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“It depends.” - Arts Manager






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A collaboration amongst the students of the Arts, Culture and Media Department at the University of Toronto Scarborough, Transcend aims to showcase the rich and varied art practices thriving at UTSC, as well as the thinkers, movers and innovators in the field of Arts Management in Toronto. Designed specifically for the web, the publication includes video interviews, essays and articles, and a selection of artworks by UTSC students. Transcend: e-Publication for the Arts is the capstone project of the Arts Management class of 2013.



co nt 8






REVIEWS + ESSAYS 12 Swimming With Sharks 14 16 20

Contemporary Art In Its Most Advanced Stage A Policy Brief for Policy Makers: A Word of Caution for the Cultural Thoughts on Rethinking the Social Impacts of the Arts

FEATURED INTERVIEWS 22 Derrick Chua, Entertainment Lawyer and Toronto Theatre Producer 26 Katherine Devlin, Associate Producer, Crow’s Theatre + General Manger, Paprika Festival 30 Yves Théoret, Managing Director, Museum of Contemporary Canadian Art 34 Asad Raza, Director, Researcher and Curator of Public Art

PORTFOLIO 40 Zera Koutchieva, Featured Artist 54 Sarah Lacasse 56 Tiffany Schofield 58 Julliana Feng 60 Daniel Griffin Hunt 62 Madeha Batool 64 Victor Wong




en ts



68 70 72 74 76 78 80 82

Tara Mazurk Nazia Habiba Pat Simeon Kevin Wright Lesley Bramhill Andrew Hercules Karin Eaton Ann MacDonald

PROFILES 84 Tanya Mars 86 Will Kwan 88 Katrina Enros 90 Tim Whalley For full video interviews, please visit

THE ARTS GUIDEBOOK: A GUIDE TO ARTS MANAGEMENT AND THE ARTS 94 Where Can Arts Managers Work?: A Mindmap 96 Navigating the Rough Seas of Arts Management 98 100 102 104 106 108

Five Tips to Get Your Music Licensed The Benefits Of Being A Member (of Visual Arts organizations) Five Tips to Enjoy The Toronto Fringe Festival Five Tips to Get Discount Tickets Five Social Media Tips for Arts Organizations Must-Visit Visual, Music and Theatre Venues in Toronto




Zoya Babar is in her final year of the Arts Management program at UTSC, specializing in Studio and Economics. Her interests lie in the financial management, development and fundraising of arts organizations. She has also explored, both in her academia and practice, corporate, private and government funding mechanisms with specific interests in cultural policy and cultural economics related issues. She is a friendly and seasoned leader with extensive experience in teamwork and challenging environments. She has a proven track record with many corporations, not-for-profit and charitable organizations like Bank of Montreal Nesbitt Burns, World Vision, Uof T-Rotman School of Management and MOCCA.

ment (CRM

Nicole Cadwallader is in her fifth year at University of Toronto Scarborough’s Coop Specialist Arts Management Program with a Major in Studio. Nicole did her year Co-op at UTSC’s Sustainability Office where she independently planned, marketed and implemented awareness events and collaboration with internal and external organizations to increase sustainability presence on campus. Nicole has been working for the Centre for Teaching and Learning for four years as a Facilitator and Administrator for Study Groups. One of Nicole’s Arts Management highlights was assisting Sherri Helwig, where she had the opportunity to share her insights with first year students.


Marianne Rellin is a 4th year Art History and Arts Management student. Her past experiences at CARFAC Ontario, Scarborough Arts, and the Institute for Contemporary Culture at the Royal Ontario Museum have trained her in areas of project management, marketing, communications, and fundraising for the arts. Her interest ultimately lies in the curation and/or the management of visual arts projects.

Vivian Huang is a fourth year Arts Management student with a major in Studio. She is currently working at Doris McCarthy Gallery as a work-study student. She has been working at DMG for two years and she loves to work in the gallery. Vivian is interested in photography, animation, web design and other various forms of visual art. She hopes to combine her artistic interests and arts management skills in her future career.

Jiawei Chen is graduating with an Hon. BA in Arts Management Specialist and Studio Arts Major. Jiawei is passionate about visual art, public art and community art projects. Jiawei knows the importance of collaboration and is a perfect team player. Jiawei likes to take initiatives to start whatever she feels strongly about. Jiawei has a clear vision in arts as an arts manager and artist and works to achieve it. This is her, Jiawei!


Moshiur R student in c at UTSC. H has prepare areas of com research, br relations, so vertising, an he wishes to further deve skills in onli munication sector. He s areas: web d social media marketing, w search engin and custom

So-Jeong Choi - her friends call her S.J. - is a 3rd year Arts Management student, with double minor in Theatre and Performing Arts and Global Asia Studies. She is most interested in musical theatre and other commercial show productions, but also loves indie theatre and opera. Her dream is to someday produce a show that tours internationally. S.J. is excited to be a part of TRANSCEND team and grateful for everyone’s contribution in creating this E-magazine.

Rafsan Ahmed is a student in the Arts Management program, with a double minor in Studio and Philosophy, at University of Toronto Scarborough. He is in his final year of study, has gained valuable leadership experience through his work study position on campus for the past two years as a Peer Academic Coach. He is also the marketing coordinator for the Mental Health Students Association. Following the completion of his B.A. he plans on pursuing promotion al marketing either in the not-for-profit, or corporate sector. His skills are best suited in educational work, as well as work which involves marketing research, graphics designing, social media marketing, and project management.

An advocate for diversity in the arts, Marianne currently sits as a youth Board member at Kapisanan Philippine Centre for Arts & Culture. She is also the Design Assistant and Photo Editor at the music magazine, Exclaim!.

Kailee Ros sity of Toro Arts Manag History and graduating to pursue w with aspirat that engage ively intern Association has experie fundraising settings, bu in working and audien arts manage focus on th believing do lenge and p

Fiona Li is a senior student at UTSC, specializing in Co-op Arts Management and majoring in studio. A highlight of her study years has been her opportunity to work at the Uof T Advancement Office. She provided support to the office for annual giving and donor relations programs. This experience has allowed her to gain an understanding and appreciation for volunteer management. In the near future, Fiona strives to find opportunities in the arts sector, with the hopes to enhance her marketing and project management skills, and to be exposed to and learn from a network of arts professionals. Ha Nguyen is graduating with an Hon. BA in Arts Management Specialist and Music Major. For more than two years, Ha has been working at Arts & Events Programming (AEP) as Events Planning Assistant, Events Assistant, and Events Team Lead. At AEP, she has planned, set up, and managed Box Office and Front of House areas for a variety of events like music/theatre performances, exhibitions, and artist talks. She also enjoys talking to audience members and is told to have an outstanding interpersonal skill. Ha loves planning, organizing, and decorating events, especially weddings!


Anne Frost began her life and work in arts manage stage managing and selling subscription tickets at K atre, Fort McMurray, Alberta. In 1984 she relocate and worked for the Toronto Theatre Alliance on th Moore Awards, and for Jeunesses musicales/Youth Canada as Ontario Executive Director.

After a year in the UK (1987-8) earning her Maste in Arts Policy and Management from the City Uni London, Anne returned to Canada and worked at front as Co-ordinator for the Festival of Authors; Th Direct Canada; and Mixed Company Theatre, the two both as General Manager. She also began to te the Humber College post-graduate Arts Administr Cultural Management program in its inaugural yea an appointment she held throughout the life of the



Guest editor

Rahman is a final year co-op Arts Management His academic background ed him for many important mmunications: market randing, promotion, public ocial media marketing, adnd more. Upon graduation o continue exercising and eloping his knowledge/ ine marketing and comns within the not-for-profit specialized in the following design and development, a marketing, mass e-mail web content management, ne optimization (SEO), mer relationship manage-

Allan Park is a third-year student at the University of Toronto Scarborough, specializing in Arts Management and double minoring in Music and Global Asia Studies. With his interests in music, cultural policy, and entertainment law, Allan hopes to one day represent many Toronto-based indie artists in their pursuit of success. His time at Indie Pool and Brightmind Music has trained him in talent acquisition, music licensing, music production, copyright law, and branding. Upon graduation, Allan seeks to further his studies in Japan and South Korea to learn more about the international variations in entertainment laws. Allan is a well-known advocate of getting musicians paid for their craft.


contributing photographers

ement in 1982, Keyano Theed to Toronto he Dora Mavor h and Music

er’s degree iversity, HarbourTheatre latter each in ration – ar, 2000, e program.

In 2008-9, Anne also co-ordinated this Humber program. In 2002 Anne moved to Owen Sound and worked on revenue development at the Tom Thomson Art Gallery with Stuart Reid, Curator/Director. After an illness in 2006 she returned to work at the Bruce County Museum & Cultural Centre, once again working on revenue development for this major facility on the Lake Huron shore. Throughout this decade Anne taught at Humber, and also began to teach in the undergraduate arts management co-op program at University of Toronto, Scarborough, an annually-renewed appointment which continues to the present day. In 2011, Anne began teaching post-graduates in the new Culture and Heritage Site Management program at Centennial College’s Progress campus.

Design Lead Fiona Li Editorial Team Studio Editors + Curatorial Team: Nicole Cadwallader & Kailee Smith Theatre Editor: So-Jeong Choi Guest Music Editor: Allan Park Video and Photography Jiawei Chen Vivian Huang Copy Editors So-Jeong Choi, Vivian Huang, Jiawei Chen, Ha Nguyen, Moshiur Rahman Contributing Photographers Dwayne Fundano, Adley Lobo

Dwayne Fundano is a photographer/ videographer recently graduated from OCAD University with a BFA in Integrated Media. With his initial interests in filmmaking, screenwriting, video installation, as well as a variety of freelance work under his belt, he has now focused on transferring his skills and talents into the world of photography. Residing in Mississauga, Dwayne provides professional photo portrait services with aspirations of integrating his abilities with his passion for travel.

se Smith is a senior Univeronto student, specializing in gement, and majoring in Art d Studio. Looking forward to in the spring, Kailee hopes working in the visual arts, tions to curate exhibitions e with young learners. Actning at the Ontario Museum n and Navillus Gallery, she ence in arts administration, g, marketing and commercial ut finds her passion lays withdirectly with artists, artwork nces. Her philosophy toward ement has always been to hese three first and foremost, oing so will advance, chalpromote the sector.

Editor-in-Chief + Curatorial Lead Marianne Rellin

Contributor Adriyanna Zimmermann, First year Pschology student, UTSC Consultants Prof. Jeffrey Dvorkin, Program Director, Journalism, UTSC Sarah Taguiam, 4th year Journalism student, UTSC Andrew Hercules, Communications Coordinator, Arts & Events Programming Cover Photo: Silver Linings, Zera Koutchieva ----Adley Lobo is currently a fourth year History Specialist and Global Asian Studies student at UTSC. As a student of history he believes it is important to know the stories of the past because they inspire us. In ancient times, these stories were passed down through oral traditions. For Adley, photography is storytelling where the whimsical is brought to life.

PROJECT COMMITTEE Project Manager Moshiur Rahman Assistant Project Manager Kailee Smith Programming Lead Zoya Babar Programming Support Ha Nguyen Hospitality and Logistics Lead Ha Nguyen Finance Lead Zoya Babar Marketing Lead Moshiur Rahman Social Media Lead So Jeong Choi Outreach Lead Rafsan Ahmed TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


note from professor



very year, Arts Management Senior Seminar students decide on a self-directed culminating project which tests and showcases their undergraduate work in areas of enquiry such as audience development, managing and leading, financial management, project planning, equity and diversity, and cultural policy, among others. The project also draws on students’ knowledge of their discipline areas (Studio, Theatre and Performance Studies, Music, or Art History). This year, students have chosen to produce an e-publication, “Transcend,” highlighting their disciplines within the Department of Arts, Culture and Media, and beyond into the broader cultural sector. Underpinning the images, interviews, and articles is our firm assertion of the role of the arts manager in the health and vitality of our sector. This year’s Senior Seminar students are proud to graduate into a rich environment of creation and cultural expression; several years from now, they will be steering the sector in new ways, adapting to changing times and standards. Lastly, despite many wistful queries from faculty and students, only one issue of “Transcend” is planned. Next year’s Senior Seminar students will have their own ideas and enthusiasms, and “succession planning” is not an option. So, please enjoy “Transcend” while you can!




note from editors


e chose to name our magazine “Transcend” primarily because we wanted to be able to allow people to “transcend” or “go beyond” their sometimes-misinformed idea/s about the field of Arts Management. During the course of the project however, we found that the interpretation of “transcend” multiplied into many varying forms: from artists transcending their medium; to artists working with the ideas of transcending boundaries, expectations, and stereotypes; to arts managers going beyond what is expected of them thus achieving excellence in what they do. The objective of the magazine is twofold: first, is to share experiences of artists and arts managers through intelligent and insightful articles and conversations. Second, is to showcase the works of UTSC visual and performing arts students. Transcend was three months of hard, challenging work. Each member of the class took on multiple tasks and responsibilities, from: conceptualizing the magazine, conducting the interviews, taking photographs, writing articles, editing, designing, and planning the launch party. We are proud to say that this project truly pushed our limits as individuals, students, artists, and arts managers. We emerge out of this project as more skilled, knowledgeable, and more empowered than when we came in. In this first issue of Transcend, we hope that you will discover new artists and ideas, and intensify your appreciation of the art scene here in University of Toronto Scarborough. We also hope that through the conversations published in this magazine, we are able to trigger your thinking and excitement (or disappointment) about the state of art and of the arts and cultural sector in Toronto. Lastly, we hope that this magazine offers some insights not only to students in the Arts, Culture and Media Department, but also to whomever is thinking of getting careers in the arts and cultural field. Arts Management is a very peculiar discipline - it is very specific and practical, yet theoretical and applicable to so many different things at the same time. We wish we did a good job conveying all these. Please enjoy! Sincerely, Transcend Editor-in-Chief + Editorial Team TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


Swimming with Sharks BOOK REVIEW



nyone who has ever heard of the mind-blowing prices fetched on the art market has undoubtedly wondered why that piece is worth so much. The art market is a place of largely unregulated trade – one filled with legends, mystery and shock, and controlled by the world’s most wealthy and elite sellers and buyers. Furthermore, it seems to be breaking history and setting new records on a regular basis. Delving into such an impervious realm may seem overwhelming. Fortunately for anyone interested, author Don Thompson has craftily constructed a witty and straightforward guide to maneuvering the art market: The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art. Breaking down the industry chapter by chapter, Thompson walks readers of all art-knowledge levels through the enticing and perplexing maze of the art market, concluding his tour with the skeptical aphorism, “Branding is everything.” 12


Thompson is candid with his approach. Pairing mini biographies on key figures in the art world with tidbits of delectable socialite gossip sprinkled throughout, $12 Million Stuffed Shark is informative, entertaining and splendidly different from other economic books. As Thompson generalizes the ins and outs of subjects such as ‘Branding and Insecurity’, ‘Auction Psychology’ and ‘Pricing Contemporary Art’, he manages to consistently keep readers entertained with climactic build-ups, sarcastic undertones, and pop trivia facts, all while offering a plethora of facts and figures to satisfy any desires for data. But readers must proceed with caution, for Don Thompson’s opinion of the art world’s opaque and baffling market clashes with any romantic or noble ideas of commerce founded on intrinsic and social worth, suggesting that behind aesthetic value, personal expression, artistic merit and any idea of ‘specialness’, the art world – and specifically the great and profitable sector of selling – is fundamentally a strategic battlefield of business savvy ventures and innovative branding. For Thomp-

son, at the end of the day, it’s ultimately all business. This easy-read guide is a must for anyone who has ever wondered why a Hirst dot painting or a Warhol print sells for millions, or why even the strangest pieces of contemporary art hold value and who exactly is responsible for it all. That being said, it is imperative to remember that this is the opinion of an “art outsider” – an economist professor to be exact. What isn’t addressed in this book is the other side of the art market whose idea of art is based on its intrinsic value – one that cannot be measured in dollars. As Thomas Hoving, the former Director of the Metropolitan Museum of Art, claimed: “As you climb the stairs of quality, you’ll meet individual works that you’ll need for the rest of your life, works that will thrill you, energize you, lift your soul, soothe you and make you smile; make you think about the fate of mankind and the universe, make you have to see them again and again for the good of your psyche, state of mind and strength of heart.” Hoving’s reaction is not due to branding, it’s due to a great artist and great piece of work. F





Contemporary Art in its Most Advanced EXHIBITION REVIEW




he University of Toronto Scarborough campus is known for its ability to be bold and striking in the arts, and is always on the front of diversity and culture. It was not surprising when the Doris McCarthy Gallery, located on campus and dedicated to the presentation of contemporary art in all media, opened its most extraordinary exhibition yet: Entre le chien et le loup. This solo exhibition by artist David R. Harper, on display from February 6 to April 6, 2013, is part of a four-venue exhibition tour traveling to Kitchener-Waterloo Art Gallery, Kenderdine Art Gallery, and Saint Mary’s University Art Gallery. Entre le chien et le loup, a collection of six works, depicts universal myths surrounding commemorative objects. Harper uses 14


the expression, “entre le chien et le loup” to produce the idea of an ‘ordered’ natural world. The character of the works, which range from taxidermy-based sculptures and embroidered prints to digital art, establishes a distinct impression on the viewer. The collection of works is divided into three areas of the gallery: the West Gallery, the East Gallery and the gallery entrance. The West Gallery holds a digital artbased piece, Draw Near the Range, Draw Nearer, which is a series of five images projected onto five different screens. The images appear as mountainous landscapes changing from dusk to dawn. The room is submerged in darkness, allowing for the five images to be the source of light, or of ‘knowledge’ for the viewer. With uncertainty, the viewer turns to the images for guidance in the darkened space.

The East Gallery hosts four work including sculptures, embroidered prints, and masks. I Tried, and I Tried, and I Tried, is an embroidered print reproduction of Napoleon Crossing the Alps by Jacques-Louis David. As one of five reproductions in existence, the difference of brightness and dark make the work appear as an inverse image of the original. To Remind, or to Warn, a taxidermy-based sculpture, is composed of two wolves, one white and one black, with opposing body language. The black wolf may have a more aggressive stance than the other, but both appear equal in height. An important feature of the white wolf is the patch of black fur on its tail, perhaps the link between the two wolves. A Fear of Unknown Origins, an assembly of 72 animal masks, embodies a sense of identification. Presented in different shades of blue, the masks contain several

species of pigs, mon Less the R piece in th appear as ceiling. Th ant role in for projec the room, the room. decisive m control th itself. Spa fundamen et le loup. Th are Lost Fo sculptures presented Beneath t white jugs larger, wit eral anima Several of skulls loca

The sixth work, Then We orever in the Gloaming are s, with an array of sizes, d on two metal tables. the left-hand table are two s, one smaller and one th brown lids. Atop are seval skulls attached to rods. f the skulls are small, bird ated in the middle of the


PHOTO FROM AKIMBO Fear of Unknown Origin, 2012.

table, while a white female cow head is placed on either side; the rods of the two cow skulls based on two rock-like sculptures. The right-hand table features a fire surrounded by logs beneath it and atop is identical to the left, apart from a black male deer skull, which replaces the white female cow skull. These differences between the two tables [jugs and fire; cow and deer] pose an interesting response. This ‘ordered’ natural world is filled with doubt. Harper, without making a direct reference, is able to explain the expression, “entre le chien et le loup”, to the viewer through his six works. Particularly impressive was To Remind, or to Warn as two sculptures with differing appearances, but still holding a bond between each other. It was the intended purpose of the exhibit to showcase an uncertainty in the world, and by all accounts, it did succeed. F


f animals, such as cows, nkeys, and bears. Eleven Range Between Us, the last his section of the gallery, metal bars attached to the This work holds an importn the exhibit, as it is a tool cting shadows around , filling the emptiness of . The use of lighting is a move made by Harper to he elements of the room ace and light seem to be a ntal factor of Entre le chien


PHOTO FROM DMG WEBSITE I Tried, and I Tried, and I Tried, 2012. David R. Harper: Entre le Chien et le Loup is organized by the Doris McCarthy Gallery in partnership with the KitchenerWaterloo Art Gallery and Kenderdine Art Gallery. The show is currently touring, and will be shown at the Kitchener-Waterloo Art Gallery from May 3 to July 28, 2013, and at the Kenderdine Art Gallery, Saskatoon from September 13 to December 14, 2013. For more information, visit: TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


A policy brief for


a word of caution

cultural sector


for the



he research for this policy brief consists of two central questions, the first: How arts managers can use the economic argument in the most efficient way as an advocacy tool for the arts. The commercial arts don’t tend to need



too much help, it is the not-for-profit arts that I am mostly concerned with in this paper. The economic-value of the arts is undeniably the most easily understandable and justifiable concept for policy-makers as most of them comprise of economists. However, a wind of caution to arts advocates and cultural policy-makers in particular when using the economic argument, as to not be detrimental to the image of the arts and culture sector in general. What may seem like an easy way to nurture the sector now, can be a very slippery slope for the future and have lasting repercussions for the sector. Hence this paper deals with the economic analysis of the culture sector in a way that makes pragmatic sense for the sustenance of the cultural industries. And secondly it deals with the economic impacts of the sector itself and examines some of the most rudimentary arguments, albeit not exhaustive, against the most pervasive ideologies regarding the economic impact of the arts. The first distinction that needs to be made here is that there is a difference in the “economic-value” versus the “financial-value” of a commodity. Financial necessitates the monetary, however economic does not, economic is a measure of value but that value can be in terms of different measures for different contexts, for example, it


are to be integrated and organic to the lifestyles of different communities and hence contribute to the regeneration of communities, not necessarily the urban. The client-based approach, i.e. investing in the sector in order to attract those who can afford to, and would want to spend their money in order to experience the arts lends itself to the elitist argument. The notion that the arts tend to be in service of the advantaged who are privileged enough to afford it. Attracting tourism through the arts who in turn will bring in money adding to the value of the economy is a painfully obvious and shallow understanding of how the arts influence the economy and an illustration of the elitist argument. This is exactly why cultural policy makers need to distance themselves from this aspect of the value of the arts, although admittedly it is partially true as the arts tends to have the affect of attracting people, be it tourists, due to its intrinsic and exciting nature. However the real economic-value of the cultural sector is in its ability to be an amenity, to be enjoyed by all, equally, without barriers to access. Barriers, which government funding can eliminate for the public and hence through a strategic implementation of the different arts amenities in diverse communities, which should include minority communities,

suburban, rural and priority neighborhoods the arts can better be justified as adding to the economic vitality of a locale. One might argue that financial is not the only barrier the general populace faces, there is a more deeply rooted tradition of exclusion within the arts and cultural sector. However when perceived as a public amenity, the idea itself works to breakdown the exclusionary culture associated with the arts. Public amenity implies public ownership, hence it is for the utility of the public good. Hill strategies research found that the greatest indicator of art patronage was not artistic education, social class or even wealth, the greatest indicator of repeat patronage was previous exposure to the arts. So, this would lend itself to the solution that the earlier a population is introduced to the arts the more likely it is to attend again. Another repercussion of the misrepresentation of the arts as merely economic commodities is the reduction of the artistic product into “currency” which causes the loss of the intrinsic and organic value of the artistic discipline. This will also encourage the production of artistic goods in an attempt to reach the ultimate “price” in the commodity market rather then to achieve artistic excellence, loosing all that is inherent in artistic product that differs from other products of




can be measured in edification value, enjoyment value etc and how those concepts can add to the vitality of the economy. The study of economics allows for that substitution to occur. It recognizes that money is not the only “value” or ‘motivation driver’. (However many times it can be, and so often economists will attach a monetary value to something to understand the relativity of alternatives. After-all any first year economics student will tell you that economics is a study of the efficient allocation of scarce resources.) Economics also concerns itself with maximizing consumer utility, i.e. maximize the amount of satisfaction or “happiness” a consumer can get out of a certain commodity or product in relation to the amount the consumer has to spend on that product. Hence looking at the arts through an economic lens is not necessarily a negative notion, having established the difference between economics and finance. One way to analyze how the arts add to the value of the economic sphere of a certain locale requires a shift from the clientbased approach to the “amenitiesbased” approach. “Borrowed from economics, the term amenity is defined as a public good that is not bought for a specific price, but shared by residents of a community.” (Rebholz 5) Hence this approach would suggest that arts

Policy Brief continued....

the consumerist market. When talking about amenities it is necessary to address the regeneration aspect of the arts as that has been the most talked about aspect of this sector in recent literature owing to Florida et al. A recent study conducted by Daniel Silver and Diana Miller for the Journal of Urban Affairs found through its research the correlation of Florida’s “creative class” and the wages of a given locale to be as follows:


First, in general there is a strong association between artist populations and rising local wages (as well as median incomes). Second, this association is strengthened in more self-expressive, glamorous, and charismatic [cultural] scenes. Third, in contrast to artists, “creative professionals” are linked with lower local wage growth generally and in such scenes. While artist clusters do seem to play key roles in the expanding creative economy, the evidence suggests skepticism toward a generic creative class whose elements, from artists to technicians to managers, are fusing with and becoming more similar to one another. (Silver and Miller) Florida’s argument regarding “creative class” renders itself useless in light of these findings and associates prosperity with the cultural sector rather than his bourgeois



or bohemian classes. Needing no further elaboration in this paper the inclusion of these findings is to suggest a strong and obvious correlation between economic prosperity and the cultural sector. A second approach to looking at the value of the cultural sector can be coined as the “merit-based” approach. Whereby “art products can be viewed as merit good whose production and consumption should be encouraged” (Ridley 12) Merit of artistic products lies in the edification and enjoyment value of these cultural goods. However in a democracy one could argue that there needs to be considerable consensus where policies regarding public funding is involved. Throsby and Whithers demand of democracy that the ‘merit goods’ argument “would only be a ground for unequivocal government intervention if it could be shown that the belief enjoyed universal approval.” To which Ridley successfully argues “No liberal democracy rests on the universal approval for anything. Ninety-Nine percent support is the mark of a dictatorship. At best, we have majority votes and even this is a limited description of democratic practice.” (Ridley 13) Governments instead are elected as officials by the public with the knowledge of their broad intentions and left to work out the fine policy details in keeping with the needs of the nation,

otherwise any kind of rule would be impossible, with the only alternative being anarchy. This does beg the question of the “authoritarian, paternalistic or the subtle promotion of special interests.” (Throsby and Whithers) But then so can be argued of subsidies for the advancement of religion and is a slippery slope one may or may not want to venture. In any case, the point is that in a diverse liberal democracy where people are allowed their opinions and tastes, there needs to be some government intervention in order to make decisions merely due to the many differentiating opinions. There is also the argument regarding consumer irrationality and that consumers (or patrons) often are unable to make the right decisions owing to different factors in their surroundings that influence their decisions. Bougrine’s argument, however taken out of context, regarding consumer irrationality is apposite here, i.e. consumers are irrational and do not always choose the most utility maximizing option available. Jason Saving makes an attempt at addressing the concept of consumer irrationality by stating the fact that “why would one expect that the government made up of such individuals could behave rationally?”(Bougrine 85). The fact that government is made up of the same individuals we


Systems like healthcare, education and social security in Canada attest to the fact that government regulation adds to economic prosperity and the quality of life. In the same way some government leverage helps the consumers in their decision making process which otherwise are too skewed by things like the media and the consumers own irrationality. This example attesting to the fact that governments intervention in the subsidization of the arts, even is considered paternalistic, is not necessarily detrimental to society. Other economic arguments like the education value of the arts and the moralizing value of the arts in making its citizens critical thinkers hence responsible citizens still stands. The function of the arts then is not merely aesthetic or even just educational, it is to bring order out of chaos, coherence out of endless static and to render people capable of thinking metaphorically. It was, of course, an economist who was the founder and first Chairman of the Arts Council of Great Britain. At a press conference in June 1945 he had looked forward “to a time when the theatre and concert hall and the gallery will be a living element in everyone’s upbringing and regular attendance at the theatre and at concerts part of organized education. Two years later T.S. Eliot, would assert

“that the standards of culture are lower than they were fifty years ago... I see no reason why the decay of culture should not proceed much further, and why we may not even anticipate a period, of some duration, of which it is possible to say that [Britain] will have no culture.” Perhaps the economist is a better soothsayer than the poet!” (Mason 185) However much one tries to run from it, the idea that the arts are to be measured in terms of economic value tends to not digest well with most true patrons of the arts. After all it begs the question of quantifying quality and measuring the unmeasurable and the problems associated with doing so. “An economist knows the price of everything and the value of nothing” a momentous quote by Oscar Wilde perfectly illustrates the strange relationship of the realm of economics with the cultural sector. There are many arguments for what the cultural sector contributes to the economic vitality of a society however not enough arguments for what the economics takes away from the cultural. But when analyzed under knowledgable economic theories with the realization that financial is not the only value indicator, the economic realm can be a good advocacy tool for cultural policy-makers. F



are accusing of being irrational is true. However, the fact that a collective tends to behave differently in its decision making than a single individual, persists. As Bougrine presents the example of social classes and the need for individuals to belong to higher classes rather than identify themselves in belonging to a lower social class. This influences the decisions the individual would make regarding their consumption, hence will not result in the most economically optimal decision. Consumer sovereignty here is inferior to government sovereignty. Hence, Bougrine sums it up well when he concludes that in a perfect world optimal allocation of resources would be automatic due to the utility maximizing decision making process of the unbiased individual. However the real world is characterized with all sorts of imperfections “regarding knowledge, cognition, mobility and power of consumers to affect the market and prices.” This indicates the market failure and lack of the consumers ability to exercise their unbiased decision making. The solution however lies in moderation, government intervention is primal in order to achieve some of the economically optimal decision making, after all we cannot have anarchy altogether. Hence creation of cultural policy in consultation with the public needs is what is needed here.


thoughts on

Rethinking the


T Social Impacts of the arts BY FIONA LI



he debate on the social value of the arts has long existed as a consequence and response to its stance of acquiring support from government funding. The article Rethinking the Social Impacts of the Arts by Eleonora Belfiore & Oliver Bennett highlights many important points that are relevant to the society today and has come to establish a set of ideas and rules to follow when one raises discussions around the arts. The arts are very often associated with its impacts on the economy. There is an element of deceit here in that this connection may lead one to think that the necessity of fostering the economy is well above the importance of supporting the arts. In the end, many of the comments and judgments about arts funding are placed behind its ability to assist in the economics. It is unjust to place both on the same scale because the arts and economics hold completely different characteristics and values. Thus again, it is preferable to look at the arts not as an individual aspect, but alongside everything else that come to exist that we claim to be influential to our development. To further extend this point, we should see that the value of the arts stimulate what we use in exchange. For example, once we decide upon something that we deem


and improve and transform according to these set of ‘histories’. However, this assumption leads us to Howard’s claim that “there is no such thing as ‘history’ (140). Howard argues that we are interwoven into the idea that we find truths and lessons, when in reality, there is no such thing as truths, as “history is what historians write, and historians are part of the process they are writing about” (Howard, 1991, pg. 11). This means that everything in history holds a personal and biased term, where the ‘history’ left unsaid are then masked and forever lost because nobody was there to claim for it. Thus, by looking at the arts through a historical approach, the claims are then unsound. If a historical approach leads to biased and misunderstood correlation, how should we then proceed to look at art? In all, the arts is a complex yet simple matter: its complex nature pushes us to draw multiple conclusions when we face issues such as deciding on whether or not the government should fund it or not, or whether or not the arts is as beneficial to us as it claims to be. However, if we strip away all these questions and see art, feel art, and connect with art based solely on its intrinsic value, then we can perceive art to be a simple and pure entity. The question after all lies in the notion of the

importance of art to the society, and whether or not it should be important enough to obtain government support. It has come to my understanding that no one would deny that the arts bring benefits, but it is hard to prove, demonstrate, and measure the connection between art and social betterment. However, it should be understood that although one should not compare and attempt to equate the level of importance between the arts and the economic, the arts exist for the market to have something to offer. It all comes down to the importance of equilibrium within the argument. To have extrinsic values that we can come to find through school, through health support, etc., we are also in need of intrinsic experiences – whether it be knowledge, insight, desire, pleasure, fear – and it is in the correlation between such intrinsic values that can then be translated into economic terms. In conclusion, the arts are good in the very idea that art exists for the sake of being here as a part of life. There should be no doubt that the arts should get funding and support from not only the government, but the whole of public. We should understand that the arts do not only affect those who are encircled within the artistic culture, but it is an intrinsic value that is secured deep within each and every one of us. F



to see value or desire in, we proceed to establish it in our market with a commercial value. As a result, one can see that the market goes in accordance to what culture has to offer, yet it is impossible to express the value of culture the other way around. In looking upon the relationship between culture and economics, it has triggered an idea that should be important to highlight. When we think about economic stimulus, we tend to disregard the importance of artists, and we somehow place them outside the spectrum of being a part of the economic drive. However, artists themselves may be the economic drivers of a society: they produce art, then sell their artwork, and use this money to spend. Thus, in response to the idea that art is always triggering the idea of asking for funding, it should not be regarded as a negative asking, for the artists are important contributors to economic development. Another assumption based on the claims the authors make is that the arts have a history, and that it evolves in accordance to the historical changes through time. A disadvantage of looking at the arts’ impacts through a historical timeline is that it already sets us down a one-directional path. What we claim as ‘history’ we believe is something that we must adhere to, and follow. Thus we make changes


THE GODFATHER of TORONTO theatre If you are a regular theatregoer in Toronto, you may have seen Derrick Chua somewhere, whether it’s in the audience, in a party, or in an opening night lobby. Derrick is a Corporate and Entertainment Lawyer and a Toronto Theatre Producer. He graduated from University of Western Ontario Law School and has produced numerous shows including My Name Is Rachel Corrie, Bonnie and Clyde, and Top Gun the Musical. INTERVIEW BY SO-JEONG CHOI PHOTO BY ADLEY LOBO


How did you first get into theatre? I grew passion for theatre in high school. I participated in school plays and really enjoyed it. I thought I was going to be a doctor so I went to university for Computer Science and Math but I did not like it, so I switched to English and Theatre halfway through. Fortunately, I liked what I was learning and was good at it – good enough to get accepted to a law school. [Laughs] When and why did you decide to go into law? I decided to go to law school in my last year of university. Probably due to my upbringing, I tended to be practical about many choices I made. I enjoyed acting, but it wasn’t like many other people who believed it was their calling. So I focused more on directing, but I wasn’t good enough nor had the vision for it. I began to think of many different options in my last year, like teaching, MBA, etc., and law was the area that really pulled me. I was planning to become a corporate lawyer, but I visited the office of McCarthy Tetrault, one of Canada’s largest law firms, and saw a list of all the areas of practice. Entertainment law was listed as one of them. That’s when I discovered it as a viable area. I did a summer term at the firm, and started independently practicing Corporate and Entertainment Law as a lawyer. What does an entertainment lawyer do? ‘Entertainment law’ does not actually exist as a separate category. There are basic legal principles, and it’s about how you apply those basic rules to different projects and business structures. For instance, corporations have a totally different structure from charities. When I first started, I mainly did legal works for film/TV/

music, reviewing files and producing agreements, settling copyright issues, helping with the financial structure and contracts between producing companies and writers, etc. What takes up the biggest portion of your work? Music, Film, TV or Theatre? It varies year to year, according to the clients that I have. Right now I have three different clients: I’m working on a web series, a TV series, and mobile apps. For web or TV reality series, the questions you would need to ask would be: “Did everyone sign the release?” If there is a story involved, you should take into consideration things like: “Who wrote the original story? Who has the personality rights/moral rights to this piece?” From there, you apply the basic legal principles onto each case. As you practice law, you learn about different mediums because each medium works under different rules. These days there are so many different ways of creating works and monetizing them – think of iTunes or Netflix, even radios. Say a song is played once on CHUM FM, it reaches more than a million people at once. How do you monetize that? For one of the clients, I had to learn all the technical terms for mobile apps. There are bigger learning curves for things like that. Do you also do legal works related to labour relations? What about theatrerelated works? Equity does all of the labor relations related works (minimum wage, hours, etc.), so I don’t really have to deal with that. Theatre-wise, most of what I do depends on the project. Sometimes, people want to write a play that’s based on a novel or on a certain person. Sometimes they want to

write a piece of documentary theatre using real people’s stories and words, and they want to find out if there are legal issues there. I also facilitate the legal procedures between theatre companies and artists – like Kim’s Convenience, there has to be someone between the author and Soulpepper Theatre Company. I try to make sure all the writers and creators and everyone involved are protected. I figure out whether they’re going to be paid properly, if they’re in bad agreements with other people, or if people are knowledgeable about important legal issues. For example, playwrights will think, “Okay, I’ll just write a play based on Stephen Harper...” And get sued! Exactly! But they have to take into consideration that certain lines can get them into trouble. Or, they might want to put on a play based on Margaret Atwood but they can’t because they didn’t get her permission. A lot of artists don’t know about these issues. What kinds of shows do you work on, theatre-wise? Big musicals? Independent theatre? I usually work for almost every kind of show that Mirvish picked up from somewhere else, like My Mother’s Lesbian Jewish Wiccan Wedding, their OffMirvish shows like Clybourne Park. I don’t work as a lawyer for Mirvish, but on the other side. You also produce your own shows, what kind of shows have you produced? I’ve been producing for almost 20 years! I’ve produced about 30 or 40 shows. I certainly have the merit of core artistic members of Studio 180 (of Clybourne Park). I co-founded TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


that company 10 years ago, and this year is its ten year anniversary. It does socially relevant theatre, and has produced shows like Laramie Project and Stuff Happens. I’ve worked with some other people sometimes on one-off basis, some are commercial projects, and a lot of small independent shows – a whole lot of them. Can you give any advice for those interested in entertainment law? I think they should do their homework and figure out what entertainment law exactly is, and what lawyers actually do. It sounds very glamorous – dealing with movie stars and so on – but a lot of that work is very much about paperwork, and can be quite dry: writing agreements, sitting through talks with artist/actor/ writer/clients, and trying to get them to sit down and read a 40-page agreement. Sometimes, they go, “I don’t know what the hell it means,” but you tell them that they have to read it because it’s important. It’s a struggle. [Laughs] These people are more artistic, and they’re not very used to these kinds of business agreements. So basically, being a lawyer is dealing with your client, making sure that they are totally aware of everything, and it sometimes involves having to force them to be aware of everything. The lawyer will say, “We did this last week, let me know what you think.” And the artists will say, “I’m sure you did it alright, I’ll just sign it.” But you have to tell them to read it before they sign, and make sure they understand. Say someone’s optioning for a play, and in different cases, they have the right to casting or directing or whatever – you have to remind them what they are going into, such as: “You can’t make any changes to the piece 24


after signing this, are you okay with that?” Some writers say, “I want to approve of every show’s director, casts and marketing material.” But that’s pretty unrealistic after a certain point, unless you’re *Edward Albee. He does do that. He has a role over all the directors and casts in different productions, and is very strict about changes and artistic choices. If directors say they can’t do what Albee wants, he just says, “I don’t care. Don’t do my play. I don’t need the money.” (*Edward Albee is a famous playwright who wrote plays like The Zoo Story (1958) and Who’s Afraid of Virginia Woolf? (1962)) Are there a lot of entertainment lawyers in Toronto? Is there a lot of work for them? It depends on the year and different situations. When there’s a lot of filming going on, there are lots of work to do. Film and TV are still the biggest source of work for entertainment lawyers. For theatre artists, I can’t really charge them even if the agreement takes a longer time; it’s just unrealistic. A lot of the time it takes, say, 40 hours – that is $10,000. But theatre artists can’t afford that. I know what people are making and how much theatre means to them. I understand that, and I still decide to work with them. On a film I can charge that amount. Big Hollywood film production companies – usually Bay Street firms – have that money. I have worked on films of $100,000 or less, but never a billion dollars. So you do it because you love it. I also do it because I get paid. But a lot of times I don’t think the scene is big enough so that we can sustain 50 more entertainment lawyers every year. Also, artists are now doing projects that cost less. Nowadays, you

can do way more film-wise. You can create a project with $10,000 dollars, with new technology and software available. Ten years ago a film cost way more than that – but the legal cost remains the same. You are also a Board member for a lot of different organizations. Can you describe what you do there? The work varies. Being on the Board of theatre companies means that you oversee the direction of that company, both artistically and financially – making sure the theatre company’s budgets are proper, that they’ve got backup, and are not spending more money than what they have. Also, if the theatre company has a mandate, you have to provide directions accordingly. The key is looking after whichever is the best interest to the company. Ideally, you would like to have somebody on your Board who has legal, accounting, financial, fundraising, and other useful skills. I’m on the Board of a charity, and I do legal work that I don’t get paid for. That’s one of my big contributions. One thing that distinguishes my contribution is that I’m sort of more than just a lawyer; I am in the industry myself. Many of the companies have lawyers on their Boards, but in many cases he/she doesn’t know much about theatre or entertainment law, so they won’t be able to advise that company about industry details. For instance, Cahoots Theatre Company is looking for a new Artistic Director (AD) because Nina Lee Aquino has gone to Factory Theatre as their new AD. As a lawyer, I can help with that paperwork and agreements between the company and the new AD, but I’m also more qualified to work on it because I know the people. I know who the good can-


didates are for the new AD. As far as that goes, I have skills that are beyond just the legal. What’s your favorite genre of theatre? Musical theatre – that’s the best! I love that it’s an ultimate form of escapism and you have to believe the song is really a part of what is going on. You have to accept that the characters can’t do it any other way. Are there a lot of new Canadian musicals being created? There are, but I think a big problem is there is a lack of funding for the development of new Canadian musicals. If you are writing a musical, you are, 95% of the time, on your own and not being paid. Of course this is not the case for more established people, but if you’re doing this for the first time, there isn’t a whole lot of money for development or workshops. We also don’t have many theatre companies that are dedicated to musical theatre. There are handful, like Acting Up Stage, Theatre20, and Angelwalk Theatre Company, but none of those companies have much money like Canadian Stage or Tarragon. They don’t have their own venues, so they can’t even give somebody free space. Look at Acting Up Stage – they’re fantastic but there aren’t lots of resources that they can offer musical theatre composers. Even if they have a musical that they love and want to workshop on, that costs a lot of money. They don’t have that kind of resources, which is a huge problem. That’s why most of the successful musicals that have come out of Toronto for the last 5-10 years have been through festivals – through people self-producing. It’s a shame, when it should be a theatre company putting it on. My Mother’s Lesbian Jewish Wiccan Wedding came out of Fringe and

had such a good response, but they had to do it on their own. It’s hard – the creators won’t make whole lot of money for many years, so they’ll need to have a second job or something. Compared to places other than New York and Chicago though, we are certainly better off. It’s still the best place in Canada to be a musical theatre writer/composer/performer, even for movies. We just need more money. Where do you think the money should come from? It depends on the system. In the States a lot of money comes from foundations like the Rockefeller Foundation. There are lots of huge foundations which are mandated to the professional development or support of the arts. It is not like here in Toronto, where there are three levels of government (CCA, OAC, TAC) who pay for the arts, but after that, there aren’t any foundations that can give that much amount of money. Korea, as far as I know, a lot of it is privately funded. We don’t have that in Toronto. How do you choose a show to produce? For me, it’s basically my personal taste – it’s both the material and the people involved. I’m at the point, theatrewise, when I don’t have to do what I don’t want to do. It’s not my living, so I can choose to do a show that I really want to. Theatre business is so small in Toronto that if someone gets a bad reputation, people go: “Forget it. It’s not worth it.” People talk! If there’s a talented performer but he’s a jerk, he’s not going to survive. People are not going to work with him, unless he’s very, very famous or talented. There are so many talented people around, so I’ve never come across a case when

a role has to be played by that person. Directors will say, “I’ll find somebody else.” Any advice to those who would want to be an international musical theatre producer? I think there are a lot of different paths. For one thing, Asia is becoming a huge market for musical theatre. It’s a huge, huge market that somebody has to go to. Producers are bringing big shows like Les Miserables and Cats, but I think there needs to be someone who goes there with new, original shows and plays, and bring their theatre over there. The other way can be going to a Theatre/Arts Administration program, or a specific theatre program. I think that will have to be in New York, because there are no such programs in Canada. Go to NYU or Juilliard, where you can meet Broadway crews and people, and make connections that you will need to achieve your goal. That will be 3-4 years at school, and after that you will have all these connections that will help launch your career. How about for those who want to be an entertainment lawyer and a producer, just like you? One way could certainly be doing the law school route and getting your degree first. That will take four and a half years, and a lot of that will be in school, without much practical theatre experience. So after 5 years you’ll be a lawyer, but won’t have experience. If you have that legal qualification, though, you will have more liberty, and will be able to do a lot of things even if theatre path doesn’t work out. That’s the practical, safe path as a backup - a lot of actors become teachers, and do other things in case they don’t make it. F TRANSCEND - EPUBLICATION FOR THE ARTS - 2013



Katherine Devlin is an alumna of the Arts Management Program at University of Toronto Scarborough. She currently works as an Associate Producer for Crow’s Theatre and is the General Manager of Paprika Festival, a free youth theatre festival. She also works for the director Mitchell Cushman. Curious to hear her story of how she got three jobs right out of university?




Can you tell me more about the work you do at Crow’s and at Paprika? I work at Crow’s Theatre as the Associate Producer through the Metcalf Internship. The internship is based heavily on a mentorship component, but now that I am at the end of the year, there are many projects that I am taking on myself. So that’s my full-time job and then my second job – it is kind of crazy [laughs] – I’m the General Manager of the Paprika Festival, a youth theatre festival, that is free for participants. The Festival was started by an 18-year-old, named Anthony Furey, who imagined a theatre festival for young artists; it’s grown quite a bit since its inception. Participants range from 15 to 21 years old. We have 6 different programs at Paprika. The Production program (we have 7 productions this year), consists of shows that are submitted by a young artist and chosen by the Festival. All of the productions are mentored by professional theatre artists. Another program is the Creators’ Unit, where participants create a collective theatre piece. This group is assembled by the Festival’s artistic team and facilitated by a professional theatre artist. We also have the Resident Company program, where participants work on a play through a more traditional rehearsal process. There are also Playwright-In-Residence and Mini-Mentorship programs where playwrights have their work workshopped while being mentored by professional theatre writers. We have a new program this year

called the Advisory Board, which has a slightly older catchment age – participants can be anywhere from 14-25 years old. These participants help run events during the Festival and therefore have the opportunity to learn about the Festival from an administrative perspective. They’re heavily involved and are welcome to contribute to decision making for the events – they will be running the annual clothing sale in May! This program provides an opportunity for participants to run various theatre related events. The final program is called Olde Spice, this program is for past participants or alumni of the Festival who wish to participate in the Festival structure and the mentorship opportunities. The Festival this year ran from March 27 until April 6th, with over 100 participants. It was our 12th season, and the performances were at the Tarragon Theatre. How many hours do you work a week? I work at Crow’s for about 40-50 hours a week, depending on the week; Paprika takes up anywhere from 5 hours to 30 hours per week. It’s kind of insane. I have also started working in a producing/GM capacity with a friend of mine, Mitchell Cushman, who runs a theatre company called Outside the March. He just directed Terminus that was produced at both the SummerWorks Festival and by Mirvish. His next project is called Passion Play, and it is actually going to be presented by Crow’s Theatre (where we both work!). There are three indie theatre companies

that are producing the show: Convergence Theatre, Sheep no Wool, and Outside the March. I don’t know how it all happened because I just graduated in May 2012 - it has not even been a year, but I have three jobs! You worked with Crow’s Theatre before graduation, right? Yes, kind of. I started running their bingos four months before I started working for them while I was still in school. The reason that I had the opportunity to work at Crow’s directly after graduation was because I VOLUNTEERED – (capitalize it for students who will be reading this!) – at Nightwood Theatre. I was their Marketing and Development Intern, and I worked under Hilary Green, who is now the Producer at Crow’s. When Crow’s was looking for a Metcalf intern, Hilary suggested me! I then found out about the position at Paprika through my friend Mitchell who also works at Crow’s. At the time I was like, “A General Manager?! I can’t possibly be qualified for that, I graduated six months ago!” But he explained a bit about the organization and the structure, and I applied, interviewed, and was hired. You have to keep in mind that before I went to school (UTSC), I graduated from the Randolph Academy for Performing Arts. After theatre school, I started two companies and ran them as an Artistic Producer, so I had producing experience before attending UTSC. Also, while in school



“ Getting to know the industry in advance is probably the most important thing. It’s not something you can do on an afternoon or by looking online – it’s about really getting to know the people and the makeup of the industry. ” I volunteered a lot. Even before school, I volunteered at Dancemakers. I also used every assignment at school to try to network and meet people in the industry in order to understand where I might fit in after graduation. What kind of skill sets did you learn in Arts Management that’s most useful right now? One skill set that is really useful is the writing skills that I acquired while in school. So important! All of the assignments that we were given in school were extremely helpful for me. I find that I don’t have to write as much in my job as I did while in school, but because I had that experience I am able to write quickly and effectively. Other skills that I learned in school that are really helpful are all of the basics about arts admin. For example, the in-depth knowledge we gained about Boards. Also, the elements of fundraising and marketing from the two senior lever classes allowed me to feel confident in my opinions – whether or not I choose to vocalize them at work all the time. I think that’s valuable.



Do you do any financial/budgeting as a general manager? I totally forgot about that Financial Management class! Yes, that entire class was amazing. I’ve actually hired our professor Heather Young’s company to do the bookkeeping for Paprika. I live with that Heather Young textbook on my desk. Don’t ever sell it! It’s really valuable. Is there anything that you would fix in the Arts Management program? If I would fix anything, I would add additional experiential learning components. Also, creating a mandatory volunteer component to the curriculum would help. I know that lots of students do volunteer on their own, but not everyone does. Also, not everyone knows what they want to do, so having different opportunities to try different things would be a good idea. Was there a striking difference between what you learned in school and what’s in the real working world? Yes. Every manager has a different style. It’s a big change from school. When you write a report or a mock grant, your teacher is not basing your

grade on what they expect of you in terms of style; they’re basing it on general expectations of excellence. So, everyone is allowed to achieve their own levels of excellence, which is great as it fosters the students’ individual voices. But when you get into the industry, and if you’re in an entry-level position where you are working for someone else, each manager has their own voice. You need to learn how to be excellent, but in the way that they want you to be - even in things like email communications, budget presentations, or writing a grant. I did well in school and I pride myself on achieving a high level of work, but at the start of my contract, I had to really learn about my boss’ style in order to achieve the style of excellence she desired. It’s not that the skills I learned at school weren’t useful, it’s just that the change in the mindset can be shocking for students when they first come out. Do you have any future plans/ambitions? I’d love to be a Managing Director or a General Manager of a theatre company in Toronto. A sort of merging of my two jobs: what I’m doing for Paprika but for a larger organization. I am not exactly sure where I want to


work, but I know that I am passionate about managing and producing theatre! I didn’t expect this year to be this crazy, so I have no idea what will happen five years from now! I do not encourage people to get three jobs right out of school – be careful! You’re gonna die! [Laughs] Are you dying right now? It’s manageable, but working is a very different stress from school. You’re getting it done and you’re doing it well, but you’re not getting a “grade” on it. It’s not like I’m handing something in to the boss and getting a “grade” with notes. It’s a slightly different mentality – probably equal stress, but different. What’s the environment like at Crow’s and Paprika Festival? How is the staff relationship? At Crow’s, we work in an open concept office. Mitchell and I are good friends so we joke around, but for the most part, we have so much work to do. It’s a really nice environment to work in. For Paprika, we don’t actually have an office – the office is in my basement. We communicate over email and have Executive meetings every two weeks. The Executive Team consists of the Artistic Producer and the General Manager (me!) as well as the Director of Artistic Programming and Publicity, the Director of Production and Marketing, and the Associate Director. Working without an office is a challenge. The only reason we don’t

have a more set structure is because we don’t have enough funding. The position of the Artistic Producer and the General Manager should be paid full-time positions, or at least paid part-time positions. We work parttime because we are passionate, but we are not paid for all of the hours that we work.

“When you get into the industry and working for someone else, each manager has their own voice. You need to learn how to be excellent, but in the way that they want you to be. It’s not that the skills I learned at school weren’t useful, it’s just that the change in the mindset can be shocking for students when they first come out.”

It is a challenge to increase our funding structure. I was fortunately able to secure two corporate sponsorships this year and was able to focus on our individual giving campaign. What personality traits do you think a good arts manager need? A good arts manager has to be organized! It’s really important, because other skills can be taught, but having that organizational capability is a different story. Arts managers juggle so many things at once, and it is important to be clear about everything that is occurring. Oh, and open-minded and fun, too! Do you have any advice for graduating arts management students? Volunteer! I guess I can’t really speak for other industries, but if students want to go out and work in theatre management right away, I think that getting to know the industry in advance is probably the most important thing - something I’m still actively working on. It’s not something you can do on an afternoon or looking online – it’s about really getting to know the people and the makeup of the industry. Taking the time to do an internship is probably the best advice I could give. Also, seeing shows and getting out there. F For more information about Crow’s Theatre, visit: For more information about the Paprika Festival, visit:



ThE MUSEUM PROFESSIONAL Yves Théoret is the Managing Director of the Museum of Contemporary Canadian Art (MOCCA). Yves shares his insights and his journey of over 20 years of working and managing art. He also has advice and practical tips for students and young professionals trying to make it in the arts and cultural sector. INTERVIEW BY ZOYA BABAR PHOTO COURTESY OF YVES THÉORET


What is your artistic, academic and professional background? I’m an arts manager by default, but my fundamental training is in Art History -- it’s what gets me going. What I love about the visual arts, especially, is the way artists can communicate their vision about what’s happening in the world. I want artists to be able to share their vision and their unique perspectives, and the way I can do that best is through my skills and training in arts management. Arts management is a means to an end. Ninety-five percent of my life has been spent in the visual arts. I worked for six years for the National Gallery of Canada and it was the most amazing time. The great thing about working at a museum is that you can actually physically walk down the galleries and remind yourself why you’re doing this. I did my studies in New York at the arts council, did an internship at the Museum of Modern Art and also at The Getty in Los Angeles. It’s a different type of model there; there is much more reliance on private investment. I’ve honed my skills on the administrative side and what’s also a critical need is that I’m doing a lot of professional development, keeping my skills and my knowledge in tuned with the latest developments in the field. I serve on a couple of professional Boards; one is the Ontario Museums Association, where I serve as the Vice President (of the Board). It allows me to give back and stay connected to the field, as well as shape policies that help museums have a greater role and impact in society. I am able to

provide my insights and at the same time learn and train with others. It’s a two-way path. So, that is what’s at the heart of this: a passion to the visual arts. Early on, I figured out that my interests and strengths lied in the administrative side. There is actually a need in our sector to come to the table with some very sharp skills in terms of managing these operations. Organizations are growing more and more complex by the day. There may have been a time where one size fits all, but now I think its highly complex and requires specialized skills. If you can find them in one person that’s ideal, but there’s fewer and fewer of these individuals. What are your insights on the future of the not-for-profit arts? It’s a question that’s being asked and discussed more and more in the sector. The model came into place sometime in the 70’s, where [arts professionals] felt that the not-for-profit vehicle was a means towards supporting efforts in the visual arts or the cultural sector -- that it provided a mechanism towards an end. The not-for-profit model relies a lot on the idea of the public good, and as the name implies the non-profit is not meant for profit. Now there is a lot of discussion if this is the model for the future. The legal status of the operation should not matter; it is a means towards an end and the vehicle itself should not be protected at all. You want to, at least in my case, be able to assist and help artists engage with the world. Sources of

funding are drying up, I’m assuming they are stagnating; there’s less and less involvement in the public sector to support the non-profit arts operations. We need to start looking at different ways to deliver our mission and start by retreating from a legal status and looking for a new governance model to achieve that, which may include collaboration with for-profit entities. The not-for-profit model has served its purpose well in the past but I don’t know if it is the model for the future. I don’t have a definite answer to that, but all I know is that we are questioning ourselves, and the whole sector is questioning itself. We have all experienced a funder or supporter coming to us with funds, supporting a project that would meet their needs. Sometimes we are tempted to take their money, but what we want to do is what serves us. It means making sure that the organization has a clear mission and vision that serves it well. The clearer you are about where you are and where you want to be makes it much easier to steer an organization. Do you think we’re shifting towards the U.S. Model? No question about it. There is a crisis in public funding for the arts in Canada, as well as in Europe, so we are looking more and more towards the private sector to support our operations. I’m not saying that theirs is the model, but we can certainly look towards it. Would you like to share any challenges or failures that you have surpassed? There’s this great book called The TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


“ The not-for-profit model has served its

purpose well in the past but I don’t know if this is the model for the future. We’re questioning ourselves; the whole sector is questioning itself.”

Leadership Pipeline. Basically as you evolve in your careers and as you move up the ladder and you take on different roles and responsibilities, you’re called upon different sets of skills. When you are starting at the bottom of the ladder, you are coming in because you’re very skilled in what you do. As you move up the ladder, your skills become less and less relevant, and it becomes more and more about how you can shape the vision; how you can inspire people; how you can drive an agenda. These may have nothing to do with what you might have been good at technically when you started. Let’s say if you are an engineer, you are good at drawing and building bridges, but as you move up the ladder you’re providing less and less technical skills and more of the leadership skills that are required. I think I just was not ready to realize what skills I need every time I move up the ladder; it’s so easy to just fall back to being a very great technician. The reason I kept getting promoted is because I am very good at what’s on paper and what I need for my current job description. When you try to plan the next job description for me, getting myself ready to take on that next challenge has always been a bit of a struggle. What has helped me are the mentors that I have who keep 32 TRANSCEND - EPUBLICATION FOR THE ARTS - 2013

providing me with advice. When you move up and even laterally, you’re coming across new challenges and you have to figure it out yourself. It’s not failure; it’s just an acknowledgement that you don’t know it all. There is always a lot of room to grow, that is why I keep stressing the point about professional development unless you’re content with where you are. You have to keep yourself engaged with the world and what’s new so there is growth. Otherwise, your life will just go by you and you won’t have a chance to catch up. You’ve been very successful in the field. Any practical advice to young graduates or professionals in the field trying to get their leg in the door? I would strongly advise to be responsible when applying. If you know you are not qualified and that there is no way in hell that you are going to make the cut, then do not put yourself out there because if I’m going to see a name in this circumstance and the next time that name comes across my desk, I’m going to think immediately that this person is just not qualified. It does not show any professionalism. Be responsible and mature enough to realize what you are qualified for; don’t just apply because there is an opening -- it is too risky. One

thing I would really recommend is networking; it is absolutely essential. Especially the sector that we are in, people know each other and talk to each other, it would serve any potentials in the field to know a lot of people. What do you think of ‘organizational fit’? Is that a luxury any applicant can afford in such a saturated market? From the perspective of the employer, the number one criterion whenever I hire someone is if they are the right fit. Are they the right fit in terms of personality and values? Something that I did not come up with, but something I do follow is that, “You hire for values; you train for skills.” At MOCCA, we have our own set of organizational values, obviously there is the basic set of knowledge that I am looking for. There are a lot of people with the same set of credentials; I have the ability, as an employer, to find the right fit. We’re not rocket scientists here, we are not heart surgeons, and skills can be learned. I know I can get someone who has the passion and the commitment, someone who is a keener. If I can get that, than we’ll learn together, I’ll teach you, we’ll come up with ideas. That is the kind of spirit we are looking for: value-based hiring because it is a buyer’s market.

T RANsCEND Efforts should be made from the applicant to respond to that need. If you apply for the job that you know you can meet the hard skills and the knowledge requirements, you have to find out how you can align the values that you embrace and the values that you share with the organization. I think this is critical because those are the kinds of questions we ask at MOCCA in the hiring process. Obviously we tick the boxes like, do they have the degrees and all that. But once we have gone through that, then we start digging to their set of values: what they believe in, what their interests are, and what their commitment is to the sector. That’s where I think we really sense if it is going to be a good fit. From the perspective of the job seeker, it would do well to know that MOCCA is looking for a certain set of values. In your experience are their any particular things that applicants do wrong, or things to keep in mind when applying to jobs? I’m looking for any way to dismiss your résumé: no typos, no mistakes in my name -- there is an accent in my name, you see it on the web, put the accent in my name so I know you are detail-oriented and respectful. Most of us have complicated names so let us be respectful. Cover letters should be spotless and triple checked because I’m looking for any way to get my pile of résumés smaller. Do you have any advice for applicants heading into the interview stage? Learn about the organization. Try to point towards something that would make you stand out, or towards an experience with the employer, like saying that you saw

the show last week, and that it was great, etc. Make them feel that you are paying attention to their operations. It is not just about saying, ‘Oh I love you, and your organization,’ but pointing out something that I can relate to, and do not lie, do not make it up. If you have never been to a place, be honest and say that, but research. Look at our website, find something that intrigues you, whether it’s our vision or mission, and why. But do not make it up, the last thing you want is to be caught in a lie.

“Obviously we tick the boxes like, do they have the degrees and all that. But once we’ve gone through that, then we start digging into their set of values: what they believe in, what their interests are, and what their commitment is to the sector. That is where I think we really sense if it is going to be a good fit.”


Do you have any advice for artists looking to exhibit their work? What does MOCCA possibly look for in an artist? We look for commitment to and consistency in their practice. We look for people who want to spend the time, effort, and energy to think things through. Being a Sunday painter is not going to get you into the world of the professional arts. If you want to be a professional artist then act like one, and be persistent with your practice. A big word is ‘commitment’ -- commitment to your practice. Do you ‘Google’ an applicant before you set up an interview? Anyone I meet, I google before hand and I sure hope they are googling me too. Here’s the other thing: come into the interview with something. It is not all about the organization, it is also about the hiring manager. So something like: “I noticed that you did your Masters in Columbia University...” or “Oh, I went to New York city last week...” Just find a way to connect on a personal or meaningful level. I look for a LinkedIn account, or a personal website for artists. A professional web presence reinforces the case to me that you are a professional in the field, that you are serious about the field, and that you are taking your career seriously -- again, because it is a buyer’s market; I have the luxury to look for that. If we are going to invest our time and resources into a young professional, I want to make sure that it is a worthwhile endeavour for us, and that you are going to enjoy coming into our organization and it is going to be of value to the employee. F TRANSCEND - EPUBLICATION FOR THE ARTS - 2013



Asad Raza is a Producer/Curator/Researcher of public art projects, specifically for large-scale community arts spaces and festivals. He also co-founded ARTSIDEOUT, the biggest and only multi-disciplinary arts festival at University of Toronto Scarborough. We talk to the smart, extremely busy man about his experimental approach to art and art projects, working with artists, and public art in Toronto. INTERVIEW BY MARIANNE RELLIN PHOTO BY DWAYNE FUNDANO 34



You describe your work/practice as “experiments of public art in community spaces.” What does that mean? It’s the sense that I don’t really know what art is or does or what the possibilities are. It’s more like I’m putting together two variables: one is art, and all the practices and ideas around art; the other is day-to-day life – the most day-to-day I can get to. When you get these two variables to face each other, you learn more about each. Each time I do something, I have no idea what’s going to happen. Can you tell us about your educational background? I went to UTSC, but I didn’t actually study Arts Management; I did Biology. But I was heavily involved with alumni friends who are in the visual arts. In my first year, I took a lot of Art History and Cultural Theory courses. A lot of my social experiences were around a lot of what my artist friends were doing at that time. I would spend my day in the lab or in class, but in the evenings, I’d be up in the studios at the 3rd floor of the AA building hanging out with artists and painters… I don’t think Science students are allowed there… Yes, I know. I also have a long history of doing things that I’m not allowed to do, and getting away with it. Sometimes, even getting funded to do it. I’m assuming that’s the attitude that triggered you to start ARTSIDEOUT (ASO) because it’s something that hasn’t been done before; it was a totally new idea when it started. Precisely. Although it would be unfair for me to say that I’m purely the founder because I think you never are the founder of anything; no one ever is. I had volunteered to help at this community event organized by UTAC

called Art Bar, and ended up managing it because I realized that I had a natural ability to do that. Through my work there, I was able to meet various people from the arts community. From my conversations with them, there were two things that always came up: one, is that everybody graduating from the visual arts or from the Arts Management programs told me that they were really regretting going to UTSC. They wish they had gone to OCAD or to the St. George campus – they think their careers would have been better. Their reason is, at UTSC, there is no space for artists. Every time artists try to do stuff in main spaces, they always get shut down. On the other hand, I also sat on Boards and community groups and a topic of conversation was how artists and arts and culture can be brought into UTSC. They wanted UTSC to be known for the arts. A few students and I had a meeting and we started thinking of ideas, and then it just hit me one day. What would it be like if we can open everything up and take out all the work that’s hidden in the studios? How do you make everyone aware of this part of UTSC? So I met up with the organization that is now called Arts & Events Programming and we crafted this idea of a large-scale, multibuilding, and multi-disciplinary arts event and it just grew into the thing called ARTSIDEOUT. In its first year, it was a complete disaster. I had zero experience doing this stuff. We just built it and tried to run it. The next year, I was really surprised that there was so much buy-in from the community. They kept pushing us to do it again, and that encouragement really helped. What made it a disaster? It was so poorly planned. We were so

young then and had no experience, so we forgot the smallest things. We didn’t think about what we would do if a massive rain occurs in the middle of the event – and that’s exactly what happened. So much of the outdoor installations were destroyed and the equipment got soaked because we didn’t think about rain-proofing them. Another issue was that, even in a collaborative setting, I was doing a lot of things by myself. There’s a limit to what you can pull off on your own. Also so much of the decision-making rested on me. There wasn’t a very good structure and plan, especially if things don’t work. Was beautifying the campus one of your objectives when you started ASO? No, definitely not. To me beautifying the campus is an artificial idea. The purpose of art even is not to beautify things. ASO, for me, was a way to physically touch the buildings and impact it by engaging with people who work creatively to play with space. The day that ASO reeled in, you felt like you could walk and own the campus, and you have access to everything. The only things that interested me back then were opening up and interacting with the space. You mentioned that you work in community settings. What do you think the role of public art is in a community? I don’t really know what the purpose and role of public art is in the community. There’s so much conversation about art is good for people, and neighbourhoods have to have more art, but we don’t really know. So why am I using art and working with art? Because it’s an attempt at creativity, which requires one to be physically close to what you’re around. It’s a creative, physical act. The experiment is to take it to places where people ignore their TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


“[Nuit Blanche] was the most life-changing experience of my life. For the first time, the city was the way I was treating UTSC – the city spaces just all opened up. ” spaces and give them an opportunity to seek creative use of the space. You can help the community and that’s great, but I’m not a community activist or a community arts person. I think it is part of a larger human interest, not just a community interest. You also work for Nuit Blanche (Nuit). Can you talk to us about that? One December, Miki Stricker, the lead of Nuit called me and she was looking for an intern. We had met over coffee before and I asked her advice on how to run big events after the disastrous, first-year run of ASO. We kept in touch and she offered me the internship; of course, I said yes. My interview lasted for 45 seconds, and I started working at Nuit as an intern for Zone C. It was the most life-changing experience of my life. For the first time, the city was the way I was treating UTSC – the city spaces all opened up. Nuit just became my whole reason of thinking about my life. At one point, I worked 15 – 16 hours a day and working 7 days a week, not taking a break and just pushing myself. I remember the first year, I came out to the streets at 7 AM when Nuit just ended, and around 7:45 AM, all the projects were taken down and I was standing in the middle of Yonge St. with tears falling down my eyes. I couldn’t believe it was all over. Then I just continued. One of my mentors, Kristine Germann, brought me back the year after. It’s my fourth year now. Nuit has been my major 36 TRANSCEND - EPUBLICATION FOR THE ARTS - 2013

education and my major job. In the process, I’ve worked from commissioned projects to corporate projects to independent projects to open-calls. I’ve met the biggest artists in the world and I’ve worked with artists the same age. It’s an amazing opportunity. It completely eradicates the dues you have to pay.

public art experiment. The intent of the project was to bring contemporary art and site-specific installation into a space that is completely abandoned. It’s so weird that between Greenwood and Woodbine there’s almost nothing happening, yet there was. There was so much life and you realize that by just walking around the neighbourhood.

One thing I like about Nuit is that it has no respect for the system. If you worked in a gallery or in the museum system, you start at the bottom and don’t really get to work with the big artists until you get to a higher level. Day one at Nuit, I was already talking to major international artists and [my supervisors] were already asking me, “What do you think should we do here?” even though I just graduated from university two months ago and had no idea. But you just jump with it. Soon you realize that you lose a lot of your own apprehension and you just start. And next thing you know, your confidence grows and builds, and you start doing more.

The project lasted for three weeks. The fourth week, the installation all goes away, and I really wanted the people to see the absence in their community. Through this experiment, you can say that they did. When things got broken, people started building things back up again without telling us. When the pieces went away, some people actually complained and asked why the piece was being taken away. They took ownership over their place and their space, and the pieces in that space.

Nuit was in 2010. I also worked with John Oswald, the inventor of Plunderphonics, in a gallery setting for a short time. Then in 2011, I got approached by Cindy Rozeboom, Executive Director at Art of the Danforth, initially just to talk about festival design, but eventually I was recruited for the team. I was Artistic Director of Art of the Danforth last year. I fell in full tilt into it: I moved to the Danforth and lived in the neighbourhood where we were working. I treated it as a huge

Did they not take ownership of their space and place before the project? I don’t know. Before the project, you used to not see people going to certain spaces at night. That changed during the project: you would see couples and parents with their kids walking around at 7 PM at night when ordinarily they would not, especially at that part of the Danforth. Whether that’s happening now in that community after the project, I don’t know. It’s really interesting to see what the long-term change would be. What’s the difference between the public art installed permanently -- like


monuments and memorials -- and the kind of public art that you’re doing? I think part of the issue of permanent public art is the process by which it is decided on. It’s so heavily mitigated and mediated, and so carefully chosen. There’s something that’s lost in this process that’s why it eventually becomes furniture that you just don’t really care about. While something that we do, it’s new and it just comes out of nowhere and disappears again. It gives you an opportunity to get jolted out of your day-to-day vision. Are there any particular public art pieces in Toronto that you like? There are some really good public art works out there. Like Christian Giroux and Daniel Young’s piece installed at the new building at UTSC. The sculpture is actually a profile of one of the buildings at UTSC. Giroux and Young also did a beautiful piece at Lee Centre Park near Scarborough Town Centre. It was designed as a public art piece with clear references to the M.C. Escher’s drawings, but it’s also a fully functioning playground. For me, good public art engages the people and is open to interpretation. I’m really not interested in the monumental scale, look-at-what-the-artist-has-done type of piece. Can you talk about LAND|SLIDE: Possible Futures, the project that you’re currently working on? LAND|SLIDE: Possible Futures is a project taking place in Markham, curated by Janine Marchessault – the same curator of Nuit Blanche’s Museum for the End of the World in 2012. She brought me in to work as the Exhibitions and Installations Manager for this project. There’s this weird farmland in Markham called the Markham Heritage Museum. Markham used to be a farm

that just suddenly became a suburb; there was no transition time at all. Any time there’s a development or a new subdivision that’s being built, the old barns, homes, and churches that they can’t tear down, they just pick up and drop off at this old farmland. So now, there’s this graveyard of old homes on an old farm site that for a while has been designed, curated, and thought of as a museum. LAND|SLIDE: Possible Futures is working with 35 artists from all around the world to create site-specific installations in that space. It’s happening in September of this year. This project is totally consuming my life right now, because it requires me to work with a lot of limits. I think that’s what you apply for when you choose to become an arts manager or a producer: working with limited possibilities and making a lot happen out of it, and turning these possibilities into reality. Do you have any advice for working effectively with artists? There’s no methodology to it, but personally, I think working with artists is very much a relationship of trust. The artist you’re working with has to trust that you respect their practice, and you have to be able to trust that the artist is committed and is doing it for the right reasons. As arts managers, you can sometimes become this ball of stress: you have timelines and deadlines to follow, budgets, and proposals all at the same time. If you don’t feel like you can trust the people that you’re working with, you’ll be even more stressed out and you’ll start questioning if your artist will do something great, or if the whole project will just be a total failure. Once you have that fundamental trust, everything else is so personal. As an arts manager, it is also very important to be honest about your

capacities and your expectations from artists. If you define early on what your scope is, and be open about your budget, etc. it becomes a healthier and an easier relationship. Also, a good thing to keep in mind: don’t ever work with anybody that you don’t respect. If you’re doing it just for your career because it will open up certain opportunities for you, don’t do it. You’ll be so stressed out by them; they’ll be stressed out by you. It won’t be a healthy relationship. Respect is another fundamental aspect of working with artists, or even any person.

“that’s what you apply for when you choose to become an arts manager: working with limited possibilities and making a lot happen out of it, and turning these possibilities into reality.” Anything else you want to impart? If you want to pursue this career, I tell you, the beginning is SO HARD. Unless you really find joy in this stuff, you can quit now and work in insurance. There were times when I was doing projects that I actually starved because I didn’t get paid in the beginning to do these things. At Nuit, I was working all day, seven days a week without getting paid but I still kept going because I had a feeling that I really wanted to do this. You really have to love it otherwise it will kill you. There’s also so much compromise along the way, so you always have to ask yourself how much you want it and if it’s worth it. F TRANSCEND - EPUBLICATION FOR THE ARTS - 2013










A genuine artist with a strong passion for community and the management of the arts, we talk to our Featured Artist, Zera Koutchieva, about her well-rounded artistic practice, the themes in her art, and the people that inspire her.


INTERVIEW BY MARIANNE RELLIN & FIONA LI urrently, the University of Toronto Scarborough Campus is best known for its stellar Management program, or perhaps its large Science student body. However, with talented artists such as Zera Koutchieva walking the halls, soon enough, it may well become known for its strong and vibrant art community. Koutchieva is a 5th year Arts Management student majoring in Studio, whose work addresses various issues of identity and expectations. With a clear passion and aptitude for mixed media, she has created clever, insightful, challenging and contemplative pieces that reflect her constant quest to experiment and confront both material and content. Her practices revert back to her childhood; explaining that as she grew up in North Ossetia, her family didn’t have much. As a result, she found herself constantly making arts and crafts with found materials. This continual act of creating was complemented by her father’s influences as a music lover and artist who crafted wood burnings. The moment of discovering her father’s work was critical – she fell in love with his pieces and the entire idea of art making and creation. Another imperative element shaping Koutchieva’s art is her nomadic existence. As someone who has moved frequently with her family, and 40



now several times as an individual, she is aware of many different communities, and moreso familiar with the challenges of adaptation while also withholding her own voice and identity. Today, she addresses notions of being an outsider in her work. She explores her interest in her personal diaspora and her constantly changing situation in communities, and a self-examination of the effects of moving to Canada through her identity-focused art, whether it be cultural or gender. With such change, she finds influence and inspiration everywhere, but cites the thriving arts community on the UTSC campus as a main source. New courses and professors have had profound effects on her practice, such as Tanya Mars’ notorious Performing Arts class, which she expresses to have been a “groundbreaking moment” and hugely influential, along with the Sculpture program which has provided her a new understanding of the medium and discovery of new tools and found objects, emphasizing that in her practice “medium is the message”. When looking at pieces such as Fine Print or Untitled (Triptych), her unique vantage point and skillful craft is apparent. Sourcing inspiration from artists such as Felix Gonzalez-Torres, Sophie Calle and Barbara Kruger, as well as her UTSC peers, she aspires to create work that reflects society as

a whole, and sparks debate in audiences. Although she is not currently interested in direct collaboration, she supports the act of working in a creative community, stating conversing with other artists as an important part of her process. With such, she encourages other artists to respect their peers’ opinions and influences but always retain your own vision, insisting on the vitality of individuality. When contemplating the future, Koutchieva hopes to be continually involved in both the Arts Management field as well as the Toronto art community. Expressing passionate concern for the lack of government grants and opportunities available to emerging artists, and an appreciation for community outreach organizations like Manifesto, her Arts Management background is strongly evident. With regards to her future practice, she hopes to experiment with even more mediums, learn about ceramics, improve her drawing, begin experimenting on a larger scale and in more collaborative opportunities. Fundamentally, Koutchieva wants to overall persistently grow and expand. For other aspiring artists, Koutchieva’s advice is to not get discouraged, to keep yourself inspired and surrounded with people who move you, to always remember why deep in your heart you love this field, and to never forget that there is always a way to make things work. F


ZERA KOUTCHIEVA Silver Linings (2013) Ivory soap bar This image is part of a fabricated cloud study. The viewer is invited to feel the scene and imagine that they are flying up in a plane to their desired destination. The photographs were created as a guided experience. The minimal use of material is complimented with the intentional and intensified use of lighting.

ZERA KOUTCHIEVA Silver Linings (2013)

ZERA KOUTCHIEVA Silver Linings (2013)




ZERA KOUTCHIEVA Untitled This triptych was conceptualized to reflect the positioning of women in secular religions. The veil is used as an indicator to traditions of shame and sexism adapted through mainstream faiths (such as Christinity and Islam). Essentially, the triptych exhibits the transition of Eve. It begins with a seemingly unharmed state of innocence, then moves into the sin commited against all humanity by Eve, and concludes with the prosecution and outcasting of the female from all things innately holy.






ZERA KOUTCHIEVA Fine Print The piece was made as a reflection on violence (and the different forms violence can take). The most disalarming object can often cause the most pain. I chose to recreate a blank, lined piece of paper (8.5 x 11) and placed it on a traditional student desk. The top right edge has been sharpened. The materials used consisted of an 8.5 x 11 aluminum sheet, white spraypaint, and pens).






ZERA KOUTCHIEVA Untitled (TBD) Bank statements, photographs, folders, paper. After collecting and compiling 30 bank statements, a psychoanalysis was conducted on each potential suspect. Following this process, an investigation was done to identify the culprits in the crowd surrounding two UofT campuses (St. George and UTSC). There is a certain paranoia that accompanies this piece. The tediously compiled folders create a curious mood. The completely fictional, stereotypical profiles coupled with candid photos and seemingly invasive bank statements are meant to evoke the snoop in all of us. Quick to cast judgements, we often have to put ourselves in the shoes of others to see the error of our ways. This piece provides viewers the opportunity to do just that.






SARAH LACASSE Milk Bag Dress Interested in reusing every day household waste, I decided to create a wearable garment out of milk bags. Exactly 102 milk bags were saved from going to the landfill because of the creation of this dress. The plastic bags are crocheted, woven and gathered, creating a garment that seems traditional in technique, but is really quite out of the ordinary in execution.






TIFFANY SCHOFIELD Meltdown (2013) Wood ash, ice 10 x 10 x 10 in. This work is a material exploration, an ephemeral piece combining two inherently opposite materials to expand the sculptural potential of each. Both materials, plywood and water, are transformed from their original state through a violent process — the wood is burned down into ash, the water is turned to lye prior to being frozen. Here, in its frozen state, Meltdown is separated into layers, the ash suspended within the ice. As it begins to melt, the layers seep down into one other, temporarily resolving the tension between the two materials. When the ashes dry out, the impossibility of the sculpture’s permanence is revealed once again.



JULIANA FENG Black Umbrellas Black Umbrellas is a triptych series that illustrates an open narrative relating to the umbrellas. By placing the objects by themselves, these inanimate objects find its own personal character. Even with no prior knowledge about the painting, the viewer reads it differently, simply by having some umbrellas either open or grouped together, strapped or not, angled in a particular way or not, and much more. This is a simple composition that allows the spectator to propose their narrative and enjoy the artwork.






DANIEL GRIFFIN HUNT Fuzzy Bear By creating a stuffed bear out of fiberglass, I have created a disconnect between perception and reality. While the bear might give the perception of being “fuzzy and well loved”, it is, in fact, toxic and may kill you. This juxtaposition creates a dark twist on a toy typically depicted in Western culture as a comfort item. Daniel Griffin Hunt’s work explores the relationships between people, perception and the mundane everyday. Daniel elevates the perception of these everyday objects, not just into the realm of artwork, but also into the realm of the viewers subconscious; bringing memories (both childish and suppressed) to the forefront of the work.









MADEHA BATOOL I start everything with I, from the series, Continuous Journey (2012) Drawing board and pen 16 x 25 in. The work is about redemption from the feelings of selfishness by writing by hand and repeating the same sentence. The visual sign refers to the dart target and the pupil of the eye to further emphsize the presence of the self in both the drawing and the text.






VICTOR WONG Feb 4th 1991 – May 7th 2070 (2012) In Feb 4 1991 – May 7 2070, I built a digital countdown timer which counts in seconds to the estimated day of my death based on the average life expectancy of a male born in Hong Kong. I chose to work with a digital display for the reference to digital clocks but it is the action of the timer counting down that provides meaning to the work. The motion of counting in seconds makes every second seem more important. This artwork is of a countdown timer that counts in seconds to the expected day of my death, May 7th 2070 based on the average life expectancy of a male born in Hong Kong. The timer is programmed using an Arduino and various electronic components. TRANSCEND - EPUBLICATION FOR THE ARTS - 2013





VICTOR WONG One to two business days (2012) Pallets (skids) are tools used for distributing the products of commercial culture. They have a special history of traveling between boundaries. By using found materials and re-appropriating them, I am hybridizing the history behind each material. Hence, by choosing the form of pallets, the piece demonstrates history within each material and the globalized world that we live in. What we feel at the end, is the familiarity of the material and our understanding of the commercialist culture. One to two business days consists of three shipping pallets (skids) that are stacked one on top of each other. The large variety of materials used in these pallets is held together with nails.




Tara Mazurk is a Specialist Arts Management student, with a focus on the visual arts. Her previous experiences in Theatre, and her interest in interdisciplinary practice and accessibility play a significant role in her leadership and vision as the Director of Gallery 1265. INTERVIEW BY MARIANNE RELLIN PHOTO BY JIAWEI CHEN What are your main responsibilities as the Director of Gallery 1265? I am responsible for overseeing all the operations of the Gallery, so scheduling, budgeting, making sure that tasks are getting done, delegating, and creating action plans. But because we are a small team – there are only 6 people working in the Gallery – at one time we have to delve into different facets of operation, so I am also responsible for gallery inventory, and making sure that reimbursement forms get in. One of the things that I’m really focused on this year is succession planning and making sure there is adequate reporting for the team coming in next year. The staff changes every year, so we want to make sure that the new team next year knows about the challenges that we faced, and would know how to overcome them. What strategies have you put in place for succession planning? Internally, we have systems where people can upload their documents and put together a cohesive file of everything that they have been working on. This is something that has not been done cohesively in the past. We also make sure that we take minutes in every single meeting because that ensures accountability. At the end of the semester, we do a biannual report that is made available to our audience 68



via our website. We also do an annual final report with our attendance accounts, budget, and our strategies for the future, and a list of things that we thought of this year that we didn’t get a chance to implement. Maintaining relationships with the successors is also a strategy because they will have questions and you wouldn’t want them to go at it alone. What is the definition of student-run? Gallery 1265 is referred to by faculty and our advisors as a lab space. It is an opportunity for students to take what they have learned in class and apply it to a practical setting, or for students who are not in the arts to come here and experience something new. Our exhibitions are all student-curated, and it’s all student work that we exhibit. It is a real process of discovery, but we are also accountable for everything we do. Who is the target audience of the Gallery? I hope that our target would be the whole UTSC community. The challenge is that in a university setting, everyone is separated into programs, and students are always rushing between classes. Although our main participants are Studio students, we are also trying to encourage other people from other programs to come in. We even put a sign on our entrance that says “Free Admission.” We also tried bringing the welcome table inside the gallery so there’s more of an open space for people to physically walk through. We have also conducted feasibility studies to put up a ‘Gallery 1265’ sign that will be visible, even from the top of the Meeting Place. It might not be implemented soon, but we have planted that seed. The Meeting Place is always bustling so if we can get that traffic, if we can make

Rainbow Tie Gala at the Meeting Place the same time we had the Positive Space exhibition opening here in the gallery, We also recognize that galleries in them- so there was that connection. We also selves can be intimidating for some had people who approach us, like the people, especially because of the nature International Student Centre and we of contemporary art pieces shown. So develop a relationship from there. It is there is that overarching barrier which really about networking. is something that every single gallery is trying to push from and something What are the challenges of the Gallery? that we are challenged with as well, but One of the challenges is scheduling we are constantly trying to address it programming and recruiting artists. through physical spaces, and through The process of recruiting artists is talking and partnering with people from ongoing, and this year in particular, we different departments. had a high turnover of exhibitions – there was one every week or every two Has the Gallery ever tried bringing weeks. The high turnover of exhibitions pieces/shows/programming outside the really contributes to rushed installagallery space to reach out to more, tion and rushed striking of shows. The perhaps non-Studio, audiences? exhibitions flowed really nicely this We recently did an artist talk with Will year, but there is also the challenge of Kwan in BV240. That’s something that people wanting to get into the space to we brought outside the gallery space. show their work in the winter semester. Usually by this time, people will be so This year, we also worked with the eager to exhibit because they need to Front of House Manager at the Leigha do something before they graduate, but Lee Brown Theatre (LLBT), Lesley by then our programming is already Bramhill, and Angela Lee, a professor secured. One challenge that we want here at UTSC. Lesley wanted to make to overcome is how to get submissions the space of the LLBT more exciting, in the fall for our winter programming, and Angela Lee wanted to give opand really push those graduating stuportunities to her first year students to dent to submit early on. be introduced to display practices. So, Angela Lee’s students displayed their Any future plans for the Gallery? works for a month at the front of house We would like to make an online blog. at LLBT. It’s not just artists that are creating or arts administrators coming into the There were new partnerships this year. gallery, a lot of students are also writing How did those come about? about art. We want to include exhibLast year, Nazia Habiba, our Programition reviews and critical reviews of ming Coordinator had a lot of really museums because we think that art is good ideas for involving the different a dialogue that is constantly ongoing. departments on campus. She is also Giving that opportunity to students is directly involved with Positive Space. We another way that we can reach out to wanted to build upon her ideas from more people. F last year, which we didn’t get a chance to implement because of the way our For more information about schedule was. We wanted to bring difGallery 1265, visit: ferent groups of people in, and it was http://www.utsc.utoronto. actually really successful. We had the ca/~gallery1265/ people comfortable in the gallery, then that is our ideal.



Nazia Habiba programs coordinator at gallery 1265 Nazia Habiba is a 5th year student with a Studio Arts Major, and a double minor in Biology and English. When she is not juggling all that, she is also University of Toronto Scarborough’s creative programmer for the student-run gallery, Gallery 1265. INTERVIEW BY NICOLE CADWALLDER

How did you get started in Gallery 1265? I got started at Gallery 1265 at the beginning of the 2011-12 term. I had initially intended for a position at the Doris McCarthy Gallery, but was referred to the position in programming at Gallery 1265 based upon my experience working with cultural organizations and events. So I applied and got it! I was very ecstatic. What role do you play at Gallery 1265?



One of my main objectives for the year was to create programming, and to facilitate in creating relationships between the gallery and the general student body (and campus organizations) and increasing the visibility of the gallery. We want to do away with the fear that people are going to walk into the gallery and immediately hit an intellectual wall, and we want students to know that this space is available, not just to Studio students, to utilize. This year, I collaborated with Positive Space to curate the

Positive Space Exhibition. It was absolutely delightful to see the works come in from students of all backgrounds and disciplines. What is your favourite part about Gallery 1265? Since it is such a small organizational structure, you can get to know the people you work with. The team was amazing and I am so grateful to have worked with them. Also, our pink hand-stitched bear mascot. S/he’s cute. F






“ My philosophy expression a What inspired you to create Writer’s Block? I’ve been writing music for the longest time, and I’ve always wanted to record my own album. Before Writer’s Block EP, people mostly knew me as a Cover Artist. I wanted to let people know that I can definitely write my own stuff; people needed to hear ‘my’ music rather than someone else’s. Through my album, I was able to share my ‘individuality’ with everyone.


Pat Simeon is a 21-year old singer/ songwriter from Toronto, Canada, doing a double-major in Psychology and Sociology at UTSC. He recently released his independent EP called Writer’s Block. We talk to him about being an independent artist, balancing music and academics, and his future plans for his career.



The opportunity to create Writer’s Block came when I competed in U of T Idol, a tri-campus music competition. The grand prize was to get four of your original tracks recorded and mastered for free. Of course, I made sure to win the competition, and from there I wrote my songs, polished them, auditioned for band members, and here I am now, one year later with an album on iTunes and still doing what I love. As a full-time student it must be hard balancing your school work with music. How do you balance it all? It’s definitely hard trying to balance everything. On top of those things, I work for SCSU and chair various campus committees. I try to be more involved in school, but sometimes it’s a bit too much. I recall a point in time when music started feeling like an obligation, and it was then that I realized that I had to take a short break. The various deadlines and legalities involved in producing an album became too overwhelm-

ing. Also, it was very importa me not to leave my studies b Through my struggles, I learn I needed someone to take ca business side of music while on the overall quality of my w

Do you have any advice for artists who want to pursue a in music? Have a goal, and learn to prio around it. Be organized, and the various directions requir successfully complete your g Know your limits because yo want to spread your wings to Consistency and quality con integral to success. Also, lear your mistakes.

How important are connectio All my band members attend In fact, the drummer for my is the manager at Rex’s Den. Music professor, Lenard Wh teaching me proper breathin niques to become a stronger

When it comes to the music ness, many people say that it connections and 20% talent. sonally, I believe that talent i provides you with the initial portunities to gain connectio mostly about how you devel market it. Many people these have genuine talent, that’s wh have to be willing to work ha than everyone else. If you’re you should make time to eng with people and build conne Also, many people don’t like

y in music is selfand individuality.”

ant for behind. ned that are of the e I focus work.

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ons? d UTSC. band . The hiting, is ng techr singer.

busit’s 80% . Peris what opons. It’s lop and e days hy you arder serious, gage ections. e the

marketing side of music, but in reality, it’s such an integral part of the business. If you’re serious about pursuing a career in music as a lifestyle you need to embrace the business elements of music, and it just so happens to be that most of it is about building connections. What are some of the struggles of being an independent artist? You don’t have access to many of the resources contracted artists have. You have creative control over what you want to produce which is awesome, but the lack of resources in general is hard. Personally, I feel that musically I can perform just as well as many signed artists, but the only difference is they’re signed and I’m not. The fact that I am a student with debt is no joking matter either. [Chuckle] Another thing is that the scope of your network is limited as an independent artist. You literally have to do everything by yourself. Essentially, no one is telling me what to do and I can follow my own directions, but thing is, what is exactly are the right directions? What are some of the advantages of being an independent artist? The intimacy of your fan base. As an independent artist I don’t have to worry about a PR guy constantly policing my interaction with my fans. I can build a real intimate relationship with my fans.


Would you consider yourself a Toronto-based artist? Definitely! I used to think it was hard for Toronto-based artists to attract the mainstream spotlight, but times have changed. Connections are getting easier to come by and YouTube has opened so many opportunities for artists, not just in Toronto. Personally, I believe that the individual who made it cool to be an artist from Toronto was Drake. For the longest time people would automatically assume that all talent came from California. Any mentors? I don’t think I have one. My sound is like R &B vocals with a jazzinfluenced band. Every song in my album sounds like it’s from a different genre. Funny thing is, before I made my album everyone called me the UTSC’s Bruno Mars, but after my album was launched...where did that go? [Chuckle] Cool Stories? Not a lot of people know this but the album cover for Writer’s Block is very personal. Everything in the album cover except for the actual desk is from me. I use the exact same pen and notepad when I am jotting down ideas for my songs. Also, the lamp on the album cover is from my desk. There’s also a funny story about the crumpled paper. I remember when we were in the studio, we literally spent hours trying to create the perfect crumpled paper for the photo. F

Being a full-time student has not slowed him down at all, and we look forward to his future projects. If you’re lucky, you just might find him performing at Rex’s Den.

For more information on Pat Simeon’s work, please wisit: patsimeon?feature=watch album/writers-block-ep/ id571739780?v0=9988&ignmpt=uo%3D1 TRANSCEND - EPUBLICATION FOR THE ARTS - 2013





THE Leigha Lee Browne

Theatre (LLBT)


idden deep inside in the basement of the Science Wing at UTSC, Leigha Lee Browne Theatre is UTSC’s only black box theatre named after UTSC’s inspirational drama instructor. It was designed by one of Canada’s best architects, Peter J. Smith, and has been a venue for public performance since 1993, opening with Shakespeare’s The Tempest, directed by Professor Michal Schonberg. The L.L. Browne Theatre has continued to produce excellent works for 20 years now, through different Theatre and Performance Studies courses, workshops, and Drama Society productions. Some notable productions include the student production of Dr. Horrible’s Sing-A-Long Blog, Carol Shield’s Departures and Arrivals and Euripides’ The Women of Troy, both directed by Professor Paula Sperdakos. In addition to the theatre space, it also retains several rehearsal rooms, a shop where all the sets and props are made, storage spaces, etc. It is the place for Theatre students to hang out and experiment and create new works with the help of the faculty, Production Manager Kevin Wright, and Technical Director Scott Dutrisac. F

Stage Design for Trojan Women by Scott Dutrisac and Kevin Wright

For a backstage tour of the Leigha Lee Browne Theatre, and an interview of the cast of the Women of Troy, please visit: user17500234 TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


lesley bramhill

Lesley Bramhill is a 3rd year Arts Management student at University of Toronto Scarborough studying Th who has danced for various shows, at a cruise ship for three years, as well as for Feist’s “1234” music vide INTERVIEW BY SO-JEONG CHOI

How did you first get into dance and theatre? I started dancing when I was 10. Previous to that, I’ve always been interested in theatre and in putting on plays. In high school, I was involved with Broadway revues and other performances, but I was really into dance. I was a competitive dancer, and I competed all over Ontario and the States, dancing 30 hours a week plus school. I was very busy during high school years, which is still the case. I find things to do if I don’t have anything on hand. Can you talk about the activities you have been doing on campus? I’m the Treasurer for the Drama Society. I decided to run for it because I had never done a position like it before. I pursued it after I took Heather Young’s Financial Management course because I really wanted to put into practice some of the things we learned in that class, and have experience of being responsible for an organization’s money. It is true what they say: all the artists want to do crazy things, and you’re the mean one saying that we do not have money for what they are proposing. So it is a really good experience for me in that sense.

oceros as a stage manager in 2012, and this year I was the LLBT’s Front of House Manager. Recently, my main focus has been ARTSIDEOUT. It started a lot earlier this year than in past years, which is awesome. Our team gathered in January and we have been working on some initiatives to professionalize the group. We created the organizational structure, drafted contracts for everybody, and made job descriptions – just making things more professional so that we can get more of a professional tone and serious commitment. I think those things are very important – to have the job description written down and to know what is expected of you, especially since we are all volunteers.

What’s the makeup like for ARTSIDEOUT staff members? This year, Blanche Israel, Tara Mazurk and I decided to take on leading the group together; myself as the General Manager, and Tara and Blanche as Co-Artistic Directors. A funny story: we decided to have lunch together to decide whether we would take on the project and we all showed up wearing purple, and we were all like, “This is a sign!” [Laughs] Too bad it wasn’t pink, the actual ARTSIDEOUT color. So we all decided to take it on together, and with that, Tara, Blanche and I I do stage management stuff too for have been pulling people out of the the Leigha Lee Browne Theatre (LLBT). I worked on the show Rhin- pools of people we know. It is a great 76


team because I’m in Theatre, Tara in Visual Arts, and Blanche in Music, so we have a good variety of everybody. There are a lot of Arts Management students on board as well, and a nice collection of people from all the disciplines. Can you tell us about ARTSA? ARTSA is the new Departmental Student Association (DSA). We are not a club, but a student association on behalf of the Arts, Culture and Media (ACM) department. Since the department appeared this year, we are just forming now. We have been in the beginnings of writing the constitution, figuring out who we are and what we do. As a group, we decided that our main goal in ARTSA is to bring together students from the community of Arts, Culture and Media because we are all over this campus, but we do not have an area where everybody congregates, and that is a challenge. We want to bring together all the people from all the different programs like Journalism, Art History, Visual Arts, TAPS, etc. for collaboration. We are also thinking of writing a guidebook so when new students come to UTSC for the arts, they’ll know what’s available to them. We are also thinking of doing a mentorship program. We are still in the very beginning stage, we don’t even have a logo yet! ARTSA has only started this semester!

You intern let of Can experienc

I worked a Canada la velopmen Events Int for their m Four Seas I worked o an interest lucky that was origin position! I important is that you est about w you need. National B needed so I can survi really grea still being is now on ization kep contributi paid.”

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ned at the National Balnada – tell us about your ce!

either the marketing department or on the artistic side doing administrative stuff.

at the National Ballet of ast summer in their Dent Department as a Special tern. I was originally hired major gala in June at the sons Centre, and after that on the Tutu Project. It was ting internship, I was really t I got them to pay me - it nally posted as a non-paid In job interviews, one t thing to always remember u should be open and honwhat you want and what In my interview with the Ballet, I mentioned that I ome sort of income so that ive in the summer. What is at now is that the position is paid for the next intern. It the budget and the organpt it. It’s sort of like my first ion to the “the artist getting

It was a great company to work for in general and I was really lucky to experience my first internship at one of the biggest arts organizations in Canada. We hear a lot about small organizations doing everything with fewer staff members, but at the National Ballet they have excellent resources and many staff members to complete tasks. Some of the people who work there are not from a non-profit background too. The people that I worked with for events were professional event planners. They studied event planning; their expertise was mainly in that area, not non-profit arts management like we do here.

onal Ballet has a huge am, and tons of events every heir donors: parties in hons dancer, parties in honour cular donor, and so on – it’s ot to fundraising so that’s pecial Events team is a part velopment Department. working at the National d the job itself, but I would love to work there again in

In terms of your future career what kind of paths are you thinking of? A top goal would be to become a General Manager for a dance or a theatre company. ACTRA (Alliance of Canadian Cinema, Television and Radio Artists) is a place that I would like to work in because I like the law aspect of the field and standing up for artists. Dance Umbrella of Ontario (DUO) would also be another cool job to have. But we all know that in this field you can be anything and do everything at one point, so I’m definitely open to trying things that I never thought I would. F


To find out what Lesley has done/been doing, click on these links: Lesley on Feist’s “1234” music video (she’s in green): RS Divas Entertainment



ANDREW hercules INTERVIEW BY MOSHIUR RAHMAN How do you define Arts & Events Programming, and your role within it? Arts & Events Programming (AEP) is part of the newly-created Department of Arts, Culture and Media. Our office provides the necessary foundation upon which excellence in artistic, cultural and scholarly co-curricular initiatives can be achieved. In consultation and collaboration with students, staff, and faculty, AEP provides administrative resources to support ongoing projects and bring new ideas to life. As AEP’s Communications Coordinator, I am in charge of overseeing all of the marketing and communications related to the events and initiatives that our office supports. What are some of the core tasks that regularly keep you occupied in this role? PHOTO COURTESY OF ANDREW HERCULES

Andrew Hercules is the Communications Coordinator at Arts & Events Programming at the University of Toronto Scarborough. Hercules combines his extensive knowledge and skills in new media technology to effectively market and communicate arts and cultural initiatives within UTSC. He also supports and oversees work-study and co-op/experiential education students by helping them develop integral new media skills that are crucial in today’s technological environment. 78


Some of the core tasks that I perform regularly include designing a variety of print and digital promotional materials (including posters, programs, advertisements, invitations, banners, etc.), preparing press releases and working with media professionals to promote our office, and overseeing the development and management of our website and social media presence. I also engage in audience development research as I often look for new audiences for our programming and events. Furthermore, since AEP operates as a learning lab for many of the department’s students, I also oversee our work-study and co-op/ex-

periential education studen also offering advice and sup student clubs and groups lo promote their events and s

What problems do you enc ter when communicating ar culture within a large institu UTSC?

The size of an institution li can make communicating a and culture difficult as mes easily be lost with other co messages that emerge from departments. In my opinio one of the most complex is AEP, like many other organ and businesses, faces on a c basis. Students, faculty, and constantly faced with a var messages in print and digit and ensuring that informat our events and programs is and read can be one of the aspects of my job. Similarly dealing with external comm members, we have to comp a large number of other org tions in capturing the atten existing and new audience bers.

How do you overcome the lenges?

In order to overcome this c I implement a variety of str to increase exposure and aw of our office and our events example, in addition to prin distributing print materials information on all of our ev on a number of online even

nts while pport to ooking to services.

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ike UTSC about arts ssages can ompeting m other on, this is ssues that nizations consistent d staff are riety of tal form, tion on s seen toughest y, when munity pete with ganizantion of mem-

ese chal-

challenge, rategies wareness s. For nting and s, we post vents nt list-


ings websites and on various social media channels. We also connect with a number of relevant organizations for some of our larger, more community-focused events. Ultimately, I look to position the unique nature of AEP to help differentiate our message from other organizations and businesses. What are some core skills/knowledge needed to be successful in a communications role? As clichéd as it might sound, to be successful in a communications role, one has to have a knack for communicating with a variety of people – whether it be in person, on the telephone, via email, or on social media. You really have to enjoy interacting with people because that’s the basis of what a communications specialist does. At the same time, one needs to not only understand general principles of communications and marketing strategy but also how to translate those principles into effective real-life practices while remaining flexible enough to adapt said principles to current realities. Specifically for the arts, culture, and non-profit sectors, I think it is particularly important to understand how to successfully utilize the range of free and/or low-cost ways that organizations can communicate their message to audiences using both traditional and online communications platforms. What do you enjoy and/or dislike the most serving in a communications role?

Within AEP, I enjoy working on a variety of programs and events, each requiring a distinctive strategy. I also enjoy communicating with people in a variety of ways – inperson, on the telephone, via email, or on Facebook or Twitter – and I take great pride when a new person comes out to one of our concerts, exhibitions, theatre shows, or public talks and has an enjoyable time. What would you advice to students interested in communications jobs within arts and culture? I would recommend that students gain as much experience as they can – whether it be through volunteer positions, internships, or employment. This experience doesn’t necessarily have to be within the arts and culture sector as many of the core skills in marketing and communications are transferrable between the non-profit, public, and private sectors. Having a solid understanding of marketing and communications principles, combined with a flair for writing and a good mix of technical skills will enable you to make substantial and valuable contributions to a range of organizations. And as with any other industry, make sure you stay on top of relevant industry trends related to marketing and audience development. What type of education do you think best prepares someone to serve in a communications role? I believe that a combination of

education in communications/ journalism combined with relevant technical skills (Adobe Creative Suite, HTML/CSS coding, etc.) is critical to achieving success in a communications role. Depending on the organization and its focus, having specialized skills in media relations, public relations, and social media can also be beneficial as they can open up new communications channels that can help disseminate information. What do you think communications roles will evolve into / involve in the future? Has the evolution already started? Communications roles will constantly evolve – partly in response to audience behaviour and demand and partly in response to changes in technology. We have already seen communications strategies evolve within the last decade to include social media and other web 2.0 platforms and now many communications professionals have to understand how to utilize these new platforms to communicate with new and existing audiences. However, despite changes in technologies, core skills in marketing and communications – a keen eye for design detail, an ability to write great copy, among other things – will continue to play an important role, regardless of what technology is being utilized. F

For more information about AEP, visit: TRANSCEND - EPUBLICATION FOR THE ARTS - 2013


Karin Eaton Executive and Artistic Director, Mural RouteS INTERVIEW BY MARIANNE RELLIN

What is your educational and artistic background? I studied Psychology and Social Anthropology from a university in South Africa, and almost all of my arts background is in the field. I had done one Art History course when I started out in the arts world, but I was always involved with theatre and writing and eventually became involved in the visual arts through mural programs. Of course, over the years, additional education comes through during workshops and ongoing professional development, but there’s no other formal training. How long have you been at your position? PHOTO BY: JIAWEI CHEN



I’ve been at Mural Routes for eight years now, as Executive Director. But I was one of the people who initiated the program, and I started it twentyone years ago. It started as a project of Scarborough Arts Council – as it was called in those days – funded through project grants. Over the next four years, as the program de-

“ Many time the not-f or even i coming ba being a c veloped, it became necessary to diversify and incorporate separately from Scarborough Arts Council because [the program] is so focused on one aspect of the arts. My history here with Mural Routes is twenty-one years. Why do you keep doing what you do? Because I love it and I get rewards out of it – not financial rewards, let me be clear. [Laughs] You’ve got to follow your passion and if you can find a way to do that and put bread on the table and roof over your head, then that’s excellent and I’ve managed to do that. Many times I thought I would like to get out of the not-for-profit world and into the for-profit or even into a government position, but I keep coming back because there’s a lot of freedom in being a creative entity – a not-for-profit arts organization is very creative. So I do it because I love it and I love the rewards I get from watching people develop through it. I’m also a wannabe artist. I

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es I thought I would like to get out of for-profit world and into the for-profit into a government position, but I keep ack because there’s a lot of freedom in creative entity.”

don’t paint, so when I watch a mural developing and I see t finished and know that that artist might never have gotten t done if I hadn’t made it happen – although I can’t claim o put a stroke of paint on the wall – that is very rewarding. You just gotta love what you do.

Can you talk about some of the challenges of Mural Routes?

This is boring, but the first challenge is money. I think all not-for-profits have that problem, but I find that at Mural Routes, it’s particularly been a challenge. We have very little operating money because we never were able to be part of the operating fundng at the TAC, OAC or at he City of Toronto. The way we were formed was historic, and we’ve always had project grants, so we exist on getting hat, mostly. I’ve been workng really hard to change that. t’s a catch-22 – we don’t have enough funding to pay somebody to spend time on that undraising component and he component of finding sus-

tainable funding. Therefore, we just keep going in the same circle of scraping together a living. When it comes to muralmaking, believe it or not, securing the wall site is one of the biggest challenges. People are very distrustful; they can’t understand why you would want to [paint their walls]. I have lots of projects to do that we can probably find funding for, but often the walls just aren’t available to us. Is there still a stigma of murals? Is it sometimes equated to graffiti? We’ve made the distinctions in the world of wall art between mural art and graffiti art. But of course there is graffiti vandalism as well. We worked with others in the City to help that stigma change a little bit and we know there is officially a distinction now in the City of Toronto between graffiti art and graffiti vandalism. But in the public’s mind, there sometimes isn’t, and they’re afraid. People sometimes think that if you paint something on

their walls, it will mean that somebody would come and tag them or vandalize them. Having done this for over twenty years, my answer is no, they won’t. But there is still a distrust about that. I think in the field of art as a whole in Canada, mural art is still not well accepted or considered as “fine art”. Although I just have to put out some books that come from around the world and show them the mural art coming from those places, and they will say, “Oh, now I see what you mean.” I think in Canada we are behind in what’s been done in Europe. In the US as well, they have some extraordinary, amazing murals, and more volume of them than we do here in Toronto. Mural art is still struggling to be accepted here, and what it comes down to is artists leaving and having to find work elsewhere because we don’t have the means. What is your vision for the future of murals in Toronto? When we started twenty years ago, there were very few

art murals. There had been some in the 70’s but they disappeared. Once we started, others started doing. I do know that now there’s new funding that’s been dedicated to the arts coming through the Billboard Tax, and I’m advocating very strongly that a good portion of that goes to the public realm – art in public places. I think we can brighten up our city because sometimes it can be so drab. I think what we want to look at also is a bit of edginess in our mural art. I would really like something that one can call “fine art”. I’d like to see international artists come into Toronto to show us what they’re doing in other parts of the world, and a number of murals that people will just go, “WOW, now I get it.” You know, driving somewhere and just being hit by this fantastic piece of art, and just like, “WOW.” That’s what I’d like to see. F

For more information about Mural Routes, visit:



ann macdonald

director/curator of doris mccarthy gallery IINTERVIEW BY FIONA LI AND MARIANNE RELLIN Could you tell us about yourself, your educational background, and how you came to be the curator of DMG?

really know much about it. So I went to OCAD to take the Studio program, and I loved it!

I have an unusual background. I studied Sociology in university, and I did ten years of social work. I got a job working in Parkdale, which was at the time, one of the rougher parts of the city. There were a lot of people living with mental health issues. I worked for housing support, and the organization that I worked for thought that we could best serve the people who had schizophrenia and other serious mental health issues through running bingo games in the basement and giving out cigarettes for prizes. I was frustrated by that so I started bringing in arts supplies, and we would just go to the common room and make things. Interestingly, I found it helped people who are normally pretty tight to relax and talk to one another. When people were busy with their hands they found it easier to talk and spend positive time together.

I thought I would go back to the same kind of work, but I ended up falling in love with the more conceptual side of art, writing, and working in galleries. I got pregnant in my final year at OCAD, but I continued doing creative work. I soon started working on a book by an artist named John Scott. He is one of the most notoriously eccentric artists in the Toronto arts community. He has a fairly high profile: he was the first recipient of the Governor General’s Award for Visual and Media Arts. We would get together either at his studio or at the Horseshoe Tavern on Queen St., and he would tell me his life story and I would tape record it while he’s drawing incessantly on a cocktail napkin. I took the tapes, edited them and made them interesting, and put them into print. The book is an illustrated recount of his life.

That grew into a more centralized art group where people from all different houses would come out of Parkdale housing and make things. It wasn’t art therapy per se – which is a term I’m not that comfortable with – it was more about building a community. It was really quite magical and very successful. I did that for a few years, and I realized I loved making art so much but I didn’t

After working in smaller commercial galleries, I came to Scarborough to be interviewed for what was then called the Gallery, which is the current Gallery 1265. I felt immediately comfortable here. I enjoyed the interview process, which is usually a good sign because it usually is unnerving. I was hired. That was almost 10 years ago. It was very exciting to see that the then-



small gallery was eventually going to become the Doris McCarthy Gallery. It was really fun to be a part of that process, and very satisfying to move from a modest space to a nicer gallery. What is a typical day as a curator? There is no one answer, but for me, a typical day usually means an addiction to this [shows her iPhone], and constantly sending emails and taking calls. I think the biggest surprise for me in entering this kind of work is that a typical day does not usually involve being in the gallery. I’m often removed from the presence of artwork and I’m here at my desk, with papers piling up. There is a very dry side to the job. We have a collection to manage at the DMG, so there could be issues with the collection, and a lot of administration. I would say most of my work is taken up by administration and issues like checking the temperature in the gallery. I also communicate with artists and other galleries. We do a lot of collaborations at the DMG so we can do bigger, better exhibitions, and nicer publications. I also teach here, so I’m marking or meeting with students. I’m in daily contact with artists – the longer you stay in this job, the more contacts you have with artists. The need for com-


“ I think if you’re creative in making things happen, you’re going to have some failures, but you’re probably going to have more successes. taking risks is fun.” munication grows exponentially so you’re very busy chatting with people, and trying to work out opportunities for them, and hopefully have working collaborations with the galleries. A lot of negotiation and chatting about the evolution of their practice! What about studio visits? Yes. Studio visits are the real moment of refreshment from all the paperwork that needs to be done for the gallery! That is when I really feel alive. I love meeting with artists and it is a very personal encounter being in the studio because they are really letting you know what’s going on in their minds and hearts. I’m always very appreciative of that opportunity. It feeds my practice obviously too, and helps me conceive of what sort of exhibitions or programming I’d like to see happen in our space. What artworks are you looking to acquire right now? Acquiring is really fun. Right now I have a hold of a piece by Jon Sasaki. He went to the McMichael Canadian Collection and he was allowed to borrow palettes from various members of the Group of Seven. He did a microswab of the palettes and put those in a petri dish, and the swabs grew into moulds forming a microcosm

PHOTO CREDITS: JIAWEI CHEN of a landscape. I got a hold of Tom Thompson’s swab which has been approved by our committee. What advice would you give to someone who’s interested in your job as a curator? First, be as curious a person as you can be. Ask questions not just about art but about life. Artists are by nature multidisciplinary people and so are curators,

because we are working with the artists to create a presentation space and opportunities for them. Drive, passion and initiative are also important things. Create opportunities for yourself to work with artists. Here, there is Gallery 1265, there are hallways, you can do interventions… I think if you’re creative in making things happen, you’re going to have some failures, but you’re probably going to have more successes. Taking risks is fun. F TRANSCEND - EPUBLICATION FOR THE ARTS - 2013




“The visual arts is still not a commonplace. It is still the margin of margin.” Tanya Mars is a performance and video artist who deals with feminist issues through her artwork. She has been active in the arts scene since 1973, and has a wealth of experience which she shares with her students as a Senior Lecturer at University of Toronto Scarborough under the Studio program. BY RAFSAN AHMED


hen asked about the significant differences Tanya Mars senses in the arts and cultural scene from the time she started and now, she responds that there is not just one art scene, but multiple art scenes out there. Today, she says that there is just more in general: more arts and culture, and more interest in celebrity and culture. She says the issue, even now, is that visual arts is still not commonplace. It is still the margin of the margin, and this fact is a huge problem. Media channels talk mostly about celebrity culture and popular forms of art, and no one talks about

visual art. Tanya asserts that values really need to shift and be placed more on the visual arts. Tanya’s biggest influence for her artwork was, and still is, feminism. She had a professor in her first year of university, George Manupelli, who was instrumental to her having a fresh perspective on art in general. They did a lot of experimental art at that time, and Manupelli was the type of professor who would just give students the work and allow them to think freely about how to approach the topic. Tanya says she remembers this was the first piece where she knew she was attracted to performance art; her project involved creating a piece of clothing out of straws and sticks, and she made a wooden bikini.

She had to wear it as the performance. Also, at that time, like most art students, Tanya was also really into surrealism, especially artists like Salvador Dali. Tanya’s advice to young, aspiring artists is to make a community. “Get out there,” she says, and make an effort to meet other artists and explore the art around you. It is very difficult to make art in isolation. Go out and look at the art, and talk about it. Tanya was involved in visual art from a very young age, with a Feminist art group in Montreal. They were also a support group for starting artists and mothers. This sort of community base, says Tanya, is really the foundation of making art. F TRANSCEND - EPUBLICATION FOR THE ARTS - 2013 85


will kwan PHOTO BY: SWK. DAVIES 86



“ The Studio courses were more subversive and challenging and much more to my liking.” Will Kwan is an alumni of University of Toronto Scarborough, is a prominent contemporary visual artist, and is a Senior Lecturer at the University. He has toured internationally with his works that deal with issues of globalization, and explores the exchanges between cultures. BY RAFSAN AHMED


ill Kwan came to UTSC initially to study Arts Management. He says it is a very useful program in that it dealt with a lot of the issues relating to the arts, but the accompanying Management and Accounting courses were not his interest. According to Kwan, it was the Studio courses the he was taking that were more subversive and challenging and much more to his liking. So he eventually switched to Studio. He recounts that his attraction to the arts was always there, ever since

high school. He remembers coming across an artist like Michael Snow in books -- an artist who was instrumental to his style back then. University gave Kwan the opportunity to try those styles, explore his own, and get more experience in visual arts. In his art practice today, he is most interested in exploring people: seeing how people relate to each other, especially in their relation to each other through culture, social, economic, and political interactions. He is most interested when cultures interact, through migration or immigration, and the type of culture that is generated when cultures mix. For the future, he sees his inter-

est shifting towards the world. He likes to pick up on what is going on in the world, beyond just the newscasts. He looks through many different sources and picks up on urgent events to take a closer look at them. He is now working on dealing with bigger ideologies that we have that have almost become clichés, and he wants to understand them more clearly. He is currently working on a piece which explores how we represent law in society: what we consider true and false, fair and unfair. He is also interested in looking at other ways of looking at transnational subjects. F WEBSITE: TRANSCEND - EPUBLICATION FOR THE ARTS - 2013







“ I love working with objects. To be physically engaged with the artwork isn’t what you always find when you work in an art gallery. I feel very privileged with my job because it allows me to do that on a regular basis.” Katrina Enros is the Collections Coordinator at the Doris McCarthy Gallery, University of Toronto Scarborough. She holds an Honours BA in Art History from University of Toronto, an MA in Arts Administration and Cultural Policies from the School of the Art Institute of Chicago, and has completed studies in Art Handling and Appraisal at NYU. BY FIONA LI


atrina Enros’ most recent project at the DMG involves working on digitization and the database system at the Doris McCarthy Gallery in order to allow for easier accessibility when searching the collection in the future. She has hopes to have the collection available online so that the information will be widely available to the public. This can give researchers a taste of the DMG collection prior to physically being at the gallery for the research. A lot of Katrina’s work involves taking care of the objects that come in temporarily as

acquisitions. Prior to acquiring new work, intensive research is performed. There is always new research, and it is a constant effort to keep digging for more, such as looking for better preservation techniques for an item. Much of Katrina’s time is also spent in the storage room with the collections where she coordinates artwork going out and coming back in. The artwork must also be in constant control. It is hard to imagine so because when one thinks of an artwork, we think of an immobile object that sits in a space. But artworks are alive in a sense that they are always in the process of potentially deteriorating, some more

rapidly than others. Photography, negatives, and slides in the collection are just some examples of objects that need to be watched and taken care of very carefully, particularly if they predate the 1960’s. It is also critical to keep the temperature in the storage room under control; a slight change in the temperature in the room can cause mould to grow and spread. One has to be on the constant lookout. Katrina’s advice to people who are interested in a career in the art gallery is to go out and be exposed to art. Be involved. It is important to be constantly aware of what’s going on in the art world, and what various artists are talking about. F TRANSCEND - EPUBLICATION FOR THE ARTS - 2013



on Scarborough Arts PHOTO BY: JIAWEI CHEN



Tim Whalley is the Executive Director of Scarborough Arts, a not-for-profit arts organization serving the Scarborough community. We talked to him about his career, his leadership at the Scarborough Arts, and the future of the organization.


o many, including local residents of Scarborough, the 30-year presence of Scarborough Arts (SA) and its magnitude of valuable, widespread cultural programs and services are unknown, hidden gems. Arts administrators, such as Tim Whalley, hope to change this. Graduating from University of Western Ontario (London, ON) with a Major in History, Whalley went on to pursue a Masters in Museum Studies at University of Toronto St. George. He began working in the not-for-profit sector originally focusing on history programming throughout Canadian schools, but it wasn’t long before his passion and interest in the arts pulled him in. Along the way, Whalley has curated various socially cconscious shows (even curating a show in which Michael Snow’s work was included), and worked in small-sized museums and galleries. He started as the Program Coordinator at SA in 2007, and is now its Executive Director. Through the organization, Whalley aims to help bring arts to the community of Scarborough, and Scarborough to the arts. When asked why he wanted to work in the arts, Whalley sites his enjoyment of working with artists, creative people, and those who share the same cultural values as his as reasons. As someone who has always been invested and intrigued by visual arts and music, he knew this was an important field to him. Moreover, he also knew what he didn’t want: a corporate

workplace, and a sector motivated by profit. He says he is more interested in social issues and how the arts can address those. “Scarborough Arts,” Whalley says, “...straddles the world between the arts and social services.” The job proves to be as fulfilling as it is challenging. A particular challenge is SA’s lack of visibility in the Scarborough community. This, however, will hopefully be remedied by the planned move of the organization to a new, bigger, and more accessible space in 2014 where they will be more connected and more visible to the community that they serve. Considering Scarborough is quite large (comprised of over 700,000 people) yet largely under represented when it comes to the arts, it is believed that a better located centre will lead to larger community involvement, and above that, city involvement. The ultimate goal, according to Whalley, is to create an organization with an increasingly wider profile, and for SA to become the primary place that people go to when looking for the Scarborough arts scene. Currently, SA is realizing this through various programs focused on both artists and sector workers, such as project management training, helping artists develop their craft, promoting both creative and skill work, as well as initiatives such as The Bridging Festival, The EAST Project, and Kaleidoscope. The organization has a strong understanding of its culturally diverse demographic, and uses such projects to embrace it. Furthermore, their website and membership materi-

als are translated into multiple languages, and their Board and staff are intentionally composed of a diverse group of people in order to reflect the Scarborough community: “It is important that right down to the foundation of the organization, we are being more reflective of the community.” Whalley expresses that as their new Strategic Plan is implemented, a goal is to be as accessible and as inclusive as possible. For the future, SA hopes to have all materials translated into multiple languages, and also to be able to provide services to the community in multiple languages. With additional goals to build their volunteer base, and future anticipations toward a multi-disciplinary direction, intergenerational programming, and technological embracement, SA’s outlook is held with high expectations. This sense of infinite opportunity is what keeps Whalley motivated and going strong. Reflecting back to his initial feelings when joining the organization, he expresses the pleasure of always having something to reach for. Whalley says that it is not a case of always having challenges, but rather, always having opportunities. For those interested in working in the arts, Whalley encourages volunteering, doing internships, and of course, keeping passionate about the arts. F

For more information about Scarborough Arts, visit: TRANSCEND - EPUBLICATION FOR THE ARTS - 2013



The Arts 92





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Navigating the

rough seas of Arts



irst, you need the strong foundation of Education Country together with Support Island from your professors and the challenges of Politics from Strike Land to develop your arts management skills. Then,you must choose your journey: will it be the personally rewarding Public Sector Country or the financially rewarding Private Sector Country? Now, you are prepared to navigate the rough seas on Stakeholder North Pole using your arts management skills from Survivor South Pole to combat the harsh waves from lack of funding and government policies. Immediately steer through Be Prepared Ocean with you new found success. If you are missing anything, make sure to dive sea deep in to the Ocean of “It Depends�!





Submit y


Why work tract with a Unlike bec control ove to various m Also, most music requ remember then congr cheapest an request to v companies


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Avoid “Samp

I cannot tell you couldn’t becaus pling” is the pro recording it to a lex’s Scary Mon When producin girl yelling, “Ye ing companies w they quickly rej from this persp famous and all for copyright? Th Just avoid it ent

your music to Music Licensing companies

as an independent artist when you can sign a non-exclusive cona music licensing company who already has their built-in clientele? coming a signed-artist, music licensing companies have no creative er your material. Their sole purpose is to pitch and sell your music media outlets such as film, television, radio, and advertisement. advertisement firms exclusively contact licensing companies for uests because it is the most efficient way of receiving quick pitches; time is money. If your song matches the client’s descriptions, ratulations! You’re about to get paid and/or be famous! One of the nd quickest ways for film producers to get music is to send a pitch various licensing companies. Lastly, remember that most of these s live off commission fees so they want you to be successful.


Quality over Quantity



Stay current When dubstep first entered the mainstream, advertisement firms all over the world quickly wanted to capitalize on the new music-fad, and licensing companies soon became bombarded with requests. Most advertisement firms invest millions of dollars in research to identify what’s popular to penetrate the mainstream market. As a professional musician, see what’s popular and base your music around it. Remember, becoming a famous singer or band is not the only way to profit from music.

Here’s a bit of insider information for everyone: most screening processes for newly submitted music to licensing companies are done by interns. They are trained to make a judgment call from the first 20-30 seconds of any track. With this said, it is important to remember that quality is crucial! Interns have to literally listen to hundreds of tracks each week, and the first thing they look for is overall quality of the track. If it sounds “amateur-ish,” the track is immediately scrapped, including the whole album. Remember, most licensing veterans can gauge the overall quality of an album from a single track. Get your music professionally produced! It doesn’t matter how amazing the music is if the sound is below quality. Before submitting your work, ask yourself whether your tracks are good enough to submit to a group of Hollywood executives.


u how many times I wanted to license a song but se the song used samples. In music production, “samocess of taking a portion of a pre-existing song and a new track. If you need examples, just search up Skrilnsters and Nice Sprites and the “Yes, Oh My God” sample. ng the song, Skrillex ‘sampled’ a YouTube video of a es, Oh My God” and made it part of the song. Licenswant to avoid the legalities involved with samples, and ject all submissions that used sampling. Take a look at it pective: what happens when one of your tracks becomes of a sudden the person who you sampled from sues you The licensing company is now stuck in the legal crossfire. tirely.


You’re not limited to one licensing company Make sure to sign a non-exclusive contract, that way you can submit your songs to other companies. Most licensing companies follow the practice of “Re-Title Publishing” where contracted songs are re-titled to differentiate the company’s version of the song to someone else’s. For example, if your songs are contracted to three different companies, they have to slightly modify the song’s title to differentiate their copy from their competitors. Companies don’t want their royalties to go to their competitors by accident. Also, the re-title publishing method allows artists to expand their market by submitting their songs to many licensing companies at once. TRANSCEND - EPUBLICATION FOR THE ARTS - 2013 99



The Benefits of being a


There are hundreds of free galleries and museums to check out in the city, but when it comes to choosing where to invest your time and money, a little research will guarantee that you get the biggest bang for your buck. We have compiled a list of memberships from a few of the city’s biggest art organizations, and we compared what each individual membership offers their members. We leave you to decide which organization is worth joining, and which organization/s should be skipped.



The Art Gallery of Ontario Where: 317 Dundas Street West Individual Membership Fee: $100 Top Membership Perk: Free admission! Regular Priced Admission: $19.50 Did you know? Admission is FREE Wednesday nights from 6 to 8:30 pm for Ontario teachers with a current membership from the Ontario College of Teachers; high school students with valid I.D. from TuesdayFriday after 3 pm; and OCAD students with valid I.D. With an Individual Membership, patrons enjoy a year’s worth of unlimited admission, plus: Free coat check • Invitations to preview exhibitions and special events • Subscription to the AGO magazine and e-newsletter • Discounts at the AGO restaurant, café, and shop • Discounts on educational programs, including classes and talks • Access to the Norma Ridley Members Lounge • Voting privileges at the Annual General Meeting With free admission, you will no longer be pressured to try and take in all floors of the AGO in one afternoon. Visitors are welcome to view the insitution’s massive collection through small-focused trips. For gallery-goers who prefer to avoid the crowds, blockbuster exhibitions can be enjoyed on specially denoted days even before the public gains access. After only five visits, the membership will have paid itself off.


Royal Ontario Museum Where: 100 Queens Park Individual Membership Fee: $97 Top Membership Perk: Free admission and tickets to major exhibitions. Regular Priced Admission: $16 Did you know? Admission is discounted on Fridays: $10 for Adults! With an Individual Membership, patrons enjoy: ROM Magazine and program booklet • 10% discount at shops, restaurants, selected lectures and selected programs • Special membersonly invitations to local events and institutions • Gallery previews • Free admission to selected Canadian museums • Travel offers • Monthly e-news and e-blasts Similar to the AGO, Free Admission and early gallery previews really mean members are able to enjoy what the ROM has to offer. With its range of artifacts, art, taxidermy, jewels and countless other objects, the various perks allow history to be regularly visited and thoroughly enjoyed.

TORONTO INTERNATIONAL FILM FESTIVAL at the bell lightbox Where: 350 King Street West Individual Membership Fee: $99 Top Membership Perk: Free admission to exhibitions and early purchase window during the film festival. Regular Priced Admission: $13 for regular movie tickets; exhibition prices vary. Did you know? TIFF’s new permanent home is the Bell Lightbox Theatre. It features not only films from the festival, but also an array of outstanding, awardwinning films from all over the world. With an Individual Membership, patrons enjoy: Year-round discounts on TIFF screenings • Early purchase window during the festival • FREE entry to exhibitions • Discounts on workshops, camps and subscription series • Free subscription to the180° programme guide • Save 15% at TIFF Shop and concessions • Access to Bell Blue Room Members Lounge • Invites to Members - Only events • FREE coat check

Ontario Museum Association Where: 50 Baldwin Street Individual Membership Fee: $60 Top Membership Perk: Free admission to over 200 museums! Regular Priced Admission: Depends on museum Did you know? The Ontario Museum Association represents over 200 of the museums in the province, and offers various perks to its members. With an Individual Membership, patrons enjoy: Advocacy updates • Access to members-only area of website • Regular issue of e-newletter • Access to webinars and seminars • Eligibility for Certificate in Museum Studies program • Member rate for Annual Conference • Job postings, technology resources, professional links and advisory services The membership is particularly valuable for those looking to enjoy, as well as work, in the cultural sector. The professional development programs and resources are excellent for enhancing résumés, while the monthly updates keep you in the know of the museum world.

Becoming a member can help satisfy cinematic desires throughout the year. With their fall blockbuster exhibitions usually being both amazing and crowd-packed, the option to visit for free allows members to frequent the exhibition and really enjoy what’s on display. Although there are no discounts on the festival screenings, to any experienced purchaser, an early window is like a chance at gold; it means first pick at films and screening times, along with a shorter waiting period. It is tremendously helpful in kickstarting a great festival experience. TRANSCEND - EPUBLICATION FOR THE ARTS - 2013





tips to enjoy the


fringe festival


The Toronto Fringe Festival is the largest theatre festival in Toronto. Every summer, the festival features uncensored, independently produced plays at 30 venues in downtown Toronto over 12 days. The Toronto Fringe Festival started in 1989, and today it presents over 150 individual productions from Canada and around the world. Productions are chosen via a lottery system (no juries involved), and vary in style and scale. On any day guests can take in a comedy, dance show, drama, musical, and participate in free performance art events. The intriguing part of the Toronto Fringe Festival is that several productions originally mounted at the Fringe have later been remounted for larger audiences, including Da Kink in My Hair, which was later developed into a TV show by GlobalTV; the Tony Award winning musical The Drowsy Chaperone, which ended up in Broadway and have gone on several world tours. In 2009, My Mother’s Lesbian Jewish-Wiccan Wedding was picked up by Mirvish Productions and opened only three months later at Panasonic Theatre. Kim’s Convenience, winner of the 2011 Best New Play award, was remounted in 2012 by Soulpepper Theatre, awaiting its national tour. Intrigued? Here are some suggestions for first-time Fringers!



1 4 2 5 3


Start at the Fringe Club

The Fringe Club is located behind Honest Ed’s (581 Bloor St. W.). It is a place where you can mingle with artists, volunteers, and theatre fans!

Take a Chance

stay informed

Check out the The Fringe’s Program Guide, theor website, Twitter feed (@Toronto_Fringe and #fringeTO), and NOW Magazine -- the Fringe’s media partner.

The wonder of the Fringe is that you never really know what you’re going to see. The four-star shows may not be your cup of tea, and the “one-star wonders” can sometimes be the most fun. Create a list of plays to attend, check out the venue map to find out the location of theatres, and start your adventure!

There’s Always More to see at the fringe!

give yourself plenty of timE

Even after the festival period, you can catch some of the most talked-about shows in the “Best of Fringe” at the Toronto Centre for the Arts. Extra shows are added for Patrons’ Pick shows as well.

There are absolutely no latecomers admitted to shows, so make sure you come early!

For more details, visit:






tips to get

discount tickets


“Theatre? Why don’t we watch a movie instead? It’s too pricey!” Many of my friends who haven’t been exposed to the theatre scene in Toronto always say this when I ask them to go see a show with me. However, if you know how (and if you are willing to be a little more diligent), there are millions of ways to see theatre for less than $30, or sometimes even for free! Here are some tips. 104



Utilize company websites or twitters – they have hidden discount deals Many performing arts organizations in Toronto have discount programs for young patrons aged 2130. (e.g. National Ballet’s DanceBreak, Soulpepper’s Stageplay, Sony Centre’s Under 30 Rush Club, etc.). Each organization has different policies, but in many cases you have to register online, and the company will send you discount dates or promotional codes. Sometimes they even tweet promo codes for the day’s performances. Go do some research, follow their Twitter!

Try out for Rush and Lottery Tickets

“General Rush” means that an unspecified number of tickets are set aside on a given day. These tickets – or unsold seats for the show – are made available to the public when the box office opens. “Student Rush” means you have to have a student ID to buy rush tickets. “Lottery Rush” or “Lottery Ticket” means you get to the theatre about 2-3 hours before the show starts, and put your name on a slip of paper. Once they stop accepting names, they will pull out a certain number of names and the chosen ones will be able to buy tickets at a discount rate. Again, every show/company has different policies so make sure you check the website beforehand. Rush and Lottery tickets can range from $5-$45, depending on the show.


3 5 See Pay-What-You-Can shows

Many indie and non-profit theatre companies in Toronto have certain number of pay-what-you-can (PWYC) dates during the run of a show. If you can, and if you want to support the artists, you can always pay the full price. But if you’re a student on a tight budget, PWYC shows are great opportunities to see quality theatre productions for less than $10! Do some research, find out if the show that you want to see has PWYC policies and go for it!




Of course you meet amazing people and learn valuable things when you volunteer for theatre companies or festivals, but there’s another amazing perk: they give you free tickets! If you volunteer at the Toronto Fringe Festival, for instance, you get a stamp for each shift you work, and each stamp allows you to see any show for free. Go experience the theatre scene, and see some amazing shows without paying anything!

Use T.O.TIX and hipTIX

Have you ever seen the T.O.TIX booth at the Yonge and Dundas square? TAPA owns and operates the T.O.TIX booth, which is Toronto’s central ticketing outlet. T.O.TIX sells half-price and discounted tickets on the day of the performance, as well as full-price and discount advance tickets, in-person and online. You can get theatre, dance and opera tickets there, as well as music, comedy, sporting events and more! For more information, visit hipTIX, also a TAPA program, is designed to make theatre more accessible by offering $5 performing arts tickets to students ages 15-29. You can buy hipTIX tickets at the T.O.TIX booth, or online at Student ID is required. TRANSCEND - EPUBLICATION FOR THE ARTS - 2013





social media TIPS for




In today’s business landscape, social media is one of the crucial cornerstones of any successful activity. In the arts management sector, utilization of social media is very important because the nature of our work is in large part through relationships and connections we establish with our community. How we perceive the world around us, and how the world perceives our organization is one of the largest contributing factors to the type of business we conduct within our cultural setting. The following are a few tips to successfully utilize the social media landscape and how to make it work for you the way you need it to. 106


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Think outside of the obvious social channels

Often times you may be focusing on the well-known social media channels such as Facebook and Twitter because these are the big hitters, but it is important to research your audience and the stakeholders you have in your market segment. For an organization just starting off, it is important to branch out to diverse channels for the greatest outreach into the community around you. Consider things such as blogs using Slideshare for PowerPoint presentations. Bottom line being that do not get bogged up with only the most well-known social media channels; diversify.

Adopt the 80/20 Rule

Keep this as a general rule of thumb whenever you are posting on a social media sites such as Facebook or Twitter. For every post about yourself, post eight about someone or something else. It is off-putting to be talking about yourself over and over again. Be actively involved in the world and news around you.

Multiple tweeters for one account can often be good for engagement

It is safe practice to have multiple people tweeting on behalf of one organization. Having said this, it is important to maintain that all these people have one singular message and tone in doing so, which corresponds to the organization. There should not be any personal messages sent through this method, but different personalities and styles of writing are a good thing to add character to the Twitter feed.

Use YouTube

This social platform really isn’t too different from blogging. It is a convenient way to keep involved, by subscribing to others, commenting on their videos, favouriting videos, etc. You essentially want to build relationships with others who are also using YouTube as a social platform. Youtube is one of the largest social media channels which is often underplayed as something for recreational activity. But herein lies a large target segment ranging through all races and most importantly age groups. Do not take it lightly.

Track the effectiveness of your social media. Tracking creates accountability, and it should be the norm for any organization looking to understand which aspects of their marketing and promotional mix are working the best and how to make them work together. A great idea would be to start using trackable redemption codes at the checkout for your site, which allows leads through social media to additional content. In return, you get to keep track of the traffic and measure engagement.





736 Bathurst St.

1197 Dundas St. West



1026 Queen St. West THE THEATRE CENTRE 1087 Queen St. West

952 Queen St.. West THEATRE PASSE MURAILLE 16 Ryerson Ave.

FACTORY THEATRE 125 Bathurst St.

Please note this list is not definite. Check the websites for more information. 108





ART METROPOLE 1490 Dundas St. West


Spadina Avenue

Ossington Avenue

Dufferin Street

1286 Bloor West

Lansdowne Avenue

Dundas Street West Roncesvalles Avenue

Keele Street

Annette St.

30 Bridgman Ave.


Bathurst Street


The Transcend Editorial Team compiled a list of c venues in Toronto that you might want to visit! BY





contemporary art museums and galleries, theatre venues, and music




410 Sherbourne St.

12 Alexander St.




Dupont St.

Bloor St.

Wellesley St.

Carlton St.

33 Gould St.


Don Valley Parkway


Parliament Street

Jarvis Street

Church Street

Yonge Street

Hart House Circle

Bay Street


University Avenue


Gerrard St.


Dundas St.

178 Victoria St.

189 Yonge St.

145 Queen St. West



70 Berkeley St.

Queen St. Richmond St.

Adelaide St.

King St. Wellington St. West POWER PLANT CONTEMPORARY ART GALLERY 231 Queens Quay West

Front St. Queen’s Quay



TRANSCEND: e-PUBLICATION FOR THE ARTS was founded by the Senior Seminar Arts Management class of 2013.


Transcend aims to showcase the rich and varied art practices thriving at University of Toronto Scarborough, as well as the thinkers, movers...

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