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Documente Profesional
Documente Cultură
ACTING COLLECTIVELY
Creating a Collaborative Learning Community for
Indigenous and Ethno-Racial Artists in Ontario.
Contents:
1. CPAMO: The Story so Far ... 1
2. Background Research ... 6
3. Current Environment & Policy Context ... 9
4. Moving to a Collaborative Approach:
Why a Shared Learning Platform? ... 16
5. Models for Collaborative Support Structures ... 20
6. Preferred Collaborative Model for CPAMO ... 24
7. Conclusion/Recommendations ... 35
8. Acknowledgements ... 38
9. References/resources ... 39
We would like to thank our funders, the Canada Council for the Arts
and the Ontario Arts Council, for their support.
1. CPAMO:
While the process to build CPAMO into what it now is started in 2002,
it wasnt until a partnership developed between Ontario Presents that
CPAMO received its first grants from the Ontario Trillium Foundation and
the Canada Council for the Arts. Following this, CPAMO was successful in
receiving grants from the Ontario Arts Council and the Ministry of Citizenship,
Culture and Recreation (as it was then). These funds, mostly administered
by Ontario Presents, were for projects to support building a relationship
between Indigenous, ethno-racial artists and presenters a process that
started in January 2010.
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Tolerates differences
Values differences
Creates exclusion
Promotes inclusion
Elicits division
Encourages cooperation
Risks conformity
Exists in isolation
Requires compromise
Is a reality
Is a choice
CPAMOs overarching goal is to help foster the creation of high quality art
from diverse backgrounds and support its presentation on all stages in
Ontario. To move this work into spaces where it can be seen and enjoyed
by everyone who is interested in the performing arts and the stories of
all the people of Ontario.
To achieve this, CPAMO is committed to a grassroots approach, always
shaping its programs and activities from the members needs.
Over the past five years CPAMO has engaged a significant number of arts
organizations, artists, facilitators to provide very successful workshops.
2. BACKGROUND RESEARCH
Overview:
Over the past six months I examined the available literature on the concept
of shared platforms in their broadest context from simply sharing office
space to the ideas of charitable venture organizations. A particular emphasis
of my research was to investigate new collaboration systems in both the
for-profit sector as well as the arts.
Over the same period there have been two focus group sessions, two
board meetings and three advisory committee sessions to gain a better
understanding of what Indigenous and ethno-racial artists want and
require in order to achieve their artistic visions. CPAMO has also surveyed
its membership on several occasions to learn what its members wish to
participate in and the level of relationship they wish to have with their
peers.
Shared Charitable Platforms:
In my Metcalf Foundation paper, Shared Platforms and Charitable Venture
Organizations, I examined the current state of the arts funding system and
its impact on the development of arts organizations and artists.
The number of arts organizations is growing faster than available
funding, so the existing funding resources have had to be more thinly
apportioned among a greater number of organizations. This leads to
severe under-capitalization among all arts organizations, no matter
their size or age. But the most pressing concern is that there is no
longer sufficient growth in public arts funding to allow emerging artists to enter the system in any significant way.
The two key factors that I felt were contributing to the impasse in the arts
funding system were:
1) Growth in the numbers of arts organizations seeking government
funding has far outstripped the growth of funds available.
2) Retaining status as a stand-alone, charitable, non-profit organization
requires too many resources and is no longer an efficient model for
producing art.
That paper went on to examine the role that shared charitable platforms/
charitable venture organizations could provide to enhance support to the
arts sector, especially for small and emerging arts entities.
For the purposes of this Report, I continued my research into shared
charitable platforms. There have been a few interesting additions to
the topic. As part of their Sector Signals series, Mowat NFP published,
A Platform for Change, written by Elizabeth McIsaac and Carrie Moody. The
report provided some examples of current shared platforms in the non
profit sector and examined some of the successes as well as the challenges
facing the development of shared charitable platforms. The Report made a
number of recommendations on developing the concept, investing in it and
the importance of continuing the learning.
The Ontario Nonprofit Network is currently producing A Guidebook for
Shared Platforms for Nonprofit and Charitable Organizations. This Guidebook is primarily looking at Shared Charitable Platforms and will provide
practical information and resources to support organizations in how to
structure and implement the model. It is anticipated that the Guidebook
will be released at the ONNs Conference in October 20/21, 2015.
The Metcalf Foundation along with the Ontario Arts Council, Ontario Trillium
Foundation and the Canada Council for the Arts recently issued a Request
for Proposals for a Shared Charitable Platform for the Arts. The funding
partners will jointly contribute up to $200,000 per year for a three year
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period to establish a shared charitable platform for the arts. While there
is no guarantee of ongoing funding, the proposal did indicate that should
the platform require ongoing funding support it may be eligible to apply to
regular programs after the pilot period.
CPAMO submitted a Request for Expressions of Intent and was invited to
the June session which was intended to:
further the conversation around shared charitable platforms,
help shape the process to apply for funding for both funders and potential
applicants, and
invent some possible collaborative activities.
After some consideration, it was decided that the timing was too premature
for CPAMO to try to establish a Shared Charitable Platform at this time and
so CPAMO did not submit a Request for Proposal for a Shared Platform for
the Arts. However, the concept of a shared charitable platform is still a part
of CPAMOs future thinking.
In 2000 I met a woman who said to me: In this new century it
is vital that we learn to work together. It has only been in the
last few years that I have really understood those words. Aluna Theatre is a small independent company with limited funding
and human resources. Collaborations have become the key to
our growth and artistic success. They permit us to reach more
artists and audiences, but more importantly still, they allow us to
understand who we are as artists and what our role is within the
Canadian ecology. Further, they show us how to connect Canada
to the rest of the Americas. Shared Platforms help us reach those
goals.
- Beatriz Pizano, Artistic Director, Aluna Theatre
3. CURRENT ENVIRONTMENT
& POLICY CONTEXT
The Current Environment:
The world we have created has outstripped our capacity to understand it. The scale of interconnectivity and interdependence has
resulted in a step change in the complexity of the operating environment. These new conditions are raising fundamental questions about
our competence in key areas of governance, economy, sustainability and consciousness. We are struggling as professionals and in
our private lives to meet the demands they are placing on traditional
models of organisation, understanding and action. The anchors of
identity, morality, cultural coherence and social stability are unravelling and we are losing our bearings. This is a conceptual emergency. 1
The volatility of the current environment caused in part by the very rapid
technological change has outpaced our capacity to fully understand it. We
need to be constantly prepared for unpredictable, disruptive change. Our
old mental model of trying to create a self-sustaining organization that can
find the resources it needs to operate independently is no longer viable.
We need to develop collaborative and systemic approaches to survive. We
have to shift the lens from scarcity to abundance, from self-contained
organizations to networks, from stable to flexible/adaptable.
A key aspect of the research was to gain an understanding of the rapidly
changing environment for the arts. In particular, to try to determine the
impact of the arts funding systems inability to keep pace with the exploding
number of artists coming into the system.
1. Graham Leicester and Maureen OHara. Ten Things to Do in a Conceptual Emergency.
International Futures Forum, 2009.
The theory and foundation on how arts organizations are structured and
managed that was developed in the 60s and 70s no longer works in
an environment of rapid change and instability. The nonprofit corporate
foundation model that was imposed on artists because there was no
other model for accountability available at that time. It is a linear,
hierarchical and mechanistic structure. It also can be influenced by class
structure as boards tend to come from the upper middle class and utilize
those networks to develop resources for the organization. Indigenous
and ethno-racial arts organizations are being hampered in their ability
to determine the appropriate formats they need to create their art by
the need to apply these structures and methods. At this point in time,
Indigenous and ethno-racial arts entities also need to be able to develop
and work within a structure/frame that is not filtered through the mainstream, privileged mindset.
Many artists who incorporated as nonprofit organizations and entered the
arts funding system after 1990 have not been able to develop the resources
to be a fully operational model with adequate staffing. They are generally
under-capitalized so are always in a precarious position. Many artists coming
into the system after 2000 have not even been able to develop an ongoing
organizational structure. Many have had to continue to rely on income from
unrelated work while struggling to find the resources to produce their own
work. And the most disturbing aspect of this current state in the arts funding system is that even project funding has not kept pace with the cost of
producing art. Added to this is the challenge to emerging and artists from
diverse backgrounds of the very competitive nature of the funding system
due to the lack of resources in the arts funding system.
However, there has been an explosion in the expansion, range, diversity,
productivity of artists working in non-formal, non-institutional formats.
These artists are working new in formats by choice, not just waiting until
they can grow into traditional organizations. Many of these organizing/producing models embrace the collaborative nature of the creative process.
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This crisis of funding has been particularly challenging for the development
of the Indigenous and ethno-racial artists and arts organizations that had
encountered systemic barriers to arts funding prior to the establishment of
the Equity Office and the Aboriginal Arts Office at the Canada Council for
the Arts in the early 1990s. To begin to address this historical inequity, the
Canada Council established the Capacity Building Initiative, which ran from
2001/02 to 2013/14.
In 1999, the Canada Council recognized that culturally diverse
organizations were far from receiving an appropriate level of
funding equal to that of their peers in the mainstream arts milieu.
The capacity-building program was created as a sunset initiative
to address this gap. This priority was reflected in its 2002-2005
Corporate Plan.
To strengthen and sustain the creativity of Canadas culturally diverse
artists and organizations by ensuring they receive an appropriate level
of funding and support in the form of grants and services.
The Capacity Building Initiative had four key goals to strengthen the
capacity of Indigenous and ethno-racial arts organizations across
Canada: to develop the administrative infrastructure of organizations;
to better support artistic productivity and professional development
of personnel, and to increase impact on the organizations identified
communities. 2
Artists are like running water, they will find a path. Funders need
to embrace their creativity in finding a new path.
John Ryerson, Board Chair, CPAMO
2. Fernandez, Sharon. Outcome Assessment of the Canada Councils Aboriginal and Culturally
Diverse Capacity-Building Programs, 2008.
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As I conducted the research for this paper I came to the realization that
just sustaining the existing infrastructure will not necessarily ensure a
healthy and vital arts ecology. This is a bigger societal issue that demands
big questions so clearly posed by Diane Ragsdale in her paper, Holding
Up the Arts: Can we sustain what weve created? Should we?:
If governance largely means board members and leaders looking
out for the future of their own institutions, then who is looking out
for the interests of the community-at-large?
Who is able to recognize when we may be trying to sustain one arts
institution at the expense of another, or many others?
Or trying to sustain an arts sector at the expense of other amenities
or social services?
Or trying to sustain opera companies, orchestras, theatres, and
dance companies at the expense of sustaining artists, creativity, culture
and broad and deep engagement with the arts?
As we work our way through these challenging times, developing the right
questions might be more important initially than having the answers.
In our report, Seizing Permission: The TLC Toronto Initiative, we noted the
increasing challenge of the resource distribution problem in the arts sector:
These are challenging discussions as everyone is inclined to be
protective of what they have, even in a dysfunctional system. It has
been easier, and less contentious, to focus on the challenges of
being under-resourced as a sector and assume that a solution to
that challenge would automatically address the resource distribution
inequities. But the traditional trickle down structure in which
large institutions receive the bulk of the resources with the expectation
that these resources will be infused throughout the sector is out
of step in a world in which exciting, dynamic and significant work
is emerging in places disconnected from traditional power structures.
Further, the entrenched model of resource distribution sustains
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Trust
Respect understanding - open dialogue
Peer to peer lateral learning
Reciprocity
Willingness to share resources
Collaboration and transparency
Commitment to making it work and to the values
Spirit of inquiry
Collective roles/responsibilities
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Together In Dance Forum at Flato Markham Theatre in 2012. Photo by Eric Lariviere.
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larger whole that generate what is and our own connection to this
wholeness, the source and effectiveness of our actions can change
dramatically.
The key to the deeper levels of learning is that the larger living wholes
of which we are an active part are not inherently static. Like all living
systems, they both conserve features essential to their existence and
seek to evolve. When we become more aware of the dynamic whole,
we also become more aware of what is emerging. 5
Collective intelligence arises out of respecting and incorporating different
knowledge and experience. It is based in inclusion: uniting difference to
create a higher order of capacity. Collective intelligence is drawn from
different disciplines, cultures and generations.
What is the Operating Model of a Collaborative Learning Community?
The purpose of this model is to create a body of information and knowledge
on which to build a resilient community of ethno-racial and Indigenous
artists and arts organizations who can develop their capacity to create and
present quality works of art through collaborative processes and shared
resources.
How does it work?
It would start in phases. In the beginning the core activities will be a series
of workshops on how to build collaborative practices:
How to make successful artistic collaborations
How to collaborate with presenters
How artists can share resources for mutual benefit
5. Presence: An exploration of Profound Change in People, Organizations, and Society, by Peter
Senge, C.OttoScharmer, Joseph Jaworkski, Betty Sue Flowers, SoL (Society for Organizational
Learning) Doubleday, New York, NY 2005, pp. 10,11
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Governance:
CPAMO has recently incorporated and is governed by a Board of
Directors.
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7. CONCLUSION/RECOMMENDATIONS
As Ive worked closely with CPAMO during the research and preparation of this report, I understand that its Board, staff and Advisory
Committee are in full support of this report and the directions noted
in the section Preferred Model for CPAMO. In this regard, CPAMO is
convening a series of seven (7) full day workshops starting in September
2015 and continuing into April 2016 on the concepts, strategies and
evidence-based practices to build collaborative practices between artists
and between artists and presenters. With funding from the Canada
Council for the Arts and the Ontario Arts Council, these workshops will
seek to enable participants to develop their knowledge of collaborative
practices, their benefits and strategies, and how to get them off the
ground.
This area, however, is new ground in the arts and, to be successful, will
need the support and encouragement of funding bodies to achieve.
After spending considerable time researching this paper I have two key
recommendations that will require additional support:
1. The need for more substantive research:
I was not able to find any comprehensive research on the scope of the
ethno-racial and Indigenous artists and arts organizations. While there is
information on arts funders websites as to who is getting grants in Equity
and Aboriginal offices, there does not seem to be any compiled information on the field.
Canadian Actors Equity Association has undertaken a survey on diversity
on Canadian stages The Equity Census the results have not been
publically released as yet. While this is a very important initiative, it is
still just one aspect of the arts sector.
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8. ACKNOWLEDGEMENTS
This report was made possible by grants from the Ontario Arts Council
Compass Program and the Canada Council for the Arts Leadership for
Change Program.
I am most grateful for the support and guidance of charles c. smith, Kevin
A. Ormsby, the CPAMO Board and the Advisory Committee throughout
the research and writing of this report. The artists and arts organizations
that participated in the focus groups as well as the newly formed Board
of Directors of CPAMO were especially helpful and very generous of the
time they provided to offer their insights, concerns, and recommendations
which formed the direction and basis of this report.
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9. REFERENCES/RESOURCES
Web Resources
What is Pluralism?
http://www.cda-acd.ca/docs/advocacy/Pluralism%20Document-updated
%202014.pdf
The Big P in the Field of the Arts
http://www.cda-acd.ca/docs/advocacy/The%20Big%20P%20in%20
the%20field%20of%20arts.pdf
The Creative Case for Diversity: Innovation and Excellence in the Arts
http://www.creativecase.org.uk
This site has a number of excellent reports in its Resource section:
Hassan Mahamdallie sets out the Arts Councils Creative Case for Diversity
in What is the Creative Case for Diversity?
The Role of Diversity in Building Adaptive Resilience, a paper by Tony
Nwachukwu and Mark Robinson commissioned by Arts Council England,
Beyond Cultural Diversity: The Case for Creativity compiled and edited by
Richard Appignanesi, commissioned by the Diversity Team of Arts Council
England, and produced by the art journal Third Text.
Highlights of Capacity Building Initiative, Equity Office, Canada Council for
the Arts, Oct. 2014
http://canadacouncil.ca/~/media/files/equity/capacity%20builidng%20
backgrounder.pdf
Aboriginal Arts Research Initiative, Report on Consultations, prepared by
France Trpanier
http://canadacouncil.ca/~/media/files/research%20-%20en/aboriginal%20
arts%20research%20initiative%20aari/aarifinalreport.pdf?mw=1382
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Sharing Space, edited by Falen Johnson, published by Indigenous Performing Arts Alliance, 2013
http://ipaa.ca/wp-content/uploads/2012/06/Sharing-Space-Draft-3.pdf
Why the Lean Startup Changes Everything
http://steveblank.com/2013/05/06/free-reprints-of-why-the-lean-startup-changes-everything
Seizing Permission: The TLC Toronto Initiative, written & compiled by
Anne Dunning, Jane Marsland & Nello McDaniel
http://tapa.ca/wp-content/uploads/2015/02/Seizing_Permission_Report.
pdf
Choreographing our Future: Strategies for Supporting Next Generation
Arts Practice, by Shannon Litzenburger
http://metcalffoundation.com/publications-resources/view/choreographing
-our-future
Shared Platforms and Charitable Venture Organizations, by Jane Marsland
http://metcalffoundation.com/publications-resources/view/sharedplatforms-and-charitable-venture-organizations
Blogs:
The blogs below have frequent articles on diversity and the arts.
Youve Cott Mail, curated by Thomas Cott
http://www.youvecottmail.com
HowlRound, A knowledge commons for and by the theatre community
http://howlround.com
Diane Ragsdale on what the arts do and why
http://www.artsjournal.com/jumper
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Print Media:
Pluralism in the Arts in Canada: A Change is Gonna Come, by Charles C.
Smith
https://www.policyalternatives.ca/publications/ourschools-ourselves/
pluralism-arts-canada
Across Oceans: Writings on Collaboration, Artists of the At HOME Project,
edited by Maxine Heppner
Published by Across Oceans, 2008
Presence: An Exploration of Profound Change in People, Organizations,
and Society, by Peter Senge, C.OttoScharmer, Joseph Jaworkski, Betty Sue
Flowers, SoL (Society for Organizational Learning) Doubleday, New York,
NY 2005
The Wisdom of Crowds, by James Surowiecki, Anchor 2005
The Zero Marginal Cost Society: The Internet of Things, the Collaborative
Commons, and the Eclipse of Capitalism, by Jeremy Rifkin, St. Martins
Press, 2014
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