2019-2020 ANNUAL REPOR T
A New Ener gy TAbLE of ConTEnTs 2 Letter of Transmittal 3 Message from the Chair 4 Message from the Chief Executive Officer 5 Board & Staff 6 Stories 38 Permanent Collection: New Acquisitions 40 Permanent Collection: Works on Loan 42 In Memory 43 Strategic Directions 44 Grants & Funding 51 Peer Reviewers 53 Management Responsibility for Financial Information 54 Auditor's Report 56 Financial Statements 59 Notes to the Financial Statements
VISION: Saskatchewan arts thrive for the benefit of everyone at home and around the world.
Mission: To provide funding and support to the arts for the benefit of all people in Saskatchewan.
VALUEs:
Achievement: We recognize exceptional achievement in the arts, while allowing communities to define what excellence means in their own contexts. Leadership: We lead through consultation, collaboration, responsiveness and advocacy. Accountability: Our practices are transparent and reflect a commitment to effective stewardship of the public trust we hold, and we strive for effective management of our province’s environmental resources. Inclusivity: We engage actively with Saskatchewan Indigenous communities and support artists and arts activities that reflect the full diversity of the province. Accessibility: We provide services that are accessible and user-friendly. Adaptability: We encourage artists and arts organizations to pursue new and innovative practices, and our programs can be adapted to support that work.
SK Arts acknowledges that the land currently known as the Province of Saskatchewan is comprised of portions of lands from Treaties 2, 4, 5, 6, 8 and 10, the territories of the Nêhiyawak, Anihšināpēk, Dene, Dakota, Lakota and Nakota nations, and the homeland of the Métis. Cover: Laura Payne We give thanks to the host Indigenous communities in this Untitled 07-2018 (radial series) (detail), 2018 province, as we bear the collective responsibility to honour acrylic on panel Photo: Gary Robins and respect their protocols and homes and to engage meaningfully with their knowledges in our work. A new Energy
“We are now sK Arts, with a renewed focus on supporting the development of a distinct saskatchewan voice in all art forms and creating opportunities for all saskatchewan residents to participate in the arts.
“our new name and identity convey the new energy that is driving change across the agency and creativity in saskatchewan.”
Jason Aebig, Chair, SK Arts 2019-2020 ANNUAL REPORT
Letter of Transmittal
The Honourable Gene Makowsky Minister of Parks, Culture and Sport
Dear Minister Makowsky:
On behalf of the Board of Directors of the Saskatchewan Arts Board, operating as SK Arts, it is my pleasure to present to you our Annual Report for the period April 1, 2019 to March 31, 2020.
Respectfully submitted,
Jason Aebig, Chair
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Message from the Chair
REsiLiEnCy
Before the pandemic, your Saskatchewan Arts Board friends at Bradbury Brand + Design Experts for was taking steps to modernize and strengthen the leading the charge on this important initiative. agency to serve a new generation of Saskatchewan While our resiliency as an organization is tied to the artists and arts organizations. Today, building a strength of our brand, governance, programs and resilient agency has taken on greater meaning and finances, there is a critical fifth pillar that underpins importance. everything we do: partnerships.
As our province emerges from the crisis, and the arts We could not fulfill our mandate without collaboration sector begins the process of rebuilding, reopening and critical funding from the Government of and returning to creative work, we remain focused Saskatchewan and Sask Lotteries and without our on providing support where we can and positioning ongoing partnership relationships with agencies like the agency for relevance, success and impact into SaskCulture. We are especially grateful that the the future. government was able to maintain their commitment to us in 2019/20, despite challenging economic Recent years have focused on significant updates to conditions. Thank you to Minister Makowsky and our governance and internal policies aimed at officials in the Ministry for your advice, advocacy and streamlining decision-making, strengthening agency ongoing support. relationships and making efficient use of resources. Our agency's strength and resilience are owed to the This year, we held up a mirror and asked: "After 72 work of my colleagues on the Board, our agency staff years, does our name and visual identity reflect who and the energy and dedication they bring to the work we are today and, more importantly, the creativity and of SK Arts every day. Each is a thoughtful and dynamism of the arts community we serve?" engaged leader who cares deeply about the future of the arts in Saskatchewan. It is a privilege to serve The response came in the form of a name change and among them. a new identity that is as bold, colourful, contemporary SK Arts and distinct as the sector itself. We are now , with a renewed focus on supporting the development Jason Aebig of a distinct Saskatchewan voice in all art forms and Chair creating opportunities for all Saskatchewan residents to participate in the arts.
Our new name and identity convey the new energy that is driving change across the agency and creativity in Saskatchewan. Thank you to agency staff and our
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Message from the Chief Executive officer
A nEW EnERGy
This may be the most unusual introductory letter to an Sexuality & Gender Diversity has helped individuals Annual Report that I have written during my time with take control of “how [they] wanted to be portrayed, SK Arts – if not ever. [and] how [they] wanted to be posed.” Japanese-born Hanna Yokozawa Farquharson has found a “warm Although this report covers activities from the period feeling of belonging” in Saltcoats, and her between April 1, 2019 and March 31, 2020, I am incorporation of cultural elements and aesthetics from writing these notes from my virtual office at home her natal country provide a new way of looking at her more than eight weeks into the social distancing adopted prairie landscape. restrictions imposed by the COVID-19 pandemic. Current world situations have impacted the arts sector I believe that the arts community is well positioned to in unprecedented ways. Galleries and performance be a leader as Saskatchewan moves into our new, halls are closed to the public, and we have neither a post-COVID reality, and the hard-working Board and target date for reopening nor any clear idea of how we staff of SK Arts are ready to help facilitate that work. I will have to operate when we are finally able to do so. will always be grateful for the effort and commitment Among my greatest sources of pride during this time, that they bring, together, to these efforts. however, have been the unique ways that artists and arts companies have found to stay connected with Let’s all harness a new energy as we build our future their audiences. together – a future that will be made even more rich by a thriving arts sector. The creativity that has been shown by individuals and companies during this difficult time is also evident in the stories from last year told in this annual report. The new energy demonstrated by these artists is Michael Jones changing lives and transforming communities. Chief Executive Officer Angus and Louisa Ferguson, for example, have spent 25 years transforming the small community of Meacham, a village of 87 people, into the home for Dancing Sky Theatre; the company and the village now welcome almost 2,500 audience members annually. A first-ever performance in a national competition has propelled Saskatoon’s Indigenous Poets Society into the spotlight, with new invitations to perform from around Canada and in the United States. A photography project hosted by UR Pride Centre for
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boARD
Jason Aebig (Chair), Dwayne brenna, Derek Davidson, Gale Hagblom, Rachel Heidecker (Vice-Chair), Melissa Johnson, nancy Martin, shahid Pervaiz, Lionel Peyachew, Lois standing, Rae staseson, Lyndon Tootoosis Photos of Dwayne Brenna, Derek Davidson, Rachel Heidecker, Nancy Martin and Rae Staseson: Mark Greschner, Artec Photographic Design Photos of Jason Aebig, Gale Hagblom, Melissa Johnson, Shahid Pervaiz, Lionel Peyachew, Lois Standing and Lyndon Tootoosis: David Stobbe sTAff
Philip Adams , Sabrina Cataldo, Tracy Chudy, Denise Dreher, Joanne Gerber, Jody Greenman-Barber, Carol Greyeyes, Michael Jones (CEO), Julia Krueger, Chip McDaniel, Noreen Neu, Gail Paul Armstrong, Carmelle Pretzlaw, Alex Rogalski, Belinda Harrow, Brendan Schick, Joyten Shukla, Geoff Smith, Deron Staffen, Jody Wise On leave: Aaron Clarke, Ward Schell Photos: Mark Greschner, Artec Photographic Design Photos of Chip McDaniel and Geoff Smith: David Stobbe
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Rural Artists Added to Collection
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Both Hanna Yokozawa Farquharson I try to capture the negative space, See the beauty in me. Feel the of Saltcoats and Catherine Joa of and I limit the number of colours I connection between me and you,’” Denare Beach are new to the use in my art to help find that she says. SK Arts Permanent Collection. beauty in simplicity. ‘ Wabi-sabi ’ requires people to use wider and Joa feels a similar connection to Yokozawa Farquharson was born in deeper thinking to find meaning in nature. “Being outdoors and in Japan and moved to Canada in the artwork,” she explains. nature influences my life at lot. 2011. The textile artist incorporates That being a backdrop to traditional Japanese cultural She also finds inspiration in the everything that happens in my life elements and aesthetics in her landscape of east central is calming to me and makes me work, at the same time reflecting Saskatchewan. “I find the prairie feel grounded. If I am going to the land and environment where landscape has a simplicity, purity paint anything, I want to paint what she now lives. and depth. Living in a rural area is most important and most and small town gives me a warm beautiful. That would be nature,” The piece SK Arts purchased is the feeling of belonging. The world of she says. quilt, Zen Garden . “A key influence nature, and the smallest in my artwork is the concept of components within it, such as a Denare Beach is a northern village ‘Wabi-sabi ’, the beauty in piece of bark, can address me, say b on the east shore of Amisk Lake, imperfection. It finds richness and something to me. It is as if that more than 400 kilometres grace in simplicity. piece of nature says, ‘Look at me. northeast of Prince Albert. The remoteness of the community means that residents spend a lot of time on the road. Joa did a series of work called the Hanson Lake Road paintings about the four- hour-long drive people take to go south.
Above: Catherine Joa SK Arts purchased the acrylic Photo: Sadie Joa-Hall painting, “Now that’s some easy wood right there.” The work is Left: Catherine Joa “Now that’s some easy wood named for a conversation she and right there.” , 2019 her husband had on their journey acrylic on canvas down Highway 106. Photo courtesy of the artist
Right: Hanna Yokozawa “Residents of northern Farquharson Zen Garden, 201 8 communities share this drive in machine-pieced and quilted common and likely do similar cotton and linen fabric, hand stitching and embroidery things to pass the time in the car. Photo: Donald Stein The landscape outside of everyone’s window is the same, despite any differences in the people. The land is there whether we notice it, appreciate it, like it, or not. It is a constant, and it binds us,” she remarks.
7 2019-2020 ANNUAL REPORT C s e o r m v i m n g u The Estevan Art Gallery & Museum stands experiences of residential school survival. alone in the southeast corner of the province. “That plays a part in bringing people to the t “You have to go 200 kilometres in each gallery – bridging contemporary visual cultural n
direction to find a gallery and museum with a elements with heritage elements.” h
similar focus to ours,” says Director/Curator i
Amber Andersen. The gallery was dealt a tough blow in 2018, t e when its funding from the city was cut by 20 y The gallery, which receives funding from the per cent. “It’s significant, because the city Professional Arts Organizations Program, basically covers our wages and utilities for the brings the area contemporary Saskatchewan building. We lost our Curator of Collections.” and Canadian art that is on par with many Its board quickly mobilized to come up with a urban centres, while balancing the need for unique fundraiser: the Rafferty Rumble. community classes and family activities. The event was a resurrection of a street dance The gallery offers free admission to make it held in the late 80s and early 90s. Estevan Art more accessible to the public. “We even do that Gallery & Museum Board Treasurer Josh for the school tours. Even two dollars can LeBlanc spearheaded the initiative. “It was sometimes be distancing, especially in the always in the back of my mind to bring it back. economy we’re in right now,” Andersen says. We needed to put on a large fundraiser, but with The economic downturn has hit the Estevan the way the economy is going in Estevan, area particularly hard, given its reliance on the typical fundraisers hadn’t been successful. We energy sector. “Our numbers continue to grow knew we needed to do something completely in an economic decline. To have that sanctuary different,” he says. The rebooted event was held where you can do things with your family that in July 2019, with a street dance, artisan are affordable is an important thing to have in market, live local music and other family- your community,” she explains. friendly activities. It was supported by more than 200 volunteers, with 2,500 people filling In the past year, the gallery has undertaken the streets at any given time over the weekend. “guerrilla mini artist residencies” aimed at Indigenous and newcomer audiences. “Artists “This was something that took over the from those communities were in the driver’s downtown and turned into a celebration for seat, and it drew new people to the gallery,” Estevan and for people to get out and notes Andersen. experience something new,” says Andersen. Above: Hook N’ Nail performs on the main stage in downtown “The community needed to come together Estevan at the 2019 Rafferty The museum side of the gallery recently worked and have something to hold onto and feel Rumble. with an Indigenous Elder to collect his united in.” Photo: Byron Fichter
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Left: Cast members and founding partners Brendan Dickie and Jennifer Graff-Litzenberger, played Man 1 and Woman 1 in Exclamation Productions’ musical, I Love You, You’re Perfect, Now Change!
Right: Exclamation Productions cast and crew. Back row: Jennifer Graff- Litzenberger, Wayne Gibson, Brendan Dickie, Kody Krahenbil, Katlyn Redding. Front row: Cory Rennebohm, Makayla Heslip and Kaiden Thompson Photos: Brendan Dickie bringing Musicals to Rural Areas When Brendan Dickie was produce the musical, I Love You, the next location. It was taxing, growing up in Strasbourg, there You’re Perfect, Now Change! The physically, by the end of the run,” wasn’t much opportunity to funding allowed them to expand says Dickie. experience live theatre, either as their cast to four performers, tour an audience member or a to Regina, Indian Head and For its first two years, the performer. To bridge that gap, he Strasbourg, and fairly company tapped performers and banded together with Jennifer compensate actors, musicians, musicians that they knew to join Graff-Litzenberger and Katlyn directors and technicians. It was the show – there were no Redding to produce professional also important for them to keep auditions. However, a number of musical theatre in rural tickets affordable. At only $20 people who saw I Love You, communities around Regina. each, performances were You’re Perfect, Now Change! accessible to members of the indicated they were interested in “We want to bring theatre to our community. becoming part of future hometowns,” Dickie says. “Music productions. “So, we did has always been a gateway for “The grant allowed us to do extra auditions for this year’s show,” people to connect with emotions work with our musical, as it freed Dickie says. and their lives. I believe that it is up funds that we could use to put important to have opportunities towards creating props – we had Going forward the company for paid musical theatre actors in a car this year! – and getting would like to visit other small a professional setting.” proper costumes,” Dickie says. communities around the “Without the SK Arts grant, there province. “We would like to do The three artists formed was no way we would be able to more of an actual tour and go to Exclamation Productions on a keep the costs as low as we have some First Nations communities shoestring two years ago. They and still pay the people to provide a subsidized show for began by producing a two-person involved.” people. We would also like to musical with performances in offer shows in inner-city Regina,” Regina and Indian Head. All The show ran three nights in a says Dickie. The company has expenses came out of their own row, one at each location, and also been asked to provide a pockets, and actors and reached 350 audience members. musical theatre workshop in musicians donated their time. “For each show, the cast arrived Indian Head over the summer. early enough to set up the stage “We just want to get the love of In 2019, the company received an and then had to tear down the musical theatre out there.” Independent Artists grant to stage afterwards and move it to
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Raising Awareness
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Intermedia artist Tod Emel has putting them in that environment, parents’ house in British Columbia, unusual questions at the base of so there is a tension between the and that felt like home,” he says. In his work. “I’m sharing something two.” He records the result: the the mid-90s the mountain pine about what it’s like to be in a ambient sounds of the forest mixed beetle began taking over the forest. particular place for me. If I can do with synthetic noise. The Trees started dying off, making that by combining all the elements audioscape becomes an integral them more flammable and leading that I’ve experienced in that place, I part of his exhibitions, which to massive forest fires, with severe can come closer to claiming these include drawing, painting and environmental and economic impressions in space,” he sculpture-based installation. consequences. explains, going on to ask, “If you were walking in the woods and you Emel also uses his woodworking Emel also notes that firefighting saw a painting on an easel, would skills to router texture into his policies – extinguishing naturally you look at the woods or the paintings, echoing the patterns occurring fires instead of letting painting? I’ve always wanted to mountain pine beetles make on them burn – have resulted in an make something as interesting as tree bark. “I consider the social overabundance of undergrowth in walking in the woods.” role of the work I’m making. For the forest and widespread larger viewers unaware of the forestry fires. Higher temperatures due to To create his multidisciplinary crisis gripping British Columbia, I climate change have made the iwork, Emel starts with field want to share that story,” he says. problem even worse. “These are recordings. He takes speakers into the real-world effects of things that the woods and plays synthetic Environmental concerns are at the we’ve done and policies that sounds with applications on an heart of this Saskatoon artist’s seemed to be a good idea at the iPad. “I’m interested in taking work. “I spent my time growing up time that didn’t work out as we artificial, unnatural things and playing in the woods by my had hoped.”
An Independent Artists grant enabled him to pursue his studio practice on a full-time basis for a year, including a one-month artist residency at the Banff Centre for Arts and Creativity. In this project, Emel is incorporating elements from his mountain pine beetle work Left: Tod Emel into abstract representations of the Field (Atmosphere) , 2020 mixed media on custom prairies. carved mdf panel
Above: Tod Emel “Over the years I’ve come to Plain (Lean) , 2020 appreciate the subtle beauty of the mixed media on custom carved mdf panel prairies. It’s not the same as big mountain ranges and trees. It’s the Photos courtesy of the artist simplicity of those prairie Right: Tod Emel landscapes that is influencing my A Forest (detail), 2019 mixed media installation, (20 work recently. I’m trying to Lodgepole Pine logs – 6’ long emphasize the quality of life that is each, enamel and acrylic, on the prairies.” hardware, 4 channel audio) Photo: Carey Shaw
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When musician Mario Lepage was looking for a Lepage received an Independent Artists grant to n stage name, he was drawn to the small take that album and translate it into an s community of Ponteix. “They still speak French innovative live show that could be packaged out there. Being a French speaker, I really value and taken on tour. He collaborated with g the importance of staying true to yourself, multimedia artist Stephanie Kuse, who created staying true to your values, being authentic no original video material to project onto the matter where you are, no matter what difference musicians during performances. Kuse’s surrounds you,” he says. combination of atmospheric yet electronic images complements Ponteix’s music, which Lepage has made St. Denis, another small Lepage describes as “a little bit of dreamy pop French community, his home. His bilingual with some psychedelic moments.” music is heavily influenced by the vast landscapes surrounding his town, as well as Kuse collects images from nature and incorporates geometric elements and graphics his own roots. In his latest album, Bastion , he to add interest and variety to her abstract work, explored his background as someone whose while still maintaining its naturalness. Lepage heritage is half from Quebec and half from says, “That’s kind of how I make music as well. France. “I always feel like I’m in a no-man’s I’ll make something that you can play on an land culturally, because my culture is not from acoustic guitar, but I’ll push it to a very Quebec, entirely, and it’s not from here in orchestrated, very processed end result. But at Saskatchewan, either. Apparently I speak with the end of the day, I always try to maintain the an accent in both languages,” he quips. integrity of the emotion I started out with.”
“It was my effort to sort of legitimize and Prior to receiving the grant, the collaborators understand my culture and what makes me a piloted the concept on a tour to Ontario, bastion, which means a resilient force that Quebec, Manitoba and Saskatchewan. Lepage continues on and battles whatever it’s battling. says audiences were “enchanted. It helped us My community in St. Denis has done that for play better – it enchanted us as well on stage. me, and Saskatchewan has done that for me. It You could really tell that there were moments Above: Mario Lepage was really a concept album to honour what being created, and she was adding to the collaborated with Stephanie Kuse to create special background I have and how interesting emotions that we were building musically. unique multimedia it is to be out here creating and being able to When all those things connect, and when all concerts. share that with the rest of the world.” those energies are just right, it feels magical.” Photo: Alix Forgeot
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Left: The cast and crew of Will & Ernest , produced by La Troupe du Jour in February 2020. Standing: Frank Engel, Denis Rouleau, Stephanie Kuse, Gabrielle Dufresne, Rory Jewiss, Will Brooks. Around the couch: Nicole Lavergne-Smith, Miranda Hughes-McKnight, Jesse Fulcher Gagnon, Caroline Touchette. On the couch: Bruce McKay, Martine Noël-Maw. Not in the picture: Brooklynn Bitner, Connor Brousseau, Shavaun Liss
Right: Martine Noël-Maw Photos: Tim Maw
Exploring a Hidden identity A chance viewing of a National But she wasn’t done yet. Another Ernest in its 2019-20 season and Film Board documentary on the Independent Artists grant enabled projected English surtitles for iconic American cowboy, writer her to adapt the play into another audience accessibility. and artist Will James changed novel, this time for adults. Martine Noël-Maw’s artistic life. It has not always been easy for It led her on a five-year journey “Writing the youth novel and the Noël-Maw to be a French- of research and writing that play was a joy, but I was language writer in the middle of would take her to Montana, frustrated at times, because I the prairies. “The main challenge Arizona and Nevada to retrace could not show as much that I faced at the beginning of my James’ steps, admire his art and interiority as I could have in a career is I didn’t know a soul who dig into his archives. novel destined for a mature wrote in French here. After a few audience. This creative exercise years, I started connecting with Her fixation revolves around his allows me to expand and dig writers from Quebec, when I got identity, or rather his hidden deeper into the life of this very invited to different festivals. Later identity. “Twenty-five years after rich character,” she says. “I never on it picked up here in the his death, his real identity was thought I would do three different province and people started revealed. He was French projects in three different forms writers’ circles in Saskatoon Canadian. He had fooled the based on the same character.” and Regina. More and more world and become a big star. I people are getting involved, and found it fascinating how he Noël-Maw is unique, because she more people are publishing in carved a destiny for himself,” writes in both official languages. French. It’s more comfortable now Noël-Maw says. “My reaction The novels are in French, while for me.” was, ‘I HAVE to write his story!’” the play is in French with an English translation. “All the She received an Independent research I’ve done about Will Artists grant in 2015 to write a James was in English. I had to full-length play, Will & Ernest . make an effort to translate But that wasn’t enough to get the everything into French to write cowboy’s story out of her system. about him, so it was easy to So she wrote a youth novel, Le translate back into English,” she secret de Luca , in which James’ says. The Saskatoon French- spirit plays an important role in language theatre company, La the life of a troubled teenager. Troupe du Jour, produced Will &
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Experimentation inspires
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Experimentation inspires
When multidisciplinary artist caregiver and trying to become an the importance of building Amber Goodwyn (a.k.a. Natural uninhibited artist.” community to heal personal and Sympathies) was writing her latest cultural hurts.” sequence of songs, it made sense Goodwyn received an Independent for her to name the resulting album Artists grant in 2017 to write the Each filmmaker directed a segment Porous . songs and another grant in 2019 to that was sequenced together to translate the album into “an construct the greater narrative. “Porous refers to the sense of episodic, experimental, feminist, They worked separately and made being transparent or sensitive or science fiction musical” with the their section of the story their own, open to communication. In the help of eight filmmakers and 25 reflecting the aesthetics of their period of writing these songs, collaborators in total. Goodwyn filmmaking practices, which world leadership changed, my served as composer, producer, included paper animation and mother died, I was raising a small supervising editor and lead actor. 16-mm photography. child, and I was pushing my art practice to do things that scare me. The film, also named Porous , is a “We were not going for traditional Those things made me feel very story about an extraterrestrial narrative logic. We were playing porous,” she says. “It’s like a mesh named Natural Sympathies whose with dream logic and a poetic Wgrocery bag. It looks fragile, but spaceship crashes on Earth and sensibility. Some of the filmmakers there’s a strength in the her journey to fix it before are quite abstract or experimental porousness, an ability to expand to ultimately discovering that she has in their approaches, and I felt that hold more experiences. The songs everything she needs and wants (a suited the nature of the songs and were coming from the feelings of safe and loving community) right the project,” Goodwyn notes. “I’ve sadness, betrayal, joy, strength and where she landed. “The film always been really excited by change that come with being a presents a universal allegory about juxtaposition in any medium, so I sequenced the filmmakers and songs with an eye on how they might play off each other.”
The film segments were rolled out online, one per day, with the completed work released on the final day. Plans are in development to tour the film with a live musical Left and above: component and submit it to film Amber Goodwyn as her and music festivals. extraterrestrial character Natural Sympathies Photos: Gina Brass “Many people have told me that they feel inspired by the project Right: Porous album cover and have started working on new projects of their own or taking their music or other work more seriously,” Goodwyn says. “It’s a pretty over-the-top, ambitious musical. It felt like ‘serious playtime’ for all of us making it. The hutzpah was contagious.”
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o s Berkley Jodoin of Leader has been playing officers had taken young Indigenous men music for almost two decades but only started outside the city and left them to walk back in
writing his own material five years ago. “The the extreme cold. “People are really feeling the o t songwriting seemed to come naturally, but I am music. They’re really feeling the words. I get a constantly seeking out other songwriters and lot of messages from people who have been h attending songwriter shows and events in through this or have lost loved ones. It’s very n hopes of learning,” he says. touching to me.” e g Many of the musician’s songs deal with difficult The Métis singer/songwriter received an issues facing Indigenous people in Canada, Indigenous Peoples Art and Artists grant to r
such as Missing and Murdered Indigenous record some of the songs and release an EP. s Women, addiction and suicide. “I find you can “This project is important to me, because I speak all day long, and no one will listen, but if believe I have some songs that may be able they hear it in a song on the radio, they tend to to help some people out there,” he says. “I pay a bit more attention,” he notes. write what I know. I’m very honest when I write, as the listeners would be able to tell Once Jodoin has written a song and is ready to from my lyrics.” share it, he records a video in his basement and posts it to his Facebook page. “I get a lot of Jodoin says that without the grant, the project great feedback from people I don’t know. That’s never would have happened. “To write the the most important feedback, because they’re music, all you need is a pen and paper. I not obligated to be nice to me,” he says. The couldn’t afford to record the music. I can’t take response has been overwhelmingly positive. money out of my household fund and have my “I’ve been performing for a few years on stages family do without. The grant has enabled me to but never really laid it out on the table as far as share my music on a larger stage and with being a songwriter is concerned. I was really more people.” nervous about putting some of these songs out there.” Once the album is released, he plans to perform shows to promote it, including in Two songs that have garnered a strong northern Saskatchewan, where he was born and response are “One Day”, about Missing and raised. “It’s not every day that you get an Murdered Indigenous Women, and “Starlight opportunity like this. I’m taking it and running Above: Berkley Jodoin Tour”, about how some Saskatoon police with it.” Photo: Jenny Jodoin
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Left: A student works on the mosaic project led by Leah Dorion
Right: Leah Dorion with students at École Dundonald School during a field trip on the land Photos courtesy of École Dundonald School
Mother Earth inspires students École Dundonald School in central to an Indigenous world myself and the students to look Saskatoon has gone through a view, exploring their own at Mother Earth from different number of changes in the past connections to nature and vantages and viewpoints. The two years. Its population shifted sketching their impressions. beauty in the everyday we after 250 students moved to a Back at school, students reflected captured from her teachings and new school, and it has added a on their experiences and incorporated in our sketches French immersion program. represented their new ideas empowered us as storytellers and Students come from diverse through workshops with Dorion. artists. We feel honoured to have backgrounds, representing learned alongside such a Indigenous, newcomer and Some students who struggled wonderful Métis inspiration and settler groups. with classroom-based learning recognize that art truly lives thrived outdoors. “It was fun to within us,” one teacher says. Principal Sharon Champ and her see them take the lead outside,” school team felt turning to the Champ says. “They were focused The original plan was to arts and land-based learning on the tasks, but it was a different collaborate on a mural, but would help the school and the environment than the school.” students steered the project in students discover their identity. another direction, leading to the An Artists in Schools grant One student says: “Leah was so creation of a mosaic tile enabled the school to engage nice and amazing. She showed installation. Métis artist Leah Dorion to work us that we can all be great at with Grade 4 students. “It was art and that nature can inspire Dorion appreciated how open the really important for us to work us to learn from it.” Another school was to her approach. along someone who sees the notes, “We learned many “They are such an innovative world in another way. Leah, as an things through working with group. I feel they really valued artist and Métis person, helped Leah that we kept bringing back my expertise and leadership. It’s us begin to co-construct our into our classroom, even after so great, as an artist, to have a school identity,” Champ says. she was gone.” wonderful support system, so I can just be creative and share Students spent time at natural This was the first time many what I know.” locations around Saskatoon, teachers at the school had such as Wanuskewin Heritage collaborated with an artist. Park, Gabriel Dumont Park and “Working with Leah Dorion was a the Meewasin Valley Trail, once-in-a-lifetime experience. learning about how land is Her teachings encouraged both
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Unlimited Potential
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Unlimited Potential
Perhaps one of the most freedom of working like a child but When 81-year-old Ray Dube first challenging aspects of dementia, with a dignified art project.” started painting in the classes, he for both people who live with it and only used one colour. Afterward their caregivers, is a breakdown of Profit, an expressive arts educator Profit would hold up his painting communication. Short-term and with a licensed practical nurse for him, and he had no idea who long-term memory loss can make diploma, was the perfect choice for had created it. it difficult for people to connect the project. As someone who is with one another, leading to recovering from post-concussion Profit quickly discovered that syndrome, she has great empathy feelings of isolation. An Artists in music was a huge joy for Dube. for those living with brain trauma. Communities residency devised by “We often sing together while he “I see it as a teacher. It has taught the Art Gallery of Swift Current has paints. I use specific music that fits me so much about tapping into demonstrated that art can help the theme of his painting, because that creative side of people, how bridge that divide. it helps to keep him present and much potential there is to create, remembering what we are working even if you’ve had a brain injury,” The project engaged Eastend artist on,” she says. “We can now hold a she says. Shon Profit to lead weekly creative discussion about the painting. I art classes with residents at long- About a dozen residents participate can hold it up and Ray knows we Pterm care facilities in Maple Creek, in regular visual art classes at each did this!” When his family saw Shaunavon and Eastend. “It is of the facilities. They have shown what he was able to accomplish, important to have programs with considerable growth in their artistic they wept. dignity,” says Heather Benning, ability, dexterity, hand-eye Contemporary Curator and coordination, decision-making While some participants are living Educator Coordinator at the gallery. abilities and social skills, as well with dementia, others may be “We are trying to promote the as improvement in overall moods. visually impaired or have mobility issues from conditions such as Multiple Sclerosis. Profit tailors her instruction to the individual instead of conducting classes in a workshop format. “Given the right environment – a safe environment – the potential for what people can create never ends. It doesn’t matter if they don’t have any short-term Left: Myrtle “Muzz” memory or if they can only move a Armstrong, age 94, of Eastend, with her artwork few fingers. It doesn’t matter if they’re 106 years old. The potential Above: Dorothy Armstrong, age 93, of Eastend, for a sense of well-being because with Shon Profit of art is just limitless,” she says. Right: Ray Dube, age 81, of Eastend, says, “This painting together, it's so nice. It makes a person feel they are a part of things.” Photos: Jim Etzkorn
19 2019-2020 ANNUAL REPORT C A d h d a r l l e e s n s
Theatre can be used to escape reality, but it is level over this project concluded that the g also a place to address difficult and challenging reasons to do it were as clear as the reasons issues. In its 2019-20 season, Saskatoon’s not to: it starts the kind of conversation that i n Persephone Theatre confronted one of the most theatre is uniquely suited to inviting,” says i n divisive events in the province’s history: the Surjik. “This project highlights the importance
outcome of the Gerald Stanley and Colton of public funding for the arts, as we hoped and g
Boushie case. believed that funding bodies would support g this significant work on this significant issue.” In 2015 Artistic Director Del Surjik (Persephone receives funding from the commissioned local playwright Joel Bernbaum Professional Arts Organizations Program.) i to write a play about race relations in s Saskatoon. Supported by an Independent With some trepidation, they moved forward. Artists grant, Bernbaum conducted interviews Persephone promoted the show widely, with people from all walks of life to serve as the reaching out to both rural and Indigenous s basis of a piece of verbatim theatre. audiences. A key element of Persephone’s
promotion was to create awareness with the u Then the trial happened, and everything public that there were no judgements or changed. “There was no generalized broaching solutions offered in the play. “We tried to give e of the topic in the interviews. It was pointed, it people as much of a sense of comfort as we was passionate, people were being less polite,” could, about coming to a play about such a hot Surjik says. It was something the team couldn’t issue in our community,” he continues. s ignore, so Yvette Nolan and Lancelot Knight were added and, at Bernbaum’s suggestion, the The performance run sold out, reaching more commission of the play was refocused with the than 6,000 people, many of whom said that it Stanley trial as the centerpiece, “because that’s was nothing like they had expected, “and they what our community was telling us they wanted meant that in a good way,” Surjik says. “Some to talk about.” of the magic and power of the theatre is that gradually, over the course of an evening, Choosing to publicly mount the production, people can change from individual audience Reasonable Doubt , was not a decision the members at a play to an audience listening Above: Lancelot Knight, together. The experience is undeniable. Krystle Pederson, Nathan theatre took lightly. There were many risks – Howe, Kris Alvarez, Tara Sky not only artistic but also financial. The divisive Nothing is solved. It’s a sad, sad story, but and Colin Wolf in Persephone talking works.” Theatre’s production of nature of the subject matter could lead to the Reasonable Doubt loss of subscribers or even sponsors. “A Photo: Liam Richards, lengthy and thoughtful discussion at the board Electric Umbrella
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Left and right: Nevada Wightman Plant Analysis Study (details), 2020 watercolour paint, polymer clay, gold leaf foil, and mixed media on cold-pressed watercolour paper Photos courtesy of the artist
Constantly being Creative Nevada Wightman has always a lot of new design processes and “Graphic design is kind of dreamed of having a career in the techniques. Coming here to art everything. It can be anything arts. In high school, she school, I am given the from industrial design to product gravitated toward graphic design. opportunity and the tools I need packaging and logos to just “I knew that graphic design was a to pursue graphic design.” straight visuals to illustrations. growing industry, and it would That’s what I like about it. I don’t still allow me to pursue my own Wightman has just wrapped up specifically know what I want to personal creative projects her first year, which introduced do, but with graphic design, I can alongside a career,” she says. basic design programs and how reach the broadest field to use them. “We learned a lot possible.” Growing up in Davidson, she about printing and actually faced some obstacles in gaining formatting your documents Once she has an established the arts education she needed. properly. We learned a lot of career, Wightman hopes to return “There’s not much of an option technical stuff, and we learned a to Davidson and share her for the arts in such a small area. lot of basic drawing techniques. expertise with high school We didn’t really have art classes You have to work on your students there. “We used to have and especially not in specialized fundamentals before you start students come back and teach a areas like graphic design. My working on something larger.” course on a specialized area. So I high school is extremely lacking could do something like that and in technology – I used to have She appreciates the importance talk about design process steps.” difficulty accessing a colour the university places on process printer.” She taught herself how work. “I like that I can look back to use design programs, such as and see where I’ve improved, Adobe Photoshop. “That was kind because I have a bunch of proofs of difficult to do on my own. I just of older work that I’ve done.” figured it out.” Wightman enjoys experimenting with different styles, though she A Prince Edward Arts Scholarship focuses mainly on watercolour has enabled Wightman to attend and digital portraits. OCAD University in Toronto, which she says has state-of-the- Her favourite part about the art technology accessible to program? “I like that I get to students. “Now I am able to learn constantly be creative,” she says.
21 2019-2020 ANNUAL REPORT
of nature and Knowledge
262 2019-2020 ANNUAL REPORT of nature and Knowledge
An apple is pressed between two misappropriation of Indigenous “I’ve had more comments on this books bound by twine. “’Apple’ is a knowledge, and climate change. series than other projects. Perhaps slur – red on the outside, white on the appeal is because the the inside – leveled at Indigenous Most of the works contain books compositions are strong, simple folks thought to be internally and rocks. “Each painting and clear, and you can follow colonized by non-Native teachings describes a struggle. The rock and subtle changes, notice visual and ways. The apple is pressed book paintings show the tension rhymes, and sense a world view between books, as if knowledge is between natural knowledge and unfolding over the series. There is being forced into or out of the book learning. While traditional also pleasure in figuring out my fruit,” David Garneau explains of knowledge keepers value lived meanings and making your own.” his still-life painting. experience over books, many see value in being recorded. What The work is a departure from his The Métis artist received an teachings can be translated into previous pattern paintings. “I Independent Artists grant to create text? What can only be known wanted to create academic work, more than 50 metaphoric though people and the land? To idea pictures,” he says. Inspired by paintings, which feature simple break the binary, I see the rocks as Alex Janvier’s abstract paintings household and natural objects to not only representing grandfathers from the mid-70s, which have address issues faced by but also the process of learning provocative, humorous and cryptic AIndigenous people. These include from the land, and the books titles, Garneau wanted his titles “to prosaic themes, such as aging, real represent authors struggling to have a conversation with the and imagined fears, food, and learn and share,” says Garneau. images and for viewers/readers to waste, as well as more dramatic create meanings that align with but themes, such as Truth and Garneau has spent a year creating also exceed my intentions.” Reconciliation, Indigenization, the the series, releasing pieces on appropriation and Facebook as they were completed. The Regina artist has been featured in dozens of national group shows but hasn’t had a solo exhibition for more than a decade. “I’ve been busy curating and writing and just haven’t given myself the time to focus on a single cohesive body of work. The grant has given me focus and motivation. I’ve been drawing out these still-life ideas for
Left: David Garneau years. Now, I am finally able to Apple Press , 2019 concentrate my efforts and acrylic on Masonite assemble an entire exhibition.” Above: David Garneau Indigenous. Academic. Solidarity ., 2019 acrylic on canvas
Right: David Garneau Glacial Erratic ., 2020 acrylic on canvas Photos courtesy of the artist
23 2019-2020 ANNUAL REPORT o An Artists in Schools Micro-Development grant L enabled the centre to collaborate with Saskatoon e sculptor Kevin Quinlan and Cree language n teacher Trevor Iron to create a larger-than-life white-tailed deer sculpture in the food forest. a They engaged with a Cree immersion class from Confederation Park School to incorporate t r language, visual art and science into the h students’ growing bond with the landscape. n
Quinlan taught the students to sculpt deer out of e
masking tape. “That gave everybody a chance to i n experience sculpture on a small scale before we
went to the large scale,” he says. The students L then gathered wood and caragana shrub deadfall, tying pieces together with hemp twine g to create the sculpture, which they named a âpisimôsos , the Cree word for “deer”. Using
At the Brightwater Science, Environmental, and natural materials ensures the piece is part of the n Indigenous Learning Centre, they recognize that ecosystem, as it will biodegrade over time and add nutrients to the food forest.
there is more to learning than sitting in a d classroom. “You can teach kids in a classroom about the world around them, but it is abstract “We tied a lot of sticks together to create the until they get to touch and see. For example, sculpture,” says Quinlan. “That’s a really you can teach kids about soil and show them accessible medium for kids. They could do pictures, but contrast that with digging in dirt something like that on their own. All they have and seeing the life that is in soil,” says Project to be able to do is tie a bow, and they’re ready Leader Samantha Gunn. to go.”
The centre, run through Saskatoon Public The sculpture is already inspiring others. “As Schools, focuses on ecologically based soon as the deer went up, another group came programming. Students engage in subjects such and wanted to do it with their class!” Gunn says. as science, social studies, art, physical “Now that we know how to make the sculpture, education and language, while out on the land. we want to make two more.” The goal is that students will begin to use the materials around One of the centre’s major features is the food them to create sustainable sculptures in their forest garden, an interdisciplinary learning own schoolyards and neighbourhoods. space about regenerative agriculture, food security and ecology. “The idea behind the food forest is that you create an edible ecosystem. Principles of permaculture help you plan how to improve the health of the landscape, while you feed yourself,” Gunn explains. Above: White-tailed deer sculpture created by Kevin She says that incorporating artistic and playful Quinlan, Trevor Iron and elements into the food forest’s design was Cree immersion students at the Brightwater Science, essential. In contrast with most ecological sites, Environmental, and where visitors are told not to touch anything, the Indigenous Learning Centre centre wanted to create a place where people in Saskatoon feel free to explore. Photo: Kevin Quinlan
264 2019-2020 ANNUAL REPORT
Left: “The Swamp Swarm”, directed by Judy Wensel and FadaDance, performing at Swamp Fest 2018 Photo: Simon Fuh
Right: Marissa Burwell performing on Willow Island at Swamp Fest 2019 Photo: Andrew Parry
supporting independent Musicians and Artists In 2017 a group of five Regina- expanded but still remains true to members on our programming based artists, musicians and its initial commitment to committee are involved directly small business owners had an supporting independent with musicians and bands in the idea: put on an independent musicians and artists,” she says. city,” notes Phelps Bondaroff. music and arts festival in For the last two years, the festival “We always have our ears and Wascana Park. The name? has received funding from the eyes open for local musicians, Swamp Fest. “It’s a little bit of a SaskFestivals program. especially newer projects that are tongue-in-cheek reference to coming about.” Wascana Lake. Late in the Its main venue is Willow Island, summer, it can get a bit swampy,” which Phelps Bondaroff claims is While the festival is largely says founding member Amber “a world apart. You feel music-focused, partnerships with Phelps Bondaroff. transported to another place, organizations such as Neutral while still being nestled in the Ground and FadaDance have The festival even has a mascot: a city.” The island has a broad brought a mix of different art swamp monster known as TAB, or appeal for festival goers, as it is forms to the festival. For instance “Toxic Algae Blob,” which Phelps open to all ages and is family theatre-based artists have coordinated a young group of Bondaroff refers to as a unifying friendly. Other venues include the swamp creatures, the Swamp character. “We were thinking of Soundstage and the Royal Swarm, who engage people and fictional and fantastical creatures Saskatchewan Museum, both in stage “strange happenings” that exist in other places, and walking distance. Attendees are throughout the festival. how that can serve to bring encouraged to travel between people together through events on foot or bicycle, Phelps Bondaroff says that there storytelling and the lore around stimulating businesses has been an outpouring of the validity of the existence of throughout the area and interest for the initiative, which such a creature.” Artists have enlivening city streets. has been very motivating for written the backstory of the organizers and has fueled the monster, made films about it and Swamp Fest features continuation of the festival. even created fan art in the form of Saskatchewan musicians “Initially I wasn’t sure how long comic books and stickers. alongside musical talent from this project would go on for. After across Canada, promoting the one year it was clear that the In its first year, Swamp Fest drew local independent music support of the community was a crowd of 250 people. Last year community to audiences in there, and it was something it was closer to 450. “It has Regina and beyond. “Most of the people wanted and needed.”
25 2019-2020 ANNUAL REPORT
Proud self-Expression
266 2019-2020 ANNUAL REPORT
Proud self-Expression
When Evie Ruddy saw the call for project. Within arts communities, on my part. I’m no stranger to trans and non-binary people to we talk about challenging the male introspection, I needed to do a participate in a photography gaze. This was about us whole lot of it to come to the project, they signed up right away. challenging the cisgender gaze,” conclusion that I was trans myself Unfortunately, it was not a positive says Jacq Brasseur, Executive and then to examine how I wanted experience. “The clothes I brought Director of UR Pride. “We wanted to live my life. This required a were dismissed. I was to offer trans people opportunities different type of introspection. misgendered by the photographer to see themselves in art that is I needed to examine who I really and lighting assistant. I was never through their own lens.” was at my core, what I wanted to asked how I wanted to be show the world, what story I portrayed, or how I wanted to pose, The new project was supported by wanted to tell about myself and or the kind of mood I wanted to an Artists in Communities grant. about what I think is important for convey,” they say. Says Brasseur, “That SK Arts was people to know about being trans.” willing to fund a project that was a UR Pride Centre for Sexuality & direct response to a different The project also presented Gender Diversity heard about project was really special. Art is personal narratives written, voiced Ruddy’s experience and wanted to often a conversation – to be able and recorded by participants. rebuild relationships with members to respond to art with art is “When you look at a photograph, Wof the community who were always great.” your interpretation of it is harmed by the project. One idea influenced by your own biases and was a new photography project, Ruddy and Brasseur committed to assumptions. The digital narratives with Ruddy, an interdisciplinary ensuring participants were co- help the participants share more of artist, at the helm. creators. Rielly, a participant who their story in their own words,” is only using his first name, says, explains Ruddy. “It was important for a trans or “Doing this project with Evie non-binary artist to lead the required a fair bit of introspection Charlie Paisley appreciated the opportunity to participate. “During the entire process of this project, I felt I was genuinely listened to and respected. It felt easy to discuss my thoughts and ideas with Evie. They made my experience a very positive one,” he says.
Left: Rielly, Rielly and the battle against toxic masculinity , 2020 Photo: Evie Ruddy
Above: Evie Ruddy Photo: Charity Marsh
Right: Cat Haines, School Girl, 2020 Photo: Evie Ruddy
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Right: Indigenous Poets Society spoken word team: Shawn Joseph (Overflo), Keccia Cook, Kevin Wesaquate (Poetik), Alexandra Jarrett (Axis) and Alex Allery (LoudVoice) Photo courtesy of Indigenous Poets Society
bringing Knowledge Home It was the night before the semi- that he had written the night To hone their spoken word skills finals of the 2019 Canadian before for the semi-finals. for the competition, the team put Festival of Spoken Word. The Wesaquate was on the edge of his together pop-up poetry sessions Indigenous Poets Society, a seat the entire time, thinking, “I on street corners in downtown Saskatoon team of spoken word hope he stays within the rules.” It Saskatoon, streaming them live artists, were waiting to find out if turns out there was nothing for on social media. “We created they had progressed to the next him to worry about. “He blew little events that led to bigger round. The announcement came: everyone away. He absolutely events,” says Wesaquate. they weren’t on the list. “That was rocked it and brought in the confusing for me – I was keeping highest scores of our team that Participating in the festival has track of the scores, and I thought night.” While they didn’t make the had a lasting impact on the we had made it in there,” says finals, the Indigenous Poets Indigenous Poets Society, leading team coach Kevin Wesaquate. It Society were proud of how they to requests for them to perform in was the first time the group had did, placing eighth overall. They Canada and the United States. competed at the national level, so were also recognized as the first Wesaquate notes the importance they were happy they had made it Indigenous team in the history of of “the experience of these poets as far as they did. the spoken word festival. going to a national event and bringing back that knowledge to Then, close to midnight, A Micro-Grant helped Wesaquate, our home community. If we send Wesaquate got a text: the judges Joseph, Alex Allary, Alexandra other poets to events in the had miscalculated, and the Jarrett and Keccia Cook pay for future, we’re more experienced in Indigenous Poets Society were in flights and accommodation to what to expect and how to mentor the semi-finals after all! “I sent a attend. Since they only found out and support each other as poets message to the team and they they were accepted into the and community members.” were like, ‘This is a joke, right?’” October competition in July, they In shock, the poets scrambled to didn’t have much time to figure out which pieces to fundraise or practice. The group perform. threw together online art raffles and solicited donations. “We went in unprepared and very “Thankfully, here in much the underdog,” Wesaquate Saskatchewan, we have a very explains. Team member Shawn supportive arts community,” Joseph chose to perform a poem Wesaquate says.
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Celebrating Excellence
Jingle dress dancer Randi Candline performs at the 2019 Saskatchewan Arts Awards. Photo: David Stobbe
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Celebrating Excellence
The 2019 Saskatchewan Arts freed up the rest of my time to “By looking back, I can now say Awards were held at the Frank and make art. After that, I continued to that the greatest achievement of my Ellen Remai Arts Centre in teach workshops to stabilize the life has been that I have been able Saskatoon on November 4. The income. I worked hard and spent a to make art continuously all these awards celebrate the achievements lot of time trying to figure out what years. This simply couldn’t have of individuals, groups and I wanted to say. I’m self taught in happened without all this support!” organizations in all arts textiles, so I needed to acquire disciplines. practical skills to say it well. The 2019 award recipients were: Basically, I did it wrong until I • Artistic Excellence: David L. Entertainment included host Kris learned to do it right. I just kept McIntyre Alvarez and performances by working. From this vantage point, • RBC Emerging Artist: Mary Lynn Flamenco Borealis, jingle dress I can say absolutely that there is no Podiluk dancer Randi Candline, Rosie & plan and there never was! • Arts and Learning: Zoey Roy the Riveters, and jazz duo Kim • Leadership – Organization: Salkeld and Gent Laird. In the “I was in my 40s before I realized Common Weal Community Arts lobby was an exhibition of works that perfectionism was a bad thing. • Leadership – Individual: from the SK Arts Permanent I used to expect 120 per cent of Kim Houghtaling Collection by lifetime achievement myself all the time. Now, at the end • Lieutenant Governor’s Lifetime Taward recipient Martha Cole. of every artwork, I ask myself, ‘Is Achievement: Martha Cole there anything else I can do to In her acceptance speech, Cole improve it? Is it finished?’ If it is Thank you to our generous shared her artistic journey: finished, I rate it. My criterion now supporters: is 87 per cent. (I know, the bar is • Alt Hotels “I worked part-time as a clerk typist still high.) If it doesn’t measure up, • Bradbury Brand + Design Experts for 15 years to pay the bills. That it doesn’t leave the studio…. • Creative Display Saskatchewan • Impact Printers • Jarislowsky Fraser Partners Foundation • Ministry of Parks, Culture and Sport • RBC • SaskCulture • Tourism Saskatchewan • Veritiv • Village Auto Group
Above: Marie Lannoo North, South, West, East – Nothing, Something, Wavelengths, Everything (Saskatchewan Arts Award), 2019 mixed media – painted aluminum, acrylic, fabric, cord Photo courtesy of SK Arts Permanent Collection
Right: Flamenco Borealis Photo: David Stobbe
31 2019-2020 ANNUAL REPORT a E n m d p A o u w d
Angus and Louisa Ferguson had a dream 25 There are also advantages. With low overheads, e
years ago: to move to rural Saskatchewan and the theatre can take more risks with its i
start a theatre company. “If we’d have known programming. When it began, Dancing Sky e r what we were doing, we might not have done it, Theatre committed to producing only Canadian
because it was a crazy thing to do,” Artistic scripts. That transitioned into the practice of i n
Director Angus Ferguson laughs. developing new work by both Canadian and n Saskatchewan playwrights. “Our intent was to
give our local audience the empowering c
The gamble to establish Dancing Sky Theatre in g Meacham, a village of 87 people, quickly paid experience of finally seeing themselves
off. Audiences now travel from 50 nearby portrayed within the culture,” Ferguson says. Of e communities, within a 150-kilometre radius, to its 56 productions, 40 were world premieres, attend shows, though it’s not unheard of to many by emerging playwrights. Numerous A s have people from Regina or Lloydminster in the scripts have since gone on to be published and audience. “Rural people are more willing to produced by other theatres. travel. If you have a kid who plays hockey, r Dancing Sky’s nimbleness also allows it to
you’re going to be driving three-to-four days a t respond to artists’ needs. Ferguson often asks week. Everyone’s kind of used to travelling,” established artists, “What do you wish you i says Ferguson. could do?” and then works with them to create s professionally gratifying opportunities. This led There are numerous challenges to running a
to a senior artist putting on his first one-man t theatre in a rural community. Infrastructure show and a married couple finally being able to costs can’t be shared with other companies. perform together. s Supplies aren’t readily available. And if you miss the courier delivery, you have to drive two The theatre, which receives funding from the hours to the city to pick it up. Professional Arts Organizations Program, is committed to hiring Saskatchewan artists Some challenges lead to opportunities, exclusively, both on stage and backstage. “A lot however, such as the theatre serving meals of people get their first professional gig here,” before shows. “If people are going to drive for Ferguson says. Dancing Sky also brings back Above: Aaron Hursh and an hour and a half to visit us, they need to eat a artists originally from Saskatchewan. “Part of Joshua Beaudry in Dancing meal. But there’s no restaurant in town,” that is to give them roots at home, but we also Sky Theatre’s 2017 production of James O’Shea’s Ferguson notes. “Theatre is a communal art want to bring those skills back so people who Dogbarked . Set design by form. Eating together before you go to the have more experience get to share that with Angus Ferguson theatre adds to that sense of community.” younger artists.” Photo: Britttany Zapshalla
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Students at the Chief Gabriel Cote Education Complex learn to create traditional Indigenous art forms. Photos: Holly Yuzicapi
The original Art of the Land
The Chief Gabriel Cote Education traditional techniques, which “We talk about the connection to Complex recently did a survey included beading, sewing and the environment: ‘These are the with its students that showed a quillwork. At the beginning of plants and animals that come low sense of belonging and self- each lesson, she contextualizes through our community – what esteem. Students expressed that the cultural and environmental comes through yours? These are they wanted more arts and significance of the medium, our traditional stories; what are cultural activities to help them through the lens of her own yours?’” she explains. understand who they are and Dakota and Lakota background. where they come from. The “It’s about recognizing our school, located on the Cote First In quillwork, she talks about individual community- or Nation, just north of Kamsack, respect for the porcupine and background-specific responded by bringing in artist how to collect and store quills. In information,” she continues. Holly Yuzicapi to teach beadwork, she points out that “That’s one of the things I’m traditional, land-based art. beads aren’t originally part of scared of, that we’re going to First Nations culture and reflects blanket everybody with common “I call it the original art of the on how they came to be used. teachings. I don’t like how we’re land. When I go into schools, it’s “You can’t talk about how to bead, all lumped together. You can find to have people go through the quill or sew without talking about the commonalities of culture, but experience of recognizing the what it means to you. I feel if you we are uniquely different.” relationship to the land and also don’t have that conversation, it see all the cool things that can be almost tokenizes the act. I don’t At the end of the project, Yuzicapi made out of things from the want culture to become a subject- organized a showcase where land,” Yuzicapi says. “I try to help based topic, because it has students showed others how they people recognize that this is what meaning and significance.” made their art. “That was my it was like a long time ago, favourite part – hearing them collecting and caring for natural Yuzicapi recognizes that First retell the stories and seeing the materials and then creating art Nations cultures are not the different ways kids appropriate forms. We didn’t have books or same, and she can only speak what I did in the classroom.” written publications of stories. from her own background. She Our stories and history are done engages with local Elders and in design.” Knowledge Keepers to bring other cultural perspectives into her art An Artists in Schools grant teachings. enabled Yuzicapi to introduce teachers and students to
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Right: Allen Sapp Carrying the Baby , 1970 acrylic on canvas Gift of the artist Photo courtesy of SK Arts Permanent Collection
Learning Language Through Lullabies
In North America numerous the way. The lullaby idea came to record the lullabies, which Indigenous languages are at risk him about five years ago. He contain simple phrases that are of disappearing, but many people explains that, in his culture, a repeated over and over. These are striving to change that at local lullaby was created in the range from “You are your levels. Robert Mcarthur, a Nakoda moment for a little one, usually ancestors. You are fierce, and you musician from White Bear First by the mother. “As I did my work, are strong,” to “You arrived here Nation near Carlyle, is doing his I quickly found that the baby riding a falling star and made me part to help preserve language lullaby concept was something happy,” to “I smell stinky feet.” By through song. that had fallen asleep. Since then keeping the songs simple, he I have been trying to find a way to hopes to light a fire in someone, As a young boy he would sit and wake it back up.” so they want to learn language. listen to his late grandfather “Even if it’s just one,” he says. Alfred sing and speak about Mcarthur says, “By going back to songs. He remembers him the beginning and singing to the The lullabies are for everyone. saying, “We have a song for little ones when they are still “I hope they will find it within everything,” and so from an early being carried, you are teaching themselves to be creative and age, he knew singing was them the sounds of our create their own. At one time something he liked to languages.” His thinking is that every family had their own. This do. Mcarthur has been “you would be giving them a is the exciting part: knowing you composing songs in his language head start in language before they may be helping one person find for more than 25 years. enter this world.” language,” he says.
Today he gives thanks to his An Indigenous Peoples Art and relatives, both north and south of Artists grant enabled Mcarthur to the border, for helping him along research further, translate and
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t It started with a giant bowl of guacamole 11 The festival has evolved based on the needs of s years ago. The Saskatoon Salsa Dance the community, incorporating multiple dance
Company held a fundraiser to continue dancing styles, a variety of programming, public and C
i and competing as a team. The event, with private workshops with dance professionals,
n award-winning dancing, no budget and, of and social events. “Years ago it was just a few course, guacamole, drew nearly 50 people from of us who wanted to salsa. Now it’s something u
g the dance community. the larger community can enjoy. It’s more inclusive – everything from beginners to l Today the Holy Guacamole Dance Festival is a advanced dancers,” says Parent. t three-day Latin dance festival that attracts 350
u people each year from across Canada and It has also moved beyond being strictly about beyond. “The name was originally about the Latin dance. Recent years have included middle guacamole we served at the fundraiser, but now eastern, Ukrainian, and urban and hip hop r I feel the phrase means, ‘Wow, look at this dancers. Parent also hopes to incorporate First e incredible showcase!’ It suits the event, Nations and Métis dance. “I’m Métis, and I’ve because it’s such an amazing gathering for always wanted to include our culture in the dance,” says Kimberley Parent, Artistic Director s festival. There are so many similarities between of the festival. Métis social dancing and Latin social dance.”
Parent personally financed the festival as a She feels this social aspect of dance is passion project for a decade. Feedback from important to bring to the community of the community led to the creation of a non- Saskatoon. “It’s a language, it’s a way to profit organization that could be eligible for communicate, it’s a healthy way to socialize, it funding, such as the SaskFestivals grant it brings people together. It’s for all ages, all received in 2019. backgrounds. You don’t have to be fit and young,” she says. “I feel sometimes dance “The grant impacts us in a really meaningful excludes, because if you’re dancing certain way. We can now host the event at a genres or certain levels, that’s the way it has to professional venue, and we were able to rent be. With Latin dance, it’s so community- more dance flooring, which we really need. focused; it’s the social aspect that really Most venues are carpeted, and there are costs enhances our community at large. It’s also Above: Dancing with the pros at the Holy Guacamole to bring in flooring so people can actually about diversity and showcasing different Dance Festival dance,” she says. “We are also able to bring in cultures.” Photo: Jon Miller more professionals and more DJs.”
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P e a b r l e e n s t s h i n o
Regina Beach writer Carol Rose GoldenEagle The Cree and Dene writer recently received an g
refuses to be defined by a genre, choosing to Indigenous/Métis Art and Artists grant to create o publish not only fiction, but also short stories a manuscript of poetry, Essential Ingredients , and poetry. “I have three children, and it’s like which celebrates the joys, struggles and s asking me, ‘Which one of your kids do you love blessings of single parenthood. “Being a parent d the most?’ It’s impossible to do. Why do I have is the best thing I’ve ever done. I felt the need to to pick a genre if I enjoy writing in each of write this work, because all single parents, and them?” she asks. parents in general, go through similar turmoil, challenges and questions. We need to be GoldenEagle has received acclaim in both reminded that being our child’s parent is a fiction and poetry. Her novel, Bearskin Diary , blessing, even through struggle.” received an Indigenous Literature Award in Ontario, and its French translation received a GoldenEagle felt poetry was the right genre for Saskatchewan Book Award. Her book of poetry, the content, because it’s “little moments in Hiraeth , was nominated for two Saskatchewan time. Whether it’s the sunrise, you’re listening Book Awards. All of her titles have also made it to children laughing, then you’re talking about onto CBC Books’ suggested reading lists. the smell of pancakes, poetry really reflects that.” While she was most interested in being a creative writer, GoldenEagle worked as a She describes the book as “kind of like love broadcast journalist for 32 years. “I had young letters to my kids….What I like about it is, even children to support, so I had to make sure I had though it’s based on my memories of my own a job where I could feed them,” she says. Once kids, everybody goes through the same stuff as her kids reached adolescence, she pursued a parent. Readers will be able to identify with Above: A painting by writing full-time. “There came a day where I removing a first tooth or going driving for the Carol Rose GoldenEagle, which will serve as the cover said, ‘Okay, if I don’t get started now, I’m never first time,” she says. “It’s really precious, and I of her book of poetry, going to do it, or I’m going to be 70 before thought it needs to be written down and Essential Ingredients . anything even happens!’” preserved.” Photo: Carey Shaw
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Permanent Collection: new Aquisitions
PURCHASES 7 Todd Gronsdahl DONATIONS Louise Cook G.A.S.P.R. , 2014 Near the River Bend , 2005 foam core, plastic, duct tape, oil on canvas 12 Joi T. Arcand wood, thermal adhesive Cathi Beckel Donated by Louise Cook ēkawiya nepēwisi , 2019 Untitled , 1980 edition: 2/2 Catherine Joa batik on fabric Louise Cook "Now that's some easy wood neon tubing, aluminum Donated by Gary Essar North , 2008 right there." casing , 2019 oil on canvas acrylic on canvas Cathi Beckel Donated by Louise Cook 1 Lindsay Arnold UNTITLED #2 , 1979 Wearing, 2018 11 Josephine Tambwe Feza Kabibi batik on fabric Louise Cook acrylic on stained, cradled Dance Around the Fire , 2019 Donated by Gary Essar Red and Alkali , 2014 birch panel copper oil on canvas Kathleen Bould Donated by Louise Cook Catherine Blackburn 8 Madhu Kumar Untitled , no date Louise Cook Armour, The Churchill So far from home life in watercolour on paper Challenger, fwd.2075 , 2018 Canada , 2015 Donated by Sonia Wilkie September Morning , 1996 oil on canvas oil on canvas plastic beads, plastic lace, Kenneth Branston nylon Donated by Louise Cook Jacqueline Faye Miller Untitled (lakeshore 6 Catherine Blackburn Good Morning Sunshine , landscape), no date 9 Louise Cook 2019 watercolour on paper The Churchill Challenger , Shore Line , 2015 oil pastel on paper Donated by Gary Essar 2018 oil on canvas Edition: 1/1 Alison Norlen Warren Brownridge Donated by Louise Cook inkjet on dibond Paris Fountain , 2014 Evening Clouds , 1978 Louise Cook edition: 8/12 Louise Cook ink, pastel on black paper Song of the Grasslands , 2011 lithograph on paper oil on board Heartland, 2018 Alison Norlen Donated by Gary Essar Donated by Louise Cook oil on canvas Pineapple Folly , 2013 Warren Brownridge Tod Emel ink, pastel on black paper Louise Cook Inconnu , 1977 Vivaldi , 2007 Wilderness, 2019 Julie Oh oil on linen acrylic on panel Donated by Gary Essar oil on canvas Drawings from the past , 2019 Donated by Louise Cook Craig Erickson crayon, acrylic on paper Warren Brownridge Louise Cook Dusk to Dawn , 2019 Gerry Ruecker Saint Johns Harbour , 1979 Winter Evening 1 , 2010 oil on panel Blue Dance , 2019 graphite on paper Donated by Gary Essar oil on panel Twyla Exner wood, metal, brass, mirror Donated by Louise Cook Warren Brownridge Adaptation 2 (cell tower) , 4 Maia Stark Zach Dietrich 2016 Self Portrait , 1972 Despite Everything , 2019 White Wheat Vase , 1985 India ink and watercolour Edition: AP gouache on panel porcelain, glaze on arches etching on paper Donated by Donald J. Maia Stark Donated by Gary Essar Hanna Yokozawa Farquharson Thauberger Inside Voice I , 2019 Warren Brownridge Zen Garden , 2018 oil on canvas Levine Flexhaug machine-pieced and quilted Untitled (arch) , 1976 Untitled (deer looking left) , cotton and linen fabric, hand Maia Stark pastel on paper Donated by Gary Essar no date stitching and embroidery Inside Voice II , 2019 oil-based house paint on oil on canvas Warren Brownridge Charley Farrero beaver board Untitled (organic forms) , Donated by Donald J. Sangre , 2019 10 Martin Tagseth 1976 Thauberger stoneware, slip cast Rocker #8 , 2019 pastel on paper porcelain, refractory concrete wood fired stoneware, apple Donated by Gary Essar Levine Flexhaug wood Robert Froese Untitled (deer looking right) , Warren Brownridge 1947 Martin Tagseth Twelve Tone Study , 2018 Untitled (two trees) , 1977 oil-based house paint on earthenware clay, glaze, Small House Rocker , 2019 pastel on paper beaver board wood, paint wood/salt fired stoneware, Donated by Gary Essar Donated by Donald J. copper, elk antler Thauberger Erin Gee Louise Cook Larynx 3 , 2014 David Thauberger Forest I , 2003 Edition: 1/5 Mid-Autumn , 2016 oil on canvas ultrachrome ink on paper acrylic on panel Donated by Louise Cook
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Levine Flexhaug Hansen-Ross Pottery Hansen-Ross Pottery – 5 David Thauberger Untitled (moose) , no date Untitled (mug with nut Don Parker Captains of Industry , 1996 oil-based house paint on handle) , 1988 Untitled (lidded jar) , 1978 acrylic on canvas beaver board ceramic ceramic Donated by David Thauberger Donated by Donald J. Donated by Donald J. Donated by Donald J. Thauberger Thauberger Thauberger David Thauberger Late Show , 1993 Hansen-Ross Pottery – 2 Levine Flexhaug Hansen-Ross Pottery – acrylic on canvas Don Parker Untitled (moose drinking) , Don Parker Donated by David Thauberger no date Untitled (cachepot) , 1980 Untitled (mug with nut oil-based house paint on ceramic handle) , 1988 David Thauberger beaver board Donated by Donald J. ceramic Sunday Morning , 2004 Donated by Donald J. Thauberger Donated by Donald J. acrylic on canvas Thauberger Hansen-Ross Pottery – Thauberger Donated by David Thauberger Don Parker Levine Flexhaug Hansen-Ross Pottery – Untitled (cup with textured Untitled (waterfall with Don Parker grip) , 1979 PHOTO CREDITS birds) , 1948 ceramic Untitled (mug with nut oil-based house paint on Donated by Donald J. handle) , 1988 beaver board Thauberger ceramic 1. Photo courtesy of the artist Donated by Donald J. Donated by Donald J. 2. Photo courtesy of SK Thauberger Hansen-Ross Pottery – Thauberger Arts Permanent Collection Don Parker 3. Photo: Gary Robins Hansen-Ross Pottery Untitled (geometric cup) , Hansen-Ross Pottery – 4. Photo courtesy of the artist Untitled (cream and sugar 1991 Don Parker 5. Photo courtesy of SK Arts set), 1990 ceramic Untitled (vase) , 1981 Permanent Collection ceramic Donated by Donald J. ceramic 6. Photo: Tenille Campbell Donated by Donald J. Thauberger Donated by Donald J. 7. Photo: Sam de Lange Thauberger Thauberger 8. Photo courtesy of the artist Hansen-Ross Pottery – 9. Photo courtesy of SK Arts Hansen-Ross Pottery Don Parker Hansen-Ross Pottery – Permanent Collection Untitled (Fort Qu’Appelle Untitled (geometric tealight) , Don Parker 10. Photo courtesy of the artist mug) , 1993 1990 Untitled (Williamson vessel) , 11. Photo courtesy of the artist ceramic ceramic 1989 12. Photo courtesy of SBC Donated by Donald J. Donated by Donald J. ceramic Gallery of Contemporary Thauberger Thauberger Donated by Donald J. Art, Montreal Hansen-Ross Pottery – Thauberger Hansen-Ross Pottery Don Parker Ann Newdigate Untitled (Fort Qu’Appelle Untitled (hanging pot) , 1977 mug) , 1994 ceramic 35 Silk Symbols Rug , 1979 ceramic Donated by Donald J. linen, wool, silk Donated by Donald J. Thauberger Donated by Doris Wall Thauberger Larson Hansen-Ross Pottery – Hansen-Ross Pottery Don Parker Odette Nicholson Untitled (goblet) , 1984 Untitled (Kamamopicik Longboard , 2008 ceramic mug), 1993 gouache on board Donated by Donald J. ceramic Donated by Odette Thauberger Donated by Donald J. Nicholson Thauberger Hansen-Ross Pottery Lorna Russell Hansen-Ross Pottery – Untitled (mug) , 1993 Don Parker Bluffs #2 , 1975 ceramic oil on canvas Untitled (Kamamopicik Donated by Donald J. Donated by Gary Essar mug) , 1993 Thauberger ceramic Leesa Streifler Hansen-Ross Pottery Donated by Donald J. Thauberger Fairytale , 2012 Untitled (mug) , 1993 acrylic on canvas ceramic Hansen-Ross Pottery – Donated by Leesa Streifler Donated by Donald J. Don Parker Leesa Streifler Thauberger Untitled (Kamamopicik 3 mug) , 1993 Priorities: Vanity and Bodily ceramic Preservation , 2012 Donated by Donald J. acrylic on canvas Thauberger Donated by Leesa Streifler
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Permanent Collection: Works on Loan
10 SASKATOON PUBLIC LIBRARY, SK Graeme Patterson McGregor Hone Todd Gronsdahl (Apr. 29, 2019 to Apr. 28, 2021 ) The Shop , 2006 By the Radio , 1950 G.A.S.P.R. , 2014 Frances Morrison Library, 2nd Floor Allen Sapp Sharpening Willow Pickets , 1983 ESPLANADE ARTS AND HERITAGE 6 CITY OF SASKATOON, SK Joe Fafard CENTRE, Medicine Hat , AB (Jan. 21, 2020 to Jan. 20, 2025 ) Reveille , 2012 Bette Spence (Jun. 8 to Aug. 3, 2019 ) Jump located outside the Frances Yukon River , 1978 TERRESTRIAL BEINGS Morrison Library Youth Gates located on 23rd MOOSE JAW MUSEUM AND ART Sam Spencer Zachari Logan Street E Wildman 3 , 2013 GALLERY, SK ( May 23 to Sept. 1, Kil (sic) (Leopard and Deer) , 1980 2019 ); Don Foulds ESPLANADE ARTS AND HERITAGE Adrian Stimson MACKENZIE ART GALLERY, Regina , Youth Gates , 1992 CENTRE, Medicine Hat , AB Bison Heart XXI , 2007 SK ( Jun. 8 to Oct. 23, 2019 ) (Nov. 1, 2019 to Jan.18, 2020 ); VICTOR CICANSKY: THE Brian Newman BUHLER GALLERY, Winnipeg , MB Russell Yuristy GARDENER’S UNIVERSE Jump , 1972 (Mar. 19 to Aug. 16, 2020 ); Work in Progress – My Farmer ART GALLERY OF SWIFT CURRENT, SK Brother and Me, Spring '78, 1976-78 Victor Cicansky (Sept. 12 to Nov. 8, 2020 ); The Pantry Shelf , 1979 5 MACKENZIE ART GALLERY, Regina , ART GALLERY OF SOUTHWESTERN Jane Zednik SK ( Jan. 24 to May 15, 2020 ) MANITOBA, Brandon , MB Bull , 1980 ERIN GEE: TO THE SOOE (Jan. 14 to Mar. 13, 2021 ) 4 CITY OF REGINA, SK A PRAIRIE VERNACULAR (Jun. 12 to Sept. 17, 2019 ) Erin Gee City Hall, lobby Larynx 3 , 2014 Amalie Atkins ART MUSEUM AT THE UNIVERSITY Scenes from a Secret World , 2010 OF TORONTO, ON Paula Cooley (Jun. 5 to Jul. 27, 2019 ) Lucent , 2014 CITY OF REGINA, SK IN AND OUT OF SASKATCHEWAN 7 Henry Beaudry (Feb. 3 to Jul. 30, 2020 ) Treaty No. 6 Battleford Area , City Hall, lobby no date Pat Adams MINISTRY OF CENTRAL SERVICES, 10:00 am Any Morning During the La Ronge , SK Alison Norlen Lorne Beug First 10 Days of New Spring Growth (Jun. 21, 2019 to Jun. 20, 2021 ) luna (rollercoaster) , 2013 Time Table , 1985 in Saskatchewan , 1983 Mistasinihk Place, lobby
Victor Cicansky Ryan Arnott William Hazzard Long-Eared Owl , 1977 2 MOOSE JAW MUSEUM AND ART Corn Harvest , 1993 Emma Lake Letter , 2001 GALLERY, SK Heritage Seeds , 1985 Roger Jerome (Feb. 6 to Aug. 30, 2020 ) Dagmara Genda ROBERT FROESE: MEASURED Allen Benjiman Clarke 2nd Stage Maquette – Northern Limp Landscape , 2010 Mother Soup-erior , 1994 Traditions and Transition , 2007 COMPOSITION Sins of the Father , 1994 Edward Poitras Chris St. Amand Robert Froese Ruth Cuthand Offensive/Defensive , 1988 Portage (SK Centennial Maquette) , Twelve Tone Study , 2018 Thunder Head: Pink Clouds over 2005 a Lake , 1990 January Thaw, Edge of Town , 8 SÂKÊWÊWAK ARTISTS' COLLECTIVE OTTAWA ART GALLERY, ON (Feb. 8 to Jul. 26, 2020 ) 1990 IN PARTNERSHIP WITH NEUTRAL UKRAINIAN MUSEUM OF CANADA, RUSSELL YURISTY: THE INSIDE GROUND CONTEMPORARY ART Saskatoon , SK Joe Fafard FORUM, Regina, SK (Oct. 25, 2019 to Feb. 15, 2020 ) OF ELEPHANTS AND ALL KINDS Bird's Eye , 1978 (Jun. 6 to Aug. 3, 2019 ); MICHAEL HOSALUK: FROM THE OF THINGS Ford , 1976 CHAPEL GALLERY, North GARDEN Pieta , 1980 Battleford , SK Russell Yuristy (Sep. 13 to Oct. 20, 2019 ); Michael Hosaluk Homecoming '71 , 1971 Sherry Farrell Racette ART GALLERY OF SWIFT CURRENT, Bird Cabinet , 1995 Riel's Vision of Death ; 1885 , 1992 SK ( Mar. 7 to May 3, 2020 ); Russell Yuristy CATHERINE BLACKBURN: Work in Progress – My Farmer Laura Harness Brother and Me, Spring '78 , NEW AGE WARRIORS 3 MINISTRY OF JUSTICE, Saskatoon , Monarch , 1966 SK ( Nov. 1, 2019 to Aug. 31, 2020 ) 1976-1978 Catherine Blackburn Court of Queen’s Bench, lobby Jerry Kaiser Armour, The Churchill Challenger, Rockin' Mulroney , 1991 fwd. 2075 , 2018 John Henry Fine Day and Sean LA TROUPE DU JOUR, Saskatoon , SK Woodruff Whalley (Feb. 11, 2020 to Feb. 10, 2021 ) William C. McCargar Somewhere in Between #3 , Winter Highway , 1963 Catherine Blackburn The Churchill Challenger , 2018 2005-2006 Otto Rogers Migration No. 2 , 1958 Fred Moulding Farming 3 , circa 1980 9 ART GALLERY OF REGINA, SK Hand Washer 3 , circa 1978 1 MACKENZIE ART GALLERY, (Dec. 12, 2019 to Feb. 22, 2020 ) Regina , SK ( Jun. 8, 2019 to Apr. TODD GRONSDAHL: THE Photos courtesy of SK Arts Wendy Parsons 19, 2020 ) SASKATCHEWAN MARITIME Permanent Collection Season's End , 2006 WALKING WITH SASKATCHEWAN MUSEUM
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in Memory
Donna Caruso Brandon Parfitt Gordon Staseson was passionate the double bass, playing in the began his was best about films. She worked with South Saskatchewan Youth theatre journey in high school known for his work in the the Saskatchewan Lung Orchestra, alongside the in Yorkton. At the University of Regina sports community, but Association on her first full- Regina Symphony, while he Saskatchewan, he switched he also made major Chasing length documentary, was in high school. He played majors from computer science contributions to the arts the Cure , which chronicled the in several bands over the to theatre and fell in love with community, raising funds for Fort Qu’Appelle Sanatorium years and influenced many design. In 2019 he worked for numerous initiatives and and the early days of the fight other musicians. Shakespeare on the causes, including the against tuberculosis. She was Saskatchewan. He enjoyed MacKenzie Art Gallery. He was Bob Klassen also a talented writer, penning performed in lighting and set design, but his recognized with an honorary Journey without a Map: numerous bands and groups passion was in writing and doctorate from the University Growing Up Italian , an award- throughout his professional directing his own plays. of Regina and was appointed a winning memoir. music career, including the member of the Saskatchewan Otto Rogers Saskatoon Symphony was a well-known Order of Merit and the Order Kenneth Chesko founded the Orchestra, Saskatoon painter and sculptor. Born in of Canada. Regina Guild of Folk Music, Philharmonic Orchestra, Kerrobert, he studied at Trudy Stewart the first of its kind in Western Bridge City Dixieland Jazz Saskatoon Teachers’ College was an award- Canada, helping it evolve into Band, Saskatoon Hobby Band, with Wynona Mulcaster and winning filmmaker from the the Regina Folk Festival over Don Watson Octet and earned a bachelor’s and Flying Dust First Nation who the years. He played and Saskatoon Klezmer Band. His master’s degree in art from also worked at Mispon: A toured with numerous bands, great love was jazz, and he the University of Wisconsin. Celebration of Indigenous including for more than 30 made a considerable He was a mentor to many, Filmmaking. She was a central years with the group Summit. contribution to the Saskatoon teaching art at the University figure in documenting efforts He also taught music and was jazz community as a mentor, of Saskatchewan for almost to protect and commemorate involved in creating jingles for leader and musician. 30 years. His work is held in the Regina Indian Industrial film and video scores. more than 30 public School cemetery and in Bill Klebeck was a writer and collections, including that of gathering statements from Christa Donaldson was lawyer from Wynyard. He SK Arts. residential school survivors passionate about art and published with Coteau Books for the Truth and Lorraine Standing creativity. She worked and and Thistledown Press and , of the Reconciliation Commission studied in Canada and the was one of the original Wahpeton Dakota Nation, of Canada. United States, sharing her love members of the Poets Coterie. engaged in the art form of Simon Streatfeild of art with youth and others. He served as president of storytelling, because it helped made a Her career at the Neil Balkwill SaskCulture’s predecessor, her to reaffirm and share the significant impact on the Civic Arts Centre, Regina the Saskatchewan Council of cultural stories she grew up classical music scene in International Children’s Cultural Organizations, and as with as the daughter of Canada and beyond in his Festival and Regina Plains a member of the SK Arts Nakota-, Anishnabe- and Cree- nearly seven-decade-long Museum garnered her much Board of Directors. speaking parents. Her goal in career. He was conductor and respect in the arts community. storytelling was to share how director of the Regina Luella Newman She received numerous believed life was prior to her attending Symphony Orchestra and the awards, including a YWCA strongly in the power of residential school and to help Quebec Symphony Orchestra Women of Distinction Award. reading to change lives. She other Indigenous people and in the 1980s and served as a loved children’s literature and youth learn cultural practices. guest conductor of numerous Bruce Ferguson was was co-owner of the orchestras in Canada and Noel Starblanket recognized internationally as Children’s Corner (Reader’s , of the Star around the world. an innovative curator, writer Corner) Bookstore in Regina Blanket First Nation, motivated Clifford Wiens and academic leader. He was for 17 years. She was an youth to believe in was a widely influential in the field of active volunteer with many themselves, get a sound distinguished architect born the contemporary arts and organizations, such as Coteau education and to pursue sport, near Glen Kerr. He studied identified many important Books, the Saskatchewan culture, language and fine painting and agriculture before artists in the early stages of Book Awards and the Lifelong arts. He spent decades graduating with his degree in their careers. He served as Learning Centre book sale. learning about Indigenous architecture and design. He President of Otis College of spirituality from elders and was a contemporary of the Darren Okemaysim Art and Design, Los Angeles; was a eventually became involved in Regina Five, and his work was Founding Director of Arizona Cree language teacher (or as education, serving as an elder- part of a continuing State University’s F.A.R.; and he called himself, a “Cree- in-residence, teaching conversation with artists and Dean of the School of Arts at ture”). He is remembered for Indigenous history and makers. His well-known Columbia University. his laughter, humour and worldview at 50 public designs include the University passion for language and schools across Regina and of Regina Heating and Cooling Leon Herperger was not culture. One of the agencies working with the University of Plant and the CBC Building on classically trained, but there he supported was Regina’s Office of Broad Street in Regina. wasn’t an instrument he SaskCulture, where he served Indigenization. couldn’t play or teach to as a cultural advisor and someone else. He started with volunteer funding assessor for guitar and then moved on to more than a decade.
462 2019-2020 ANNUAL REPORT
strategic Directions
Late in 2018/19, our Board met to begin a planning process. Because so many of the Board members were brand new, they decided not to articulate a full strategic plan at that time. Instead they developed a list of strategic directions to guide our work. SK Arts is very pleased to report the progress that we made towards those strategic directions in 2019/20.
Reaffirm the Value of the Individual Artist • increased the level of funding to our Independent Artists program by almost 30% – SK Arts was able to award 26 additional IA grants in 2019/20
• established means to purchase a major work annually for the Permanent Collection
• refined our collection of statistical information, so that we could track the manner in which our grants were supporting the work of the province’s individual artists
“This week, I focused on writing, and being away in new surroundings sparked my creativity. A huge thank you to the…Independent Artists grant program. Coming home tonight with my heart, mind, and spirit full.” – Ryan Hicks, musician
Provide Access • launched Accessibility Fund, with monies available for both Access Support and Project Support
• refined our definition of “professional artist” to make sure that definition did not exclude any marginalized peoples
• more than 50% of Micro-Grant Program grantees represented first-time recipients
• SK Arts funding impacted more than 200 communities all around the province – number of communities in which direct grants were received increased by more than 15%
“Many people with chronic illness face barriers like higher costs of living and non-flexible timelines of… professional arts careers, since things like stress can cause health conditions to flare. There are so many more Build a Resilient Agency disabled stories waiting to be heard, and we need to find those voices.” – Carla Harris, writer • codified agency processes related to Board self- assessment, review of CEO performance, staff engagement, collection of metrics Champion the Arts • conducted communications audit to ensure that • developed three new partnerships that brought our work celebrated the stories of Saskatchewan additional revenue into SK Arts artists and arts organizations “It’s important to honour our heritage of more than 70 • more than 90% of self-generated social media years, but also to build new processes that will ensure stories spoke of the community – less than 10% the health of SK Arts for the next 70.” were used to promote SK Arts activities – Jason Aebig, Chair
“Thank you for hosting the Saskatchewan Arts Awards, which celebrates the rich and inspiring artistic landscape of Saskatchewan.” – Risa Payant, Common Weal Community Arts
43 2019-2020 ANNUAL REPORT
Grants & funding
44 2019-2020 ANNUAL REPORT
Grants & Opposite: Maia Stark Despite Everything , 2019 gouache on panel funding Grants & funding Photo courtesy of the artist
ARTISTS IN COMMUNITIES Santa Maria Senior Supported by funding from Sask Lotteries through the ongoing partnership between Citizens Home Goretzky, Barbara SK Arts and SaskCulture Inc. Projects Regina 10,000 Saskatchewan Council for 17 Wing Detachment Dundurn Micro-Development Dundurn 1,000 International Cooperation 25th Street Theatre Centre Inc. (SCIC), The Hale, Laura Alvarez, Kris Projects Saskatoon 10,000 Projects Regina 9,900 Art Gallery of Swift Current Saskatoon Industry Profit, Shon Education Council Residencies Swift Current 45,000 Al-Katib, Muveddet Projects Saskatoon 10,000 asokan Project Camps Shift Development Nordstrom, Alexandra Micro-Development Saskatoon 1,000 Projects Battleford 10,000 Stanley Mission First Nation Stanley Mission / Big River Métis Local #59 Doyle, Eliza Mary Mclean, Shannon Residencies Asquith 46,500 Projects Big River 10,000 Thorburn, Crystal Broadway Business Micro-Development Assiniboia 948 Town of Lumsden Improvement District Micro-Development Lumsden 990 Pershcke, Kurt Projects Saskatoon 5,000 UR Pride Centre for Sexuality Camp fYrefly Saskatchewan & Gender Diversity Inc. West, Devin Ruddy, Evie Projects Saskatoon 9,000 Projects Regina 10,000 Collectif Sans-atelier Wild About Saskatoon NatureCity Festival Mackasey, Michèle Residencies Saskatoon 46,500 Hale, Laura Projects Saskatoon 10,000 Creative City Centre Inc. Wolseley Public Library King, Karlie Micro-Development Wolseley 1,000 Projects Regina 10,000 Creative Options Regina, Inc. Micro-Development Regina 1,000 ARTISTS IN SCHOOLS Dunlop Art Gallery Supported by funding from Sask Lotteries through the ongoing partnership between MacDonald, Logan SK Arts and SaskCulture Inc. and from the Government of Saskatchewan through the Projects Regina 10,000 Ministry of Education. Dureault, Mitchell Micro-Development Regina 1,000 Argyle Elementary School Eastend Historical Museum Clinton Ackerman Music & Cultural Centre Projects Regina 5,103 Jensen, Trea Projects Eastend 10,000 Bishop James Mahoney High School Eden Care Communities Micro-Development Saskatoon 1,000 Foundation Inc. Bishop Lloyd Middle School Wensel, Misty Micro-Development Lloydminster 1,000 Projects Regina 9,781 Ells, Chrystene Brightwater Science, Micro-Development Regina 1,000 Environmental, and Indigenous Learning Center Free Flow Dance Theatre Micro-Development Grandora 1,000 Company Litzenberger, Shannon Cando Community School Projects Saskatoon 10,000 Micro-Development Cando 1,000 Gauvin, Vanessa Chief Gabriel Cote Education Micro-Development Swift Current 1,000 Complex Kamsack / Girls Rock Camp Saskatoon Yuzicapi, Holly Saskatoon / Projects Cote FN 10,000 Doyle, Eliza Mary Projects Stanley Mission 10,000 Christ the King School Hume, Diana Fidelak, Terri Micro-Development Creelman 1,000 Projects Regina / Shaunavon 10,000 L'Association fransaskoise Churchill Community de Zenon Park Inc. La Ronge / Micro-Development Zenon Park 903 High Micro-Development Kitsakik FN 1,934 Northern Saskatchewan Clearwater River International Children's Clearwater River Dene School Festival Inc. Micro-Development Dene Nation 1,684 Hosaluk, Laura Projects Saskatoon 6,000 Dene High School Micro-Development La Loche 1,000 Prairie Sculptors' Association Manitou Beach Recreation Dinsmore Composite School Saskatoon / Micro-Development Dinsmore 1,000 Board Projects Manitou Beach 10,000 E.D. Feehan Catholic High School Regina Folk Festival Inc. Micro-Development Saskatoon 1,000 Nash, Megan and Jenna Projects Regina 10,000 E.S. Laird Middle School Micro-Development Lloydminster 1,000 Regina intersectoral Partnership, The (TRiP) École canadienne française Clinton Ackerman Music Pavillon Gustave Dubois Projects Regina 10,000 ̶ Micro-Development Saskatoon 1,000 Santa Maria Senior École Dundonald School Citizens Home Dorion, Leah Micro-Development Regina 990 Projects Saskatoon 10,000
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Grants & funding
École Lumsden INDEPENDENT ARTISTS Elementary School Micro-Development Lumsden 962 Abrupt Dystopia École St. Mother Teresa School Music Regina 4,000 Micro-Development Saskatoon 1,000 Allard, Mark École Monseigneur de Laval – Multidisciplinary Saskatoon 7,000 Pavillon secondaire des Anderson, Bruce Quatre Vents Visual Regina 9,000 Micro-Development Regina 1,000 Anderson, Charles École Wascana Plains Literary Regina 10,000 Elementary School Dotson, Allan Atkins, Amalie Projects Regina 10,000 Visual Saskatoon 15,500 Ernest Lindner School Ba, Flany Micro-Development Saskatoon 1,000 Dance Regina 2,000 Eston Composite School Bates-Hardy, Courtney Micro-Development Eston 1,000 Literary Regina 1,740 Benjamin, Paul F.W. Johnson Collegiate Music Saskatoon 4,400 Yuzicapi, Holly Projects Regina / Piapot 9,547 Bernbaum, Joel Multidisciplinary Saskatoon 5,000 Good Spirit School Division Micro-Development Yorkton 1,000 Bernbaum, Joel Theatre Saskatoon 5,000 Gordon Denny Community Billings, Terry School Media Arts Saskatoon 6,000 Micro-Development Air Ronge 1,000 Billingsley, Alyssa Keethanow Elementary School Theatre Saskatoon 1,309 Micro-Development Stanley Mission 1,000 Bird, Keith King, Karlie Visual Regina 18,000 Micro-Development Regina 987 Blom, Monique Living Sky School Division Multidisciplinary Waldheim 10,000 North Battleford / No. 202 Micro-Development Medstead 1,000 Bonetto, Estelle Visual Regina 5,060 Living Sky School Division Bonneau, Devon No. 202 Theatre Regina 2,000 North Battleford / Macnab, Bonny Bradford, Michael Projects Medstead 10,000 Literary Saskatoon 16,000 Midale Central School Bundon Pfeifer Henderson Theatre Regina 12,000 Missoula Theatre Group Projects Midale 6,600 Burke, Kelley Jo Theatre Regina 7,000 Minahik Waskahigan Elementary School Burnt Thicket Theatre Micro-Development Pinehouse Lake 1,000 Theatre Saskatoon 5,000 Campbell, John Mistawasis Nehiyawak Visual Regina 7,500 High School Micro-Development Leask 1,000 Carriere, Kenneth Literary Air Ronge 7,500 Mistawasis Nehiyawak Chabros, Diana High School Visual Val Marie 5,000 Moffatt, Kris Projects Leask 10,000 Checkley, Shauna Literary Regina 3,000 North Park Wilson School Coflin, Caitlin Bernbaum, Joel Dance Regina 4,997 Projects Saskatoon 10,000 Cowan, Hilarey Prairie Sky School Multidisciplinary Regina 7,500 Micro-Development Regina 756 Cummings Truszkowski, Sarah Regina Catholic Visual Regina 1,500 School Division Deaf Crows Collective Micro-Development Regina 1,000 Theatre Regina 9,000 Rhoda Hardlotte Elixir Ensemble Music Riverside Estates 7,814 Memorial Keethanow High School Emel, Tod Micro-Development Stanley Mission 1,415 Visual Saskatoon 18,000 St. Michael Community School Epp, Carole Micro-Development Regina 1,000 Visual Saskatoon 7,771 Stoughton Central School Exclamation Productions Micro-Development Stoughton 1,000 Theatre Regina 1,750 Favel, Floyd Thomson Community School Multidisciplinary Paynton 5,751 Perry, Chancz Residencies Regina 39,432 Fletcher, Étienne Music Regina 7,500 Vibank Regional School Micro-Development Vibank 1,000 Fortier, Zoe Multidisciplinary Saskatoon 6,000 Warman High School Keighley, Ray Francis, Jaron Residencies Warman 39,433 Theatre Saskatoon 2,750 Froese, Robert Westmount Community School Visual Moose Jaw 15,000 Gomez, Felipe Projects Saskatoon 7,700 Garneau, David Visual Regina 5,000 Westview Public School Micro-Development Prince Albert 1,000 Gebremichael, Elsa Music Saskatoon 10,000 Winston Knoll Collegiate Ells, Chrystene Gereaux, Tara Residencies Regina 39,432 Literary Regina 7,369
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Gonie, Jalisa Peet, John Theatre Saskatoon 1,200 Visual Regina 4,412 Goobie, Beth Penner, John J Literary Saskatoon 12,000 Visual Saskatoon 7,000 Goodwyn, Amber Penner, Josephine Craig Media Arts Regina 17,110 Dance Regina 5,000 Gronsdahl, Todd Per Sonatori Visual Vonda 18,000 Music Regina 14,496 Hagan-Egyir, Rebecca Per Sonatori Literary Saskatoon 6,573 Music Regina 11,504 Hale, Laura Pettigrew, Laura Visual Saskatoon 10,040 Music Regina 4,000 Hamel, Madonna Power, Kevin Literary Val Marie 6,500 Music Saskatoon 3,000 Harder, Kendra Prairie Roots Ensemble Music Saskatoon 5,500 Music Lloydminster 3,103 Harder, Kristel Raine, Nathan Theatre Saskatoon 4,466 Media Arts Saskatoon 8,000 Harpham, Lindsay Ramsay, Jessica Dance Tisdale 2,700 Music Regina 5,000 Herriot, Trevor Rice, Bruce Literary Regina 10,000 Literary Regina 1,500 It's Not a Box Theatre Richter, Jessica Theatre Saskatoon 15,000 Visual Regina 7,326 Kardash, S.J. Ripplinger, Matthew Music Saskatoon 8,000 Media Arts Regina 7,500 Kazan, Lina Roher, Amy Dance Saskatoon 5,000 Literary Regina 7,200 Keating, Bridget Romero, Cesar Alejandro Literary Regina 5,000 Multidisciplinary Saskatoon 2,696 Kent, Megan; and Sara Kreuger Rosie & the Riveters Dance Saskatoon 4,905 Music Saskatoon 10,000 Kirchmeier, Kurt Scarrow, Kristine Literary Saskatoon 7,000 Literary Saskatoon 6,000 Knutson, Cole Schneider, Zoë Music North Battleford 5,000 Visual Regina 7,500 Körner, Miriam Schwab, Jordan Literary Air Ronge 10,000 Visual Saskatoon 3,486 KSAMB Dance Company Slow Down Molasses Dance Saskatoon 9,955 Music Saskatoon 6,000 Kumar, Madhu Stonhouse, David Visual Regina 5,800 Visual Saskatoon 5,000 Kuse, Stephanie Straker, Jeffery Media Arts Saskatoon 4,821 Music Regina 4,000 Kuse, Stephanie Theatre Naught Media Arts Saskatoon 5,000 Theatre Saskatoon 7,378 Kuzbik, Paul Thorn, Elly Music Saskatoon 9,000 Music Saskatoon 4,000 LaRiviere, David Thurmeier, Tim Media Arts Saskatoon 3,400 Media Arts Regina 17,000 Latendresse, Jacqueline Tucker, Peter Dance Saskatoon 8,000 Visual Moose Jaw 7,000 Lavoy, Landon Tushabe, Irene Dance Regina 3,473 Literary Regina 7,500 Lebel, Emilie Uzelman, Kara Media Arts Saskatoon 2,262 Visual Nokomis 13,000 Lepage, Mario W3APONS Music St. Denis 5,500 Music Saskatoon 12,000 Lesiuk, Dana Wagner, Bernadette Media Arts Regina 7,832 Literary Regina 7,914 Logan, Adam Wagner, Bernadette Music Saskatoon 3,311 Literary Regina 3,169 Lynch, Rory Wensel, Judy Music Saskatoon 6,000 Theatre Regina 14,000 Mackasey, Michèle Wensel, Misty Visual Saskatoon 18,000 Dance Regina 10,534 Martin, Monique Wilson, James (Nic) Visual Saskatoon 9,000 Visual Regina 7,200 McNeill, Dean Music Saskatoon 2,500 Wong, Wing Tak Nova Music Saskatoon 3,640 Metcalfe, Shayne Media Arts Waldheim 7,832 Worrell, Peggy Literary Swift Current 7,500 Murza, Michael Music Saskatoon 8,500 Zong, Megan Theatre Saskatoon 15,000 Neufeld, Travis Media Arts Saskatoon 8,000 Noël-Maw, Martine Literary Regina 9,000 INDIGENOUS/MÉTIS ART AND ARTISTS / INDIGENOUS PEOPLES ART AND ARTISTS Nolan, Yvette Theatre Saskatoon 16,000 Normand, Alexis Angus, Meagan Media Arts Saskatoon 7,500 Theatre Regina 7,500 Oh, Julie Atimoyoo, Erland Visual Saskatoon 12,000 Multidisciplinary Saskatoon 7,500 Paoli, Loretta Bellegarde, Bradley Visual Regina 9,060 Music Regina 4,487 Payne, Laura Boechler, Jared Visual Saskatoon 8,491 Visual Saskatoon 5,000
47 2019-2020 ANNUAL REPORT
Grants & funding
Budgell-Eaglespeaker, Corbett, Samuel Music Saskatoon 1,000 Forrest Scott Music Saskatoon 7,500 Craig Penner, Josephine Dance Regina 1,000 Cameron, Howard Multidisciplinary Duck Lake 7,500 Creative City Centre Inc. Literary Regina 2,000 Campbell, Tara Visual Saskatoon 6,725 Daigneault, Nap Visual Beauval 1,000 Candline, Randi Visual Saskatoon 6,500 Dale, Danielle Visual Saskatoon 1,000 Cuthand, Shawn Multidisciplinary Saskatoon 7,500 Dancing Sky Theatre Inc. Theatre Meacham 2,000 Daniels, Carol Literary Regina Beach 3,000 Dekker Centre for the Deiter, Christine Performing Arts, The Multidisciplinary Balcarres 7,500 Multidisciplinary North Battleford 2,000 Dorion, Leah Dieter, Mark Visual Prince Albert 7,500 Theatre Balcarres 1,000 Favel, Floyd Dishaw, Jessie Literary Paynton 10,000 Visual Regina 1,000 Janvier, Bobby Dunn, Shaunna Visual La Loche 6,370 Multidisciplinary Regina 1,000 Jodoin, Berkley Dussion, Mary Music Leader 7,500 Multidisciplinary Nipawin 1,000 Johnson, Omar Music Regina 7,500 Dynamic Video Imaging Corporation Kozak, Kathryn Media Arts Saskatoon 2,000 Visual Creighton 7,300 Ells, Chrystene Lavallee, Terri Media Arts Regina 1,000 Multidisciplinary Saskatoon 4,500 Erickson, Craig McArthur, Robert Visual Saskatoon 1,000 Music Carlyle 7,500 Evans, George Nordstrom, Alexandra Music Regina 1,000 Multidisciplinary Battleford 7,500 FadaDance Troupe Inc. Pewapsconias, Janelle Dance Regina 2,000 Literary Paynton 7,500 Feheregyhazi, Andrei Poitras-Jarrett, Phyllis Media Arts Saskatoon 1,000 Visual Regina 7,500 Free Flow Dance Pooyak, Roberto Music Saskatoon 7,500 Theatre Company Dance Saskatoon 1,500 Sanger, Joslin Music Saskatoon 7,500 Friesen, Marcy Visual Carrot River 1,000 Standing, Cyrus Multidisciplinary Saskatoon 4,488 Garrys, The Multidisciplinary Saskatoon 2,000 Standing, Lorraine Multidisciplinary Saskatoon 7,500 Glenn, Allyson Visual Saskatoon 1,000 Thunderchild, Richard Visual Spiritwood 6,800 Godfrey Dean Art Gallery Inc. Multidisciplinary Yorkton 2,000 Tienkamp, Christine Visual St. Louis 7,500 Gomez, Felipe Music Saskatoon 757 Tootoosis, Shelly Visual Cut Knife 7,500 Grienke, Jennica Theatre Saskatoon 1,000 Grummett, S.E. MICRO-GRANT PROGRAM Theatre Saskatoon 1,000 Gwepa 25th Street Theatre Centre Inc. Dance Regina 2,000 Theatre Saskatoon 2,000 Hagel, Mandie Alvarez, Kris Literary Regina 1,000 Theatre Regina 1,000 Haldoupis, Nicole Arnal, Caitlin Literary Saskatoon 1,000 Literary Eastend 1,000 Ba, Flany Hale, Laura Dance Regina 1,000 Visual Saskatoon 1,000 Baerwaldt, Wayne Harris, Carla Visual Assiniboia 1,000 Literary Regina 1,000 Baggett, Brian Henry, Hugh Music Fort Qu'Appelle 750 Visual Swift Current 1,000 Bell, Darrell Indigenous Poets Society Visual Saskatoon 1,000 Literary Paynton 2,000 Berenbaum, Jenna Kloeble, Karla Theatre Saskatoon 1,000 Dance Saskatoon 1,000 Bergbusch, Sarah Körner, Miriam Theatre Regina 1,000 Literary Air Ronge 1,000 Bernbaum, Joel Kuse, Stephanie Theatre Saskatoon 1,000 Media Arts Saskatoon 1,000 Blanchette, Cynthia Kuz, Tessa Visual North Battleford 1,000 Dance Regina 900 Bosiak, Charlene Kybalion Movement Dance La Ronge 631 Dance Saskatoon 2,000 Bourque, Marie-Véronique Kyuubi Culture Music Regina 757 Visual Saskatoon 2,000 Bridges Art Movement Langwieser, Ruth Visual Saskatoon 2,000 Visual Estevan 973 Cafferata, Skyler Lebel, Emilie Music Saskatoon 1,000 Music Saskatoon 929 Campos, Yulissa Ledingham, Sandra Meryl Theatre Saskatoon 1,000 Visual Saskatoon 1,000 Coppens, Nathan Lepage, Mario Theatre Saskatoon 1,000 Music St. Denis 1,000
468 2019-2020 ANNUAL REPORT
Liu, Lin Void Gallery Visual Regina 757 Visual Saskatoon 2,000 Logan, Faith B. Wilson, James (Nic) Visual Regina 1,000 Visual Regina 1,000 Mappin, Miki Yokozawa Farquharson, Hanna Dance Saskatoon 1,000 Visual Saltcoats 1,000 Mathieu, Veronique Music Saskatoon 830 Maxwell, Aralia Visual Saskatoon 1,000 PRINCE EDWARD ARTS SCHOLARSHIP McFarlane, Melanie Albert, Isabella Literary Moose Jaw 1,000 Dance Regina 800 Duval-Tyler, Madeline McKay, Cameron Media Arts Saskatoon 1,000 Visual Saskatoon 1,000 Froc, Benton Mendez, Edward Music Melfort 1,000 Theatre Saskatoon 1,000 Hector, Eleanor Mitchell, Terri-Lynn Music Regina 2,500 Music Saskatoon 1,000 Hepting, Finnian Miyawata Culture Dance Regina 2,500 Association Inc. Jungwirth, Jessica Visual Paynton 2,000 Visual Saskatoon 1,800 Mantyka, Drew Moose Jaw Museum Theatre Saskatoon 1,500 & Art Gallery Visual Moose Jaw 2,000 Merasty, Marcus Dance Prince Albert 2,500 Muirhead, Laurie Literary Shellbrook 500 Palaschuk, Brett Dance Regina 2,500 Nuit Blanche Regina Rathgeber, Carolyn Arts Festival Inc. Music Regina 1,500 Multidisciplinary Regina 2,000 Ritter-Magot, Nathaniel Pantel, Rowan Dance Regina 1,000 Multidisciplinary Saskatoon 1,000 Sonntag, Mayson Theatre Regina 1,500 Paquet, Daniel Visual Regina 1,000 Tupper, Annika Theatre Saskatoon 1,000 PAVED Art + New Media Media Arts Saskatoon 2,000 Weger, Rebecca Music Regina 2,400 Peters, Charles Theatre Saskatoon 700 Wightman, Nevada Media Arts Davidson 1,500 Pettigrew, Laura Music Regina 1,000 Phelps Bondaroff, Amber Visual Regina 1,000 PROFESSIONAL ARTS ORGANIZATIONS PROGRAM Podiluk, Mike Visual Saskatoon 1,000 AKA Gallery Inc. Visual Saskatoon 70,000 Pogorelova, Anya Music Saskatoon 631 Allie Griffin Art Gallery Visual Weyburn 20,000 Pshebylo, Mila Art Gallery of Regina Inc. Visual Saskatoon 1,000 Visual Regina 45,580 Radiant Press Art Gallery of Swift Current Literary Regina 2,000 Visual Swift Current 40,000 Ramsay, Jessica Articulate Ink Press Inc. Music Regina 1,000 Visual Regina 20,000 Buffalo Berry Press Inc. Regina Symphony Literary Saskatoon 27,480 Orchestra Inc. Music Regina 2,000 City of North Battleford Galleries Rock My Gypsy Visual North Battleford 57,850 Soul Music Festival Music Prince Albert 2,000 Common Weal Rymestone Community Arts Inc. Music Prince Albert 977 Multidisciplinary Regina 142,200 Saltzman, Vera Community Radio Society Visual Fort Qu'Appelle 1,000 of Saskatoon Inc. Media Arts Saskatoon 20,000 Sedgwick, Edward Media Arts Saskatoon 1,000 Coteau Books Literary Regina 133,620 Sheikh, Sheheryar Literary Saskatoon 1,000 Creative City Centre Inc. Multidisciplinary Regina 20,000 Silverthorne, Judith Literary Regina 1,000 Curtain Razors Inc. Theatre Regina 20,000 Simon-Worobec, Hillary Dancing Sky Theatre Inc. Visual Saskatoon 1,000 Theatre Meacham 87,940 Skjeie, Cooper Deaf Crows Collective Literary Saskatoon 1,000 Multidisciplinary Regina 17,000 Staples-Jetko, Sandra Dunlop Art Gallery Media Arts Regina 550 Visual Regina 111,800 Stooshinoff, Alexander Estevan Art Gallery & Museum Music Saskatoon 1,000 Visual Estevan 44,000 Suchan, Paul FadaDance Troupe Inc. Music Saskatoon 1,000 Dance Regina 22,000 Syverson, Kyle Free Flow Dance Dance Saskatoon 1,000 Theatre Company Dance Saskatoon 20,000 Tenold, Darla Literary Saskatoon 858 Friends of the Broadway These Young Hands Theatre Inc. Music Saskatoon 1,000 Multidisciplinary Saskatoon 50,500 Vogel, Kristian Globe Theatre Society Music Regina 1,000 Theatre Regina 238,930
49 2019-2020 ANNUAL REPORT
Grants & funding
Godfrey Dean Art Gallery Inc. Association of Manitou Arts Visual Yorkton 49,000 & Cultures Inc. Multidisciplinary Manitou Beach 7,995 Gordon Tootoosis N k n win Theatre Bengough Municipal ā Theatre Saskatoon 56,500 ī ī Arts Council Inc. Music Bengough 25,000 Indigenous Peoples Artist Collective of Prince Albert Inc. Cathedral Area Multidisciplinary Prince Albert 34,000 Community Association JackPine Press Inc. Multidisciplinary Regina 10,000 Literary Saskatoon 23,630 Country at the Creek Kenderdine Art Gallery Music Fest Inc. Visual Saskatoon 32,760 Music Big River 2,000 La Troupe du Jour Inc. Theatre Saskatoon 79,000 Cultural Festivals Multidisciplinary Swift Current 30,000 Last Mountain Lake Farm Fest Terre Ferme Cultural Centre Inc. Regina / Visual Regina Beach 20,000 Festival Ltd. Music Willow Bunch 7,000 Listen to Dis' Community Fédération des Arts Organization Inc. Francophones de Saskatoon Theatre Regina 17,000 Media Arts Saskatoon 10,000 MacKenzie Art Gallery Inc. Visual Regina 161,620 Flamenco Borealis Multidisciplinary Saskatoon 8,000 Mann Art Gallery Inc., The Visual Prince Albert 63,000 Holy Guacamole Dance Festival Dance Martensville 8,000 Moose Jaw Museum & Art Gallery Visual Moose Jaw 102,120 Saskatoon / John Arcand Fiddle Fest Inc. Multidisciplinary Windy Acres 21,000 Neutral Ground Inc. Visual Regina 95,000 Library Services for New Dance Horizons Inc. Dance Regina 82,000 Saskatchewan Aboriginal Peoples Inc. On the Boards Staging Literary La Ronge 10,000 Company, Inc. Theatre Saskatoon 29,950 Saskatoon / PAVED Art + New Media Manitou Boogaloo Media Arts Saskatoon 138,980 Multidisciplinary Manitou Beach 7,000 Persephone Theatre Miyawata Culture Theatre Saskatoon 230,000 Paynton / Association Inc. Regina Symphony Theatre Poundmaker FN 8,000 Orchestra Inc. Ness Creek Cultural and Music Regina 197,440 Saskatoon / Remai Modern Recreational Society, Inc. Visual Saskatoon 213,750 Music Big River 50,000 Northern Lights Bluegrass and Sage Hill Writing Saskatoon / Experience Inc. Old-Tyme Music Society, Inc. Literary Regina 86,780 Music Big River 20,000 Sâkêwêwak First Nations Northern Saskatchewan Artists' Collective Inc. Multidisciplinary Regina 68,100 International Children's Festival Inc. Saskatchewan Filmpool Multidisciplinary Saskatoon 40,000 Cooperative Media Arts Regina 102,000 Nuit Blanche Regina Saskatchewan Playwrights Arts Festival Inc. Centre Inc. Multidisciplinary Regina 7,000 Theatre Saskatoon 50,640 Nuit Blanche Saskatoon Saskatoon Jazz Society Inc. Contemporary Arts Festival Inc. Music Saskatoon 29,950 Visual Saskatoon 11,000 Saskatoon Opera Association One Take Super 8 Event Music Saskatoon 30,000 Media Arts Saskatoon 5,575 Saskatoon Symphony Society Music Saskatoon 150,000 Oxbow Arts and Cultural Committee Inc. Southwest Cultural Music Oxbow 2,500 Development Group Inc. Multidisciplinary Swift Current 20,000 Prairie New Music Station Arts Centre Festivals Inc. Music Saskatoon 10,000 Cooperative Multidisciplinary Rosthern 20,000 Queer City Cinema Inc. Sum Theatre Corp. Multidisciplinary Regina 30,000 Theatre Saskatoon 30,200 Regina Blues Association Thistledown Press Ltd. Music Regina 8,000 Literary Saskatoon 128,840 Regina Chamber Music Festival Tonight It's Poetry Music Regina 8,000 Performance Series Inc. Literary Saskatoon 20,000 Regina Folk Festival Inc. Music Regina 85,000 Wide Open Theatrical Escapades Inc. Regina Highland Festival Theatre Saskatoon 20,000 Association Inc. Music Regina 3,815 SASKFESTIVALS Regina International Open Theatre Society Supported by funding from Sask Lotteries through the ongoing partnership between Theatre Regina 10,000 SK Arts and SaskCulture Inc. Regina Jazz Society Inc. Music Regina 8,000 25th Street Theatre Centre Inc. Multidisciplinary Saskatoon 38,000 Regina Pride Inc. Multidisciplinary Regina 8,000 Saskatoon / Prince Ânskohk Aboriginal Ritornello Chamber Albert / Île-à-la- Writers' Circle Inc. Music Festival Literary Crosse / La Loche 16,000 Music Saskatoon 8,000
560 2019-2020 ANNUAL REPORT
Rock My Gypsy LOTTERY FUNDING Soul Music Festival Music Prince Albert 7,000 SK Arts was provided with lottery funding from the Sask Lotteries Trust Fund for Sport, Saskatchewan Festival Culture and Recreation totaling $1,930,000 in 2019/20. Of this, $135,000 was allocated towards program delivery, and $15,000 was allocated for administrative support of of Words Inc. Literary Moose Jaw 45,000 SaskCulture’s Creative Kids program. The remaining funds were expended as follows. Saskatchewan Jazz Description Lottery $ Other $ Total (per listing) Festival Inc. Music Saskatoon 70,000 Artists in Schools / LIVE Arts Grant Fund 285,000 61,995 346,995 Saskatoon Jazz Orchestra Music Saskatoon 10,000 Artists in Communities Saskatoon Poetic Arts Festival Grant Fund 339,000 512 339,512 Multidisciplinary Saskatoon 7,500 Gallery Grant Fund 300,000 478,210 778,210 Shakespeare on the Media Arts Grant Fund 250,000 156,480 406,480 Saskatchewan Festival Inc. Festivals Grant Fund 606,000 236,435 842,435 Theatre Saskatoon 86,000 Totals 1,780,000 933,632 2,713,632 Short Cuts Festival Inc. Theatre Saskatoon 10,000 Notes Swamp Fest Inc. Multidisciplinary Regina 6,000 • The Total (per listing) column represents the total amount spent in each category, and the Lottery $ column indicates what amount of lottery funding was used to fund the total Unheard Sound Collective Media Arts Saskatoon 7,050 expenditure in each of these categories. Vertigo Series, The Literary Regina 10,000 • LIVE Arts expenses are accrued by SK Arts under “Community Outreach & Services” and Word on the Street do not appear in grant lists. Saskatoon Inc., The Literary Saskatoon 8,000 • Grants awarded under Gallery and Media Arts Grant Funds are included with grants listed Yorkton Film Festival under the Professional Arts Organizations Program (PAOP). Media Arts Yorkton 53,000
The Artists in Communities, Artists in Schools, and SaskFestivals programs, in addition to certain galleries and media arts organizations supported under PAOP, are supported with funds from Sask Lotteries. These programs are operated through SK Arts’ agreement with SaskCulture Inc. SK Arts is grateful for our ongoing partnership with SaskCulture and the support that relationship brings to our work.
Read stories about the work supported through these programs on pages 8, 17, 18, 24, 25, 26, 28, 33 and 35 of this report. Peer Reviewers
ARTISTS IN COMMUNITIES AND Media Arts INDIGENOUS/MÉTIS ART AND SASKATCHEWAN ARTS AWARDS ARTISTS IN SCHOOLS ARTISTS / INDIGENOUS PEOPLES Larry Bauman Alan Long ART AND ARTISTS Randi Candline Marjorie Beaucage Kevin McKenzie Cristin Dorgan Lee Sandee Moore Tara Campbell Elizabeth Philips Felipe Gomez Anand Ramayya Doug Cuthand Tara Semple Adam Martin Ania Slusarczyk Sherry Farrell Racette Rowan Pantel Brian Stockton Tracey George Heese SASKFESTIVALS Zoey Roy Mika Lafond Music Michel Boutin Sophia Yannitsos John Antoniuk PRINCE EDWARD ARTS Adriana Chartrand INDEPENDENT ARTISTS Melissa Gan SCHOLARSHIP Kerry Clarke Dance, Theatre, Multidisciplinary Charlene Diehl Gordon Gerrard Marcel Petit Kathryn Bracht Dale MacArthur Ray Stephanson David Kerr (DK) David Granger Lenore Maier Misty Wensel Tara Dawn Solheim Carol Greyeyes Andrea McCulloch Paul Suchan Troy Gronsdahl Visual PROFESSIONAL ARTS Lina Kazan ORGANIZATIONS PROGRAM Tod Emel Terrance Littletent David Garneau Jan Allen Krystle Pederson Jean-Sébastien Gauthier Reneltta Arluk Nathen Wahl Marsha Kennedy Alexandra Badzak Literary Karlie King Franco Boni Beverley Brenna Vera Saltzman Patricia Fraser Tenille Campbell Elwood Jimmy Tara Gereaux Kathryn Laurin Ibi Kaslik Margaret Reynolds Elizabeth Philips Jennifer Smith Adam Pottle Su Ying Strang Sue Stewart Gregory Younging
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financials
562 2019-2020 ANNUAL REPORT
Opposite: Catherine Blackburn The Churchill Challenger , 2018 Edition: 1/1 inkjet on dibond financials Photo: Tenille Campbell
Management of the Saskatchewan Arts Board, operating as SK Arts, is responsible for the preparation and presentation of the financial statements and other financial information reported by the Board of Directors. This obligates management to use its best judgment in preparing and presenting financial information in accordance with established Board policy and principles which are acceptable to the accounting profession.
The Board has established a system of internal controls to govern the management and accountability of financial resources entrusted to it. Management relies upon the system of internal controls to ensure that financial transactions are accurately recorded on a timely basis, are properly approved and result in reliable financial statements. It is, therefore, responsible for all amounts reported therein, including valuations determined externally by specialists. Management believes that the existing system of internal control provides a reasonable assurance that the assets are safeguarded and that the financial records are reliable for preparing financial information and maintaining accountability for assets. Management is responsible for providing reasonable assurances to the Board and the general public through the Legislature that the Board’s financial information satisfies standards of validity and reliability. This requires that quantitative data be based on relevant parameters of measurement that are consistently applied over time.
Management provides the Board with the necessary information for it to make governance decisions at the highest meaningful level in The Arts Board Act, 1997 connection with the objectives articulated in . Management discharges its responsibility for financial information under the stewardship of the Board and its Finance Committee.
The Arts Board Act, 1997 In accordance with Article 28 of the Board’s financial statements are audited annually by the Provincial Auditor or any other auditor or firm of auditors appointed by the Lieutenant Governor in Council. The Finance Committee is available to meet with the designated auditors as required.
On behalf of management:
Michael Jones Chief Executive Officer
53 2019-2020 ANNUAL REPORT
INDEPENDENT AUDITOR’S REPORT
To: The Members of the Legislative Assembly of Saskatchewan
Opinion We have audited the financial statements of Saskatchewan Arts Board, which comprise the statement of financial position as at March 31, 2020, and the statements of operations and accumulated surplus, changes in net financial assets and cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies.
In our opinion, the accompanying financial statements present fairly, in all material respects, the financial position of Saskatchewan Arts Board as at March 31, 2020, and the results of its operations, changes in net financial assets and cash flows for the year then ended in accordance with Canadian public sector accounting standards.
Basis for Opinion We conducted our audit in accordance with Canadian generally accepted auditing standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Statements section of our report. We are independent of Saskatchewan Arts Board in accordance with the ethical requirements that are relevant to our audit of the financial statements in Canada, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
Other Information Management is responsible for the other information. The other information comprises the information included in the Annual Report, but does not include the financial statements and our auditor’s report thereon.
Our opinion on the financial statements does not cover the other information and we do not express any form of assurance conclusion thereon.
In connection with our audit of the financial statements, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or any knowledge obtained in the audit, or otherwise appears to be materially misstated. If, based on the work we have performed on this other information, we conclude that there is a material misstatement of this other information, we are required to report that fact in this auditor’s report.
We have nothing to report in this regard.
Responsibilities of Management and Those Charged with Governance for the Financial Statements Management is responsible for the preparation and fair presentation of these financial statements in accordance with Canadian public sector accounting standards for Treasury Board’s approval, and for such internal control as management determines is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.
In preparing the financial statements, management is responsible for assessing Saskatchewan Arts Board’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless management either intends to liquidate the Saskatchewan Arts Board or to cease operations, or has no realistic alternative but to do so.
Those charged with governance are responsible for overseeing the Saskatchewan Arts Board’s financial reporting process.
Auditor’s Responsibilities for the Audit of the Financial Statements Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with Canadian generally accepted auditing standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.
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As part of an audit in accordance with Canadian generally accepted auditing standards, we exercise professional judgment and maintain professional skepticism throughout the audit. We also:
• Identify and assess the risks of material misstatement of the financial statements, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.
• Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Saskatchewan Arts Board’s internal control.
• Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by management.
• Conclude on the appropriateness of management’s use of the going concern basis of accounting and based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the Saskatchewan Arts Board’s ability to continue as a going concern. If we conclude that a material uncertainty exists, we are required to draw attention in our auditor’s report to the related disclosures in the financial statements or, if such disclosures are inadequate, to modify our opinion. Our conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the Saskatchewan Arts Board to cease to continue as a going concern.
• Evaluate the overall presentation, structure and content of the financial statements, including the disclosures, and whether the financial statements represent the underlying transactions and events in a manner that achieves fair presentation.
We communicate with those charged with governance regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control identified during the audit.
Regina, Saskatchewan Judy Ferguson, FCPA, FCA June 23, 2020 Provincial Auditor Office of the Provincial Auditor
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STATEMENT OF FINANCIAL POSITION Statement 1 As at March 31
2020 2019
Financial Assets $ 2,325,585 Cash (Note 15) $ 2,232,784 28,931 Accounts receivable 19,635 6,060,475 Investments (Note 4, 10 and 11) 6,401,491 8,414,991 8,653,910
Liabilities Accounts payable 1,085,700 Grants payable 927,106 70,082 Accrued employee benefits payable 49,952 38,379 Other 91,327 Deferred revenue (Note 19) 24,146 Permanent Collection fees 27,179 10,875 Other 20,875 1,229,182 1,116,439
7,185,809 Net financial assets (Statement 3, Note 17) 7,537,471
Non-Financial Assets 40,376 Prepaid expenses 44,624 307,945 Tangible capital assets (Note 14) 314,536 348,321 359,160 $ 7,534,130 Accumulated surplus (Statement 2) $ 7,896,631
Accumulated surplus consists of: $ 2,382,942 Operations $ 2,435,121 5,151,188 Endowment Fund (Note 10a) 5,461,510 $ 7,534,130 $ 7,896,631
Contractual Obligations (Note 6) Contractual Rights (Note 7) Collections (Note 9) Contingent Liabilities (Note 13)
(See accompanying notes to the financial statements)
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STATEMENT OF OPERATIONS AND ACCUMULATED SURPLUS For the Year Ended March 31 Statement 2
2020 Budget ( N o t e 2 2 ) 2020 2019
Revenues:
$ 6,610,000 $ 6,610,000 Government of Saskatchewan General $ 6,610,000 Revenue Fund 1,900,000 1,930,000 Contribution from SaskCulture Inc. (Note 20) 1,942,000 49,900 49,900 Other public revenue 94,811 70,300 73,248 Permanent Collection revenue 74,973 72,980 85,446 Other earned revenue 78,969 236,000 (102,918) Investment income 471,194 95,000 133,745 Donations and sponsorships 76,430 9,034,180 8,779,421 9,348,377
Expenses: 6,357,095 6,270,907 Grants (Note 18) 6,137,045 215,280 225,976 Community outreach and services 256,552 Permanent Collection 141,100 164,403 Purchases and donations (Note 9) 91,547 28,500 24,585 Permanent Collection costs 20,018 1,146,984 1,068,241 Program operating costs 1,092,005 1,395,134 1,387,810 General administration costs 1,378,310 9,284,093 9,141,922 8,975,477 (249,913) (362,501) Annual (deficit)/surplus 372,900
7,896,631 7,896,631 Accumulated surplus, beginning of the year 7,523,731
$ 7,646,718 $ 7,534,130 Accumulated surplus, end of the year (Statement 1) $ 7,896,631
(See accompanying notes to the financial statements)
STATEMENT OF CHANGES IN NET FINANCIAL ASSETS Statement 3 For the Year Ended March 31
2020 Budget ( N o t e 2 2 ) 2020 2019
$ 7,537,471 $ 7,537,471 Net financial assets, beginning of the year $ 7,082,157
(249,913) (362,501) Annual (deficit)/surplus 372,900 - 4,248 Changes in prepaid expenses 6,427 (95,000) (73,543) Additions of tangible capital assets (Note 14) (50,826) 98,000 80,134 Amortization (Note 14) 126,813 (246,913) (351,662) Changes in net financial assets during the year 455,314
$ 7,290,558 $ 7,185,809 Net financial assets, end of the year (Statement 1) $ 7,537,471
(See accompanying notes to the financial statements)
57 2019-2020 ANNUAL REPORT
STATEMENT OF CASH FLOWS Statement 4 For the Year Ended March 31
2020 2019
Cash flows (used in) operating activities: Cash receipts: $ 6,610,000 Allocation from Government of Saskatchewan $ 6,610,000 General Revenue Fund 1,930,000 Contribution from SaskCulture Inc. (Note 20) 1,942,000 277,902 Fees and other 393,916 30,010 Other contributions 52,866 8,847,912 8,998,782
Cash disbursements: 6,286,020 Grant and transfer disbursements 6,346,264 1,585,338 Salaries and benefits 1,592,972 340,617 Space and accommodation 333,704 599,569 Supplies and other 514,722 8,811,544 8,787,662
36,368 Net increase in cash from operating activities 211,120
Cash flows (used in) capital activities: (76,858) Additions to tangible capital assets (48,234) (76,858) Net (decrease) in cash from capital activities (48,234)
Cash flows from investing activities: Loan repayments - 100,000 133,291 Proceeds from investments 119,882 133,291 Net increase in cash from investing activities 219,882
92,801 Net increase in cash for the year 382,768 2,232,784 Cash position, beginning of the year 1,850,016 $ 2,325,585 Cash position, end of the year $ 2,232,784
(See accompanying notes to the financial statements)
568 2019-2020 ANNUAL REPORT
NOTES TO THE FINANCIAL STATEMENTS March 31, 2020
1. PURPOSE AND AUTHORITY The Arts Board Act The Arts The Saskatchewan Arts Board, now operating as SK Arts, was established pursuant to . It has been continued under Board Act, 1997 (the Act). It provides funding and support to the arts for the benefit of all people in Saskatchewan. The Act continues the Saskatchewan Arts Board Fund through which all financial transactions are conducted which pertain to fulfilling the purposes of the agency as indicated in the Act. 2. SIGNIFICANT ACCOUNTING POLICIES These financial statements are prepared in accordance with Canadian Public Sector Accounting Standards issued by the Public Sector Accounting Board. These statements do not present a Statement of Remeasurement Gains and Losses as it is not practical to determine the unrealized portion of investment income relating to its investments. As a result, all income attributable to its investments is recorded in Investment income on the Statement of Operations and Accumulated Surplus. The significant policies are as follows: a) Collections The Board maintains a collection of artworks and related archives in all forms in order to inform, enlighten, and enhance the lives of present and future generations. Works in the collection are acquired through purchase, commission, donation, or bequest. i) Permanent Collection purchases are charged at cost as an expense in the Statement of Operations and Accumulated Surplus in the year of purchase. ii) Donated works of art and archives for the Permanent Collection are recorded as revenue at their fair market value at the time of donation with a corresponding charge to expenses in the Statement of Operations and Accumulated Surplus. b) Tangible Capital Assets Leasehold improvements, equipment, and furnishings are recorded at cost less accumulated amortization. The net book value of these capital assets is detailed in Note 14. Tangible capital assets are amortized on a straight-line basis over their estimated useful lives which are as follows: Electronic equipment 4 years Other equipment 6 years Furnishings 10 years Leasehold improvements Life of the lease Tangible capital and other non-financial assets are accounted for as assets by the Board because they can be used to provide Board services in future periods. These assets do not normally provide resources to discharge the liabilities of the Board unless they are sold. c) Restricted Assets Designated Assets: the Board periodically restricts amounts from cash to be allocated for specified purposes. In restricting these amounts, the Board takes into account the amounts and stated preferences of contributors. These amounts are not available for other purposes without approval of the Board of Directors. d) Grant Expenses Grants are expensed in the year in which they are budgeted and approved by the Board, the applicant has met the eligibility criteria, and the amount of the grant can be estimated. e) Cash Cash consists of interest-bearing money on deposit with the bank. The interest rate during the year was 1.24% to 1.95% (2019: 1.45% to 1.95%). f) Use of Estimates The preparation of financial statements in accordance with Canadian generally accepted accounting principles for Public Sector requires management to make estimates and assumptions that affect the reported amounts of assets and liabilities at the date of the financial statements, and the reported amounts of revenues and expenses during the reporting period. Assumptions underlying asset valuations are limited by the availability of reliable comparable data and the uncertainty of predictions concerning future events. The inherent uncertainty involved in making such estimates and assumptions may impact the actual results reported in future periods. Differences are recorded in current operations when identified.
The primary measurement uncertainty arising from the use of estimates which may affect reported amounts relates to the values of accounts receivable, and tangible capital assets.
59 2019-2020 ANNUAL REPORT
g) Revenues Revenues are recognized as they are earned and measurable.
Government transfers are recognized in the financial statements in the period in which the transfer is authorized, eligibility criteria are met, and reasonable estimates of the amount can be made.
Deferred revenue represents user charges and other fees which have been collected, for which the related services have yet to be provided. These amounts will be recognized as revenue in the fiscal year the services are provided. h) Investments The Board’s funds have been invested into an assortment of pooled funds. These pooled funds include Canadian, U.S., international and emerging markets equities; bonds; and cash and cash equivalents. Such funds are valued daily based on the closing prices of the securities held in the funds. 3. PENSION PLAN Employees make contributions to the Public Employees’ Pension Plan, a defined contribution plan. Funding requirements are established The Public Employees Pension Plan Act by . During the year, the employee contribution rate remained at 6.25%, and the employer contribution rate also remained at 7.25% for in-scope employees. The out-of-scope employee contribution rate remained at 6% and the employer contribution rate also remained at 7.60%. During the year, the Board’s total contributions were $97,060 (2019: $106,775) and are included in Salaries and benefits in Note 8. 4. FAIR VALUE OF FINANCIAL INSTRUMENTS The Board’s significant financial instruments consist of cash, investments, accounts receivable, and accounts payable. As described in Note 2h, the investments are carried at fair value. The fair values of the other financial instruments approximate their carrying value due to their short-term nature.
The investments are classified using a hierarchy that reflects the significance of the inputs used in determining their measurements.
Under the classification structure, financial instruments recorded at unadjusted quoted prices in active markets for identical assets and liabilities are classified as Level 1. Instruments valued using inputs other than quoted prices included in Level 1 that are observable for the asset or liability either directly or indirectly are classified as Level 2. Instruments valued using inputs that are not based on observable market data are classified as Level 3.
The following table classifies the investments’ financial instruments within this fair value hierarchy: 2020 Pooled Funds Level 1 Level 2 Level 3 Total Balanced Funds $- $6,060,050 $ - $ 6,060,050 Fixed Income Funds - 425 - 425 Total $- $6,060,475 $- $ 6,060,475
2019 Pooled Funds Level 1 Level 2 Level 3 Total Balanced Funds $- $6,401,182 $ - $ 6,401,182 Fixed Income Funds - 309 - 309 Total $- $6,401,491 $- $ 6,401,491
5. ASSESSMENT SERVICES The Board has entered into agreements with several organizations to provide assessment and program delivery services on their behalf. In cases where the grant amounts recommended are paid directly by the partner organization, the grant amounts are not reported in these financial statements. During 2020, the Board convened review panels leading to the recommendation of 66 grants to be paid by partner organizations (2019: 44 grants).
Fees earned by the Board for assessment services are recorded as revenues. During 2020 the following assessment fees were recognized:
Client 2020 2019 SaskCulture Inc. (Note 20) $ 150,000 $ 150,000 Access Copyright Foundation (ACF) 43,500 43,500 $ 193,500 $ 193,500
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6. CONTRACTUAL OBLIGATIONS Operating lease The Board leases office space in Regina and Saskatoon and storage space for its Permanent Collection in Regina. The Regina office space lease expires January 31, 2024 and the Saskatoon office space lease expires August 31, 2026. The future minimum lease payments are: Fiscal Year Operating Leases 2020/21 235,019 2021/22 204,196 2022/23 206,156 2023/24 182,733 2024/25 65,621 7. CONTRACTUAL RIGHTS The Board has entered into contracts related to the art rental program that the Board expects to generate economic resources from in the form of future revenue in the amount of $15,896 over the next three fiscal years. The Board has entered into one contract related to assessment services that the Board expects to generate economic resources from in the form of future revenue in the amount of $21,750 in 2020/21. 8. EXPENSE BY OBJECT 2020 2019 $ 6,270,907 Grants $ 6,137,045 414,964 Community programs and services 368,117 1,620,676 Salaries and benefits 1,607,346 755,241 Operating costs 736,156 80,134 Amortization of tangible capital assets 126,813 $ 9,141,922 Total expenses $ 8,975,477
9. COLLECTIONS 2020 2019 $ 3,480,215 Art $ 3,325,812 27,470 Archives 27,470 $ 3,507,685 Permanent Collections $ 3,353,282
During the year, the Board purchased art objects totaling $79,358 (2019: $66,817) for the Permanent Collection. In addition, art objects of $85,045 (2019: $24,730) were donated to the Collection and art objects of $10,000 (2019: $800) were de-accessioned. In January 2002, the Permanent Collection was appraised by members of the Professional Art Dealers Association of Canada and assigned a value of $2,903,173 on the basis of market value. In 2020, 37 objects (2019: 36 objects) were appraised at a value of $60,710 (2019: $200,925). With the addition of 2020 acquisitions and the items de-accessioned, the appraised value of the collection is increased to $6,416,592 (2019: $6,254,249). The remaining objects in the Collection will be appraised in due course. 10. INVESTMENTS Rates of return are declared by the investment manager each quarter. Any earnings on investments are recognized at the end of the month based on statements from the investment manager. Fees consist of custodial fees and management fees. Custodial fees are incurred monthly while management fees are incurred on a quarterly basis. During the year, the Board consigned $0 (2019: $0) to the Investment Fund and withdrew $133,291 (2019: $119,882). a) Endowment Fund The Arts Board Act, 1997 During March 2015, in accordance with , Article 26, the Board of Directors established an endowment fund of $5,000,000 designated for the benefit of arts and artists in Saskatchewan. The Board stipulated that only interest received from the Endowment Fund is to be allocated to initiatives in support of the arts in Saskatchewan.
Balance as Balance as at March 31, Net change at March 31, 2019 to capital Earnings Fees 2020 Designated assets: Fred Mennie Fund $ 45,880 $ (1,500) $ (1,215) $ (285) $ 42,880 Prince Edward Arts Scholarship 46,562 (1,500) (1,233) (289) 43,540 Endowment Fund 5,461,510 (133,291) (143,158) (33,873) 5,151,188 Total restricted assets 5,553,952 (136,291) (145,606) (34,447) 5,237,608 Non-restricted assets 847,539 3,000 (22,445) (5,227) 822,867 Total $ 6,401,491 $ (133,291) $ (168,051) $ (39,674) $ 6,060,475
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11. INVESTMENT PERFORMANCE The Board’s investments are represented by the amounts held by the investment manager (see Note 2h). The following is a summary of the investment performance: Four-year 2020 annualized return 3.3%) Actual (a) ( 3.6% 5.0 to 6.0% Benchmark (b) 5.0 to 6.0% a) The annual returns are net of investment expenses. b) The benchmark return is the Board’s target rate of return for its investments. The benchmark return is based on the performance of the Board’s planned investment portfolio. The funds are invested based on the Board’s investment policy. The Board pays investment management fees and custodial fees for these services. 12. FINANCIAL RISK MANAGEMENT The nature of the Board’s operations result in a statement of financial position that consists primarily of financial instruments. The risks that arise are credit risk, liquidity risk, and market risk (consisting of interest rate risk, foreign exchange risk and equity price risk).
Significant financial risks are related to the Board’s investments. These financial risks are managed by having an Investment Policy that provides guidelines to the Board’s investment manager for the asset mix of the portfolio regarding quality and quantity of fixed income and equity investments. The asset mix helps to reduce the impact of market value fluctuations by requiring investments in different asset classes and in domestic and foreign markets. The Board reviews regular compliance reports from its investment manager as to its compliance with the Investment Policy. a) Credit Risk Credit risk is the risk that a party owing money to the Board will fail to discharge that responsibility. The Board is exposed to minimal credit risk from the potential non-payment of accounts receivable.
Credit risk within investments is primarily related to fixed income pooled funds. It is managed through the Board’s investment policy that limits these fixed term investments to those of high credit quality (BBB is the minimum rating for bonds and the minimum quality rating of any short-term note is R-1 Low as rated by DBRS). The maximum credit risk the investments is exposed to at March 31, 2020 is limited to $2.5 million (2019: $2.5 million) which represents investment in bonds; and cash and cash equivalents. b) Liquidity Risk Liquidity risk is the risk that the Board will encounter in meeting obligations associated with financial liabilities. The Board is exposed to low liquidity risk. This is managed through prudent financial management and oversight. c) Market Risk Market risk is the risk that arises from changes in the value of financial instruments. Values can be affected by changes in interest rates, foreign exchange rates and equity prices. Market risk primarily impacts the value of the investments.
Interest rate risk Investments are exposed to changes in interest rates in their fixed income investments. Duration is a measure used to estimate the extent that market values of fixed income instruments change with changes in interest rates. Using this measure, it is estimated that an increase of 100 basis points in interest rates would decrease net assets by $0.17 million, representing 7.58% of the $2.2 million fair value of fixed income investments.
Foreign exchange Investments are exposed to changes in the U.S. dollar exchange through their U.S. Equities. Also, they are exposed to international currencies through their International and Emerging Markets Equities. As at March 31, 2020, the investments’ exposure to U.S. Equities was 18.3% (2019: 19.0%), their exposure to International Equities was 17.5% (2019: 17.7%) and their exposure to Emerging Markets Equities was 2.5% (2019: 2.4%).
Equity prices Investments are exposed to changes in equity prices in Canadian, U.S., international and emerging markets through their equity investments. Equities comprise 58.6% (2019: 61.7%) of the carrying value of the investments. The Investment Policy limits the investment in equities to no more than 25% of the total market value of the fund in any one index-defined corporate group. 13. CONTINGENT LIABILITIES The Arts Board has been named as a co-defendant in one claim that was served prior to 2014. As at March 31, 2020, the likelihood of resolution of this claim against the Arts Board is not determinable.
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14. TANGIBLE CAPITAL ASSETS
Leasehold Other Electronic 2020 2019 improvements Furnishings equipment equipment Total Total Opening costs of tangible capital assets $ 974,021 $ 130,174 $ 24,732 $ 596,736 $ 1,725,663 $ 1,674,837 Additions during year 11,467 - 1,324 60,752 73,543 50,826 Disposals during year (314,414) (22,945) (17,583) (243,357) (598,299) - Closing costs of tangible capital assets 671,074 107,229 8,473 414,131 1,200,907 1,725,663 Opening accumulated amortization 823,247 82,808 19,741 485,331 1,411,127 1,284,314 Annual amortization 28,537 8,799 1,367 41,431 80,134 126,813 Disposals during year (314,414) (22,945) (17,583) (243,357) (598,299) - Closing accumulated amortization 537,370 68,662 3,525 283,405 892,962 1,411,127 Net book value of tangible capital assets $ 133,704 $ 38,567 $ 4,948 $ 130,726 $ 307,945 $ 314,536
15. FLEXIBLE LOAN PROGRAM AND ACCESSIBILITY SUPPORT FUND Cash includes the amount held by the Board for the Accessibility Support Fund (2020) and the Flexible Loan Program (2019).
In 2008, Order in Council 817/2007 provided additional funding to the Saskatchewan Arts Board, including $1,150,000 for the establishment of a loan program in support of Creative Industries. The purpose of this program was to provide recoupable low-interest loans to support individual artists, arts businesses and arts organizations in developing new business opportunities or expanding existing opportunities to ensure the creation, production, promotion and dissemination of high-quality and authentic cultural products.
In 2013, the Board entered into an agreement with the Ministry of Parks, Culture and Sport to repurpose $1,000,000 from the Flexible Loan Program for disbursement as grants to support creative industry projects through the Creative Industries Transition Fund, a program established for this purpose. The effective date of the agreement was April 1, 2013.
In 2019, the Board entered into an agreement with the Ministry of Parks, Culture and Sport to repurpose the remaining $150,000 from the Flexible Loan Program to the Accessibility Support Fund to provide supports that might be required to access programs and services offered by the Board. The effective date of the agreement was May 15, 2019. 2020 2019 $ 150,000 Opening balance, Flexible Loan Program $ 150,000 – Proceeds – 150,000 Less: transfer to Accessibility Support Fund – $ – Closing balance, Flexible Loan Program $ 150,000
2020 2019 $ – Opening balance, Accessibility Support Fund $– 150,000 Transfer from Flexible Loan Program – (3,263) Less: disbursements – $ 146,737 Closing balance, Accessibility Support Fund $–
16. RELATED PARTY TRANSACTIONS Included in these financial statements are transactions with various Saskatchewan Crown corporations, ministries, agencies, boards and commissions related to the Board by virtue of common control by the Government of Saskatchewan, as well as key management personnel and their close family members and non-Crown corporations and enterprises subject to joint control by the Government of Saskatchewan (collectively referred to as “related parties”). Related party transactions with the Board are in the normal course of operations and are recorded at fair market value. Those transactions and amounts outstanding at year-end are as follows:
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2020 2019 Revenues $ 6,610,000 Government of Saskatchewan General Revenue Fund $ 6,610,000 2,213 Creative Saskatchewan 29,911 49,900 Ministry of Education 49,900 3,293 Tourism Saskatchewan 2,000 34,895 Other - Permanent Collection fees 28,379 6,700,301 6,720,190
Expenses 44,753 Conexus Arts Centre 44,753 21,601 Ministry of Central Services 28,637 6,509 SaskEnergy 6,848 11,030 SaskPower 11,478 42,862 SaskTel 33,358 - Saskatchewan Gaming Corporation 8,853 14,659 Saskatchewan Workers' Compensation Board 15,079 1,500 Tourism Saskatchewan 1,500 $ 142,914 $ 150,506
In addition, the Board pays provincial sales tax to the Ministry of Finance on all its taxable purchases. Taxes paid are recorded as part of the cost of those purchases. Other transactions with related parties and amounts due to/from them and the terms of settlement are described separately in these financial statements and the notes thereto. 17. NET FINANCIAL ASSETS
The following Net Financial Assets are designated by the Board as at March 31st: 2020 2019
Restricted: $ - Flexible Loan Program (Note 15) $ 150,000 146,737 Accessibility Support Fund (Note 15) - 5,237,608 Restricted funds (Note 10 and 10a) 5,553,952 5,384,345 5,703,952 Non-restricted: 1,801,464 Non-restricted funds (Note 10) and other 1,833,519 $ 7,185,809 Net financial assets $ 7,537,471
18. GRANTS
2020 2019 $ 3,591,160 Professional Arts Organizations Program $ 3,591,159 842,435 SaskFestivals 859,945 901,500 Independent Artists 696,500 200,170 Indigenous Peoples Art and Artists 200,000 339,512 Artists in Communities 355,000 248,985 Artists in Schools 254,962 25,000 Scholarships 25,000 120,000 Micro-Grant Program 119,882 70,000 Other granting initiatives 70,583 (67,855) Grants returned (35,986) $ 6,270,907 $ 6,137,045 19. DEFERRED REVENUE Deferred revenue recorded on the Statement of Financial Position comprises payments pertaining to subsequent periods for sponsorship, assessment services and the rental of art objects from the Permanent Collection. 20. SASKCULTURE INC. CONTRIBUTION
The contribution from SaskCulture Inc. represents funding from the Sask Lotteries Trust Fund for Sport, Culture and Recreation. 21. COLLECTIVE BARGAINING AGREEMENT
A new collective bargaining agreement between the Arts Board and SGEU Local 2288 was successfully negotiated and expires September 30, 2022. 22. BUDGET
The original budget for the 2019/20 year was approved by the Board on March 29, 2019. 23. COMPARATIVE FIGURES
Certain comparative figures have been reclassified to conform to the current year’s presentation. 24. COVID-19
The COVID-19 pandemic is complex and rapidly evolving. It has caused material disruption to businesses and has resulted in an economic slowdown. The Saskatchewan Arts Board continues to assess and monitor the impact of COVID-19 on its financial condition. The magnitude and duration of COVID-19 is uncertain and, accordingly, it is difficult to reliably measure the potential impact on the Saskatchewan Arts Board’s financial position and operations.
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