Friday, October 28

Please note: program session descriptions, in many cases, have been written in the ‘personal’ using subjective language. The Program Committee has not heavily edited these, as the subjective voice adds context to what you might expect to hear and learn during these sessions.

8:00 am                      Breakfast

8:00 – 8:45 am           Showcase Performances

8:45 – 9:00 am           SYMPOSIUM OPENING CEREMONIES

Carol Moffatt, Warden, Haliburton County

9:00 – 10:30 am         OPENING PLENARY              

The Curation Transformation: Conscious Community Creation

Plenary Panel Speaker Clayton Windatt Lindsay Sarazin, Wolf Eye Productions, North Bay, Ontario

Clayton Windatt Photo by: Lindsay Sarazin, Wolf Eye Productions, North Bay, Ontario

Plenary Panel Speaker PIneda Photo by Renan Ortiz

Roselle Pineda Photo by Renan Ortiz

Photo by: Nathalie St-Pierre, Montréal, Québec

Dena Davida Photo by: Nathalie St-Pierre, Montréal, Québec







Keynote Panel:

Dena Davida, Co-Founder, Tangente, Montréal, Québec;

Roselle Pineda, Professor, Department of Art Studies, University of the Philippines, Diliman, Philippines;

Clayton Windatt, Interim Director, Aboriginal Curatorial Collective, Sturgeon Falls, Ontario

Most of us are familiar with curatorial practices in the context of exhibitions within contemporary museums and galleries. The idea of curation took a radical turn in the social revolutions of the sixties, in the wake of a new wave of experimentation and art making. As artists imagined artistic practices that posed critical and politically charged questions, it became the work of the curator to mediate, push-back and design events that challenged the audience’s understanding of a situation, often within the defined containment of galleries and traditional performance spaces. Arts anthropologists envision performances as extra-ordinary social gatherings – events – that transform community. These events craft a way in which we look at ourselves and how we define our communities in relation to each other. How has the idea of the socially engaged, innovative curator become a force for transformation within communities? While reflecting on identity, culture, agency and ownership, this panel will narrate many stories of how curatorial practice serves as an agent for change.


11:00 am – 12:30 pm            CONCURRENT SESSIONS

F1        Mentorship – Sparking the Next Generation of Leaders in the Arts


Inga Petri, President, Strategic Moves, Ottawa, Ontario & Whitehorse, Yukon

The rewards of helping to mentor the next generation of arts leaders are great. Successfully mentoring a younger colleague also can pose some particular challenges. Especially when some aspect of the mentorship relationship feels a little awkward, some unexpected obstacles to a successful relationship can appear. In this workshop we will explore different styles of communication, differing ideas on how to do things, differences in taste and artistic interests, differences in values and attitudes, different personalities and ways of working, that all play a role in the mentor-mentee relationship.

Drawing on years of mentoring formally and informally, Inga will briefly review best practices in mentorship. She will lead participants through a series of scenarios – either those volunteered by participants or some common ones mentors might encounter – to raise awareness of common pitfalls and reinforce what is going well in the mentor-mentee relationship already.

F2        Common Threads, Common Shreds and Common Vision


Roselle Pineda, Professor, Department of Art Studies, University of the Philippines, Diliman, Philippines

Drawing inspiration from the form of “social gathering” and/or cultural jamming practiced by various indigenous peoples’ in the Philippines as a way of ideas-exchange, sharing, debate and conflict resolution, the workshop seeks to gather a small number of participants with diverse backgrounds to test a way of group facilitation that focuses on common experiences and common struggles to, hopefully come up with a common vision.

The workshop will end by devising a performance that presents the common vision drawn from participants’ common experiences and struggles.

F3        The Light at the End of the Tunnel: Funding Policies for the Performing Arts in Rural Communities


Loree Lawrence, Multi and Inter-Arts, Community-Engaged Arts and Community Arts Councils Program Officer, Ontario Arts Council, Toronto Office;

Lys Stevens, Interim Inter-Arts Office Program Officer, Canada Council for the Arts, Ottawa, Ontario;

Randy K. Miller, National Manager, Canada Arts Presentation Fund, Canadian Heritage;

Inga Lubbock, Program Manager, Ontario Trillium Foundation, Simcoe-York Catchment Area

Are the policies guiding provincial and federal support of performing arts in rural communities aligned with the needs of rural artists, producers and presenters?

Learn about the current thinking of the Department of Canadian Heritage, the Canada Council for the Arts, the Ontario Trillium Foundation and the Ontario Arts Council regarding support of the performing arts in rural settings. Find out how their programs are evolving, how their objectives are connecting with the needs and interests of rural arts practitioners. This will be a unique opportunity to engage with policy advisors at a time when public support of the arts is being evaluated and redefined.

The conversation with the panelists will be continued during a 90-minute networking lunch immediately following the presentation.

F4        Crowdfunding Your Artistic Project


Rebecca Niblett, Co-Founder, Crowd Wise, Lindsay, Ontario

Aline Lilwall, Co-Founder, Crowd Wise, Lindsay, Ontario

Kirk Lilwall, Co-Founder, Crowd Wise, Lindsay, Ontario

Crowdfunding can help an artistic project by raising funds, but it can also help by building a community (and potential audience) around the project. These two goals are complementary and should both be pursued in any crowdfunding campaign. This workshop will address how to work towards both goals using various online crowdfunding platforms.

The session will provide with a brief introduction – defining crowdfunding, explaining the technology and terminology of crowdfunding, listing some options of crowdfunding platforms, and the basics of any good crowdfunding campaign. The Presenters will use their successful crowdfunding campaign for Murphy’s Law, a documentary film that premiered in June of 2016, to demonstrate the important aspects of any crowdfunding campaign.

The workshop will also address the questions many first time crowdfunders may have. “Should I bother trying a crowdfunding campaign? What goal should I set for my campaign, and should I choose an “all or nothing” or a “flexible” campaign goal? What should I include on my campaign page? How do I choose campaign rewards or perks? How can I get people interested in my campaign and my project? How can I turn campaign supporters into audience members for my project?” Questions and audience participation will be encouraged.

Participants will be asked to come up with an idea for a project – or a portion of a project – that could be crowdfunded (this can be a real project you are currently working on, a dream project, or even a project idea you never plan to finish). Participants will be guided through exercises to start planning their crowdfunding project. We will work through the planning process together and in small groups.

Participants will come away from the session with a better understanding of how crowdfunding can be used for preforming arts projects. Particularly, they may be further interested in learning about crowdfunding’s potential to build audiences, and will have learned some tricks to make their crowdfunding campaign a success.

F5        Public Performance, Community HEART


Anne Barber, co-Artistic Director, Shadowland Theatre, Ward’s Island, Toronto, Ontario;

Brad Harley, co- Artistic Director, Shadowland Theatre, Ward’s Island, Toronto, Ontario;

Alan Colley, Aboriginal Historian, Guide, Teacher, Aboriginal Eco Tours & Shadowland Theatre, Ontario

With a focus on working with the natural, Indigenous and settler histories, Shadowland will introduce participants to techniques of unearthing local themes and assets and manifesting them in large-scale community-engaged theatre productions.

Hands-on components will include exercises used for idea generation and development including: a mapping/questionnaire activity to identify local components – assets, challenges, demographics, industry/occupation, histories, existing or past events that could be revived; quick drawing exercises that explore themes. We will use a combination of techniques that generate material from participants from both the intellectual “thinking” mind and also the more visceral, collective visual “mind”. The mapping/questionnaire will be like a community board game that challenges predictable answers and highlights the new and unexpected. Participants will then share their commonalities and differences and look at where to bridge gaps and take potential new directions.

Presenters will also focus on the importance of, and how to include, Indigenous perspectives to create a common understanding and foundation. This will be done by introducing the Anishnaabe Seven Grandfather Teachings that focus on the origins of the land and its place in the Great Lakes bowl and directly address community survival. These provide a format to discuss sustainability and the often contradictory-seeming relationships that occur between industry and community, history and new initiatives. In particular these will focus on bringing young people into an appreciation of how through the arts and resources the land can create opportunity.

Participants will be introduced to using high visibility and community engagement techniques that animate public spaces and capture the imagination and interest of local communities and visitors alike and that are particularly appropriate for engaging youth; how Indigenous teachings and perspectives can be used to re-examine approaches to rural community sustainability; as well as techniques that generate ideas from very different sources, and illuminate ways to address challenges and obstacles, bringing assets and connections to the fore.

12:30 – 2:00 pm         LUNCH (last half hour Interactive Network Station available)

2:00 – 3:30 pm           Concurrent Sessions

F6        Spontaneous Performance Action Response Community (SPARC)


Clayton Windatt, Interim Director, Aboriginal Curatorial Collective, Sturgeon Falls, Ontario


Penny Couchie, Co-Artistic Director, Earth in Motion World Indigenous Dance and Co-founder, Aanmitaagzi, Nipissing First Nation, Ontario;

Others, TBC

A fully immersive multi-arts activation workshop in which all participants reflect upon regional issues, national conversations, artistic context and the complexity of unity or opposition. This one-hour fast-paced development project will include a full spectrum of community-engaged multi and inter-arts practices and result in a performative work jointly produced by participants. Within the context of collaborative exploration, participants and the subjects explored within will reflect consensus.

Bring creativity, enthusiasm and an understanding that we will attempt to enact a “happening” which is impossible to forecast but perhaps, together, we can dream into existence.

F7        Deepening Sense of Belonging Through Arts and Culture


Frédéric Julien, Director of Research and Development, Canadian Arts Presenting Association/Association Canadienne des organismes artistiques (CAPACOA), Ottawa, Ontario

Dominique O’Rourke, Consultant & Chair of the Community Foundation of Guelph Wellington, Ontario

What is belonging? And how does it relate to arts and culture? During this session, participants will be given the opportunity to delve into the preliminary findings of a unique exploration of Arts, Culture and Sense of Belonging. Using a mix of data, case studies and dialogue, participants will gain an understanding of how arts and culture programs can enhance the sense of belonging to a place, a neighbourhood, a community. Most importantly, participants will also generate actionable insights to deepen the sense of belonging in their own community. This action research project is led by Community Foundations of Canada and CAPACOA, as part of the national Vital Signs program.

This unique action research session will challenge participants in a number of ways: the research is currently underway and we cannot confirm yet what the main findings will be; and the most important insights will be generated by participants themselves.

Action research has proven to be an effective design to generate change. In our past experience with The Value of Presenting, dialogic reflection has been a valuable method for exploring the ‘what?’, the ‘so what?’ and the ‘now what?’. We anticipate that the ‘what?’ and ‘so what?’ may include a mix of community arts, community engagement and placemaking. As to the ‘now what?’, it will emerge over the course of the session.

F8        Cultural Bridges & Inclusivity


Patricia Fell, Artistic Director and Production Manager, The Pelee Island Stone & Sky Music & Arts Series, Pelee Island, Ontario

Trevor Malcolm, Programme Manager and Composer, The Pelee Island Stone & Sky Music & Arts Series, Pelee Island, Ontario

This session will focus on the Pelee Island Stone & Sky Music & Arts Series, having now completed its fourth season. Pelee Island is a remote and rural community accessible only by sea or air service, with the major economic driver being the reductive industries of quarrying, fishing, commercial agriculture (soy beans, wheat, grapes), and various forms of tourism (eco and non-eco). The permanent population is a dwindling 150 people, who suffer from a lack of economic opportunity and diversity resulting in the exodus of Islanders in search of employment. It has been under a boiled water advisory for the past ten years, suffers chronic substance abuse and low self-esteem, and is one of the most beautiful and biologically unique spots in all of Canada. We hope to help its cultural regeneration.

Stone & Sky falls under the umbrella programming of Windsor Feminist Theatre which seeks to illuminate the reality of women’s lives and stories through theatre and the arts. Stone & Sky offers a growing and eclectic series of events encompassing musical and spoken word concerts, artists’ residencies, open and free workshops and other community-engaged events. The series takes place from mid-June to mid-September in Canada’s southernmost inhabited community, and integrates professional artists, community members of all ages, and both arts and non-arts based organizations from the Island and the mainland.

This workshop will explore the importance of participation in community held events, accessing the community through counter-intuitive means, and offering artists a means of inclusion. Specifically, the facilitators will recount their successes and failures regarding participation in the highly community-driven Canada Day parade, the initiation of a farmers’ market, and the creation of artist residencies. We hope our experience and open discussion will beneficially inform other rural and remote live performance and arts based organizations.

F9        Making Rural Theatre: Coast to Coast Companies Conversing       


Hugh Neilson, Managing Director, Great Canadian Theatre Company, Ottawa, Ontario


Natasha MacLellan, Chair of the PACT (Professional Association of Canadian Theatre) Rural Caucus and Artistic Producer, Ship’s Company Theatre, Parrsboro, Nova Scotia;

Gil Garratt, Artistic Director, Blyth Festival Theatre, Blyth, Ontario;


In May of 2015, at the Professional Association of Canadian Theatres (PACT) AGM, theatres that identified as Rural united to form a caucus. The Rural Caucus is unified around issues particular to making professional theatre outside of major city centres, and also the desire to delve into these issues with the hope of finding solutions where possible. The caucus members made a list of 20 talking points and spent the next year talking. We met again in May 2016 at the subsequent PACT AGM, with the intention of creating a plan for advocacy and action.

In this panel, members of the PACT Rural Caucus will share the horror stories, anecdotes and insights into making professional theatre in communities that range in every shade of rural. In addition to sharing how we make our work, we will share what we’ve gleaned from a year of coast to coast conversations about theatre-making.

F10                  Assessing & Fine-tuning Your Rural Arts ‘Marketing System’


Inga Petrie, President, Strategic Moves, Ottawa, Ontario and Whitehorse, Yukon

In this practical workshop, Inga will guide participants through presentation, conversation and exercises toward a clear understanding of marketing tactics ranging from traditional media to online channels.

Using her recent work with clients in rural and remote communities as case studies, participants will gain a greater understanding of how to assess their marketing activities and how to make marketing decisions with confidence.

Throughout the workshop, Inga will encourage participants’ conversation about the most relevant – that is cost-effective and efficient – tools to develop budget-neutral marketing approaches that are well-suited to small, rural contexts.

4:00 – 5:00 pm                  PLENARY – Highlights & Insights                                                  

Facilitation Team:

Photo by Sticks and Stones Productions

Photo by Sticks and Stones Productions

Michele Emslie, Yukon Arts Centre, Whitehorse, Yukon;

Thom Lambert, Singing Dog Studio, Haliburton, Ontario;

Lisa Tolentino, Ontario Healthy Communities Coalition, Haliburton, Ontario;

Sue Shikaze, Health Promoter, HKPR District Health Unit; Chair, Communities in Action Committee, Haliburton, Ontario;

Kate Hall, Active Transportation Planner, Communities in Action Committee, Haliburton, Ontario

An interactive opportunity to put words into action, Highlights and Insights will provide participants with guided/facilitated exercises to transform their learnings of the day into action plans for incorporating into their work at home.

5:00 – 7:30 pm           DINNER (on own – see Dining Options 2016)

7:30 pm                       ROCKY HORROR PICTURE SHOW  (by donation, suggested $10, in exchange for ‘prop’ bags!)

                                    Donation proceeds to be donated to Point in Time to support LGBTQ Youth in pursuing a performing arts career.