“Grow Grants provide multi-year support for a limited number of longer-term, collaborative initiatives that propose sustainable solutions to issues within and beyond the arts sector and demonstrate strong potential to be scaled up for regional, national, or international impact.
Grow provides large-scale support for existing innovation projects that have already been successfully developed, tested, prototyped and/or piloted. Projects must address systemic issues in the arts sector and propose sustainable solutions to sectoral or cross-sectoral issues to help rebuild a more resilient, sustainable, equitable, accessible, greener, healthier, and connected arts sector.
Fonds d’innovation stratégique : subventions pour Accroître (Conseil des arts du Canada)
“Les subventions pourAccroître du Fonds d’innovation stratégique fournissent un soutien pluriannuel de quelques initiatives collaboratives à long terme, qui proposent des solutions durables à des enjeux sectoriels ou transsectoriels, et qui démontrent un grand potentiel de déploiement et de retombées à l’échelle régionale, nationale ou internationale.
Cette composante vise à fournir un soutien majeur à des projets d’innovation qui existent déjà et qui se sont avérés réussis durant les phases de développement, de tests, de prototypage ou de mise à l’essai. Les projets doivent traiter d’enjeux systémiques touchant le secteur artistique et proposer des solutions à des problèmes sectoriels ou intersectoriels qui sont pérennes et qui favorisent la reconstruction d’un milieu plus résilient, durable, équitable, accessible, écologique, sain et connecté.
“STORIES OF NOW” is part of a project ArtBridges is working on with Judith Marcuse Projects’ ASCN (Arts for Social Change Network) and ICASC. It is about gathering and sharing stories emanating from the field now and about what issues and areas of focus matter.
In conversation with: Maude Levasseur, Director of Arts Engagement & Erika Kierulf, Associate Director, Arts Engagement, National Theatre School of Canada (Montreal), December 6th, 2021
If you could tell a story about your community-engaged arts initiative now, this year, what would the story be about? What are the main themes?
Erika: Our underlying theme is well-being and care. I don’t want to say that the pandemic is over but we need to approach the projects we’re doing in the schools, and with community with this in mind. We’ve been working on sharing table and events around “healthier theatre” and what it could look like.
Maude: Story of Now… we are in a sharing before healing phase. We are getting out of our homes, and we are telling people what happened. Well-being and care are really on our minds, we are now using a very “health/diagnosis” way of taking care of each other. We hope sharing stories to eventually heal and diagnose where we are now. It’s a story of how to come back, how to redo things, redo the same? Do better? The wheel was broken, and things stopped turning. Now there’s a different way to move forward. Around arts in Montreal – this idea that things were perfect before the pandemic is a bit absurd. People are slowly coming back to theatre spaces, but audiences were a problem before covid. We need to learn how to take care of the public and audiences. Re-thinking on the relationship and mutual respect between the audience and artists is kind of new. Why would I pay to sit in a dark room to listen to you? Why are you telling me this story now? And how do you prepare me before the experience and after? This conversation is happening more and more, and I can’t wait to see what will come out of this.
On the other side of things, techs and artists have been told they weren’t essential and will have a long-lasting effect that we need to address. Also, as the rules and regulations changed, artists and tech workers are so needed – they feel guilty if they turn someone down and our worry is that they will burnout. This is a part of the arts that people don’t talk about and share as much, the part where it’s not just art, it’s humans, it’s work, it’s healthy and unhealthy practices.
What are the main issues your community-engaged arts initiative faces? (e.g., social justice, environmental justice, pandemic-related, operational, financial, HR)
Erika: Since the pandemic, our department has been trying to find ways to pivot from in- person to online. How can we connect or create a sense of connectedness during these disconnected times, when we are all craving to be together?
Maude: Social justice in a very large sense – everything from the gap between rich and poor, White and IBPOC people, straight and LGBTQ+, youth and adult, able and disabled … It was always on our minds, but with covid, it’s even more acute. Switching online is about ableism too. Some communities are able to see more content, everything is suddenly free, art is for everyone- in your home, at your own pace. This is a major game changer.
On the other hand, there is a big part of our community – youth, that is tired of being online, in a way that they are not normally. Our generation is less connected to the internet than the kids (they have school online all day, friends online after school). We can see how the fatigue is about connecting online and not interacting, disrupting, moving. They are on the receiving end all day and that can be hard – at an age of speaking and sharing truth with friends, being in front of a “void” with no one to pass a paper, pen, secret written message to. Kids are starved of contact even though they have online capacity.
How has your initiative been addressing these main issues?
Erika: Art Apart was a micro grant program launched 2.5 weeks into the pandemic. NTS found ways to give contracts to artists – to create a work and present it online, in any shape or form. We supported them through producing and presenting. It was our way of giving mentorship to emerging artists, but also keep “art” and “making” alive in their life. We did that right away. We now have a new pool/network of emerging artists that this granting program created – a community of young artists that we will continue to work with. Following – in the fall- with an ambitious project for the DramaFest: to take the festivals from in-person to online, trying to solve the problem of how to gather at a distance. We created a platform for them to share, learn and connect. An online space for students and teachers to upload work, receive comments from artists and interact. We ran panels for four days and gave access to a dozen workshops.
Maude: We created the platform for students to share their work and learn online in a non- competitive space – having a festival that is non-competitive and that could gather youth from across Canada is our dream. We had an awesome group of artist educators. We created a set of workshops that could not happen in real life – about 12 workshops, led by artists who teach to our professional students at NTS. Kids at the festival could do the workshops at their own pace and then we had a Q & A for the students who wanted more. We really thought it through. It was a good chance to practice a better way, a dream way of designing art pedagogy. Now we can build from there and have a complementary tool to the “in-person” festival.
Accessibility- knowing some districts have capacity and some don’t, they will be able to share their network with other districts; it’s not just one district that can benefit from the network. Not just their community, their school – people access the platform and can see the work. They can also look at the work other schools did. We also made this it free this year, more accessible.
We also created fun projects for families to do at home, together, like a recipe book. At NTS, teachers did bike runs to say hi to the students. It’s beautiful to see and it brought people together in new ways.
How has the community of participants that your initiative engages with evolved in the past year (if at all)?
Maude: For the teachers of the festival – they evolved so much. We were with the teachers on a regular basis, teaching teachers how to use the platform. Their ability to trust their students has really improved. Covid had the effect of breaking the hierarchy between teachers and students – youth are better at online than the teachers! This was a big learning curve for us. We saw more student written work with the prerogative of presenting work online. Mainly because teachers could not pay royalties, but also because we put a real emphasis on work in progress. The idea of not being perfect, not being an outstanding project, just show up – take a risk and see how it can be the beginning of something.
Erika: I echo that – things not being perfect, this links to our main theme this year: care, give yourself a little slack. This is for the community and instructors, as well. Things don’t have to be perfect. It will be what it will be. We also learned a lot about each other, the teachers and us. We are Maude and Erika, real humans, not just representative of an institution, but real people who want to help. Now the way we talk together changed. We did this big thing, we got through it together. This year they got the message. Now they understand how they can be the teacher and the student. Maude and I hosted the online event for four days, that also gave us the chance to be really honest with the students. At the end of the four days, they could see we were beyond tired but keeping it together for them, good humor and a community feeling was so needed.
How is your organization engaging with your community right now? (Logistics, pandemic public health and safety guidelines & policies, changes in the way we gather)
Erika: Our return to in-person programming in the Fall of 2021 began with an event that explored the relationship between grand-parents and their grand-kids, before NTS’ student shows were ready for the public. It coincided as a way for the school to adapt to health regulations in the province: Quebec had the vaccine passport, people had to wear masks, there were limited places to attend art installations. The school was more careful than public health, it was a safe space for students. We took it really, really seriously.
Maude: Through this intergenerational conversation program, we found the feeling of “meeting in person” back. We had a video and sound installation based on their conversations and it was open to families and the public to see. It helps that we are a school and not a theater, we are not presenters, so we have different health rules. Now we are allowed to go full capacity, with masks. It’s still scary. There is different level of comfort among people, and it is something to negotiate. I don’t think this wellbeing/level of comfort will resolved soon, it will be a conversation to have for a while and it’s good. It’s a lesson on consent and empathy and that’s always a good thing.
What are one or two new projects your initiative implemented this year?
Art apart was a micro-granting program- to showcase artists’ works online. DramaFest Salon – an online drama festival with panels and online workshops. Ties, an intergenerational conversation project Art is in the house! Online activities for families by artists and theatre makers
What is your initiative doing new–digitally–compared to pre-pandemic?
Erika: Everything! We were not doing a lot of new media before. In our department, not at all. What the pandemic has done to the school, the community programs and the shows is a lesson on how to pivot to “online everything.” It broadened some ideas and brought accessibility for our programming. Theaters streaming shows has created possibilities to enlarging audiences for those who many have mobility issues or who are rurally based. It also had the downside of reducing our place-based program, which we are still grieving.
Maude: We switched to online fast – Erika is a good tech person and that’s lucky for us. The year prior to the pandemic, the Ontario teachers were on strike, so we had to cancel the DramaFest season. The following year was the pandemic. We pivoted very quickly because we didn’t want to cancel two years in a row. It would have been terrible on the students’ moral. The other departments in the school were very surprised at how effective and meaningful an online program could work. The school now knows it is possible to reach far, to switch the delivery of pedagogical content without diminishing pedagogical content. Teachers learned to teach online. We sometimes feel like we switched from the community programs to open source, digital content programs. Sometimes people think that we can do anything because of how quickly we all pivoted, but we need to remind everyone, that we are also a bit burnt out by this speed.
Erika: We are only three in our team and our dedication to help more and more communities is the reason we work that much. Maude founded this department so it’s even more heartbreaking for her when we can’t do it all, but at some point, we have to take things slow, so that we do it with care and intention.
Is there a recent achievement, wonderful moment, or quote you’d like to share about your initiative or its impact?
Maude: A recent achievement was to switch Erika to the Associate Director position! We are very happy about this.
Erika: A recent achievement – was the wonderful feedback we received for work with the platform. We pivoted quickly, created something completely new for the kids and teachers. Our next project – next September – a big ambition – is a research centre at the Monument-National.
In conversation with Seanna Connell, ArtBridges, sconnell[at]artbridges.ca
“Canada wide call for emerging artists with disabilities.
ABOUT THE GRANT This grant aims to sponsor artists with disabilities in preparing and presenting artwork across a variety of disciplines. The grant to be awarded will be between $3,000 and $3,500, which will be distributed to one successful applicant.
ELIBIGILITY For the JRG Grant, applicants must:
Be an emerging artist
Identify as a person with a disability/disabilities
Be seeking funds in support of developing and/or presenting an artistic project
Reside in Canada
Projects can be in any artistic discipline (i.e. filmmaking, visual art, theatre, dance, writing, etc). Applicants who are not successful may re-apply in future years.
We welcome and encourage applications from artists with disabilities who experience multiple structural barriers to resources and artistic development opportunities, i.e. women; transgender and non-binary artists; Indigenous artists; Black artists; artists of colour; queer artists, low-income, poor, and working-class artists, etc.”
“The Canadian New Music Network is excited to call for Participatory Creative Music Projects to be hosted on the online Participatory Creative Music Hub. Successful applicants will be provided funding for documentation of an existing project.
Amount of grant: $800.00
Application deadline: February 20, 2022
Deadline for submission of documentation via online upload form for selected projects: April 23, 2022
What is Participatory Creative Music?
At CNMN, Participatory Creative Music is a multitude of approaches to creating music in which everyone involved, regardless of their prior experience in making music, has active input in the creative process. Authorship and decision-making is shared to greater or lesser degrees, depending on context.
The Hub showcases people from all walks of life creating music together. Whatever you call it – participatory creative music, community music, jamming, co-composition, improvisation, music exploration, listening games or having fun with sound – The Hub celebrates music creativity for everyone.
The main criteria for projects is that all participants have active input in the creative process, whether they are 4, 40 or 94 years of age, an experienced musician or making music for the first time. Projects must take COVID-19 measures into account. Projects in remote and isolated areas are very encouraged.
What is an eligible project?
An eligible project is a participatory creative music activity already occurring in the community, whether on-going or completed. Projects may take place in the fields of health care, education, social services, prisons and more.
This year’s call will prioritize projects related to health.
The purpose of this grant is to support documentation of an existing PCM project to provide inspiration and tools for user groups of the Hub to make their own music. It is crucial that documentation is instructional in nature, rather than promotional. Links to biographical information via a CNMN member page and external links are possible on the project webpage.
Participatory music takes place in all kinds of settings with all kinds of people. Documentation can reflect this, and doesn’t have to be of studio-quality audio or video where that is not possible or appropriate. Sometimes a video capture from your cell phone or screen capture from zoom speaks volumes. Documentation should best reflect the nature of the project, communicate well on an on-line platform and assume varying levels of music training.”
“We invite anyone interested in EDI in the cultural industries to submit a paper proposal (whether you are a researcher, student, artist or cultural worker). We look forward to receiving papers on a variety of topics related to EDI and the cultural industries, including the role of cultural organizations. We aim to present research results and testimonials from the experiences (initiatives, issues, etc.) of cultural workers and artists.”
Please view or download the full Call for Papers & Session Proposals below:
Right now, in every corner of Canada, community-engaged artists and organizations are nurturing new forms of collaborative creation, dialogue, partnerships, and action for positive change. Together let’s explore important questions: Who is doing the work? What are the current struggles and innovative solutions? How can we and how do we address issues of equity and justice? How are we rising to the critical challenges happening in the community-engaged arts landscape today? Come celebrate the power of transformative change through the processes of participatory artmaking!
“Are you, or an artist you know, interested in gaining experience, building networks and professional skills needed to launch or expand a public art practice?
STEPS believes public art has the ability to challenge the systemic inequities that exist in public space. In support of this important work, we facilitate programs that: foster inclusive public art practices; build the capacity of artists who are underrepresented in Canadian public art and demonstrate the power of art to reimagine equitably designed cities.
We are thrilled to launch the 2022 CreateSpace Public Art Residency, a national public art program designed in collaboration with advisors from coast to coast, to provide emerging Black, Indigenous (First Nations, Inuit and Métis) and racialized artists with the skills, relationships and practical experiences needed to build and advance public art practices.
Ten artists from across the country participated in the program’s inaugural year, acquiring valuable skills in the field of public art. Each artist created unique and inspiring public artworks that ranged from experimental to performative to sculptural. Visit the 2021 CreateSpace Public Art Residency webpage to learn more about these artists and their projects.
This residency is open to early to mid-career Canadian-based visual and media artists working in public space, who identify as Black, Indigenous (First Nations, Inuit and Métis) and/or racialized, interested in participating in a virtual residency from March through December 2022. Up to ten artists will be selected for this opportunity by a review panel composed of members of the arts community who identify as Black, Indigenous and/or racialized. Program components will be offered primarily in English, with translation and ASL services available as needed to support participation of a diverse community of artists.
Applicants must be a Canadian citizen, or Permanent Resident to qualify for this opportunity. Interested applicants must submit their expressions of interest by Monday, January 31, 2022 at 11:59 PM PST. Those living outside of the Pacific time zone are encouraged to use a timezone converter to ensure your application is received by the deadline.”
“Êtes-vous, ou un artiste que vous connaissez, intéressé en acquérir l’expérience, dans la création des réseaux et compétences professionnelles nécessaires pour lancer ou développer une pratique d’art public?
STEPS Public Art croit que l’art public a la capacité de défier les inégalités systémiques qui existent dans l’espace public. Pour soutenir ce travail important, nous facilitons les programmes qui encouragent les pratiques d’art public inclusives, renforcent les capacités des artistes sous-représentés et démontrent comment l’art public peut aider à ré imaginer des villes conçues de manière équitable.
Nous sommes ravis de lancer la 2022 Résidence d’Art Public, un programme national d’art public conçu en collaboration avec des conseillers d’un océan à l’autre, afin de fournir aux artistes noirs, autochtones (Premières nations, Inuits et Métis) et les artistes racialisés avec les compétences, les relations et les expériences pratiques nécessaires pour construire et faire progresser les pratiques d’art public.
Dix artistes à travers le pays ont participé à la première année du programme, acquérant des compétences précieuses dans le domaine de l’art public. Chaque artiste a créé des œuvres d’art public uniques et inspirantes, variant de l’expérimentation à la performance en passant par la sculpture. Visitez la site web de la 2021 CreateSpace Résidence d’Art Public pour en savoir plus sur ces artistes et leurs projets.
Cette résidence est ouverte aux artistes visuels et médiatiques basés au Canada, en début ou en milieu de carrière, travaillant dans l’espace public, qui s’identifient comme noirs, indigènes (Premières Nations, Inuits et Métis) et/ou racialisés, qui s’intéresse à participer à une résidence virtuelle de mars à décembre 2022. Jusqu’à dix artistes seront sélectionnés pour cette opportunité par un comité composé de membres de la communauté artistique qui s’identifient comme noirs, indigènes et/ou racialisés. Les éléments du programme seront offerts principalement en anglais, avec des services de traduction et des services de langue des signes américaine en anglais (ASL) seront disponibles au besoin pour soutenir la participation d’une communauté diversifiée d’artistes.
Les candidats doivent être citoyens canadiens ou résidents permanents pour se qualifier pour cette opportunité. Les candidats intéressés doivent soumettre leur manifestation d’intérêt avant le lundi, 31 janvier, 2022 à 23 h 59 HNP. Les personnes vivant dehors du fuseau horaire du Pacifique sont encouragées à utiliser un convertisseur de fuseau horaire pour s’assurer que leur demande est reçue avant la date limite.”
“Mural Routes invites mural artists from all across Canada, to submit an expression of interest to design and produce a videoconference platform digital background that can be used on apps such as Zoom, Google Meet, Teams, Webex and GoToMeeting. A total of ten (10) digital backgrounds will be commissioned.
The digital backgrounds will be made available on Mural Routes’ website for anybody to download and use.
No previous experience with digital design is necessary – selected mural artists will have the opportunity to participate in a Digital Design workshop in order to produce the digital backgrounds. Tech can also be provided – if you do not have a device to design (iPad or other), Mural Routes will be lending mural artists one to participate in the workshop and to produce the digital background. The theme of the backgrounds is open. No logos, advertising, shocking imagery or offensive language will be accepted.
Digital backgrounds will meet the following dimensions: min. 1920x 1080 px (16:9 ratio- HD) – max. 3840 x 2160 px (16:9, 4K).
All mural artists legally able to work in Canada are eligible to apply. Any mural artist may submit a proposal in accordance with the guidelines provided below. We welcome and encourage submissions from mural artists of all backgrounds and walks of life including, but not limited to, emerging artists who identify as Indigenous, Black, and/or artists of colour; female identifying artists; refugee, newcomer and immigrant artists; and those who have been greatly affected by the pandemic.”
“STEPS Public Art believes public art has the ability to challenge the systemic inequities that exist in public space. In support of this important work, we facilitate programs that foster inclusive public art practices, build the capacity of underrepresented artists, and demonstrate how public art can help reimagine equitably designed cities.
We are thrilled to launch CreateSpace Public Art Forum, a digital forum that will virtually convene 50 participants who identify as Black, Indigenous (First Nations, Inuit and Métis), racialized, rural and/or youth with disabilities and between the ages of 18-25. CreateSpace Public Art Forumruns from January 10-30, 2022. This forum will foster connections, build understanding across geographies and cultures, as well as provide emerging equity-seeking artists with the skills, relationships and support needed to develop public art practices.
CreateSpace Public Art Forum will see the presentation of 10 pre-recorded talks/workshops created by professional public artists and cultural workers. These talks/workshops will be available in both video (YouTube) and audio (Podcast) versions for accessibility, with ASL translations. Each talk/workshop will be themed around various ideas and concepts of public art practices. Participants will engage with these talks/workshops and create an artistic response, with feedback from peers, as well as one on one feedback from established public artists. Their participation will culminate in a profile on the STEPS Public Art website with a virtual presentation of their work.
Program components will be offered primarily in English, with translation and ASL services available as needed to support participation of a diverse community of artists. Interested applicants must submit their expressions of interest by Sunday, December 12, 2021 at 11:59 PM PST. Those living outside of the Pacific time zone are encouraged to use a timezone converter to ensure your application is received by the deadline.
STEPS Public Art croit que l’art public a la capacité de défier les inégalités systémiques qui existent dans l’espace public. Pour soutenir ce travail important, nous facilitons les programmes qui encouragent les pratiques d’art public inclusives, renforcent les capacités des artistes sous-représentés et démontrent comment l’art public peut aider à réimaginer des villes conçues de manière équitable.
Nous sommes ravis de lancer CreateSpace Forum d’Art Public, un forum numérique qui réunira virtuellement 50 participants âgés de 18 à 25 ans qui s’identifient comme Noirs, Autochtones (Premières Nations, Inuits et Métis), racialisés, ruraux et/ou les jeunes handicapés. CreateSpace Forum d’Art Public se déroule du janvier 10 au 30, 2022. Ce forum encouragera l’établissement de liens, la compréhension et l’appréciation à travers les géographies et les cultures, fournira aux artistes émergents soucieux d’équité les compétences, les relations et le soutien institutionnel nécessaires à la croissance et au développement des pratiques d’art public.
CreateSpace Forum d’Art Public verra la présentation de 10 conférences/ateliers préenregistrés créés par des artistes publics professionnels et des travailleurs culturels. Ces conférences /ateliers seront disponibles en format vidéo (YouTube) et audio (Podcast), pour des raisons d’accessibilité, avec des traductions en langue des signes américaine en anglais (ASL). Chaque conférence/ateliers s’articulera autour de diverses idées et concepts liés aux pratiques de l’art public. Les participants s’engageront dans ces conférence/ateliers et créeront une réponse artistique, avec les commentaires de leurs pairs, ainsi que des commentaires individuels d’artistes publics établis. Leur participation aboutira à un profil sur le site web STEPS Public Art avec une présentation virtuelle de leur travail.
Les composantes du programme seront offertes principalement en anglais, avec des services de traduction et services langue des signes américan en anglais (ASL), disponibles au besoin pour soutenir la participation d’une communauté diversifié d’artistes. Les candidats intéressés doivent soumettre leur expression d’intérêt avant le dimanche, 12 décembre, 2021 à 23h59 HMP. Persons qui vivent en dehors du fuseau horaire du Pacifique sont encouragés à utiliser un convertisseur de fuseau horaire pour s’assurer que leur application est reçue avant la date limite.
“The world has endured a collective traumatic experience throughout the past eighteen months. As arts and learning practitioners, we regularly see the impact that the arts have in students and participants’ lives. As we eagerly, yet tentatively, look towards pandemic recovery, we recognize the vital role that the arts must play in the health and wellbeing of Canada’s citizens, communities and society as a whole. We have also learned a great deal about the importance of technology and the intrinsic value it has to facilitate connectivity and broaden the range of arts and learning opportunities available to the public.
We welcome you to take part in Creative Convergence, the biennial conference presented by the Canadian Network for Arts & Learning taking place virtually on October 28 & 29, 2021. Join delegates from across Canada and around the world who are committed to arts and culture, education, recreation, health, therapy, medicine, humanities, social justice and community. Take part in a creative exchange featuring an overarching theme of “recovery” and including streams of health & wellbeing, and community connectivity.
The conference will feature thought-provoking speakers, rousing performances, panel discussions, real-life testimonials from artists and educators, parallel and poster presentations, regional break-out discussion groups, networking sessions and much more.”