeanne Lougheed. Jeanne Lougheed hassupported dance and the performing arts all her life, donating to the Alberta BalletSchool, the Alberta Ballet Company, the Banff School of Fine Arts, and the RoyalWinnipeg Ballet.

For more on the CDA conference seehttp://www.cda-acd.ca/en/programs-services/session-descriptions

CPAMO Volunteer Recruitment Event:Date: Tuesday December 4th, 2012

Time: 5:00-9:00pm

Location: Art's lounge, Regent Park Arts & Cultural Centre585 Dundas Street East, Toronto, ON

CPAMO is hosting the much awaited "Fall in Love with the Arts Speed Dating Event"on December 4th! What's this? It's where you get the opportunity to meet with volunteerswho want to work with your organization. We've organized this previosly for Stand Firmand it was a good success, now we're organizing this with CPAMO. This fun and flirtyannual event will allow you to showcase your organization, will offer mouthwatering foodand lots of incredible door prizes. Admission is free.

Do you want to get involved? Do you have tickets you want to enter in the draw?

Contact Anita by November 23 [email protected] at 416.836.3470

Even if you don't get a match, last year we had many members of the media attend andthe event was featured in SNAP!, the Downtown Bulletin and it was televised on a South

Asian News Program. So this is a great opportunity for you to get invovled and get somemedia exposure as well.

Check out this great endorsement from the Dub Poets Collective:http://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcp
http://www.dcd.ca/http://www.cda-acd.ca/en/programs-services/session-descriptionshttp://www.cda-acd.ca/en/programs-services/session-descriptionshttp://www.cda-acd.ca/en/programs-services/session-descriptionshttp://www.cda-acd.ca/en/programs-services/session-descriptionsmailto:[email protected]:[email protected]:[email protected]://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcphttp://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcphttp://www.youtube.com/watch?v=eRPpwV4Wg0E&feature=plcpmailto:[email protected]://www.cda-acd.ca/en/programs-services/session-descriptionshttp://www.cda-acd.ca/en/programs-services/session-descriptionshttp://www.dcd.ca/


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UPCOMING CPAMO WORKSHOPS

DATA SMART WORKSHOPS:We are pleased to partner with Neighbourhood Arts Network (NAN), Creative Trust andYoung and Associates to bring you the Advanced Excel Skills + Drop-In Clinic forDatabase Questions Workshops started on November 6th 2012. Each session willfocus on many aspects of Database Management. Over the sessions participants willlearn how to manage your data, research your database, creating organizationalconsistencies about retrieving/entering data and central management of databases. Weknow there are many members whose eyes begin to roll back in their head at the meremention of the D word. Young and Associates however, aim to demystify the stigmarelated to database and its management and will demonstrate how having a working

database will influence your organization on many levels. A networking session is alsoplanned - stay tuned for more information. Please note that due to demand, workshopsemails will go out confirming attendance and what will be required at each workshop. Wehave agreement for a capacity of 20 participants from both arts service agencies,CPAMO and NAN.

Connecting the Dots: A Path to Effective Technological / Administrative Practices:Our final workshop will be facilitated by charles smith with Kevin A. Ormsby and willfocus on connecting the applicability of all the workshops for our organizations andmembers. 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 databasemanagement 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 wedo. For some, there may be deep-rooted insecurities about how to navigate around thedifferent elements and how your organizations can use them. This session will be aworking session, where we would like to show you how to use the collective knowledgebase of your employees and organizations. The workshop dates are forth coming andwill be at the end of all other workshops organized through partnerships with otherservice organizations.

CPAMO SURVEY RESULTS:

We want to take a moment to say thank you to all our members for taking the time tocomplete our survey. The survey results will shape our programming for the upcomingyear as we continue to build the profile of CPAMO and, more importantly, the profile ofour members. We suspect youre curious to know what was of interest based on thesurvey questions. We had eighteen (50%) members respond to the survey and here arethe results:

1. Of the upcoming workshops for end of 2012, interests lied in the following areasAdvanced Excel Skills + Drop-In Clinic for 50.0%


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Database QuestionsOnline Fundraising Campaigns - Tips and How-

Tos

83.3%

Screenshare for Virtual Meetings and RemoteTroubleshooting

16.7%

Effective Technological / AdministrativePractices

50.0%

2. Of the workshops proposed for 2013, here are where interest lies and will be pursed.Working within Communities 50.0%Working with Older Adults 11.1%Effective Marketing and EngagementStrategies

66.7%

Strategies to Seeking, Nurturing and Keeping

Donors

66.7%

Making Pitches to Presenters for Performancesand Gallery Showings

38.9%

Collaboration with presenters 61.1%

There are many intriguing results to the survey that will frame our relationships into2013. Curious to see the entire survey results? Let us know and well send them toyou!!!

Collaborations in the Arts CCI and CPAMO:DEVELOPING PLURALISM IN THE ARTS ACROSS THE GTA

In the winter and spring, 2011,exploratory meetings were convened with several largeToronto-based arts organizations, e.g., the National Ballet School, Luminato, the City ofToronto Economic Development Department, SONY Centre for Performing Arts, theRoyal Conservatory of Music. Similar meetings have been held with Oakville Theatre,Markham Theatre, Rose Theatre (Brampton), Ontario Contact and Meadowvale Theatre(Mississauga), Prologue to the Performing Arts, the CanDance Network and theCanadian Dance Assembly.

These meetings were held to discuss possible collaboration between the CPAMORoundtable members and larger cultural organizations for the purposes of informationsharing and project development aimed at supporting the Roundtable members and

these arts organizations to:

Develop collaborative promotional/marketing and audience developmentstrategies aimed at connecting with Aboriginal and diverse communitiesinterested in the arts;Develop access to volunteers and other organizational resources, e.g., staff andboard members;Enhance CPAMO members understanding of how to attract private sectorfoundations and corporate sponsors interested in the arts;


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Provide organizational support for financial and administrative systemsdevelopment amongst CPAMO members.

CPAMO is now undertaking the following actions to implement this activity:

a) Identifying successful collaborative strategies involving ethno-racial andAboriginal arts organizations that have worked with large well-established artsorganizations as well as corporate and private sector funders. Several CPAMOmembers have experienced such collaborations. These members include:Manifesto with the Toronto International Film Festival and Luminato;Sampradaya Dance Creations with Luminato; REELAsian Film Festival withRichmond Hill Theatre and the University of Toronto Scarborough; South AsianVisual Arts Collective with the Art Gallery of Ontario; Red Sky Performance withYoung Peoples Theatre.

b) Consulting with Roundtable members to discuss these strategies and to developa plan of action for meetings with: (i) enable presenters; (ii) ethno-racial and

Aboriginal business associations and media; and (iii) corporate and privatesector funders, including Business for the Arts.

c) Developing a joint strategy with the Roundtable to identify how to engagepresenters, ethno-racial and Aboriginal business and media, and corporate andprivate funders.

Based on the interests of all concerned, CPAMO and CCI will soon convene meetingswith presenters and CPAMO Roundtable member to develop and implement project

proposals for furthering this conversation and bringing these arts organizations togetherto work on initiatives that will support each other in tangible and measureable ways.

NEWS YOU CAN USE:

Fundraising Webinar Series - Canada'sPerforming Arts Alliance

Statistics Canadas 2010 Performing Arts figures, summarized by Hill StrategiesResearch, tell us that private donations represent the third major source of revenues forCanadian not-for-profit organizations after box office and grants. If you are part of charityorganization looking at ways to make the most of private, foundation and corporatedonations, this webinar series may be just what you need!

The Performing Arts Alliance is proud to offer a series of three webinars on Fundraisingfor Arts Organizations, developed and presented by renowned Canadian fundraisers, R.Scott Fortnum, ACFRE, and Luce Moreau, CFRE.


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This webinar series offers a multi-stage look at key aspects of fundraising: participants

may register for a single webinar or for the full series. From every webinar, participantswill take away information and tools they can use immediately to help increase thefunding critical to their organization and its programs.

These webinars are intended for beginner and intermediate-level fundraisers: culturalworkers and board members who may be performing fundraising duties as part of theirresponsibilities, and who want to hone their understanding of fundraising.

Cost:Single webinar: $35 (plus HST)

All three webinars: $80 (plus HST)Members of a Performing Arts Alliance association (Canadian Dance Assembly,

CAPACOA, Opera.ca, Orchestras Canada, PACT) are entitled to a 25% discount.

For more information and to register, click HERE.

14 tips and tricks for a successful silent and live auctionBy Heather Wardle (http://heatherwardle.com/)

Posted onOctober 25, 2012My friend Gareth Duncan, Director of Development at the Vancouver International FringeFestival knows a thing or two about how to run a great silent and live auction event.Each year, the Fringe holds a fun opening night event on Vancouvers Granville Island to

showcase some of the performers and to raise funds for the festival.

Gareth kindly shared his expertise with me and Ive added some tips of my own that Ivegleaned over the years. Here are 14 tips and tricks for succeeding with yourcharitys silent and live auction:

Register your guests. This gives you a chance to report back to them on the successof the event and how it helped your mission. It also allows you to enter thisinformation in your donor database and to segment your mailing list. They willalso be the first people you can contact for your next auction event.

At the registration table, give each person a bid paddle and number. One side ofthe paddle can have an image that will reinforce your brand or mission (at theFringe they use their mascot Jimmy) and the other side, in very large type so itcan be read across a dark room, is the bidders number. Having a paddle in yourhand also has an interesting psychological effect encouraging people to take partin the live auction.

Make sure you have some inexpensive items in your live auction. Having someaccessible items gets the energy going in the room and encourages people totake part.
http://cda-acd.us2.list-manage.com/track/click?u=459b84c6d9cc5ef4d975d09a9&id=07e386b853&e=c5c416d33fhttp://cda-acd.us2.list-manage.com/track/click?u=459b84c6d9cc5ef4d975d09a9&id=07e386b853&e=c5c416d33fhttp://heatherwardle.com/http://heatherwardle.com/http://heatherwardle.com/http://heatherwardle.com/2012/10/25/14-tips-and-tricks-for-a-successful-silent-and-live-auction/http://heatherwardle.com/2012/10/25/14-tips-and-tricks-for-a-successful-silent-and-live-auction/http://heatherwardle.com/2012/10/25/14-tips-and-tricks-for-a-successful-silent-and-live-auction/http://www.vancouverfringe.com/http://www.vancouverfringe.com/http://www.vancouverfringe.com/http://www.vancouverfringe.com/http://heatherwardle.com/2012/10/25/14-tips-and-tricks-for-a-successful-silent-and-live-auction/http://heatherwardle.com/http://cda-acd.us2.list-manage.com/track/click?u=459b84c6d9cc5ef4d975d09a9&id=07e386b853&e=c5c416d33f


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Have a great MC and auctioneer. Your auctioneer or MC can really make the eventexciting, circling back to the mission, recognizing those people who have bid and

reinforcing how by upping the bids they are helping accomplish whatever thegoal of the event is. Silent auctions might be places where people are looking forbargains, but in a live auction you can really educate about philanthropy.

Use your live auction to ask for straight donations. After youve auctioned off allthe physical items, the auctioneer can auction off donations to the cause. Makethis process fast and start high and work down to the lowest donations, say $50or $25.

Put some of your charitys items in the silent auction. Another way to get straightdonations for specific projects for your charity is to include them in your silentauction. For instance, at the eye care charity I worked for, we had a bid sheet forspecialized lenses for cataract surgeries for children in Africa. Each lens cost$100, so we created a bid sheet and photo display for that item and people

signed up to provide 1 or more lenses for childrens eye surgeries. If your silentauction is aimed at, lets say, providing a school bus, you could auction off seatson the bus and take names and bid numbers of people who pledge to donate aspecific amount per seat.

Have multiple volunteers record the bids. Volunteers should be placed around theroom and each one should be equipped with a clipboard with a spreadsheetlisting auction items and item numbers so they can easily record final bid valueand the bidders number. Recognize that people make mistakes, so havemultiple volunteers recording the bid values and numbers and then compare theirlists immediately after the live auction to make sure that there is agreement onwho bid what. Make sure your item lists have lines for the donation amounts too,as #5 above.

Market each item well. Print bidding sheets with the item number, the name of theitem, how much it is worth, a short compelling description and a minimum bid.You can dress up your bid sheets with photos, logos, etc., (or even get abusiness to sponsor them) too. Other ways of marketing the items are to providea printed catalogue with the above information and a visual slide show of all theitems. Make sure that your bid sheets have a large enough font and are easy toread. Dress up the item with props, e.g., a plate with cutlery, napkin, and themenu of the restaurant whose gift certificate you are auctioning.

Set a minimum bid. While theres debate on whether or not to have bid increments,its definitely good to have minimum bids. Ive seen recommendations of anythingfrom 20% to 40% of the value of items for the minimum bid. Buy out bid amountsare good, too, e.g., bidding 110% of the items value secures it.

Have plenty of pens that work. If they cant write, they cant bid. Make sure you haveplenty of good pens available, caps off and ready to go at each bid sheet, sincesome pens will disappear.

Station informed volunteers behind the silent auction tables. These volunteersarent just there to smile sweetly; they need to know about your organizationsmission and they need to know about the items on their table so that they canpromote and sell them. They should be coached in advance about their roles andbe told how they can help move the auction along. For instance, if an item is notgetting bids, they can say, This is a really great bargain and nobodys bidding


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you should get in on this. For fast-moving items, they can say, This is a reallyhot prize. Make sure you put a bid down now so you dont miss out. They can

even create some commotion when theres a hot battle for an item. Theresnothing like a bit of chaos to create excitement and a bidding frenzy! (Thisprinciple works well in the live auction, too.)

More items does not equal a better auction. Too many auction items, whether liveor silent, just paralyzes decision making and can reduce yields. As a general rule,for a silent auction, have no more than one item for every two guests. Combineitems into packages or attractive baskets. Fewer items (live or silent) can meanmore competition (i.e., bidding).

Traffic flow is important. Plan your table layout for good traffic flow and be mindful ofwhere you place your food and drinks tables. Make it easy for people to see whatis there and circle back to bid again.

Have clear closing times and encourage last-minute bids. Its a good idea to close

your silent auction in sections, with the highest-value items grouped and closed last.Make sure that you announce your countdown times clearly (10 minutes, 5 minutes etc.)and encourage last-minute bidding and some friendly competition. Close your silentauction in plenty of time to be able to gather prizes and process payments efficiently andnot have your guests feeling frustrated as they hang around to check out. Many delayedbidding winners will leave early, causing you the headache of days or weeks of follow-upand auction item storage.

Why Endeavour(http://www.endeavourvolunteer.ca/about-us/)

Consult with Endeavour to improve your organizational capacity and community impact.

Our volunteer consultants work with non-profits that otherwise cannot afford professionalconsulting.

Vision and Mission: We envision a world where access to professional consultingservices is not a barrier to non-profits in achieving their goals, regardless of theirfinancial capacity.

Endeavour Volunteer Consulting for Non-Profits (Endeavour) is a registered Canadiancharity that provides management consulting to improve organizational capacity andcommunity impact. We focus on serving non-profit organizations that otherwise cannotafford professional consulting.

Since 2007, Endeavour has recruited and managed more than 300 volunteers to providemanagement advice to more than 50 non-profit organizations in Ontario, helpingcommunities in many areas, such as the arts, children and family services, disabilities,education, environment, healthcare, immigrant services, rural development, skillstraining, poverty relief, and youth development.

Our Mission: Endeavour is dedicated to enabling non-profit organizations to improve


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and sustain their community impact. To achieve our mission, we are committed to thefollowing goals:

1) Providing volunteer consulting to non-profit organizations that otherwise may notbe able to afford professional consulting services; and

2) Engaging the community in providing volunteer consulting

Our Valuesguide us in achieving our mission.Our Expertise: Our expertise in strategy consulting and volunteer managementenables us to effectively serve non-profit and charitable organizations that otherwisecannot afford professional consulting. Find out how our expertise may be a matchwith your organization.Our Approach: We match your non-profit organization with ateam of volunteer consultants who will work with you to develop a strategy that meets

your needs. Learn more about our approach to consulting.Our Impact: Our clienttestimonials are a great way to gauge the impact Endeavour is making in ourcommunities. Hear what past clients have to say about working with Endeavourand their successes.

UPCOMING EVENTS

Feng (Wind/Breeze)Presented by: Little Pear Garden CollectiveNovember 16 and 17, 2012 at 7:30pm

Winchester Street Theatre80 Winchester Street, Toronto

A Collage of Six short contemporary choreographies on various emotions and slages ofwind inspired by Chinese myths and poetry. Choreographed by our Artist in Residence,Jack Shi and Artistic Director, Emily Cheung. Lighting Designer, Gabriel Cropley.

Tickets: $28Tickets and information: 416-504-6429 ext. 21 | www.LittlePearGarden.com

Beautiful Girl

Presented by: Polycultural Immigrant and Community ServicesAugust 16, 2012 - December 31, 2012Every Thursday from 4pm to 6pm | Free

Polycultural Immigrant and Community Services3363 Bloor Street WestIslington Avenue and Bloor Street West
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The Beautiful Girl Initiative facilitated by Polycultural Immigrant and CommunityServices, gives teenage girls an opportunity to meet in a safe and friendly environment,

in person and on-line, to discuss issues and challenges that come along their paths.

During our on-site sessions, we use different arts to facilitate artistic exploration and self-understanding and to increase awareness of how our habits, thoughts, beliefs andimagination create our reality. We use visual arts, writing, drama, movement as well asdiscussion. If you dont consider yourself an artist, do not be afraid. No professionalexperience required! It is impossible that you will not find an artistic expression withinyourself!

For more information:www.beautifulgirltoronto.wordpress.com | [email protected] | 416-233-0055

IntimaciesArtists: My Le Nguyen, Immony Men | Essay by: Stephanie LamPresented by Aspace GalleryNovember 2 - December 8, 2012

Aspace Gallery (Main Gallery)401 Richmond Street West, Suite 110Toronto, Ontario M5V 3A8 Canada

Dwelling in the space between private memory and public display, Immony Mensinstallation work,Effections: We need to talk,and My Le Nguyens photographicseriesMy ParentsandSwitch,draw on the idea of the screen as a mediating surface.While both these artists use very different work processes, they are ultimately engagedin acts of translation. In the case of Menwhose work involves the painstaking processof repeatedly crumpling sheet after sheet of paper and scanning them into a computertranslation occurs at the level of the material, wherein the labor of the hand has thepower to reinvest the digital image with an artisanal value typically associated withanalog forms. In the case of Nguyens photographs of watched or unwatched televisionscreens, translation occurs at the level of cultural positioning: waiting, observing,documenting moments and spaces where communication does not happen, wheretranslation in fact fails. Common to both these artists is an attempt to activate the screenas a surface for exteriorizing that which we would consider privateinterior landscapes,amorphous worlds that are specific to us as individuals, as families, and as members oflarger communities.

For more information: www.aspacegallery.org/index.php?m=programdetails&id=682416- 979- 9633 | [email protected]

Ballet Creole: Soulful MessiahPresented by: Harbourfront Centre
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Friday, November 30 and Saturday, December 1 2012 at 8pmSunday, December 2, 2012 at 3pm

Prices$20 - $45Fleck Dance Theatre231 Queens Quay West, Toronto

This performance is a Ballet Creole signature piece, which breathes the universallanguage of spirituality and pure happiness that we all yearn to share, especially duringthe holidays.Soulful Messiah infuses tap, African-Caribbean, ballet, jazz and modern dance into aunique celebration of life through dance and music. Soulfully danced to Quincy Jones

Grammy Award-winning R&B rendition of HandelsMessiah, this universal holidaytradition will leave you singing, Hallelujah!

Enriched by the uplifting voices of Aretha Franklin, The Boys Choir of Harlem, StevieWonder and Gladys Knight, there is no question why this holiday production iscelebrating its 11th year anniversary in Toronto. Guest performer David Cox (formerly ofSTOMP), returns to tap his way through this emotionally driven dance accompanied bythe Ballet Creole professional dance company. Illuminated by the talents of lightingdirector, Brad Trenaman, each piece signifies humanitys core emotions.

Ticket: $20-45Ticket purchase URL:http://tickets.harbourfrontcentre.com/production.aspx?id=18693

Jane Ash Poitras: New Acquisitions of Contemporary First Nations ArtPresented by: Royal Ontario MuseumsOngoing

Royal Ontario MuseumsDaphne Cockwell Gallery of Canada: First Peoples, Level 1Contemporary expressions Exhibition Space100 Queen's Park, Toronto ON M5S 2C6

Four paintings recently acquired by the ROM explore colonialism and traditionalknowledge of the therapeutic properties and spiritual significance of plants, wisdom nowlost but which we hope to reclaim. These works incorporate knowledge that is taught andknowledge that is revealed, in combination with a powerful artistic vision.

I think that the role of an artist today is to become free, to transcend. Then they cantransform, enlighten, and become empowered. - Jane Ash Poitras, 1997, Hart House,Toronto
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Winter Family FestivalPresented by: Japanese Canadian Cultural Center

December 9, 2012 12-4pm

Japanese Canadian Cultural CenterKobaysshi Hall and Shokokai Court6 Garamond Court, Toronto ON M3C 1Z5

Last December, the JCCC held its first ever Winter Family Festival, a day of fun forfamilies and kids of all ages. With over 300 people in attendance, the festival was agreat success. Thanks to the overwhelming show of support, we are happy to announcethat the 2nd Annual Winter

In addition to the many activities which were popular with kids, such as the Christmas

ornament craft booth, gingerbread cookie decorating table, and of course the photoswith Santa Claus, were also bringing back the popular magician.

To find out what other exciting activities we have in store, grab a friend and come on outto this years festival and join in the fun. Everyone is sure to go home with some warmmemories and lots of great crafts and goodies. We look forward to seeing you there!Gingerbread House Decorating Contest Back by Popular Demand!

Last year we had some incredible entries for the Gingerbread House DecoratingContest, and we hope everyone will participate again this year. We are currently open toentries for this years contest, and we have added some new categories to include BestOverall Winner, Most Original and Childrens Choice. Theres a limit to the number ofentries this year, so register early to avoid disappointment. For more information:http://jccc.on.ca/event/winter-family-festival/

Admission: Adults $5, Children $3 (3 15 years old)Kids under 3 are free!

General inquiries: 416-441-2345 | [email protected] registration and volunteering: Yuki Hipsh at [email protected] or 416-441-2345ext. 235Sponsorship: Terry Takashima at [email protected] House Decorating Contest submissions: Sandy Chan at [email protected] 416-441-2345 ext. 226


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Ted talks:

On October 29 TEDxToronto took place in Toronto and in this issue we would like toinclude ted talks form previous TEDxToronto.

TEDxToronto 2012 Talk: Heather Jarvis & Sonya JF Barnett

About the speaker: Heather Jarvis is a queer, sex- and body-positive feminist. Withexperience in gender studies, social work and community activism she has spent severalyears supporting and initiating projects around gender equality, sexual education,supporting marginalized communities and safer spaces for support. She co-foundedSlutWalk in early 2011, a small idea that began in Toronto to fight sexual violence andhas since spread across the world. Described as an eternal optimist by some who knowher, Heather refuses to believe things cannot change.

Over the years, Sonya JF Barnetthas been championing womens sexual rights in avariety of ways. In 2009, she founded The Keyhole Sessions as a safe and welcomingcommunity for artists to experience the marriage between sex and art. In early 2011, shecoined the term SlutWalk and became Co-founder of SlutWalk Toronto as a way tocombat victim-blaming, slut-shaming and sexual profiling. An activist and advocate forsex positivity, shes got a clean conscience, but a filthy mind. Link:www.tedxtoronto.com/talks/tedxtoronto-2012-talk-heather-jarvis-sonya-jf-barnett

TEDxToronto 2012 Talk: Ronald J. Deibert

About the speaker: Ron Deibert is professor of Political Science, and Director of theCanada Centre for Global Security Studies and Citizen Lab at the Munk School of Global

Affairs, University of Toronto. The Citizen Lab is an interdisciplinary research anddevelopment hothouse working at the intersection of the Internet, global security, andhuman rights. He is a co-founder and a principal investigator of the OpenNet Initiativeand Information Warfare Monitor projects. Deibert was one of the founders and (former)VP of global policy and outreach for Psiphon.

Link:www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ronald-j-deibert

TEDxToronto 2012 Talk: Ryan Henson CreightonandCassandra Creighton

About the speaker: Ryan Henson Creighton is the President and founder of UntoldEntertainment Inc., a boutique game development studio in downtown Toronto.Cassandra Creighton is a grade one student who likes building furniture forts, catchingbugs, and putting her swimsuit on the cat. Together, they are both father and daughter,and a game design duo who created an endearing video game that has charmed fansthe world over (Sissys Magical Ponycorn Adventure). Cassandra is the model for herfathers conviction that kids should be taught to use technology from a young age tocreate, entertain and inspire.
http://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-heather-jarvis-sonya-jf-barnetthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-heather-jarvis-sonya-jf-barnetthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-heather-jarvis-sonya-jf-barnetthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ronald-j-deiberthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ronald-j-deiberthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ronald-j-deiberthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ronald-j-deiberthttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-heather-jarvis-sonya-jf-barnett


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Link: www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ryan-henson-creighton-

cassandra-creighton

Who We Are

CPAMO Roundtable Members

As a resource to plan and coordinate its activities, CPAMO has set-up a Roundtablecomprised of individuals involved in the performing arts from ethno-racial and

Aboriginal creation-based arts organizations and those involved in performing venues.The members of the Roundtable are:

Anahita Azrahimi, Sparrow in the Room Farwah Gheewala, Education Coordinator, Soulpepper Theatre Denise Fujiwara, Canasian Dance Charmaine Headley and Bakari Eddison Lindsay, Collective of Black Artists Lata Pada, Sampradaya Dance Creations Nova Bhattacharya, Nova Dance Seema Jethalal, Manifesto Festival of Community and Culture Cian Knights and Anne Frost, Cultural Pluralism in the Arts/University of Toronto

Scarborough University of Toronto Scarborough Campus Phillip Akin, Obsidian Theatre Marilo Nunez, Almeda Theatre Mae Maracle, Centre for Indigenous Theatre

Brainard Bryden-Taylor, Nathaniel Dett Chorale Emily Chung, Little Pear Garden Theatre Collective Spy Denome-Welch, Aboriginal Playwright Sedina Fiati, Actor Ravi Jain, why not theatre Shannon Thunderbird, Teya Peya Productions Olga Barrios, Olga Barrios Dance Santee Smith, Kahawi Dance Menaka Thakker, Menaka Thakkar Dance Company Kevin Ormsby, Kashedance Sandra Laronde, Red Sky Performance Mark Hammond, Sony Centre for Performing Arts

Ahdri Zena Mandiella, b-current Jenna Rogers and David Yee, fuGEN Theatre Sandra LeFrancois, Cahoots Theatre Cindy Yip, Korean Canadian Dance Studies of Canada Wanda Nanabush, Association for the Development of Native Arts Michelle Kopczyl, Fuse Magazine charles c. smith, wind in the leaves collective Lua Sheyenne Productions
http://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ryan-henson-creighton-cassandra-creightonhttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ryan-henson-creighton-cassandra-creightonhttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ryan-henson-creighton-cassandra-creightonhttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ryan-henson-creighton-cassandra-creightonhttp://www.tedxtoronto.com/talks/tedxtoronto-2012-talk-ryan-henson-creighton-cassandra-creighton


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CPAMOs newsContact Information

charles c. smith

Project Lead of CPPAMOLecturer, Cultural Pluralism and the Arts/University of Toronto [email protected]

Victoria GlizerProject [email protected]

Website:http://cpamo.posterous.comFacebook: search CPAMO or clickhere!Twitter:http://twitter.com/_CPAMO

Mailing Address:32 Costain AvenueToronto, ONM4E 2G6416-686-3039
mailto:[email protected]:[email protected]://cpamo.posterous.com/http://cpamo.posterous.com/http://cpamo.posterous.com/http://localhost/var/www/apps/conversion/tmp/New%20layout/..-Library-Mail%20Downloads-:/%20http/-www.facebook.com-pages-Cultural-Pluralism-in-the-Arts-Movement-Ontario-CPAMO-103338769715371http://localhost/var/www/apps/conversion/tmp/New%20layout/..-Library-Mail%20Downloads-:/%20http/-www.facebook.com-pages-Cultural-Pluralism-in-the-Arts-Movement-Ontario-CPAMO-103338769715371http://localhost/var/www/apps/conversion/tmp/New%20layout/..-Library-Mail%20Downloads-:/%20http/-www.facebook.com-pages-Cultural-Pluralism-in-the-Arts-Movement-Ontario-CPAMO-103338769715371http://twitter.com/_CPAMOhttp://twitter.com/_CPAMOhttp://twitter.com/_CPAMOhttp://twitter.com/_CPAMOhttp://localhost/var/www/apps/conversion/tmp/New%20layout/..-Library-Mail%20Downloads-:/%20http/-www.facebook.com-pages-Cultural-Pluralism-in-the-Arts-Movement-Ontario-CPAMO-103338769715371http://cpamo.posterous.com/mailto:[email protected]

CPAMO Newsletter 17

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