We're RTRACTION, and we love the arts.That's why we're giving away $25,000 worth of design, strategy, and/or communication services to one deserving arts organization.
WHO CAN APPLY? YOU... if you are an individual or part of an organization working in any aspects of arts or culture, and you're in Canada.
HOW DOES IT WORK? Your application, along with the others we receive, will be judged by our team along with a panel of notables from the visual, performing and literary arts world.
WHAT ARE THE TIMELINES? Apply by September 30, 2014. Judging will be completed by October 31. Applicants, including the winner, will be notified by November 7. And then we'll start the project, whatever that turns out to be.
18 August 2014 - The Australia Council for the Arts has announced the most significant change to its grants model in the organisation’s 40 year history. Australia Council Chief Executive Tony Grybowski said the new grants model, to be implemented from January 2015, would enable an increasingly diverse range of artists and organisations to apply for funding towards the creation of excellent work and a wide range of arts activity.
“With five grant programs, streamlined criteria, and opportunities to apply for multiple stages of a project in one application, we have made it simpler and easier to apply for funding. We want to encourage ambitious projects and see more audiences captivated by work that inspires and challenges,” Mr Grybowski said.
“This is an artist-centric grants model which positively reflects extensive input from the sector, particularly through the Australia Council Review. The review identified that while our grant programs had served the arts well in the past, it needed to evolve with the sector and be more responsive to the new ways art is being made and presented.”
Peer assessment remains central to grant decisions, and the new model ensures that the Council can draw on a large and diverse pool of experts from the sector.
The new model is more transparent and efficient, allowing the Council to be more responsive to changing artistic practice and providing greater accessibility through multiple application rounds with standardised closing dates each year.
The new grants model will consist of five programs:
Investment of $165,150 to support arts and culture workforce strategy
03 July 2014 - FREDERICTON (GNB) – The provincial government is investing $165,150 over two years to support Phase 1 of the implementation of an arts and culture workforce development strategy.
“Our focus is on people, skills and jobs and we will ensure that this important sector, with enormous potential, thrives and flourishes,” said Post-Secondary Education, Training and Labour Minister Jody Carr. “Our province is known for its unique and rich cultural history, which is why our government is pleased to support the arts and culture sector to ensure that our identity continues to live on for future generations to discover through things like fine art, literature and music.”
In 2012, L'Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick (the Association of Acadian professional artists of New Brunswick) was tasked with leading and co-ordinating the development of a provincial workforce development strategy for the arts and culture sector.
“We were proud to work with cultural stakeholders and sector professionals on the development of Creative Futures: a renewed Cultural Policy for New Brunswick,” said Tourism, Heritage and Culture Minister Trevor Holder. “This strategy will help support those who make their living in the industry, as together we work toward the goal of a vibrant and productive cultural sector.”
MONTREAL, April 14, 2014 /CNW Telbec/ - After 32 years at the National Theatre School of Canada, 17 of which were spent as General Director and CEO, Simon Brault will take his final bow to segue into his newly cast role as Director and CEO of the Canada Council for the Arts on June 26, 2014.
"I am leaving the NTS with the firm conviction of having done my utmost for the development of the School by consolidating and infusing it with relevance and a resilience that too few of our institutions possess. I have a deep sense of leaving a well-ordered house so that, in the words of Edgar Morin, 'the future can emerge by the actors of the future'. Our two artistic directors, Alisa Palmer and Denise Guilbault, are highly competent, respected, motivated, and engaged and we have just completed a clear, ambitious and pragmatic Strategic Plan that bonds the entire NTS community. We are in the enviable position of having a sound and robust financial and organizational situation. My departure couldn't have happened at a more opportune time," said Simon Brault.
"Simon Brault was one of the School's foremost builders. For over three decades, he placed his outstanding human, intellectual and professional qualities at the service of our institution with remarkable energy, passion, intensity and steadfastness. By developing a rich dialogue that balanced artistic, pedagogical, organizational and financial concerns, and by optimizing the synergy between the French and English sections, Simon led the School from one success to another, raising its national and international profile in the process. While regretting his departure, the members of the Board of Directors, together with the School's staff and students, join with me in congratulating him on his new appointment," said Bernard Amyot, Chair of NTS's Board of Directors.
CBC News Posted: Apr 04, 2014
The B.C. Lottery Corporation says flattening revenue figures are forcing it to cut costs and layoff staff across B.C.
The job cuts including 29 workers in Kamloops, 33 in Vancouver and five field staff who work around the province.
Wherever possible, roles were eliminated through attrition and voluntary termination, the corporation said in Friday morning in a statement.
Interim President Jim Lightbody says the B.C. corporation is facing the same challenges as lottery agencies across Canada.
"We have a systemic issue that all gaming jurisdictions are facing and that is a mature marketplace with rising operating costs and marginal revenue growth,” said Lightbody.
Overall, the Crown corporation plans to cut $20 million in operating costs and $20 million from capital projects to sustain its current net income.
BCLC generates more than $1 billion in revenue for the provincial government each year.
NEIGHBOURHOOD SMALL GRANTS
Help build connection and engagement in your community.
WHAT ARE NEIGHBOURHOOD SMALL GRANTS (NSG)?
The Neighbourhood Small Grants (NSG) program was created by Vancouver Foundation in 1999. The program is based on a simple but powerful idea: when people feel a sense of connection and belonging to their neighbourhood, they are more likely to be engaged in activities that make it a better place to live. When people are active in the life of their neighbourhood, our communities are strengthened from the ground up. The Connections and Engagement survey that Vancouver Foundation conducted in 2012 with 3,841 people from Metro Vancouver demonstrates the validity of this idea of connection and engagement well.
NSG helps connect and engage residents in their community by encouraging them to come up with their own ideas for how their neighbourhood can be strengthened. Vancouver Foundation then funds those ideas. Small grants of up to $1,000 are available for projects initiated and undertaken by local residents.
WHAT ARE THE GOALS OF NEIGHBOURHOOD SMALL GRANTS? Grants are given to projects that meet the following goals:
Neighbourhood Small Grants are available in 16 communities throughout Vancouver, the North Shore, Burnaby, North Surrey and New Westminster through our 10 community partners.
If you would like to get further information, please contact the NSG Program Coordinator for your area.
Calgary Herald, March 26, 2014
Home to the first city in Canada to launch and operate a community sourced funding platform, InvestYYC (www.investyyc.com) is ensuring that a sustainable culture of citizen engagement and participation is hardwired into its a vibrant, dynamic and growing arts cultural scene. Launched in November 2012, InvestYYC has already raised more than $600,000 through donations for approximately 50 projects ranging from dance productions, to video and new media installations. According to Emiko Muraki, Director, Impact & Engagement of Calgary Arts Development, the not-for-profit organization responsible for administering the platform, projects on the platform have achieved a 97% funding rate.
While InvestYYC’s ability to leverage the community has been the key to its funding success, it’s also rooted in the platforms origins.
In 2012, the city was designated Cultural Capital of Canada title along with the Niagara region in southern Ontario. In a pivotal development, Calgary 2012 launched a website to crowd source bid ideas and of the 5,000 voices assembled, one of the ideas that quickly emerged was to leverage the one-time infusion of capital by building a sustainable fundraising tool for artists and arts organizations to broaden audiences and donor communities. “There’s long term resonance. Champions of culture are bonded with the arts environment,” says Karen Ball, former Chair of Calgary 2012.
The Conversation, posted 14 January 2014
A recent paper by five mathematical computer scientists at Indiana University (published in EMBO Reports, a forum for short papers in molecular biology) proposes a clever new model for science funding that makes use of collective allocation (peer-funding) rather than expert-panel-and-peer-review funding mechanisms. I want to consider whether this might also work for arts and cultural funding.
Public science and research funding in Australia, as in most of the world, is based on a process that has remained largely unchanged for 60 years. This begins with calls for submissions of reasonably detailed project proposals. These then pass through expert panels (e.g. the Australian Research Council) and then on to the peer review process in which carefully selected “peers” evaluate the proposals and write detailed reports, before passing these back to the panels for final judgement. The high-level of process and accountability makes this the gold standard for taxpayer-sourced public funding of research (philanthropic trust funding often mirrors this architecture).
But it is expensive to run, and onerous to all involved. Perhaps one in ten projects proposed will be funded. The amounts of time and effort invested by all those seeking funding will tend toward the expected value of the grants, meaning that once overhead costs to panels and reviewers are added in, these function to a considerable degree as a redistribution mechanism. Rob Brooks wrote about this on The Conversation last year.
The new model the computer scientists propose bypasses this expert-panel-and-peer-review system altogether by simply taking the whole public lump of funding, and allocating it unconditionally (yes, unconditionally) to all “eligible” scientific researchers. It would thus function like a kind of “basic income”.
They calculate that if the National Science Foundation budget in the US were divided among all who applied for funding, it would deliver about US$100,000 per scientist. The problem with this, apart from an expected blowout in the number of people who claim to be scientists, is that we’ve just lost oversight, accountability and peer review.
So here’s what the computer scientists propose: everyone who receives funding gives some fraction (say 50% of their previous year’s funding) to other scientists whose work they like or think particularly interesting and valuable. That fraction can be distributed among one or many. The idea is that this works as a collective-allocation mechanism that basically crowd-sources peer review, and with the added advantage that it funds people, not projects. It also gets the incentives right for scientists to concentrate on clear communication of their findings and the value of research.
Jason Potts, Professor of Economics at RMIT University
Tuesday, February 11, 2014 – The Canadian Arts Coalition (CAC) – a united national movement of artists, cultural workers, business leaders and volunteers – applauds the Government of Canada for renewing key programs at the Department of Canadian Heritage in Budget 2014. These programs include the Canada Arts Presentation Fund, the Canada Cultural Investment Fund, and Cultural Spaces Canada. The Canada Book Fund and the Canada Music Fund have also been renewed. “We are pleased to see that the Government has delivered on one of our key recommendations. Minister Glover should be commended for her work to make this recommendation a reality in a timely fashion.” commented CAC spokesperson Kate Cornell of the Canadian Dance Assembly.
By Kevin Griffin, Vancouver Sun, February 3, 2014
In a career spanning more than 30 years in the entertainment business, James Pollard is facing his biggest and most daunting production ever.
He’s pushing forward with developing a new application he believes will revolutionize the way live shows are produced while battling terminal prostate cancer.
Pollard said he’s not trying to generate sympathy because of his health.
“While I still have a bit of time and feel good, I have the energy to do this,” he said.
“This is all real. This isn’t about sympathy. This is about opportunity. What I’m really trying to say is that we have this opportunity because I can get this done before I die. This could be a game changer.”
The cloud-based app is called PreShow. If he can raise $59,000 on Kickstarter, then the Canada Media Fund will contribute $177,000 to take PreShow beyond the testing stage. His goal is to launch PreShow this year. Kickstarter is an online fundraising website for creative projects.
Pollard is well known in the Vancouver performing arts community. He’s been involved in organizations that include the Vancouver Playhouse Production Centre, the Roundhouse Community Arts & Recreation Centre, the PAL Theatre, the relaunch of Theatre Under the Stars and the restoration of Malkin Bowl.
Canopy Arts Desk
Tammy Hampel (Isaacson)
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