U P P IRIVA A -B ELIEVE A RTCIRQ P RO P O SA L

A pril 9 2010- February 24 2011

SU B M IT T E D M A R C H 2010 B Y : A R T C IR Q IN U IT P E R F O R M A N C E C O L L E C T IV E

TABLE O F CO N TEN TS

ABOUT ARTCIRQ...... 3

PROJECT DESCRIPTION...... 4

PROJECT OBJECTIVES...... 5

PROJECT BUDGET...... 6

ARTCIRQ ORGANIZATIONAL INFO ...... 7

ARTCIRQ’S MANDATE...... 7

ARTCIRQ CHRONOLOGY ...... 8

PROPOSED ACTIVITIES FOR 2010-2011 ...... 11

JOB DESCRIPTIONS ...... 11

CIRCUS TRAINER/PERFORMER ...... 11

WORKSHOP FACILITATOR ...... 12

LIGHTING TECHNICIAN ...... 12

VIDEO/FILM PRODUCTION ASSISTANTS...... 13

COFFE SHOP ASSISTANT MANAGER...... 13

COFFE SHOP CLERK...... 13

II ABO UT ARTCIRQ

Artcirq Performance Collective is based in , . Guillaume Saladin and Lucy Uyarak established the collective with the goal of providing Inuit youth with a vehicle for creative expression through theatre, performance, and circus arts that maintain strong links to Inuit traditions and performance styles.

Since then, Artcirq has played an integral role in developing evocative hybrid forms of Inuit artistic practices that have earned positive recognition in and abroad. Artcirq’s interdisciplinary performance work integrates contemporary circus techniques with Inuit performance traditions, blending live music, acrobatics, acting and dancing with throat- singing, drum dancing, traditional Inuit games and clown practices. The Collective is also committed to teaching youth to express themselves through the integration of performance with original video, muscisal and new media works. Through its projects, the Collective creates a space for youth in Igloolik to research, create and produce works that explore key issues, express their realities, and celebrate their culture. Through festival participation, live performances, touring, internet and television, Artcirq’s works have been made widely available across Nunavut, Canada and the world, extending its impact and facilitating intercultural exchanges. They recently returned from where they performed with other selected Nunavut artists in numeros venues including BC Place for the 2010 Winter Olympic Games Victory Celebrations.

Artcirq first functioned part time with the help of Igloolik Isuma Productions and Cirque Éloize, holding workshops each summer through funding that brought circus performers to workshop and train local youth. In October 2005, the co-founder and co-artistic director Guillaume Saladin permanently relocated to Igloolik to work full time with Artcirq and bring the project to a new level of depth and stability. As a result, Artcirq now functions as a full- time creation company, training its 13 core members 4-5 times per week, delivering public workshops to the community, developing and touring new productions, and engaging in ongoing video, musical and new media projects to create music, documentaries and short films about key social and environmental issues, and the reality of Inuit youth today. As a natural offshoot to Artcirq’s growth and development, the Collective is now working to strengthen its core stability in order to ensure continued operational growth and success.

ARTCIRQ FACTS Since 2007, Artcirq has employed 12 youth from the community. Through their involvement with Artcirq, these youth had exposure to a wide range of professional training, mentoring, work, travel and intercultural experiences. There training created new opportunities for them. Several Artcirq members went on to hold positions within the community including as recreational coordinator for the Hamlet.

This year Artcirq is aming for continued moving growth with the continued training of their troupe as well as providing workshops for Igloolik residents, a fourth circus performance called “creation 2010”, a documentary about the Northern Haze rock band, international invitations to present their work, collaboration with international artists in residency in Igloolik and managing and running a local café at the Kipisgak Arena. These projects not only contribute to job creation and labour market activity in the community of Igloolik, they also provided training and mentorship opportunities in performance arts, video and music production to many youth in Igloolik, as Artcirq has done over the last 10 years. They also boost selfestem and open minds for many people in Igloolik, and worldwide.

3 PRO JECT D ESCRIPTIO N

Artcirq continues to grow and gain local, national and international recognition. As the Collective increases its capacity, it simultaneously increases the capacity of the youth with whom it works, giving them invaluable training, mentoring and experiences. To further this aim, Artcirq is requesting funding from Kakivak to create 5 mentored youth work experience positions. These positions will not only provide youth with invaluable professional work experience as performers, workshop facilitators, production assistants and managment, they will build participant’s selfestem and essential life skills while introducing youth to a wide variety of employment options within the cultural industries.

Positions Each of the positions created through these work placements will give participants a wide variety of training and exposure to working in a variety of roles within the cultural industries, while also allowing them to focus on a specific area of expertise (depending on their interests). Each of the participants will receive specific training and ongoing mentoring from industry professionals.

In addition to creating safe, skilled language, environmentally-friendly jobs, cultural industries showcase Nunavut’s land and culture to a global audience and are an effective tool to build an even more vigorous and expansive tourism sector.

Each participant’s training will focus on learning the basic’s of performing arts well integrating them with the roots of traditional Inuit games and performance style. They will participate in the creation, performance and tour of a multiciciplinary show. They will also share their newly aquired skills with other youth as workshop facilatators.

As Artcirq is active in many cultural projects, participants will have the opportunity to explore other fields, such as music and video production. They will also participant in the management of a small cultural organization by taking part in administrative tasks and participation in the operations of Artcirq’s Coffeshop, set up as a fundraising tool.

Position # 1: Circus performer, Workshop Facilitator, Lighting Technician Participant: Damian Tulugarjuk

Position # 2: Circus performer, Workshop Facilitaor, Production assistant Participant: Abreham Ivalu

Position # 3: Circus performer, Workshop Facilitraor, Coffeshop Assistant Manager Participant: Daisy Irqqarqsaq

Position # 4: Circus performer, Workshop Facilitraor, Coffeshop Clerk Participant: Sheeba Kublu

4 Position # 5 Circus performer, Workshop Facilitraor, Coffeshop Clerk Participant: Nikita Ungalaq

Duration:

The work placements will run from April 9, 2010 – February 24, 2011 (46 weeks). Participants will work full-time for 40 hours/week.

PROJECT OBJECTIVES

Our project has a number of key objectives.

For youth participants:

• To provide meaningful, challenging and rewarding local mentored work experience.

• To provide ongoing training with industry professionals.

• To increase participants’ knowledge, skills and abilities across a wide variety of positions within the cultural industry

• To increase participants’ essential and transferable skills.

• To increase participants’ self confidence and self-esteem. For the community:

• To provide ongoing public workshops in circus and performing arts which integrate the roots of traditional Inuit performance culture (throat singing, drum dancing, Inuit games, acrobatics, juggling, clowning).

• To enhance the local economy and increase labour-market participation of residents.

• To create meaningful opportunities to engage the community in a dialogue on current social and political issues affecting Inuit today.

• To provide positive youth role models, and information on employment options within the cultural industries in Canada.

For Nunavut

• To strengthen and promote and language through the creation of thought-provoking and inspiring performance, musical, video and new media works.

• To foster the quality and diversity of Inuit performance, music, video and new media work.

• To showcase Nunavut’s unique language, culture, current issues and performance traditions on the national and international stage.

5 PROJECT BUDGET

EXPENSES Item Details Cost Salaries 5 youth x 40hrs/week x 46 wks x $10.00/hour 92,000 $ MERCS 13% salaries 11,960 $

Special equipment 5 X 200$ for materials for traditional costumes 1,000 $ Day Care* 150$/week 6,900 $ Admin 10% project costs 11,186 $ Office space $2000/month x 11 months 22,000 $

Circus equipment Reception mats, rigging, clubs, accessories 7,000 $ Computers and software $3000/computer x 2 6,000 $ Practice Space $1500/month x 11 months 16,500 $

Musical equipment Instruments, microphones, cables 4,000 $ Supervisor/mentor/trainer $4500/month x 11 months 49,500 $

Professional Guest trainers $5000/trainer (including prefessional fees and travel) x 3 15,000 $ Video equipment Camera, tri-pod, tapes 3,000 $ TOTAL 246,046 $

FINANCING Kakivak (this proposal) 123,046 $ Artcirq: In Kind 13,000 $ Artcirq 64,500 $ Cirque Éloize : In Kind 4,000 $ Igloolik Issuma Productions: In Kind 25,000 $ Hamlet of Igloolik: In Kind 18,000 $ TOTAL 247,546 $

* Expense for participants such as Daisy Irqqarqsaq who have young children that need day care. There are no Daycare facilities in Igloolik so a baby-sitter will need to be hired to look after the children.

6 ARTCIRQ: ORGANIZATIONAL INFO

ARTCIRQ’S MANDATE IS TO:

¢ integrate the roots of traditional Inuit performance culture (acrobatics, juggling, clowning) with the aesthetic techniques of modern circus and theatre;

¢ give young Inuit access to universal vehicles of creativity and communication offered by the performing arts, to bridge the gap between the different generations and cultures;

¢ promote spiritual and physical self-expression while enhancing the self- esteem of participants;

¢ deliver orientation workshops on circus and performing arts in the village of Igloolik;

¢ develop and present live performances developed by the young people of the village and world-renowned guest professional artists such as Karine Delzors, Stefan Webfer, Yamoussa Bangoura, and Kryzysztof Soroczynski to name a few;

¢ create ongoing video and new media works to document the whole Artcirq experience, and to produce and develop short fictions films exploring key social and environmental issues, and the reality of Inuit youth today;

¢ cooperate with local youth groups in Igloolik to increase communication tools available to youth, which are often limited due to lack of resources, in order to prevent suicide and promote social wellness ;

¢ increase awareness on global environmental issues generally, and on Arctic’s climate warming specifically.

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ARTCIRQ CHRONOLOGY

1998 Creation of the project, with the financial support of the cirque Éloize and Igloolik Isuma Productions 1999 During summer, the circus company presents a show and delivers the first workshops for everyone in the community. The members of the company also participate in a ten day hunting camp with a group of 30 Inuit, intended to familiarize the non-Inuit participants with camp life. 2000 The summer unfolds the same as the year before, with the addition of two live performances and the shooting of the documentary film Artcirq. 2001 Release Artcirq, a 52-minute documentary film by Igloolik Isuma Productions. Four community screenings, followed by a broadcast on APTN, and presentations at Terres en vues/Land In-Sights First Peoples’ Festival in , among other events. 2002 Three members of Artcirq (Bosco Attagutaaluk, Shannon Tulugaarguk, Derek Aqqiaquq) travel to Montreal to train for more than three weeks at the École de cirque de Verdun, Montreal, in collaboration with the Cirque Éloïze. Artcirq leaves for Igloolik to deliver circus workshops to youth in the community, in a “by and for” perspective. They also present a show to the Igloolik community, created by the young Inuit artists. First circus workshops delivered by Inuit youth to other young Inuit, after the qallunaat (non-Inuit) returned to the ‘South’… 2004 The rock band The Eskiez is founded by Artcirq member Derek Aqqiaqiuq. Artcirq collaborates on the creation of a show titled “Kaujjagjjuk” (supported by Inter-Arts at Canada Council), with more than 20 children and teenagers performing as jugglers, acrobats, throat singers, drum dances, and musicians. 2005 Writing of a fiction feature film about the life of youth in the Canadian Arctic today. Shooting started in the end of 2005 and will continue until 2007. With the arrival of Guillaume Saladin, circus and theatrical workshops resume for the community, as well as diverse performances, artistic collaborations and community events. 2006 On January 16, 2006: Return of the Sun Celebrations, live web cast for a global audience. Beginning of weekly circus workshops open to all. Partnership developed with the Igloolik Hamlet for use of the former public pool as a practice venue for the youth, 6 days a week, 3 hours a day. March 30: first live performance of Oaraya, during the Baffin Regional Youth Committee (BRYC) week, to an audience of 400 from across 18 communities of Baffin Island, followed by a workshop for the BRYC members. Invitation of three Artcirq members to Dublin, Ireland, in residence at the Dublin Project Arts Center. Delivery of seminars, live performances, circus workshops and Inuit games, projection of short films produced by Artcirq. Training throughout the year with a variety of guest artists including Cirque Eloize head trainer Krzysztof Soroczynski, clown Bartlomiej Soroczynski, Marjorie Nantel, contortionist, Antoine Carabinier-Lépine, acrobat, and Karine Delzors, flyer, Yamoussa Bangoura, an acrobat, African dancer and percussionist, and Felix Pharand D., anthropologist, science communicator and designer. First Artcirq tour in another community, Hall Beach, and transportation of the 25 participants by three boats. Presentation of Oaraya and delivery of a workshop, by the youth of Igloolik, for the young people of Hall Beach. 10 of Artcirq's members travel to make a presentation in Montreal, , at the end of October 2006, with the collaboration of Igloolik Isuma Productions, Cirque Éloize and First Air. 2007 Artcirq takes part in the Indigenous Film Network (IFN) Tour. Terry Uyarak, Jacky Qrunngnut, Solomon Uyarasuk and Bruce Haulli travel with Isuma Productions to perform as circus artists, workshop with youth, and present The Journals of Knud Rasmussen as well as the two short-films Artcirq and 407 in several Inuit communities in Nunavut, Nunavik, Yukon and North-West Territories. A circus show was presented for the first time outside of Igloolik (in ) without Guillaume Saladin! Completion of ISSAITTUQ: After 8 months of production, Issaittuq (waterproof), the second short film by Bruce Haulli, is screened for cast and crew in Igloolik, and later screened at Imagine-Native Festival of Toronto. Production of the short film Maanna, an intimist short film on global warming. MAANNA tells the story of a young Inuk whom, after acknowledging the global climate crisis, decides to take actions to stop the mega-phenomenon. Artcirq presentation at Indian and Northern Affairs. Terry Uyarak, Guillaume Saladin and Felix Pharand made a presentation on Inuit life, social circus and global warming. Three sort-films were presented. Artcirq perform and deliver workshops to sold-out audiences at Alianait Arts Festival in Iqaluit. Artcirq travel to Monterrey, Mexico to perform, participate in and deliver workshops at the UNESCO Universal Forum of cultures. Artcirq collaborates with Cirko de Mentes, Qaggiq Theatre and Les 7 doigts de la main for a week of workshops that culminates in three public performances under the name of Fibonacci Laboratory. Artcirq produces shows for the local NITV network. Creation, production of the Artcirq Jam album including 3 local bands and 2 international musicians. 2008 8 Artcirq artists travel to Timbuktu, Mali, to present a short version of their show Oaraya. Amazing cultural exchange and thermal shock of over a hundred degrees. Timbuktu's Festival of the Desert was the reason for Artcirq to travel so far, but it opened possibilities to screen videos and to perform in Bamako's Centre Culturel Français. Cdn tour: Beaumont, Quebec City, Montreal, Ottawa and Cambridge Bay. Creation and development of the new show, Oatiaroi (Wait), about global warming from an Inuit hunter point of view. Artcirq fly to with fourteen artists and a documentarist to attend the Inuit Festival of Annecy, in collaboration with Karine Delzors and Jessica Arpin.

9 13 artists from Mexico and Montreal collaborate with Artcirq to create a performance that will tour in Nunavut, Montreal and Mexico. After three free shows at the Igloolik High School, all 29 members artists open the Alianait Festival in Iqaluit for three sold-out representations. Premiere of Oatiaroi. Oatiaroi is shown during the Quebec City's 400th Anniversary Celebrations. It was the opportunity to collaborate for the first time with AK Bangoura, brother of Artcirq's long-time collaborator Yamoussa Bangoura. Development and shooting of a documentary, "Pitaqangituq" on global warming in the North, a partnership between Igloolik Isuma Productions, Artcirq, Globaïa and Cinic Films. Yamoussa and AK Bangoura come to Igloolik to work with Artcirq. Two performances are given to the community at the Attagutaalukk High School. Music acrobatic and juggling workshops are given to the members. Artcirq is invited to present its videos and 4 performances at the Arctic Change 2008 in Quebec City. Standing ovation from the crowd, and many contacts are made for future performances around the world. 2009 Artcirq moves its training area from the old swimming pool in the community hall, to the Kipsigak arena. At the same time, Artcirq, in collaboration with Igloolik Hockey Association, opens a café at the Kipsigak Arena's cantine. Artcirq performes in and Veracruz as the last stages of creation for the Fibonacci project, along with Cirko Demente and the 7 Fingers. Artcirq collaborate in Mexico with Arnait video group from Igloolik screening their awarded-winning film "Before Tomorrow". Artcirq offers workshops, video screenings and performances in 4 indigenous communities, in the Oaxaca region. The main theme for the exchange is mining development and indigenous issues, in both realities, North and South. Artcirq performs in for the 10th anniversary of Nunavut in collaboration with the Inukshuk Inuit Cultural Institue and The Canadian Embassy in Paris. Six performances are presented including one at the Ambassador’s residence. Artcirq welcomes the Compagnie K, a mask and percussion theater company from Paris, to Igloolik. Bruno Besnainou and Khagan, two of the co-founders, collaborate with Artcirq in different workshops, and present 3 performances, introducing mask theater to the Artcirq members. Artcirq Expedition: 21 people plus 3 babies travel by snow mobile, from Igloolik to Pond Inlet, to Clyde River, to present shows, and give workshops to local youth. Artcirq members learn a lot about their land and team work. This incredible experience is documented for a future documentary. Artcirq also performs in Ottawa for Aboriginal day, in Iqaluit for the Alianait Arts Festival, in Inuvik for the Great northern Arts Festival, in Toronto for the Planet IndegenoUS Festival, in Greece for the International Puppet & Mime Festival of Kilkis, in for the WWF special events during the UN Climate Change Conference. 2010 Artcirq members perform with other selected Nunavut artists in severals venues in Iqaluit, Montreal, Banff and British-Columbia including BC Place for the Victory Ceremonies during the 2010 Winter Olympic games.

10 PROPOSED ACTIVITIES FOR 2010-2011

• Community workshops once a week for the public • Ongoing weekly training – 4 times a week, for a core group of approximately 13 youth (including 5 Kakivak trainees) towards the creation of a new show Creation2010. This 60-minute interdisciplinary work will focus on an Inuit legende and explore masked theatre, shadow plays and multi-media effects. • 2 week expedition on the land by foot, intented to help connected the youth with elders, tradional knowledge and their heritage well boosting self confidence, pride and team spirit. • Continued workshops, training, collaboration and creation with visiting artists such as Cirque Éloize(Montreal) and Productions Kalabanté who worked with Artcirq over the last years. • Live performances every month for the community • Attending national and international events to present live performances, screen videos and offer workshops. Performances are scheduled in several venues in western France, at the 2010 Alianait Arts Festival and the 2010 Inuit Circumpolar Council General Assembly in Greenland. Performances in Germany and Guinea are also in development. • Video creation: Artcirq is currently editing a mochcumentary, Pitaqagnituq, about global warming, shot at fall 2008. Artcirq is also developping a documentary film about the local rock band, Northern Haze. • Music creation: Artcirq will record it’s second Inuktitut album this spring. • Running the Kipsigak Café in the Arena, by the youth of Artcirq. Leaving a great taste in every Igloolikmiut’s mouth!

JOB DESCRIPTIONS

CIRCUS TRAINER/PERFORMER

Circus performers use movement, gesture and body language to portray a character, situation or abstract concept to an audience, usually to the accompaniment of music. This can involve interpreting the work of a choreographer, collaborating towards a new creation, and improvisation.

Circus performing is a competitive and physically demanding job that includes learning choreography, significative team work, development work or administrative work in a company. Work activities include varying combinations of the following:

• preparing for performances, by rehearsing and exercising; • performing to a live audience; • studying and creating choreography; • discussing and interpreting choreography with colleagues and choreographers; • learning and using other skills, such as singing and acting; • looking after costumes and equipment;

11 • taking care of the health and safety of others, which requires knowledge and observation of physiology and anatomy, as well as safe use of premises and equipment; • working in circus development and promotion, encouraging and enabling people, especially children, to become involved in circus and to understand and appreciate it; • undertaking administrative, promotional or stage management work; • liaising with arts organizations, theatres, and other venues regarding funding and contracts.

WORKSHOP FACILITATOR

A workshop facilitator must plan, organize, advertise and lead workshops for the public (in the community and well on tour). Activities include:

• creating varied and engaging workshop plans for participants; • providing an encouraging and positive environment for learning in the workshops; • work cooperatively with facilitation team to lead activities; • serving as a role model for participants; • participating in peer observations with other facilitators; • meeting regularly with the Coordinator and co-facilitators to review workshop plan; • maintaining positive and professional relationship with partners and community; • promoting programs to the public and recruiting youth trainees.

LIGHTING TECHNICIAN

Lighting technicians set up and operate lighting equipment under the supervision of a director in film, video or artistic-director in theatre. The lighting team's work is crucial to any performance or program. Lighting creates the right atmosphere to evoke an audience's response and demands high-level technical and creative skills. The work may be involved in all or some of the activities outlined below:

• liaising with the director and/or other staff to interpret their creative vision into the lighting design; • Redesinging the lights in the new training space, curling lobby, for exploratory workshops leading to the new Creation 2010; • visiting and assessing locations for technical purposes; • establishing lighting requirements; • plotting the lighting; • coordinating the equipment and the technical crew; • assembling all the lighting and filter equipment needed; • ensuring all lighting equipment is in working order; • pre-rigging the lighting; • ensuring all cables and wires are safely concealed; • loading automated colour change systems; • programming and operating lighting consoles; • supervising the focusing of lighting at rehearsals; • operating and maintaining equipment during the shoot / performance; • changing lighting between shots, as necessary;

12 • de-rigging all equipment at the end of the production; • ensuring all equipment is stored/transported back safely from location;

VIDEO/FILM/MUSIC PRODUCTION ASSISTANTS

A production assistant (PA) is a vital link in the production team. PAs assist the director or producer and are involved in all stages of the production process (from pre-production through to post-production and distribution) to help ensure production runs smoothly.

The role is technical, creative and administrative: PAs supervise setup and operation of production equipment, help plan program format and research scripts, maintain production records, and hire equipment. Unlike other roles in the industry, PAs are more generalist than specialist. They are given responsibility for a wide variety of tasks, including:

• working closely with the producer, director and production team; • coordinating and communicating production resources and facility arrangements in tandem with the production managers; • attending and coordinating planning and rehearsal meetings; • dealing with artists' payments and expenses; • producing budgets, monitoring costs and controlling expenses; • cueing pre-recorded material; • overseeing the timing during a shoot or show; • ensuring continuity, both on location and in the studio; • keeping accurate shot lists, especially for drama productions; • producing timing schedules, shot lists and logs for post-production; • booking catering, accommodation, and flights for performers and crew; • conducting research; • completing all necessary paperwork in relation to the above tasks.

COFFE SHOP ASSISTANT MANAGER

An assistant manager must oversea the operations of the café, including staff, supplies, equipments and facilities. This position requiers :

• maintaining stock and inventory; • supervising the staff; • creating and monetering the scheduale; • managing the daily cash and expenses; • compalling sales repports; • assuring the costumer service.

COFFE SHOP CLERK

The coffe shop clerk in responsible for the daily activites necessary for the operation of the coffe shop. This position requiers :

• preparing the goods sold at the coffee shop; • cleaning and maintaining the facilities; • serving the costumers.

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