DOCSLIB.ORG

CULTURE, CREATIVITY and the ARTS: Building Resilience in Northern Ontario

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CULTURE, CREATIVITY and the ARTS: Building Resilience in Northern Ontario CULTURE, CREATIVITY AND THE ARTS: Building Resilience in Northern Ontario JUDE ORTIZ A thesis submitted in partial fulfillment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education May 21, 2017 Abstract This thesis investigates the contribution of the arts to resilience within the context of Northern Ontario, a vast, sparsely populated geographical region dotted with isolated, rural, and smaller urban communities whose economies are based primarily on resource extraction. Industry restructuring and other pressing issues related to globalization are forcing communities to rapidly adapt to survive. Resilience is commonly understood as a community’s capacity to resist adverse conditions, economic or otherwise, and the ability to adapt, transition, and prosper through change while retaining its core values (Lewis and Lockhart, 2002). The arts have been hailed as economic drivers in the creative economy and many, primarily urban centres, are attempting to harness the arts in this regard; however, in the North there is limited understanding of the links between culture, community development, and the economy. They are typically seen within traditional economic frameworks, i.e. tangible outputs of cultural products with limited viability in generating wealth. This perspective poses challenges in drawing on residents’ creativity and local and/or regional cultural assets to transition through significant change. While the arts are widely recognized as contributing to resilience, less is understood about how engaging in the arts strengthens community identity and fosters the emergence of local culture- based economies, generally, and the critical role artists in rural communities play in achieving such, specifically. The study utilizes action research to investigate the sector’s role in building resilience in rural communities. It studies the contribution of individual creative practice and art sector collaboration to developing skills and providing social and commercial infrastructure necessary for successful transitioning and continual adaptation. It is organized into individual, sectoral, and community level resilience to illustrate the benefits accrued within each scale and the significance of interconnectivity between them. The research indicates that creative processes inherent to engaging in the arts foster divergent perspectives, complex problem-solving skills, and an ability to work with complexity, emergence and uncertainty at individual, sectoral and community levels—all important characteristics when dealing with change. The production of cultural goods leads to increased understanding of oneself and others within the web of relationships that comprises place, enabling identity reformation and belonging, health and well-being, and agency, as well providing goods for localized and regional economies that link globally. Furthermore, the research highlights similarities between artistic and community development practices suggesting that capacities gained through engaging in the arts parallel those necessary for developers to work effectively within emergent, inclusive, and holistic approaches that underpin continual adaptation in addressing change. 1 Dedication To the artists who live here “We make the community” (Organizational peer networking session) Our passion and need, innovation and perseverance – our resilience − Reflects, informs and shapes the vast, shared region called Northern Ontario To arts organizations and developers interested in working in the region To my family – artists, organizers and travellers of many journeys 2 Acknowledgements Dr. Linda Savory Gordon for launching the Community Resilience Sault Ste. Marie (CRSSM) research; Dr. Gayle Broad for her continual guidance and understanding of the research within the context of Northern Ontario; NORDIK Institute for the opportunity to conduct the study within an interdisciplinary environment; Professor Danny Burns for starting me on the journey; Dr. Barry Percy-Smith who guided and kept me moving forward upon my return to the research; and Dr. Gillian Swanson who took the research to a new level of writing based on her expertise in the field. The participants who generously volunteered time and knowledge to co-produce an understanding of the complexity of the North and the ways the arts build individual, organizational, and community capacity to transition through change while retaining core values. 3 Table of Contents CULTURE, CREATIVITY AND THE ARTS: Building Resilience in Northern Ontario ................................................................................................... i Abstract ................................................................................................................................................... 1 Dedication ............................................................................................................................................... 2 Acknowledgements ................................................................................................................................. 3 PART ONE ................................................................................................................................................ 8 Chapter One: Introduction ...................................................................................................................... 8 1.0 The Northern Ontario Context ...................................................................................................... 8 1.1 About the Researcher: My dual artist and researcher practice .................................................. 13 1.2 Research Design .......................................................................................................................... 14 Chapter Two: Conceptual Framework .................................................................................................. 23 2.0 Community as a Complex Adaptive System ............................................................................... 24 2.0.1. Relationships Between Individual and Community Resilience ........................................... 27 2.0.2 Relationship Building, Innovation and Resilience ................................................................ 29 2.1 The Centrality of Place in Culture ............................................................................................... 39 2.2 Intersections and Resources for Building Adaptive Capacity ..................................................... 43 2.3 Creativity and Resilience ............................................................................................................. 46 2.4 The Arts and Resilience ............................................................................................................... 48 2.4.0 Creative Practice: Reflexivity, Local Innovation and Spillover ............................................. 49 2.4.1 Artists, Art Work and Social Change: The measure and dismeasure of culture .................. 53 2.4.2 Arts and Community Development ..................................................................................... 56 2.4.3 The Social Milieu and the Cultural Economy ....................................................................... 60 2.5 Arts in Rural Communities .......................................................................................................... 64 2.6 Arts and Culture Community Development Models................................................................... 72 2.6.0 Policy and Planning Perspectives ......................................................................................... 72 2.6.1 Creative Class, Creative Cities and Municipal Cultural Planning.......................................... 77 2.7 Community Development Practice within a Systems Approach ................................................ 79 2.8 Conclusions ................................................................................................................................. 81 Chapter Three: Methodology ............................................................................................................... 85 3.0 A Boundary Critique .................................................................................................................... 85 3.1 Conceptual Analysis .................................................................................................................... 88 3.2 Methodological Demands and Selection of Action Research as a Methodology ....................... 90 3.3 Action Research Methodology .................................................................................................... 91 3.4 Overview of the Cycles of Action Research ................................................................................ 94 3.4.0 Cycles and Locations of the Research .................................................................................. 95 3.4.1 Reflexive Practice ................................................................................................................. 98 3.5 Cycles of Action Research ........................................................................................................... 99 4 3.5.0 Cycle One: The Socioeconomic Impact of the Arts on the Economy of Sault Ste. Marie .... 99 3.5.1 Cycle Two: The Role of Art in Community Development and Resilience .........................
Load more

Recommended publications
  • 26727 Consignor Auction Catalogue Template
    Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation.
    [Show full text]
  • Ayapaahipiihk Naahkouhk
    ILAJ YEARS/ANS parkscanada.gc.ca / parcscanada.gc.ca AYAPAAHIPIIHK NAAHKOUHK RESILIENCE RESISTANCE LU PORTRAY DU MICHIF MÉTIS ART l880 - 2011 Parks Parcs Canada Canada Canada RESILIENCE / RESISTANCE MÉTIS ART, 1880 - 2011 kc adams • jason baerg • maria beacham and eleanor beacham folster • christi belcourt bob boyer • marie grant breland • scott duffee - rosalie favell -Julie flett - Stephen foster david garneau • danis goulet • david hannan • rosalie laplante laroque - jim logan Caroline monnet • tannis nielsen • adeline pelletier dit racette • edward poitras • rick rivet BATOCHE NATIONAL HISTORIC SITE PARKS CANADA June 21 - September 15, 2011 Curated by: Sherry Farrell Racette BOB BOYER Dance of Life, Dance of Death, 1992 oil and acrylic on blanket, rawhide permanent collection of the Saskatchewan Arts Board RESILIENCE / RESISTANCE: METIS ART, 1880-2011 TABLE OF CONTENTS Foreword 4 Aypaashpiihk, Naashkouhk: Lii Portray dii Michif 1880 - 2011 5 Curator's Statement 7 kcadams 8 jason baerg 9 maria beacham and eleanor beacham folster 10 christi belcourt 11 bob boyer 12 marie grant breland 13 scott duffee 14 rosaliefavell 15 Julie flett 16 Stephen foster 17 david garneau 18 danis goulet 19 david hannan 20 rosalie laplante laroque 21 jim logan 22 Caroline monnet 23 tannis nielsen 24 adeline pelletier dit racette 25 edward poitras 26 rick rivet 27 Notes 28 Works in the Exhibition 30 Credits 32 3 Resilience/Resistance gallery installation shot FOREWORD Batoche National Historic Site of Canada is proud to host RESILIENCE / RESISTANCE: MÉTIS ART, 1880-2011, the first Metis- specific exhibition since 1985. Funded by the Government of Canada, this is one of eighteen projects designed to help Métis com­ munities preserve and celebrate their history and culture as well as present their rich heritage to all Canadians.
    [Show full text]
  • John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism
    John Boyle, Greg Curnoe and Joyce Wieland: Erotic Art and English Canadian Nationalism by Matthew Purvis A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2020, Matthew Purvis i Abstract This dissertation concerns the relation between eroticism and nationalism in the work of a set of English Canadian artists in the mid-1960s-70s, namely John Boyle, Greg Curnoe, and Joyce Wieland. It contends that within their bodies of work there are ways of imagining nationalism and eroticism that are often formally or conceptually interrelated, either by strategy or figuration, and at times indistinguishable. This was evident in the content of their work, in the models that they established for interpreting it and present in more and less overt forms in some of the ways of imagining an English Canadian nationalism that surrounded them. The dissertation contextualizes the three artists in the terms of erotic art prevalent in the twentieth century and makes a case for them as part of a uniquely Canadian mode of decadence. Constructing my case largely from the published and unpublished writing of the three subjects and how these played against their reception, I have attempted to elaborate their artistic models and processes, as well as their understandings of eroticism and nationalism, situating them within the discourses on English Canadian nationalism and its potentially morbid prospects. Rather than treating this as a primarily cultural or socio-political issue, it is treated as both an epistemic and formal one.
    [Show full text]
  • Turtle Island Education Guide
    The Alberta Foundation for the Arts Travelling Exhibition Program Interpretive Guide & Hands-on Activities Turtle Island The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by The Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels.
    [Show full text]
  • Native Art, Native Voices a Resource for K–12 Learners Dear Educator: Native Art, Native Voices: a Resource for K–12 of Art
    Native Art, Native Voices A Resource for K–12 Learners Dear Educator: Native Art, Native Voices: A Resource for K–12 of art. Designed for learners in grades K–12, the Learners is designed to support the integration lessons originate from James Autio (Ojibwe); Gordon of Native voices and art into your curriculum. The Coons (Lac Courte Oreilles Band of Lake Superior resource includes four types of content: Chippewa Indians of Wisconsin, Chippewa/Ojibwa, Ottawa); Dyani White Hawk (Sičháŋğu Lakȟóta 1. Artist interviews [Brulé]); Marlena Myles (Spirit Lake Dakota, Mohegan, 2. Essays about artworks in Mia’s collection and Muscogee); and Margaret Swenson, a visual arts questions to support deep looking, critical educator and collaborator with Heid Erdrich (Ojibwe thinking, and discussion enrolled at Turtle Mountain) in the creation of a Native artist residency program at Kenwood Elementary 3. Art lessons developed by and with Minnesota School in Minneapolis. Native artists 4. Reading selections for students to help provide Video Interviews environmental context for the artworks. Video interviews with eight Native artists allow your This resource includes information about Native students to learn about the artists’ lives in their own cultures both past and present and supports words and to view their art and other artworks in Mia’s Minnesota state standards for visual arts and Native art galleries. View multiple segments by indi- social studies/U.S. history. vidual artists, or mix and match to consider different artists’ responses to similar questions. Each video is less than 8 minutes. Discussion questions follow the Essays & Discussion Questions videos to guide your students’ exploration of the rich Marlena Myles (Spirit Lake Dakota, Mohegan, interview content.
    [Show full text]
  • Wednesday S~Pecial Events [12:00-7:30 Pm
    wednesday s~pecial events [12:00-7:30 pm 111 Queen's Park George Gardiner Museum of Ceramic Art Open House Hart House, University of Toronto 1:30-3:00 pm and 3:30·5:00 pm Architecture of the University of Toronto: Douglas Richardson will lead a tour of five renowned 19th and 20th century campus buildings. Art Centre, University College, University of Toronto 1:30, 2:30 and 3:30 pm Guided tours of the Malcove Collection of Medieval Art by Sheila Campbell, curator. Art Gallery, Hart House, University of Toronto 5:30 pm Guided tour of the Hart House permanent collection of Canadian art by Hart House curator Judi Schwartz. PRE-REGISTRATION REQUIRED [4:00-6:00pm Kleinberg, Ontario McMichael Gallery of Canadian Art Open House and Reception Buses will depart from the Royal York Hotel, 100 Front Street, at 3:00pm for a reception and exhibition viewing. Buses depart McMichael Gallery at 6:00pm for the Royal York Hotel PRE-REGISTRATION REQUIRED [s:00-7:30pm Harbourfront Centre, 231 Queen's Quay West Power Plant Contemporary Art Gallery Open flouse and Reception: "Evidence: Photography and Sight"; "Catherine Richards: Charged Hearts/Coeurs electrises" Harbourfront Centre, Room 7018 235 Queens Quay West Anarchism and Visual Culture Craft Studio Open House Mark Antliff, Queen's University Artist-in-Residency Programme: Hot Glass, Ceramics, Patricia Leighten, Queen's University Textiles, and Jewelry Modernism and Anti-Bolshevik Communism: The Cologne Progressives Paul Mattick, Department of Philosophy, 55 Centre Avenue Adelphi University Museum for Textiles Open House and The Abstract Expressionists' Critique of Unnatural Reception Society; Or, the Intersection of Anarchism, and the Sublime in Colorfield Painting David Craven, University of New Mexico [6: 0 0-7:30pm John Cage: The Possibility of an Anarchist Avant-Garde Branden W.
    [Show full text]
  • Nibi Declaration and Toolkit
    NIBI DECLARATION OF TREATY #3 TOOLKIT NIBI DECLARATION TEAM AND ACKNOWLEDGEMENT GRAND COUNCIL TREATY #3 WOMEN’S COUNCIL: Isobel White, Priscilla Simard, Maggie Petiquan, Anita Collins, Rhonda Fischer GITIIZII M'INAANIK: Ida Skead, Gilbert Smith, Tommy White, Sherry Copenace, Allan White OGICHIDAA: Francis Kavanaugh TECHNICAL TEAM: Aimée Craft (University of Ottawa, Decolonizing Water Governance), Lucas King (GCT3 Territorial Planning Unit) STUDENT SUPPORT: Alyssa Bird, Heather Gunter, Alexandra Machicado McGee, Justin Clory, and Ashley Wilson A special acknowledgement is given to all those who worked on and contributed to the Manito Aki Inakonigaawin, the Anishinaabe Nibi Inaakonigewin Report, and Treaty #3 Elders Gatherings and to those who provided feedback on the Declaration and Toolkit in the regional engagement sessions and Nibi Forum. A word about the cover art by Danielle Morrison (Anishinaabeg of Naoongashing): The artwork, done in the Woodlands style of Treaty #3, overall captures the essence of the interconnectedness between water, fish, animals, plants and finally, humans. There are two human figures, representing two generations and the responsibility we have to protect water and life for the present and for the next generation. The duality of these figures also represents our responsibility we have to pass along the teachings of being a protector. Night and day are reflected in both the sun and the stars. Water in various forms is presented in a flowing river or body of water, the rain, and the snow. All of this embodied in a single drop of water, which can hold life, knowledge, and memory. This research was supported by the Social Sciences and Humanities Research Council of Canada, Decolonizing Water, and Grand Council Treaty #3.
    [Show full text]
  • Post-War & Contemporary
    heffel f ine Art Auction Auction ine Art h ouse post-war & contemporary art & contemporary post-war post-wAr & contemporAry Art Sale Wednesday, july 15, 2020 · 5 Pm · toronto i ii Post-wAr & contemPorAry Art Auction Wednesday, July 15, 2020 5 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre Previews Heffel Gallery, Vancouver 2247 Granville Street Saturday, June 20 through Tuesday, June 23, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, July 2 through Saturday, July 4, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Friday, July 10 through Tuesday, July 14, 10 am to 6 pm Wednesday, July 15, 10 am to 1 pm Heffel Gallery Limited Heffel.com Departments Additionally herein referred to as “Heffel” consignments or “Auction House” [email protected] APPrAisAls CONTACT [email protected] Toll Free 1-888-818-6505 [email protected], www.heffel.com Absentee And telePhone bidding [email protected] toronto 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 shiPPing Telephone 416-961-6505, Fax 416-961-4245 [email protected] ottAwA subscriPtions 451 Daly Avenue, Ottawa, Ontario K1N 6H6 [email protected] Telephone 613-230-6505, Fax 613-230-6505 montreAl CatAlogue subscriPtions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Heffel Gallery Limited regularly publishes a variety of materials Telephone 514-939-6505, Fax 514-939-1100 beneficial to the art collector. An Annual Subscription entitles Vancouver you to receive our Auction Catalogues and Auction Result Sheets.
    [Show full text]
  • DANCE in the ART GALLERY of ONTARIO 1977 and 2017 By
    DANCE IN THE ART GALLERY OF ONTARIO 1977 AND 2017 by Elizabeth Handley-Derry A thesis presented to OCAD University in partial fulfillment of the requirements for the Degree of Masters of Fine Arts in CRITCISM AND CURATORIAL PRACTICE Toronto, Ontario, Canada, 2019 ABSTRACT While the Art Gallery of Ontario (AGO) is renowned as a pre-eminent visual arts museum in Canada, it has also featured dance performances since the late 1970s. Historically, a first wave of dance in art museums took place in the 1920s when choreographers, in dialogue with artists, formulated a new vision for dance that broke from the standards of classical ballet. A second wave occurred in the 1960s–70s when sweeping and radical changes in society propelled experimental dance into alternative venues such as museums. A third wave, beginning in the 1990s, brought dance into museum spaces and stemmed from the perspective of institutional critique. This thesis examines two dance performances held at the AGO, exemplifying the second and third waves: Missing Associates’ Solo Improvisation (1977) and Tanya Lukin Linklater’s Sun Force (2017). I will draw on the literature and files at the AGO to analyze the institutional philosophies and exhibitionary practices that led to incorporating dance in these time periods. My core research shows how dance in museums evolved beyond an entertainment function of enhancing the visitor experience to playing a key role in an ongoing critique of the museum. Dance in the museum also expands curatorial practice beyond the visual sense; the movements of bodies transgresses the implicit hierarchies that have restricted both the display of objects and the activities of subjects.
    [Show full text]
  • A Celebration of Indigenous Culture at Seneca
    A CELEBRATION OF INDIGENOUS CULTURE AT SENECA Looking Forward Through The Past 50 Years Niigaa Ninaabying Kenmaag Gaabishizhewbaak Ehko Naanmidnazaa Boongaadong A CELEBRATION OF INDIGENOUS CULTURE AT SENECA Looking Forward Through The Past 50 Years Niigaa Ninaabying Kenmaag Gaabishizhewbaak Ehko Naanmidnazaa Boongaadong 1 Copyright © 2017 by Seneca Press CONTENTS All rights reserved. No part of this work may be reproduced or used in any form or by any means, electronic or mechanical, including photocopy- 4 INTRODUCTION ing, recording, or any retrieval system, without the prior written permission of the publisher. 10 CHAPTER 1: INDIGENOUS STAFF AND STUDENTS Book jacket and page design by Lily Nguyen. 20 CHAPTER 2: INDIGENOUS ALUMNI 32 CHAPTER 3: INDIGENOUS FASHION 42 CHAPTER 4: TRADITIONAL DANCE 52 CHAPTER 5: INDIGENOUS ARTWORK 72 CHAPTER 6: THE LAND 86 CHAPTER 7: THE FUTURE 90 ACKNOWLEDGEMENTS senecacollege.ca/createPRESS SENECASeneca@York Campus 70 The Pond Road Toronto, ON M3J 3M6 SENECAPRESS 2 3 INTRODUCTION Hand Drum (Anishinaabe), 2005, pictured throughout Rawhide over a wooden rim, with seven grandfather teachings painted in acrylic On October 15, 2015 a traditional welcoming ceremony was held at the Newnham campus to celebrate the installation of a traditional Indigenous tipi. In attendance was Hon. David Zimmer, Ontario Minister of Indigenous Relations and Reconciliation, who joined Seneca President David Agnew in signing the provincial Protocol Agreement. 4 5 FOREWORD BY LAUREL SCHOLLEN 2017-18 marks the 50th anniversary of Although the First Peoples office is a service, it Seneca and the Ontario college system. During really is a family for many of the students who the year, we will celebrate Seneca, our students, come from communities at great distances graduates and employees and reflect on our from the college.
    [Show full text]
  • For Immediate Release— All Female Paint Jam ​Women
    For immediate release— All female paint jam Women Paint transforms Parkdale lane into an outdoor gallery ​ ​ TORONTO—(July 6, 2017) From July 14 to 16, nineteen female-identified artists will transform 2,000 ​ ​ ​ square feet in a vandalized Parkdale alleyway into a series of murals expressing intersectional feminism—a perspective that acknowledges the overlapping identities that shape individual experiences. With support from the City of Toronto Transportation Services Division’s StreetARToronto program, the 19 emerging and established Toronto-based artists will turn the laneway that runs north behind 1468-1486 Queen Street West—between Lansdowne Avenue and MacDonell Avenue—into an outdoor art gallery. Working side by side, the collective will paint 18 murals that respond to the theme of "Intersectional Feminism: Representing Diverse Experiences". The murals will be as stylistically diverse as the artists creating them; designs will include portraits, florals inspired by Eslimi designs, and a bold typographic statement to name a few. “Women Paint is empowering female street artists by providing them an opportunity to showcase their ​ ​ talent and tell their stories,” says Bareket Kezwer, herself a Parkdale-based artist, who is organizing the paint jam. “As women, it’s important that we add our underrepresented voices into the public sphere.” Women Paint invites community members and mural enthusiasts to meet the artists and be inspired by ​ ​ the murals at the closing celebration on Sunday, July 16 from 3:00-7:00pm. Light snacks will be served. StreetARToronto (StART) is supporting Women Paint in partnership with the Toronto Police Service 11 ​ ​ Division through the StreetARToronto Toronto Police Service Partnership Program.
    [Show full text]
  • MAWA May June July 09
    may, june, july, august, 2009 611 main street winnipeg manitoba canada r3b 1e1 204-949-9490 | [email protected] | www.mawa.ca s Canadian economic forecasts continue to look glum, with t r increased rates of personal bankruptcy and rising unemployment in A most parts of the country. Less personal wealth translates into less revenue from taxation, a situation that has led the federal govern- e h ment to forecast a deficit of $34 billion for the current year, a t projection that many claim will be higher. d The implications of shrinking tax-based budgets will have n ramifications for those of us in the arts. Recently the Province of a British Columbia reacted to an anticipated annual deficit of $495 n million by slashing the budget line for arts and culture from $19.5 o i million in 08/09 to less than $11.8 million in 09/10 (a 40% decrease), s with further reductions projected in years to come. This gutting of s e arts funding was framed as essential belt-tightening. But is it essential c or ideological? e Alberta, despite a reputation for not being the most arts- R friendly province, has committed to keeping cultural funding stable and has even suggested a slight increase in forthcoming years. This staying-the-course is even more significant in light of Alberta’s projected $4.7 billion deficit this year. Perhaps Wild Rose Conservatives have studied the recent statistics regarding the income generated by the arts in Canada; perhaps Alberta realizes that funding of the arts makes good economic sense.
    [Show full text]