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By Natalie Meisner Jason Mehmel – Producer, Director & Dramaturg Historians – Kevin Allen & Tereasa Maillie Featuring – Kevin Rothery & Kathy Zaborsky
May 7, 8, 9 as part of Jane’s Walk 2021
Join us for Queer History Voices by Natalie Meisner, as part of Jane’s Walk this weekend! This dramatized audio experience tells Calgary’s queer history, street by street, block by block. By scanning a QR code at two downtown locations, audiences can enjoy dramatized readings that tell stories of Calgary’s local queer history.
Two characters; Handsome, a queer elder who has lived through much of the history (played by Kevin Rothery); and Maxine, a young queer historian and researcher looking to preserve this legacy and bridge it with the present (played by Kathy Zabrosky) bring the true stories of Calgary’s queer history to life. Between Handsome reminiscing about the history and Maxine providing a historical context, this will illuminate a section of downtown Calgary that citizens may not even know existed.
The walk begins at the original location of Club Carousel, one of the earliest spaces made for queer individuals to gather.
“Our project aim is to honour the lives of LGBTIQA+ / queer people in Calgary. Our casting, research and writing team is made of LGBTIAQ+ writers, researchers and actors and their allies.” – Natalie Meisner, Playwright
Audience Considerations: Contains some strong language. Suggested for ages 13+
About Jane’s Walk
Jane’s Walk Calgary has been an initiative of Calgary Foundation since 2008, as part of Jane’s Walk International
They are free, locally-led walking tours inspired by legendary urban activist Jane Jacobs, in which people get together to explore, talk about and celebrate their neighbourhoods. Where more traditional tours are a bit like walking lectures, a Jane’s Walk is a walking conversation. Walks can focus on almost any aspect of a neighbourhood, and on almost any topic you can think of. Walks can be serious or funny, informative or exploratory; they can look at the history of a place, or at what’s happening there right now. Anyone can lead a walk–because everyone is an expert on the place where they live!
Jane Jacobs (1916-2006) was an urbanist and activist whose writings championed a fresh, community-based approach to city building. She saw cities as ecosystems that had their own logic and dynamism which would change over time according to how they were used. With a keen eye for detail, she wrote eloquently about sidewalks, parks, retail design and self-organization. At the core of her work and thinking was the need to get out and walk your city and observe how people, through their actions and interactions, create communities with a strong sense of belonging.
Jane’s Walk Calgary is organized by the Calgary Foundation.
Good Women Dance Collective is offering two scholarship opportunities in their 2021/22 season. Scholarship recipients will have access to Good Women Classes for free from January-April 2022.
Deadline to apply: Friday, June 18, 2021 at midnight. Applicants will be notified by Monday June 25, 2021
Our classes are taught by collective artists Alida Kendell, Ainsley Hillyard, Kate Stashko and Rebecca Sadowski and typically involve memorizing sequences of movements that travel in and out of the floor, with the sequences ranging from simple to intricate in their complexity. Most often classes follow a traditional structure of warm up, across the floor, and choreographed combinations. Improvisation is also used. The focus of the classes vary from technical training to artistic expression to building stamina. Applicants to this program should be interested in deepening their understanding of the body in movement and/or their artistic practice. Scholarship recipients are required to attend a minimum of two Good Women Classes per week during their scholarship term.
Good Women Classes run every Tuesday, Thursday and Friday from 10-11:30am at Good Women’s space in the Shumka Dance Centre (10515 111 Street). Please check online for any schedule changes.
Applicants should include the following information:
Name and pronouns
A recent CV
A short letter (no more than one page) or recorded video that outlines:
Why are you interested in Good Women’s Scholarship Program
What are your artistic and training goals?
How would the Good Women Scholarship Program help you reach those goals?
If you have further accessibility needs in submitting your application please contact us by email at [email protected], on social media or 780.802.6867 and we will do our best to accommodate your needs.
GWDC is an equity-seeking organization: We support and encourage the sharing of space and stories from all bodies, lands and histories, many of which have yet to be experienced on our stages and in our studios.
StoryBook Theatre (SBT) is Canada’s largest volunteer-driven Theatres for Young Audiences and families. In our almost 45 years of serving Calgary, we have fostered the love and passion for theatre arts in over one million people. Each season we bring together some of the industry’s brightest emerging talents both on and off the stage to create incredibly accessible theatre for the whole family. We bring stories to life in a way that encourages children and their families to dream about who they are and may become, to explore the story from different perspectives, to think using inductive reasoning, and to connect to other people and ideas. StoryBook’s mission celebrates the power of theatre to inspire children and their families to dream, explore, think, and connect through high-caliber accessible, and diverse family theatre programming.
StoryBook is at a pivotal time in our growth as we look to increase our leadership team to ensure that we are able to meet our strategic goals to have a sustainable business model and future. A key to the success toward achieving this is the addition of a newly created Managing Director (MD) position.
StoryBook believes that inclusivity and diversity are integral to the stories we tell both on and off our stage and seek to create an environment where everyone, from any background, can do their best work. We encourage people of all ages, gender identity, race, sexual orientation, physical or mental ability, and ethnicity to apply for this position.
Working with the Board of Directors and the Artistic Producer (AP), this role will be essential in the revision, advancement, and execution of SBT’s strategic direction and future. The successful candidate will be a forward thinker willing to collaborate and inspire a team of staff and volunteers while working with the AP to increase SBT’s audience and community engagement.
The MD shares responsibility for the overall strategic and operational management of the organization and is wholly responsible for providing leadership of the administrative, financial, and general operations of the company, including oversight of all administration, facility, finances, and patron/community engagement. Areas of responsibility will be:
Administrative & Facility
*A detailed working job description is available upon request
The ideal candidate would possess many, if not all of the qualifications listed below. StoryBook is a learning environment and is looking for a candidate willing to grow into the role with a base understanding of its demands and skills required.
A Minimum of 5 years in progressive management with the ability to lead with clear communication and goal setting
A minimum of 2 years of theatre management and/or equivalent professional experience, inclusive and strategic leadership, vision, collaboration, and team building
Relevant undergraduate degree or experiential equivalent.
Possess a strong command of the business and financial side of a multimillion-dollar theatre organization and facility,
Strong understanding of grants & fund development
Solid history with staff development and relationships
General understanding of Society and Board Governance
Demonstrate an active approach to risk management ensuring any commercial risks are identified, addressed, and reported.
Oversee the management, and coordination of a variety of operations requirements including labour, inventory management, capital, and maintenance projects.
Basic Marketing, social media work, or support
Excellent communications skills, both written and oral presentations
Strong customer-focused approach to all interactions
Experience in leading, managing fundraising strategies and campaigns, and identifying new sources and increased levels of contributed income.
Experience in dealing with facility management including negotiations of leases, ongoing landlord stewardship, as well as project management of renovations, leasehold improvements, and maintenance.
Knowledge of theatre activity: locally, nationally, and internationally is an asset.
YOU ARE AN INDIVIDUAL WHO
Ultimately StoryBook is seeking a person who fits in with the organizational mandate and is keen and passionate about the work we do. A candidate who possesses the following attributes would be seen as a huge asset beyond their list of qualifications.
Loves live performance and has an appreciation of the importance of theatre in society/for families
Has a genuine passion for community building
Has a passion for diversity, inclusion, accessibility and equity
Reflects an optimistic and positive attitude with organizational loyalty
Has a proven ability to lead self and others working within a team environment.
Strong organizational skillset
Ability to work autonomously and in a team with attention to discretion and sensitivity to work involving confidential information.
A self-motivational work style that can be resilient under the changing conditions of COVID
Natural leadership skills; a proactive and dynamic professional who inspires confidence and credibility; has a strategic orientation and an honest, transparent, and collaborative leadership style.
A genuine commitment to establish an internal culture that values people and provides an opportunity for everyone to flourish.
The personal stature to inspire the organization, the Board, and the stakeholders by representing the Theatre with integrity.
Dedicated to the principles of equal opportunity, cultural diversity, and broadening access to the arts.
A confident, calm, and tactful professional approach that demonstrates EQ with an ability to deal with a wide variety of people and with changing internal and external conditions.
A pragmatic and effective problem-solver.
A commitment to contribute
This is a full-time role with a standard working week from Mondays to Fridays 9 am to 5 pm. However, there is some flexibility required as we are a small organization, and commitment after hours is required affording some flexibility in a standard workweek. (Board meetings, production openings, closings, fundraisers, committee meetings, etc).
There is a starting compensation at $55,000 with a three-month probationary period including monthly evaluations for the first 12 months, plus two weeks paid vacation annually.
Job Title: Education Outreach Program Coordinator Application Deadline: May 12, 2021 Start Date: May 17, 2021 Term: 6-week Canada Summer Job contract, with a possibility of extension into November 2021 Compensation: $18/hour, 35 hours per week
The Thousand Faces Festival is seeking an Outreach Coordinator to oversee the marketing and school bookings for our June 21st broadcast of Rocko and Nakota: Tales From the Land, and to plan marketing for the Festival proper happening in September 2021. For the past 9 years, The Thousand Faces Festival has celebrated the myths and stories at the roots of Edmonton’s many cultures through theatre, music, dance, and other artistic disciplines. We are committed to ensuring that our staff, crew and artistic teams also reflect the diversity we see on our stages. We strongly encourage submissions from people of all backgrounds and look forward to continuing our tradition of discovering what connects us all through art.
This position is funded through the Canada Summer Jobs Program. Applicants must be between the ages of 15-30.
Please note that due to the ongoing COVID-19 pandemic, the majority of work for this position will be completed remotely.
Outreach Coordinator Job Description:
The Outreach Coordinator will work in collaboration with the Artistic Director, General Manager, and Festival Producer to create and implement a marketing and outreach plan for the execution of the 2021 Thousand Faces Festival. Responsibilities will include but are not limited to:
Facilitating school bookings for the June 21st broadcast of Rocko and Nakota: Tales From the Land
Acting as the primary point of contact for schools and the general public for inquiries about Rocko and Nakota: Tales From the Land and the Thousand Faces Festival
Providing viewer support and acting as moderator during the June 21st broadcast of Rocko and Nakota: Tales From the Land
Working with partners to market the public broadcast of Rocko and Nakota: Tales From the Land to reach a larger, cross-Canada audience
Preparing a marketing plan for the Thousand Faces Festival in Fall 2021
Creating marketing materials for the Thousand Faces Festival (both print and digital)
Running Thousand Faces Festival social media accounts and creating a social media plan
Approaching teachers to book performances for the 2021/2022 school year
Outreach Coordinator Qualifications:
We are looking for a self-motivated individual that has a keen interest and enthusiasm for celebrating stories at the roots of Edmonton’s many cultures through theatre, music, dance, and other arts. Previous marketing or communications experience is a must, especially if augmented by a post-secondary credential in the field of Arts Management, Marketing, or Communications. Facility with good writing and numerical skills, good communication skills, an audience focused attitude, and out of the box thinking are all assets.
Please send a brief cover letter and your resume to: [email protected] with the subject line Outreach Coordinator Application. The Deadline to submit your application is Wednesday, May 12 2021.
Job Title: Festival Producer Application Deadline: May 28, 2021 Start Date: No later than June 21, 2021 Term: At least 22 weeks (a combination of part time and full-time work through November 19, 2021) Compensation: $800/week
The Thousand Faces Festival is seeking a Festival Producer to lead our 2021 hybrid virtual and in-person festival, running from mid-September through the beginning of November 2021. For the past 9 years, The Thousand Faces Festival has celebrated the myths and stories at the roots of Edmonton’s many cultures through theatre, music, dance, and other artistic disciplines. We are committed to ensuring that our staff, crew, and artistic teams also reflect the diversity we see on our stages. We strongly encourage submissions from people of all backgrounds and look forward to continuing our tradition of discovering what connects us all through art.
This position is funded in part through the Canada Summer Jobs Program. Applicants must be between the ages of 15-30.
Please note that due to the ongoing COVID-19 pandemic, portions of the work for this position will be completed remotely. We expect that on-site work will start in September 2021, pending health restrictions.
Festival Producer Job Description:
The Festival Producer will work in collaboration with the Artistic Director, General Manager, and Production Staff to create and implement a plan for the execution of the 2021 Thousand Faces Festival. Responsibilities will include but are not limited to:
Artist liaising & contracting
Planning and overseeing live broadcast events with the support of our technical staff.
Scheduling of events and personnel in conjunction with the Festival’s Production Manager
Creating the 2021 Festival program in collaboration with the Artistic Director
Fund Development & Research
Maintaining and monitoring the Festival’s budget through effective bookkeeping.
Reporting to external agencies on grants
Input on hiring of Festival personnel
Supervising key Festival personnel
Input into and monitoring of budgets and schedules
Keeping track of all expenses and revenues and the necessary paperwork associated therewith.
Festival Producer Qualifications:
Previous Artistic Management or Producing experience is not required, but a significant asset. We are looking for a self-motivated individual that has a keen interest and enthusiasm for celebrating stories at the roots of Edmonton’s many cultures through theatre, music, dance, and other arts. Facility with spreadsheets, good writing and numerical skills, team building and supervision experience, good communication skills, and out of the box thinking are all assets.
Please send a brief cover letter and your resume to: [email protected] with the subject line Festival Producer Application. The Deadline to submit your application is Friday, May 28, 2021.
Job Title: Associate Producer Application Deadline: May 12, 2021 Start Date: May 17, 2021 Term: 6-week Canada Summer Job contract, with a strong possibility of extension Compensation: $20/hour, 35 hours per week
Theatre Prospero is seeking an Associate Producer to plan and execute our 2021/2022 season. Artistic Director Mark Henderson will work directly with the Associate Producer and will monitor and mentor their progress in the role.
For the past 20 years, Theatre Prospero has celebrated the myths and stories at the roots of Edmonton’s many cultures through theatre, music, dance, and other artistic disciplines. We are committed to ensuring that our staff, crew, and artistic teams also reflect the diversity we see on our stages. We strongly encourage submissions from people of all backgrounds and look forward to continuing our tradition of discovering what connects us all through art.
This position is funded in part through the Canada Summer Jobs Program. Applicants must be between the ages of 15-30.
Please note that due to the ongoing COVID-19 pandemic, the majority of work for this position will be completed remotely until conditions allow for return to in-person work.
Associate Producer Job Description:
The Associate Producer will work in collaboration with the Artistic Director, General Manager, and Production Staff to plan and implement Theatre Prospero’s 2021/22 season. Responsibilities will include but are not limited to:
Input into and monitoring of budgets and schedules
Artist liaising & contracting
Fund Development & Research
Grant writing to secure funding for upcoming projects
Planning and overseeing of school artists in residence programs, productions, and tours of multicultural theatre
Project managing the 2021 digital production of Enchanted Antlers, including the development of a companion website
Keeping track of all expenses and revenues and the necessary paperwork associated therewith in conjunction with the General Manager
Reporting to external agencies on grants
Input on hiring and orientation of artistic and production personnel
Creating marketing and website materials for the 2021/2022 season
Associate Producer Qualifications:
Applicants for the position of 2021/22 Season Associate Producer are expected to be self directed and motivated with a keen interest and enthusiasm for celebrating stories at the roots of Edmonton’s many cultures through theatre, music, dance, and other arts. This position will have the authority to make important decisions and to distinguish themselves as a leader in theatre planning and production. A theatre company’s success relies on teamwork and the Associate Producer will require collaboration skills while co-creating a realistic plan to run a season of productions smoothly and working to its implementation. This implementation will require engagement with the contractors, artists, technicians, publicists, and others who will actually implement the shows, tours, and residencies. Self-direction, creativity, and interpersonal competency are necessary in this position of authority. The Associate Producer is delegated responsibility and authority in overseeing the workings of a complex, dynamic production environment with many players and considerations, and a rapidly evolving landscape. Financial literacy and accurate reporting are necessary for creating and monitoring the performance of our 2021/22 season budget. Facility with spreadsheets, good writing and numerical skills, team building and supervision experience, good communication skills, and out of the box thinking are all assets.
Please send a brief cover letter and your resume to: [email protected] with the subject line “Associate Producer Application”. The Deadline to submit your application is Wednesday, May 12, 2021.
Student Writers Group Showcase SATURDAY, MAY 15, 2021 | 7:00PM MDT
Join us for the Student Writers Group Showcase and experience new work from emerging young playwrights!
For this annual showcase, each member of the Student Writers Group has developed an original 10-minute play, and has been paired with a professional director/dramaturg and a team of some of Calgary’s finest actors.
We hope you’ll join us on Zoom on Saturday, May 15 at 7:00pm – tickets are by donation! We can’t wait to share what these brilliantly creative young minds have come up with!
About the Student Writers Group
The Alberta Theatre Projects Student Writers Group is a unique opportunity for high school students to explore the craft of playwriting with professional playwrights and guest artists from across Canada. During this 8-month course, the students meet weekly (this year, online) with a playwright mentor to cultivate their playwriting skills, have conversations with our guest artists (including season artists and members of the Playwrights Unit), and build social connections with their peers.
This year, the Group has been facilitated by professional playwright and actor Camille Pavlenko (currently Alberta Theatre Projects’ Playwright in Residence and member of the Playwrights Unit).
Up Next for Playwrights Projects 2021… THE GIG BY MARK CRAWFORD FRIDAY, MAY 7 AT 7:30PM MDT
Three drag queens have been hired to perform at a private function. The catch? Tonight’s event is a campaign fundraiser for a Conservative politician. As the queens struggle to agree on how to proceed, the campaign manager and rookie candidate attempt to send a message of inclusivity and hope to their voters. Throw in an unimpressed venue technician and a long-standing MP who’s been forced into retirement and honey, this gig will have you “gagging!” Politics! Sibling rivalry! Wigs! The Gig is a contemporary comedy that asks: what do we do when we don’t see eye-to-eye?
Mark Crawford is also the playwright of The New Canadian Curling Club, produced at Alberta Theatre Projects in 2019.
Featuring: Thom Allison, Mark Bellamy, Natascha Girgis, Stephen Hair, Karen Johnson-Diamond, Laura Parken & Marshall Vielle Director & Dramaturg: Trevor Rueger Stage Manager: Ruby Dawn Eustaquio Playwrights Unit Director: Trevor Rueger
Quest Theatre is looking for several assistants aged 18-30 to ensure the smooth operation of Drama Camps for young people aged 6-15 in summer 2021. The intention is for these camps to be delivered both in-person and online, with the coordinators involved in supporting the Head Camp Coordinator, Camp Instructors, and students.
Camp preparations such as compiling documentation & supplies, registration info, class lists, gathering & maintaining waivers and permissions
Assist in preparation of physical spaces – office, rehearsal halls, theatre
Assisting with daily operations of the Summer Camp including:
welcoming campers and parents
working with instructors
Assisting with final camp performances including technical aspects such as sound and lighting, props and costumes, plus filming/recording/streaming as needed
Maintaining COVID-19 protocols such as signage and reminding campers about physical distancing, mask-wearing and hand sanitization
Cleaning and sanitization as per COVID-19 protocols
Technical and admin support for online instructors and students
Other duties as mutually agreed upon with their supervisor.
The ideal candidate…
You are a highly organised and computer literate emerging theatre artist, likely with or working towards a drama degree (or have equivalent experience, which may include volunteering, in the creative theatre process). You enjoy and have experience of supervising and/or working with young people. You are a strong communicator committed to the creative development and theatrical education of young people.
You are a team player and know how to have fun and be silly in a responsible way and model this behaviour for others. Some experience with the creative use/construction of props, costumes and sets would be an asset.
Security check (paid by Quest Theatre) is a requirement. A valid driver’s license and comfort driving our small fleet of touring vans is essential.
Candidates must be aged between 18 and 30, as this job is funded through the Canada Summer Jobs program.
This is an employment role for 8 weeks for 35 hours per week / 7 hours per day. Dates and times to be mutually agreed between June 21 and August 31, 2021
Remuneration is $18.00 per hour plus 4% vacation pay, MERCs and a bring your own device allowance to cover personal laptop/cell phone use.
Location: The assistants will work primarily at cSPACE King Edward in Calgary, but may also have opportunities to work from home when assisting online camps.
This role is largely Mon-Fri 8.15am-4.15pm (camps run 9am-3.30pm) with a 1 hr unpaid meal break. On the job training, support and supervision will be provided by our small and dedicated team.
Apply by Friday, May 21, 2021 at 4pm to [email protected]. Please use Camp Assistant Application in the email subject line.
Include the following in your email:
Link to a Short Video:
Create a 30 second to 2 minute video that teaches something to young people.
Choose a drama activity for young people between the ages of 6 and 15 (please identify what ages it would be best for).
Introduce the activity and give clear instructions.
Conduct the activity. We recognize this assignment is somewhat artificial, but see if you can demonstrate how you would inspire young people to participate in your activity (i.e. imagine young people are watching you and you are leading them in the activity).
Videos can be shot on your phone or computer and uploaded to the platform of your choice.
This assignment is for internal purposes only and will not be shared outside of the Quest staff.
If you require special access needs (no access to equipment, deaf, or blind ESL, please let us know).
We respectfully invite and encourage (but do not require) candidates to let us know in their cover letter if they belong to one or more equity-seeking groups such as Indigenous (First Nations, Metis and/or Inuit), Black, People of Color, LGBTQ2SIA+, newcomers to Canada, those living with disabilities and/or caregivers. We would be happy to discuss accommodating your specific access and other needs.
We thank all those who apply, and regret that we will only be able to contact those shortlisted for the role.
This position is made possible thanks to funding from Canada Summer Jobs as well as Quest Theatre’s operational funders, Calgary Arts Development, Alberta Foundation for the Arts, and Canada Council for the Arts.
Quest Theatre is located at cSPACE King Edward, 1721 29 Avenue S.W. Calgary, Alberta in Suite #325. Please visit www.questtheatre.org for more information on the organisation.
For over 35 years Quest Theatre has nurtured young people through exceptional adventures in theatre, creating intelligent and whimsical work that encourages young people to explore who they are, discover what is important, and build the kind of world they want to live in. We do theatre WITH young people and FOR young people with the knowledge that exposure to the arts is vital for their personal growth, character development, and sense of belonging in society.
Tiger’s Hearts Collective Script Workshop Call for Indigenous Artists, Black Artists, and Artists of Colour
The Tiger’s Hearts Collective are looking to engage 2-3 actors to join our team for a 3-day script workshop at the end of May. This is a paid position for Indigenous Artists, Black Artists, and Artists of Colour who identify as women, or non-binary folks who want to create in a space that centres female experiences. The script workshop will be held over Zoom and all actors will be paid a $300.00 fee for participation in this stage of the project.
Exact dates are TBA, depending on availability, but will occur over three 5-hour days in the last week of May (Monday May 24th to Friday May 28th). Workshop days will be either 2 hours morning-1 hour break-2 hours afternoon, OR 2 hours afternoon-1 hour break-2 hours evening. Please indicate your availability when you get in touch.
The Tiger’s Hearts Collective is a group of artists who work to reclaim space for women in “the classics” and reinvent the classical tradition to be more inclusive, equitable, and accessible. We are passionate about confronting the harmful structures that have hitherto dominated the genre, and we believe that everyone deserves to participate and see themselves represented in the classical canon.
We acknowledge and offer deep gratitude to the many generations of Indigenous peoples of Treaty 6 and Treaty 7 territories. We are honoured to be creating this project together on these lands in service of our community.
We are also grateful for the support of the Edmonton Arts Council and the Alberta Playwrights’ Network who have made this project possible.
We are currently developing a NEW classical play which aims to reinvent classical theatre that is by women for women. The Amazonomachy follows the epic story of an intersectional matriarchy; a society of warrior women inspired by the Amazons of myth, the real-live warrior women of ancient history, and the incredible matriarchs in our own communities.
We’re eager to connect with artists of all ages and experience levels, and there is no requirement for applicants to have any “classical training!” We recognize that gatekeeping, racism, and misogyny have purposefully made classical materials extremely unwelcoming and actively harmful for so many people. We hope to confront that harm by creating new inclusive content and investing in a creative process that is supportive and exciting!
If you’re up for connecting with other diverse women artists, delving into some beautiful NEW classical text, and exploring some bad-ass female characters, we’d love to hear from you.
HOW TO SUBMIT
Please email your submission to [email protected] before MIDNIGHT on Thursday May 13th with subject title YOUR NAME- AMAZONOMACHY ACTOR SUBMISSION, and include the following:
Brief Expression of Interest: This could be in the form of a letter (1-2 pages), video, audio file, or any creative means through which you’d like us to encounter you and your work.
Artist Resumé if available;
Availability for the week beginning May 24th.
We’re happy to answer any questions you may have about our work or the project, so don’t hesitate to get in touch! We look forward to getting to know you.
Creative Calgary is conducting research to gather valuable insight into what challenges the Calgary arts sector is facing, identify supports that are missing in the community, and determine what actions can be taken to strengthen success. This survey will also provide us with information on who we are serving, from both individual and organizational perspectives.
The survey takes approximately 15 minutes to complete, and all responses are being collected anonymously and no identifying information is being solicited. The information gathered will directly impact the strategy development process and determining what programs and services Creative Calgary will offer.
About Creative Calgary:
Creative Calgary is a non-partisan group of artists, arts organizations and citizens at large who are committed to and advocate for a thriving arts sector with a positive public profile.
Creative Calgary started in 2017 ahead of the Calgary municipal election, where our collective advocated for increased municipal investment in the local arts sector and aimed to raise awareness about the economic contributions, and intrinsic value, artists and arts organizations bring to the City of Calgary. Our overall efforts resulted in Calgary Arts Development’s (CADA) funding increasing from $6.4M to $12.4M in 2019 and up to $15.9M by 2022.
A chance for IBPOC Theatre students from across Canada to meet one another and receive advice from experienced IBPOC artists!
ABOUT THIS EVENT
Calling all IBPOC recent theatre graduates, students graduating this year and those entering their final year of study! You’re invited to an (online) IBPOC Theatre Grad Fair from 1:00-3:00 pm EDT on May 3! You will have the chance to meet with other IBPOC students from across the country and hear from experienced IBPOC artists on the transition from post-secondary theatre education to the professional realm.
The event will open with a round-table conversation with four artists, hosted by an IBPOC theatre leader, after which you’ll be invited to move into smaller break-out rooms for more focused conversations about specific career paths. Break-out rooms will be led by two artists with experience in a particular discipline, e.g. playwriting, directing, acting, producing, dramaturgy/criticism, production/design, and PR/publicity. One of the rooms will focus on the first year after leaving a post-secondary theatre program.
Artists include: Nina Lee Aquino, Lisa Karen Cox, Miriam Fernandes, Jeff Ho, Shaista Latif, Owais Lightwala, Omari Newton, Matthew MacKenzie, Davinder Mahli, Sanskruti Marathe, Aidan Morishita-Miki, Marilo Nuñez, Tarndeep Pannu, Malina Patel, Luke Reece, Jamie Robinson, Quelemia Sparrow, and Tanisha Taitt
WHEN: MAY 3, 2021, 1:00-3:00 EDT COST: FREE CLICK HERE TO REGISTER VIA EVENTBRITE
Position: Social Media Community Manager Organization: Edmonton Musical Theatre
This position is funded by the Canada Summer Jobs with Service Canada for those aged 15 to 30 years. Please forward resume and interest letter to [email protected] by May 12, 2021. Only those selected for consideration may be contacted for an interview.
Edmonton Musical Theatre is dedicated to educating our students to the highest degree of professionalism in the area of musical theatre performance techniques. We nurture our students from Edmonton and surrounding area, and help them reach their fullest potential. The Social Media Community Manager will play a key role in assisting the organization in maintaining and developing social media platforms. The position will start May 17, 2021 and will commence October 22, 2021 for a total of 23 weeks. The position will perform 12 hours per week at the rate of $16.00 an hour.
Experience in communications planning, media relations and social media management
Knowledge of ‘best practices’ and current innovations as it relates to the Communications, Marketing and Digital Media Field(s)
Strong familiarity with the business applications of social media platforms (Facebook, Twitter, YouTube, LinkedIn, etc.)
Understanding of social media metrics; able to interpret the results and take action to increase effectiveness of social media campaigns
Strong written and verbal communication skills
Create and implement social media strategy through research, benchmarking, messaging, and audience identification
Moderate user-generated content and messages appropriately, based on company and community policies
Regularly generate, edit, publish and share content (original text, images, video or HTML) that builds meaningful connections and engage with community members
Generate, edit, publish, and share content 3 times per week and/or as needed.
Monitor social media platforms to interact with questions, comments and content
Document projects and rehearsals with video, to include in messaging
Maintain company social media pages and profiles
Scan the media marketplace to keep up-to-date on the latest media trends
Track and analyze analytics reports to gain insight on traffic, demographics, and effectiveness; utilize this information to positively affect future outcomes
Collaborate with General Manager and PR Committee to manage company reputation, coordinate promotions, and increase reach
Who Are We Now? Essays From A New World is an initiative from Theatre Alberta that brings you editorial perspectives from a variety of Albertan artists about the rapidly changing world we live and work in. We hope you’ll find them useful as you process your own evolving reality.
LOOKING TO THE PAST TO SEE THE FUTURE: A LEBANESE-CANADIAN MANIFESTO – Luay Eljamal | April, 2021
The following essay pulls from research I conducted in 2016 for a paper entitled “The Manipulation of Collective Memory Through Art in Post-Civil War Lebanon”, which can be read in its entirety here.
When I first left home for university ten years ago, I remember having to learn a number of new skills in a passionate attempt to gain my own independence. Things I had taken for granted—like knowing how to cook my own meals—suddenly had to be mastered as efficiently as possible. In those desperate moments, I found myself turning to my Middle Eastern heritage for guidance. I learned to cook, for example, by replicating Lebanese recipes, which both built-up my “adulting” arsenal and satiated my need for independence through delicious garlic-infused comforts (chicken shawarma, anyone?) Today, I find myself employing similar tactics to solve new challenges that I come across every day as the Programs Manager for Arts Council Wood Buffalo and Artistic Director of Symmetree Theatre in Fort McMurray, Alberta.
Where casual audiences may once have had the mental and emotional capacities to consume theatre as a form of challenging their minds and exposing themselves to new perspectives, they now mostly turn to theatre as a source of escapism, if they turn to us at all.
There’s no denying that the pandemic has changed the way in which theatre and the arts are being consumed. It has also changed the kinds of things that people are turning to the arts for. Where casual audiences may once have had the mental and emotional capacities to consume theatre as a form of challenging their minds and exposing themselves to new perspectives, they now mostly turn to theatre as a source of escapism, if they turn to us at all. While it’s important to give audiences what they need today, being a leader in the arts community means it is also my duty to look to the future and prepare for what artists and audiences will need tomorrow.
I’ve always believed that the arts play a critical role in helping society articulate and commemorate the cultural shifts that propel humanity forward. Naturally, I now find myself asking: how are the arts going to lead audiences through the emotional, physical and mental healing that will be needed once COVID-19 becomes a thing of the past?
In an attempt to answer this, I turn to my Lebanese heritage for clarity, once more.
It has been over twenty years since the Lebanese civil war came to an end, and there is so much that Lebanese artists have done since then to catalyze discussions and support people in processing the war’s traumatic effects. I believe that learning from and adapting what some of these artists have done just might be the crystal-ball equivalent to understanding how we can make relevant art in a post-COVID world.
In my search for answers, I turned to three Lebanese artists, as case-study examples, to explore how this can be achieved. They are:
All three of these artists have produced vastly different works which attempted to provoke movements towards unity, peace and self-healing in post-civil-war Lebanon.
Nada Sehnaoui — Installation Art: Haven’t 15 Years of Hiding in the Toilets Been Enough?
Left image: A series of 600 toilets are installed in downtown Beirut. (Photo Credit: Atelier Nada Sehnaoui). Right image: A still from Sehnaoui’s YouTube documentary in which a Lebanese doctor who worked during the Civil War recounts his experiences (Photo Credit: Atelier Nada Sehnaoui).
In 2008, Sehnaoui produced an art installation project called Haven’t 15 Years of Hiding in the Toilets Been Enough?, which involved installing a series of 600 toilet seats arranged in a grid in downtown Beirut. Over the course of her installation, passersby were encouraged to sit on the seats and reflect with one another, through a microphone, about the hardships that they had experienced during the war. The toilet seats stood as a symbol for a time when Lebanese families would retreat to their bathrooms—commonly the innermost room of a house with no windows— in order to stay safe from bombs and other attacks of war. By drawing on the Lebanese people’s raw post-traumatic memories of the war, Sehnaoui questioned whether war experiences, such as locking oneself in a bathroom, were worth revisiting in 2008, when Lebanon was under threat of more sectarian violence.
Rabih Mroué — Play: Riding on a Cloud
Mroué highlights the harms of deliberately ignoring the past in favour of rebuilding a new life…
Mroué’s play, Riding on a Cloud, features Mroué’s youngest brother, Yasser, recounting the real story of his aphasia, which he developed as a result of being shot by a sniper toward the end of the Lebanese civil war. Yasser is left being unable to understand or produce speech, complicating his ability to recount the past. Through the story of his brother, Mroué highlights the harms of deliberately ignoring the past in favour of rebuilding a new life, and also echoes the practices of many Lebanese people who have chosen to move on from the trauma of the war through a deliberate willingness to forget the past. Mroué argues that numbing oneself to the pain of the past puts the Lebanese people in danger of repeating their needlessly violent history again in the future.
Yazan Halwani — Street-Graffiti Artist
Left image: Painted mural by Halwani of Fairuz, celebrated Lebanese singer (Photo Credit: Yazan Halwani). Right image: Public mural of Ali Abdallah, a homeless man Halwani knew who lived on Bliss street and passed away during a harsh Lebanese winter (Photo Credit: Yazan Halwani).
Halwani’s art manifests itself in the form of public murals, which are often painted in the place of political propaganda that he has stripped off from various city walls—some of which had been left over from civil war times (Elkamel and Halwani 2015). ‘“What I try to do […] is write the stories of the city on its own walls – creating a memory for the city”’ Halwani explains to a journalist in an article for The Guardian (Bramley and Halwani 2015). The memory that he creates for the city is rooted in stories of unity, as he chooses to paint portraits of well-known public figures who represent all of Lebanon’s history and culture regardless of the faction that a Lebanese person may belong to. His murals seek to exemplify the ways in which all Lebanese people are alike on the facades of destruction that would otherwise stand as reminders of Lebanon’s war-torn past.
They all did this with the goal of preventing history from repeating itself and encouraging audiences to reflect on their traumas in a healing and clarity-defining way.
All three of these artists have chosen to manipulate the collective memories of Lebanese citizens, in an attempt to promote unity and healing. Sehnaoui resurrects and reminds her audiences of the traumatic memories they all experienced in the past. Mroué highlights the dangers of choosing to forget memories in order to promote healing. And Halwani promotes unity and healing by converting difficult memories into bittersweet, beautiful ones. They all did this with the goal of preventing history from repeating itself and encouraging audiences to reflect on their traumas in a healing and clarity-defining way. It’s worth noting that their approaches likely varied due to their different lived experiences, as well. Sehnaoui, for example, spent some of the Lebanese civil war-time in Boston and Paris pursuing diplomas in higher studies, while other Lebanese people suffered the war at home. One may argue that this distance allowed her to objectively examine what happened to the Lebanese people without being directly affected by the trauma of war. Contrastingly, Mroué was directly impacted by the war through his brothers aphasia, and Halwani, was born three years after the end of the Lebanese civil war; perhaps what allowed him to neutrally assess how to promote progression towards peace, without being held back by direct traumas of the war. Each artist was extremely effective in their own way.
The pandemic (and the various civil rights movements that continue to arise within it) has created numerous sectarian divides across the world, similar to the sectarian divides that exist within Lebanon.
Okay, but how closely can this resemble the progression of the arts in a post-COVID world? I would argue: very closely! The pandemic (and the various civil rights movements that continue to arise within it) has created numerous sectarian divides across the world, similar to the sectarian divides that exist within Lebanon. We have maskers and anti-maskers, left-wing and right-wing, BIPOC and Caucasians; with new movements gaining traction every day. Similarly, the lived experiences that artists have through the pandemic have varied greatly. Imagine the multitudes of ways in which the pandemic could be documented by an artist who did not contract COVID-19. Now imagine an artist who did contract it. What about an artist who had to be put on a ventilator? An artist who lost a loved one? Now add racial identities into the mix. One artist might have the capacity to critique the pandemic without having to first process the harsh traumas that it put on them, while another might have to heal themselves first or else viscerally express their traumas wholly and fully through their art.
As leaders in the arts, we need to prepare ourselves to support the full magnitude of stories, and initiatives that start to pour out of our artists’ hearts and minds, when the time is right.
How do we do that?
This would be my manifesto:
SUPPORT ARTISTS’ HEALING FIRST — Provide artists with the time and resources needed to mentally, emotionally and physically heal themselves first, before asking them to engage in creating work that is designed to heal others.
SUPPORT ARTS RECOVERY — Prioritize the funding, capacity-building and support of artists whose projects and initiatives promote arts recovery and healing through the arts.
EMBRACE ALL VOICES — Ensure that we are aware of the different voices (and the privileges and barriers that come with), which can contribute to the artistic and historic documentation of the pandemic and the movements within it. Acknowledge that in the right contexts, there is enough space for them all to be heard. Ensure that this is done in a way that promotes the diversity of all people equally; marginalized and majority alike.
ABANDON THE FUNDAMENTALS — Fundamentals in “art creation” are there to give us an understanding of how to go about creating new art at a basic level. The pandemic has forced us to abandon the fundamentals and come up with new ways for art to stay relevant and survive. In some cases this has increased accessibility. Support projects that build on these new developments, and avoid forcing artists to revert back to the fundamentals, just because the pandemic is over.
NEVER UNDERESTIMATE YOUR AUDIENCE — Support artists who have ideas that go against the norm, and never diminish their vision in fear that audiences will not relate to it or understand. Acknowledge especially that our lived experience is going to differ greatly from the experiences of others, and don’t allow this to cloud our judgement when we support artists who are developing new works, which we might not relate to on a personal level.
LOOK TO THE FUTURE — Think of what the arts industry can look like in the future. Think about this on an ongoing basis, and support artists who infuse fresh, new and innovative ideas into their work. Allow them to propel us forwards, toward that future.
Encouraging audiences to assess their current social standings in response to subjective pieces of art—in the way that these Lebanese artists have done—can be a very useful tool, but it’s important to remember that no one artist would be likely to pen an accurate and widely-acceptable representation of the pandemic and its movements on their own. I hope that my fellow arts leaders see the value in priming artists of many disciplines, backgrounds and identities today, so that when the time comes, we are at the forefront —uniting and healing our audiences, and ultimately promoting arts recovery, as well.
Luay Eljamal (he/him) is a theatre artist and Arts & Culture Manager living in Fort McMurray, AB. He has worked as a writer, director and audiovisual designer on projects across Canada and the United Kingdom. He currently works as Programs Manager for Arts Council Wood Buffalo and is the Artistic Director of Symmetree Theatre, which aims to share stories about marginalized members of society, where the main conflict does not stem from the fact that they’re marginalized.
Bramley, Ellie V. and Halwani, Yazan (2015). ‘How a Beirut Graffiti Artist is Using his Murals to Try to Unite a Fragmented City’. The Guardian. (Accessed 20 December 2015)
MacEwan University has announced the addition of a new Bachelor of Fine Arts. The program builds on the university’s decades of experience in preparing graduates through diploma programs to shape Alberta’s vibrant arts and culture sector, creating a supportive environment where students can study their craft and develop the skills they need to develop their future careers.
“It truly has been the creativity and energy of our students, faculty, and alumni that has helped to build MacEwan University’s arts legacy over the past 50 years,” says Dr. Annette Trimbee, MacEwan University president and vice-chancellor.
The Bachelor of Fine Arts will offer students the opportunity to explore the interdependent and interdisciplinary nature of contemporary art while seeking ways to respond to the rapidly changing needs of the creative and cultural industries.
Students will learn and collaborate in Allard Hall, which offers access to state-of-the-art learning and performance spaces. In addition to the facility itself, Allard Hall is in close proximity to downtown Edmonton’s galleries, theatres, museums, concert halls, festivals and more.
Though COVID-19 has impacted the arts, the pandemic has also illustrated the critical role that the arts play in society — and in our quality of life. A re-energized arts scene is part of the province’s plans to restart the economy, and the Bachelor of Fine Arts program will position graduates to respond to a resurgence and planned growth in this sector.
“This is exactly the kind of energy we need right now,” says Dr. Trimbee.
Graduates of this program will possess management savvy and knowledge, intrapreneurial and entrepreneurial skills, as well as a depth of knowledge, skill and expertise in their chosen discipline. “This unique degree gives our Theatre, Fine Art and Arts and Cultural Management students the opportunity to complete their degree at MacEwan,” says Dr. Allan Gilliland, dean of the Faculty of Fine Arts and Communications. “It also provides them with two more years to hone their skills in our world-class facility, Allard Hall, before embarking on a career in the arts.”
The Bachelor of Fine Arts will feature four majors:
Arts and Cultural Management encompasses presenting and promoting all things arts and culture: music, theatre, dance, galleries, museums, archives, heritage conservation and the literary arts. The core of this major is leadership and project management.
Musical Theatre Performance offers students intensive conservatory-style training in musical theatre and opportunities to showcase their talents in smash-hit Broadway musicals and cutting-edge contemporary plays for public audiences.
Studio Arts takes an experiential learning and hands-on approach to equipping students with skills in performance and sound art, painting, drawing, video, sculpture, fibres and more. In this interdisciplinary environment, students are challenged to think critically and creatively about contemporary art.
Theatre Production trains students in stage and production management, costuming, scenic painting, scenic construction, lighting, video, properties, and audio to prepare them for dynamic career opportunities in live and recorded entertainment sectors as technicians, artisans, craftspeople and managers.
“A Bachelor of Fine Arts gives students room to learn, to share knowledge and to take their careers in many different directions,” Dr. Craig Monk, MacEwan’s provost & vice-president, Academic. “It will prepare MacEwan students to contribute to diverse teams while working in the arts and beyond. It will allow them to develop the skills to be responsive to that with which the world confronts them.”
Applications open in Fall 2021 with programming to begin September 2022. Learn more at MacEwan.ca/BFA.