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CPAMO's News

Welcome to the 29th 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.
 
You have received this e-mail because you are a member of the CPAMO listserv. Please let others who share our professional and artistic interests know about this listserv and encourage them to subscribe by visiting: http://eepurl.com/jefsb . The listserv is moderated and is for sending out newsletters and CPAMO updates. You may unsubscribe at any time. 
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CONTENT

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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Arts Day on the Hill


On Tuesday October 25, 2016, 160 arts advocates from across Canada traveled to Parliament Hill to deliver the three messages of the Canadian Arts Coalition. Together, these advocates spoke with Parliamentarians in order to:
 
1) Thank the Federal Government for increased investments in arts and culture in Budget 2016
2) Discuss how to leverage these investments for Canada’s Infrastructure Plan and for developing strong international market access, and
3) Ensure that Canadian artists are consulted during the current Digital Culture consultations.
These messages were well received by MPs of all parties. In total, we had 112 meetings, including 6 meetings with Ministers and 9 meetings with ministerial staff.CPAMO was well-represented in these meetings by charles c smith and Kevin A. Ormsby.
 
Kevin writes: As Program Manager, I had the pleasure of attending my first Arts Day on the Hill held in Ottawa. The event was a great opportunity to meet with other artists, arts managers and board members of arts organizations across the country to meet with Members of Parliament and advocate for the Arts in Canada. If indeed the Arts is a reflection of society then the event proved advantageous in meeting and having the ear of the national policy makers in spaces where it mattered. For me as Program Director of CPAMO as well as an Artistic Director (KasheDance), it solidified the notion that more racially identified and indigenous artists needed to understand the connection of advocacy to their artistic practice.  The event offered a chance to collectively speak with stakeholders about the value that the Arts bring to Canadians.  The three main platforms that initiated our conversations were first a thank you to the MP’s for their support in approving the increased investment to the Canada Council but also the Cultural Spaces and Showcasing Canada aboard program. Arts Day on the Hill 2016 was the largest delegation thus far and saw corporations like WestJet providing support so that many from across Canada could be present. It is also one of the largest advocacy gatherings on Parliament Hill.

See a video of some delegates and MP’s including CPAMO’s (Charles c. Smith and Kevin A. Ormsby) speaking about the importance of the Arts and the day visit: 
https://www.youtube.com/watch?v=Q0wJEu78TA4

See Images from the Day by searching on Instagram and Twitter #ArtsDay 

For more on this, see www.canadianartscoalition.com


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Research launch - Tilling the Field: Unearthing Collaborative Practices in the Arts


In the changing environment of the Arts, how do artists and organizations constantly develop frameworks for adapting to said changes? The subject is interesting in many contexts because many organizations structurally or financially are in varying capacities of development and growth; the potential grey areas we feel offers indicators of potential growth. Cultural Pluralism in the Arts Movement Ontario has emerged as an adaptive organization due to the nature of these changes. We have come to understand innately the complexities of the field such as limited resources available to our artist associates many of whom are ethno-racial and indigenous organizations. There were two aspects that have prompted this research and report: 
  1. Historical, bureaucratic underfunding and the overall under-representation of most of our artist associates in the larger provincial and national context; and
  2. The systemic underdevelopment of our artist associates organizational capacities.

So begins a research report by CPAMO Program Manager, Kevin A. Ormsby entitled Tilling the Field: Unearthing Collaborative Practices in the Arts”.  This report is a follow-up to past CPAMO research on evidence-based practices that serve to advance historically-marginalized artists and arts practices. 
 
Researched and written by CPAMO Program Manager, Kevin A. Ormsby, with research assistance by Venessa Harris. The report turns its attention to practitioners in the Arts and provides information on how we – artists, arts organizations, presenters (which includes here theatres, publishers, galleries) – can connect more directly with each other and form trusting and nurturing relationships through collaborative practices; leading to exciting contributions to the changing Canadian Arts Ecology. Over a 6-month period various research practices lead to the creation of what is to date our most extensive look at Collaborative Practices in the Arts. One of the main queries for investigation was “what was collaboration” “what did it mean for artists and organizations” but also “how were practitioners already working collaboratively nationally and internationally”. We have unlocked some interesting ways to think of collaborations while providing some other ways in which collaboration can occur; drawing from many documents, articles and resources. Tiling the Field: Unearthing Collaborative Practice in the Arts becomes a road map for understanding the truest potential of collaborative practices in a changing environment of arts, engagement and presentation. 

Report launch event is postponed from December 2016  to January 2017.  Stay tuned for more details! 


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Equity Organizational Change Education/Action Group


Working in collaboration, CPAMO has engaged 13 organizations to participate in this exciting project or systemic and transformative change within arts services organizations.  These include: Ontario Presents, Media Arts Network of Ontario, Theatre Ontario, Playwrights Guild of Canada, Canadian Dance Assembly, CanDance Network, Dancer Transition Resource Centre, Carfac Ontario, Ontario Association of Art Galleries, Orchestras Canada, Opera.ca, and, Work in Culture.
 
Together we have set a course to share experiences, knowledge, resources and to work on common initiatives that are part of systemic and social change in the arts to enable each organization to implement strategies embedding pluralism in such areas as:
 
A) Organizational Leadership/personal responsibility, e.g.: succession planning to engage Indigenous and diverse ethno-racial artists and communities; increase understanding and contemporary knowledge of vocabulary, policies and strategic planning to support implementation of pluralism initiatives; learn best practices for implementing systemic change initiatives.

B) Engaging diverse arts practices/communities to increase understanding of:demographic changes within the Indigenous and ethno-racial diversity of Canada and the arts forms and practices of these artists, and;Indigenous and ethno-racial communities/artists needs in terms of resources and opportunities to participate in individual arts practices and organizational change efforts.

C) Creating programming with increased understanding on working with:Indigenous and ethno-racial artists that respects and honours their artistic forms/practices;collaborates in the creation of work by indigenous and ethno-racial artists.

D) Diversifying membership/audience by increasing participant communications with and outreach to reach Indigenous and diverse communities and engaging in efforts of Indigenous and diverse communities that may be arts-related or of importance to these communities through sharing resources, e.g., space, staff support; bdeveloping consistent programming to show commitment to pluralism and to engage diverse communities in the dialogue on programming.

E) Diversifying Staff, Board and Volunteers, e.g., establishing processes and outcomes to include Indigenous and ethno-racial communities throughout the organization, including leadership positions with such strategies as mentoring, job-shadowing and internships.


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Greetings CPAMO Ottawa Network colleagues


You are invited to a CPAMO Ottawa Network Gathering on Friday December 9th from 1:30 to 4pm at the MASC offices at 250 Holland, Ottawa, Ontario to share stories of how pluralism in the arts enables us to better understand each other and build stronger communities.  The world has had an awakening this fall that not everyone shares our belief in the values of diversity and an inclusive society.   Come share your challenges and successes as well as a glass of hope for the future.  Help to plan the CPAMO Ottawa Network's 2017 activities based on our new Terms of Reference attached.  Please share with interested colleagues and RVSP to victoria@artsoe.ca  to let us know that you can join us.
 
To inspire your thinking on how the arts can build stronger communities, we suggest that you reflect on these recent articles:
 
1. How American Artists Are Changing Their Work in Response to Donald Trump's Victory (Time Magazine) http://time.com/4577977/donald-trump-election-art-artists/
 
2. When Hamilton actor appealed to Mike Pence, theatre showed its strength (Globe and Mail) 
http://www.theglobeandmail.com/arts/theatre-and-performance/when-hamilton-actor-appealed-to-mike-pence-theatre-showed-its-strength/article32946761/
 
CPAMO Ottawa Network was established in conjunction with CPAMO in Toronto led by charles smith to increase awareness of the presence and importance of pluralism in the arts in the National Capital Region.  Members of the Network believe that the arts are enriching, inspiring and play a catalytic role in the creative, emotional and intellectual lives of our shared communities.  We believe that by working together we can bring meaningful and engaging arts experiences to all communities, with a particular focus on engaging Indigenous, racialized and new immigrant artists and communities.


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Feminist Art Conference


This annual event is coming up in January (19-21), 2017 and features artists performing and on panels.  It also features community partnerships which involves three of CPAMO’s board members – Sheniz Janmohamed, Alicia Rose and Astrid Ho.
 
This is CPAMO’s first time participating in this Conference and we’re honoured to have our board members shaping up a panel!
 
See for more details at https://factoronto.org/fac2017/fac-2017-panels/cultural-pluralism-in-the-arts-movement-ontario/

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The Gathering – The Next Generation


The Gathering: Arts Organizations Promoting Pluralism was a very successful town hall and symposium organized by CPAMO at the Arts and Letters Club by on May 11/12, 2016. The symposium addressed the issue of equity and pluralism in the arts and provided an exciting opportunity for arts organizations and activists to share their thoughts and concerns about the development of arts practices and an arts ecology that embeds the values of pluralism into their work.
 
Some of the speakers at this event included: Cole Alvis (Indigenous Performing Arts Alliance); Clayton Windatt (Aboriginal Curatorial Collective); Jacoba Knaapen (Toronto Association of Performing Arts); Marjorie Chan (Cahoots Theatre); Patty Jarvis (Prologue To The Performing Arts); Kate Cornell (Canadian Dance Assembly); Rebecca Burton (Playwrights Guild Equity in Theatre); Zainub Verjee (Ontario Association of Art Galleries); Phyllis Novak (SKETCH); Victoria Mata (Latino Artists); Ben Donahue (Media Arts Network Ontario); Mimi Beck (CanDance Network); Banoo Zan (Organizer of Shab-e She'r - Poetry Night); Sedina Fiati (ACTRA Diversity Committee);Sara Meurling, (Professional Association of Canadian Theatre); and Robert Sauvey (Dance Umbrella of Ontario)
 
CPAMO is now completing the report on this forum and planning the next one for spring 2017.


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Canadian Dance Assembly Pluralism Committee Call for Volunteers


Call for Volunteers: The Canadian Dance Assembly (CDA) has an active Pluralism Committee working on our next National Conference in October 2017.  CDA is currently looking for more volunteers to join the Committee and share their expertise. For more information, please contact kate@dancecanada.net
 
Background
 
In preparing for CDA’s 2012 conference, CPAMO with the involvement of CDA, applied to the OntarioArts Council’s ASO Project Grant. The purpose of this application was to enable CPAMO and theCDA to work as partners on building interest in and enabling artists of Aboriginal and diversebackgrounds to contribute to and participate in the Conference. Because of its expertise in pluralism,CPAMO agreed to develop and provide guidelines on pluralism/diversity to the CDA which showedsignificant interest within its members for this project. From this initiative, a report of recommendationswas brought forward to the CDA and a Pluralism Committee was formed.
 
It was clear that there was a strong interest on the part of diverse dance artists and the CDA toenhance their relationship into the future. To assist in this regard, there are several matters the CDAwill need to address to undertake the work needed to engage these artists in meaningful ways. At thesame time, it is incumbent on these dance artists to connect with the CDA and to contribute to thedevelopment of this promising relationship. The key areas of focus include: Advocacy, representationon Standing Councils, the formation of a Pluralism Committee, non-duplication efforts, recruitment of
new members.
 
Mandate
 
Provide support and accessibility to issues surrounding Pluralism. Engage withthe membership, organizations and artists of the Canadian Dance Assembly in adopting aPluralism framework, offering advice to the Board, Office and other Committees ofthe Canadian Dance Assembly.
 
Terms of Reference
 
The Pluralism Committee is an inclusive group of artists based on several factors:
 
  • Indigenous, Racial, cultural diversity or other marginalized artists and arts practices
  • Representative of regional, National and geographic locations across Canada
  • Able to liaise with other CDA Committees and Board of Directors
  • Able to meet bi-monthly
  • Able to contribute to developing agendas, action plans, and contribute to developing and supporting CDA activities on behalf of a diverse set of issues and dance artists
 Advocacy
  • Undertake and address the needs of dance artists from diverse backgrounds regarding access while raising the profile of said dance artists.
  • Increase the visibility and understanding of pluralism within the organization and thedance community.
  • Circulate pertinent documents, research, or other information to help keep our members informed.
  • Circulate any calls to action.
  • Support office activity by providing links, research or documents that could be sharedwith members via e-bulletin, website or social media.
  • Intended Relationship with CDA’s Overall Policy and Responsibility of all Standing Councils.
  • Help in developing a vision to articulate the role of CDA and the Committee’s commitmentto pluralism in all of its activities.
  •  Enable each Standing Council to develop an understanding of its roles and responsibilitiesin implementing a pluralistic approach.
  • Along with the Office of the CDA, ensure that all components of the organization areengaged in the process of healthy dialogues. 
Outreach 
  • Committee members can help by engaging with their communities in a number of ways:
  • Social media, sharing articles, forwarding items of interest to the CDA office
  • Attend events as a representative of the Pluralism Committee
 
Tools/Actions
 
  • The committee will aim to meet quarterly by teleconference and engage in informal oneon one communication when appropriate to remain current and advance specificprojects. As urgent matter arise, the committee may decide to meet more frequently.
  • The committee will aim to meet in person or via skype 2 times per year.
  • The committee may undertake research in pertinent areas, and write summaries,
  • articles, blog posts etc.
 
Recruitment of New Members
 
  • Members may join the committee at any time of year, though the focus for recruitment will bearound CDA’s AGM.
  • Committee members can serve up to a maximum of 6 years.
 
The current members of the Committee are: Kevin Ormsby, Chair - Artistic Director, KasheDance; charles smith - Cultural Pluralism in the Arts Movement Ontario; Charmaine Headley - Co-Founder, COBA Collective of Black Artists; Susan Chalmers–Gauvin - Founder & CEO, Atlantic Ballet Theatre of Canada; Soraya Peerbaye - Arts Consultant; and Starr Murakno - Artistic Associate, Raven Spirit Dance.


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Submissions 2017-2018: Storefront Submissions Now Open Until December 11, 2016


Everyone. It’s TIME. The Storefront Arts Initiative (SFAI) is NOW accepting submissions for curated projects for it’s 2017-2018 SEASON!!

The Storefront Arts Initiative is a not-for-profit arts organization that has created a cultural hub for the INDIE ART radicals in the Storefront Theatre at 955 Bloor Street West in Toronto. The Initiative provides opportunity to the independent arts field by providing affordable venues to creators and annually curating a distinctly unique selection of performances and plays reflective of the diversity of our province. Storefront curates work that is artistically risky and challenging while creating new jobs in the arts sector by establishing a new and radical engagement model.

SFAI is calling for thought-provoking, groundbreaking, experimental, original art from ALL mediums. SFAI wants musicians, performance artists, visual artists, filmmakers, dancers, theatre artists to apply with work that asks BIG questions and that seeks to CHALLENGE social and societal norms. Think of our Storefront Space at 955 Bloor St. West in downtown Toronto as an artistic sandbox and help make it THE hub for multidisciplinary art and a nurturing space for a variety of artistic voices.

SFAI is committed to the principles of social justice, inclusion and diversity. We acknowledge this is ongoing work and we are in a continual process of learning in order to create a space that is inclusive and welcoming for all artists. We strongly encourage artists and collectives from under represented and marginalized groups (Indigenous artists, artists of colour, D/deaf artists, disabled artists, mad artists, sick artists) to submit.

We are actively interested in working with, and developing relationships with, other independent theatre companies, artists and arts collectives whose projects and practices address any of the following topics and areas:
  • Speaks to issues of inclusion within the Canadian population, and especially Toronto audiences
  • Engages with cross-cultural dialogues, themes, lifestyles and ideas
  • Theatrically compelling and willing to be controversial, challenging and provocative
  • Uses technology and theatrical conventions to create a strong scenographic vision.
  • Work that is created by, or addresses lifestyles and issues faced by, D/deaf artists, disabled artists, mad artists, sick artists, artists of colour
  • Addresses issues of environmental activism, pollution, global warming
  • Work that is created by, or addresses lifestyles and issues faced by, Indigenous peoples in Canada or abroad
  • Re-imaginings of narrative technique, non-narratives, interactive, immersive, events and happenings that offer something different or compelling with the theatrical form.
  • Work that is created by, or addresses lifestyles and issues faced by, people who identify as LGBTQQIP2SAA
  • New works and collective creations.
  • Work that incorporates artists and practices from across generations
  • Work that considers space, the ethos and politics of storefronts
  • Work related to the politics of performance
Submission Requirements:

Please fill out the accompanying application and submit to amanda@thestorefronttheatre.com by SUNDAY DECEMBER 11, 2016. If you have any questions or require assistance with this application, please contact sedina@thestorefronttheatre.com. Video submissions are also welcome.
For our Season Submissions Application Form, please click here.
For a PDF version of our 2017-2018 Season Submission Call, please click here.

Thank you for your interest in working with The Storefront Theatre, we are excited to work with you!

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Playwrights Guild of Canada (PGC) Update – The CASA Award and EIT


Members of PGC’s Women’s Caucus are working with the African Women Playwrights Network to bring about The CASA Award – a Canadian-sponsored mentorship prize for a South African woman-identified playwright. The award was inspired by connections made with theatre artists during the 2015 Women Playwrights International (WPI) Conference in Cape Town. While there is a lack of financial support for playwrights in most countries, women playwrights in places such as India, Afghanistan, and South Africa have much greater obstacles than we do here. Thus, the goal is to support and mentor a mid-career woman playwright living in South Africa (providing her with $5000 CAD for time to write), while also creating and cultivating meaningful artistic connections between Canadian and South African playwrights. To learn more, you can view a proposal outline here.
 
A fundraiser event was held in Toronto for the CASA Award on October 16th. Hosted by Gailey Road Productions, and emceed by Marcia Johnson, the fundraiser featured six prominent playwrights, Ann-Marie MacDonald, Anusree Roy, Djanet Sears, Pamela Sinha, Donna-Michelle St. Bernard, and Colleen Wagner, all of whom wrote and shared letters they wrote to their 15-year old selves. Inspiring, moving, and entertaining, the event raised over $1200 for the CASA Award. If you missed the fundraiser, not to worry! You can still help support this worthy cause by making a donation here.
 
Equity in Theatre (EIT), an inclusive and multi-stakeholder initiative to redress the underrepresentation of women in theatre, run out of the Playwrights Guild of Canada office, is currently conducting an Infographic Mail-Out Campaign. EIT’sSteering Committee partners are reaching out to the theatre community, sharing infographics from the Change in Action toolkit and EIT’s Best Practice Recommendations, both of which offer concrete suggestions for a more gender-balanced and equitable industry. The purpose of the action is to help raise awareness and disseminate information that will aid in the creation of positive change in the theatre sector. You can help by spreading the word and implementing some of the suggestions to improve the status of women and other marginalized groups in your own community and arts practice(s). Here is acover letter that can be used to introduce the campaign, as well as the Best Practices Recommendations Infographic and the Change in Action Toolkit Infographic (hardcopies are available by request).
 
For more about EIT, please check out our website, and its features, such as:
  1. A monthly Events Calendar where you can find shows and other events of interest to equity-minded people;
  2. Our latest addition, a map of professional theatre productions written and/or directed by Canadian women. The Current Production Map highlights shows that are taking place in November and December 2016 (a map for work staged from January through to March 2017 will be provided in the New Year). If you know of productions that should be added to the list, please contact us and let us know. 
  3. Directory of over 400 Women Theatre Practitioners. Do you identify as a woman working in theatre? If so, add yourself to the directory. Are you looking for a woman director, lighting designer, etc.? Now there’s a place you can go to find her the personnel you need.
  4. A number of other valuable resources (articles, studies, sister organizations, etc.) and tool kits (e.g. how to host a hackathon).
 
EIT is also on Facebook, Twitter, and Instagram. If you would like to become involved in our activities, please contact us at equityintheatre@gmail.com.


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Events


Bayan
November 18 - December 17, 2016
A Space gallery
110-401 Richmond Street West, Toronto, Ontario M5V 3A8 
Gallery Hours: Tuesday to Friday 11am - 5pm | Saturday 12pm - 5pm
 
The Bayan exhibit is also part of the the first national Anakbayan conference in Canada called "Sulong Kabataan: Onward with the Struggle for People's Liberation and Democracy" from November 18-20, 2016.
 
The exhibition, Bayan, reveals the evolution and multiple meanings of the word bayan itself as it manifests in the cultural practice in the Philippines and in the diaspora. Bayan, which can refer to the actual archipelago of 7,100 islands, also refers to the nation of the people itself, including the over 10 million Filipinx living outside the country. It is precisely because of its fluidity, yet all-encompassing nature, that the term BAYAN is the short name for the umbrella organization of the sectoral Philippine national democratic organizations all over the world.
 
At A Space Gallery, the works of Hector Calma, Jaret Vadera and Kwentong Bayan, combine to reveal bayan in various ways, giving us the opportunity to trace its mutations in particular political and geographical contexts. The most significant of these political contexts is that the archipelago is in fact home to the longest-running communist insurgency in Asia. This year, 2016, marks the 50 year anniversary of the Cultural Revolution, and its persistence in breathing life into various liberation struggles worldwide cannot be denied. Bayan pays homage to the cultural workers who have come before us, who have shown us how to hold the pen like a proper cadre would. 

For more information: www.aspacegallery.org


Black Ink Memoir 
December 10-20, 2016  
Areej Art Gallery 
2640 Danforth Avenue, Toronto ON

Black Ink Memoir is a solo exhibition by Parjam Parsi. For more information:  
www.areejartgallery.ca 


Syria: A Living History
December 6-11, 2016 
Aga Khan Museum
77 Wynford Drive, Toronot, ON  

Syria: A Living History brings tells a story of cultural diversity, historical continuity, resourcefulness, and resilience through artifacts and art. For more than 500 years, Syria has witnessed great world civilizations commingling on its soil and producing art, literature, and culture that constitute the country’s rich legacy. The exhibit inspires new understanding of the country’s past and present, and invites new ways of thinking about its future.

For more information and to purchese tickits: www.agakhanmuseum.org//node/310


ORIGAMI Workshop
Wedenesday,  January 25, 2017 | 7:30 – 9:00pm
Japanese Canadian Cultural Centre 
6 Garamond Ct. Toronto, ON M3C 1Z5

This unique new series of Origami workshops kicks off again with John Jay Guppy from the Origami Society of Toronto. Folding both traditional favourites and the latest new models, this gives everyone a chance to try their skill with plenty of expert help available. All paper is provided. To learn more about the Origami Society of Toronto please go to www.origamiToronto.org

Admission: $7 plus HST (JCCC Member) / $10 plus HST (Non-members) 
Website: http://jccc.on.ca/events-calendar/upcoming/
 
 
Métis Mutt
January 2017 (multiple dates/times) 
Aki Studio | Daniels Spectrum
585 Dundas Street East # 250, Toronto, ON

In this hilarious and revealing one-man show, Sheldon Elter recounts his coming-of-age story amid two distinct cultures. Using comedy, music, storytelling and multi-character vignettes, Elter’s Métis Mutt is an intimate, personal tale that unravels racial issues and embraces the choice of life.

Written & Performed by Sheldon Elter. Sterling Award Winner for New Work and Performance.Original production co-created with Kenneth Brown.

About Sheldon Elter: Sheldon is an award-winning Métis actor, writer, stand-up comic, musician and director originally from Northern Alberta. As a stand-up comic, he has emceed and been host at both Breaker’s, and Dave’s Comedy Saloon, and has toured Western Canada twice as the opening comedy act for hypnotist, Marc Savard. Sheldon was also a Top 14 Finalist on Canadian Idol in 2006. In 2002 Elter and his work Métis Mutt won two Sterling Awards for Best Actor and Best New Work. 

Admission: $15 - $25
For more information, schedule and tickets: http://danielsspectrum.ca/event/metis-mutt/2017-01-25/


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Ted Talks


Kimberlé Crenshaw: The urgency of intersectionality
Now more than ever, it's important to look boldly at the reality of race and gender bias — and understand how the two can combine to create even more harm. Kimberlé Crenshaw uses the term "intersectionality" to describe this phenomenon; as she says, if you're standing in the path of multiple forms of exclusion, you're likely to get hit by both. In this moving talk, she calls on us to bear witness to this reality and speak up for victims of prejudice.

About the speaker: As a pioneer in critical race theory, Kimberlé Crenshaw helped open the discussion of the double bind faced by victims of simultaneous racial and gender prejudice. Link to full bio.

Link: https://www.ted.com/talks/kimberle_crenshaw_the_urgency_of_intersectionality


Camille A. Brown: A visual history of social dance in 25 moves
Why do we dance? African-American social dances started as a way for enslaved Africans to keep cultural traditions alive and retain a sense of inner freedom. They remain an affirmation of identity and independence. In this electric demonstration, packed with live performances, choreographer, educator and TED Fellow Camille A. Brown explores what happens when communities let loose and express themselves by dancing together.

About the speaker: Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Link to full bio.

Link: https://www.ted.com/talks/camille_a_brown_a_visual_history_of_social_dance_in_25_moves


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Contact Us


charles c. smith, Executive Director
Lecturer, Cultural Pluralism and the Arts/University of Toronto Scarborough
charlescsmith@rogers.com
 
Kevin A. Ormsby, Program Manager
kashedance@hotmail.com

Victoria Glizer, Program Assistant
info.cpamo@gmail.com
 
Mailing Address:473 Jones Avenue, Toronto, ON M4J 3G7
Phone: 416-686-3039

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