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CPAMO's News

Welcome to the 30th 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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Message from the Board Chair

I have picked up some “life lessons” from several mentoring projects I am participating in to share with you in this month’s newsletter.  The demands on leaders of small arts organizations creates an almost 24/7 job for many of you.  In my experience, the mentoring process buys you time to think, reflect, and decide what matters for your organization and sometimes for yourself. Mentors ask the tough questions – where are you going? what is important to you? what do you want to accomplish in the next few years? What is preventing you? Who are your allies? Mentoring is also a chance to talk freely with someone not in the “family” with no political consequences.

With so much knowledge a click away most of us  don’t want knowledge transfer e.g. how to write a job description for a board member or  proposal writing? We need real life, pragmatic  “war stories”. I liken it to the recipe saying “mix until crumbly” whatever that means? In the end, the solutions to the big questions can be found in relationships whether, government, funders, neighbours or colleagues. But relationships take time.   There are, however answers to finding time for relationships:
1.     Free up your own time through delegation
2.     Hire someone to do the outreach or back fill your own work
3.     Collaboration

CPAMO has been doing a lot of great work on collaboration. For me the key to successful collaboration is focusing on the value added of working together.  In other words, that added capacity or project you couldn’t do if you each went your own way. It becomes a constant reminder that the time and effort is worth it to reach the goal.

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CPAMO Tilling the Field: Collaborative Practices in the Arts Report Launch

Artists, Arts Administrators and funders all shared in the memorable moments of the launch of CPAMO’s Report, Tilling the Field: Unearthing Collaborative Practices in the Arts on Wed, January 18, 2017.  Researched and written by CPAMO Program Manager, Kevin A. Ormsby, with research assistance by Venessa Harris, the report dives into territory noted by arts advocate and thinker Jane Marsland as needing more understanding and articulation. The latest in CPAMO research on arts practices, the Report Launch event was held at the National Ballet School in the historic Currie Hall and included a welcome from John Dalrymple | Chief of External Affairs for the NBS.  With a report supporting and unearthing pluralistic practices in the Arts.

Guest Speakers spoke about the many aspects of collaborative practices emerging and discussed over the three-hour event. Lila Karim – From Concept - NFO: A Collaborative Journey and Partnership, followed by JessaAgilo speaking on Lessons in New Collaborative support Models and Technologies followed by a video introduced by Andrea Nann of DreamWalker Dance on An Exploration In Collaboration with her program “The Whole Shebang”.  Marlene McKintosh eloquently spoke of Creating Space - Partnership, Collaboration in the Development of an Arts Hub (UrbanArts) in the Mt. St. Denis area, which led Aubrey Reeves to her conversation on Navigating Demography, Diverse Stakeholders in a Collaborative Network. Julie Frost ended the speaker’s section with Notions of Development and Stewardship in the Arts through partnerships.

The launched exemplified the comment featured in the Report byMargo Charlton (Research and Impact Manager | Toronto Arts Foundation & Toronto Arts Council) that “We are better together than we are apart with a better impact for artists, communities and the arts” CPAMO is hopeful that Tilling the Field: Unearthing Collaborative Practices in the Arts will ignite discussions across the arts and engage the arts’ communities in further discussion, debate, policy formulation and changes in funding arts activities. 

Here is the Forward to this timely report:
Tilling the Field: Unearthing Collaborative Practices in the Arts is the latest in CPAMO research on arts practices that supports and enables pluralistic practices to emerge and be sustained. Researched and written by CPAMO Program Manager, Kevin A. Ormsby, with research assistance by Venessa Harris, this report dives into territory noted by arts advocate and think­er Jane Marsland as needing more understanding and articulation (See
This is what Kevin A. Ormsby has done in these pages. In sections that describe the values and principles of collaborative practices in the arts to support pluralism, this report addresses such critically important issues as transparency, clarity in roles/responsibilities, awareness in communi­cations, and equitable sharing of resources. Building on CPAMO’s values since its establishment, this report furthers efforts to promote a transfor­mation in arts practices, providing rationale and examples on why collab­orative arts practices are so important in our rapidly shifting arts ecology.
In doing so, this report turns its attention to practitioners in the field first and foremost and implies quite assertively that we – artists, arts organi­zations, presenters (which includes here theatres, publishers, galleries) – need to connect more directly with each other and form trusting and nurturing relationships that support emerging and established arts practices and artists which have, in the past, been marginal and are now forming some of the most exciting contributions to the Canadian arts ecology.
The report is also a signal to funding bodies and arts policies regarding the need to transform systems of financial and human resource support to arts practices and to engage/support artists and arts organizations that seek a more inclusive and grass-roots and ground-up network to both identify and bring forward arts practices that are so important to the arts today.

In reviewing areas where collaboration can and does work, this report addresses organizational, administrative and artistic possibilities. It provides ideas on methods, processes and engagement activities to develop and sustain collaborative practices. It touches on collaborative content collection, model prototyping, design and negotiation, usage, refinement and assessment. It points to such integral matters as decision-making, implementation and documentation. It provides an annotated bibliography with evidence-based practices and theoretical approaches.
In providing such a review, this report follows in the tradition of practice CPAMO has set from the start of its existence – working with others to share, learn and grow together. As such, the report is informed by interviews and surveys of CPAMO’s associates and other artists and arts organizers interested and/or engaged in collaborative practices. It builds from the field and extends into other forms of research to affirm and support what is taking place in some areas in order to point out the viability, importance and timeliness of collaborative artistic practices and how they are beginning to take root in the arts, particularly on efforts to support arts practices that have been historically marginalized.
In conducting this research and releasing this report, CPAMO is hopeful that it will ignite discussions across the arts and engage the arts’ communities in further discussion, debate, policy formulation and changes in funding arts activities. It is certainly one more stone in the foundation CPAMO is building to promote the arts practices of Indigenous and racialized peoples as well as other historically-marginalized artists and their communities, e.g., the deaf, disabled and mad, LGBQT, women and those facing socio-economic barriers. This is something

See, share and downloaded the Report.  

You may also see the presentations of those who participated in the launch on Google Drive

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The Gathering:  Upcoming May 23/24 At The Theatre Centre

We hope everyone has moved into 2017 with much vision, passion and commitment to continued efforts to bring about important changes in our arts environment.  At CPAMO, we have started the year in that vein and wish to engage once again for a follow-up to our session last year THE GATHERING'. This was a very powerful and positive session of sharing our strategies to develop and implement changes that engage indigenous, racialized, deaf, disabled and mad, women and other historically-marginalized artists and communities.
given last year’s success, we are following-up this year to discuss the impact of arts organizations’ work on pluralism and how arts organizations’ assess this. There has been significant demand placed on arts organizations to provide evidence of the impact of their work and this has caused considerable concern in that there seems to be either varying definitions and frameworks for determining impact and, in some cases, these are either confusing, not very useful or non-existent.
As such, CPAMO will convene 'THE GATHERING' this year to have a community conversation on this and to provide opportunities for each of us to express what we've done in this area regarding on work on equity, diversity, pluralism and how we arrived at these things.
Right now, we envision a 1.5 days of sessions involving artistic showcases, plenary presentations and workshops.  We will also be preparing an annotated bibliography of key readings that may be useful and we invite you to send any articles or reports that can be shared and put on the CPAMO website

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CPAMOPOC – Cultural Pluralism Arts Movement Ontario Pluralism Organizational Change Project

This is an exciting initiative that we will be working on over the next 18 months!!!  We’re honoured to be working with such insightful and committed partners!!!

This project, consistent with CPAMO’s values, promotes a transformation in arts practices, and demonstrates the importance of inclusive arts practices in a rapidly shifting arts eco-system.  Indigenous and racialized artists and arts organizations, presenters (which includes here theatres, publishers, galleries, producers) – need to connect more directly with each other and form trusting and nurturing relationships that support emerging and established arts practices and artists.  

We acknowledge the need to transform systems of financial and human resource support to arts practices, and to engage and support artists, arts organizations, and artistic practices that embody a more inclusive grass-roots and ground-up network to both identify and bring forward arts practices that support the diversity of the arts ecosystem. 

We are committed to develop and sustain pluralism initiatives that have a particular focus on impact, cultural and artistic diversity and clear sets of practices that will forward our education and actions on pluralism and equity in the arts. 

Our goals are to:
  • Increase personal and organizational cultural competencies, and develop an understanding of the opportunities and challenges that they represent and how that presents opportunities/challenges to pluralism;
  • Assess barriers to participation and leadership by Indigenous,racialized and other historically marginalized artists and communities, and how to remove them;
  • Develop a community of practice to learn from each other and share;
  • Develop resources/strategies to sustain this work; and
  • Connect with Canada’s rapidly growing Indigenous and racialized communities to engage them as creative and interpretive artists, board members, managers, volunteers, audiences.

This project will involve thirteen (14) collaborative partners to develop a comprehensive and community-based approach in transformative pluralist practices: 
1.Ontario Presents / Community Cultural Impresarios  
2. WorkinCulture
3. Ontario Association of Art Galleries
4. Media Arts Network of Ontario
5. Playwrights Guild of Canada 
6. Theatre Ontario 
7. Canadian Dance Assembly
8. CanDance Network
9. Dancer Transition Resource Centre 
10. CARFAC Ontario
11. Orchestras Canada/Orchestres Canada
13. The Writers Union of Canada
14. The Toronto Alliance for the Performing Arts

This collaborative project sets out to enable each participating organization to implement strategies embedding pluralism in five areas.

A) Developing Organizational Leadership/personal responsibility to: 
  • develop succession planning to engage Indigenous and diverse ethno-racial artists and communities; 
  • connect with our membership and community, and join in conversations with other disciplines, to develop a shared understanding of pluralism and collaborative efforts to support implementation of organizational change efforts
  • apply tools to increase our understanding and contemporary knowledge of vocabulary, policies, planning processes 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 art forms and practices of these artists;
  • community cultural mapping and ways to curate Indigenous and ethno-racial arts practices;
  • 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 of how to:
  • work with Indigenous and ethno-racial artists in ways that respect and honour their artistic forms/practices;
  • curate the creative work of Indigenous and ethno-racial artists, including the provision of mentorships and residencies where possible to engage these artists in collaborative work;
  • market and promote the arts of Indigenous and ethno-racial artists; and
  • collaborate in the creation of work by indigenous and ethno-racial artists.

D) Diversifying membership/audience by increasing participant:
  • understanding target marketing tools (including social media) to nurture an Indigenous and diverse membership/audience;
  • linking communications on organizational efforts to reach out to and engage Indigenous and diverse communities;
  • engaging in efforts of Indigenous and diverse communities; that may be arts-related or of importance to these communities through sharing resources, e.g., sharing resources (space, staff support);
  • demonstrating consistent commitment to pluralism through dialogue with diverse communities throughout the programming process, and developing consistent diverse programming to show commitment to pluralism and to engage diverse communities in the dialogue on programming choices.

E) Enabling Participants to Diversify Staff, Board and Volunteers:
  • developing benchmarks for measuring and increasing diversity;
  • connecting with Indigenous and ethno-racial communities to engage their interest in the organization;
  • consistently and strategically engaging processes and outcomes to include Indigenous and ethno-racial communities in roles throughout the organization (including leadership positions),using such strategies as mentoring, job-shadowing,paid internships, and targeted hiring.

F) Developing Toolkits for dissemination and to guide ongoing development/implementation by participants and, in future, other interested arts organizations.
  • undertaking a literature review of existing materials, including those developed by project partners; related to the components of this project
  • conducting research on evidence-based practices;
  • collating the most pertinent material from the materials studied to create/harmonize toolkits;
  • testing this material with participants;
  • promoting and disseminating the resulting tool-kit to participant organizations, their boards/members/communities and to the not-for-profit arts communities. 

This project will develop a community of practice amongst the partners with the hopes of being a catalyst for sectoral change with the participants working together and supporting each other.  Toolkits will be developed for each of these components to enable the project participants to implement, assess and evaluate change within their own organizations, organizational change work while engaging their members in similar processes.

1.  Working Sessions involving project participants working together in monthly meetings. The project staff and external consultant will design and facilitate these meetings.
2. Small group projects involving project participants who are addressing similar issues. 
3. Toolkits.  Developed with project partners to enable and facilitate initiatives to promote pluralism/equity.  
4. One-on-One meetings with project staff to support the development and implementation of their organizational change initiatives. 
5. Google Groups / Slack for shared documents providing an archive of materials shared with participants. 
6.  Meetings with Indigenous and ethno-racial artists/arts organizations to enable project participants to develop working relationships through forums and showcases of artistic practices of Indigenous and ethno-racial artists. 

  • Developing the knowledge/skills of each organization in delivering such programs to their members 
  • Engaging the members of these organizations in these activities and enabling them to begin a process to replicate these initiatives, including establishing internal committees and processes for equity/diversity change work;
  • Documenting/disseminating evidence-based practices to interested arts organizations and funding bodies;
  • Setting standards for work in the field of equity/diversity in the arts - locally, provincially and nationally;
  • Developing participants’ credibility as organizations with knowledge, experiences, resources and connections to advance work on equity/diversity in the arts;
  • Engaging organizations in professional/organizational development/implementation on equity/diversity issues in the arts.
1. Establish baseline data through a set of benchmarks for planning and outcomes for implementation of diversity initiatives in staffing, board and volunteer recruitment, outreach and community engagement, programming diverse artists.  Such an approach will use population/census data to assess where each participant is currently at and to set goals for implementation of initiatives.

2. Develop internal/external communications, enabling participants to engage their internal and external stakeholders in the development and implementation of diversity initiatives.  Tools will include newsletters, board/staff/member meetings (including annual meetings), and online and social media 

3. Assess understanding of curatorial practices. CPAMO will work with participants to enhance their understanding of Indigenous and culturally diverse arts practices, e.g., what they are, the diversity within them, participation rates of their communities in arts activities, the quantity of their performances/artistic output, how they develop their work and assistance they need. 

4. Work with participants to further engage Indigenous and ethno-racial arts organizations/artists through forums/artistic showcases as well as having artists participate in/make presentations to the participants in the education/training sessions.

5. Evidence-based research.  This will be provided to participants both in anticipation of, and in response to, professional learning/development and organizational needs. 

6. Transparency and accountability through the development/implementation of inclusive practice to its staff, board, members, volunteers and funders.

7.  Work with participants to engage in program reviews in sustaining ways to embed inclusive practices as core values in operating processes that will permeate through the organizations.

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Critical Response Process in CPAMOPOC

We’ve all had to give feedback at some time, and we’ve all had to get feedback on our work at some time. Often these situations are at best awkward and at worst unpleasant.

In an effort to make the experience both more pleasant and ultimately more useful, Liz Lerman created the Critical Response Process with the assistance John Borstel. It is a four step process that was originally created for feedback on artistic works in progress, but which has been further developed as a method for engaging in inquiry based conversations on a variety of subjects.

The process has four steps the first of which is the only one that involves straightforward statements. It specifically asks for statements of meaning- things that were memorable, evocative, interesting. From there curiosity and inquiry take over. First the presenter of the work, idea, plan, product asks questions which the responders answer openly. Then the responders ask questions, but these questions must be framed neutrally, (questions that don’t already have an opinion embedded in them). By this time, a lively dialogue has been taking place and in all probability everyone has learned something new about the work presented. When the final stage of offering opinions has been reached, the creator still has the option to say no to hearing an opinion about a specific aspect of the work. Usually, the creator is excited to hear new thoughts and to get back to work on the project.

The other aspect of the Critical Response Process is that once it is the method used by a specific organization or group, the principles on which it is based become the grounding of the culture of interaction in the group. The formula for step four, “I have an opinion about_____. Would you like to hear it?” becomes the subject line of emails. Questions about all aspects of the everyday working of the organization are framed as neutral questions. The idea that inquiry can accomplish more than judgement becomes a guiding principle of communication.

At CPAMO we are using the Liz Lerman Critical Response Process as we deepen our work on the Pluralism and Organizational Change Through Inclusive Equity Education in the Arts Project. Each participating arts organization will present an action plan for change within that organization. The full group will offer a formal Critical Response session and the organization representative will head back into the action plan with new information, ideas and next steps. We are all very excited about this two year project and the possibilities it presents.

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National Arts Services Meeting With Canada Council For The Arts

As a follow-up to our engaging 1.5 days meeting with Canada Council for the Arts in February 2016, CPAMO is now working with the NASO/Council Meeting Coordinating Committee to connect again on the transitions to the Council’s funding programs as well as for our annual networking, information-sharing, professional and organizational development.  

The working theme for this gathering is similar to the one used in 2016, i.e., Emerging Trends in Canadian Arts: Addressing the Challenges of Demographic Shifts and Funding Changes.  This theme will be explored over the length of the gathering, i.e., 1.5 days, and begin with a conversation with Canada Council’s CEO and Director, Simon Brault to discuss the changes to the Council’s granting programs, their criteria, timelines, adjudication processes, assessment, evaluation and any developments following the initial implementation of Council’s New Funding Model, and, to explore the developing relationship between NASOs and Council.  

This session will also provide NASO representatives with opportunities to share and learn from each other and, thereby, in a peer-to-peer format enhance representatives’ professional and organizational development.  In this context, the Organizing Committee has discussed setting an agenda to focus on the following issues:
  • The implications of Indigenous sovereignty and changing demographics in the arts, particularly the growth, issues and concerns of historically-marginalized artists and communities, i.e., racialized peoples; Deaf, Mad and Disabled peoples; women; Official Language Minorities; and LGBQT2 peoples; related issues include the advantages and drawbacks of self-identification.
  • Current research on, development of and interest in ‘collaborative learning communities’ and ‘communities of practice’ in the arts that are engaging both aging and emerging artists and arts practices; 
  • The potential of digital technology to support artistic development, collaborative projects, the development of learning and sharing networks amongst NASO members; and
  • Impact measurements in terms of criteria, methodologies and relationship to the provision of arts services, e.g., equity and diversity, uses of new technologies for production, dissemination and engagement of artists.

The NASO Organizing Committee is made up of:

What’s going on in the visual arts and Canada 150

Shame & Prejudice: A Story of Resilience, a solo exhibition, by Kent Monkman just ended in early March at the Art Museum at the University of Toronto and was recently reviewed by Canadian Art. It featured new large-scale paintings, installations and artifacts; according to the Art Museum this exhibition “takes the viewer on a journey through Canada’s history that starts in the present and takes us back to a hundred and fifty years before Confederation” (1).
This exhibition will tour throughout Canada in the next couple of years, including at the Glenbow Museum in Calgary, AB  in June 2017, the Agnes Etherington Art Centre in Kingston, ON in January 2018 and at the Museum of Anthropology in Vancouver, BC in April 2020. Full schedule available on:
Monkman’s work was mentioned in the article HowIndigenous People are Rebranding Canada 150by Nancy Macdonald in her recent article for Macleans. Her article critically looks at the Canada 150 celebrations and whether these are respectful and truthful to Indigenous peoples, she discusses how the City of Vancouver consulates with the Urban Aboriginal Peoples Advisory Committee about inclusion of Indigenouspeoples in the city, including in the 150 celebrations. In addition to Monkman’s work, she mentions that Vancouver changed the name of the celebration to Canada 150+, the plus symbol aims to confront the myth that Indigenise peoples needed Westerns to bring civilization.  This article is available on Macleans website.


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Playwrights Guild of Canada (PGC) Update 

On Tuesday, March 7th, the Playwrights Guild of Canada (PGC) partnered with theToronto Alliance for the Performing Arts (TAPA), the Canadian Dance Assembly (CDA), and The Writers’ Union of Canada (TWUC) to co-host "Women in the Arts: Supporting One Another" in honour and on the eve of International Women's Day. The event provided an opportunity for women leaders in arts administration to network, celebrate, and share their experiences with both emerging professionals and those who have been in the business for many decades. Sporting crowns instead of name tags, more than thirty women attended the affair. You can view a video with comments about the importance of this event from some of the women who participated HERE. We look forward to hosting similar occasions of this nature in the future.
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Digital Tools for the Arts

Are you looking for responsive, affordable digital tools for the arts? We are excited to share with you the vision for a new and accessible arts management solution in the cloud produced by the arts, for the arts.  
If you have the time, we could use your feedback through a 20-minute survey described below.  Do not hesitate to get in touch with any questions, and feel free to share with anyone that you think might find it of interest. 
Best wishes, and thank you for your support!
Jessa Agilo, Founder, ArtsPond
Margaret Lam, Founder, BeMused Network
Bruce Pitkin, Executive Director, Theatre Ontario
Visioning new digital infrastructures produced by the arts, for the arts
ArtsPond, in collaboration with Theatre Ontario and BeMused Network, is pleased to announce the vision for Element:e (Élément:e), a proposed cloud-driven, mobile-first, free/low-cost arts management and impact reporting digital platform for small creators and producers in arts and culture.
Open until April 14 (extended deadline), a 20-minute survey, Managing Creativity in a Digital World, is your chance to let us know what your digital infrastructure needs are as we seek funding to support the launch of a desired open source solution within the next 2 to 3 years.
Information:  |  View a PDF | Facebook  |  Twitter



Suubi Benefit concert
April 15, 2017 | 4:00 - 8:00 pm
Daniels Spectrum
585 Dundas Street East, Toronto, ON

NEXIM INTERNATIONAL DEVELOPMENT ORGANIZATION ( presents The Suubi Fusion Troupe ( from the Cambridge Secondary School in Uganda in an inspiring educational entertainment dance, drama and music event in aid of construction of the proposed new girls dormitory at the Cambridge secondary school.

Admission: $40
For more information, schedule and tickets:

Sunday,  April 23, 2017 | 1:00 – 4:00pm
Japanese Canadian Cultural Centre 
6 Garamond Ct. Toronto, ON M3C 1Z5

Both required kumihimo to secure their clothing. Kumihimo loosely translates to “gathered threads.” Through different techniques, a person is able to gather many threads together to create a stronger cord. It is a form of braiding…Japanese-style. The technique has been around for more than almost 1500 years and was in danger of being a lost art due to the mechanization of the processes. However this technique is enjoying a recent surge in popularity with crafters. Instructor: Poncey Acromond

Admission: $15 for workshop (JCCC members) / $20 for workshop (Non-members), plus $15 materials fee payable to the instructor

wind in the leaves with allies and friends
Friday, April 28, 2017
Doors open 7:30pm and show starts at 8:00pm
The Citadel
304 Parliament Street, Toronto, ON M6N 2V7

The wind in the leaves performers are: aria evans, jesse dell, lilia leon, charles c. smith and shakeil rollock.  Guest artists are Banoo Zan, stedmond pardy and dane swan.

Regular admission: $15.00 | Students and arts workers: $10.00

For more information and to register:

MAMATOTO – The 18th African Marketplace Gala
May 11, 2017 | 6:00 - 10:30 pm
Daniels Spectrum
585 Dundas Street East, Toronto, ON

Join us to celebrate Amref Health Africa’s 60th Anniversary by supporting a one-of-a-kind celebration that brings the spirit of Africa to Toronto. Featuring African-inspired food by some of Toronto’s top caterers, live music, unique silent and live auction and so much more!

For more information:

Ke Peng | underneath the tree where I buried all my childhood pets
CONTACT Photography Festival 
May 1 – 20, 2017 | Opening May 4, 5 – 7pm
Mon – Sat 9:30am – 5pm or by appt
EEL Gallery
487 Spadina Cres, Rm 210, Toronto  M5S 2T4
Los Angeles-based Chinese photographer Ke Peng takes the viewer on a journey into an imagined childhood through a new body of work investigating her relationship to two distinctive locations in China: Hunan, an older province of southern China where she was born; and Shenzhen, a modern city and China’s most successful Special Economic Zone, where her family relocated later on. By documenting her surroundings and experiences in these neighbouring cities, Peng draws parallels between them by capturing influences of tradition among rapid development and change. She also looks at how individuals, especially children, seek to establish their identities in the midst of ever-changing urban landscapes, and what that process may cost them.

Peng acknowledges her work holds a personal, sentimental perspective. A process of self-discovery, it connects her to her past in China, and to her current experiences in the United States. Peng’s artistic gestures, as a means of exploring her own identity, highlight the in-betweenness in her self-consciousness and her interests in distinct collective experiences.

Curated by Henry Heng Lu. Presented by Call Again. Based in Toronto, Call Again is dedicated to creating space for contemporary Asian diasporic art practices. 

Notes from the Worry Room
April 4 - May 6, 2017
A Space gallery
110-401 Richmond Street West, Toronto, Ontario M5V 3A8 
Gallery Hours: Tuesday to Friday 11am - 5pm | Saturday 12pm - 5pm

A master of her mediums, small gauge film and video, and a novice at her subject matter—primarily herself—Deirdre Logue will show work at A Space Gallery beginning with the era in which she was on the organization’s board of directors. Spanning nearly 20 years, the exhibition chronicles Logue’s compelling self-portraits as well as her handling of all aspects of the production and post-production process.

Logue performs silent and spoken breath; she climbs, crawls, licks, suckles, eats, drinks, suffocates, gets hit on the head, and falls. She records her infectious, beautiful dancing and explains that she worries so much it might be the end of her. Then she worries herself in-between the mattress and box spring of a made bed. She does not tell us what is wrong, per se; what she does suggest are inevitable and repetitious disasters. Logue utters discomforting phrases and wraps them in the warmth and beauty of hand-processed celluloid. 

Deirdre Logue is the 2017 Canadian Artist Spotlight at the Images Festival. This exhibition is part of a larger celebration of Logue's practice which includes additional exhibitions in the A Space Gallery vitrines, Gallery 44 and Tangled Gallery, as well as a single-channel screening during the Images Festival.

For more information:

Rebel, Jester, Mystic, Poet: Contemporary Persians
February 4 - June 4, 2017 
Aga Khan Museum
77 Wynford Drive, Toronot, ON  

Cultural rebellion and lyrical reflection come together in this world-premiere exhibition showcasing one of the most important collections of contemporary Iranian art. Encounter the works of 23 artists who have chosen self-expression over silence — men and women separated by generations but united in their desire to explore complex issues against a backdrop of political and social unrest.

For more information:

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Ted Talks

Emtithal Mahmoud: A young poet tells the story of Darfur 
Emtithal "Emi" Mahmoud writes poetry of resilience, confronting her experience of escaping the genocide in Darfur in verse. She shares two stirring original poems about refugees, family, joy and sorrow, asking, "Will you witness me?"

About the speaker: Emtithal "Emi" Mahmoud dedicates her time to spreading understanding through poetry and advocacy, particularly for the cause of refugees and disadvantaged communities the world over. Full bio

Click here to view this Ted Talk 

Sisonke Msimang: If a story moves you, act on it
Stories are necessary, but they're not as magical as they seem, says writer Sisonke Msimang. In this funny and thoughtful talk, Msimang questions our emphasis on storytelling and spotlights the decline of facts. During a critical time when listening has been confused for action, Msimang asks us to switch off our phones, step away from our screens and step out into the real world to create a plan for justice.

About the speaker: Sisonke Msimang untangles the threads of race, class and gender that run through the fabric of African and global culture. Full bio 

Click here to view this Ted Talk 

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Contact Us

charles c. smith, Executive Director
Lecturer, Cultural Pluralism and the Arts/University of Toronto Scarborough

Shula Strassfeld, Project Facilitator

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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Contact Us

charles c. smith, Executive Director
Lecturer, Cultural Pluralism and the Arts/University of Toronto Scarborough

Shula Strassfeld, Project Facilitator

Kevin A. Ormsby, Program Manager

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

Cultural Pluralism in the Arts Movement Ontario (CPAMO) is supported by the Canada Council for the Arts, Ontario Arts Council, Toronto Pearson International Airport’s Propeller Project and the Ontario Ministry of Citizenship and Immigration.

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