Cultivating Economic Growth and Belonging through Culture This blog post was written for the Ontario Chamber of Commerce and was published on their website on April 30, 2025. Written by Kadija de Paula, Senior Manager, Research, Impact and Evaluation, Toronto Arts Council and Toronto Arts Foundation. Canada’s appeal as a destination for immigrants has grown steadily over the past decades. In 2021, over 8.3 million people, nearly a quarter (23%) of the population, were or had been landed immigrants or permanent residents (StatCan, 2022). Since then, the trend has continued, with over 469,000 immigrants admitted to Canada in 2022-2023. Toronto, Canada’s most culturally diverse city, welcomed the largest share of recent immigrants, with 29.5% of newcomers settling, according to Statistics Canada (2022). In 2021, nearly half of Toronto’s population were immigrants, with even higher proportions in some municipalities within the Toronto CMA, such as Markham, Richmond Hill, Mississauga, and Brampton. Recognizing how newcomer communities help to shape our city’s cultural, social and economic vitality, Toronto Arts Council (TAC) and Toronto Arts Foundation offer programs for Newcomer artists that connect them to the resources they need to flourish and contribute to the local economy. Harnessing the Arts for Integration TAC’s Newcomer and Refugee Arts Engagement and Artist Mentorship programs foster artistic expression, mentorship, and community building. Through these efforts, newcomers gain platforms to share their stories, connect with communities, and build vital networks for personal and professional growth. For instance, the Newcomer and Refugee Arts Engagement program supports collaborative artistic projects that facilitate belonging in newcomer communities. Simultaneously, the Artist Mentorship program pairs newcomer artists with established professionals in their field, as part of an intentional workforce development strategy offering guidance and resources to integrate newcomer art professionals into Toronto’s vibrant arts sector. These programs are enhanced by the Foundation’s Neighbourhood Arts Network, which provides career development and wraparound supports to newcomer artists. Success Stories in Workforce Development Funded programs like Small World Music’s Incubator exemplify TAC and the Foundation’s impact on career development for newcomer artists. By connecting participants to industry veterans through mentorship and workshops, the initiative bridges gaps and supports artists to thrive in Toronto’s cultural economy. Likewise, Waard Ward’s floristry workshops recontextualize the traditional skills of a Syrian refugee family into an artistic practice, combining creative training with entrepreneurship to enhance employability and integration. Cultural and Economic Impacts Ontario’s culture sector contributes significantly to the province’s economy, with over $26 billion added to GDP in 2022 and over 270,000 jobs supported. Toronto’s creative initiatives reflect the findings of the Ontario Chamber of Commerce’s Policy Brief: Ontario’s Arts, Culture, and Creative Industries. The brief underscores the sector’s unique ability to foster integration, innovation, and economic competitiveness by promoting careers in the culture sector as viable employment options through intentional outreach to underrepresented communities. This initiative should also involve incorporating arts, culture and creative industries-related programming that encourages cross-sector collaboration and leverages the arts as a reflection of our community’s diverse cultural backgrounds. Moreover, as outlined in the recently released report Fostering Integration Through the Arts: Learning from Toronto Arts Council’s Program for Newcomers and Refugees (a partnership between TAC and the Canada Excellence Chair in Migration and Integration (CERC Migration) at Toronto Metropolitan University) collaborations between the arts and settlement sectors further demonstrate how the arts can be leveraged to address challenges like underemployment and discrimination faced by newcomers. By nurturing creative talents, funded initiatives promote inclusiveness and equity. A Vision for the Future The City of Toronto recently launched Culture Connects: An Action Plan for Culture in Toronto (2025-2035). This 10-year plan aims to invest an additional $35 million in the arts and culture in Toronto. Such forward-thinking investments will ensure that the arts remain a powerful connector, bringing residents, newcomers, and tourists together to foster community, belonging, and economic growth. At Toronto Arts Council and Foundation, we are leading the way in empowering newcomers through the arts. Recently, Toronto Arts Foundation became one of ten organizations from across Canada and the United States to receive a $1 million grant from TD Bank through the TD Ready Challenge to expand our current support for newcomer artists. This three-year initiative will provide mentorship, education, and work-integrated learning to support newcomer artists to launch their creative careers or small businesses. Through innovative programs such as this, we are not only enriching lives and communities but positioning Toronto as a global leader in creativity and inclusion. We invite business leaders, policymakers, and industry stakeholders to engage with us in shaping the future of Ontario’s creative workforce. Learn more in our collaborative brief: Ontario’s Arts, Culture, and Creative Industries: Strengthening Competitiveness and Communities
2024 Toronto Arts Council and Foundation Year in Review: Milestones and new beginnings 2024 has been a year of promise for the arts in Toronto. Over this past year, Toronto Arts Council and Foundation assisted with and championed the City of Toronto’s ambitious new culture plan Culture Connects: An Action Plan for Culture in Toronto, which includes an increase to Toronto Arts Council’s base budget of $2 million per year for the next five years; we celebrated 50 years of public investment in the arts through Toronto Arts Council, and the creative city this has built; and we reimagined our major fundraising event with the In Bloom Gala, an electric party that raised over one million dollars in support for our vital year-round programming. Here are some highlights for the year: Toronto Arts Council: Managed thousands of grant applications and funded outstanding art: Grants staff managed over 71 days of adjudication meetings, assessing 2,597 applications with requests of $45,383,463 and delivering a total of $23,853,422 through 886 grants to artists and arts organizations in Toronto. Launched our 50th Anniversary celebration in June with a public event at Luminato in the Square, attended by over 1,200 people; over the year, we spotlighted 50 artists and highlighted the benefits of the arts with our “Believe in Art” campaign. Engaged in research to better understand and demonstrate the importance of our work: Concluded a SSHRC funded research project, Fostering Integration Through the Arts: Learning from Toronto Arts Council’s Program for Newcomers and Refugees (FIT-ART), in partnership with the Toronto Metropolitan University; presented the initial findings of this project at the Metropolis Canada Conference in Montreal in March and will launch the final report in January. Began another SSHRC funded research project titled Funding Matters with University of Toronto Scarborough Campus about the importance and perception of public arts funding. Participated in “Pathways to Growth: Impact, Partnerships, Funding” organized by the Association of Arts Councils of Ontario (AACO) in Belleville in October. Spoke to our peers at key gatherings: Participated in “Advancing Data Strategies for Arts Funders: Turning the Idea of Data Strategy(ies) for Arts Funders into a Reality,” this past June, organized by the National Research Group and hosted by funders in Alberta in Calgary. Served as a panelist for Canadian Urban Institute’s 2nd Annual Summit, “State of Canada’s Cities Summit – Stepping Up.” Reached out to prospective applicants and helped convene communities: Organized 13 outreach and networking events for 1060 registered participants, including four grant information sessions, four combined community conversation / networking / information sessions, two multi-grant drop-in “office hour” events and three Black Arts Connect sessions. Toronto Arts Foundation: Recognized and celebrated the achievements of outstanding artists and arts organizations through our various awards: In April we named the recipients of five awards at our annual Mayor’s Arts Lunch: Pan Fantasy received the $20,000 Arts for Youth Award, Destinie Adélakun received the $10,000 Breakthrough Artist Award, Rina Fraticelli received the $10,000 Celebration of Cultural Life Award, Anthony Gebrehiwot received the $10,000 Community Arts Award, Laurence Lemieux received the $10,000 Muriel Sherrin Award. In May we gathered at the City of Toronto’s Newcomer Day to celebrate six newcomer artists: Mahsa Alikhani, Gaby Al Botros, Andrea Nirmala Widjajanto, Jelica Mijanovic, Leandro Matos and Niloufar Ziaee each received $2,500 as part of our Newcomer Artist Award. Through our Space Award: Tan VU, Nami Ueno, Leen Hamo, Felipe Tellez, Dana Prieto and Melika Saeeda each received $500 cash and $2,000 in credit to be used for studio space; we expanded our partnerships to serve performing artists: space partners now include AKIN, Small World Centre, Unity Charity and Factory Theatre. In June, Dánae Olano was named the recipient of the $10,000 Breakthrough Jazz Artist Award. Connected artists with industry professionals through our Mentor in Residence program, managed by our Neighbourhood Arts Network. In total, we worked with 18 multi-disciplinary mentors who contributed over 245 mentorship hours, providing support to 95 mentees. Provided opportunities for 25 youth media artists who are Indigenous, Black and People of Colour and/or 2SLGBTQ+ to gain professional experience, skills and network in the media arts industry through ArtWorksTO. This program operates in partnership with our Neighbourhood Arts Network, the City of Toronto, OCAD U and The Remix Project. $100,000 in industry contracts were awarded to the cohort, with an additional $120,000 industry contracts awarded to program alumni. ArtWorksTO received the City’s Manager’s Award for Equity, Diversity and Inclusion in September. Provided arts board volunteers the opportunity to gather and learn effective governance practices through our Creative Champions Network workshops led by Michelle Yeung. A total of five workshop sessions took place throughout the year, featuring seven speakers and inspiring 223 arts champions to serve their arts organizations better and more effectively. Engaged audiences with free, accessible, high-caliber art of all kinds throughout the summer through Arts in the Parks. A total of 877 artists brought 295 events to 33 parks across the city in 18 wards, bringing together approximately 92,800 audience members through unique and memorable arts experiences. In November, our Mayor’s Evening for the Arts raised $1,040,000 to support our programming in 2025, helping to build careers, strengthen networks and create greater access to the arts throughout Toronto. Both Organizations Celebrated Toronto Arts Council board members: Thanked outgoing board members Amanda Hancox, Richard Paquet and maxine bailey. Celebrated Toronto Arts Foundation board members: Welcomed incoming members Stefan Baranski, Bob Blazevski, Nasir Noormohamed, Sage Paul, Orit Sarfaty, Jonathan Simmons and Mike Yorke and thanked outgoing directors Devyani Saltzman and Danielle Labossiere Parr. Welcomed and celebrated joint Toronto Arts Council and Foundation staff: Celebrated Kadija de Paula in her new role as Senior Manager, Impact & Evaluation. Welcomed Francois Lebas, Manager, Data Analytics and Sarah Mangialardo, Senior Executive Coordinator. Welcomed Toronto Arts Council staff: Tafiya Itiaba-Bayah, Program Manager, Dance Programs Welcomed and celebrated Toronto Arts Foundation staff: Celebrated Alandra McKirdy in her new role as Coordinator, Special Events Welcomed Courtney Fiddis, Senior Manager, Development, Elizabeth (Liz) Tsui, Coordinator, Outreach & Awards, Hemangi Shroff, Coordinator, Membership & Engagement, Sophie Brzozowski, Senior Coordinator, Philanthropy, Lucy Reddy, Senior Coordinator, Philanthropy 2025 promises to be even better. Our organizations are preparing for future growth to support creative opportunities for everyone in our city through a new Strategic Plan which we expect to launch in the spring along with a renewed digital presence to serve Torontonians better. We will continue to build bridges, to listen, engage, and connect while pursuing our vision of a better Toronto for everyone through the arts. In addition to boosting the economy and creating jobs, we see every day how the arts contribute to healthy and whole communities, reduce isolation, promote well-being, and so much more. This is the power of the arts. In addition to boosting the economy and creating jobs, we see every day how the arts contribute to healthy and whole communities, reduce isolation, promote well-being, and so much more. This is the power of the arts. It is why the arts are fundamental to peoples’ lives and to a caring, vibrant city, and why we will continue to work with our public and private partners to support the arts and make the case for increased investments in this critical sector. Thank you to our dedicated staff, board, and committee members, volunteers, and community members who directly contributed to our success in 2024. Thank you to all of Toronto Arts Council’s grant recipients for their inspiring work, to Toronto Arts Foundation donors and sponsors for fueling our vital programs, and to Mayor Olivia Chow, Toronto City Council, and our colleagues at the City of Toronto for continuing to believe and invest in the arts. Finally, thanks to every Toronto resident who attended or engaged in an arts experience this year and, by doing so, helped to sustain our unique creative city. I look forward to connecting with you in 2025. Sincerely, Kelly Langgard Director & CEO Toronto Arts Council and Toronto Arts Foundation
2023 Toronto Arts Council and Foundation Year in Review During my first week as Director & CEO of Toronto Arts Council and Toronto Arts Foundation in January this year, I hit the ground running with a deputation to Economic & Community Development Committee to emphasize vital importance of the arts – and public funding for the arts – for the city. It was an introduction that signaled our organizations’ drive and responsibility to serve Toronto’s arts communities with transparency, trust and openness: the pillars that form the foundation of our many relationships. I’ve gotten to know and collaborate with many city staff who know the value of the arts, and, thanks to our collective efforts this year, continue to seek ways to help us better achieve our mandate with more impact. I’ve also gotten to know our incredible boards of directors who give their time and passion to helping us empower artists through funding and initiatives; so many inspiring artists and arts leaders whose drive to create and produce make our city better; and the many audiences I’ve met around the way, left engaged, thoughtful and connected after experiencing powerful art. In addition to feeling inspired by our work and the possibilities ahead, Artscape’s insolvency in late summer highlighted the precariousness of arts infrastructure support in our city. There’s a lot of work we need to do to help artists and arts organizations. Temporary fixes simply will not do. If the city’s response to step in during this situation signaled anything, it’s that they are willing partners and supporters of the cause for maintaining permanent artist live/work space. I feel incredibly confident in the future of our organizations and our ability to support artists of all disciplines, backgrounds and approaches, in all corners of our city. As we finish the year we’re entering 2024 with renewed vigour, conviction and vision; We are Toronto’s Arts Council and Toronto’s Arts Foundation, and we’re here to serve. Highlights in 2023 include: For Toronto Arts Council: Continued our advocacy work to center the arts during the Mayoral by-election, resulting in reaffirmation of Mayor Olivia Chow’s commitment to increase investment to TAC during Arts Day at the City. Collaborated with the City on the development of a new culture plan and contracted Monumental to begin this work, which so far has involved many TAC and Foundation staff during eight community consultations. Welcomed Devyani Saltzman to both boards, including as President for TAC. Grants staff managed over 77 days of adjudication meetings, assessing 2,629 applications with requests of $45,906,400. Helped fund outstanding art: we recommended 911 grants to artists and arts organizations with a total value of $23,703,007. Worked with funders across Canada to launch the new CADAC system and streamlined our own operating applications to be more accessible. Through the work of our internal access working group, improved the accessibility of our online application system, TAC Grants Online, by working with a blind consultant and participated in accessibility training for online meetings. Began a SSHRC funded research project with Toronto Metropolitan University on newcomer integration focused on TAC’s Newcomer & Refugee Artist Mentorship Program. Welcomed Caitlin Loney, Administrator, Grants Support to the team. Celebrated Sarah Miller-Garvin in her new role as Interim Program Manager, Theatre, covering for Elahe Marjovi’s parental leave. Presented our annual work to the City’s Economic & Community Development Committee, effectively communicating TAC’s strong connection to the arts community, leadership in equity and inclusion and the impact of our work and ability to respond to the challenges faced by Toronto’s artists and arts organizations. Welcomed incoming board members Councillor Alejandra Bravo and Sally Lee and thanked outgoing member Ana Serrano. For Toronto Arts Foundation: Recognized and celebrated the achievements of outstanding artists and arts organizations through our various awards, distributed throughout the year. A total of $133,000 was distributed to award finalists and recipients. In April we named the recipients of five awards at our annual Mayor’s Arts Lunch: Nia Centre for the Arts received the $20,000 Arts for Youth Award, Oluseye Ogunlesi received the $10,000 Breakthrough Artist Award, R.I.S.E. Edutainment received the $10,000 Community Arts Award, Naomi Johnson received the $10,000 Margo Bindhardt and Rita Davies Award and Joy Lapps received the $10,000 Muriel Sherrin Award. In May we gathered at the City of Toronto’s Newcomer Day to celebrate six newcomer artists: filmmaker Halime Akturk, media artist Faisal Karadsheh, multidisciplinary artist Vladimir Kanic, visual artist Leila Refahi, visual artist Chico Togni and sculpture and installation artist Lana Yuan each received $2,500 as part of our Newcomer Artist Award. Through our Newcomer Space Award: dance artist Irina Lerman, multidisciplinary artist Azadeh Pirazimian, sculpture and installation artist Helio Eudoro Rodriguez Junior, visual artist Chico Togni, visual and community artist Kseniya Tsoy and sculpture and installation artist Lana Yuan each received $500 cash and $2,000 in credit to be used for sharing studio or exhibition space at Akin. In June, Kae Murphy was named the recipient of the $10,000 Emerging Jazz Artist Award. In October Sandra Laronde received our $20,000 Indigenous Artist Award and named Kehew Buffalo as the recipient of the $5,000 mentee prize. Continued to connect artists with industry professionals through our Mentor in Residence program, managed by our Neighbourhood Arts Network. In total, we worked with 17 multi-disciplinary mentors who contributed over 160 mentorship hours, providing support to 145 mentees. ArtWorksTO, another program managed by our Neighbourhood Arts Network in partnership with the City of Toronto, OCAD U and The Remix Project, provided opportunities for 12 youth media artists who are Indigenous, Black and People of Colour and/or 2SLGBTQ+ to gain professional experience, skills and network in the media arts industry. $48,000 in industry contracts were awarded to the cohort. Arts in the Parks continued to engage audiences with free, accessible, high-caliber art of all kinds throughout the summer and fall months. A total of 847 artists brought 267 events to 36 parks across the city, bringing together approximately 69,450 audience members through unique and memorable arts experiences. Arts board volunteers continued to gather and learn effective governance practices through our Creative Champions Network workshops. A total of 5 workshop sessions took place throughout the year, inspiring 188 arts champions to serve their arts organizations better and more effectively. Gathered with 80 artists, policy makers and arts workers through our two-day Emergence symposium this spring. Through 23 workshops, panels and sessions we dug into the importance of creative exploration and play for the well-being of artists and audiences and focused on the potential of the arts to inspire and support climate action. In November, our Mayor’s Evening for the Arts raised over $950,000 to support our initiatives. Building on the momentum of this great turnout, real estate development firm Castlepoint Numa stepped forward with a challenge to help us reach our $1M goal, committing to match all gifts up to 25K until December 31, 2023. Welcomed incoming board member Sage Paul and thanked outgoing member Terry Nicholson. Internally, we: Restructured the organizations following a two-day staff retreat in the summer, with expanded or changed roles for many, to improve efficiency and impact. We are excited to approach our work with renewed energy and strategic alignment Celebrated Kadija De Paula and Andrew Suri as they transitioned into new roles within the organizations Bid farewell to Susan Wright, Deputy Director, after 24 outstanding years of service and championship Welcomed four new members our teams, including Selina McCallum, Clau Souza, and two new members of our leadership cohort, Dane Bland and Rupal Shah. 2023 was filled with great accomplishments, but my colleagues and I at Toronto Arts Council and Toronto Arts Foundation are committed to doing even better in the coming years. 2024 marks the 50th anniversary of TAC. As we look back on what we’ve built over the years, we’re looking forward and envisioning a Toronto that fully embraces, supports and celebrates its artists as integral to building the city and world we want and need. Thank you for your amazing support to date, and we’ll see you in the new year. Wishing you a wonderful holiday season! Best, Kelly Langgard, Director & CEO Toronto Arts Council and Toronto Arts Foundation
Bringing recording studios to young artists For Ruben ‘Beny’ Esguerra, musician, arts educator, community worker, Ph.D. (ABD) candidate in Musicology/Ethnomusicology and a finalist for the 2021 Toronto Arts Foundation Community Arts Award, art and community are always connected. Growing up in Colombia in a neighbourhood with a rich history of resistance, resilience and subsequently, creativity, Beny very early on was exposed to social injustice and the power of art to carry a message and hold meaning. Beny arrived in Canada with his parents as political refugees when he was a child. “The first places where I had an opportunity to perform my original music in Toronto was at International Solidarity events organized by the communities who arrived here for similar reasons. That’s the audience who has always supported my work and as a result I create music that resonates with them,” he says. His most recent album entitled Northside KUISi, A New Tradition Vol 3, received a 2022 JUNO nomination for Global Music Album of the Year. It features songs that explore issues such as environmental degradation, systemic racism and oppression while also celebrating tradition and emphasizing the need for community collaboration and healing. The very act of collaborating, of uniting artists from different walks of life to work together, is, for Beny, a path to healing. Collaborating and healing also underline the purpose for his Wheel it Studios program, which has been funded by Toronto Arts Council through the Creative Communities Projects program for five consecutive years, since 2018. Operating under New Tradition Music, Wheel it Studios offers 16 weeks of hands-on studio recording training for participants in two Jane-Finch neighbourhoods. Primarily working out of the Jane and Finch Boys and Girls Club and the Driftwood Boys and Girls Club, Beny and his collaborator Paul ‘Savilion’ DeFrancesco bring the recording equipment to these spaces, making it a “mobile” service. When the COVID-19 pandemic forced the closure of many programs, Wheel it Studios quickly pivoted to deliver equipment to participants at their place of residence and continued personalized training over Zoom. Offering training and guidance with beatmaking, music theory, audio engineering and songwriting, the program works with budding youth artists of all abilities and experience levels to hone their skills and expose them to all aspects of professional music recording. Esme, a singer and songwriter who participates in the program notes that “it really helps artists like me that maybe don’t play an instrument or don’t know music theory; it’s really important to learn that language.” Chocolate Coco Baby, another participant notes that “Basically, they taught me everything that you could know about music; they taught me how to create a beat, they taught me how to write a song, how to record it, how to do ad libs – that’s a whole thing in itself.” Leading music programs in the Jane Finch / Black Creek community for over 15 years, Beny created Wheel it Studios as a response to several barriers facing the community. The program fills a need for community arts programming and provides a way for artists from different neighbourhoods to collaborate. “Instead of the youth going to a specific location we take portable equipment to places where they feel safe from the street related tensions that exist and as a result all artists in the Jane-Finch arts community can have access and collaborate with each other,” says Beny. The outcome after the 16 weeks is a fully produced album, featuring original songs created by the participants. The participants also come together to create a music video for the album single and perform the music for a live audience. Artists like Zakisha Brown and Nathan Baya have experienced great success in their music careers after participating in the program, and doors have opened for many others due to the skills they’ve gained. This is something that Beny personally nurtures, having featured past Wheel it Studios participants Larry Blue, Mystro, Tracey Kayy and Nathan Baya in the track Thin Line from his JUNO nominated album. “[Wheel it Studios] is an initiative that continues to build a culture of peace as its lessons on cross-cultural/cross-neighbourhood understanding and collaboration will have long term empowering impacts on our community,” says Beny.
Borelson is making waves “Through music and relatable lyrics, let’s feel less lonely and more united,” proposed the artist Borelson as he set out to create his debut full length album. Released in 2020, As Far As Eye Can See is a bold hip hop album that features heavy beats and production that draws on various musical influences. Borelson’s raspy and assertive voice delivers a unifying message of his journey and drive. Created with the help of Toronto Arts Council’s Music Creation and Audio Recording funding program, the album was one of his first artistic achievements after moving to Toronto. “It was my debut project here in Toronto, so it felt like being embraced by my new city, that I made the right choice to move here,” said Borelson who noted that the grant helped “open doors” for his artistic career. Borelson grew up in Gabon and Congo, lived in France, and eventually moved to Canada by himself. Before moving to Toronto, he could sense the city’s strong creative energy. “What’s unique about Toronto’s arts and music scene is the multiculturalism and the influences coming from everywhere, which creates an interesting environment where everybody can be themselves and bring their own perspective,” he says. Being himself and honouring his varied experiences and influences is something that Borelson brings to his art. His music is mainly hip hop, but draws on other genres including afrofusion, jazz, gospel, and occasionally features spoken word. He also works in film. Around the same time as the release of As Far As Eye Can See, Borelson created a docu series entitled ThisFAR of 32 mini episodes featuring immigrants and first generation Canadians and their success stories; a kind of ode to the creative community who helped him when he first arrived in Canada. Currently, Borelson is completing his first feature documentary about the impact of the Covid pandemic on marginalized communities and sectors, and the resilience they had to develop throughout, in order to survive. His debut album and ThisFAR were both inspired by the motto “I didn’t come this far to only come this far,” which he sings in the chorus of a track with the same title. Borelson’s drive is something that has helped him build his artistic network and form exciting collaborations, particularly when he sought to make his debut album in a new city. “Even if people barely knew me, they understood my drive, passion and vision. I’m grateful for their trust and what we were able to create,” he says of that experience. Now, also with the support of a TAC grant, Borelson is taking his passion for growth to new levels. After receiving a Newcomer and Refugee Artist Mentorship grant, he teamed up with Polaris Prize short-listed artist Junia-T to hone artistic skills like songwriting and composing as well as business acumen in marketing, networking and more. “It’s really a blessing to be mentored by someone who is wise, well respected in the game, and who tapped into multiple sides of his creativity (rapping, producing, DJing, etc.) just like I am trying to do,” says Borelson, who notes that the experience is also helping him navigate the music industry with better clarity. In the fall of 2021, Borelson released his sophomore album, Building Bridges. The album builds on his signature ambitious, innovative and positive approach with tracks that are already getting national attention. CBC Music’s The Block has given the track “Fearless” airtime and even featured it in a promo ad. “The plate is full. I can’t complain and remain grateful, and energized for the future!” says Borelson. Follow Borelson by visiting his website: www.borelson.com
Connecting Forms with Holla Jazz What was a career-pausing injury led to the creation of an award-winning dance company; this is the founding story of Holla Jazz, guided by Choreographer and Artistic Director Natasha Powell. The company — which caught the attention of the Toronto dance scene in 2018 with its inaugural production FLOOR’D — showcases traditional jazz dance with contemporary forms, culminating in highly energetic, innovative, intentional yet spontaneous creations. Powell, born to a Jamaican father and Grenadian mother, was surrounded by dance from the start. At the height of hip hop in the nineties, her older siblings threw backyard parties. The celebratory gathering of people and music, as well as social dancing in Black culture had a profound impact on her love for and approach to the form. The works created as part of Holla Jazz pulse with life through dance and live music. In 2010, Powell suffered a meniscus tear and had to have knee surgery, temporarily halting her dance career. She used that time to reflect on her craft, interests and ambitions. It also caused her to think more about a documentary that she once watched and couldn’t shake: Everything Remains Raw by dance educator, author and professor Moncell Durden. The film investigates the deep-structure and Afro-Kinetic memory present in dance practices throughout the African Diaspora. Her interest in the film led to a residency in New York with Durden to learn more about the lineage of jazz dance, and how Black social dance has grown from the early 1900s to now. She took her learnings, including traditional vernacular jazz dances such as the “Shim Sham” and “Black Bottom,” back to Toronto and shared them with collaborators Raoul Wilke, Caroline “Lady C” Fraser and Miha Matevzic. Merging their practiced dance forms of hip hop and house together with this dance form, they began the journey of honouring the history of jazz dance, while looking at its present and future possibilities. “Holla Jazz is this space where you can create experiences for these various forms that originated in different eras but are all connected to live and work together,” says Powell. Much like the ethos of Holla Jazz, Powell’s creation process originates with an idea and ensuing research (looking at imagery, reading, listening to music), which then evolves and comes to life through those working with her in the studio. “When I’m creating a piece or new work, I start with a theme that I’m interested in exploring, but then those ideas and themes become enhanced by the people in the room: the performers and collaborators that I’m working with,” explains Powell. This was the process that informed the creation of Dances with Trane, a collection of dances inspired by the music of prolific jazz musician John Coltrane, funded in part through TAC’s Dance Projects program. Yet two weeks shy of its premiere at the Meridian Dance Theatre, COVID-19 ripped through the world and everything changed. The premiere has been postponed since then, as Powell opted not to turn it into a film or a livestream. “I create work for that in person, live experience,” explains Powell, “So for [Dances with Trane] it wouldn’t do the form, dancers and musicians justice by turning it into a livestream.” Instead, Powell had the opportunity to pitch a video series concept to DanceWorks as part of their Moving Online project. Using pre-filmed footage captured by dancer and filmmaker Kristine Flores, the series, called 12 Notes, presents short vignettes featuring Holla Dance collaborators speaking about their experiences in the company. To allow viewers the opportunity to hear from the artists was very important for Powell when creating the concept. Working as an artist during the pandemic continues to be difficult for many, but artists and arts organizations are great at finding innovative ways to bring new work to audiences. As one of two Artists in Residence for Fall for Dance North, alongside Calgary-based artist Kimberley Cooper, Powell was invited to present work in the west wing of Union Station in fall 2021. Using photography and augmented reality, people were able to scan QR codes with their phones to view stills of dancers come to life with pre-recorded dance videos. Powell’s work with Fall for Dance North is continuing as she’s currently creating a new work for its 2022 iteration. As for Dances with Trane? “It’s not gone: I can’t wait to share it with the world on stage and in person, live,” says Powell. Toronto can’t wait either.
20 Years of Beautiful city In the fall of 2021, the City of Toronto launched ArtWorxTO: Toronto’s Year of Public Art. The program, which will run into 2022, features the development of public art projects within the city, both permanent and temporary, by local and international artists. It’s the start of the City’s 10-Year Public Art Strategy, “signaling Toronto’s renewed commitment to public art,” and “underscores a dedication to the arts sector as an essential component of a vibrant city.” The connection of public art, and the arts as a whole, to vibrant cities is an important one: it recognizes the public benefit of having visually stimulating, engaging and thought-provoking artworks in our gathering places. 2021 also marks the 20-year anniversary of BeautifulCity.ca, a community-based initiative that ultimately transformed public and political support for arts funding in Toronto. Since the start of BeautifulCity.ca — a campaign to put a tax on outdoor advertising, and to invest that money in art in public spaces — an estimated $100M has been collected by the City’s Third Party Sign Tax, and Toronto Arts Council’s annual grants budget has nearly doubled. It all started with one billboard. Devon Ostrom, who spearheaded the BeautifulCity.ca initiative, was invited to present ideas to the City’s Culture Division for its upcoming culture plan in 2001 at the Creative City Youth Consultations. He was seeking ideas to make the city better, when he looked up: “The first real spark I can remember was after looking at an art piece by Recka [a graffiti artist] where they painted art over a billboard,” he says. “It didn’t make sense to me that advertisers had nearly unrestricted access to shaping the visual environment while people who wanted to make spaces better were buried in permits, fees or much-much worse.” Ostrom led with two ideas: the first is that public space is for the public. Yet advertisements representing private interests hold visual space that residents can’t avoid. “The billboard tax and regulation aimed to be a moderating force in public spaces,” Ostrom states. The second idea is that art is for the public, and can lead to the beautification of the city. Therefore, the reasoning was, a tax on billboards must be invested in the public in the form of art, and creative voices should get the opportunity to shape spaces as well. In addition to art in public spaces, BeautifulCity.ca advocated that revenue generated from the billboard tax should be invested in working artists and youth in underserved communities. It took a lot of work to realize the initial vision. Ostrom recalls sending many emails, making many one-on-one phone calls, and maintaining detailed spreadsheets to mobilize interest and support among the arts community. Manifesto Community Projects, at the time led by Che Kothari, played a large role in growing support for the idea through its coalition of organizations, artists, designers, advocates and organizers. “Devon Ostrom’s ability to work with and galvanize young artists in support of bringing art to public spaces helped transform Toronto’s arts funding landscape” says Susan Wright, Deputy Director, Toronto Arts Council, who helped guide Ostrom through advocacy strategies. In all, a total of 60 organizations joined to form a coalition, including Toronto Arts Foundation, to advocate for the billboard tax and to have those funds invested in the arts. Deputations, town halls, surveys, an Art is Power walk, and relentless enthusiasm eventually saw the success of the initiative. In 2009 the billboard tax and regulation was passed. Following a legal fight that went all the way to the Supreme Court, the City’s new sign tax was legally recognized in 2012. The artists and community groups agreed that Toronto Arts Council should be the recipient of increased funding. TAC’s position as an arms-length funding agency to the city, the fact that we’re governed by artists, and the integrity of our adjudication process led arguments for this case. In our Priorities for New Funding visioning document that was released in 2012, TAC identified that of the anticipated increase, 50% would be directed to existing programs, and 50% would go to innovation and communities. For the latter, TAC would come to create seven new strategic programs, including Animating Toronto Parks, many of which fund art outside of the downtown core that’s free and open to the public. In 2013, TAC began funding the youth arts organization ArtReach, which supports community-based arts initiatives that engage youth from equity-deserving populations. Today, TAC invests nearly 23.5 million annually in Toronto’s artists and arts organizations. A moment of inspiration sparked by art painted over a billboard grew to be a mobilizing force that garnered support from across Toronto’s arts sector. This youth-led, grassroots, community-based initiative inspired the taxation of outdoor advertising, and ensured political support for a significant increase in arts funding. This year, the city and its residents are celebrating and experiencing the benefits of public art; a continued affirmation that art makes a city more beautiful, in so many ways.
Unpacking Normal “Normal.” This is a word that is often called upon as the world continues to grapple with the covid-19 pandemic. Questions like: when will we return to normal, what will become our new normal, or is normal even desirable, are often raised. “Normal” is also the word that appears in the marketing materials of the 29th iteration of the Rendezvous with Madness Festival (RWM), a multidisciplinary festival that aims to reduce stigma around mental health and addiction issues. Pink inflatable balloons floating in the air spell the word out, and, depending on the viewer’s perspective, the balloons can be seen as either floating away, or coming towards you. “I think we are all unpacking this together” notes Kelly Straughan, Executive Artistic Director of Workman Arts, the organization that runs the Festival. Yet with all of the adjustments we’ve made as a society because of the pandemic, and as the city opens up, it’s safe to say that we’re experiencing something new; this is what shaped the vision of RWM 2021, taking place October 28 – November 7, 2021. Operating in a hybrid form by offering audiences the choice to attend both online and in-person (at 50% capacity), the entire festival experience will be different, new, and certainly thought-provoking. Located in The Centre for Addiction and Mental Health (CAMH), Workman Arts offers both member-only and public-facing programming. Professional semestered training courses in Media, Literary Arts, Music, Theatre and Visual Arts, are available to its 500 member artists who identify as having lived experience of mental health or addiction issues. These courses, while focusing on artistic practice, have the added mental health benefits of reducing social isolation and promoting productive habits, notes Straughan. Its public-facing programming, including its flagship Rendezvous with Madness Festival, the annual Being Scene juried art exhibition, and presentations that take place throughout the year, not only empower artists with lived experience, but also serve to reduce the stigma around mental health and addiction issues. Their public programming, states Straughan, “does what art does: they promote empathy and understanding, and you get to see what it’s like to walk in someone else’s shoes,” she says. RWM wasn’t always a multidisciplinary festival. In 2018 in its 26th year, it grew from a film-only festival to include many other types of art, like visual arts, media arts, performance art, theatre and dance. “With different art forms, there are different experiences, different entry points, and obviously different conversations,” says Straughan. With visual arts, she notes as an example, audiences have agency over their viewing experience; you can decide how long you want to view a piece, and your own experience informs your interpretation. The immersive aspect of other art forms provide a multitude of avenues with which to challenge and advance perspectives on mental health. Straughan recalls past festival presentations including a space that was designed to make audiences understand what it’s like to have voices in your head all the time, and Psychosis from 2019, a dance piece created by choreographer Ronald Taylor that shows a psychotic breakdown in a very visceral way. Workshops, post-screening conversations and Q&A’s are also a staple of the Festival. “The discussions are important to unpacking the art together,” says Straughan. While switching to online fully in 2020—and again partially for this year—was necessary for health measures, the move has proven to be beneficial for film audiences. Straughan explains: “It seems like online has been a nice addition for people who have discomfort being in large groups or have accessibility issues or mental health reasons why they’re not comfortable out in public.” With online, they can still be a part of the festival experience, and for film at least, showing it online does not sacrifice the quality or intention of the art. RWM 2021 will feature a variety of works, including the opening night film Kímmapiiyipitssini: The Meaning of Empathy by filmmaker Elle-Máijá Tailfeathers which chronicles the impact of the opioid crisis on Alberta’s Kainai First Nation, the In(site) Exhibition featuring works that are intended to be experienced virtually, and the theatre production of Rosa Laborde’s True which centers around an aging father who develops Alzheimer’s. For those working in the arts sector who want to engage in the conversation further, Workman Arts’ BigFeels: Post Radical Growth Symposium: Making Space for Mental Health in the Arts is taking place November 1-3, 2021. —- Workman Arts receives funding through Toronto Arts Council’s Creative Communities Operating program.