CPAMO Newsletter 21

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WHAT IS CPAMO?

Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginal andethno-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 withpresenters - in theatre, music, dance, visual arts - across Ontario and to enable presenters todevelop 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 CPAMOs Roundtable and includerepresentatives of Sampradaya Dance, Nathaniel Dett Chorale, Little Pear Garden TheatreCollective, 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 andothers.

With the involvement of artists from these organizations, CPAMO is working with CommunityCultural Impresarios (CCI), Canadian Dance Assembly and their members to build theircapacities, cultural competencies and understanding of pluralism in the arts so that thesemembers engage artists from these communities and, thereby, enable audiences acrossOntario to access artistic expressions from diverse communities on a regular basis.

CPAMO gratefully acknowledges the funding support it has received for its activities from theOntario Trillium Foundation, the Canada Council for the Arts, the Ontario Arts Council, theUniversity of Toronto Scarborough Campus, the Canadian Centre for Policy Alternatives andthe Ontario Ministry of Tourism, Culture and Sport.

As the Summer comes to a close and the Performance Season leaps into full gear we wanted tohighlight some of the great things we have been planning and doing with you; our members inmind. Kevin A. Ormsby was part of an interview process with members around our engagementand work with the majors and have complied a report with Charles Smith CPAMOs ProjectLead on your thoughts and suggestions. In the upcoming months we will be offering moreworkshops for organizational and artistic development, sending out our annual survey and alsohost an artist caf and a volunteer session.

CPAMO MEMBERSHIP AND STAYING CONNECTED

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

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also want to hear any suggestions that can make our facilitation to you better. If they are

directed to Operations, partnerships etc. send to Charles C. [email protected]

Send workshops, programming etc. to CPAMOs Consultant Kevin A. [email protected]. We are always willing to engage with other CPAMO memberS inunique and interesting ways.

We are cognizant of what it takes to run organizations and artistic practices in this new climateof change for the Arts in Canada. In solidifying your organizations and practices, we are alsohoping that you are staying in touch with us on a regular basis. Hard? No, it might be easierthan you think!!! We are hoping that you find our services beneficial and that you can help us ina very small way spread the word. Here are some ways how:

Our logo (request it and it will be sent) can it be placed on your membership andrecognition page of your websites, enews etc. with link back to CPAMOs website? Thisallows others to know of CPAMO and the work that we do for organizations and artists

Our Facebook page: Have you liked us on facebook? We Share a host of otherinformation of pertinence to our members and everyone who engages the Arts andwould love to increase our Social media online presence. As we try to navigate the

Artistic climate it becomes a place for us all to reconnect. Like us! https://www.facebook.com/pages/Cultural-Pluralism-in-the-Arts-Movement-Ontario-CPAMO/103338769715371

ADVISORY COMMITTEE LAUNCHED

CPAMO has launched an advisory council. Starting last spring CPAMOs Project Lead,charles c. smith, started assembling an Advisory Committee to help advance the Movementspluralism and capacity building agenda. The terms of reference for the Committee commits itsmembers to:

Support and act as goodwill ambassadors for CPAMO. As ambassadors the memberswill help develop awareness and advance the vision for the program within their ownrespective constituencies.

Act as door openers to key individuals within their own community, company, industryor institution where CPAMO may be seeking participation and support.Give advice and guidance to CPAMO where needed, and may be invited to participateon working committees.

The complete terms of reference and current members are located at the end of this newsletter.

It is important to the success of the Movement that we have some of the most experiencedarts leaders in Canada sharing their insights and advice on this important journey said charles

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c. smith.

To date, the Committee has met to discuss the development of a project proposal aimed atbuilding the resilience of Aboriginal and ethno-racial arts organizations and supporting morecollaborations and resource sharing amongst these artists and presenters. Members of the

Advisory Committee have met with heads of the Ontario and Toronto Arts Councils, the MetcalfFoundation, the Toronto Community Foundation, and Business for the Arts to discuss thisproject proposal.

THEATRE ONTARIO SESSION ON PLURALISM IN THEATRE

Looking At Our Communities FromA Different Perspective

By Carol Beauchamp, Executive Director, Theatre Ontario

At long last summer is here, and as the temperature rises its a great opportunity to sit in my air-conditioned office and take a few minutes to reflect and plan for the future. It is no secret thattheatre companies and theatre artists around the province are grappling with the wickedchallenge of building audiences for the future, and engaging with our audiences in new andexciting ways. There are many factors impacting audience development, including an uncertain

economy, seismic technological changes, and shifting demographics. As I meet with people inlarge and small communities around the province, the question of engaging with diversecommunities is a common thread to many conversations. At Theatre Ontario, we are alwayslooking for ways to help our members proactively respond to challenges, and while there are nosimple solutions, there are certainly a number of avenues that we can explore collectively, whichis what inspired us to partner with the Cultural Pluralism in the Arts Movement Ontario (CPAMO)to present a panel discussion at our annual general meeting on Diversity, Engagement, andInclusion in Theatre, with a goal of exploring some positive strategies for engaging with diversecommunities.

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The panel discussion was moderated by charles c. smith, who inaddition to being a published poet, playwright, and essayist, is alecturer on Cultural Pluralism in the Arts at the University of TorontoScarborough as well as being the Program Lead of CPAMO. In hisremarks, charles stated that an important aspect of culturalpluralism is about unpacking those stories that all of us can connectto. We're all in the process of trying to know.

This was a terrific opportunity for everyone who attended to hear thecompelling and inspiring stories of the panelists: Yvette Nolan, Ravi

Jain, Trevor Schwellnus, and Soheil Parsa, each of whom are busy theatre artists from diversebackgrounds who have navigated a unique path in the theatre sector by building inclusivepractices and strong collaborative relationships.

Yvette Nolan (Algonquin/Irish), a playwright, director and dramaturgand former Artistic Director of Native Earth Performing Arts,encouraged us to continue to look at our communities from differentperspectivesshe used the analogy of a tree; when you walk arounda tree and look at it from a different position, you gain a differentperspective or outlook. Yvette shared a recent experience she hadworking on a play with the hearing impaired and deaf culture, achallenging and rewarding experience that involved integrating andtranslating Shakespearean text, American Sign Language, and

spoken word. Working with diverse cultures requires us toacknowledge where we come from and where we are now in order toknow where we are going. As a community it is important that we

take a look at who isnt represented on stagewhat kind of theatre is going to talk about ourcommunity as a whole and tell our community's story?

Ravi Jain, a multi-award-winning actor, director, producer, educator, arts activist,and Artistic Director of Why Not Theatre noted that in order to understandinclusion, it's important to understand exclusion." Ravi shared that as artists,much of how we work is often done out of necessity; for example, he created histheatre company in order to create work for himself and he shared a story aboutmounting a hit show in Urdu. Part of the success of this particular show was that

he had staff working front of house who spoke the language of the community(Urdu), creating a welcoming and comfortable environment for the audience. Heencourages us to put thought and care into how we communicate (both languageand culture) to different cultural audience groups. For example, some culturalgroups may not understand that it's important to arrive early to pick up tickets

prior to the show.

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Trevor Schwellnus, a scenographer, and Artistic Producer of Aluna

Theatre, together with his partner Beatriz Pizano, talked about howhis company was similarly established out of necessity by Beatrizwho is originally from Colombia. Trevor strongly believes thatoutreach into communities is importantworking with individuals tohelp them own their story. Collaborative creation can help to unlockeach person's and each communitys story. An interesting andcreative idea that Trevor shared to help outreach andcommunication, is to consider using subtitles as a design elementfor your show. You can use different languages for the same showdepending on the audience you're reaching out to. You need to be

able to speak to the community in order to build a space for the community.

Soheil Parsa, an award-winning director, actor, writer, dramaturg, choreographer, and teacher,whose professional theatre career has spanned thirty years and two continents, shared his storyof escaping revolutionary Iran and studying theatre at York University in the early 1980shewas one of the first Middle Eastern theatre students in Canada. Soheil found that he wasunable to easily connect with theatre in Toronto in the early 80s, and like our other panelists,Soheil created his own theatre company from a desire to explore avant garde theatre. Hebelieves that weve come a long way in terms of diversity and inclusion, but we also have a longway to go.

Our panelists agreed that theatre is gradually becoming more intercultural, and that by workingwithin each others communities our resources can go further, especially when funding

resources are shifting. Ethno cultural theatres are often more focused on communityengagementengaging with the broader community. Our panelists believe that there is atremendous opportunity for collaboration and partnership for theatre companies with each otherand with the communities that surround thempartnering to produce theatre that represents thestory and voice of the community.

Without doubt theatre is a dynamic art form that is continually evolving, telling our stories in newand innovative waysit is a constant and exciting process of exploration, looking at differentperspectives as part of the creative process, but also as part of the process of engaging with ouraudiences in a meaningful way. A point that I found compelling and was emphasized by each ofthe panelists was that need to step back and take another point of view or perspective when weengaging with diverse communities, whether they be ethno-cultural, geographic, seniors, or

communities with disabilities:

Are we telling their story? In other words, do the plays we perform resonate with the peoplethat live and work in the communities around us?

Are the plays we are performing in a language that the community can understand?

Does our audience understand the conventions of attending the theatre, for example, pickingup tickets prior to performance time?

Are we accessible to the community? For example, is transportation or parking an issue? Is

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our marketing and outreach in a language or format that is readily understood by the

audience/community we are trying to engage with? Have we included members of the community in our volunteer group/paid staff to help us

better respond?

Do the actors on our stages reflect the people that live and work in our community?

Everyone that attended the AGM panel discussion was inspired and excited, and a number ofpeople I spoke with felt that they had gained insights into new ways of becoming more inclusiveby asking and answering some of these questions. There is no cookie-cutterapproach. Building relationships and understanding takes time, but the first important step isunderstanding what we dont know, and then taking the time to see another perspective.

For myself, I am looking forward to continuing these important discussions and helping to bringsimilar panel discussions to other communities across the province. I look forward to comingtogether, and challenging ourselves to look at theatre as well as the communities in which wecreate and perform our work, from a different perspective that just might open new and excitingopportunities to build our audiences and share unique theatrical experiences.

Originally published:http://theatreontario.blogspot.ca/2013/07/looking-at-our-communities-from.html

WELCOME OTTAWA WEEK

In the last week of June, CPAMO participated in the first everWelcome Ottawa Week (WOW).A series of public events to celebrate the diversity of the City of Ottawa, WOW began at abreakfast reception with business executives, civic leaders and representatives of faithcommunities in the region, the Ottawa Mayor Jim Watson will proclaim June 25 to 30, 2013 asthe first-ever Welcoming Ottawa Week (WOW). The Mayoral proclamation reception is one ofseveral activities planned during WOW to bolster the capitals reputation as a welcoming city fornewcomers. The calendar for the inaugural Welcoming Ottawa Week is marked by a series ofengaging dialogues and celebratory activities, including community sports events, publiclectures and seminars, a movie screening in a neighbourhood park, music, artists gatherings,and the 2nd Annual Ottawa Immigration Forum.

We have long recognized the value of immigration to our citys prosperity and vitality, says theMayor of Ottawa, Jim Watson. The Welcoming Ottawa Week will underscore our genuinerespect and hospitality to newcomers, while at the same time creating opportunities for dialogueand interactions between newcomers and established residents.

This years Ottawa Immigration Forum, hosted by the Ottawa Local Immigration Partnership(OLIP) in collaboration with the Rseau de soutien de limmigration francophone de lEst delOntario, is themed The Building Blocks of a Welcoming Community. The Forum will takeplace on Thursday, June 27, from 8 a.m. to 12:00 noon, and coincides with Multiculturalism Day.

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Forum attendees will hear about Manitobas model for welcoming and integrating newcomers

from Gerry Clement, a former senior official with the Manitoba Government and one of theprincipal architects of Manitobas highly acclaimed immigrant attraction and integration strategy.Representatives of Ottawas post-secondary institutions will also reflect upon the opportunitiesand challenges they face as they seek to extend and enhance Ottawas reputation as aninternational student destination hub.

In 2012, Ottawa was the fourth-largest international student destination in Canada, after Toronto,Vancouver and Montreal, and the first choice for international students among Canadas mid-sized cities.

As a community, we are committed to strengthening our capacity to welcome and integrateimmigrants, said Dick Stewart, Chair of the OLIP Council. The 2013 Ottawa Immigration

Forum will help us learn from the successes of other cities; and enable us to discuss ways inwhich we can maintain and enhance what works well.

The Forum will also celebrate the successes of the OLIP partners over the last eight monthsand continued progress towards the goals of the Ottawa Immigration Strategy, launched in 2011.Welcoming Ottawa Week events begin on June 25 with two seminars: one on BuildingSustainable Capacity for Welcoming Organizations featuring three prominent speakers and thetabling of a summary report on Phase 1 of Ottawas first-ever Equity Project; the other on LesEnjoux de limmigration francophone a Ottawa.

The Mayors proclamation and breakfast reception anchored the Week, with an officialproclamation ceremony on June 26. CPAMO convened two events June 27 and 28 with

local artists and arts organizations to discuss Att ract ing and Reta in ing Volunteers fromDiverse Commu nit ies, and, Collabor at ions and Resourc e SharingTo Promo te Plural ismin the Arts.

Att ract ing and Reta in ing Volunteers from Diverse Communi t ies, CPAMOs volunteerrecruitment event featured presentations by Will Coukell and Gabriel Jean-Simon. Theirpresentations can be found at - http://cpamo.wordpress.com/2013/08/02/presentations-from-the-volunteer-recruitment-session-on-june-27-in-ottawa/

Will Coukell has been a leader in the not for profit sector for 33 years. As Executive Director hehas lead various projects such as a shelter for youth, a community health centre, a settlementhouse and currently is the Executive Director of Volunteer Ottawa, the volunteer centre for the

Ottawa region. As a trained adult instructor, he currently teaches a wide variety of diversecourses including Risk Management, Volunteer Screening, Board of Directors training, OutcomeMeasures and many others. As a volunteer leader, he has chaired various boards and donemany different volunteer jobs; he headed a group of over 3,000 volunteers for several years atTorontos Pride event.

Since January 2013, Gabriel Jean-Simon is the Chair of ArtsScene Ottawa Gatineau, aBusiness for the Arts committee which aims at bridging young professionals and artsorganizations. He is also a public servant and has been a proud resident of Ottawa since

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2005. For two years and in addition to his professional responsibilities, Gabriel co-chaired the

National Capital Region Young Professionals Network, a forum for Ottawa-Gatineau federalemployees dedicated to bring positive change to the public service. Gabriels volunteerinvolvement goes back to his student years during which he successively held several positionsincluding Chair of his undergraduate students association, member of the executive board of astudent federation (Universit de Montral), Chair of his graduate students association andChair for the board of directors of the international student organization Simulation du Parlementeuropen Canada-Qubec-Europe (SPECQUE). Thanks to these experiences, hes learned alot about working with volunteers and received the Qubec Lieutenant-Governors Award andthe Universit Laval Graduate Student Personality of the Year Award. Gabriel is an ActionCanada fellow.

Collaborations, Partnerships and Resource Sharing: Advancing Pluralism in Tough

Times was the theme for the second Town Hall on Pluralism in the Arts. This sessionfocused on collaborations in the arts to promote pluralism and inclusion.

The key note was delivered by Natasha Bakht who is an Indian contemporary dancer andchoreographer trained in bharatanatyam under Dr. Menaka Thakkar for 20 years, touringinternationally with her company. As a member of the Shobana Jeyasingh Dance Company inLondon, England, Natasha performed in celebrated venues around the world. She has alsoworked with choreographers Roger Sinha, Wayne McGregor and Yvonne Coutts. Herchoreography includes several solos for herself and group works commissioned by the MenakaThakkar Dance Company, the CanAsian International Dance Festival and Sampradaya DanceCreations. Her dance works Obiter Dictum andDafeena were nominated for Dora Mavor Moore

Awards in 2003 and 2010 for outstanding choreography. In 2008, she received the K.M. Hunter

Artists Award, presented to artists in Ontario who have made a significant mark in their field. Herdances have been the subject of two films by Mouvement Perptuel. She is a founding memberof The Ottawa Dance Directive, a contemporary arts space for dance. Natasha has beendescribed as a brilliant diamond (Dance Current), a powerhouse (Hindustan Times)allhoned to the bone elegance and precision (Vancouver Sun). She is also an associate professorof law at the University of Ottawa and mother to three-year old Elaan. The panelists are:

Lisa Zanyk provided a presentation about her work as the Arts Centre Programmer for theNepean Creative Arts Centre, a City of Ottawa Cultural Services facility. In addition to her manyyears in arts administration and programming, she has a diversity of of experience in radiobroadcasting and writing (CBC Radio), writing for journalism and print, teaching; and in the artsof music, dance and drama. Lisa is also a writer, and co-Artistic Director and Producer of

Chamber Theatre Hintonburg, who produce plays in taverns.

The WOW concluded on June 30 with the Community Cup event at Brewer Park. Over 2,000guests gathered to enjoy this fun-filled family event, with soccer competitions, demonstrations ofsports such as cricket and Tai Chi which are popular among immigrants and minority residents,childrens games, an international food bazaar, and a citizenship reaffirmation ceremony duringwhich 200 Ottawans will renew their vows to Canada and to each other.

We are excited about WOW said Hindia Mohamoud, OLIP director. A lot of good work is

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being done by the OLIP partners and countless Ottawans are welcoming to immigrants. The

Welcoming Ottawa Week is about joining our voices and conveying clearly and unequivocallythat we are intentioned to being the most welcoming city in Canada to newcomers both currentand prospective.

Initiated by the Ottawa Local Immigration Partnership and championed by the Mayor of Ottawa,Welcoming Ottawa Week is designed to create recurrent opportunities for Ottawans to expressand reflect on the warmth of our welcome; and for newcomers and long-time residents ofOttawa to have quality-based recreational and intellectual interactions that will foster trust andunderstanding.

IMPACT 13 CONFERENCEIMPACT (International Multicultural Platform for Alternative Contemporary Theatre), is a biennialinternational theatre festival organized by MT Space in Ontarios Waterloo Region. IMPACT isdesigned to stimulate the development of the indigenous and culturally diverse theatrelandscape in Canada. The festival focuses on interdisciplinary, intercultural, and physicalproductions.

IMPACT 13 presents some of the finest work locally, nationally and internationally. It providesa unique platform to engage, play and rejuvenate with hundreds of artists andthousands of visitors from across Canada and beyond.

The festival runs from September 2429, 2013 in Waterloo Region, Canada.

For more details the following materials are available for you to view, download or print: Buy a Festival Pass($113) Conference Registration & Festival Pass ($160)

KW Record article Waterloo Chronicle - We Are Culture

Stephen Woodworth press release

IMPACT 13 Conference

IMPACT 13 will also host a national symposium titled Staging Occupation: At the Crossroads of

Multiculturalism and Indigeneity from September 26-28. This conference will examine thenotion of theatre as an act of occupying space and (re)claiming territory. Theatre artists,presenters and producers from across the country will come together to push the conversationforward.

CPAMO is hosting three showcases. These include performances by anindienrightsreserve,Aluna Theatre and poets Sheniz JanMohamed and Soraya Peerbaye.

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Aluna Theatre is an artistically driven Canadian | Colombian theatre company based in Toronto.

We create exciting new work that introduces audiences to diverse and rich performancepractices from across the Americas. Alunas bold productions in English and Spanishencourage a dialogue between cultures, artists, and communities - at home and internationally.

Aluna creates original productions with a distinct theatrical language drawing from our heritages,cultures, and languages, including dance, physical theatre, and a multi-media design. In tenyears of production we have received 17 Dora Award nominations for acting, writing, directing,and design - winning 5 of them.

El Refugio de Freidel|Freidels Refuge is more than a womans story. It is an account of anartists journey and her craft. It is socially engaged, daring and deeply profound. It gives thetypical immigration tale a real spin and challenges us to see our immigrant and refugeepopulation in a new light. Most of all, it is about turning a difficult experience into a positiveoutcome, and of respecting the many things we need to do in order to survive; and in doing so,discovering and conquering new lands within ourselves.

Freidel was a prolific artist who wrote, directed, and designed his plays. Some consider him tobe the first modern Colombian playwright. His themes and subjects are deeply rooted in thehuman condition in a country at war. Liliana and I first met with the idea to produce one ofFreidels plays. Soon into the process, I realized that her experience as an actor in Colombia,and her subsequent life as a refugee, was an extraordinary and moving story; and one thatmany immigrants and Canadians could relate to.

Liliana was opposed to two things: returning to the stage after so many years, and acting inEnglish. However, after the first rehearsal, she was hooked. You can never take the actor outof the actor. And the language issue? Easy! At Aluna Theatre we have eliminated this barriersince 2010 by using subtitles in our productions. In 2011 Liliana and I create the FreidelCollective and with the support of Aluna we begin to develop this work on our feet. Wepresented the very first fifteen minutes at the Panamerican Routes|Rutas Panamericanas inMay 2012 as part of an evening of works-in-progress. It was an emotional performance. Lilianahad not performed in eight years since her arrival in Canada. The audience cried and laughed.We knew then that the work needed to continue.

With El Refugio de Freidel our goal is to reach as many communities as possible. The workcan be presented in any space, not necessarily a theatre. We are honoured to be participatingin IMPACT and thank the festival for this amazing opportunity. -Beatriz Pizano, director/co-creator

anindienrightsreserves presentation includes excerpts from the composers first and critically-acclaimed opera, Giiwedin, performed by musicians who were involved in the worksdevelopment and first production. Attendees will also be provided a first sneak-peek at the

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composers new work in development. This performance will be presented as a multi-media

lecture recital to provide some historical context and also to explore the themes that permeatetheir work.

Composers bios:

Spy Dnomm-Welch is a Dora-nominated multidisciplinary artist who writes, composes, andproduces work in theatre, opera, film and video, and plays the fiddle and guitar. He wrote andco-composed the Dora-nominated opera, Giiwedin, and is currently developing a new operawith collaborator Catherine Magowan with support from Toronto Arts Council and Ontario ArtsCouncil. His is the winner of the Baroque Idol 2013 competition for his work Bike Rage, whichhe co-composed with Catherine Magowan. His theatre and video work has been shown at

festivals, theatres and conferences in Canada and internationally, and his music has beenfeatured in The Music Scene and The Wholenote. He has made appearances on radio showssuch as Alexas Oasis on Classical 96.3 FM, CBCs Here and Now, Aboriginal Voices Radio,and Radio-Canada.

Catherine Magowan is principal bassoonist of the Sudbury Symphony Orchestra and theScarborough Philharmonic Orchestra. In 2010 Catherine was nominated for a Dora MavorMoore for the opera Giiwedin, which she co-composed with writer and composer SpyDnomm-Welch. She conducts workshops and presents at conferences with Dnomm-Welchon topics such as music, arts and education. Catherines bassoon quartet, Das FagottMannschaft(the bassoon team in German) has been steadily gaining a reputation on the barscene, and her comedy duo, Professor Quack & Grunt, has been entertaining audiences atpoetry festivals and book launches.

Performers bios:

Lucas Harris studied at the Civica scuola di musica di Milano (as a Marco Fodella Foundationscholar) and at theHochschule fr KnsteBremen. Based first in New York and since 2004 inToronto, he has become one of North Americas busiest lutenists. In addition to regularengagements with Tafelmusik Baroque Orchestra, he has worked with the Toronto Consort,Circa 1500, Apollos Fire, Les Voix Baroques, the Smithsonian Chamber Players, The Harp

Consort, the Boston Early Music Festival orchestra, Les Dlices, and many otherensembles. He is the founder of the pluck band known as the Toronto Continuo Collective(www.continuo.ca), and also a founding member of both the Southern-Italian folk group knownas the Vesuvius Ensemble (www.vesuviusensemble.com ) and the new multi-ethnic LuteLegends Ensemble (www.lutelegends.com). Lucas has also played with several modern-instrument groups, including the Boston, St. Louis, and Montral Symphony Orchestras, theMetropolitan Opera, the Orchestra of St. Lukes, and Via Salzburg, with whom he was a

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concerto soloist. Recordings include the solo CD Baroque Lute Recitalas well as a

collaboration with violinist Genevive Gilardeau, The Bach/Weiss Sonata.

Catharin Carew. Described as a real personality with a dark edge to her mezzo as well asclear top notes" (WhatsOnStage, UK) as well as exhilarating by Opera Canada, Canadianmezzo Catharin Carew holds Masters of Music in Vocal Performance both from the GuildhallSchool of Music and Drama, London England and McGill University, Montreal. Whilst pursuingher Bachelor of Music in Vocal Performance at the University of Toronto, Catharin studied vocalpedagogy with Lorna MacDonald and is, alongside being a classical soloist, a workshoptechnician specialising in vocal projection with choral groups. Ms. Carew's most recent operaticengagements include Zita in Gianni Schicchi with Essential Opera, Laurina in Eugene Onegin

with Opera Tchai, Pepa in Granados Goyescas with Opera Five, Judith in Bartoks AKkszakll Herceg Vra:Bluebeards Castle also with Opera Five, Mrs. Nolan in HighlandsOpera Studios production of The Medium, La Zia Principessa in Suor Angelica with TorontoOpera Collaborative, Malika in Lakme with Opera By Request, Sesto in the RCM SummerOperas production of La Clemenza di Tito, and Mrs. Grose in Brittens The Turn of the Screwwith the Aldeburgh Britten-Pears Young Artist Programme. Miss Carew was the first prizerecipient of the 2010 NYCO Mozart competition, a semi-finalist in the 2011 Eckhardt-Gramattcompetition, and a finalist in the 2013 Clifford Poole Vocal Competition with Cathedral BluffsSymphony Orchestra.

For more information:http://www.mtspace.ca/impact13-conference

Conference schedule:http://www.mtspace.ca/news/impact-13-conference-schedule-released

ONTARIO CONTACT

Ontario CONTACT is Ontarios largest and longest running annual performing arts showcaseand booking conference.

Every year Ontario Contact engages over 500 artists, presenters, workshop leaders, andvarious government and arts service agencies in showcase performances, workshops, and an

arts industry marketplace. It is our goal that Ontario Contact will continue to address the ongoing needs of Ontarios cultural presenters, and assist local, national, and international artistsand their agents to tour and perform for Ontario audiences. CCI is pleased to be producing this4-day conference and artist showcase platform, with assistance from the Ontario Arts Council,the Department of Canadian Heritage, and the generous support of our many sponsors.

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This year CPAMO will be setting up a table in the Contact Room and will share information on

its members with presenters who attend. I f you h ave any special materia ls dvds, you tubeand vimeo l inks you 'd l ike CPAMO to mak e avai lable, let us know!!! ! !

For more information:www.ontariocontact.caTo register:http://ww2.ticketpro.ca/groups.php?id=44&languageid=-1&aff=oc

UPCOMING WORKSHOPS:

Keeping a pulse on the needs of Aboriginal and ethno-racial arts organizations and artists has

always been close to CPAMOs work and our workshops provide valuable resources for ourmembers and the staff/artists they engage. This Fall CPAMO will feature workshops with this inmind. The flowing workshops are being planned to round out the Fall programming:

Octob er 1: Social Media Making Sense of it Al lThough ever-present in our lives, Social media and its use in the everyday reality of the Arts ischanging constantly. Dont allow yourself to be overwhelmed. Its not just what you create, buthow you engage, how and when you use, find meaning and also create meaning for others thatwill make your social media experience worthwhile for you and beneficial to your organizationand artistic practice.

November 7: Importance of B i l ingua l Publ ic i ty and Market ingWhere are our audiences coming from? What are their mother tongues? How do they engagewith your work? Is someone in your organization bilingual? How do we communicate with them?Do we do so effectively to maximize on the engagement? With the constant change in thedemographic of Canada and those participating in the Arts, how do we think bilingually? Whatgrassroots strategies can we create so that others realize the wonderful work we do asmembers? Maybe this workshop can help you navigate the changing realities of how wecommunicate and to whom.

December 3: Creating Market ing DecksThis workshop will guide participants in understanding how these power point slides can helpdrive interest in and secure investment from those interested for our organizations. WithDemographic, empirical and organization history Marketing Deck allow those interested to get asense of an organization from a business perspective. With the need to build capacity,marketing decks are transferable information mapping the landscape of an organization.

EVENTS:

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3.11 Benefit Photography Exhibit

September 3 - November 9, 2013Cost: Free

Japanese Canadian Cultural Centre6 Garamond Ct, Toronto, ON M3C 1Z5

A benefit photography exhibit will be held at JCCC in the hallway leading to Kobayashi Hall fromSeptember 3 November 9, 2013. Photos from the peaceful temples and gardens of Kyoto willbe on display for sale. Please bring your family and friends to enjoy the exhibit and choose apiece for your home or office. The photographer will donate part of the proceeds to theJapanese Red Cross Society to support its ongoing relief efforts. May the peaceful images ofKyoto bring comfort and peace to those affected by the 3.11 Thoku Earthquake/Tsunami.

Sommet/Mandingue/Summit: West African Dance & Drum FestivalPresented by: Baobab Afrikan ArtsSeptember 25-29, 2013Cost: Free - $20

Daniels Spectrum (Regent Park)585 Dundas Street East, Toronto ON

A five-day multi-disciplinary festival celebrating traditional West African culture.The festival essentially shines a bright spotlight on the traditional music and dance of this region,by providing participants and audiences with a sampling of the richness and diversity of this

incredible culture.

For more information contact: Kaysie at 647-557- 3449 or [email protected]://torontoartsonline.org/Events/Music/2013/Sommet-Mandingue-Summit-West-African-Dance-Drum-Festival#sthash.4cs3LhMO.dpuf

Tango and morePresented by: Ayumi MoriwakiSunday, October 6, 2013 at 3pmCost: $20

Gallery 345

345 Sorauren Avenue, Toronto, ON

An afternoon of traditional and nuevo tangos -- plus treats from the Italian and Japanese artsong repertoire and more!Features: Ayumi Moriwaki (Vocal), Elbio Fernandez (Vocal), Soohyun Nam (Violoncello)Shinichiro Sudo (Piano) and Steve Yee & Marilena Stalteri (dancers).

Tickets available at door. Reserve tickets at:[email protected] more information contact: Ayumi Moriwaki at 416-822-9781 [email protected]

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https://www.facebook.com/events/211802585643243

Lovesick ChildSeptember 21 - October 26 2013Reception: October 18 at 5:30 pm

A Space Gallery401 Richmond St W #110 Toronto, ON M5V 3A8

Copresented by: A Space Gallery, imagineNATIVE Film + Media Arts Festival and AboriginalCuratorial Collective | Artists: Ahasiw Maskegon-Iskwew, Leslie McCue, Adrian Stimson |Curated by: Elwood Jimmy| Curator talk during the October 18th reception

Lovesick Child is Toronto's first retrospective exhibition between A Space Gallery and theimagineNATIVE Film + Media Arts Festival on Aboriginal new media pioneer hasiw Maskgon-Iskww. His work with the Canada Council for the Arts and the Banff Centre on a number ofequity and new media initiatives such as Drum Beats to Drum Bytes in 1994 ensuredIndigenous presence within the new territory of new media and the Internet. hasiw initiated anumber of projects in collaboration with local artists, local youth, and street-involved people inNorth Central Regina, at the vanguard of interdisciplinary work that privileged and combinedcommunity stories and Indigenous worldviews & narratives. Part of a substantial body of workthat spanned several years, practices, and communities, Lovesick Childthe audio/text projectfrom which the title of this exhibition is derivedsynthesizes a number of the different streamsof art production that hasiw undertook in his lifetime. For this exhibition, this piece functions as

a foundation for both a discussion of hasiws work and influence on Canadian media art, aswell as the two complementary works in the exhibition newly created by artists Adrian Stimsonand Leslie McCue. Curated by Elwood Jimmy, Lovesick Child focuses on some of hasiws keyworks, as well as on artists like hasiw, who locate community, collaboration, interactivity, andIndigenous knowledge and practice at the forefront of their respective practices.

For more information:www.aspacegallery.org

TED TALKS:

Raghava KK: My 5 lives as an artist

About the speaker: Raghava KK began his career in art as a newspaper cartoonist, and thecartoonists bold line -- and dead-on eye for truth -- still powers his art. His work spans painting,sculpture, installation, film and iPad art, always linked by his challenging opinions on identity,conformity, gender, celebrity, ceremony. (He even views his lavish Indian wedding as a piece ofperformance art.)

His early work as a painter made a complete break with his cartoon career -- he paintedwatercolors on canvas using only his hands and feet. Since then, his work has grown to knittogether aesthetics from both worlds, as collage and complication play against flat color and

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precise lines. He shows in galleries and performance spaces around the world and often

collaborates with other artists, most recently with musicians Paul Simon and Erykah Badu. In2011, he launched his children's iPad book, Pop-it, shaking up the concept of an ideal family.He is currently working on a project that promises to shake up everything! From news toeducation.Link:http://www.ted.com/talks/raghava_kk_five_lives_of_an_artist.html

Lisa Bu: How books can open your mindAbout the speaker: At TED's annual staff retreat, everyone has to get up and talk aboutsomething -- either about work, or about something interesting from their own lives. In fall 2012,our own Lisa Bu prepared a talk about her love of reading. And our quiet, funny and efficientContent Distribution Manager simply brought down the house, with a story that's too good not to

share. We are thrilled and proud that Lisa is the first TED staffer ever to be invited to speak onthe mainstage at the TED Conference.Born and raised in Hunan, China, Lisa Bu has been with TED since 2011. Before that, shespent seven years as a talk show producer and a digital media content director at WisconsinPublic Radio. She's also a computer programmer, with a PhD in journalism and an MBA ininformation systems from the University of Wisconsin-Madison, as well as a BA in Chinese fromNanjing University in China.Link:http://www.ted.com/talks/lisa_bu_how_books_can_open_your_mind.html

Ravin Agrawal: 10 young Indian artists to watchAbout the speaker: Ravin Agrawal has drawn on his time in the US and India to bring the best

of each world to the other. Born in New Jersey, he grew up between Louisiana and Kolkatabefore entering Harvard Business School.Agrawal began his career as a business consultant for McKinsey & Co., helping global banksnavigate the opportunities of Internet commerce. Since then, he has served as the managingdirector of Passport India Fund and Quantum India Fund, and today is the managing member ofCorellian Capital in the San Francisco Bay area.Link:http://www.ted.com/talks/ravin_agrawal_10_young_indian_artists_to_watch.html

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CPAMO ADVISORY COMMITTEETERMS OF REFERENCE

Background:Initiated in 2009, Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of

Aboriginal and ethno-racial artists engaged in empowering the arts communities of Ontario.CPAMO seeks to open opportunities for Aboriginal and ethno-racial professionals andorganizations to build capacity through access and working relationships with culturalinstitutions across Ontario that will result in constructive relationships with Aboriginal and ethno-racial professionals and organizations.

Through its initiatives, CPAMO has identified several challenges that are impacting the broader

goal of equity and pluralism in the arts. CPAMO has convened numerous workshops, TownHalls, conducted research and issued reports on these matters. Several of these can be viewedon CPAMOs website (http://cpamo.wordpress.com ) which has documented these sessions,many of which have been conducted with CPAMO members as workshop resources andperformers. CPAMO has also included art services organizations and major funders in theplanning and implementation of these activities.

CPAMO is supported bv Aboriginal and ethno-racial artists who are involved in theatre, music,dance and literary arts. These artists are members of CPAMOs Roundtable and includerepresentatives ofSampradaya Dance, Native Earth Performing Arts, Diaspora Dialogues,Nathaniel Dett Chorale, Little Pear Garden Theatre Collective, Centre for Indigenous

Theatre, Sparrow in the Room, b-current, why not theatre, urban arts and backforwardcollective, Culture Days, Canada Council Stand Firm members, Obsidian Theatre, theCollective of Black Artists, CanAsian Dance and others. A full list of these members is at theend of this document.

With the involvement of artists from these organizations, CPAMO is working with several artsorganizations to build relationships, capacities, cultural competencies and understanding ofpluralism in the arts so that these organizations engage from Aboriginal and ethno-racial artistsand, thereby, enable audiences across Ontario to access artistic expressions from diversecommunities on a regular basis.Several CPAMO members are experiencing challenges in terms of their access toresources. With limited opportunities for increased grants support, a granting structure thatdoes not fully support capacity building and few resources to dedicate to fundraising, marketing,administration and lack of time for skills development, grant writing and networking it seemsimperative that CPAMO undertake a collective effort with and on behalf of its members to createworking and risk capital for these artists funds and to dedicate professional support to enable itsmembers to enhance their administrative/organizational capacities and governance includingaccessing capable volunteers and board members who are dedicated and have a passion for

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the arts. New models for governance and collaboration may be needed to achieve results.

To move on this initiative, CPAMO is establishing an Advisory Committee that can give input tothe development of such a project.

Advisory Committee Purpose:

The Advisory Committee is a supportive body to CPAMO and its members that will address thechallenges listed above through identification of resources and alternatives to enhance capacityand the services CPAMO can provide its members. The focus will be on two key areas:undertaking a collective or collaborative approach to fundraising to build working capital and

organizational development initiatives aimed at supporting the individual and collective growth ofCPAMO and its members.

The Committee will provide advice and support to CPAMOs efforts to ensure the long -termhealth and stability of its members, many of whom are small arts organizations in music, dance,theatre and visual arts. The Committee will assist CPAMO in providing the tools and resourcesto enable its members to develop strong planning and financial skills, achieve organizationalhealth and balance, and acquire and maintain a fund of working capital.

Advisory Committee Responsibilities:

To achieve the purpose noted above, the Advisory Committee will:

Support and act as goodwill ambassadors for CPAMO. As ambassadors the members willhelp develop awareness and advance the vision for the program within their own respectiveconstituencies.

Act as door openers to key individuals within their own community, company, industry orinstitution where CPAMO may be seeking participation and support.

Give advice and guidance to CPAMO where needed, and may be invited to participate onworking committees.

Communications and Term of Commitment:

The Advisory Committee will kept up to date on program developments and progress.Committee Membership will be for a three-year period, renewable for an additional four years,or until the completion of the program.

Advisory Committee meetings will be held quarterly and working groups may be formed toaddress specific issues related to this initiative.

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Member Profile:

The Advisory Committee will be comprised of no more than 25 individuals from arts servicesorganizations, presenters, funders, centres for artistic development and members of CPAMOsRoundtable of creative artists.mmThis will include individuals who have distinguishedthemselves as supporters of Aboriginal and ethno-racial artists and will include representativemembers of CPAMOs Roundtable.

The current members of the Advisory Committee are:

Jeff Melanson, President Banff Centre for the Arts Kathleen Sharpe, Executive Director, Ontario Cultural Attractions Fund Tim Jones, President and Chief Executive Officer, Artscape

John Ryerson, former Director Cultural Services, City of Markham Patty Jarvis, Executive Director, Prologue to the Performing Arts Ken Coulter, General Manager Oakville Theatre Eric Lariviere, General Manager Markham Theatre Alicia Rose, National Outreach and Program Manager, Business for the Arts Nathalie Fave, Executive Director, Canadian Dance Assembly Carol Beauchamp, Executive Director, Theatre Ontario Warren Garrett , Executive Director, Community Cultural Impresarios/Ontario Presenters

Network Kevin A. Ormsby, Kashedance Helen Yung, Independent Artist and Former Co-Coordinator Canada Council Stand Firm

Network (Ontario and Manitoba)

Mimi Beck, CanDance Network Cindy Yip, Little Pear Garden Theatre Collective Harvey Weisfeld, wind in the leaves collective Anita Agrawal, Consultant and Former Co-Coordinator Canada Council Stand Firm

Network (Ontario and Manitoba) Charmaine Headley, Collective of Black Artists

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MEMBERS OF CPAMOS ROUNDTABLE:

As a resource to plan and coordinate its activities, CPAMO has set-up a Roundtable comprisedof ethno-racial and Aboriginal creation-based arts organizations and individual artists fromthese 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, Kahawi 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

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CONTACT INFORMATIONcharles c. smithProject Lead of CPPAMOLecturer, Cultural Pluralism and the Arts/University of Toronto [email protected]

Victoria GlizerProject [email protected]

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

Mailing Address:32 Costain AvenueToronto, ON M4E 2G6416-686-3039