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CPAMO's News

Welcome to the 27th Cultural Pluralism in the Arts Movement Ontario  (CPAMO) newsletter. This is a regular digest that will introduce you to, and keep you updated on CPAMO’s initiatives, and act as a portal to relevant research in the field of pluralism in the arts, innovative artists, and links to interesting talks about pluralism in the arts. The newsletter is intended to be your go-to resource for information on cultural pluralism in the arts.
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What is CPAMO?

Cultural Pluralism in the Arts Movement Ontario (CPAMO) is a movement of Indigenous and ethno-racial artists working with presenters to empower the arts communities of Ontario. CPAMO seeks to open opportunities for Indigenous and ethno-racial artists to engage with presenters - in theatre, music, dance, visual arts - across Ontario and to enable presenters to develop constructive relationships with Indigenous and ethno-racial artists.
CPAMO is supported by Indigenous and ethno-racial artists who are involved in theatre, music, dance and literary arts. They are members of CPAMO’s Roundtable and include representatives of Sampradaya Dance, Nathaniel Dett Chorale, Little Pear Garden Theatre Collective, Centre for Indigenous Theatre, Kaha:wi Dance, Sparrow in the Room, b-current, why not theatre, urban arts and backforward collective, TeyyaPeya Productions, Culture Days, Sheyanne Productions, Obsidian Theatre, the Collective of Black Artists, CanAsian Dance and others.
With the involvement of artists from these organizations, CPAMO is working with Community Cultural Impresarios (CCI), Canadian Dance Assembly and their members to build their capacities, cultural competencies and understanding of pluralism in the arts so that these members engage artists from these communities and, thereby, enable audiences across Ontario to access artistic expressions from diverse communities on a regular basis.
CPAMO gratefully acknowledges the funding support it has received for its activities from the Ontario Trillium Foundation, the Canada Council for the Arts, the Ontario Arts Council, the University of Toronto Scarborough Campus, the Canadian Centre for Policy Alternatives and the Ontario Ministry of Tourism, Culture and Sport.

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A Word from the Chair

The pace of activity has been exciting to say the least. With new funding partners, collaboration workshops and research we are making fast progress on our pluralism and sustainable alternatives for artists and arts organizations.  As many of you have done, we made a submission to influence the Province’s first cultural strategy.  You can find it on

As you know, the Canada Council is making a strong commitment towards equity in its new funding model.  CPAMO and the growing network of diverse and First Nations organizations and artists are well placed to lead and influence the changes in funding as they develop their implementation and measurement plans. We look forward to robust conversation at NASO in February. CPAMO is undertaking the job of host on behalf of the Canada Council so we will be all over it. 

A focal point for this year will be a spring townhall to capture and share the breadth of equity work we are all doing. We take much hope from the new Minister of Canadian Heritage, the Honourable Melanie Joly, not just for promised new funding, but her recognition of the importance of culture in reconciliation with Indigenous peoples, social cohesion in a diverse society, refugee integration and also commitment to put culture on the international stage again. 

The Board of Directors wish you all the best for 2016 and successful year for all. 

John Ryerson, Board Chair

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New Things New Things New Things

We started 2016 working on a few things that we want to share right off the top:

1) The Ontario Government's Culture Strategy.  Like many artists and arts organizations in Ontario, CPAMO submitted its perspectives to the Ontario government for consideration in the development of its first Cultural Strategy and Plan.  Based on its work and research over the years, the CPAMO paper both provides an overview of the comparative status and importance of Indigenous and racialized artists, and other marginalized artists.  The full paper can be read at

2) Media Arts Network Ontario (MANO).  CPAMO's Executive Director collaborated with two others to prepare timely resource guides for MANO that address equity, governance and human resources, and conflict resolution.  MANO took on this work to provide guidance to its members on these matters and these documents were released at its annual meeting at the end of January.  To review these documents, see

3) The Theatre Centre.  CPAMO's Executive Director was invited to write a piece about bias in the reviews of a play that was staged at the Theatre Centre as part of its November Ticket for 2015.  This writing focuses on the 'blinders' reviewers seem to wear when they see bodies of colour on stage and the types of roles they play, particularly on the subject of race and racism.  To read the full review, see

4) The Canadian Arts Summit.  CPAMO's Program Manager and Board Member were invited to participate as panelists for the recent Summit held at the Banff Centre for the Arts.  Both were on the panel 'The Face of Leadership in Contemporary Canada, see

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Workshops on Collaborative Practices

CPAMO to date has conducted three workshops under the explorations of Building Collaborative Practices. Facilitated over the past six months, workshops began in October and ends in Spring 2016. The workshops and findings coincide with research and documentation on collaborative practices, which is lead by CPAMO’s Program Manager, Kevin A. Ormsby with additional support from charles c. smith, Venessa Harris and Jane Marsland. Below are some of the general findings thus far.

WORKSHOP I: Thinking Collaboratively Acting Collectively (October 2016) facilitated by Charmaine Headley | Kevin A. Ormsby
• Collaboration as transformative process into how we create, produce and consider presentation and opportunities in the arts.
• Having working agreements and contracts are important. How does one engage in collaborative agreements on projects collectively?  
• Consider talking freely, knowing goals and intentions, remove the barriers of  interpretation. Call people in not call them out.
• Explore Conscious and collaborative business practices, collaborations can offer transformative changes to system.
• Thinking seriously about share benefits and goals in the collaborative. Can this visioning happen together?  Write it down, go back, assess, clarify and allow change.
• Working towards collaborations as INVESTMENT vs. COMMITMENT
• Is working collaboratively also about fostering intergenerational and inter professional conversations?
• Explain your practice in a rounded and connected way towards public impact (social concern)

WORSHOP II: Building Collaborative Practices facilitated by Ronny Brown – Oakville Centre for the Performing Arts (November 2016)
• Responsive ways of collaborating involves broadening the horizons of facilitating and engaging with changing demographics of participants in the Arts.
• Have Collaborative transparency around values and common shared principles
• Seek links to Arts and Social Issues  
• Creating messages together and also having everyone say the same messaging
• How can writing with passion help facilitate the work you are doing with the presenters?
• What’s the language you use when communication with presenters?
• How is collaborative practice with a presenter is an investment in the community of the presenters
• How does one provide / create the framework that is accessible for the presenter and audience
• How in collaboration do you transfer knowledge to the presenters and audience, the potential for knowledge transference?
• Make the collaboration fun: How, when and how do you interact with the physical space of the places we collaborate
• In collaborations its important to spend time learning about each other and find out the timeframe it takes to build a partnership and collaboration that is meaningful
• Follow-up its important to acknowledge the work you did together.
• WIN THE AUTHORISERS – what is the relationships and impact statements for the work you did together
WORKSHOP III: Curating Collaborative Engagements facilitated by Beatriz Pizano of Aluna Theatre (December 2015)
• Considering time logistics in your collaboration: timing of grants and impact on developing relationship for a collaborative partnerships
Knowing clearly whom the collaboration will assist and the values they can achieve.
Collaborating Administratively can assist in lean administration, operating within a network/build relationships, international touring, secure more diverse funders, partnering with universities etc.
• Finding common theme to work on, e.g., human rights, reconciliation
• Making connections and building relationships - takes time!
• Use of internships can be helpful, eg. Theatre Ontario, Metcalf, OAC Access/Career Development

Do stay in tune for other workshops and focus groups offered by CPAMO in 2016. 

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National Arts Services Organizations’ Annual Meeting – February 18/19 2016

CPAMO coordinated the program for the February 18/19, 2016 Annual Meeting of National Arts Services Organizations.  The theme for this gathering was Emerging Trends in Canadian Arts: Partnering for Change.  This theme was explored over the length of the gathering, i.e., 1.5 days, and began with a conversation with Canada Council’s CEO and Director, Simon Brault to discuss the proposed changes to the Council’s granting programs, their criteria, timelines, adjudication processes, assessment, evaluation and any developments following the initial implementation of this new direction. 
After this, the agenda focused on:
  • The implications of Indigenous sovereignty and changing demographics in the arts, i.e., ethno-racial peoples; deaf, mad and disabled peoples; women; Official Language Minorities; 
  • Current efforts on ‘shared platforms’ and ‘collaborative learning communities’ in the arts; and
  • The potential of digital technology to support artistic development, collaborative projects, learning and sharing networks amongst NASO members.

Check it out on CPAMO’s website to see the full program in English or in French

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Collaborate Collaborate Collaborate - January 25 and May 10

In Ottawa, CPAMO is continuing its focus on building awareness and commitment toward collaborative projects and to begin to explore the viability of a shared platform in the Ottawa arts community. CPAMO continues to work with its local Ottawa partners, i.e., CARFAC National, MASC (Multicultural Arts in Schools and Communities), Coalition of New Canadians for Arts and Culture, Arts Ottawa East, and individual artists such as Leah Snyder, Maria Gomez Umana, Natasha Bakht.  This work will build on sessions held with these artists and arts organizations over the past two years with the objective of developing collaborative practices within the Ottawa arts community.  

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The Gathering: Arts Organizations Promoting Pluralism – May 11/12 2016

CPAMO is now planning its second Town Hall in the Greater Toronto Area to be held at the Arts and Letters Club. The objective of this forum to facilitate conversation between arts organizations dedicated to pluralism - i.e., pluralism of content presented, artists/producers, and in audiences/communities engaged - and to take temperature of the field, understand barriers to furthering this objective and, based on this, to compile recommendations for systemic change that CPAMO will bring forward in a report for its members, Advisory Committee and to share in dialogue with funding bodies.  This forum will invite some of these arts organizations to share in this dialogue: SKETCH, Tangled Arts, the Aga Khan Museum, Nia Centre, Media Arts Network Ontario, Indigenous Performing Arts Alliance, Playwrights Guild of Canada/Equity Project, Ontario Association of Art Galleries, Ontario Presents, SAVAC, etc.  These and other groups and individuals will come together to share information on their activities, what they have learned, their challenges and opportunities, and what they need to continue or grow their work.  A report will be issued documenting this and putting forward the report with its recommendations to arts organizations and funders.   It is anticipated that the recommendations will need to be placed into an action plan and that a collaborative group of those assembled will work with CPAMO on this.

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Artist’s Resale Right and it’s Benefit for Indigenous Artists 

The  Artist’s Resale Right (ARR) is a proposed legislation in Canada which will entitle visual artists to receive 5% from a secondary sale of their work, it will apply only for original works of art protected by copyright and suggested to include works sold for $1,000 and more. It is currently legislated in at least  93 countries around the world, all 28 EU countries as well as 65 countries outside of the EU such as Morocco, Ukraine, Dominican Republic, Columbia and Mexico.

This legislation will be beneficial for all artists but especially to indigenous artists who sold their work at  low prices years ago and now their work resold for much higher price at auction houses and commercial galleries. This includes many artists in remote northern communities who live in impoverished conditions but  their work considerably increases in value. In addition, indigenous artists have established themselves as a unique identity and brand in the  international art market, but they are not benefiting from profits made on their work in the secondary market. One prominent example is: Kenojuak Ashevak, an acclaimed Inuit artist, sold her piece Enchanted Owl in 1960 for $24. In 2011 it was resold for $58,650 by Waddington’s auction house in 2001. Ashevak didn’t not receive any profit from this resale.

CARFAC and RAAV propos that the Minister of Canadian Heritage present the Artist’s Resale Right as an addition to the Copyright Act. To help bring the ARR to Canada you can email or meet with your Member of Parliament (MP).This will both raise awareness on Parliament Hill and show public support for the ARR. It takes only a few minutes to email your MP using the online form, as well as  CARFAC and RAAV have tips for meeting with your MP:

Sources and for more information:

Policy Proposition Recommendations for an Artist’s Resale Right in Canada

The  Artist’s Resale Right Campaign

Frequently Asked Questions about the Artist’s Resale Right

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What We’ve Been Doing!!!

CPAMO is influential in the arts as a convener of public forums, organizer of skill-based and knowledge exchanges, researcher, a forum for networking, and a collaborator with various partners across the Greater Toronto Area, in Ottawa and nationally. 

Partnerships: CPAMO has partnered with various organizations to achieve common goals. As such, CPAMO has considerable influence on other arts organizations as it has partnered with them to sponsor Town Halls and showcases: CAPACOA; Magnetic North; Ontario Presents/Community Cultural Impresarios; Neighbourhood Arts Network (Toronto); CircadiaIndigena (Ottawa); The Ottawa Local Immigration Partnership and City of Ottawa; Flato Markham Theatre and Sampradaya Dance Creations; Theatre Ontario; IMPACT Festival  (Kitchener-Waterloo); alucine Latin Film Festival; MASC (Multicultural Arts in Schools and Communities - Ottawa); CARFAC National; MayTree Foundation; Coalition of New Canadians for Arts and Culture (Ottawa); Association for Native Development in the Performing and Visual Arts; and the Luminato Festival.

CPAMO has delivered workshops on best practices in data management, fundraising, soclal media, volunteer and community engagement.  These have been delivered in partnership with: Tech Soup; Heather Young and Associates, Creative Trust and the Neighbourhood Arts Network; Business for the Arts; SudarshanJagannathan; Lucy Hamlet / Black Chick Group; and the Maytree Foundations Diversity-On-Boards.

Artists Engaged by Presenters: Several CPAMO Roundtable members successfully performed, or will be performing in 2016, on the stages operated by presenter members of Ontario Presents.  These were/are:
  • Sampradaya Dance Creations at the Living Arts Centre (Mississauga), Flato Markham Theatre, Grand Theatre (Kingston)
  • Kaha:wi Dance Theatre at Oakville Centre for the Arts, Grand Theatre (Kingston), Flato Markham Theatre and Prologue to the Performing Arts
  • Lua Sheyenne Productions in schools as part of Prologue to the Performing Arts
  • REELAsian at Richmond Hill Theatre
  • Nova Dance for various workshops and projects, including Sioux Lookout
  • Little Pear Garden Collective and Flato Markham Theatre
  • ‘wind in the leaves collective’ and KasheDance and Oakville Centre for the Arts
Engagements in the Broader Arts Community: CPAMO is involved in a number of initiatives promoting pluralism in the arts: CPAMO Advisory Committee; Canadian Dance Assembly Advisory Council on Pluralism; Steering Committee of the Canadian Arts Coalition; ONN Shared Platform Working Group; Coordinating Committee of National Arts Services Organizations; OAAG (Ontario Association of Arts Galleries); Playwrights’ Guild of Canada/Equity In Theatre Steering Committee; Toronto Arts Council’s Cultural Leaders; the Canadian Museums Association; Business for the Arts/artsvest; Provincial Arts Services of Ontario.

CPAMO’s staff and Board have been invited to facilitate gatherings of artists as well as make presentations to various conferences and symposiums, including: Community Cultural Impresarios Annual Meeting 2009; Carfac National Conference 2012; Canadian Dance Assembly National Conference 2012; Professional Arts Organizations Network For Education 2013 And 2014; Royal Conservatory Artists Education Program 2012 And 2013; Ontario Association Of Art Galleries   2014; Vancouver International Dance Festival 2013; Impact Festival 2009 and 2011; Prismatic Festival 2010; Ethnocultural Art Histories Research 2014; White Water Gallery ‘Big Dream Conference’ 2015; Toronto Arts Counci//Banff Centre for the Arts Cultural Leaders program; the Aga Khan Museum; Ismaili Cultural Centre; Cultural Hotspots North York Arts Council; artscape; artsvest Board diversity program; Canadian Museums Association; Ontario Non-profit Network

Research, Publications and Social Media:  CPAMO’s research has been captured in the book Pluralism in the Arts in Canada: A Change is Gonna Come which appeared in 2012 through the Canadian Centre for Policy Alternatives.  This book has become a resource to many arts organizations and as a text for university education.  For example, the book has been used by: Theatre Ontario: Ontario Association of Art Galleries: Made In B.C.; Banff Centre for the Arts Indigenous Arts Program; University of Toronto Scarborough Arts Management Program; and Humber College Arts Administration Program. 

CPAMO commissioned a report by Jane Marsland Thinking Collaboratively: Acting Collectively: Creating and Operating A Collaborative Learning Community for Indigenous and Ethno-Racial Artists.  This report was launched at CPAMO’s Toronto Town Hall on October 16, 2015 at the Arts and Letters Club.   CPAMO’s Program Manager is now conducting follow-up research to Marsland’s report. This involves interviews and conversations with CPAMO Roundtable members, members of the CPAMO Advisory Committee and others to assess interest, their needs for such research and to identify sources. This research will cite examples of collaborative practices between arts organizations focusing on Indigenous and ethno-racial communities.  A final document will be released in the fall 2106.

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The Oriental Carpet: Solo Installation & Performance by Qahtan Alameen
April 3 - April 10, 2016 
Areej Art Gallery 
2640 Danforth Avenue, Toronto ON

"My salted weaving of the wool dreams that were woven by recollection threads". For more information:
This event is Accessible.This event is Family Friendly.
Exhibit Hours: Weekdays: 10:00am-6:00pm | Weekend: 11:00am-6:00pm

Admission: free
Website: |  For more information call 647-350-0099

April Movie: Lion Standing in the Wind
April 9, 2016 at 2:00 pm
Japanese Canadian Cultural Centre 
6 Garamond Ct.  Toronto, ON M3C 1Z5

We are proud to bring you the Canadian Premiere of master director Takashi Miike’s inspiring true story of a Japanese doctor and his devotion to saving lives in Kenya.

Lion Standing in the Wind is based on a real story and chronicles the inspirational life of Dr Koichiro Shimada who sets off to Kenya to serve as a medical doctor. In a turn of events, he finds himself stationed in a hospital in Lokichogio in the heart of the Kenyan conflict. Witnessing death and the grim reality of child soldiers rocks him to the core and propels him on a path that he did not expect. He abandons his life in Japan and devotes himself to saving lives in Kenya.

A powerful tale of courage, compassion that will leave no audience unmoved!
Starring Osawa Takao, Satomi Ishihara, Yoko Maki

Sushi will be on sale prior to the screening.
The film is preceded by the announcement of the Toronto Japanese Film Festivals 2016 line-up!

Admission: $8 (JCCC Members); $10(General)

Luu hlotitxw: Spirit Transforming
April 21-23, 2016 at 7:00pm
Aki Studio | Daniels Spectrum
585 Dundas Street East # 250, Toronto, ON

Luu hlotitxw: Spirit Transforming is the signature new dance work by the Dancers of Damelahamid. Spirit Transforming is a meditation on the process of introspection, self- discovery, and change that all people must go through. Interweaving powerful, traditional and contemporary practices and sophisticated modern technologies, it tells the story of an Aboriginal youth who with the assistance of ancestors who are always there passes through trial and emerges transformed.

Choreographed by Margaret Grenier in collaboration with Nigel Grenier and the Dancers of Damelahamid.

The spellbinding piece captivates from its opening moments, as the company’s women glide across the stage as a graceful pack of orca, singing a soulful incantation as they turn to reveal beautifully carved fins upon their backs. Their dance beckons the audience to join them on a journey through a visually spectacular realm. Through clever construction, a canoe separates to become a pair of orca and a troubled youth’s mask falls away piece by piece to reveal a fresh new face. Through new technology, we are transported to an animated spirit world and a lake of rolling fog becomes the arena for a young man’s transformation.

It only takes the light of one young soul and they will come…

Tickets: $25 | Ticket available soon online.
Organized by Dancers of Damelahamid:

HATCH :Aimée Dawn Robinson – The Ghost Writing Dance
Saturday, April 16, 2016 at 8:00pm
Studio Theatre
Harbourfront Centre, 235 Queens Quay West, Toronto, ON

Harbourfront Centre's annual performing arts residency and presentation series, HATCH is a situation where new work and new audiences come together in the spirit of inquiry.

Since 1995, Aimée Dawn Robinson has performed, screened, presented and taught dance, writing and visual art in Canada, America, Malaysia and Japan. Aimée holds her Master of Arts from York University’s Department of Dance. Her thesis was titled Forgetting Memory: The butoh of Tatsumi Hijikata and Kazuo Ohno, 2005. She is currently a core artist with award-winning First Nations theatre company Gwaandak Theatre (Whitehorse) for the devised theatre project Map of the Land, Map of the Stars premiering in 2017. With fellow dancer Monique Romeiko, Aimée co-founded and co-curates Whitehorse Nuit Blanche. Aimée lives in the Yukon.

Admission: Pay What You Want is available in person only, from 1:00pm on the date of the performance.

NGS (Native Girl Syndrome) 
April 21-23, 2016 at 9pm
Aki Studio Theatre | Daniels Spectrum
585 Dundas Street East # 250, Toronto, ON

Lara Kramer’s new creation NGS (Native Girl Syndrome) dives into street culture, as enacted in a raw theatrical performance by Karina Iraola and Angie Cheng. Their drug filled, disassociated personas take the audience on a dynamic journey of addiction, loss, and alienation.

NGS (Native Girl Syndrome) is inspired by the experience of Kramer’s own grandmother who migrated from a remote First Nations community into an unfamiliar urban environment as a young woman. The piece explores the effects of cultural disorientation, assimilation, and the self-destructive behavior she endured.

Interpreted by Angie Cheng & Karina Iraola | Creative Process Members: Cris Derksen & Patricia Iraola
Rehearsal Director: Maria Simone | Technical Director & Lighting Designer Paul Chambers
Music by Robert Gordon, The Dirtbombs, Link Wray & The Guess Who
Musical Arrangement by Lara Kramer & Scott Russell

Admission: $25 | Ticket Available Soon.
Organized by Native Earth Performing Arts:

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Ted Talks

Shonda Rhimes: My year of saying yes to everything
Shonda Rhimes, the titan behind Grey's Anatomy, Scandal and How to Get Away With Murder, is responsible for some 70 hours of television per season, and she loves to work. "When I am hard at work, when I am deep in it, there is no other feeling," she says. She has a name for this feeling: The hum. The hum is a drug, the hum is music, the hum is God's whisper in her ear. But what happens when it stops? Is she anything besides the hum? In this moving talk, join Rhimes on a journey through her "year of yes" and find out how she got her hum back.

About the speaker: When ABC kicked off its 2014 television season by devoting its Thursday night line-up to the Shondaland shows How to Get Away With Murder, Scandal and Grey’s Anatomy, Shonda Rhimes -- already one of the most influential producers in Hollywood -- became arguably the single most powerful voice in television today. In 2015, ABC snapped up Rhimes’ latest series, The Catch. Shondaland shows have the special ability to capture both fan devotion and critical attention – she’s won everything from a Peabody Award to a People’s Choice Award.

Rhimes is known for her groundbreaking storytelling, her candor and humor in the face of her critics, and for never shying away from speaking her mind. She’s also known for her social media savvy, and fans of her shows basically own Twitter on Thursday nights. Her first book, Year of Yes, was published in November 2015.


Dalia Mogahed: What do you think when you look at me?
When you look at Muslim scholar Dalia Mogahed, what do you see: a woman of faith? a scholar, a mom, a sister? or an oppressed, brainwashed, potential terrorist? In this personal, powerful talk, Mogahed asks us, in this polarizing time, to fight negative perceptions of her faith in the media — and to choose empathy over prejudice.

About the speaker: As director of research at the Institute for Social Policy and Understanding, Dalia Mogahed keeps her finger on the pulse of the Muslim world. She served on Obama’s Advisory Council on Faith-Based and Neighborhood Partnerships in 2009, advising the president on how faith-based organizations can help government solve persistent social problems.

Mogahed is a former director of the Gallup Center for Muslim Studies, where her surveys of Muslim opinion skewered myths and stereotypes while illuminating the varied attitudes of Muslims toward politics, religion, and gender issues. Her 2008 book with John Esposito, Who Speaks for Islam? What a Billion Muslims Really Think, outlines these surprising findings.


Meklit Hadero: The unexpected beauty of everyday sounds
Using examples from birdsong, the natural lilt of emphatic language and even a cooking pan lid, singer-songwriter and TED Fellow Meklit Hadero shows how the everyday soundscape, even silence, makes music. "The world is alive with musical expression," she says. "We are already immersed."

About the speaker: Meklit Hadero's music is imbued with poetry and multiplicity, from hybridized sounds of Tizita (haunting and nostalgic music) drawing from her Ethiopian heritage, to the annals of jazz, folk songs and rock & roll. Hadero describes her music as emanating from “in-between spaces,” and the result is a smoky, evocative world peopled by strong bass, world instruments and her soothing voice.

In the Nile Project, founded along with Egyptian ethnomusicologist Mina Girgis, Hadero set out to explore the music of the Nile basin, pulling influences from countries along the river, from Uganda, Kenya, Tanzania, Ethiopia, South Sudan, Sudan, and finally to Egypt. The project brings together hip-hop, traditional and contemporary music, with instruments and traditions old and new. As she says, "My work on a lot of levels is about multiplicity." Their new record is Aswan. 


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Contact Us

charles c. smith, Executive Director
Lecturer, Cultural Pluralism and the Arts/University of Toronto Scarborough
Kevin A. Ormsby, Program Manager

Victoria Glizer, Program Assistant
Mailing Address:473 Jones Avenue, Toronto, ON M4J 3G7
Phone: 416-686-3039

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Copyright © 2016 Cultural Pluralism in the Arts Movement Ontario (CPAMO), All rights reserved.

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