CCA Board of Governors Elections 2011

Amir Ali Alibhai is well known to most artists throughout the Lower Mainland in BC, and across the province and the country through his work as an artist, curator, educator, volunteer and passionate contributor to the arts for the past twenty years.  
  
Amir was one of the founders and past president of the Rungh Cultural Society, which published Rungh, a magazine of contemporary diasporic South Asian culture (1992-1997), and was part of the initial staff team that established and developed the innovative Roundhouse Community Arts and Recreation Centre, working as an arts programmer from 1997 to 2008. He was a cultural planner for the City and District of North Vancouver’s joint North Vancouver Office of Cultural Affairs, where he was responsible for developing granting programs for arts organizations before taking on his current role as executive director of the Greater Vancouver Alliance for Arts and Culture.

He is an active interdisciplinary artist and has practiced as a curator of visual arts and community based arts, working with artists and organizations throughout BC, representing most disciplines and degrees of professional practice.  He has worked as a gallery educator and curator at the Richmond Art Gallery (1989-1996), assistant and guest curator at the Surrey Art Gallery (1995-1997) and as an independent curator/cultural writer since 1989.

As a volunteer, Amir has served on various boards and committees throughout his career, including for several years on the board of ArtStarts in Schools and more recently, the board of the Canada Council for the Arts (2005-2008).  During his term at the Canada Council, he was the board liaison with the Racial Equity in the Arts Committee (REAC), the Public Lending Right Commission (PLR), and also served on the Executive and Governance Committees.  Amir holds a bachelor's degree in microbiology (immunology 1985), a bachelor's degree in fine arts (painting 1989) and a master's degree in curriculum studies (art education 2000). His master's thesis was on cross-cultural collaboration.

Statement of Intent

Throughout my career, there have been recurring and consistent interests that have occupied my time and passions: cultural diversity and the opportunities for innovation and creation inherent in this condition for the arts and cultural development; art education; and community cultural development, or engagement between the public and the professional arts.  Culture is an evolving phenomenon and the arts reflect some of its finest expressions.  I am interested in arts advocacy in all its forms, from political to community-based strategies.  I believe that the arts, as an expression on freedom of expression, like freedom of the press and freedom of religion, are critical and necessary to a successful, democratic society.  As a leader within the arts community in BC, I am able to bring a perspective that is outside the usual purview of many national service organizations in this country. I also have access to networks that extend beyond my own organization and that are able to communicate relevant information or calls to action widely.

Liz Barron has been involved with self-directed contract work for the last 15 years. Liz ‘retired’ from the federal government in 1991. Her background includes management and marketing skills in the not-for-profit and private sectors. She partners with other like-minded businesses and has extensive background in Aboriginal and diversity issues within the cultural sector.

Currently operating a Winnipeg-based arts consulting business, her mission is to enhance the health and viability of Canada’s cultural sector by implementing training and development workshops, better business practices, improving youth at risk learning opportunities and expanding diverse cultural markets. With key skills in the development of Aboriginal youth based learning programs in broadcasting and IT, Liz has written and designed video production workshops, e-commerce websites and media literacy skills for youth. Since 1995, Liz has served small, medium and large organizations in the private and public sectors from Vancouver to Halifax, and has assisted numerous individual artists and entrepreneurs in the cultural and business communities. She has sat on juries for the Manitoba Arts Council, the Ontario Arts Council, the Canada Council for the Arts, the Canadian Aboriginal Music Awards (three consecutive years) and on the CBC Radio ‘Best Of’ jury. 

Liz is one of the original founders of Urban Shaman Gallery, an Aboriginal contemporary artist run centre, where she worked as the curator and executive director for numerous years.

Statement of Intent

My reasons for wanting to continue on the Canadian Conference of the Arts' board of governors are simple. The CCA is the source of information, research and advocacy for the cultural sector in Canada, and provides fair exchange, high quality research and statistics, and collectively engages all sectors within the arts and cultural industry.

The board of governors sets the direction and goals of the CCA. This needs to extend far beyond simply running a national arts service organization. As a current board member, I’ve been on the committee for arts and education and previously, on the Board Governance Committee. The Arts and Education Committee has been moving forward and I’m interested in participating further. The more members involved, the more positive impact we can have on arts education within Canada.

I am a self-employed arts manager and my practice focuses on Indigenous contemporary art and programming of Indigenous media arts within festivals and artist run centres.

Erika Beatty is CEO of Symphony Nova Scotia, one of the most broadcast and recorded orchestras in the country. 

Erika (BA ACS: Finance and Economics, UWO) has worked in the arts for more than 20 years and for the past 15 years, has held leadership positions with orchestras in New Brunswick, Mississauga, Niagara and Winnipeg before making Halifax her home in 2007. 

She is also a volunteer board member for Orchestras Canada, served on the Cultural Policy Advisory Committee for the City of St. Catharines and the Regional Municipality of Niagara and has served on juries for the Canada Council for the Arts, the Province of Nova Scotia’s Culture Division and FACTOR.  She is tickled to be one of the event co-chairs for the Bluenose Marathon and volunteers for the Grainery Food Co-op in Halifax’s north end. 

Statement of Intent

In 2010, I served my first year on the board of the CCA.  During this time, I was a member of the Finance Committee, attended board meetings by teleconference and two in Ottawa, attended the annual general meeting in June and the national conference in November, during which I was also part of the “Day on the Hill” advocacy effort by the Canadian Arts Coalition.

As a new member I have been primarily focused on ‘learning the ropes’:  starting to know staff and other board members; learning about our membership, our mission, and our challenges; thinking about what is unique about the CCA, what strengths we should build on and what weaknesses we need to address. What do we need to do more of, and what should we stop doing? 

During my first year I feel that I have asked more questions than provided answers.  Why is our membership declining?  If our mandate is critical (I believe it is) and our talent and skills sharp (I feel they are), what are we not doing to communicate the value of what the CCA offers to the sector?  How do we need to change?

If elected for a three-year mandate, my goals would be to:

• Create an advisory group of CCA members in the Atlantic provinces to better understand the needs of the sector
• Learn more about the CCA communications strategies and how it fits with the needs of our members
• Support the National Arts Profile Project to strengthen measures and statistics for the industry
• Serve as a liaison with the Orchestras Canada Advocacy Committee.  I currently serve on the OC board of directors

Clothilde Cardinal is co-artistic and general director of Danse Danse.

After completing her undergraduate studies in communications at UQAM and receiving a graduate diploma in cultural management from Hautes Études Commerciales in Montreal and the University of Ottawa, Clothilde knew that she was destined to pursue a career in arts management and the performing arts.

As the coordinator for several theatre companies (Les Deux Mondes, Carbone 14 and UBU), she received a personal grant from the Canada Council for the Arts to analyze various models of cultural production in Europe.  In 1993, she was appointed as coordinator for Francophone Theatre at the Canada Council. This position allowed her to travel across Canada and better familiarize herself with the realities of artistic production in the country.

Artistic production  is what interests Clothilde the  most . In 1995, she joined the team at the Festival de théâtre des Amériques. She also served as the artistic director of the Théâtre de la Ville in Longueuil, where she helped launch Les Fenêtres de la création théâtrale. In 2000, she partnered with Peter Des Marais to create Danse Danse, an international contemporary dance showcase based in Montreal.

As a volunteer, Clothilde has served as president of the Carré des Lombes and Cahiers de théâtre Jeu; administrator of Système D/Dominique Porte; vice-president of the Regroupement québécois de la danse (RQD); president of Chantier Territoires; and in 2009, president of États généraux de la danse. She was also as a member of the Advisory Committee for Dance at the Canada Council (2005-2006 and 2010).

She has coordinated and produced several writing and research projects for Maison Théâtre, the Canada Council and the MCCCQ. She has sat on selection committees for Rideau, CINARS, Canada Dances (2007) and the Ontario Dance Platform (2010). Clothilde has also participated in many performing arts festivals and showcases in Canada and abroad.

Statement of Intent

When Mr. Pineau contacted me regarding my nomination as candidate for the board, I was initially surprised and later began to reflect on the current state of the arts in Quebec and in Canada. Arts, both here and abroad, are at a significant crossroads. The cultural sector is very fragile, particularly given the proliferation of media and our era's obsession with speed and profitability. I believe that the amalgamation of people and ideas aids the growth of communities, and that the arts play an important role in this process. Now more than ever, it is important to defend the value of arts and culture, especially in these times of information overload (or of disinformation, if you prefer). The "global village" we value would not be possible without the arts. These are just some of my deepest concerns as I continue to think about the challenges facing our times. I am more than ready to step up and help tackle some of these problems.

My area of interest lies in the performing arts. My expertise is unquestionably in dance and theatre, more specifically with artistic production, artist development and the promotion of culture and individual expression. Knowledge is the only weapon I know that will combat against the alienation of arts and culture. Knowledge is the only weapon I know against alienation — and I sharpen it slowly, as  a  good democrat, in complete pacifism!

Ivan Habel is currently general manager for Green Thumb Theatre, a company specializing in touring new productions for youth across the country.  Ivan’s previous experience includes director of planning and education at the Stratford Festival, director of production at the Shaw Festival and various positions with Live Entertainment including production manager, technical director and concerts production supervisor.  He has also worked with and for Opera Atelier, Canadian Stage and the National Arts Centre among others.  He has worked in or toured into most provinces and internationally in a variety of art forms.  A graduate of the National Theatre School of Canada, Ivan’s work has included experience in design and production as well as management positions.  He has served on several juries for the British Columbia Arts Council , the Canada Council for the Arts and the City of Vancouver, including several multi-disciplinary assessment committees.  Ivan is currently active in advocacy efforts for increased and stable funding for artists in BC and participates on several committees for PACT including the Labour Relations Committee, the Membership Taskforce and other activities.  He has previously served on the board and executive for the Professional Association of Canadian Theatres (PACT) and as director of the International Performing Arts for Youth (IPAY) Association.

Statement of Intent

As a board member, I would hope to add my voice in advocating for stable funding for artists and arts organizations based on need and sound public policy.  I believe that debate on the need and value of public funding should be based on social and cultural policy priorities over political policy.  I would focus on strengthening the arguments for public support of artists as social cornerstones and the indirect means to generate economic, cultural and social national profit.

In addition to my interest in maintaining and growing the CCA’s advocacy profile, I have an interest in governance models that effectively represent diverse priorities.  The CCA’s broad membership presents a challenge in how best to hear and represent a membership that can have both convergent and divergent interests.  I would like to participate in discussions across artistic sectors to ensure that the CCA’s national voice best represents majority and minority concerns.

Statement of Intent

My work in the arts dates back to 1976.  The performing arts are an area where I have broad knowledge but my responsibilities while serving as Ontario deputy minister of culture and recreation and my ten years as executive director of Cultural Careers Council Ontario have informed me about issues and challenges in all sectors of the arts.

I would bring to the CCA board my experience in arts administration, financial management, governance, career development for artists, advocacy and government relations.

Human resource issues and management are my special interest. Artists and other cultural workers are the prime resource of the arts. Support for career development is especially needed in today’s tough economy. As a member of the Steering Committee for the Senior Artists’ Research Project, I hope the CCA will be one of the partners in encouraging support for meeting the needs of senior artists.

Skip Kutz, Saskatchewan musician and university educator, has studied with Guy Fallot of the Paris Conservatory and Warren Benfield, principal bass of the Chicago Symphony Orchestra. As a performer, he has played with many ensembles including the Orchestre Jeunesses Musicales (Mount Orford, P.Q.), the Congress of Strings (Saratoga Springs, NY) as well as the Saskatoon Symphony Orchestra. As a contemporary journeyman bassist, he has performed with Colin James, the Mamas and Papas, Almeta Speaks, Sierra Noble and many other artists across Canada.

Skip has been active in the arts advocacy field as well, serving as the three-term president of the Saskatchewan Arts Alliance representing 65 arts organizations in the province. In this role, he shepherded the Status of the Artists Act to second reading in the provincial legislature, as well as negotiating a major increase in Saskatchewan Arts Board funding.  He has also served as the president of the Saskatoon Musicians’ Association, president of CJUS-FM (University Radio) and as a board member of 25th Street Theatre. In 2008 and 2009, Skip was asked to lend his expertise in the area of jazz as one of the jurists for the Juno Awards. He has also been a jurist for the Saskatchewan Arts Board and FACTOR on several occasions.

Over the years, Skip has performed on CBC Radio and TV, Global Television, CTV and on more than 30 recordings. In addition, he was the executive producer for the Saskatoon Symphony’s anniversary CD, Passionscape, featuring the compositions of Neil Currie.

He continues to perform and is currently a faculty member at the Gabriel Dumont Institute at the University of Saskatchewan.

Statement of Intent

I continue to be concerned about the perilous state of artists and arts organizations in Canada. The recent assault on the arts by the British Columbia government does not bode well for this sector in our country. Many federal, provincial and municipal leaders– who fall over themselves to bail out giant corporations – continue to treat modest arts funding as if it were social assistance.

There are a number of indicators which point to the decline in value of artists and their work in Canadian society: declining enrolments in post-secondary fine arts programs; an aging arts work force with very few young people entering the field; and a belief that art should be available for little or nothing – perhaps fuelled by Internet piracy. The federal government’s copyright legislation suggests that the needs of the Internet users trump those of the creators.

To counteract these disturbing trends, the CCA, its provincial counterparts and member organizations must make every effort to continue their important advocacy role as watchdogs for arts and artists in Canada.

Statement of Intent

Since its inception, the Canadian Conference of the Arts (CCA) has played a prominent role in the evolution and development of the Canadian cultural sector. I have been a member of the CCA’s board of governors since March 2009, and can attest to the organization’s crucial contribution to several important matters affecting the sector (a recent example being Bill C-32, the government’s proposed copyright reform legislation).

I would like to continue with my commitment to the CCA and contribute my skills and expertise to help the organization achieve its mission. I serve on the boards of several organizations that are committed to the development and promotion of culture in Quebec including Culture Montréal, Les Arts et la Ville and Forum des partenaires socio-économiques de la Conférence des élus de Montréal.  I will use my involvement at these organizations to build bridges and opportunities for information exchange, with the hope that one day, the value of arts and culture will resonate in the minds of all Canadians.

Nicole Matiation is the executive director of On Screen Manitoba (the provincial professional association for the film and television industry). This past year, she was project manager, Manitoba for Culture Days, implementing the first annual Culture Days, a highly successful event with over 26,000 participants attending some 150 activities in Manitoba.

Nicole has an MA in media arts from Concordia University and has held communications, development, programming and management positions in the arts sector for 20 years. This includes work at the National Film Board of Canada in Montreal coordinating an in-house film festival and a video distribution project using animated shorts to teach English and media literacy to adults in Eastern Europe. Recently, Nicole had a term contract with Manitoba Culture, Heritage and Tourism as the cultural industries consultant and a term contract with Manitoba Education to develop the curriculum for a grade 12, 20th century history course using film.

In 1996, Nicole founded Freeze Frame Media Arts Centre for Young People with her partner, filmmaker Pascal Boutroy. The non-profit bilingual organization produces media arts projects for and with young people including an annual international film festival. Co-director from 1996-2000, Nicole was the sole artistic/executive director from 2000 to 2008.

A committed volunteer, Nicole has mentored several young workers. She is the chair of the Arts and Cultural Industries Association of Manitoba and the liaison between the Event Planning Committee and the Marketing Planning Committee for The Winnipeg Art Gallery’s 2012 Centennial Celebration.

Statement of Intent

We are living through a period of rapid transition as digital communications transform all areas of society including work, education, health, business and the arts and culture sector. There are many interesting challenges in front of us as we adapt to a digital world – our way of working and communicating is different as is our relationship with art and cultural industries.  Strong leadership is required in times of change to reflect on new ways of doing things, and to consider the short and long term implications of government policies and proposed legislation. In this, the CCA plays an important role and I would be honoured to contribute to this process. These questions touch on a deeper issue that is how do we encourage society in general to recognize and defend the very important role the arts and cultural industries play in everyday life.

If elected to the board of the CCA I would bring a perspective that reflects my combined personal and professional experience. Born Anglophone, I travelled and lived elsewhere in Canada and the world in an effort to learn other languages and experiences different realities. Now back in Winnipeg for 15 years, my family life and a large portion of my professional life takes place in French. As a result, I could share my experience of the Francophone experience outside of Quebec along with my professional competence in communications, analysis, event planning and arts management.

Tom McFall is the executive director of the Alberta Craft Council, Alberta’s largest provincial arts service organization. The Council operates the second largest public gallery in Edmonton and the only gallery in Alberta dedicated to craft culture. The Craft Council organizes 15 to 20 exhibitions annually for Edmonton, Calgary, provincial and occasionally national or international audiences. The Council also provides a wide range of career and marketing services for emerging and professional craft artists.

Tom’s background is in industrial design and design history and he has taught both subjects at the University of Alberta. He also has extensive experience in curating, writing, lecturing and developing exhibitions, particularly on topics of material culture, regional character and folk as well as fine craft.  Tom is involved in arts advocacy, locally, nationally and internationally. He has been president of the Alberta Cultural Action Network and chair of the Craft Working Group for Trade Team Canada - Cultural Goods and Services. He currently volunteers on the Edmonton Artists Urban Village (PAL affiliate) board, Edmonton Arts Habitat board, the US Craft Organization Development Association board and several projects teams of the Canadian Crafts Federation.

Statement of Intent

While “big” aspects of the culture sector such as broadcasting and film, museums and galleries, theatre and performing arts institutions tend to dominate the national arts agenda, individual artists and cultural workers are often under-represented in issues as wide ranging as copyright law, Statistics Canada data collection, federal arts funding, free trade negotiations, export strategies, tax and employment policies. I was invited to join the CCA board last year. As a board member, my special areas of interest and action relate to the creative, social and economic challenges for individual, self-employed and studio-based artists.

George Murray is an accomplished writer and arts administrator living in St. John’s, Newfoundland.  Artistically, he is recognized worldwide as a a poet with five acclaimed books and a publishing record spanning all continents.  He also writes arts journalism for magazines and news papers such as Maisonneuve, the Globe and Mail, The Guardian, the Toronto Star, etc.  In 2009, George was a judge for the Governor General’s Literary Award and has himself been nominated for several prestigious prizes in Canada and the US.  He has spoken and lectured around Canada and the US, notably as a keynote for organizations such as the Ontario Public Library Association and at Princeton University.

As an arts administrator, George has been the executive director of the Association of Cultural Industries of Newfoundland and Labrador, an arts advocacy and policy research organization, since February 2007.  He has sat on numerous national, provincial and municipal advisory panels, boards and committees, and has appeared before all levels of government to give testimony about the impact of government policy on the arts and culture sector in Newfoundland and Labrador.

Previous professional positions include: international communications coordinator for the University of Toronto; communications coordinator for the President’s Office (Memorial University); and policy analyst for the New York City Campaign Finance Board, as well as many positions as an educator of adults and youth.

Statement of Intent

I hope to serve the CCA as both an individual artist and an experienced arts administrator with a unique pan-cultural view of the sector on the east coast of Canada.  My connections and relations within the community in Newfoundland and Eastern Canada are numerous  and cordial, and I have cultivated the ability to provide what I call “cultural translation services”:  I can easily synthesize the concerns, issues and opportunities in the “language” of one group of culture sector stakeholders, and voice them to another group in their “native tongue” (i.e. speaking to the government in the government’s preferred vernacular about the needs of artists, vice-versa, and then communicating the outcomes of that conversation to the general public in a third “language”.)  I am professional, gregarious, knowledgeable and passionate and hope to bring these qualities to the CCA board.

Statement of Intent

I am of First Nations ancestry and fluent in the Ojibway language and knowledgeable of the cultural issues facing the sector.

Through my involvement with the Cultural Human Resources Council (CHRC), I would bring to the board a deep passion and understanding regarding the contributions of artists on a global scope.  I have promoted the CHRC at various functions and gatherings and have been involved with the organization both regionally and nationally. I am proud to have served on this board as I know that I was a valued board member. It is with that in mind that I express my interest in joining the CCA’s board of governors 

I am well known in the aboriginal community and am respected throughout. I have been involved on various boards and committees which have enhanced and enriched my experiences.  With my community network system, I have developed positive working partnerships.  I have the time and am committed to undertake new challenges.

Statement of Intent

As a designer and art director who has worked as a self-employed worker and as an employee, my interests focus on the working conditions and intellectual property rights of artists. I belong to a generation of self-employed workers. Among us, there is a new wave of cultural entrepreneurs who struggle with an outdated system which is overwhelmed by the speed at which society is evolving.

My interests in the working conditions of creators and copyright have grown over the last two years, particularly due to my profession as a furniture designer and art distributor for more than 30 creators and peers working in the still emerging eco-design field.

I have been an active member and observer in my field, and have also learned a lot about the many issues facing the cultural sector through my four-year involvement at Culture Montréal. These experiences helped shape my interests and knowledge base, and I wish to bring my experience to the work of the Canadian Conference of the Arts.

Statement of Intent

The last three years on the board of the CCA have proven both rewarding and not without its challenges. The regeneration of the CCA is well under way and I look forward to continuing to participate in its reinvigoration as it takes its place as the primary vehicle for policy development for the arts and culture community in Canada. I don’t think there has been a time in recent memory where things haven’t been “challenging” for our sector but with the possibility of an election and a massive federal deficit, this coming year could prove difficult. Ensuring that the needs of artists (as opposed to the needs of business exclusively) are heard in the decisions on copyright, the Internet, telecommunications and broadcasting concerns and arts funding will fall ever more to the CCA to carry the load on behalf of already resource-limited arts organizations. I look forward to continuing to actively support the work of the CCA as a member of the board.

Kathleen Sharpe is a senior manager and administrator in government and the cultural sector.  She has been executive director of the Ontario Cultural Attractions Fund since its inception in 1999.  The Fund, a unique program established to support cultural tourism attractions through a combination of grants and loans, has committed over $40 million to almost 400 organizations around the province.  Prior to OCAF, Kathleen was director of the Culture Division of the Municipality of Metropolitan Toronto, a post she held from 1991 until amalgamation of the municipality into the City of Toronto in 1998.  Kathleen’s leadership led to the adoption by Metro Council of its first comprehensive cultural policy, Metro’s Culture Plan, in 1994.  She managed the transition of cultural programs and staff of 150 during the changeover from Metro to the new amalgamated City of Toronto. Kathleen has also held management positions at the Ontario College of Art and Design and The Banff Centre.  Kathleen is chair of Toronto Artscape, president of the Canadian Conference of the Arts and president of SharpeCulture.

Statement of Intent

I have served on the board of the CCA since the fall of 2007. I became vice-president in 2008 and acting president early in 2009, before becoming president at the annual general meeting of June 2009.  During that time, I have been primarily focused on: (a) ensuring the organization is on sound financial footing and eliminating its debt and (b) clarifying the role of the organization and establishing the importance of this 65 year old “network of networks” to the broader Canadian cultural sector.

While there is still work to be done to grow the private sector revenue stream, the debt has been eliminated and the organization has begun to establish its value through research, communication and advocacy and in particular, by playing a convening role for cultural service organizations across the country.

If elected, my priorities for the next two years will be to work closely with board and staff to:

Jason van Eyk returned to the post of Ontario regional director with the Canadian Music Centre in 2008 after a one-year leave in which he helped establish the University of Toronto ArtsZone – a tri-campus initiative dedicated to improving communication, coordination and collaboration within U of T’s arts community. He originally joined the CMC in 2003, where he is responsible for developing among the public of Ontario an awareness of our country's composers' music, and to seek out opportunities to encourage the appreciation, study and performance of this music.

Jason completed an MBA specializing in arts and media administration at York University's Schulich School of Business in 2000. Since then, he has worked as marketing manager with the Canadian Stage Company and marketing coordinator with Harbourfront Centre. In 2003, Jason received a special commendation in the Pfizer Award for Emerging Arts Managers, a unique national honour.

Jason recently has expanded his interests into writing and teaching. As a writer, he has focused on urban sound and music issues in his two contributions to the Coach House Books’s uTOpia series. He currently serves as new music columnist for the Wholenote magazine, as well as a contributor to numerous music industry publications. As teacher, he has served as a faculty member for the Regent Park School of Music, a sessional lecturer in arts management with the University of Toronto, and team-developed the Business of Arts Program for the Cultural Careers Council Ontario.

Jason currently sits on the board of governors of the Canadian Conference of the Arts, the Advisory Council of the University of Toronto Scarborough Arts Management program, the Advisory Committee of ArtsBuild Ontario, the Provincial Arts Service Organization Coalition, and convenes the Toronto New Music Alliance. He most recently served as music discipline chair for the 2010 ArtsVote campaign.