Digital Artist Residency in (DART) August 2019 St. John’s, NL

Prepared by: Eleanor Dawson, Cultural Consultant [email protected] / 709.325.7839

Prepared for: Grow Twillingate Inc.

Table of Contents

Executive Summary 1 Background 2 What is Digital Art 2 Digital Artist Residencies 3 Twillingate 4 Role of Arts in Growing Communities 4 A Model for a Digital Arts Residency in Twillingate 4 DART Management Model 6 Engagement with the Arts Community: Outreach and Potential Partners 7 Community Engagement 10 Financial Model 12 Fundraising 12 Budget 14 General Recommendations 15 Appendix A: Digital Artist Residency Sample Contract 16 Appendix B: Contact information 20

I. Executive Summary

Grow Twillingate Inc. is a not-for-profit organization established to develop initiatives that develop and strengthen the economy of Twillingate and surrounding areas with a particular focus on events that benefit the digital arts sector. The cornerstone project of Grow Twillingate Inc. is the Unscripted Twillingate Digital Arts Festival. Following four successful festivals, Grow Twillingate Inc. is now exploring the feasibility of establishing a digital artist residency program as an extension of the festival. The first phase of this initiative consisted of field research, while phase two (this report) focuses on a model suited for Twillingate. There is no single formula for establishing a successful artist residency program; however, the program should be designed in a way that is cognizant of the needs and sensitivities of all parties involved. Based on a review of the research; a series of in-depth interviews with managers of residency programs, arts practitioners, digital providers, provincial and federal agencies, industry associations and funding agencies; and the objectives outlined by Grow Twillingate Inc., the following is recommended as a model for Twillingate. Grow Twillingate Inc. will award two residencies annually for periods of up to two - three months to run concurrently. Artists will be provided with studio space, comfortable housing, a stipend and assistance with travel costs. Some basic materials will be provided; however, participants will be responsible for bringing specific tools and materials as needed. As part of the residency, artists will be expected to complete a project to be presented at the annual festival and to engage with the community. This engagement will be determined in consultation with the artist but can include such activities as an open studio, youth camps, artist talks, and workshops. Artists utilizing digital technology will be invited to apply. Examples of digital arts/media can include but will not be limited to: video, animation, digital photography, interactive gaming platforms, virtual reality experiences, video-mapping, site-specific apps, and internet-based works. Emphasis will be placed on the importance of immersion in the local culture. The residency will be open to local, national and international artists and will support emerging as well as established artists.

Year one of DART will be presented as a pilot project designed to evaluate feasibility, time, cost, and unexpected adverse events. This will allow careful monitoring of the program in order to set the groundwork for an expanded program in subsequent years and increase the likelihood of sustainability in the long term.

Success of this project will depend on developing a clearly defined mandate that provides the necessary support and regulation, the ability and willingness to work collaboratively with other festivals, arts organizations, and institutions, and ensuring meaningful engagement with the local as well as the professional communities.

1 II. Background

Grow Twillingate Inc. is a not-for-profit organization established to develop community arts initiatives that grow the economy of Twillingate and surrounding areas with a particular focus on events that benefit the community. The cornerstone project of Grow Twillingate Inc. is the Unscripted Twillingate Digital Arts Festival (“Unscripted Twillingate”). Established in 2015, the festival offers four days of digital creativity through interactive workshops and content creation, while adventuring on Twillingate Island and sharing and celebrating the best digital creativity of the week. Atlantic ’s first digital arts festival, Unscripted Twillingate has garnered local and national attention in its short life and has become a mainstay on the and annual festival calendar.

Grow Twillingate Inc. would like to explore establishing a digital artist residency program as an extension of its festival with the following objectives:

• Establish a program that supports the Central Newfoundland focus on growing artistic experiences in the region. • Create innovative digital art that will form a part of the digital arts exhibit during the festival. • Establish a body of creative work that is associated with Twillingate as a destination and encourages creative travel. • Create legacy pieces of art that become an attraction in Twillingate or an online promotion for Twillingate. • Provide opportunities to the local community, including students, to engage in and enjoy innovative art.

A recent field study of three digital artist residency programs in North America indicates there is a rich diversity of programs, from small grassroots initiatives to large, fully resourced programs such as the Banff Centre, and from rural to urban-based. Based on these observations, there appears no significant barrier that would prevent Twillingate from becoming a successful location for an artist residency program.

This report will focus on a model best suited for Twillingate and will address:

• How will the program function within the community? • How will the program be managed? • What resources will be required? • What resources are available? • How will the program complement the other activities of the host organization? • How will the local community be engaged to ensure a successful outcome?

III. What is Digital Art?

Digital art is work created with digital technology and/or presented using digital technology. It is a method of art-making that lends itself to a multimedia format because there is the potential for

2 it to be viewed on multiple platforms. In short, digital art is the merger of art with technology that allows new approaches and methods to creating art. It can also be a meld of disciplines (programming, animation, music, photography, design, multimedia, etc.), and while Unscripted Twillingate has explored pure digital art forms such as digital photography and digital music, the festival has not ventured into the exciting world of digital art programs that are cross-platform. It is clear from the research phase of this initiative that there is no simple and generally shared understanding of what digital arts is—it is emerging and changing. Unscripted Twillingate can not only be a part of this conversation, it can offer its own unique rural voice.

IV. Artist Residency Programs

An artist residency program invites artists to apply for time and space away from their home environment to allow for reflection, discovery, and the creation of new work. There is no single model, and the expectations and requirements vary greatly. The relationship between the resident artist and the host organization is an important aspect of any residency program. Sometimes residents are expected to become closely involved in the community, giving presentations and workshops, while others are offered a more solitary experience with more time for the artist to focus on their own practice.

For the host organization, inviting artists from different cultural and professional backgrounds can lead to long-lasting relationships involving wider networks of international artists and cultural organizations. In addition to the benefits to the host organization, creative stimulation within the region can occur. With committed and united planning, an artist residency program can become a one-of-a-kind experience that continues to blossom long after the residency itself has ended.

Although there is no single formula for establishing a successful artist residency program, the program should be designed in such a way that it addresses the needs and sensitivities of all parties involved. General considerations include:

• Length of residency • Contractual agreement between the artist and the host (see Appendix A for a sample) • Artist living and studio space • Artist stipend for living expenses • If, and where, art produced during the residency will be displayed • The extent and shape of community involvement • Relationship between the residency and other host initiatives (i.e., Unscripted Twillingate)

Residencies are incubators for productivity, as well as opportunities for forging relationships and finding inspiration. As with most aspects of the art world, “one-size-fits-all” is not a term that can be applied. A residency program should be tailored to the needs and expectations of the host organization, as well as to the social and geographic character of the region.

3 V. Twillingate

Twillingate is a town of approximately 2,400 people located on the in Notre Dame Bay off the north eastern shore of Newfoundland, Canada.

The town is about 100 km (62 mi) north of and Gander and is connected by a series of bridges and causeways creating one of the province’s most scenic routes. It is one of the oldest ports in the province but since the decline of the fishery, the economy now relies on the tourism industry in the summer months. The town is known as the “Iceberg Capital of the World” because of the abundance of icebergs that travel south in the spring months. The area is also well-known for its rich archaeological heritage. Discoveries confirm that the region was home to the now extinct Beothuk people, whose relics can be viewed at the Twillingate Museum and the Beothuk Interpretation Centre in nearby Boyd’s Cove.

Twillingate Islands are composed of several communities, including Durrell, Little Harbour, Bayview, Purcell’s Harbour, , Back Harbour, and . Neighbouring comprises Hillgrade, Newville, , Cobb’s Arm, Summerford, Cottlesville and Virgin Arm.

VI. Role of Arts in Growing Communities

Globally, there is an increasing emphasis within government policy on the role of cultural industries as drivers of urban and regional development. Arts and culture are powerful tools with which to engage communities in various levels of change. They are a means to public dialogue, can contribute to the development of healthy communities, can help build community capacity and leadership and bring messages to the world through digital mediums.

For decades, artists of Newfoundland and Labrador have successfully brought their culture to the national and international stage, allowing Newfoundlanders and Labradorians to celebrate their achievements and take pride in what sets them apart. Arts and heritage resources have become significant economic drivers, building social capital through increased networks and creating successful social enterprises.

Increasingly, artist residencies are seen as a vital component of any strategy to encourage the growth of a creative community or region. The province of Newfoundland and Labrador has seen a proliferation in arts activity over the past several decades with a number of artist residencies developed, usually in partnership with other institutions and organizations and based on various models.

VII. A Model for a Digital Artist Residency in Twillingate (DART)

Based on a review of the field research prepared for the first phase of this initiative, an examination of current residencies in Newfoundland, interviews with digital artists and managers

4 of residency programs, and the objectives outlined above, the following is recommended as a sustainable model for a digital artist residency program in Twillingate.

Mission Statement: To allow practicing artists in digital media the time, space and freedom to make art by providing space to live and work, tools and supplies, mentorship, connections, and the opportunity for community engagement.

Grow Twillingate Inc. will award two residencies annually for periods of three months (July to September). The residencies will run concurrently and overlap with the digital arts festival. Artists will be provided with studio space and suitable housing in the historic town of Twillingate. Basic materials and supplies will be provided up to $500 per artist; artists who require specialized equipment and materials exceeding $500 will be expected to supply themselves. It is assumed artists will bring their own laptop.

As part of the residency, artists will complete a project to be presented at the festival in September. Emphasis will be placed on the importance of immersion in the local culture and artists will be expected to engage with the community. The nature of this engagement will be determined by the artist in consultation with the host and may include, but will not be limited to, open studios, artist talks, youth camps, film screenings, and workshops (for all ages).

Selection Process

The call for submissions will go out annually in the fall following the festival. The call will be open to all artists utilizing digital technology (e.g., video, animation, digital photography, interactive gaming platforms, virtual reality experiences, video-mapping, site-specific apps, and internet-based works); however, organizers may also invite specific artists for the purpose of enhancing the profile of the residency, or due to a particular artist’s synergy with a theme being explored during Unscripted Twillingate. The residency will be open to local, national and international artists and will support emerging as well as established artists.

Artists will be selected by an external jury based on the artistic merit of the applications. Consideration will also be given to how well the application fits within the objectives of Grow Twillingate and the commitment of the applicant to engage with the community. Short-listed applicants may be asked to participate in a 30-minute conference call with the jury before a final decision is made.

Eligibility Criteria

• The program will be open to local, national and international artists working in any discipline and/or medium responding to digital themes. • Both emerging and established artists will be invited to apply. • Applicants must demonstrate their ability to work independently.

Program Support

• Comfortable living space

5 • Studio space • Promotion of the artist and their work through the host’s network • $1,000 per month stipend for living expenses • Reliable internet access • Establishment of a permanent web archive of the artist’s work produced during the residency

Submission Requirements

• Resume, including an outline of education and related experience • Portfolio of work: submission of at least five samples of relevant work • Artist statement: description of the basis of the artist’s practice framed within the larger digital arts context (maximum 1000 words) • Summary of proposal: a description and execution plan for the proposed project including timeline, description of medium(s), and discussion of the artist’s knowledge of these mediums • Description of how the proposed project will be integrated into Unscripted Twillingate • Description of the means by which the proposed project will engage with, and be specifically suited to, the local community • Three professional references

VIII. DART Management Model

DART Standing Committee

It will be essential to develop a governance structure that provides pro-active support and oversight to the residency. This will be done through the establishment of a DART Standing Committee that will be compliant with the policies of Grow Twillingate Inc. and will report to the Grow Twillingate Board of Directors.

The standing committee will be comprised of five members, including one member who also sits on Grow Twillingate Inc. board, and one community representative with an interest in digital arts. The overall composition of the committee will aim to include members with expertise in digital arts, knowledge of the region, net-working connections in the provincial, national and international arts community, and experience with artist residency programs and/or arts program delivery.

The committee will be responsible for overseeing the administration of the program, including providing advice and guidance to the coordinator, selecting external jury members, developing a fundraising strategy and, when necessary, assisting the coordinator in grant writing. It will be crucial that committee members fully understand their responsibilities and be committed to DART’s mission.

6 DART Coordinator

The DART Coordinator will work with the DART Committee and will be responsible for the day-to-day running of the residency. It is expected the majority of the work will take place during the spring to fall. Grow Twillingate Inc. may combine the duties of the festival coordinator with those of the DART coordinator into one position or may choose to offer a part time position for the DART coordinator. In either scenario, it is recommended a coordinator be contracted for no more than one year at the outset. Coordinator duties will include but not be limited to:

• Handling marketing and calls for applications • Working with the DART Standing Committee on securing jury members and organizing jury meetings • Identifying and managing accommodations and artist studios • Coordinating artists’ travel and orientation in Twillingate • Communicating with successful artists and responding to any needs that arise during the residency • Arranging for shipping of artists’ materials • Arranging exhibitions (securing venues, installation, communications)

DART Jury Members

DART Jury Members will be selected on the basis of their specialization, experience, expertise, and analytical abilities. This will ensure that decisions are based on recommendations from professionals in the field. Each jury will include three members. An attempt will be made to secure new jury members each year. Jury Members will be paid an honorarium for their participation in the process.

It is recommended DART begin compiling a database of potential jurors. This can be achieved by sending out a call for expressions of interest on a yearly basis, or as required. In addition, there are a number of provincial arts organizations that can provide advice on the selection of jurors.

IX. Engagement with the Arts Community: Outreach and Potential Partners

Much of the success of DART will depend on its ability to partner with other festivals, professional arts organizations and institutions. Engaging with the arts community through these groups can build credibility and trust, and can assist in developing supporters and champions for the project by building on existing infrastructure and working within established arts networks.

Both provincially and nationally, there are a number of arts and industry specific associations and organizations that offer resources to their membership as well as to the general public. Typically, their goal is to work together to build a professional and sustainable industry. They offer a wide variety of information and services intended to support artists and community groups across their respective disciplines.

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Additionally, the educational institutions, College of the North Atlantic and Memorial University, and public institutions such as The Rooms, offer programs, services and expertise that can be explored to assist with the project.

The following is a list of provincial and national entities that were interviewed for the purposes of this report and have expressed an interest and willingness to work with Grow Twillingate Inc. on the development of this project, including assistance with information sharing, mentorship, expertise, and promotion.

The Rooms Art Gallery offers up to five artist-in-residence opportunities outside of St. John’s each year, including at and Terra Nova National Park, in partnership with Parks Canada; and in Brigus, in partnership with The Landfall Trust. Artist fees are supported by The Canada Council for the Arts. These residencies offer professional visual artists the opportunity to focus for a concentrated period (4-6 weeks) on developing new projects, or to work on existing projects within quiet, natural surroundings.

The Digital Animation Program at the College of the North Atlantic, Bay St. George Campus offers a 2-year Digital Animation diploma program that combines comprehensive instruction in design fundamentals, industry standard animation software tools and collaborative production techniques, with creative problem-solving and visual storytelling methods. From the practice of sequentially drawn images to the creation of fully realized 3D characters and environments, this approach allows the student to study Digital Animation with the broadest creative scope and range of technical application. CNA is a potential partner with projects involving animation.

The Grenfell Art Gallery is a contemporary art museum on , Memorial University in , Newfoundland. Established in 1988, the gallery is closely associated with the university's visual arts program, and is situated on the second floor of the Fine Arts Building on campus. Grenfell Art Gallery is committed to cultivating a generative engagement with art through exhibiting, researching, collecting, and nurturing innovative cultural practices. The gallery engages in collaborative partnerships with like-minded local, regional, national and international artists, organizations, and institutions.

St. John’s International Women’s Film Festival (SJIWFF) is one of the longest running women’s film festivals in the world. Established in 1989 with a bold vision of supporting and promoting the creative work of women in screen-based industries from around the world, the Festival has grown from a single evening of screenings to the province’s flagship film festival. Operating year-round, the SJIWFF is known for a diverse program of independent film screenings, high- calibre workshops and masterclasses, international film forums, hands – on youth filmmaking camps, career-accelerating mentorship programs and advocacy work in the movement for gender diversity in the industry.

FRAMED WEST is an initiative in partnership with the Newfoundland and Labrador Film Development Corporation, Memorial University’s Grenfell Campus and the College of the North Atlantic’s Digital Filmmaking program.

8 Nickel Independent Film Festival is a celebration of local and international independent film. The annual festival happens in June in St. John’s and other workshops, screenings and film challenges take place throughout the year and across the province.

Game Developers NL (GDNL) is a not-for-profit, community group uniting all the creative, business, and technical disciplines involved in the process of creating interactive digital media (IDM) and game development. They are industry professionals, teachers, students, and hobbyists that specialize in these areas of design and development including game development, ed-tech, simulation technology, and any aspect of interactive digital media. These areas of interactive entertainment, education, and technologies, stem from the processes and practices of game development, hence the name, Game Developers of Newfoundland and Labrador (GDNL).

Visual Artists Newfoundland and Labrador (VANL) is a not-for-profit umbrella organization for visual artists in the province of Newfoundland and Labrador. The nature of VANL-CARFAC is unique and two-fold. At once a provincial sectoral organization for the visual arts in Newfoundland and Labrador, as well as the provincial affiliate of Canadian Artists Representation/Le Front des artistes canadiens, VANL-CARFAC provides its members with a wide range of services, information and development on both regional and national levels.

Video Game Art & Design. The College of the North Atlantic offers an artistic approach to game development, beginning with the essentials of art and design. Students then move on to designing and creating playable games using popular game engines without the need for programming knowledge. A strong focus is applied to the narrative aspect of game design, bringing engaging storytelling to interactive experiences. Writing detailed design documentation is also practiced. 2D and 3D games are brought to life with original artwork including pixel art, 3D models, animation, detailed textures, user interface and special effects. Immersive game projects will be heightened through the recording and editing of audio and video, providing soundscapes and cinematic experiences.

National Film Board of Canada. As Canada’s public film producer and distributor, the National Film Board of Canada (NFB) creates social-issue documentaries, auteur animation, and digital content, providing the world with a unique Canadian perspective. The NFB is breaking new ground in form and content through community filmmaking projects, cross-platform media, programs for emerging filmmakers, stereoscopic animation, digital delivery for web-based streaming, compressed digital files for mobile devices, DVD, and more. It works in collaboration with filmmakers, digital media creators and co-producers in every region of Canada while making its vast archives more accessible than ever.

Business and Arts Newfoundland and Labrador (BANL) is a not-for-profit member-based organization established in 2014 that drives economic development and fosters partnerships between our business and arts communities. BANL works to build a thriving arts and culture sector in a vibrant province. These partnerships harness the reciprocal power of arts to feed creativity in business, and business to strengthen and support the arts. To meet the mandate, BANL has developed a suite of programs which in equal measure offers creativity to the workplace and management know-how to the arts.

9 Canadian Association of Professional Image Creators (CAPIC) is the collective voice and advocate for professional photographers, illustrators, and digital artists in Canada. CAPIC’s mission is to promote quality and creativity, as well as good business practices. CAPIC is the reference for professional image creators in Canada and the business practices that result. CAPIC helps create worldwide Digital Standards The Canadian Gaming Association (CGA) is a national trade association that works to advance the evolution of Canada’s gaming industry. The association’s mandate is to promote the economic value of gaming in Canada; use research, innovation, and best practices to help the industry advance; and create productive dialogue among stakeholders. The CGA is co-owner of both the Canadian Gaming Summit, Canada's premier annual conference and exhibition for gaming professionals, as well as Canadian Gaming Business magazine.

Additional Resources

Eastern Edge Gallery is Newfoundland and Labrador’s first artist-run centre for visual arts. Eastern Edge is committed to exhibiting contemporary Canadian and international art, as well as encouraging dedicated and rigorous activity locally. Eastern Edge hosts HOLD FAST, an annual festival of contemporary art practice in St. John’s. The festival delivers accessible, meaningful and critically-relevant contemporary art programming across an array of media including: installation, performance, screenings, artist talks, dance, community events, and artist-led workshops for people of all ages. The festival consists of a residency program, workshops, artist talks, and culminating in a performance/ installation-based Art Crawl event.

Battery Radio produces independent broadcast documentaries, creative sound design, interactive place-based documentary and fiction installations. Their productions have won over 40 awards and have been heard around the world.

Akimbo is a major national listing service that provides services to promote exhibitions, events, jobs, calls for submissions, artist residencies and will provide booking confirmations, content submission guidelines and payment information. Services include ad space, web posting, social media, and pinned listing.

Appendix B provides contact information for the above entities. All have the potential to provide valuable feedback, guidance and advice during both the initial establishment and ongoing development of DART.

X. Community Engagement

The foundations of successful community participation are found in developing trusting relationships, sharing a vision, and developing partnerships with public agencies. Community engagement increases community cohesion and allows the community to have ownership over the outcome. It includes information sharing, consultation on ideas and/or active participation in decision making.

10 Information Sharing

The first step in engaging a community is to build awareness about the project through information sharing. Communication is the thread that ties together all types of community engagement. Effective information sharing allows the community to understand the project and decide whether they want to participate and how actively. Information sharing can be achieved through a number of ways including: cable TV, radio, websites, facebook, email, newspaper ads, newsletters, hotlines, etc. DART will develop a generic communication piece/ description of the project and decide which of the options suggested would be most productive in getting the information out.

Consultation

Consultation is the process by which the organization will seek the opinions, criticisms and suggestions of the community. Common consultation processes may include: public meetings, public hearings, public input sessions during council meetings, surveys, etc. Holding a community meeting is an ideal way to bring together community members and stakeholders. Grow Twillingate Inc. will decide which method(s) of consultation will work within its jurisdiction. Suggestions include:

• Identify people in the area with similar interests or whose interests would benefit by the addition of this project • Identify a champion for the project within the general geographic area who can assist with promotion • Develop a presentation to be made at a council meeting • Establish relationships with people/organizations outside of the tourism/culture community • Consult with other successful local initiatives • Identify opportunities to align or hold combined events for greater impact

Participation

Participation is active involvement that moves beyond information sharing and consultation to more actively involve citizens and communities in planning and decision-making processes. Active involvement is often used to engage relatively small numbers of people as key stakeholders. Grow Twillingate Inc. will:

• Identify specific individuals to participate more fully in the development process • Expand the Board of Directors of Grow Twillingate Inc. to include individuals with appropriate expertise and experience • Work within established networks within the province to seek advice and identify potential persons with expertise to sit on advisory committees • Collaborate with specific stakeholder groups or the community to work through the issues and develop solutions

11 Over time, networks will build and community members will become more aware of the relevant issues. Being inclusive will become an everyday part of the program’s thinking and planning. The success of the project depends largely on how well organizers are able to engage the community.

XI. Financial Model

There is no template for costs associated with running a residency. Costs vary according to the type and length of the programme as well as the nature of the residency. For example, requirements and associated costs of running a performing or visual arts residency may be substantially greater than those for hosting writers in a residency program. All residency programs have expenses such as administration, coordinators/managers, hospitality, materials, airfares, consumables, accommodation and studio space for artists. Residencies may include outreach work and opportunities for teaching others, host events associated with the residency such as exhibitions and performances, and projects undertaken within the community. Costs should also factor for allowances for residency documentation and evaluation.

Organizations hosting residencies access funding from various sources. Some models may be solely dependent on public funding while others may opt for private funding only, mixed public and private models or the innovative hybrid models that incorporate a business enterprise to help fund the costs of the program.

Securing funding to finance arts initiatives can be challenging particularly during the first two years of a project. Grow Twillingate Inc. has established a proven track record of delivering successful events and has developed a relationship with various public funding agencies. Once the residency has become recognized, additional avenues of support will become available including private and foundation sources.

XII. Fundraising

Fundraising is the organized activity of securing funds from public funding agencies, businesses, foundations and individuals. In addition to raising money, a robust strategy can raise awareness and broaden the reach of the project. The first step is to determine the target revenue (budget), the time frame in which to raise it, and who will be involved.

Public Funding Agencies

It is recommended that the first year of DART be designed as a pilot project to evaluate feasibility, time, cost, and unexpected adverse events. In addition, by positioning it as an incremental, or “one-off,” project may increase its eligibility for certain government grants that do not support annual operating costs, e.g., with ACOA and TCII. It is recommended these agencies be contacted regarding the eligibility of a DART pilot project. These and additional potential arts funders are listed below. Understanding eligibility requirements and application deadlines will be essential to budget planning.

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The Atlantic Opportunities Agency provides funding to not-for-profit organizations through its Business Development Program to undertake projects that help Atlantic Canadian enterprises grow, become competitive and increase their productivity through the development of non- commercial projects. The Department of Tourism, Culture, Industry and Innovation provides support to organizations through its Regional Development Program for the development and implementation of economic initiatives with respect to regional and sectoral development, diversification, innovation, and key emerging sectors. ACOA and TCII frequently work together on mutually eligible projects. The Newfoundland and Labrador Arts Council offers a number of arts grants to foster the creation and enjoyment of art in the province. The Annual Operating Program for Professional Arts Organizations program is available to professional not-for-profit arts organizations for costs associated with operating the organization, and creating, presenting or producing artistic works including artist and technician fees, venue rentals, administration cost, and travel expenses. The Canada Council for the Arts offers two potential avenues for financial support. The Research and Creation component of Explore and Create provides grants to arts organizations for creative research, creation and project development, including residencies. The Digital Strategy Fund encourages an overall approach that helps support arts organizations in understanding the digital world, engaging with it, and responding to the cultural and social changes it produces.

Private Fundraising: Corporate, Foundations and Individuals

The most common types of private fundraising are community fundraising events, crowdsourcing, corporate sponsorships and individual donations. To improve the success of these activities and events, it is recommended that a list of private sources be developed. These should include local and provincial businesses, such as digital companies and local tourism operators. It may also be useful to review sponsors of Grow Twillingate Inc. to determine the possibility of leveraging additional support for DART.

The following two provincial foundations should be explored as a potential source of grants.

Community Foundation of Newfoundland and Labrador pools and invests the gifts of many donors to create permanent endowment funds for communities in the province. The foundation offers small grants that create opportunities for arts organizations to promote the unique intellectual and cultural heritage of province. United Way of Newfoundland and Labrador offers community grants for registered charities whose initiatives are making strong communities, particularly through working with youth.

13 XIII. Budget

Expenses (two residencies)

Artist living allowance/ $1,000 x 3 mo. x 2 $6,000 month

Artist travel $1,000 x 2 $2,000

Artist materials and supplies $500 x 2 $1,000

Artist living and studio space $2,000 x 3 mo. x 2 $12,000

Coordinator fee $10,000 Program administration: Supplies, community $4,000 consultation Advertising/ design $2,500 marketing Receptions, presentations, & $2,000 workshop-related costs Jury honorariums $300 x 3 $900

Total $40,400

Revenue

ACOA $26,000

ArtsNL $10,000

Municipal $1,500 Fundraising/corporate $2,900 sponsorship Total $40,400

14 XIV. General Recommendations

1. Position year one of the residency as a pilot project to be designed in such a way as to evaluate feasibility, time, cost, adverse events, etc. 2. Ensure consistency in the name of the festival and residency. 3. Consider taking out membership in Game Developers NL, VANL, and other member-based relevant arts organizations. 4. Consider inviting local (NL) artists to the first year of the residency. 5. Work closely with professional networks to identify potential committee members and jury members. 6. Create a database of potential committee members and potential jurors. 7. Engage the community and region through information sharing, consultation and participation in the project. 8. Work closely with public funders to assist with identifying potential sources of public funding. 9. Present a panel at Unscripted Twillingate on digital artist residencies.

15 Appendix A: Digital Artist Residency Sample Contract

THIS AGREEMENT made by and between Grow Twillingate Inc. (hereinafter referred to as "the Host), and (hereinafter referred to as "the Contractor").

The parties agree as follows:

Contract Period: The contract period commences on or about n/a am / pm on and ends on or about am / pm on n/a .

Services: The Host agrees to engage the services of the Contractor with respect to the following: description of specific project

Payment: The Contractor will be paid for services upon the Host’s receipt of invoice. The Invoice must include the Contractor’s Social Insurance Number or HST number, if applicable.

HST Number, if applicable: ______

If HST is not applicable, please complete the following statement:

This is to certify that I, , of , qualify as a Small Trader under section 148 (1) of Bill C-62 (Act), governing the Goods and Services Tax, and that as per section 240 (1) of the Act, I have not registered nor have I made an election to become a registrant for purposes of the Act. ______(contractor’s initial).

The Contractor:

1. is to be paid the following amount with respect to the provision of the Services:(as outlined in Appendix 1) $------. 2. is responsible for all arrangements and costs including but not limited to travel, accommodations and meals; 3. will comply with all Host’s policies, rules and regulations; 4. agrees to keep confidential any personal information to which they gain access; 5. is responsible for complying with all Federal and Provincial regulations with respect to undertaking this contract opportunity in Newfoundland and Labrador.

Insurance: The Contractor is not covered by the Host’s insurance policies or worker’s compensation program.

Release and Waiver of Liability: The Contractor agrees to release and waive liability for all claims that he/she has, or may in the future have, against Grow Twillingate Inc. and employees, or any person(s), entities or organization(s) associated in any way with this agreement, from any and all liability for any loss, damage, injury or expense that he/she may suffer as a result of this

16 agreement, due to any cause whatsoever, except in cases where there is negligence on the part of the Host organization.

Indemnification: The Contractor does hereby indemnify and shall hold harmless Grow Twillingate Inc. against all claims, demands, causes of action, actions, judgments, or other liability (other than liability solely the fault of the Indemnified Party) arising out of, resulting from, or in connection with this Agreement.

______

Contractor’s name, address, social insurance number

Per: ______

Witness (Authorized signatory for Contractor)

Title:______

Grow Twillingate Inc.

Per: (Authorized signatory) Witness

Title: ______

Schedule Artist Agreement/ Exhibition

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This agreement is made in duplicate on the day of July between

A. ______hereinafter called “the Contractor” and

B. (hereinafter called “the Host”

The parties hereto agree as follows:

1. General Intent

(a) The Festival will present an exhibition/presentation of the work by the Artist as per discussion and agreement with the curator/administrator. The exhibition title is “______The “Exhibition” will take place from ____to ____ .

2. Presentation/

After consultation with the Artist at a time and date agreed upon, the Festival will be responsible for the handling and display of the works of art. This decision will be made in consultation with the artist or the artist’s agent.

3. Extended Duration

The Festival may, with the consent of the Artist, extend the duration of the exhibition.

4. Documentation

The Artist will provide biographical information and a list of works with titles, medium, support size and valuation as appropriate for insurance purposes to the Gallery on or before NA .

5. Publication

Following on consultation with the Artist, the Festival will prepare and have printed and/or copied interpretive support material listing the works exhibited.

6. Promotion

The Festival will arrange announcements of the exhibition as it may consider appropriate.

18 7. Breaches of Agreement - Artist

Notwithstanding - In the event of the Artist’s failure to provide the works of art to be exhibited on the date above, thereby causing cancellation to the exhibition, the Artist will pay liquidation damages to the Festival

Community Involvement

Description of artist’s involvement/participation in the community eg workshops, lectures, presentaions etc.

Amendments

All amendments and modifications of this agreement will be with the written mutual consent of both parties.

19 Appendix B: Contact information: Arts entities, influencers, and public funding agencies

Name & Organization Contact information Groups/individuals consulted for this report Jim Grace, Instructor, CNA, Bay St. George (709) 643-7860 Campus, Stephenville, NL [email protected] Dorian Rowe, Executive Director, Newfoundland (709)738 3456 and Labrador Film Development Corporation [email protected] Dave Andrews, Executive Director, Visual Artists (709) 738 7304 Newfoundland and Labrador [email protected] Laura Churchill, Program Officer, Newfoundland (709)738 3423 and Labrador Film Development Corporation [email protected] (709)770 5424 Rhonda Buckley, documentary filmmaker [email protected]

Janice Hertel, Game Developers NL [email protected]

(709) 637-6209 Matthew Hills, Curator, Grenfell Art Gallery [email protected] (709) 757 8090 Anne Chafe, Acting CEO, The Rooms [email protected] Kate Wolforth, Manager Collections & Exhibitions, (709) 757 8044 The Rooms [email protected] Jenn Brown, Executive Director, St. John’s (709)754 3141 International Women’s Film Festival [email protected] (709) 351 0158 Kelly Davis, National Film Board [email protected] (709) 658 3444 Mikaela Kautzky, Programs, Fogo Island Arts [email protected]

Lillian Cooper, visual artist [email protected]

Paul Burns, President & CEO, The Canadian (416) 304.7800 Gaming Association [email protected] Sasha Sobrino, General Manager, Canadian (416) 462-3677 Association of Professional Image Creators [email protected] Other resources

20 Philippa Jones, Executive Director, Eastern Edge (709) 739-1882 / [email protected] Gallery Chris Brookes, Producer, Battery Radio (709) 576-0359 / http://batteryradio.weebly.com (709) 772-2711 www.canada.ca/en/atlantic- Yvonne Hardy, Economic Development Officer, canada-opportunities.html Atlantic Opportunities Agency

Ken Murphy, Program Manager, Newfoundland (709) 726-2212 ext 205 / [email protected] and Labrador Arts Council Richard Philips, Economic Development Officer, (709) 256-1482 / [email protected] Tourism, Culture, Industry and Innovation www.canadacouncil.ca/ Canada Council for the Arts

Community Foundation of Newfoundland and (709) 753-9899 / www.cfnl.ca/ Labrador www.unitedwaynl.ca/ United Way

Akimbo https://akimbo.ca/post-on-akimbo/ Akimbo (national listing service)

21