MENTORSHIP COLLABORATIONS

TO SUPPORT PLURALISM

IN THE ARTS

February 2014

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TABLE OF CONTENTS

1. Introduction 3

2. Proposed Approach 4

3. Outreach and Set-up 5

4. Matching Organizations: 8I) Developing Organizational Capacities 8II) Developing Entrepreneurial Approaches 9III) Developing Curatorial Competencies and Community

Engagement Strategies 10

5. Learning Circles 11I) Organizational Resilience 11II) Board and Volunteer Engagement 12III) Making Successful Pitches 13

6. Assessment and Next Steps 14

7. Advisory Committee 15

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1. Introduction:

In the spring, 2013 Cultural Pluralism in the Arts Movement Ontario (CPAMO) developed a pilot project entitled Advancing Pluralism in the Arts. With the involvement of the CPAMO Advisory Committee, this project has been developed to build the capacities of CPAMO’s Roundtable Members and other Aboriginal and ethno-racial arts organizations who live and work in Toronto. The components of this project seek to enable these arts organizations to develop organizational resilience through a combined approach of individual and group learning and knowledge-sharing to address such key organizational functions as:

i) data management for financial controls and reporting, sponsor and audience engagement;

ii) governance structures and processes, including board and volunteer engagement;iii) mentorship and knowledge-sharing between small and large arts organizations; andiv) curriculum development for community and/or school-based programs.

These issues were identified as important to CPAMO Roundtable members in a survey completed in December 2012 and interviews with 15 CPAMO Roundtable members from January – June 2013. Based on the survey and interviews, the areas of most need included:

Developing promotional/marketing, community engagement and audience development strategies aimed at connecting with diverse communities, particularly Aboriginal and ethno-racial communities interested in the arts;Enhancing understanding of how to attract private sector foundations and corporate sponsors interested in the arts; andProviding organizational support to enhance the effectiveness of financial and administrative systems, including data base management.

This survey clearly indicated that there is a gap impacting on the creative success of small Aboriginal and ethno-racial arts organizations in Toronto. CPAMO’s approach in addressing this gap is to take lessons from initiatives by our many partners and by engaging these resources to build a program that will effect real change in capacity and equity. The CPAMO Advisory Committee’s participation is indicative of the recognition of need for new ways to achieve a positive outcome for these organizations that are at the leading edge of Canadian cultural development in Toronto. CPAMO’s work over the past four years has reinfoirced the need for new ways of doing business and helping create success. This has been further reinforced in recent reports by the Metcalf Foundation on “Shared Platforms” and “Choreographing our Future” and further through CPAMO’s participation in Ontario Non-Profit Network and Laidlaw Foundation working groups on platforms.

Further, CPAMO’s work with large arts organizations, arts presenters and umbrella organizations has demonstrated that there is a significant opportunity to create a reciprocal approach to meeting needs that will create a more sustainable environment for creative development. To provide a mutually beneficial exchange, the survey and interviews indicated that Aboriginal and ethno-racial arts organizations can offer the following to large arts organizations:

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Information on how to connect with Aboriginal and/or diverse communities through community engagement, programming and community media; Standards of excellence and artistic practices stemming from Aboriginal and ethno-racial communities; andAccess to volunteers from diverse communities.

This one-year project proposal focuses on one component of these identified needs – mentorships. The purpose of mentorships is to engage Aboriginal and ethno-racial arts organizations with large arts organizations to develop a mutually beneficial exchange of knowledge and skills and to initiate collaborations between them.

It is designed to support Aboriginal and ethno-racial arts organizations and large arts organizations in their efforts to address some immediate needs in tangible and measureable ways. As such, this project proposal identifies a strategic approach to bringing these arts organizations together to develop and implement resource sharing for mutual benefit.

2) The Proposed Approach:

This project aims to deliver opportunities for Aboriginal and ethno-racial arts organizations to:

I. develop their administrative functions in such areas as database management, reporting and financial controls;

II. stage their performances in venues operated by larger arts organizations;III. enhance their understanding of the decision-making processes regarding submission of

proposals for performances; andIV. develop their understanding of fundraising and revenue strategies for capital and/or

program purposes.

This project also aims to deliver opportunities for larger arts organizations to:

I. enhance their understanding of diverse communities and how they access information about available cultural activities and resources;

II. enhance their entry points into diverse communities for purposes of building relationships that will support marketing and community/audience development;

III. develop collaborative promotional mechanisms and programming with Aboriginal and ethno-racial arts organizations ;

IV. attract volunteers, advisory participants, board members and other resources from diverse communities.

The methodology of this project is to focus on mentorships engage Aboriginal and ethno-racial arts organizations with large arts organizations to develop a mutually beneficial exchange of knowledge and skills and to initiate collaborations between them.

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There are four (4) components to this project:

1) Outreach and Set-up2) Matching Organizations and Developing Knowledge-Sharing Activities3) Learning Circles and Collaborative Knowledge-Sharing4) Assessment and Next Steps

For each of these approaches to be successful, there must be at the outset the building and establishment of mutually respectful and beneficial relationships. In this context, this project makes the fundamental assumption that all participants are willing and able to receive and share knowledge and skills that are important to their organization’s operations.

Based on this, Goals, Objectives, Activities, Timelines, Outcomes and resource requirements are identified for each of these project components.

3. Outreach and Set-up:

Goal: To identify Aboriginal and ethno-racial arts organizations and larger arts organizations willing and able to participate in this project

Objective: To begin to solicit proposals for participation from Aboriginal and ethno-racial arts organizations and larger arts organizations

CPAMO will engage ten (10) Aboriginal and ethno-racial arts organizations and five (5) large arts organizations to join this project. These will be chosen based on:

their stated interest in this component of the Advancing Pluralism project; their willingness to commit the time and resources to this project; and their willingness to participate in the knowledge-sharing activities and to engage in the

development of collaborative sector learning and project development.

In this context, CPAMO will hold three information sessions to introduce this program – its goals, objectives, anticipated outcomes, processes and application process – to inform its Roundtable members and other Aboriginal and ethno-racial arts organizations from the following communities:

a) Aboriginal, e.g., Red Sky Performance, Native Earth Performing Arts, Association of Native Development in the Performing and Visual Arts, Kaha:wi Dance Theatre;

b) South Asian, e.g., Sampradaya Dance Creations, Why Not Theatre, Nova Dance, South Asian Visual Arts Centr;

c) Asian, e.g., Little Pear Garden Theatre Collective, Cahoots Theatre, REELAsian Film Festival;

d) African Diasporic, e.g., the Collective of Black Artists, KasheDance, Nia Centre for the Arts, danceImmersion and the Nathaniel Dette Chorale; and

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e) Brazilian and Latino, e.g., Aluna Theatre, alucine film festival, Vanguardia Dance, Bavia Arts and Cultural Centre and Alameda Theatre;

f) Others, e.g., Modern Times Theatre.

CPAMO will also invite large arts organizations to attend these information sessions. Some of these organizations include:

i) Flato Markham Theatre;ii) Lula Lounge;iii) Oakville Centre for the Arts;iv) Community Cultural Impresarios;v) Luminato Festival; vi) Lula Lounge;vii) Toronto Centre for the Arts;viii) Prologue to the Performing Arts;ix) Soulpepper Theatre;x) Ontario College of Art and Design University;xi) The Theatre Centre;xii) Toronto International Film Festival;xiii) Theatre Ontario;xiv) CanDance Network; xv) Living Arts Centre; xvi) Canadian Dance Assembly; andxvii) Meadowvale Theatre.

An open call to these information sessions will be circulated by CPAMO through its website and list-serve and also through the information services of the CPAMO Advisory Committee members.

This project envisions matching two Aboriginal and ethno-racial arts organizations with one large arts organization. The benefits of this approach are:

For Aboriginal and ethno-racial artists, this presents a collegial engagement where two organizations can connect with one large arts organization to develop required knowledge and skills. In addition to the mentor-mentee relationship, this will enhance the Aboriginal and ethno-racial arts organizations’ engagement by providing peer-to-peer exchanges between them to support knowledge-sharing on community engagement and curatorial competence to be shared with the large arts organization they are connected with.

For large arts organizations, this approach enhances their access into specific communities. It also provides them with opportunities to work with the organizations in each community on common marketing and program promotional strategies that may have a better chance of penetrating these communities. For example, rather than working with one organization in any given community, the large arts organization will

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have access to two in the mentor-mentee relationship, thereby enhancing their profile in a given community through use of diverse promotional mechanisms.

For all participants, this project will provide opportunities for knowledge-sharing in a facilitated, collaborative process. In this context, all organizations will meet regularly to share information and strategies on the exchanges they are involved in. This will increase the knowledge of all participants, allowing for identification of common and distinct approaches. Such a process will enhance the learning of all participants and assist in building collaboration as well.

Based on the above, a formal selection process will be initiated in February 2014 and will include the following components:

i) development of an application form and process. CPAMO will develop this based on models used by Creative Trust, Arts Build/Work In Culture, Australia Arts Council and Dance U.S.A. April;

ii) promotion of application form/process and response to inquiries. May;iii) receipt of applications. May;iv) recruiting a jury and adjudicating applications. May-June;v) announcing results of the selection process. July.

Timelines: April – July 2014

Outcomes: Ten Aboriginal and ethno-racial arts organizations are selected, their organizational learning needs identified and their knowledge/skills capacities to share with larger arts organizations. Five larger arts organizations are selected, their organizational learning needs identified and their knowledge/skills capacities to share with Aboriginal and ethno-racial artists.

CPAMO will facilitate the initial meetings between successful applicants and assist in setting up a schedule for face-to-face and other engagements. CPAMO will also facilitate the initial meeting between the two Aboriginal and/or ethno-racial organizations that will share their knowledge and to develop collaborative approaches to support their organizations’ interest and needs.

Resources Required:

a) CPAMO Project Lead and Project Coordinator to promote and convene information sessions. Time required: 24 hours;

b) CPAMO Project Lead to develop the application for review by the Advisory Committee. Time required: 16 hours;

c) CPAMO Project Lead recruits and orients jury selected from the Advisory Committee. Time required: 8 hours;

d) CPAMO Project Assistant to develop and disseminate promotional materials. Time required: 8 hours;

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e) A jury of three from the CPAMO Advisory Committee to review and make recommendations on applications. This will also involve CPAMO Project Lead and Project Coordinator. Time required – 3 days or total of 120 hours; and

f) CPAMO Project Lead and Project Coordinator convene first meeting (full day) of selected participants. Time required: 24 hours for coordination and meeting.

4) Matching Organizations and Developing Knowledge-sharing Processes and Activities:

This project will focus on three areas to establish mentoring relationships. These will be for the development of: (I) Organizational Capacities; (II) Sustainable Entrepreneurial Approaches; and (III) Curatorial Development and Community Engagement.

Project applicants will be encouraged to develop proposals addressing the importance of these components to their organizations’ growth, the knowledge/skills they wish to learn/share and the outcomes they wish to gain through engaging in this process. They will also be required to indicate the time commitments needed to ensure successful engagement to work in collaboration with project partners. For example, applicants will identify the time needed to work with their organizational partner and this would include:

i. meetings at collaborative partner offices. It is anticipated that Aboriginal and ethno-racial arts organizations will both meet at the offices of their larger arts organization partner and host these partners at their own offices;

ii. hands-on knowledge and skills-sharing activities. It is anticipated that Aboriginal and ethno-racial arts organizations will learn from observing the systems and operations of their larger arts organization partner and that the latter will meet at their collaborative partners offices to support the development of their systems and operations. It is also anticipated that each large arts organization will learn about the community dynamics of their partner Aboriginal and/or ethno-racial arts organization as well as the cultural components that contribute to how artists from these communities develop their work; and

iii. development of contribution to the collaborative learning circles.

I) Developing Organizational Capacities:

Goal: Participants will increase their organizational resilience through a collaborative process of knowledge- and skills-sharing

Objective: To enhance the organizational functioning of Aboriginal and ethno-racial arts organizations in such areas as: refinement of governance structures; and data management for reporting, connecting and administration.

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Refining Governance Structures – Healthy Arts Leadership in Action:

Most arts organizations work within some formal structure. Whether as a collective, non-incorporated or incorporated entity, such organizations require leadership as well as formal and/or informal structures to develop and guide their work. This project component aims to build on and enhance participants’ organizational structures and accountability mechanisms through use of the healthy arts leadership program and the review of organizational requirements. It will support participants to share their challenges and successes and to engage in taking on activities to diversify their leadership and to strengthen their organizational functioning.

Data Management For Reporting, Connecting and Administration:

In 2013-14, CPAMO collaborated with Creative Trust and the Neighbourhood Arts Network to provide several sessions on data base management. These sessions focused on the importance of data systems to: developing and reporting on grants: connecting to sponsors (current and potential), audience members, volunteers and others; and financial controls and administration. Given the importance to the development of data systems and the impact of new technologies as well as funding reporting systems, more effort is required in this area to enhance organizational capacities.

Timelines: Selected participants will begin this process in September 2014 with the aim of achieving measureable results by March 2015.

Outcomes: Measureable results may include:

a) For Governance Structures: refinement of organizational mission/mandate; revision to board/staff relationships and accountability; streamlining of accountability mechanisms into efficient, effective and functional processes;

b) For Data Management: Aboriginal and ethno-racial arts organizations increase their capacities in data systems development/maintenance for sponsors/donors, audience, volunteers, fundraising, reports, grant and other applications. This may include upgrading data base systems to support such development.

II) Developing Sustainable Entrepreneurial Approaches:

Goal: Participants will increase their efforts to attract diverse sources of funding to support the development, promotion and presentation of diverse artistic performances.

Objective: Participants will share knowledge and skills related to fundraising strategies and campaigns using diverse methods in order to develop projects with timeframes and measurable outcomes.

Given the increasing demand and competition for grants and the limited growth of public arts funding, many arts organizations are involved in finding alternative sources of funding to support their projects. CPAMO held several workshops in 2012-13 that addressed various methods of

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fundraising and offered learning collaborations with Business for the Arts and others on sponsorships, fundraising and marketing.

This project component will build on these sessions and develop collaborations between participants.

Timelines: November 2014 – March 2015.

Outcomes: Participants will develop fundraising strategies and activities with specific targets. These efforts may be enhanced through the use of data systems development/maintenance for the following: sponsors/donors, individual giving and corporate fundraising.

III) Developing Curatorial Competencies and Community Engagement Strategies:

Goal: Participants will learn about diverse arts practices and the importance of this to both programming and community engagement with diverse communities.

Objective: Participants will share knowledge and skills on the development/curation of Aboriginal and ethno-racial arts practices and their link to engaging diverse communities.

Timelines: January 2015 – June 2015

Outcomes: (1) Participants will increase their understanding of diverse artistic practices; and (2) Participants will design/implement a collaborative project to promote to engage and promote the arts to diverse communities, including Aboriginal and ethno-racial communities, to enhance outreach/marketing capacities in diverse communities with connections to media and community networks. For each of the project components noted in this section:

1) Participating organizations will designate the appropriate individuals to participate in this process. It is anticipated that participants will spend one-and-a-half (1.5) days per month together. These days together will be at each participating organization’s offices so that hands-on knowledge and skills can be shared within the context in which each works. To support the community engagement and development of curatorial competence, an additional (1) day per month will be needed to enable Aboriginal and ethno-racial arts organizations to prepare for enhancing the learning of their large organizational partner on these matters. This is a total of 32.5 days; and

2) CPAMO Project Coordinator will meet twice each year with paired participating organizations to assess progress and discuss development of collaborative knowledge-sharing activities. This is a total of 20 meetings with each meeting lasting approximately 2 hours for a total of 40 hours – 20 hours each year.

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4) Learning Circles and Collaborative Knowledge-Sharing

This component of the project will be comprised of four (4) facilitated knowledge-sharing activities. These activities will be mandatory for all participants and will be structured to enable all participants to share the learning they have received in the mentorship projects.

Goal: All participants will meet to share the knowledge and skills they are engaged in through this project.

Objective: Participants will have access to the knowledge and skills being developed and implemented by their cohorts in this project. This will enhance the work being done in each individual project and create sectoral learning, growth and development.

There will be three (5) full day learning circles each year. These will focus on the issues that participating organizations are engaged in as well as others that have been identified by CPAMO Roundtable members and presenters as critical to their growth. These sessions will therefore focus on: (1) Organizational Resilience; (2) Board and Volunteer Engagement; and (3) Making A Successful Pitch.

I) Organizational Resilience:

This component of the program will provide three full day facilitated peer-learning circles in both 2014 and two in 2015. These sessions will focus on the importance of clarity in the arts’ organization’s vision, mission and mandate and how this can form a solid basis for an organization’s program planning, communications, recruitment of staff, volunteers, board members and audience support. It will also focus on the importance of clarity in attracting corporate and foundation funding as well as financial support from individual donors.

In the peer learning circles, participants will bring their Vision and Mission statements for discussion and feedback that will be followed with facilitated processes to enable participants to revise their statements folding in ideas and insights from this process. These will be brought back for further discussion at a second circle that will address:

how to adapt the traditional nonprofit or charitable structure to meet your needs; board and volunteer recruitment and management; defining responsibilities and clarifying the decision making processes within your

structure.

A key part of this program component will be a peer-to-peer discussion on embracing leadership and mentoring opportunities that will be facilitated by CPAMO resources. This learning circle will feature a discussion of insights, common themes, interesting variations, and use of the statements in developing committed teams, partnerships and supporters.

Regarding the building of revenue sources, this project component will provide two workshops each year focusing on individual, foundation and corporate fundraising, marketing and earned revenues. A key feature of this component will be facilitated and peer-to-peer discussion of traditional and entrepreneurial/social enterprise models.

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Timelines: Three (3) full-day sessions will be held each year - two focusing on organizational resilience and one on developing alternative sources of revenue.

Outcomes: These sessions will support networking and sectoral learning and development for all participating organizations.

Resources Required: CPAMO Project Lead will act as facilitator for each session and will be assisted by the CPAMO Project Coordinator. Additional resources will include:

i) Young and Associates for sessions addressing data base issues. 1 day;ii) Jane Marsland for sessions addressing governance in the context of Healthy Arts

Leadership. 1 day; andiii) Nichole Andersen and/or Alicia Rose of Business in the Arts for sessions related to

developing alternative sources of revenue. 1 day.

II) Board and Volunteer Engagement:

Aboriginal and ethno-racial arts organizations and larger arts organizations have expressed an interest in engaging with board and volunteer members who have resources and capacities to enhance their organizations. Such skills as human resource management, fundraising, networking and community connections, understanding of new technologies for data management, capacities in social media, etc, are important to all arts organizations and CPAMO members in particular.

To assist in the process of board and volunteer recruitment, this program component will provide two half-day sessions each year in partnership with Maytree, Neighbourhood Arts Network, Institute of Canadian Citizenship, Harmony Movement and Business for the Arts. The elements of these sessions will include focus on the ‘how to’s’ of recruitment, retention, support to and development of potential board members and volunteers. Such will address matters related to:

having clear job descriptions for board members and volunteers; recruiting strategies, including soliciting specific skills from potential board members and

volunteers; managing board members and volunteers and clarifying reporting relationships.

Each year will feature a board and volunteer recruitment session that will invite potential board members and volunteers to meet with program participants.

Timelines: Two half-day sessions will be held each year – one session will be a skills-building workshop for participating organizations; the second session will be a meet-and-greet with potential board members and volunteers. While these sessions will primarily engage project participants, they will be open to other interested arts organizations.

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Outcomes: These sessions will:

(1) support networking and sectoral learning and development for all participating organizations;

(2) connect participants with knowledgeable and highly skilled volunteer resources; and(3) enable knowledgeable and highly skilled volunteers to engage with participating arts

organizations.

Resources Required: CPAMO’s Project Lead will provide the overall coordination and will engage resources from the Maytree Foundation, Business for the Arts, the Institute for Canadian Citizenship and the Neighbourhood Arts Network. CPAMO’s Project Assistant will develop promotional and registration activities for the meet-and-greet session with potential board members and volunteers.

III) Making Successful ‘Pitches’ to Stage Work:

Goal: Participants will enhance their knowledge and skills in the selection processes and criteria for staging works in venues operated by larger arts organizations.

Objective: Aboriginal and ethno-racial artists are not often commissioned to create a new work and, when this happens, they begin to consider how to use this opportunity to leverage support for their organization.

Two half-day information meetings will take place each year. Over the past years, Aboriginal and ethno-racial arts organizations, including CPAMO Roundtable members (e.g. Manifesto, KasheDance, Sampradaya Dance Creations, IMAGINATIVE Film Festival, Red Sky Performance, South Asian Visual Arts Collective, Why Not Theatre) have made successful ‘pitches’ to Luminato, Richmond Hill Theatre, University of Toronto Scarborough, Hart House, the Art Gallery of Ontario, Rose Theatre (Brampton) and other venues. Such a session would pair the aforementioned with the larger arts organization(s) they have worked with.

Timelines: One half-day session will be held in the spring and fall of 2014 and 2015. While these sessions will primarily engage project participants, they will be open to other interested arts organizations.

Outcomes: (1) Participants will enhance their knowledge on how to create an effective sponsorship package to make ‘pitches’ to larger arts organizations; (2) Aboriginal and ethno-racial arts organizations will make pitches to stage shows in venues operated by larger arts organizations; (3) larger arts organizations will receive pitches and make selections of performances to be staged in 2015 and subsequent years.

Resources Required: CPAMO Project Lead will be responsible for overall coordination and work with the CPAMO Project Assistant for promotion and administration of these events. The format for this will be based on the Town Halls CPAMO has held since 2010 and include performances by artists and presentations by arts organizations. Performing artists and panelists will be recommended by the CPAMO Advisory Committee.

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6) Assessment and Next Steps:

Specific outcomes are appended to each program components. It is important that impact be measured collectively as well as individually recognizing that these are small organizations with a significant collective impact. As for general outcomes, this project aims to deliver opportunities for Aboriginal and ethno-racial arts organizations to:

V. develop their administrative functions in such areas as database management, reporting and financial controls;

VI. stage their performances in venues operated by larger arts organizations;VII. enhance their understanding of the decision-making processes regarding submission of

proposals for performances; andVIII. develop their understanding of fundraising and revenue strategies for capital and/or

program purposes.

This project also aims to deliver opportunities for larger arts organizations to:

V. enhance their understanding of diverse communities and how they access information about available cultural activities and resources;

VI. enhance their entry points into diverse communities for purposes of building relationships that will support marketing and community/audience development;

VII. develop collaborative promotional mechanisms and programming with Aboriginal and ethno-racial arts organizations ;

VIII. attract volunteers, advisory participants, board members and other resources from diverse communities.

At the end of this one year initiative, CPAMO will convene a session with all participants to review results of their activities and to discuss how best to continue with this initiative over the long-term. To achieve the greatest impact the learning will be continuous and shared through the CPAMO web site, newsletter and meetings with funders to have the broadest benefit for Aboriginal and ethno-racial arts organizations in Toronto.

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CPAMO Advisory CommitteeTerms of Reference

Background:

Initiated in 2009, Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Aboriginal and ethno-racial artists engaged in empowering the arts communities of Ontario. CPAMO seeks to open opportunities for Aboriginal and ethno-racial professionals and organizations to build capacity through access and working relationships with cultural institutions across Ontario that will result in constructive relationships with Aboriginal and ethno-racial professionals and organizations.

Through its initiatives, CPAMO has identified several challenges that are impacting the broader goal of equity and pluralism in the arts. CPAMO has convened numerous workshops, Town Halls, conducted research and issued reports on these matters. Several of these can be viewed on CPAMO’s website (http://cpamo.wordpress.com) which has documented these sessions, many of which have been conducted with CPAMO members as workshop resources and performers. CPAMO has also included art services organizations and major funders in the planning and implementation of these activities.

CPAMO is supported bv Aboriginal and ethno-racial artists who are involved in theatre, music, dance and literary arts. These artists are members of CPAMO’s Roundtable and include representatives of Sampradaya Dance, Native Earth Performing Arts, Diaspora Dialogues, Nathaniel Dett Chorale, Little Pear Garden Theatre Collective, Centre for Indigenous Theatre, Sparrow in the Room, b-current, why not theatre, urban arts and backforward collective, Culture Days, Canada Council Stand Firm members, Obsidian Theatre, the Collective of Black Artists, CanAsian Dance and others. A full list of these members is at the end of this document.

With the involvement of artists from these organizations, CPAMO is working with several arts organizations to build relationships, capacities, cultural competencies and understanding of pluralism in the arts so that these organizations engage from Aboriginal and ethno-racial artists and, thereby, enable audiences across Ontario to access artistic expressions from diverse communities on a regular basis.

Several CPAMO members are experiencing challenges in terms of their access to resources.  With limited opportunities for increased grants support, a granting structure that does not fully support capacity building and few resources to dedicate to fundraising, marketing, administration and lack of time for skills development, grant writing and networking it seems imperative that CPAMO undertake a collective effort with and on behalf of its members to create working and risk capital for these artists funds and to dedicate professional support to enable its members to enhance their administrative/organizational capacities and governance including accessing capable volunteers and board members who are dedicated and have a passion for the arts. New

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models for governance and collaboration may be needed to achieve results.

Advisory Committee Purpose:

The Advisory Committee is a supportive body to CPAMO and its members that will address the challenges listed above through identification of resources and alternatives to enhance capacity and the services CPAMO can provide its members. The focus will be on two key areas: undertaking a collective or collaborative approach to fundraising to build working capital and organizational development initiatives aimed at supporting the individual and collective growth of CPAMO and its members.

The Committee will provide advice and support to CPAMO’s efforts to ensure the long-term health and stability of its members, many of whom are small arts organizations in music, dance, theatre and visual arts. The Committee will assist CPAMO in providing the tools and resources to enable its members to develop strong planning and financial skills, achieve organizational health and balance, and acquire and maintain a fund of working capital.

Advisory Committee Responsibilities:

To achieve the purpose noted above, the Advisory Committee will:

Support and act as goodwill ambassadors for CPAMO. As ambassadors the members will help develop awareness and advance the vision for the program within their own respective constituencies.

Act as ‘door openers’ to key individuals within their own community, company, industry or institution where CPAMO may be seeking participation and support.

Give advice and guidance to CPAMO where needed, and may be invited to participate on working committees.

Communications and Term of Commitment:

The Advisory Committee will kept up to date on program developments and progress. Committee Membership will be for a three-year period, renewable for an additional four years, or until the completion of the program.

Advisory Committee meetings will be held quarterly and working groups may be formed to address specific issues related to this initiative.

Member Profile:

The Advisory Committee will be comprised of no more than 25 individuals from arts services organizations, presenters, funders, centres for artistic development and members of CPAMO’s Roundtable of creative artists.mmThis will include individuals who have distinguished themselves as supporters of Aboriginal and ethno-racial artists and will include representative members of CPAMO’s Roundtable.

The current members of the Advisory Committee are:

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Jeff Melanson, President Banff Centre for the Arts Kathleen Sharpe, Executive Director, Ontario Cultural Attractions Fund Tim Jones, President and Chief Executive Officer, Artscape John Ryerson, former Director Cultural Services, City of Markham Patty Jarvis, Executive Director, Prologue to the Performing Arts Ronnie Brown, Oakville Centre for the Arts Eric Lariviere, General Manager Markham Theatre Alicia Rose, National Outreach and Program Manager, Business for the Arts Kate Cornell, Executive Director, Canadian Dance Assembly Bruce Pitkin, Interim Executive Director, Theatre Ontario Warren Garrett , Executive Director, Community Cultural Impresarios/Ontario

Presenters Network Kevin A. Ormsby, Kashedance Helen Yung, Independent Artist and Former Co-Coordinator Canada Council

Stand Firm Network (Ontario and Manitoba) Lata Pada, Sampradaya Dance Mimi Beck, CanDance Network Cindy Yip, Little Pear Garden Theatre Collective Milli Knapp, Association of Native Development in the Performing and Visual Arts Ravi Jain, why note theatre Harvey Weisfeld, wind in the leaves collective Anita Agrawal, Consultant and Former Co-Coordinator Canada Council Stand

Firm Network (Ontario and Manitoba) Charmaine Headley, Collective of Black Artists Soheil Parsa, Modern Times Theatre Bea Pisano, Aluna Theatre

Members of CPAMO’s Roundtable:

As a resource to plan and coordinate its activities, CPAMO has set-up a Roundtable comprised of ethno-racial and Aboriginal creation-based arts organizations and individual artists from these communities.The members of the Roundtable are:

Anahita Azrahimi, Visual Artist Denise Fujiwara, Canasian Dance Charmaine Headley and Bakari Eddison Lindsay, Collective of Black Artists Lata Pada, Sampradaya Dance Creations Nova Bhattacharya, Nova Dance Seema Jethalal, Manifesto Festival of Community and Culture Anne Frost, Cultural Pluralism in the Arts/University of Toronto Scarborough Phillip Akin, Obsidian Theatre Marilo Nunez, Alameda Theatre Mae Maracle, Centre for Indigenous Theatre Brainard Bryden-Taylor, Nathaniel Dett Chorale Emily Cheung, Little Pear Garden Theatre Collective Spy Denome-Welch, Aboriginal Playwright

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Sedina Fiati, Actor Ravi Jain, why not theatre Sinara Perdomo-Rozo, alucine latino film festival Shannon Thunderbird, Teya Peya Productions Olga Barrios, Olga Barrios Dance Santee Smith, Kaha’wi Dance Menaka Thakker, Menaka Thakkar Dance Company Kevin Ormsby, Kashedance Sandra Laronde, Red Sky Performance Ahdri Zena Mandiella, b-current JDavid Yee, fu-GEN Theatre Cahoots Theatre Bea Pizano, Aluna Theatre Korean Canadian Dance Studies of Canada Millie Knapp, Association for Native Development in the Performing and Visual Arts Gina Badger, Fuse Magazine Harvey Weisfeld, wind in the leaves collective Lua Shayenne Productions Sheniz Janmohamed, Ignite Poets

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