Playwrights Guild of Canada will be facilitating a Creator Exchange as a part of Dream Big North 2017, a low pressure and informal networking event for theatre creators to talk about the work they are doing or the work they would like to do!
Please note that meetings with stakeholders on next steps to take place during the day on December 6th along with an additional performance of The Life and Death of John and the Milkman in the evening.
Get ready for when the Northern arts conference hits Toronto in December.
Only 50 spots available – REGISTER NOW!
We can’t wait to see you there!
The Dream Big North Conference is back with a theatre summit that will be hitting Toronto December 4-5th, 2017 at The Citadel. The Summit will bring several rural performing arts groups from Northeastern Ontario to engage in a 2-day summit with invited representatives of the Toronto and rural theatre scene.
Learn more about Dream Big North here.
In order to build strong and sustainable communities in Northern Ontario, Art and culture must play a new and prominent role. Northern Ontario communities, many of which are small, rural and remote, face unique challenges. Art and cultural initiatives bring opportunities and help support conditions necessary for economic growth and development. In its initial phase and under the direction of arts administrator and artist Roy Mitchell, a province-wide feasibility study has been initiated that will lead to the creation of an LGBT Cultural Centre in a selected Northern Ontario city. The creation of a dynamic and localized LGBT Cultural Centre supports the lauded theory of Richard Florida, University of Toronto Professor and visionary writer. Florida’s theory asserts that regions with high concentrations of technology workers, artists, musicians as well as lesbians and gay men add to a higher level of economic development in any region. Florida refers to these groups collectively as the “creative class” and posits that the creative class fosters an open, dynamic, personal and professional environment that in turn, attracts creative people, businesses and capital. Roy Mitchell, who grew up in Northern Ontario, believes in a vibrant Northern Canada and North Bay has been selected to be the first city to participate in the assessment study researching the state of queerness in the North and developing an understanding for LGBT Cultural Capacity and is honoured to participate in the Dream Big Conference. Researchers will be on-site interviewing people of their experiences followed a presentation of the study’s preliminary findings as a brief overview of the project in a publication following the conference.
Roy Mitchell is an arts administrator whose practice includes video and performance. He also writes and since leaving Toronto for a century-old farm north of Bancroft, Ontario has been working as a consultant for arts organizations and government agencies.
Lindsay Sarazin: Is an Algonquin artist and filmmaker living and working in North Bay, Ontario. His practice pursues a higher level of understanding by exploring the world around us as he builds and improves his skill set. A student of Centre for Indigenous Theatre, Lindsay has worked within many local schools teaching dance and promoting traditional teachings. He has worked with Aanmitaagzi for several years and participated on projects such as “Dances of Resistance”, “When Will You Rage” and their “Aanmitaagzi Summer Arts Program”. Lindsay founded his own photography and film company, Wolf Eye Productions, which has conducted dozens of projects throughout the region. He is a skilled photographer, dancer, actor as well as working in visual and media arts.
Alejandro Ronceria is an internationally acclaimed and award-winning director, choreographer, producer based in Canada. He has created and produced large – scale productions nationally and internationally, including the United States, Mexico, New Zealand and Colombia.
Most recently, he was the choreographer for segment of the Welcome from the Aboriginal Peoples of Canada for the opening ceremony of the 2010 Winter Olympics in Vancouver. The spectacular live event was aired on ten international broadcast channels in a total of 11 languages. It was the most watched Canadian television event in history with 23 million viewers. In the USA, there were 32.6 million viewers, thus the second-most watched non-American Winter Olympics and 3.5 billion viewers worldwide.
Ronceria is the co-founder/founding artistic director of the first Aboriginal Dance Program in North America at The Banff Center for the Arts. The groundbreaking program brought together diverse Aboriginal/Inuit dancers from Canada, the USA, Mexico and Greenland. From 1996-2001, he served as the artistic director. This program was the incubator for developing a new generation of choreographers working in Canada and abroad and served as a model for various schools for indigenous dance internationally. One of the productions from the Banff program grew into Bones: The first Aboriginal Dance Opera (2001), collaboration with Sadie Buck and choreographed by Ronceria.
Ronceria was one of the pioneers of dancefilm as a unique medium in Canada. In 1996, his dancefilm “A Hunter Called Memory” was an official selection at the Toronto International Film Festival, Sundance Film Festival, Clermont – Ferrand and Sheffield.
Ronceria’s other credits include: Nunavut Opening Gala (Nunavut), Spirits in the Sun: First Canadian Indigenous Arts Festival (Phoenix) The Aboriginal Achievement Awards (Calgary). In 2009, Ronceria was commissioned to choreograph a work “Convergence” by the City of Toronto for Nathan Phillips Square’s Olympic Torch Celebration. He was also commissioned to choreograph “Seven” for the Victoria Symphony’s Emily Carr project” in Victoria in 2011.He was artistic director/ producer/ choreographer for the cultural gala for the Arctic Winter Games 2012, artistic director/ choreographer for Spirit of the Drum, White Horse, Yukon Territory 2012. He was the Director/ dramaturge/ choreographer for Wezoowaad Anang by Barbara Croall whit the Windsor Symphony Orchestra in Windsor Ontario and directing the opening gala and the Spirit of the Drum/Northern Scene Festival for the National Arts Centre of Canada in Ottawa 2013. He was the director, producer and choreographer for the Assembly of First Nations Gala In Whitehorse, Yukon 2013. He was the co-director / dramaturge/ choreographer of the play Wisakedjak Ontario tour 2013. He co-direct/dramaturge “Pure” by Charles Koroneho in Peterborough, New Zealand and Montreal 2013.
In 2004, he was nominated for a Dora Mayor Award for Best Choreography for “The Art Show”. He has since been awarded numerous Canada Council for the Arts awards and served on juries for dance. In 2010, Ronceria was the first recipient to graduate with a Masters Degree in Fine Arts from York University in Dance Dramaturgy and the first to hold this degree from a Canadian university.
Amanda Burk is an artist from Ontario whose practice is centred in drawing. She received her MFA from the Nova Scotia College of Art and Design and her Honours BA Fine Arts Specialization from the University of Waterloo. Her work has been exhibited both nationally and internationally. Her work is represented by Halde Galerie in Switzerland and Graphite Galleries in New Orleans. Currently she is based in North Bay, Ontario where she is an Associate Professor in the Department of Fine and Performing Arts at Nipissing University. She is also the owner/curator of Line Gallery – an independent gallery dedicated to exhibiting contemporary Canadian drawing. In addition to producing exhibitions, the gallery supports artist talks, interviews and maintains online records with the goal of documenting Canadian drawing.
Sophie Edwards is the founder of 4elements Living Arts, a non-profit community arts organization. Since 2002 4e has been creating and delivering innovative creation, education and research projects with a focus on land, art and community. Sophie has a Masters in Interdisciplinary Studies and a PhD (ABD) in Cultural Geography. An artist, curator, and writer, her creative work engages questions of belonging, land, and identity within settler/indigenous ‘contact zones’.