Photo by Donald Lee. by Photo

Summary Objectives Dreamwalker Dance Company. In recognition of our love to On June 23 and 24, 2016, 24 In the House of Commons on the dance I would like to celebrate senior leaders and board morning of April 22, 2016, the MP all those right across Canada members from arts institutions for Davenport, Julie Dzerowicz, who contribute to engaging across Canada gathered in said the following in support of Canadians through dance in Toronto to discuss opportunities National Dance Week. their communities.” for collaboration between and among Canadian dance service “Madam Speaker, today on As Ms. Dzerowicz attests, organizations. Over the two April 22, we mark the beginning dance in Canada is well-loved days, the group reviewed a case of National Dance Week, a and well-utilized and yet the study of a successful merger cross-Canada celebration of dance sector is struggling to be in the UK dance community, dance. The week will culminate sustainable. Donor pools were heard and discussed data from on April 29, which is recognized reduced following the recession interviews with eleven diverse as International Dance Day. of 2008 and many in the sector dance professionals, and shared Madam Speaker, Canadians are less able to establish and testimonials about donor and love to dance. We like to see retain audiences. Changes in funder concerns, particularly dance. In 2013 there were funding models for the arts, the perceived duplication of more than 1.1 million attendees feedback from juries and donor services. The session concluded to 2,700 performances by 88 bodies, and comments from with a series of concrete designs Canadian dance companies. individuals and institutions and recommendations and since We volunteer for dance. all suggest that duplication in that time, members of this group Forty-two hundred volunteers dance service organizations have continued to explore the collectively contributed 8,200 is a concern. The ability to be need and desire for mergers of hours of their time to see responsive to sectoral needs has dance service organizations in these dance companies in been hindered by obstacles at Canada. 2013. Our children love to both the individual and collective dance. In 2013, over 625,000 levels: attitudes of scarcity, Canadian kids and youths were long-standing conventions, small registered in organized dance, institution sizes, and external making dance the third most pressures. popular organized physical activity. I am proud to say that Ultimately, this group met to my riding of Davenport is rich discuss mergers in dance service with these dance programs organizations, to learn from and organizations, including the successes and struggles of another set of dance

1 organizations that succeeded in had a joint board meeting that Process merging in the UK, to address the led to a report that discussed a fears and the assumptions that merger. In 2012, Dance Ontario Representatives from various could impede progress and most and CADA-ON commissioned arts service organizations (See importantly to generate solutions. research about the possibility Appendix A) were convened by With appropriate research, open of the two organizations the Canadian Dance Assembly communication and sincere merging. The Canadian Dance on June 23 and 24 at the National commitment, Canadian dance Assembly performed an internal Ballet of Canada in Toronto, service organizations can reinvent membership survey at the end of Ontario to discuss strategic themselves to support their 2013. The results were generally partnerships in dance. On the members and audiences now and positive, though members first day, Caroline Miller, former into the future. wanted more political advocacy, director of Dance UK, presented clearer and more frequent her experience of mergers in the communication, and more value UK dance community. The group History for the membership dues. then reviewed and responded to the summary of interviews In parallel, activity in the UK The Strategic Partnerships in conducted prior to the session. offers a living case to examine Dance process is part of a longer On Day 2 the group used service as Dance UK merged with 1 dialogue. Mergers have been design principles to prototype Association of Dance of the publicly considered in dance structures for a consolidated African Diaspora (ADAD), National for the past seven years but the body or bodies in dance. The Dance Teachers Association challenges go back decades. day concluded with a set of (NDTA), and Youth Dance England Several documents framed the questions about next steps, in 2016, after 5 years of work and discussion including the proposal recommendations for additional negotiation. for financial support from the action, and public commitments, all of which are contained within Canada Council for the Arts that In Canada, seven support and this report. made it possible. service organizations for dance were invited to participate in the Dance service organizations in Leadership for Change process. Canada started to decentralize The parties had a successful Findings beginning at the Dance in Canada history of working together, and conference of 1977. But feedback other arts service organizations The discussion can be broken from juries about duplication at were included to provide into five parts: dance service organizations has complementary perspectives. made the question of mergers 1. the experience of Dance UK a recent issue. As a result, the Banff Centre for Arts and 2. the feedback from the 11 Canadian Dance Assembly Creativity was selected to qualitative interviews submitted a Leadership for host, design, and facilitate the Change application to initiate process. Banff Centre’s Jerrold 3. impediments to change the first of five annual meetings McGrath was supported by about strategic partnerships and Nova Bhattacharya, former Chair 4. designs for the future, and mergers. These meetings include of the Toronto Arts Council’s participants and observers from Dance Committee and member 5. recommendations and Indigenous practice, disability of Toronto Art Council’s board commitments arts, and culture-specific forms of directors since 2011. Ms. so that they can contribute their Bhattacharya is also a founding perspectives on service. member of South Asian Dance Alliance Canada, past treasurer In 2008, the national arts and co-chair of Canadian Alliance services organizations of of Dance Artists – Ontario the Performing Arts Alliance Chapter, and a practicing (Orchestras Canada, Opera. choreographer and producer. ca, CAPACOA, CDA, and PACT) 1 Service Design refers to a design process that focuses on the experiences of people in the delivery of a service. Banff Centre for Arts and Creativity has developed a number of approaches to generating service designs that consider the human, material, infrastructure, and communicative components of service delivery.

2 1. THE EXPERIENCE OF 8. Due diligence / Legal / HR of duplication of services, DANCE UK income and expenditure 9. Keep communicating analysis, potential growth areas When Dance UK addressed the for income, potential merger 10. New website and CRM / question of mergers, the process partners, and a scoring system database, new name and took five years to realize. Caroline to identify the best potential branding Miller, former director of Dance partners to pursue. Related to UK, offered a detailed summary of 11. Appointing new chair and chief Recommendation #2, funders the merger process and lessons executive should be sought to support the learned as a result. Ms. Miller also research phase. stayed with the group for the full 12. Launch of the new two days, offering her insight into organization Recommendation #2: subsequent conversations. Demonstrate early that a merger 13. Post-merger can bring additional financial Dance UK began consolidation in resources November of 2010. The following The assembled Leadership for material is taken directly Change group discussed the UK Conversations in dance are often from Caroline Miller and her experience and the implications defined by language of scarcity. presentation to the group, and for collaboration in the Support for consolidation will roughly outlines the process. For Canadian context. The following require early examples of how a more detailed chronology of recommendations derive from extra financial resources can the Dance UK experience, see this discussion and the summary be procured as a result of the Appendix B. documentation. merger process. The UK saw several foundations and Arts 1. Data collection Recommendation #1: Solid data Council England offer public and and research is key – boards financial support for the merger 2. Open discussions with and directors need evidence to process and the same needs partners make informed decisions about to be true for Canada. Dance potential mergers 3. Secure resources to pursue UK successfully applied for an Arts Council England Catalyst merger Data support better decision- grant which secured the first making, can allay stakeholders’ 4. Management and board shared staff positions for Dance fears and help staff feel retreat UK, Youth Dance England and connected to and confident in the Association of Dance of the the new direction. Based on 5. Communication African Diaspora. None of the Caroline Miller’s experience partners could have afforded a 6. Joint Arts Council England and group discussion, potential fundraising team as individual application research includes environmental organizations. Dance UK also analysis, perceptions analysis, provided administrative support 7. Business modelling review of activities, identification Photo by Donald Lee. by Photo

3 and free offices for the National Interviews were conducted in available to help audiences Dance Teachers Association for a English only and each varied engage with the discipline fixed term to clear historical debt from 30 to 60 minutes in length. and facilitate the merger. The raw notes from these 9. Different organizing models conversations can be found as and experimentation on ways Following the session in June, Appendix C and the summary of to make a living are occurring. the Canadian Dance Assembly findings was presented as follows The pressures to incorporate declared that it is preparing an to the group gathered in Toronto. diminish the effectiveness of application for the Toronto Arts new models and reduce the Council to support a merger Summary of findings time available to create new retreat in Spring 2017. Increased work coordination of joint applications 1. Language of solidarity and for funding will demonstrate that community, and relationships 10. Dance celebrates the human financial resources are available, are defined by competitive body, being alive, and support tracking of success, tension coming together in ritual and and counter the argument that celebration and work that 2. Institutions are the primary mergers lead to reduced funding photographs well, is presented recipients and movers of levels as grant limits are applied well in marketing collateral resources, and the focus is to fewer organizations. and translates to Instagram is on individuals and personal more likely to succeed Recommendation #3: Create a relationships visual representation to capture The following recommendations 3. Broadening of resources what is intended are the result of the group’s across disciplines makes the discussion of these 10 points, and A concise and attractive visual dance milieu more diverse the subsequent exploration of the representation can be a powerful and Canada collectively patterns these points reveal. tool in effectively communicating more resilient, and broader the process and goals to all resources lead to fewer Recommendation #4: During stakeholders. A joint application companies being ready to the process of consolidation, by committed dance service perform on big stages productive disagreement needs organizations in Canada for to occur privately, allowing 4. Service organizations generally funding to support visual identity for effective synthesis and do an excellent job of work should be a part of the a coherent position to be addressing the needs of the process of communicating presented publicly current dance system, and the strategic collaboration. This is of current dance system is seen Public disagreement can result particular importance as it relates as obsolete and weakening in infighting, splintering, and to, and can improve, perceptions negative perceptions from that marketing collateral in dance 5. There are too many dance donors and new entrants to is generally of low quality and/or professionals being graduated the field. There was a common importance. and presenting opportunities perception that dance service are getting harder and harder organizations are involved in rival 2. FEEDBACK FROM THE to access and sometimes contradictory SECTOR advocacy work. Service 6. Success is determined by the In preparation for the meeting on organizations are competing ability to form and sustain June 23 and 24, eleven interviews with each other and with other relationships and people are were conducted with various arts organizations for funding not moving in or out of roles individuals representing different and this can lead to public with any regularity aspects of the dance sector. The disagreement about needs and participants were drawn from 7. Increased competition means value of activities. During the across Canada and represented excellence is increasingly consultation process, dance donors, presenters, dancers, important to audiences and service organizations must choreographers, and those that funders and the definition surface disagreements privately claimed multiple affiliations and of ‘excellent’ is increasingly so that a coherent position can roles. An effort was made to be uncertain and open to debate be developed and presented. representative of dance in Canada Many organizations still need to and the group included ballet and 8. Dance asks a lot of audiences, be involved in the conversation, a range of contemporary dance particularly new audiences, including artists, conveners, traditions. and there are few resources Indigenous organizations, more

4 over half performing in arts implementation would require • feeling threatened by a narrow facilities, one in three in formal a clear understanding of the definition of what dance is and competitions or school settings, intended direction of effort. what dance education is and one in six on television or Many of the solutions required in restaurants, theme parks or additional work and resources, • pattern of service cruise ships. Dancers work in which contradicted the espoused organizations (across companies, independently, on preferences from Day 1. disciplines) seeming to talk projects, within larger institutions Additionally, the following themes to the same people about the and elsewhere. The increasing were evident in presentations of same things - repetitive and interest in diverse contemporary working models of collaborative short-sighted forms is causing many to feel structures. issues of collaborative excluded from dominant dance • structures, specialization, and discourse. The process of • trust, suspicion, emotion, and identity mergers shouldn’t exacerbate the personal this feeling of exclusion by a need to demonstrate early • a need to understand how continuing to privilege ballet and • successes presenters fit into the broader Western contemporary forms in structure professional settings. • a need to demonstrate strategic alignment to • accommodating the fact Recommendation #8: Visible members and funders that there are currently 73 and clear metrics of success to arts service organizations in track progress and inform future • fears of loss of priority of Canada decisions need to be created specialist work and shared • a clear need to reinvent • challenge of selective listening While some of the metrics across stakeholders • need and process to broach it are going to be financial (and with boards Recommendation #2 seeks to • desire to move away from a address this specifically), many language of scarcity • need to look at hard and soft are around service delivery, services particularly of disciplines and • desire to have a sponsor need to assess replication of communities that are seen as comparable to Arts Council • services currently underrepresented. England for the Canadian process Communicating quantified Recommendation #9: Dance successes will ensure awareness that dance, service organization directors stakeholders are aware of the • interestingly, is often defined and board chairs should inform progress, where it is being felt, by a fear of taking risks their boards of the opportunity and how they can contribute to for mergers and argue for next steps. • need for a sustained yet increased consolidation in dance compassionate critique of services 4. DESIGNING THE FUTURE systemic issues This commitment was broadly The morning of Day 2 was spent • a historical tendency toward made during the dialogue, and generating potential approaches responsive rather than the prototyping exercise echoed to organizing service within dance sustained solutions the desire for consolidation based on the recommendations while highlighting the challenges surfaced on Day 1. Groups were • awareness that there are of implementation. Broad asked to present working models different value systems at play dissemination of progress, based on “activity”, “movement”, including this summary, should and “structure”. Each prototype a need to attend to time • occur throughout the sector to highlighted a particular set of scales – focus has been on both share findings and solicit options and challenges related to short time scales in Canada peer support. national services for dance. • education as an issue – lack The key outcome of this of presence of arts in the phase was an awareness that education system

6 5. RECOMMENDATIONS Conclusion NOTE FROM KATE AND COMMITMENTS CORNELL, EXECUTIVE The conversation on June 23 DIRECTOR, CANADIAN Following a period of structured and 24 was another important DANCE ASSEMBLY reflection, the group was asked step in understanding both to offer recommendations, the present state of service Kate Cornell, Executive Director present unanswered questions, organizations for dance in Canada at the Canadian Dance Assembly and to make commitments, most and the future needs of a sector was asked to share progress of which are reflected the nine undergoing significant change. made in the 30 days following recommendations above. Others Nine recommendations offer both the conversations at the National represent potential additional a summary of the two days of Ballet of Canada on June 23 avenues of exploration, perhaps intense dialogue about the sector and 24. The Canadian Dance for the next sessions or on a and a set of guidelines for moving Assembly was the sponsor of smaller scale based on individual forward. the dialogue and will continue or group interest. All were to play a leadership role as collected anonymously, and are A plan for future research to conversations around mergers captured in full in Appendix D. inform decision making, the continue. generation of evidence that financial resources exist to This initial two-day Strategic support strategic collaboration, Partnership discussion was and a clear visual representation funded by the Leadership for of the process and its intent will Change program at the Canada facilitate future progress. Limiting Council. The funders are keenly public disagreement and conflict interested in these conversations. among institutional partners, Like Dance UK, the Canadian arguing for the importance of Dance Assembly wants to advocacy, and creating a standing ensure these timely discussions body to steward this process continue. As a result, the CDA is should address the concerns and preparing an application for the feedback of diverse actors within Toronto Arts Council to support the dance milieu. Relaxing some a retreat in Spring 2017. The of the traditional boundaries that CDA is also preparing to search define dance practice can help for funding for a research firm to overcome habitual patterns to undertake an environmental of inclusion and exclusion that analysis of the Canadian limit broad engagement and dance sector. This data will be participation. Clear and visual presented at the retreat in Spring metrics of success will ensure 2017. that activity is tracking to Since the two-day discussion, intention. Overall, participants the CDA has been approached in the conversation and others by some of the participants to engaged in this process need to express their interest in the next share with their boards and staff conversation. The DTRC has seen the importance of consolidation the positive impact of mergers in dance service organizations for sister organizations in other and a standing body should be countries. The DTRC wants to created to steward the next continue participating in these steps in this difficult process. significant discussions. CADA-ON In the short time between the is very interested in proceeding. meeting and the production of With a joint membership this report, progress has already agreement and shared office been made and dance is taking space from DUO, CADA-ON is a leadership role in reinventing eager to consider the next step. national service for its members Correspondingly, CADA-West and critically reflecting on the is also interested in continuing institutions that make dance such the conversation. The Dance an important and vibrant part of Umbrella of Ontario is another Canada’s cultural community. potential partner. Notably, DUO

7 and the CDA applied for an OAC Compass grant (July 2016) to support a shared staff person in Communications. CDA currently rents from DUO. The Canadian Society for Dance Studies has formally requested a proposal for merging with the CDA. This proposal has been prepared by CDA and circulated to CSDS’ Board of Directors in August 2016. These four dance organizations, along with the CDA, are serious about the merger proposal.

Since the two-day discussions, the CDA has been approached by Orchestras Canada, Opera.ca, and other members of the Performing Arts Alliance about a joint Board meeting in 2016 to discuss partnerships. This potential discussion would follow the 2008 report about merging the NASOs for the Performing Arts.

This report will be circulated to all the participating organizations in 2016 and all of the participants will be made aware of the retreat in 2017. The CDA is extremely grateful for the support of partner organizations CPAMO, IPAA, and DDMAAC for their voices in this discussion. As partners and stakeholders in equity, these organizations would be welcome participants and advisors in further discussions. Photo by Donald Lee. by Photo

8 Appendix A: List of Christina Loewen (Executive Participants Director) Opera.ca Calla LaChance (President of Jerrold McGrath (Facilitator) Board of Directors) Banff Centre for Arts and CanDance Network of Dance Creativity Presenters Caroline Miller (Former Director) Miriam Adams (Director, Co- One Dance UK Founder) Danse Collection Dance (DCD) Suma Nair South Asian Dance Alliance of Mimi Beck (Executive Director) Canada (SADAC) CanDance Network of Dance Presenters Laura Paduch (Metcalf Intern) Canadian Dance Assembly (CDA) Nova Bhattacharya (Facilitator) Banff Centre for Arts and Andrea Roberts (Board Chair) Creativity Canadian Alliance of Dance Artists, Ontario Chapter Amy Bowring (Director Collections and Research) Robert Sauvey (Executive Danse Collection Dance (DCD) Director) Dance Umbrella of Ontario (DUO) Seika Boye (Board Member) Canadian Society for Dance Meg Shannon (Manager) Studies Professional Association of Canadian Theatres Katherine Carleton (Executive Director) Charles Smith (Executive Director) Orchestras Canada (OC) Cultural Pluralism in the Arts Movement Ontario Gilles Choquet (Board Chair) Orchestras Canada (OC) Spirit Synott The Deaf, Disability & Mad Arts Kate Cornell (Executive Director) Alliance of Canada Canadian Dance Assembly (CDA) Michael Trent (Programming Norma Sue Fisher-Stitt Director) Canadian Society for Dance Metcalf Foundation Studies Jessica Wadsworth (Executive Aviva Fleising (General Manager) Director) Canadian Dance Assembly (CDA) Canadian Alliance of Dance Rachel Gorman Artists, West Chapter The Deaf, Disability & Mad Arts Michael Wallace (Executive Alliance of Canada Director) Amanda Hancox (Executive Theatre Museum Director) Dancer Transition Resource Centre (DTRC)

9 Appendix B: The • Arts Council England project introduce the weekend to Experience of Dance UK grants were awarded to test show funder backing merger partnerships in Detail • A draft vision was tabled • Esmée Fairbairn Foundation and discussed 1. Data collection gave a grant to undertake a survey of members and • It was agreed discussion • November 2010 - Director of stakeholders about the new name Dance UK drafted paper for and brand would not be the board suggesting merger 4. Management and Board retreat discussed at this point to avoid holding up • 2011/12 - Dance UK undertook • Discussion by this point were discussions an independent business very active, but there was review, funded by Arts Council confusion at the Board level • At the end of the weekend England. It asked 3 questions: about exactly what a new the partners were asked collaborative working model to formally decide if • Should Dance UK wind-up? might look like (staff and they wanted to proceed • Should Dance UK continue business model) with progressing a “new working in the same way? collaborative working • Questions were addressed model” • Should Dance UK consider around the artistic vision and merger? fears of loss of prioritization of • They took the proposal back specialized activities to their full boards to vote on • 2011/12 Paul Hamlyn Foundation funded an • Board members were 6. Joint Arts Council England independent business review suspicious about the other application of the Healthier Dancer organizations and didn’t Joint discussions at the Program know exactly what other • organizations did or who the Director level about the 2. Open discussions with partners people involved were content of the application quickly created a joint • Pursued conversations with • Set up a Core Management program and new merged potential partners at Chair and Group to move discussions staffing model Director level forward (Directors and/or Chairs and/or specific board • The positive experience Achieved consensus from • members) of jointly working on the possible partners to enter into application also moved the formal discussions 5. Communication use of language from “new collaborative working model” Tested partnership working • • Framing The Future to the first time the partners through pilot projects was a major external agreed to use the word communications event in Sept “merger” Discussed how potential • 2013 – attended by 300 people partner organizations can where the big idea of new • Jointly wrote funding secure resources to undertake collaborative working model applications to secure shared their own data collection was announced financial resources – this quickly progressed merger 3. Secure resources to pursue • Result – Dance UK received discussions merger an anonymous unrestricted £20,000 donation for its 7. Business modelling • Organizations needed staff work capacity to seriously pursue • 2014 involved extensive merger • The Partner Boards retreat – business modelling for the November 2013 new organization • Arts Council England and Paul Hamlyn Foundation both gave • After Framing The Future • Director of Dance UK wanted major grants to Dance UK 6 organizations attended a to move quickly, the other 2-day board retreat partners pushed for a slower • Paul Hamlyn provided funding process for key staff positions • Arts Council England leaders were invited to

10 8. Due diligence / Legal / HR 9. Keep communicating Dance UK, and the new Chair were announced. • This work was extensive • Discussions had been going and ran throughout 2014/15 on for a long time by the end • Though the legal merger and 2015/16. As small of 2014. Internally lots was was still to be completed organizations they required happening, but externally in at the end of the financial external support to undertake the sector there was worry year it was important to some of this work. and confusion as to what was keep communicating AND to going on. demonstrate success and • Using an external merger progress to funders consultant or a change • In April 2015 Dance UK manager? organized a major industry • The guest list and speakers list wide conference in 8 London for this event was vital • When partners had agreed venues, involving over 125 to merge the process speakers, over 600 delegates • The event was over- shifted to a labour intensive and free live streaming to subscribed and they had to practical period of audiences nationally and take a second venue at the implementation internationally Royal Society of Medicine to fit everyone in. They also live- • It was useful to have 10. New website and CRM / streamed the event. either an external merger database, new name and specialist, or an internal branding • Membership organizations change manager with carefully planned voting responsibility for guiding • Selecting a new name was meetings at AGMs or EGMs to the partners through the particularly problematic. They pass the merger practical merger process, organized a visioning away creating the timeline for day and a session on the 13. Post-merger merger activity, and keeping name with Chairs, Directors The work hasn’t stopped once the partners to schedule and Board members led by • the merger had taken place. an independent facilitator. It takes time to develop the • They first employed an They then organized a further new organizational culture and external consultancy external “naming session” with vision. company with experience funders, donors and corporate of merging over 60 sponsors in response to Close monitoring of finances charities. However, the • passionate battles about the and systems is required to team the company provided name from the partners. underpin the effectiveness didn’t work well with the of the new organization and partners because they Dance UK’s Director of • guard against instability or failed to convince that they Development secured funding negative fall-out following a understood the partners’ to buy a new database to period of great change work. This led to a break- merge all the partners’ data down in trust and a loss of and drive future fundraising confidence. campaigns

• In order to deliver the 11. Appointing new Chair and merger, they decided to Chief Executive finish this relationship and engaged an internal Change • The final 6 months of the Manager merger saw intense activity, with the search for the new • With financial support from CEO and the transitioned exit Esmée Fairbairn Foundation, of the existing Directors they contracted a known and trusted senior dance 12. Launch of the new consultant as the partners’ organization Organizational Change On 7 December 2015, Manager, working for the • coinciding with Dance UK’s equivalent of 3 days a week for AGM, the new name, One a fixed term

11 Appendix C: Sector Canada Council, Metcalf right timing they can help Interviews Foundation, my board (very with a lot of things, lots of passionate, active, fund raise, leadership shifts and didn’t 1. Brandy Leary: choreographer, develop audience), audience need to rely on them quite so collaborator, dancer, curator, and community (show up much so pulled away - mixed artistic director in the circus community, feedback from the market, contemporary arts, Indian really like Robert Sauvey, • involved with small to mid- dance community) smart, wants to make things sized arts organizations - in more efficient, wants to serve public spaces, architectures, • people in dance need an in theatres and work a lot incredible ability to be • SADAC - South Asian dance internationally in Europe and resilient, exhibit grit alliance - not much happened India but the right kind of progress • I have a belief in shared • serve on juries (TAC operating), resources (having a space • DTRC - great, haven’t used 2 to 3 shows per week as allows a home base for artists their services, haven’t needed audience member to work from) them but mostly service ballet dancers but starting to look • enjoys seeing stuff outside of • problem solver - worked at what that is for others scope through difficult times (Harper), (traditional Indian dancers), collaborative resources, not just ballerinas getting their • three years ago international respectful and transparent real estate license was critical, but there is a conversations lot more domestic support • all performances should be recently • ethic of paying everyone free - so more money needs to get into the sector from CADA-ON - member when • sector is shifting to new • government locations (outside of theatre) – remember to do so (training my success is partly subsidy is important - a • more resource sharing and attributable to working lot is international so partnerships that are of value in 3 distinctly different ineligible though), refer to for all parties, many look good contemporary modes, and professional standards but on paper but aren’t, want to being easy to work with (have also have problems with that see everyone paid a living my shit together) as modelled on ballet but wage not responsive to different • positioned as a maker and modalities of working and has • international touring is built employer (I employ a lot stranglehold as reference - on marketplaces that slam of people), an advocate on disrupts other ways of people into circuits policy, gentle way of bringing working - mono-genre toward up the amount of unpaid work one kind of training - like that • start addressing the in the sector, institutional the Board of Directors is all architectures of performance poverty downloaded from dancers, do advocacy spaces - start to larger institutions, politics of accommodate different ways our current moment (dance • CDA - new relationship, of presenting (expensive now) can often ignore this, focus on member because of CADA - we need more multi-functional aesthetics) confused by what they do - • like Kate and what she tries to spaces pushing the boundaries do, Kate really owns what she • we need to cultivate curiosity of what is defined by doesn’t know and wants to • for what we don’t know contemporary dance (not just create different conversations, European traditions) attended roundtable at CDF • shift in Canada Council will be which was great but long positive • lots of work, lots of progress tables and support • being an audience member is • how we are together in space a practice - is a curiosity - all of the Councils support • is important remove some perceived me, TAC provides operating, barriers to both audiences and OAC may offer operating, DUO - set us up, our charitable • presenters - no one is doing slides under dance and status, NFP status, got us this now interdisciplinary under rolling - if you give them the

12 • regarding audience as a • don’t make living from dance, people, media production, collaborator - even in the make fair share dance-based stuff and now is most traditional mode - executive director of a small organizations are most • not currently a member of any festival - not retired, also comfortable in binary and in national service organization became a character actor quantification • in ballet land, the two major • believe that DTRC ask that you • physicality matters, but also an organizations are National sign a release to confirm that example of live transmission, Ballet School and National you are done with dance idea of ritual, ineffable quality Ballet of coming together, and when • small grants available for CADA has affected work and dance moves to screen it • before you retire how I work because they becomes a different genre publish minimal fee standards, • sewing your own parachute - • not about liking and not liking - for independent, non-union smart people do it early in irrelevant performers ballet

• fluency in being an audience • CADA provides a floor - • started film while still working member - embrace the voluntary standard but at National Ballet, started paradox granting bodies use it as a doing web development “are you serious” check for because built on some high • talking about liminal spaces applicants - CADA is influential school learning and creative, and innovation in body and with granting bodies hacky work and decided ritual and at same time do that needed to make a living grant writing, visioning and • sometimes there is a somehow brass tacks - they are not distinction between incompatible and they feed commitments and delivery (no • another example, hired out of each other but we tend toward compliance in place because high school, while she’s in the selecting one not a union) company, in a stable position, she started making custom 2. Jacob Niedzwiecki: dancer, • CADA offers discounted rates leotards, started getting choreographer for shows - actually not sure if signals that her time was soon I’m a member of CADA to be done, accesses money • my home discipline to turn that into a business • the DTRC - only with company • started dance training when 4 for 3 years so decided not to • many go back to school and continued without break join DTRC (was waiting until until end of professional year 5) and under the rules • Canadian Society for Dance - career it wouldn’t have helped me no awareness because I wouldn’t have been • in and out of the world, in a member long enough • never had any interaction with the National Ballet School CDA in conservatory training (7-9) • ballet is one of the few after grade 9 went to public disciplines that supports serial • OAC is trying to create more school for the arts, did first career rather than parallel regional dance associations - professional work in high careers - idea that DTRC is why, and leaves one person school, returned to National founded upon - job pays for a getting sinecure Ballet School for 2-year post- while, unable to do that job, gang in London doing secondary, non-parchment, not even close to retirement • Flux Festival - good performed 3 years with age, what are you going to do communication, talked about National Ballet as dancer about it? what audiences like, and we’re • three stress fractures, left • the answer for too many going to do more of what they ballet, stopped performing, dancers was self-destructive want - great since then active as and saw people take their own Canada Dance Festival - where choreographer with occasional lives - catalyzed to make a • do they get their money/ performances change support, what do they do? • ballet land is where I grew up - • e.g. dancer with National (Ottawa-based), how are they strange place, can’t seem to Ballet not as principal dancer, constituted? stomach it full-time started doing taxes for

13 • right now I want someone place to have sex when in high • Ontario Dances - based to take my work to Montreal school on Quebec and BC model, because that’s the only place OAC funding to support to have my work presented to • bookkeeping is a problem - contemporary dance in non- international audiences (and creating a budget is fine, but GTA strong domestic audiences) sticking to it and registering, following up on it. • sometimes the projects were • I’ve had short films in weird or hard for audiences - Montreal, smaller things, and • young company incubator worked with younger dancers now have two shows that are would be great - this is work who were then integrated into ready to go - gone to AFTA to that can be done performances - focused on various people audience development • finite lifespans, shared • still a lot of individual hustle to resources, shared • complex mix of organizations - get things overseas (Berlin was administration DanceCurrent - went to a lot of work) - Canada Council presenting festivals and still dealing with dance boom helps with travel • various community town halls of the 1970s, model was - because at Dancemakers creator-driven companies, lots • DTRC has a purpose and a and interested in producing of money for touring, etc. motivation and a real job to models - model seemed do - some organizations don’t different place in eyes of broken and was confused by seem to have chosen a real • public and audiences that - was seen as tech nerd job to do - a list is not a job (Twitter in 2008) and so got to do - Broadway League is a • RDQ in Quebec, if a member, invited to things good case daily class is ⅔ covered • talked about technology as • lack of support for • in Ontario there are a dramaturge (how to make entrepreneurial process and few classes actually work and engage audiences) mindset is the big problem - is available - huge problem a big integrated structure the for contemporary dance • interested in systems of it - try way to go? community - not as good to push for more interesting as they could be - removes works travelling being advised not to • opportunities for networking, incorporate as not-for- we need dance because opportunities for foreign • profit but what the hell am I it provides basic research tours to draw on local talent - supposed to do? I have one and development into being Quebec they fund it patron and 2 or 3 potential human (having a body and other patrons but can’t give 3. Jacob Zimmer: it’s taking space) because of lack of not-for- complicated profit status • in the same way that physics is • relationship to dance is important and they don’t have • administrative requirements complicated to wait for me to understand of not-for-profit status overwhelm the work - barely • primarily as a dramaturge but • good for people to do - is it maintain coherence currently also now coaching for making more interesting to do than (3 disciplines, largely in and producing to watch - potentially only different combinations) interesting to watch if you do and adding not-for-profit • interdisciplinary theatre, it, so goal should be to get requirements make things started as lighting designer, people to do it particularly messy Ame Henderson with public recordings 2004, • specifically, contemporary • lose a lot of agility registering Dancemakers 2008 dance - connecting as a not-for-profit - in hindsight community arts end and the can look back and see a • Dancemakers would deal contemporary/experimental thread but challenge currently with individual commissions end and individual artists as • umbrellas become a way to well as partner organization • useful to know that other divert money to projects within (Harbourfront) - intermediate things are possible - large institutions - not ideal, presenters as well as physicalities and movement - complex, like trying to find a presenters during touring Don Burrows - people will

14 dance a lot and asking a lot to • that which films/documents • not infinite switching available have them sit and watch well will thrive (Instagram- friendly) 4. Kristina Lemieux: former head • pleasure of viscerality in of CADA-WEST, organizer and watching it • who’s helping the project more based work? Go to DUO • the shift that hip hop has for dealing with money and • common conversation made is important - more compliance questions, many with dance community people the better don’t know who to go to for in Vancouver - general marketing help discomfort with historical • Quebec nationalism helped funding in which CADA the dance community • success can be attributed to receiving largest project grants (tourable across language, posters looking good (part of from BC Arts Council, CADA freer expressions of how free the world) now funded in arts service we are - experimental - organization stream, similar refutation of Communist • Creative Trust, Metcalf issue with Canada Council - narrative - engaging with helping out the middle - those how that money came to Europe, connecting to the programs (2.5 - 3 staff) but CADA, what is was for, and Netherlands) remain a primary receptacle of what it did, for who and how funding • same reason that abstract • what kind of training was expressionism got funded • “bigs” take funding, corporate eligible - yoga and Pilates for sponsorship, grants and can example - some loved this, also form of diplomacy with • continue to do so some didn’t? Quebec • middle is stuck space membership was primarily there is a life span for dancers • • contemporary • habitual donor structures still CARFAC is interesting and • exist but vitality and energy why not flamenco, South potentially useful model for • feels off Asian, etc.? CADA - some seem to be pushing for CADA to be more • touring markets that open up • street dance also were like Equity but perhaps should can change things (Asia/India) structurally disadvantaged be more like CARFAC but opening up of markets - who will do it? • CADA-WEST and CADA-ON • CanDance does commissions has had conversations about and helps to align tours • conversations about which merging or aligning more companies survive - European closely, but tensions and commissions are brave and • touring market has collapsed provincial differences made will take unusual risks so things are harder - would that difficult. get commissions from Dancemakers wanted • European companies didn’t want to merge - TSP CanDance to come to the • programs distributed show • in an ideal future, bigs are differently which would mean funding project-based work need to pitch it so you have 2 less money for artists in BC. • as R+D work (money, not just or 3 locations ahead of time In BC, province was more access to space - people need generous than municipalities, • they made a show possible to get paid) vice versa in Ontario that wouldn’t have been fear will be that the smalls otherwise • • what is the CDA and is are making work, developing joint membership useful/ • in the future see a hollowing dancers which then get justifiable? out of the middle - lots of poached up to the bigs - people working together in a want to see more movement • name change was part of the project way (Toronto Love In between/along the value chain process to consider CADA as a layer) (UK theatre being a bit like serving a wide geographical that) area (CADA/BC to CADA/West) • the big will persist (the ballet) but the middle may struggle • where dancers are able • more useful service to contribute is important organizations are there to (physicality and specificity) fund those that struggle to get

15 funded and to support end of • assumption that there would audiences in dance to take career be operating and no teaching enormous risks and it often about contracts, being self- doesn’t pay off • uncomfortable about how employed much money goes to service • if merging does happen it’s • graduating too many not going to be about the • maybe don’t have right professional artists west - it’s about Toronto competencies to run the and Montreal. And it will be service organizations • shared platform is interesting contemporary dance focused. opportunity • maybe not spent wisely • strength of Canada is the • those that have lasting careers chunks - across the geography little work being done to align • are smart enough to have and within the cities missions and ensure not hybrid or adjacent jobs duplicating services. Maybe • there is a look - also talk about this is about leadership and • creating space to share and Flamenco, Korean, South personalities therein be together (roster includes 10 Asian, Indigenous artists, and several companies • a lot of time wasted on and they all feel like they are • about western stage work politics, anger, bitching alone, alienated) primarily

• few are making things more • make connections, know they • if the CDA went away efficient aren’t alone, hope and ways to tomorrow what would find solutions happen? • efficiency isn’t a mandate that touches dancers • service might just be gathering • under Shannon, CDA made hub and are currently failing great progress but less independent dancers and • to do (some their own fault, recently incorporated dancers (division some not) here) • gap about computers, cash what funders/artists/ flows, etc. - so how to speak same things occur in theatre • • presenters think they know to artists and classical music about each other - lots of building things into websites is active spirit of not assumptions but many aren’t • • just throwing money away collaborating in dance in true or are based on a partial understanding Vancouver • very interesting time in the arts - to be skilled as I am at training institutions aren’t • the current assumptions are • this moment in time necessarily preparing dancers sometimes helpful for work in the future • most dance in BC is 5. Lise McMillan: dancer, administrator, organizer • life-work skills course for grossly underfunded, inadequate rehearsal, cloudy dancers but wasn’t renewed not many administrators in underdeveloped work on stage • because it was too difficult dance in Winnipeg Jordan Tannahill - Theatre • there was a creative • I’m a dance artist, I perform of the Unimpressed - fear of • entrepreneurship program, but for other choreographers, not knowing what it’s about lecture style and hence not was a company dancer for but curious. Boring theatre skill building 7 years, create own work problem is similar in circularity, that I perform in with other starting a program - scaffold, implications • professional dancers but being very curatorial about talk-back is not an effective who’s in the program • Winnipeg-based but part of model - idea that asking • national conversation • On the Move offers questions and how we talk opportunities for emerging about dance needs to be • work in public schools as dancers shifted dance educator to integrate dance into curriculum • same challenge in music and • for those uninitiated to dance theatre scene, how would you get • co-founder and co-director access, lack of reviews, ask of Dance Post, fairly

16 administrative work to help • provide some structure and • harder for independent certain demands and needs shape to the local dance dancers to create and produce that aren’t being met by other community work and to know how to service organizations sell the work to presenters in • need to have dancers training other cities • in the last year, the Dance Post so they can create work at the has seen a real change in the national level and also need • presenters from other models of how training and to put the work out to the provinces are not likely working gets done national community (so listing to come see Winnipeg allows outside folks to see performances • used to be the community that good work is happening) members could take free • younger dancers use Fringe to classes but Winnipeg • Winnipeg Contemporary Dance get audience and support Contemporary Dance stopped offered 5 weeks of studio them so The Dance Post time and had its dancers take • I am situated within the created a drop-in class option classes (and funded it) national dance milieu (have taken contracts in Quebec • responding to lack of • partnership with local studio, in other cities, national teachers, so engaging first- percentage goes to studio and choreographers, so feel time professional class money goes to scholarship for well-connected to broader teachers, trying to create inner-city dancers community) intergenerational teachers (more complex demographic) - • Royal Winnipeg Ballet uses • the Winnipeg dance scene is through the New Teachers us for their marketing - send improving exposure nationally, Act - provide mentoring - and activities to the event more touring (such as it’s worked, one of the new calendar - in communication SummerWorks, Canada Dance teachers was hired by a dance but not in partnership Festival, and at Fluid Festival) company to teach classes new dance diploma program need more funding to facilitate (building out the range of what • • also pays to take drop-ins ability to create to make the they can do to make money) work more nationally relevant consultation with CADA-West creating an online platform to • • (Jessica) about Manitoba - more funding so that creators gather all the performance, • would get training subsidies - can create more works - training opportunities so that tried to get all the dancers to now takes about 2 years professional dancers and sign up but they haven’t signed for a Manitoba dancer to general public can see what is up (shift in how the community get enough funding through actually happening in Manitoba would/does function) provincial and federal funding - only two people running it too slow, need to accelerate • DTRC member and have but don’t want to have to • the practice as no momentum used the services - career do the board management can be created with audiences exploration grant and recently work, grant application work approved for the Retraining administrative support, more so haven’t incorporated (fees • Grant and Subsistence grant presenters and producers for for service then redirect to dance in Manitoba teachers) • haven’t talked to CDA but did an artist talk with Marc Boivin lots of crossovers with visual different energy levels at • • (performer and choreographer) artists and this is increasing different times of the year and encouraged networking/ trying to build a partnership sometimes 8 hours in front of connection • • with a Francophone theatre the computer a day, dividing RQD director – Marc Boivin - company - trying to grow/ work, updating email but at • provided some direction expand their audience by least 1 – 3 hours per week presenting new forms like unpaid • not a lot of touring work contemporary dance - more audience sharing • if classes, have to be there • harder to have work toured to every morning to open the you Royal Winnipeg Ballet is doors, keep the place open • shifting toward issues Winnipeg Contemporary • (Aboriginal, social) with recent Dance presenting more local ballet Going Home Star choreographers 17 • Winnipeg Contemporary Dance • might be driven by a worry that • this means that innovations doing the same staff would be laid off are not pushed into the broader ecology nor into new/ • independent creators are • however, consolidation could existing audiences doing the same - I am a Métis, mean that people would so looking for support for be available to support the • need to make resources why Winnipeg doesn’t have industry available to create and sell a contemporary Indigenous content elsewhere dance company • pattern seems to be groups fighting for a piece of the pie • need to develop a language • not many recent Canada and protecting themselves that speaks to the community Council grants awarded to Independent Aboriginal • CADA is trying to get clearer • need support to catalyze dancers, or Aboriginal Dance and this is great production to make the work Groups/Organizations acceptable for big stages or • the number of dance service else becomes a self-fulfilling • lack of access to organizations comes up in prophecy or ghettoizes some administrators may explain some meetings and not in forms why few people are exploring others depending on the new terrain, extending in judges/adjudicators involved 7. Paul Caskey: presenter, scope choreographer • any dance service organization • applications, grant-writing and needs to be representative of • presenter - Live Art Dance extending the practice creates the community that it serves Productions in Halifax - left work for artists without the organization and now have intentional or unintentional compensation • taken up a post at Centre de patriarchal attitudes make Création O Vertigo in 6. Nova Bhattacharya: serving hard Montreal - transitioning from choreographer, producer, etc. creation/production to a language around scarcity • choreographic centre - for leads to a lot of “we” and • scarcity in the field over the which there is no model last few decades has resulted solidarity, but other issues in competitive tensions rather surface frictions • France has models for this but than healthy competition North America doesn’t • need an organization that will • this tension can lead to many stand up and advocate for the • working on the other side of of the dysfunctions in the art form the coin system • failure would be if the • as a presenter mostly • those in the dance milieu also organization didn’t keep programming artists - want consolidation of national the art form at the centre - developing relationships with arts service organizations, not building for dance without any artists, networking with peers, just the funders dance in it helping to book tours, making sure that there is a flow of needs to take a role as a • raises the question of why are • activity there so many dance service fundraiser organizations at the table with now in the artist camp - trying Quebec is far ahead in • artists • to attract the attention of many ways (structure/ presenters, • challenge will be getting to a money) but behind in others solution as most agree on the (conversations around plurality • fairly uncommon to have situation and diversity) people moving to the other side of the conversation • exploration has happened • ballet dominates the before including a report from conversation everywhere • not a lot of movement, not a Jane Marsland lot of opportunity • non-Western traditions have • lack of consolidation is odd some champions stand up • moved to Halifax because an given the context (diminishing to defend the practice but Artistic Director role opened audiences and support) sometimes this doesn’t extend up - I need to jump on it to the artists because opportunities are really rare 18 • other presenting organizations • moved from Studio 303 - ago, part of the resources show very little movement - founded in 1989, a real available were to defray risk of people in roles for multiple incubator, almost a decade presenting, but also received decades - stagnancy sets in to get any significant funding, money to do community funding artists, stretching of outreach • artistic succession is boundaries, in the perspective interesting - dance community of broader ecology - they were • need for each level of in Montreal is up in arms the grassroots government to take a leadership role in expanding • O Vertigo has been funded • funding shifted from Canada that dialogue - supporting arts at a high level - money Council to Canadian Heritage - programs in schools, arts- has been going to Ginette, you better not cut “me” to give positive language, national choreographer, and now that them (Studio 303) $4K heritage instead of always she is retiring there’s concern being positioned as a drain on about the lack of succession • discombobulation between the system - poor cousin - art planning and how resources mind and body is pressing on as broccoli are allocated meaning • some fear about the decision • what dictates flow of activity - • as presenter most connected to eliminate the arts credit, resources - access to get with CanDance and CDA move to relating dance with on the road and to compete (though peripherally - watching sport - both celebrate the for a very limited number of not participating) body’s ability, where it gets presentation opportunities? dicey - competitiveness, RQD also is an important • increasingly dance is as a presenter in isolated player in addition to Atlantic • becoming competitive as well community - increasingly presenter’s association (historical dance school in difficult to coordinate with Halifax has declined in repute), peers to make things happen - • network of networks focused on competitions, I’m interested in artist x, meetings - CanDance, Ontario excelling, not so much on someone else is interested Presents, Atlantic Dance expressive capacity in artist y, need to develop Presenting, etc. would meet at the same time - Canada partnerships (3 dates in 3 8. Tina Fushell: producer, Council funds network different cities) teacher, dancer, choreographer meetings • ratio of available shows to tour keynoted at On the Move - shift to approaching them as • vs. presenting opportunities • came through CADA are skewed buyers rather than partners teaches at George Brown - different hat is all • • why scarcity of presenting • wants to help next generation opportunities - dance is have been living in Halifax for a of dancers expensive to present, hard • decade, and exclusive access to break even, vast majority worked freelance for over 10 to contemporary dance • don’t, resources have been years → has things to say and throttled, Canadian Heritage • Montreal has new spaces words of inspiration has tried to increase the opening up but not necessarily need to make them aware that number of players - Live Art more presenting opportunities • Danse - contemporary - they are probably not going in direct competition with • 10 years from now - more to get a job in a company - blueberry festival in Annapolis presenting opportunities expectations are sometimes Valley, makes it hard to out of whack compete • flood of artists dumped into system that is already • lots of thinking and concern • what policy argument is being overloaded, then getting about money, funding, public made? Heritage vs. symbolic attention, system is interest and audiences novelty overloaded, more presenting member of CADA, CDA and opportunities • • no change in direction at top DTRC, currently CADA member of organizations, lack of new • what drives more presenting of the month resources opportunities? Audience CADA serves as a great development (DRQ - 20 years • advocate of dancer rights -

19 wage levels, subsidies how to present yourself - • dancers in a decade will need to support development amazing service places to work and training in (including things like gym how to design a career path memberships), platform • biggest challenge is to create for dancers to be heard - more opportunities to • many coming out of school community meetings, address present - 1/10 acceptance don’t know what a grant issues (like the Rihanna video) rates is, don’t understand the economics of the work • CDA - member from • people in dance are getting reciprocity agreement with very good at doing things that • having someone read their bio CADA - they have community aren’t dance (grant writing, or resume can be enormously meetings networking) but it is still very helpful hard to get work seen • CDA has a strong policy role • need to talk to people but not completely sure how • so many of the resources are about the pros and cons of and about what - CDA makes jury-based and controlled and incorporation, the application sure dance has a voice, application based process audiences are rebuilt • administrative support would • need better and new platforms • trusts the people at CDA so be great to get work incubated and not so worried about what is presented project-based approaches happening behind doors • struggle to thrive due to the • there is a dance diaspora • DTRC is phenomenal, nature of resource allocation in Canada and regional retraining program is great, and the rules service organizations don’t gets to still continue to dance always reflect or support would be critical to get more but got support to find other • the particular culture and work in front of non-dancers work - also help with very character that is present in regional work simple things - driver’s license, • more opportunities to work taxes, etc. across sectors (visual arts, • super proud of regionalism but museums) • contemporary dancers are there isn’t much support to encourage regional voices - often quite engaged relative to how to get the general public • there is a homogeneity of other disciplines more engaged in dance? dance • DTRC does a good job in Europe, choreographers • 9. Soraya Peerbaye: arts, arts of capturing the wider represent a voice and a management and cultural policy community perspective on the work and and program development are pushed to do so • CADA is probably 70% modern former dance officer at the dance but few commercial Canada lacks a coherent • • Toronto Arts Council, and dancers are there voice to present to foreign equity officer at Canada audiences • DUO helps with grants and Council for the Arts whatnot - used to be able to the sector is highly resilient • long-time advocate diasporic copy VHS tapes there, rent a but perhaps not coherent • mailbox artistic and cultural practices biggest fear about a single • has worked with a wide range • would be great to have one big service organization is that • of independent dance artists shared space - conversation in some things that used and companies one place to get done would stop getting done → passing a museum of dance would be • producer of the inaugural Body • the buck becomes easier great Percussion Festival and accountability less • CanDance - went on their transparent • co-founded the Verde website last year - how do I Viento Collective to support would love to have someone get this out there? There was • contemporary explorations in fighting for a larger cap to a video on how to approach flamenco subsidies, loud voices in presenters - going to different conversations, more Montreal - what to know and job opportunities

20 • currently Program & Curatorial • choreographers are more akin communities, don’t have Co-Director with Anandam to visual artists - individuals resources to do the work Dancetheatre that they need to do, need to • framing around ballet then educate themselves, need • working as consultant, contemporary dance that is to be on the ground, not supports strategic planning, European, cultures-based office-based, interacting with outreach + mapping in dance dance - everything else gets different communities organized as traditional, • worked with policy and classical, culturally diverse; • roots syllabus [e.g., http:// program management now to a lesser extent folk, www.huffingtonpost.com/ ethnic, or other entry/this-roots-syllabus- approached by Canada • should-be-required-reading- Council looking at diversity, • presenters aren’t as informed for-all_s_574ee3d0e4b0af73a representation in the arts, as they could be in the f95db7e] looking at equity field to critically look at the - referencing the literature to wider contemporary dance left TAC in 2012 and working provide a shared resource and • community (innovation in as consultant in arts field - language contemporary Indian dance collaboration, curation - for example) need an active curiosity and project management, etc., • learning process about that support for companies • jury tables still carry biases - professional dancer works 9-5, art service organizations - I’ve worked with dance service • • not 2100 - 2400. internal biases training organizations - consultancy in various areas, strategic • challenged by who gets • using models from the 1980s access to conversations - R&D of managing PR and internal how well is dance supported • opportunities, choreographic representativeness rather than in Canada? I don’t know in development initiatives, Banff addressing broad systemic terms of level of funding, Centre, etc. - what is funded in patterns that diminish the maybe one of those art forms terms of training, professional power of the form and the that sometimes too difficult development, mentorship sector to appreciate, because it is abstract - the body, wordless - • whose interests are served • worked for CADA as consultant a degree of anxiety about by current model? probably but need someone on staff contemporary dance because nobody - white contemporary that does this - the work of nature of relationship to dance audiences are also should be core to organization music, choreography, etc. declining - Caribana has huge audience for contemporary • presenters pay attention to way forms of creation occur • African dance but considered what’s trending - try to make is opaque - poor cousin to outside or on the limits of space for what’s happening theatre ecology- diminishment of but wider base isn’t always there - not just being there haven’t seen through relevance of dance, presenters • when it happens, but being the changes in structure what is Canadian dance? what ahead of it, contextualizing (ensemble structure that • is contemporary dance? what it, etc. - always describing employed dozens of dancers, is professional dance? - these African dance as energetic, has devolved to high number three ideas are interconnected Indian dance as ancient - of independent companies willingness is there, curiosity is that create work on a project • talking about hip hop - emerging, but trying to figure basis) huge popular influence, out how to bridge spheres of contemporary draws on it, what does it mean to have conversation, knowledge • but not seen as professional - presenting spaces that racialized concepts last 10 years has been slow, service individual companies • incremental, actively held vs. broader milieu - R+D can • not being addressed by back - enough momentum happen in theatre but trickier NSOs - locked in models of now - social justice, aesthetic in dance - ever-shifting? diversifying membership as development of Canadian question of outreach, not the sheer number of dance, might actually create a • looking at political factors companies exceeds the breakthrough that are dividing/isolating resources

21 • new funding model from • the number of artists who • Equity becomes an albatross Canada Council is really good are working is increasing - because of one past piece and will promote this shift - a producing too many dancers real catalyst for the marketplace, having • Equity seems to only care ramifications on how people about fees, even paid-for self- • desired future state - in make work - people shift production 10 years we have a more from performing toward CDA doing great work, Kate inclusive, more relevant and becoming makers - may not • is great leader, but just at a more exciting sense of what be supporting the strongest beginning of the conversations Canadian dance is and who we artistic voices to be makers are - international recognition, DTRC - particular narrative domestic recognition, large independent community • • at play - ignore transitions in audiences, presenting - but of makers who are trying to other disciplines more relational thing - make themselves seen, build ability to see your work in a relationship with audiences, • On the Move does relationship to other things - and present workshops about non ballet/ Indigenous contemporary contemporary as outreach - no the dance ecology feels dance in relationship to • effort to bridge community - limited and exclusive for those Australia, NZ, etc. would never do something not inside like this for ballet and African dance relating to front • contemporary (unexamined line dancing at Black Lives • there are big issues with bias) Matter events Dance Ontario - dance weekend is great, commission not anti-union, deeply what are you a part of - see work to do Fleck, represent • • appreciate the gains made in yourself in an ecology - dance schools at the ballet, so want to see unions whether you see yourself as provincial level but Dance work but frustrated by current traditional or innovative Ontario doesn’t share state information with non-modern Anonymous (across interviews dance organizations well - Dance Ontario is also involved and includes two fully- • feels like someone isn’t doing in lobbying, advocacy but not anonymous contributors) their job - urban/hip hop/ sure what the benefits are street dancers need to be let there’s no homogeneity in (they make a physical list but • in terms of how it’s working not curated - membership fees are quite cheap) across the country because • frustrated at lack of outreach the ecologies are very different at Dance Ontario • hardline contemporary work on the boundaries - ethics and • the main spaces, Toronto, individuals are the ones that • politics and the human body - Montreal, Vancouver, are are sharing information but not just a representational facing different challenges and outside of the Dance Ontario work, shifting to less passive opportunities institutional structure - audiences and the centre is individuals are important, but Quebec situation is gradually infused by new ideas • having an institution rely on particularly different although external individuals to do their it’s international impact is less • Shared Charitable Platform - work seems unsustainable dynamic then it was tricky but potential to be very helpful Equity drives me nuts - tried agree that national service • • to withdraw, but didn’t do it organizations are doing good • Generator doing some well, but now still a member work but may have hidden interesting work, building as choreographer, and struggles (DTRC is struggling capacity of artists as have had dancers withdraw with business model, producers because of it - dancer wanted demographic is expanding, to be engaged as non-equity RISER project which is ballet story is not the only one) • (money not the issue as equity trying to capitalize on the • signing your career away to money was there) because venue spaces and get those make that transition is tough of the hustle - independent resources to independent with the DTRC contemporary dancer (many artists is also an interesting non-equity dancers) model

22 • IPH model at Dancemakers • constantly tension between of 80s and 90s is shifting - was trying, O Vertigo is another the two and service Marie Chouinard) example of change and organizations often focus on innovation one axis and not the other • disparity between the ends is larger - no longer as robust a • invention is happening to get • if the criteria are the middle space anymore work in front of people marketplace, then the solution is to graduate fewer people -- • leery of homogenization of • talking about entrepreneurial, but the criteria aren’t just the perspective in dance (Montreal social innovation, other marketplace is a different space then ways of making money, Vancouver) some are making money, • horizontal is to build but fundamentally the thing intelligent, mindful people • it’s a place where you know that’s going to make it work is of arts practice but can there’s a variety of expressions the relationship between the contribute to a healthy and you have to find it - ‘artist’ and the ‘presenter’ environment more globally opportunities to connect international audiences • who does that job? Festival- • how do you select who gets to like moments, Canadian keep the voice? • curatorial vision of those Dance Festival, FTA does making the choices public - that, audience and market • broader potential voice – local artists have to be development fund from resiliency complicit in that - role and Canada Council to bring in responsibility - provide the Createquity (http://createquity. presenters around existing • materials of accessibility - com/) - dancers in particular, concatenations presenter no longer takes it on who can do work - privilege in • I don’t have a clear sense that the arts • find the moments of audience is a problem - lots resonance - the thing teaching dance has the same of folks don’t feel that there is • that pops up for them - problematic - few folks are scarcity but the competition communication piece, need actually going to be practicing to grab attention is intense to know that things exist artists and a very specific skill set (can’t make a choice unless you know you have it, make it (who develops this skill set mergers are driven by • experiential) - reputation, exposure, trust, efficiencies and resources - more likely to support - intra- less duplication people are interested in artist) • difference but helping them where is the external eye • find that difference • very personal - people matter being focused, internal eye intensely being focused, Vancouver is in • geographic expanse offers interesting transition, makeup funding ideas by smart people, challenges and opportunities • of the potent voices at the human component plays a time - Dance House (VAN) CanDance - weird feeling that key role (can they execute, • large scale international work everything is controlled and can they internalize the (happen to be 2 presenters - that’s that – I know it exists complexity) similar to Danse Danse in MTL but never had interactions • urge to self-preserve and to and Canstage in Toronto - with it compete for funding, project Matthew Jocelyn- scale or Dance Ontario - unclear about support, scarcity work) • what they do other than Dance • vertical and horizontal forces • Holy Body Tattoo started in Weekend, still print a brochure, are at play (vertical frictions Vancouver on paper, that I’m still listed include elitism, power, hold after 6 years of not paying and Mirna Zagar - Dance Centre - on my agency) sets up a • can’t argue for the $60 strong opinions but strong dynamic that’s me vs. you local connection CanDance is a bit like a cabal and then horizontal space to • work across languages and • small, nimble voices have • Dance Umbrella of Ontario - voices to co-exist but not an international voices (Ame generally seen as hapless - unlimited source of resources Henderson), Crystal Pite good people don’t seem to (Vancouver), Montreal (power stay there long, people who

23 don’t earn enough to pay opportunities, Dance Ontario people end up there – used to offers no curation so very hard be some nice meetings and to sort through - not useful for facilitated connections audiences, useful for ‘super fans’ but that’s about it • Dance Ontario - give money to make pieces, run a listing, • can handle producer/director really easy to communicate role but as soon as ACTRA to the dance community - for is involved then a full-time example, only dancers go to producer becomes required - a lot of dance shows, but give kills small work money which is great

• DUO and Dance Ontario don’t have much of an entrepreneurial spirit

• service menu at DUO is overpriced for what you get (process of unbundling?) - those that want can’t take advantage, but the package of the stuff

• Dance Ontario is similar but not sure what they do

• graphic design and branding in dance is so bad and such a cliché (logos, visual identity)

• exploration happened with funding from Trillium

• CADA thought that Dance Ontario was too resistant and were worried that CADA’s work would be swallowed or lost should consolidation occur

• there are many that want to clean up Dance Ontario

• Dance Ontario has reasonable fees, which leads to many members as the value is there but there are opportunity costs - would another organization with similarly reasonable fees be able to do more to advance the sector

• there is a tremendous sense of treading water

• “this is what we’re doing, this is what you do”

• use private listservs because only place to get well-curated

24 Appendix D: • Dance service organizations • Pooling of resources that can Recommendations and must share staff (bookkeepers, be identified as shareable, fundraisers, HR, membership) and would be most useful to Commitments be shared, i.e. data, business • Dance service organizations administration, accountants, • Identify 1-2 individuals who need to partner on lawyers are willing to take the initial professional development and lead, i.e. who will send out mentorship • Using the strength of the invitation to a collection the volume of our entire of dance organizations, • Compare missions, membership as one asking if they are interested in programming, memberships, discussing a merger or sharing funding sources, etc. of the • Recognizing the need for services, resources, activities, dance service organizations to specific services to specific etc. identify duplication, cross- specializations in the dance over, collaboration potential, community/in our collective Identify champions in the • and viability membership organizations that are interested in merging • Hear directly from the dance • Listening community about what they Hold a meeting of the • want and need to succeed • If ‘they’ want A but never show “champions” to discuss what and what shape they want the up for A, why keep trying to might be shared and how industry to take deliver A? Focus on: early career outlook, • • More facilitated conversations • Research collaborative/ broad strategic plan, access with experts/neutral parties merged business models and to expertise, inter-sector from outside our usual theoretically test drive each exchange, location, good conversation for the dance community relationships, underdog style, gregariousness, good dance, • Report back to your Board • Start answering questions, nimbleness, bodacious vibes, from this 2-day conversation perhaps through a survey of dreaming big ourselves: • Reflect on how these • Change bylaws discussions have sat with you • What services are currently offered by all groups? • We = dancers, presenters, • Take stock of who might funders, administrators be interested in taking this • Which services overlap? conversation forward • Serving “community” general • Which services are public audience • Apply for more funding for a redundant now? Stage 2 dialogue • On a continuum: start the • What are the different dialogue; have concrete • Do an internal examination of organizational needs of objectives; plan; move your own organization (What each group? forward; clear intentions; are you doing well or not? What services are needed don’t be afraid to name the What are the gaps?) • by the dance community? hidden fears; think outside the personal or organizational; be • CADA-ON and CADA-West • Simultaneously, a conversation specific; be open; seek outside to continue conversations around shared spaces needs expertise; accept failure; about where and how to happen. There are creation/ commit to the whole process; services/structure might production organizations lead and allow yourself to be align, especially with regard outside this group that will led; do what you can to make to federal funding/concerns also be interested in that real change possible that operate on a national conversation level (that don’t change under Dance service organizations • provincial conditions) • Keep talking! need to pool resources and eliminate redundancies: • Receptivity • Dance service organizational directories, newsletters, and mandates should expand to Decision on whether we want contradictory advocacy • include community dance, a ‘bucket’ and what will go dance educators, and dance into it students

25 • Dance service organizations we’ve had over the past two • Create opportunities to should partner with equity- days to our board retreat partner with artists focused dance/performance collectives and organizations • Fill the empty chairs of those • I will talk to my colleagues to develop and expand their missing from the conversation Take notes, collect ideas and equity mandates – they must • Decide on an exploration team share/discuss them avoid at all costs picking • that will look into/explore up temporary equity/token these discussions further • Be open to furthering the programming from non-equity conversation focused organizations in • Talk to other stakeholders order to develop their equity about these two days and get • Talk to Caroline Miller about strategies (e.g. Do not consult their feedback on the idea – the presenter’s response and non-disabled dance educators do they want to be involved? contribution to the 5-year as representatives of disability process – how are they arts and aesthetics; do not • Can we find a few small steps supported by One Dance accept a disability-themed we can take towards a new UK, what were the specific show or program as evidence collaborative working model, fears and concerns of the that an organization has otherwise nothing will happen presenters? disability arts expertise, etc.) as we go back to the busyness of our own organizations • Read and learn more about • Dance service organizations systems, etc. must take seriously urban and • People with a sense of emerging dance forms and organizational history be • Investigate, probe, think, preferences, and advocate for welcomed into conversations dream of many possibilities diverse forms of dance across so mistakes aren’t repeated Share and discuss with educational, funding and and wheel is not reinvented • colleagues presenting sectors • All service organizations • Deep dives with my boards • If dance service organizations go back to home base and do not expand their have ‘what if’ conversations • Look at my/our specific fears membership/mandates in about possible new/ and concerns – dig down these ways, they will likely merged structures (What is cease to be viable essential and unique? What is duplicated? Where could • Consider collaboration administration be merged opportunities that might exist without loss of service?) outside: dance, Canada, and/ or the arts • Determine each dance service organizations appetite • Don’t forget about expertise and capacity for a new within community while collaborative working model looking outside for advice and and merger of dance service guidance organizations

• Thought and action, dialogue • Be brave! time, dream sharing, notes, good cheer • Continue the dialogue • Keep in touch with One Dance • Understand new business UK to keep abreast of lessons models learned • Go see more dance! Support • Look at the mandates of the the community national dance organizations – where are the natural fits? • Research and data collection

• I will take the idea of merger/ • Carrying on the conversation new collaborative working Do good social media work models and the discussions •

26 QUESTIONS PENDING • Ask yourself, does it have to be SO hard? Who should lead? What would happen if we just stopped?

• What if we started from scratch?

• Who are we serving? • What are we in service for? • Are dancers the soldiers or the angels?

• What brings us together? • Are we serving dancers or dance?

• Should we wind up? • Who is still interested in examining this?

• What could a new dance hub look like?

• What is the philosophy? • Who leads? • Who follows? • Who is not here yet? • What are the politics? (self interest, community interest)

• What is the structure of the space (physical, emotional, psychological)?

• Who must give up the most to become involved?

• How long does it take? • Where is the future? The past? The present?

• Is it an exercise or a reality? • Back office or store front? • Looking in or reaching out

27