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PLURALISM in the ARTS in CANADA – a Change Is Gonna Come ISBN 978-1-77125-016-0 $30.00 www.policyalternatives.ca PLURALISM IN THE ARTS IN CANADA – A CHANGE IS GONNA COME compiled and edited by charles c. smith Fifth volume in the Our Schools/Our Selves book series 2012 Pluralism in the Arts in Canada A Change is Gonna Come 2012 Fifth volume in the Our School/Our Selves book series. Executive Editor Erika Shaker Volume Editor charles c. smith Editorial Office Canadian Centre for Policy Alternatives Suite 500 - 251 Bank St., Ottawa ON K2P1X3 Tel: (613) 563-1341 Fax: (613) 233-1458 ISBN 978-1-77125-016-0 Production Typesetting and design: Nancy Reid Cover design: Victoria Glizer Front cover photographs taken or provided by Rainer Soegtrop, Natasha Bakht, Neighbourhood Arts Network and Helen Yung Natasha Bakht’s article (Mere ‘Song & Dance’: Complicating the Multicultural Imperative in the Arts) has previously been printed in Unsettling Multiculturalism: Lands, Labours, Bodies, May Chazan, Lisa Helps, Anna Stanley, and Sonali Thakkar, (eds.), Between the Lines Press, Toronto, 2011. The Canadian Centre for Policy Alternatives and charles c. smith gratefully acknowledge the generousity of Between the Lines Press for allowing this article to appear in this publication. Printed in Canada by RR Donnelley, 1500 Saint-Patrick, Montréal QC H3K 0A3. Publications Mail Registration No. 8010. The opinions expressed in Our Schools/Our Selves are those of the authors, and do not necessarily reflect the views of the CCPA. Printed in a Union Shop TABLE OF CONTENTS INTRODUCTION i CHAPTER 1 MERE ”SONG AND DANCE” 1 Complicating the Multicultural Imperative in the Arts Natasha BAKHT CHAPTER 2 THE StaGE IS NOT WHITE — AND NEITHER IS Canada 15 George Elliott CLARKE CHAPTER 3 DIVERSIFYING THE BASE OF Valued KNOWLEDGes 23 Jazz, Improvisation, and the Cultural Politics of Arts Presentation Ajay HEBLE CHAPTER 4 Creative MOsaics 29 TIM Whalley CHAPTER 5 “ABRE A CORTINA DO PASSADO” 35 Embodied Memory and Counter Hegemonic Practice in Postmodern Performance: A Cross-Cultural Study of Diasporic Intercultural Performers in Southern Ontario Amanda GOMIDE PAIXÃO CHAPTER 6 DECOnstructinG Dance 59 Charmaine headley CHAPTER 7 Between GeneratiOns 65 Towards Understanding the Difference in Realities and Aspirations of the First and Second Generation of Culturally Diverse Artists Kevin A. Ormsby CHAPTER 8 HOW TO INCREASE YOUR audience SIZE BY 300% OVERNIGht 79 HELEN YUNG CHAPTER 9 Culture OF COllabOratiOn 93 SHAHIN Sayad CHAPTER 10 REFlectiONS ON EQUITY IN COMMUNITY Arts Research 99 LEAH BURNS & Skye LOUIS CHAPTER 11 WIND IN THE LEAVES COllective 121 A Photo Essay charles c. smith TOOLKITS Cultural DIVERSITY IN THE MEDIA Arts 137 IMAA/NIMAC Toolkit: How to Promote the Presence of Media Artists and Audiences from Ethno-racial and Indigenous Communities Prepared by THE INDEPENDENT MEDIA Arts ALLIANCE 2011 Diversity Committee: LIZ Barron, JENNIFER DORNER AND Patrice James Arts & EQUITY A TOOLKIT FOR COMMUNITy-ENGAGement 159 NAN Toolkit: A Project of the Neighbourhood Arts Network Created by Skye LOUIS & LEAH BURNS CPAMO TOOLKIT: EVIDENCE-based StrateGIES TO PROMOTE Pluralism IN THE Arts 223 charles c. smith biographies 309 introduction PLURALISM IN THE ARTS IN CANADA — A CHANGE IS GONNA COME charles c. smith he book you are holding in your hands leaps to you from the curb stones T of experiences shared by artists, particularly Aboriginal and racialized artists, with individuals representing venues — theatres and stages — of- fering a diverse menu of performances to audiences. When I say that this book ‘leaps’, I mean that the words and experiences generated through open conversations between artists, presenters, community builders and others over a sustained period of time has led to several concrete and, yes, as well, remarkable and immeasurable outcomes. And these encounters are all very recent. And continuing. The experiences and research of the Cultural Pluralism in the Arts Movement Ontario (CPAMO) as well as the work of other organizations featured in this collection — the Neighbourhood Arts Network of the Toronto Arts Foundation, and, the Independent Media Arts Alliance and National Indigenous Media Arts Coalition — give ample evidence about not only what can be done but, more importantly, what is being done to demonstrably promote pluralism in the arts, to create forums for expres- sions from Aboriginal and racialized communities and to build engage- ment and audiences from these communities. Each of these organizations has put together tools to guide interested arts organizations in transformative work, the outcomes of which would en- gage them in sharing the stories of those living on this land in its fullness, PLURALISM IN THE ARTS IN CANADA — A CHANGE IS GONNA COME! with deep particularity and openness to diversity in content and form. This thought is what has guided the compilation of speeches, papers, stories, an- ecdotes, challenges and resource guides that are now in your hands. With narratives coming out of theatre, dance, music and other forms of artistic ex- pression, and deeply engaged with the voices of some of the most renowned Aboriginal and racialized artists, the works collected here bring forward the heart of a very needed discussion, one related to Canadian identity, what it is not and is, and how this is seen in the public space performance occupies. And how this is lived each day across diverse communities. So yes, this book brings forward a challenge. It asks that we name who and where we are in this timely conversation. It asks each of us to step for- ward to share in the shaping of an inclusive sense of culture(s) with resourc- es appropriately and equitably shared. It asks that we each step forward now because ‘a change is gonna come’. We see it in the sustained promi- nence of many Aboriginal, racialized and immigrant artists, in these com- munities deeply immersed in creative activities, and in the receptivity these artists enjoy across many communities. The CPAMO experience has been about this, convening conversations, workshops and performances; engaging artists, presenters, funders, com- munity workers and policy makers in open conversations, recorded and re- ported on regularly — a public space (http://cpamo.posterous.com/); pro- viding research and guidance on initiatives, facilitating open forums with panel and keynote presentations as catalysts for discussion; staging some of the most exciting contemporary artists in dance and performance — Kaha:wi Dance Theatre, the Collective of Black Artists, Sampradaya Dance Creations, Lee Pui Ming, Sedina Fiati, Olga Barrios, Kevin A. Ormsby and performance artists associated with the Coalition of Performing Arts in Kitchener, the Multicultural Arts in Schools and Communities and Coali- tion of Newcomers for Arts and Culture in Ottawa. The conversations sparked by CPAMO’s work include presentations by some of the authors in this book — Ajay Heble, Shahin Sayadi, Tim Whal- ley, Charmaine Headley — and others: Sara Diamond (President, OCAD) who gave the inaugural keynote address and spoke of the importance of centering creative work within Aboriginal communities and communities of colour; Sandra Laronde (Red Sky Performance) who spoke at CAPACOA ii INTRODUCTION in Ottawa and in a panel session with presenters in Markham; Sara Roque (Aboriginal Officer Ontario Arts Council) who led a session on Aboriginal arts practices today and ways of collaborating with Aboriginal artists. And then there has been Jeanne Holmes (Canada Dance Festival), Majdi Bou Matar,(MT Space), Ahdri Zena Mandiella (b-current), Mimi Beck and Anne Marie Williams (CanDance Network), Santee Smith (Kaha:wi Dance The- atre), Patty Jarvis (Prologue to the Performing Arts), Jini Stolk (Creative Trust), Brainard Blydyn Taylor (Nathaniel Dette Chorale), Cian Knights (formerly of Scarborough Arts), Andrea Fatona (former curator of contem- porary art at the Ottawa Art Gallery and now at OCAD), Melanie Fernandez (Harbourfront and Planet Indigenous), Jennifer Green (Soundstreams), and Jen Dodd and Camile Turner of Subtle Technologies. As well, we’ve heard from several presenters about their experiences in this vein. Whether Eric Lariviere (Markham Theatre), Ken Coulter (Oakville Theatre), Costin Manu (Rose Theatre), Cheryl Ewing (Ontario Contact), we’ve been informed about these organizations’ challenges and achieve- ments, what they offer to share and ask to learn in return. We’ve involved academics whose teaching and research have provided insight into the raw numbers and social capacities of diverse communities as well as probed patterns of immigrant experience, settlement and interests. Professors Myer Siemiatycki (Ryerson), Shugang Wang (Ryerson), Sandeep Agrawal (Ryerson) and Nadia Caidi (University of Toronto) made tremen- dous contributions to artists and presenters, unraveling and demythologiz- ing the numbers, trends and interests of diverse communities and exploring what this means to the performing arts and audience development. This conversation, taking place over the past three years and running parallel to other significant discussions convened by MT Space (IMPACT 2009 and 2011) and One Light Theatre (Prismatic 2010 and 2012), has been held in cooperation with a diverse range of institutions — Communi- ty Cultural Impresarios, the University of Toronto Scarborough, Magnetic North, CAPACOA, the Coalition of Performing Arts of Kitchener-Water- loo, and IMPACT 2011. At the same time, CPAMO held workshops regularly to discuss demo- graphic changes, working with Aboriginal artists
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