Ontario Arts Council

Arti sts in Communiti es and Schools Projects

Project Information
Project Title (Max 15 words)
Making Space-a BIPOC Youth Speculative Fiction & Digital Print Media Project
Project Summary (Max 25 words)
A twelve 2.5-hour digital zine workshop created for BIPOC young women in St. Jamestown that
explores speculative fiction, career building, and publishing opportunities.
Total amount you are requesting from the OAC.
?? $7,300
Start date of your project.
writing tip: Your project start date can be on or any date after the program deadline date. If start date is
prior to grant notification date, other sources of funds are required.

October 1st
End date of your project
December 17th

Artistic Merit
writing tip: This answer should be written by the professional artist(s) leading the project and should
include the artistic vision behind the project. For arts organizations, include your mandate and
associated activities. For ad hoc groups/collectives, explain why this particular group has come together.
For Project Categories only, include the artist(s)’s experience and understanding of the art forms and/or
cultural practices implicated in the project.

Tell us about your overall artistic work, history, and achievements. What is important to you
in your work (cultural influences, your identity, geography, community, language, etc.) and
why? If you identify with one or more of OAC’s priority groups, or if you ad hoc
group/collective or organization is mandated to serve on or more of OAC’s priority groups,
you may choose to refer to this here. (Max 300 words)
Founded in 2009, OPENDOORS is made up of artists, educators, and industry
professionals from a rich mix of ethnic origins and cultures who wanted to create accessible
and inclusive afterschool arts programming for BIPOC youth pursuing post-secondary studies in
arts and living in the St. James Town. Our mission centers on giving these students a voice and
chance to be heard within the creative industry. Our mission is to nurture their identities and
creativity by connecting them with artistic professionals for educational support, professional
mentorship, and post-secondary opportunities.
OPENDOORS provides St. James Town youth with the opportunity and tools to pursue their
creative passions and career aspirations through a series of free hands-on afterschool arts
workshops with community input. Workshops can centre on audio, visual, digital, literary and
print media and subjects can focus on self-expression and mental wellbeing, social justice, and
the histories and accomplishments of BIPOC artists. Students have the opportunity to gain
experience and training with different types of industry related equipment and software led by
our team of talented arts mentors that will prepare them when applying to post-secondary
studies. After completion, students will have a portfolio that can help start their careers.
For over 10 years, OPENDOORS has grown to provide after-school programming 4 days/week to
nearly 100 youth weekly. In the past, we have successfully partnered with George Brown
College faculty and students to lead projects where youth pursuing careers in animation, music,
and film learned skills in media production including research, storyboarding, shooting and post
production editing.
OPENDOORS is a key resource under the “Creative City Planning Framework” made up of
numerous City of Toronto studies, renewal efforts, plans, and strategies related to St. James
Town neighbourhood initiatives. Therefore, OPENDOORS fills an important need within the
community.
What are you planning to do, and what do you want to achieve with this project (Max 425
words)
writing tip: For Project categories, specify details of the creative process for participants by describing
the collaboration, co-creation and skill building activities from beginning to end. For Consultation and
Research and Development categories, explain the process used to determine the partners and artistic
direction of a potential project. For Project Plus Mentorship category, also describe the activities related
to the development of facilitation and project management skills as applicable.

For twelve 2.5 hour long sessions once a week after school, Young BIPOC women ages
16 -17 from the St. James Town area interested in pursuing a career in print media and the
literary arts will work under the guidance of professional authors, college educators, and peer
mentors to learn of the contributions the BIPOC community has made towards carving a space
within speculative fiction genres such as fantasy and science fiction. 18 students will be chosen
to learn the craft of story-telling and the creation of digital zines with the end goal being a
portfolio of work they can use when applying to postsecondary schools. Led in partnership with
Itah Sadu from A Different Booklist Cultural Centre and George Brown College Arts & Design
and Writing & Publishing program faculty, digital zines will feature stories and artwork by the
participants, based around themes related to fantasy and sci-fi (including subgenres/ culturally
informed artistic philosophies, such as Afrofuturism). Each week will be led by a facilitator
teaching a specific artistic technique, discussing post-secondary opportunities, or leading
socially aware discussion around that week’s creative idea/issue/process. Participants will learn
to explore their identity and intersectionality, learn in-field skills and the process of publication,
discuss issues in the literary world around diversity, and walk away with a final collection of
their work. The last sessions will include an art night in the community and creating an online
zine at the end of all the sessions featuring the work created by the youth.
1) Sessions 1 through 3 will focus on exploring the works of Nalo Hopkins, Nnedi Okorafor,
Cherie Dimaline, and E.L. Chen and their contribution to speculative fiction. Sessions will be held
at A Different Booklist Cultural Centre and led by facilitator Itah Sadu to guide participant with a
surprise video call from Nalo Hopkins discussing the inspiration for her novel Brown Girl in the
Ring.
2) Sessions 4-6 will focus on the artistic process of digital zine creation facilitated and held at
OPENDOORS studio. Students will be introduced to Graphic Design concepts such as how to
make impactful layouts, digital illustrations, and web design. Using industry standard software,
such as Photoshop, Illustrator, and InDesign, students will apply principles learned.
3) Sessions 7-9 will have students continue to focus on their work at OPENDOORS through peer
critique and collaboration. Seminars will also be held by George Brown Writing & Publishing
and Arts and Design faculty on careers in the field, educational resources, and publishing
opportunities.
4) Sessions 10-12 will bring everything together and prepare students for an exhibition of their
work with a zine launch guided and promoted by OPENDOORS and Itah Sadu to celebrate their
voices and display their work to the public and their families at the Blackhurst Gallery inside the
Different Booklist Cultural Centre.
Are you planning on involving additional artistic personnel and/or organization(s) in your
project? (Y/N)
Y

Name Location Role on Project Is the person(s) Is the person(s)

or paid for their
organization(s) work/participation
confirmed? in your project?
Creative Director/
Itah Sadu Toronto Partner/Facilitator/Curator Yes Yes

Nalo California Author of Brown Girl in the Yes An In-Kind

Hopkins Ring & Surprise Video Chat

Abira Khan Toronto Workshop Resource

Provider/Facilitator/ Yes Yes
 Graphic Design Instructor

Katrina Toronto Workshop Resource Yes Yes

Mackew Provider/Facilitator/
Graphic Design Instructor

Toni Allen Toronto George Brown Art & Design Yes An In-Kind from
Seminar Speaker George Brown
College

Marisol Toronto George Brown Seminar Yes An In-Kind from

Escobar Speaker George Brown
College

(5) Toronto Assistance/Setup & Take No No

Volunteers Down

Sharon
Lewis Toronto Director of ‘Brown Girl Yes An In-Kind
Begins’ & Surprise Guest at
the Zine Launch Party

Why have you chosen, or how will you choose, the artistic personnel and/or organization(s)
to work with? (Max 150 words)
Artistic personnel consists of an OPENDOORS co-founder, instructors, speakers, surprise guests,
and volunteers all working to provide quality arts programming that makes up the ‘Making
Space’ workshop.
* Itah Sadu is an OPENDOORS co-founder, award winning children’s author, and owner of
Toronto bookstore, A Different Booklist. Sadu collaborates with schoolboards (TDSB) and
colleges (George Brown) in providing opportunities for racialized youth to experience art from
diverse communities. She has also secured surprise guests to interact with students.
*Katrina MacKew, Abira Khan are core instructors and facilitators at OPENDOORS who have
headed successful projects such as the ‘DigiArts Project’ for St. Jamestown youth transitioning
into post-secondary interested in Graphic Design and Animation.
*A call for 5 volunteers to assist with workshops will be advertised on OPENDOORS website.
* Toni Allen, Marisol Escobar are George Brown faculty with previous experience at
OPENDOORS giving motivational talks to youth on careers in the field.
Impact
How will this project contribute to your development (or your group’s overall goals)? (Max
200 words)
writing tip: Include impacts for your artistic development and your community-engaged work. If you are
non-arts applicant, include a statement from the professional artist(s) leading the project. For Project
Categories, include plans to measure the project’s success. For Consultation/Research and Development
Categories, if the specific impacts are unknown at this stage, enter “not applicable.”

Over the years, OPENDOORS has pushed the boundaries as a community arts organization that gives St.
James Town youth the opportunity to explore creative industries and must grow to continue working as
a connector. In 2018 we received $15,000 from ArtReach to continue running our successful DigiArt
project initiative and in 2019 we were the recipients of the TAC annual operating grant. Having secured
external funding, we were able to have three projects running up to 20 weeks in length. The benefit of
extending the timelines was evidenced in the outcomes which have continued to benefit communities
and artists beyond their short 10-20 week timelines.

In the past two years, OPENDOORS has connected over 50 artists with more than 20 St. Jamestown high
schools in the TDSB and TCDSB. Through paid positions, artists and arts managers provided engaging
arts experiences to over 2000 youth in the region which had previously been inaccessible to them. Our
partners and sponsors have ranged from Rogers, Pathways to Education, UFORCHANGE, George Brown
College, and tdsbCREATES.

In 2020, OPENDOORS continues to look towards the future to expanding and increasing project
timelines year round, the number of participants served, and reaching new and underserved
communities to encompass Regent Park.

Who will this project impact (e.g. you, other artists, your audience, community, participants)
and how? (Max 175)
writing tip: Describe your relationship to impacted groups/communities and speak to their geographic,
economic, and cultural contexts. For Project categories, include ways that you have addressed issues of
access (financial, physical, or other) and discuss the relevance of your proposed activity for the identified
groups/community. For Consultation/Research and Development categories, you are not required to
enter specific project impacts on anticipated groups (please enter N/A). For Project Plus Mentorship
category, also describe anticipated impacts on artists involved.

This project will have an impact on the participants who are predominantly racialized, recent
immigrants, youth.
Art City St. James Town will serve inner city grade 12 high school students in underserved
communities located in the centre of St. James Town. Our diverse student population live in
one of the most densely populated and multicultural communities in North America, with half
the population identifying as immigrants, according to Toronto’s 2016 neighbourhood profile.
The profile shows over 40 percent of the area's residents live in poverty. They are made up of
newcomers and refugees with more than 85% of the students having English as their second
language, representing about 50 language groups. Because of socio-economic challenges,
students have been targeted for community development initiatives by our partners and
friends at Pathways to Education and UforChange.
Children and youth of St. James Town can face daunting social issues, have difficulty engaging
with the wider Toronto community, and are at higher risk for negative social outcomes. There is
a dearth of resources for youth in the area, particularly in the arts. An estimated 48% of families
live in poverty and the average income hovers around $25,000 per year. Many families cannot
provide access to cultural capital, and as a result, members of this community continually fall
behind. Therefore, these families cannot afford to pay fees for after-school art making or
important recreational activities.
Research by Human Resources Development Canada found that 60 percent of youth from very
poor homes never participate in supervised recreation activities, as compared to 27 percent of
youth in welloff homes, highlighting the role that unemployment, low income, overcrowded
housing and high population density play in determining healthy outcomes. Therefore, we
provide barrier-free access to a digital media project that will allow students to mingle with
industry professionals and be exposed to opportunities otherwise not available to St. James
town’s most marginalized and high-need youth.
Arts projects for children and youth has been recognized as an important opportunity in the St.
James Town neighbourhood. Digital Arts participation not only helps the individual but also
contributes to the development of the next generation of leaders. In the transition to a more
digital economy, Media Arts programming has been found to be particularly effective in
engaging young people. According to a 2005 report by the Grassroots Youth Collaborative,
entitled, Youth on Youth: Grassroots Youth Collaborative on Youth Led Organizing, “the use of
popular culture and the arts as a medium of engagement was also found to be particularly
effective in attracting youth to youth-led programming, affording youth a highly needed and
valued expressive outlet and medium to negotiate personal, social, and cultural issues and
concerns.”

Both our program coordinators under 30 are actively leading this project from beginning to end
and are engaged in the leadership,decision-making, and hiring of the roles for this project

It will also have an impact on the organizations supporting this project by expanding their
program offerings and working with the 'collective' to support participants in creating work that
reflects on their experiences individually and in group performances. This will extend out to the
communities these participants and the supporting organizations live and work within, inviting
community members to attend the final sharing/performances and getting engaged in
participatory opportunities included in these sharings/performances.
Regarding the mentorship, the 'collective' anticipates that he will receive significant skills in
project administration, community outreach/engagement and designing and facilitating
community-based workshops.
This will involve members of the 'collective' sharing their knowledge and skills with the
mentoree and involving him in all aspects of project development and delivery, including active
engagement in facilitating the participants development of their sharing/performance. In
particular, the mentoree will work with the artistic director in coordinating the overall project,
including its financial aspects and fundraising.

Does this project involve artists, organizations and/or audiences/participants from one or
more of OAC’s priority groups and their communities (Indigenous peoples, persons of colour,
Francophones, people 18-30 years old (new generation), Deaf persons and persons with
disabilities, and people and organizations located in regions across Ontario)? If yes, who,
how, and why? (Max 150 words)
writing tip: For Consultation/Research and Development categories, if unknown at this stage, enter “not
applicable”.

This project will involve racialized peoples and recent immigrants in Toronto's high needs areas
as well as racialized, LGBQT2, immigrants, persons with disabilities in Oakville. We anticipate
reaching 80 people between the ages of 18 - 65 (and older) with a goal of gender parity and to
reflect the aforementioned representation.
These individuals will be involved as workshop participants. For the sharing performances, we
anticipate reaching 400 people for an average of 100 people per supporting organization.

We will engage project participants and their communities/audiences to provide opportunities

for project participants to create work exploring their life circumstances and presenting that to
their communities. As part of the presentation, we envision an artist talk/community discussion
to further the exploration showcased in the performances. This will allow for building
community through open forums that articulate such experiences, enabling the supporting
organizations to work more effectively with project participants and their communities.
Do you have any partners, either arts-related or non-arts-related on this project? How will
you work with them and what will they contribute to the project? (Max 175 words)
writing tip: Applications that do not include a non-arts related partner must provide a rationale. Include
the mandate and associated activities of the non-arts related partner(s).

We will work with these partners: North York Arts (NYA), East End Arts, East Scarborough Storefront and
Art House (Oakville). These arts services organizations, two located in high needs communities, provide
arts activities to immigrants and racially diverse peoples. NYA addresses the needs/interests of North
York artists, arts organizations and residents, making connections through the arts and, since 2011, has
serviced over 100,000 through various programs. East End Arts (EEA) serves the east end of Toronto, an
area brimming with artists, arts projects, and a rich array of diverse communities. ArtHouse is a Halton-
based charitable organization offering free arts programs to children/youth age 7-17 and seniors, most
particularly to individuals and families who may not have the discretionary resources to access fee-
related activities. Since 2009, ArtHouse has provided more than 300 programs to over 5,400
participants at 30 locations throughout Burlington, Milton and Oakville. East Scarborough Storefront
facilitates collaboration, builds community and supports people to learn and create together, to live
healthy lives, to find meaningful work, to play and thrive.

Viability
Tell us what experience you have managing projects and project budgets. (Max 175 words)
writing tip: Focus your answer on community-engaged arts projects or related projects

Start Date End Date Project Location Person(s)

Activity/Task(s) and/or
Organization(s)
involved

How will you raise money for this project? What will you do if you do not raise as much as
you have planned? (Max 175 words)
writing tip: For the Consultation and Research and Development categories, an answer is not required;
you may write “not applicable.”

The 'collective' is applying to the Toronto Arts Council's Artists in Communities Program for $10,000
(deadline February 1, 2018) for the fall sessions and we will be doing an online fundraiser with the aim
of raising $2,000. We will also convene two self-presentation events to raise $1,000 through ticket,
book and refreshment sales. There will also be a pay-what-you-can for the sharing performances of each
group with the goal of reaching $250 from each group or $1,000
The 'collective' was successful in its most recent online fundraiser (2015) raising over $2000 and our self-
presentation events each average $500 in revenues.

If we are not successful in our fundraising, we will reduce the time each artist spends with each group.
For example, instead of having 3-4 artists involved in each session, we can reduce that to 2 artists per
session.

Tell us about your experience generating revenue for previous projects from different sources
(e.g. fundraising, selling tickets/products, sponsorships, other grants). (Max 175 words)
Our fundraising is done through self-presentation focusing on ticket, book and refreshment
sales. we have also raised funds through online fundraising and will be doing so again in 2018.
How did you determine and estimate expenses including artist fees? (Max 150 words)
writing tip: Use arts service organizations or artist union rates, as applicable

Our artist fees are based on the recommended ranges for dancers as set out by the Canadian
Association of Dance Artists. In this context, our artists are paid for prep work, meetings we have to
develop our work with the individuals involved in our program, facilitation and documenting of the
workshops and enabling participants to both promote and showcase their work.

Each artist will require 72 hours of individual preparation, 72 hours in the workshops and 24 hours in
rehearsals for the performances. We will also provide each organization involved with an honorarium of
$1,000 to be shared in their groups as determined by project participants.

We expect that each supporting organization will provide the venues for rehearsals and the final sharing
performance and that expenses for these will be limited to rentals, tech and lighting.

If applicable, provide a list of the goods or services being donated to this project (e.g. space,
printing, equipment, volunteer time). Do not include these in your budget. (Max 150 words)
writing tip: Include an estimated dollar value for donated goods and services, including the time of
supporting personnel. Non-arts partners should, at minimum, make in-kind contributions to projects.

Each supporting organization will provide:

1) space for rehearsals and the sharing/performance. The estimate for this is 30 hours workshops
and rehearsals and one two- hour performance. Estimates for space for the workshops and rehearsals
for each supporting organization is $600 or a total of $1,800. The sharing/performance estimate is for
$500 for each for a total of $1,500.

2) promotional materials to recruit project participants and to promote the sharing/performance.

This is a minimal cost for design, copying and dissemination estimated at $100 per supporting
organization or $300 total for participant recruitment. We estimate a similar cost for the
sharing/performance as well as $100 each in volunteer time for front-of-house for each
sharing/performance for a total of $300.

3) technical assistance for each sharing/performance. We estimate that this will be $200 for each
for a total of

$600.

What are your plans for publicity, marketing, and outreach to your audience, participants, or
community? What is your previous experience in these areas? (Max 225 words)
writing tip: For Consultation/Research and Development categories, you may enter “not applicable,” if
appropriate.

The 'collective' will work with each supporting organization to promote these workshops and the
sharing/performance as follows:

1) create promotional materials using the 'collective', supporting organization and funder logos;
2) promote programs through social media, websites and email correspondence to local groups in
each community
3) create/disseminate press releases to local media
4) involve supporting organizations in outreach to recruit participants
5) invite early registrants to reach out to potential participants
6) for sharing/performances, create/disseminate promotional materials and set up registration for
audience engagement
7) work with project participants to do excerpts of their work in local community settings to attract
people to the sharing/performances

Budget
Earned Revenue
Revenues from box office/admissions/co- $
productions/touring/exhibition
rental/presenting/distribution
Fees from workshops/classes/conferences/ $
seminars
Revenues from sales/commissions/broadcast $
revenues
Other Earned Revenue

Total Earned Revenue $

Private Sector Revenue

Individual donations $
Corporate donations $
Corporate sponsorship $
Foundation grants and donations $
Fundraising events $
Other Private Sector Revenue

Total Private Sector Revenue $

Government Revenue
OAC grant request amount $
Other Ontario $
Federal $
Municipal/Community $
Other government revenue

Total Government Revenue $

Total Revenues $

Artistic Expenses
Fees/salaries of artists $
Copyright/royalty/reproduction expenses $
Other Artistic Expenses

Total Artistic Expenses $

Production/Programming Expenses
Fees/salaries of production/technical personnel $
Expenses for exhibitions/programming/ $
distribution/touring/circulation/catalogues/
documentation/publication
Venue/facility rental $
Equipment expenses $
Insurance/Travel/Transportation $
Other Production/Programming Expenses

Total Production/Programming Expenses $

Administrative Expenses
Fees/salaries of administrative/marketing/ $
fundraising personnel
Expenses for marketing/communication/ $
advertising/ fundraising
Other Administrative Expenses (utilities, supplies,
etc.)

Total Administrative Expenses $

Total Expenses $
Total Revenue $

Support Material
Artistic Examples and Support Documents

Budget Notes
wind in the leaves collective
OAC Artists in Schools and Communities

1) Earned Revenue:
a. Box Office. This project will have a ‘pay-what-you-can’ for the final
sharing/performance. Through this we anticipate receiving $250 from each of the 4 events at
the end of the project.
b. The ‘wind in the leaves collective’ will do an Indigogo campaign to raise $2,000. This
campaign will begin at the start of the project and conclude at its end.
c. North York Arts has committed $1,000 to this project
d. The ‘collective’ will convene two (2) ‘allies and friends’ events with the goal of raising
$500 per event for a total of $1,000
2) Expenses
a. Artist Fees: This provides each artist with 72 hours of time spent (36 prep and 36
delivery) @ Canadian Dance Artist rates of $26 per hour for a total of $3,328 per artist x 4
artists = $13,312
b. The Mentorship fee is to work with the chosen Mentoree in all aspect of the project,
particularly administration and project coordination
c. Project Coordination @ $1,500 will provide the Artistic Director with support to
coordinate this project.
d. Each project participant group will receive $1,000 as honorarium to share amongst
participants or to place back into their programs to support future activities.
e. Tech support is for lighting and sound at each venue.
f. Equipment expenses may include microphones, video and camera equipment,
supplies for image creation.
g. The ‘collective’ insurance fees are approximately $700 per year and we will have to
travel to each location by car and/or public transit
h. Administrative fees will assist with disbursements, payments, bookkeeping,
promotion of activities and coordination of fundraising.
i. Marketing fees cover design of all promo materials in digital, web-based formats and
poster formats. This will also involve the Mentoree.
j. Website updates costs will enable the ‘collective’ to update its web pages
(www.windintheleaves.com) with a particular hub focusing on our ‘artists in communities’
workshops
3) Mentorship Costs
a) The Mentoree will be paid at the same rate as all of the artists and, as noted above,
will be involved mostly in project administration for a total of 40 hours x $26 for $1,040. The
Mentoree will work with the artists in community settings to build on his skills/knowledge of
community engaged arts practices for an equal amount @ $1,300. The Mentoree will assist in
the promotion and marketing for 25 hours x $26 for a total of $650. At these rates, the
Mentoree costs will be $2,990.
b) The Project Coordinator and Project Administrator will be responsible for the
Mentoree’s learning and development and will each receive $1,050 for this for a total of
$2,010.
c) These costs are set at these levels to ensure the Mentoree has access to learning key
elements of project administration as well as techniques of community arts engagement. The
fees for the Mentoree respect the amount of time needed for this to take place effectively.
As for the fees to the Project Coordinator and Administrator, the $1,050 each is above the
fees noted in #1(c ) and (h). As for supporting the Mentoree in community workshops, this
will be done by involving the Mentoree in planning sessions and in the workshops for the
hours dedicated to this noted in 3(a), i.e., a total of 50 hours..
OAC’s key objectives in Engaging Communities and Schools are to:
Support opportunities for the public to experience and engage with the arts in meaningful ways
throughout the province.
Provide opportunities to artists and communities to co-create through their combined
knowledge, skills and experience.
Support artists with the appropriate skills, knowledge and cultural competency to respectfully
and effectively develop and deliver process-driven arts activities.
Reduce barriers to public participation in the arts.
Build public awareness about social issues and facilitate change through the arts.
Strengthen connections while dissolving divisions between art, society and life.
The program’s priorities are to support projects that:

work with sectors beyond the arts, such as health, education, justice and the environment
provide a sense of community, social connection, civic engagement and contribute to building a
more just society
reduce barriers to arts participation
increase access to the arts for underserved or marginalized communities
employ Ontario artists in Ontario communities
https://www.arts.on.ca/grants/artists-in-communities-and-schools-projects

RE:Telling $10,000
A 12 week zine-making workshop series, offering collaboration and a publishing opportunity
for young, emerging artists who live and work on various margins of existence. The zine will
feature stories and artwork by the participants, based around themes related to mythology,
folklore and sci-fi (including subgenres/ culturally informed artistic philosophies, such as
Afrofuturism). Each week will be lead by a facilitator teaching a specific artistic medium,
while leading socially aware discussion around that weeks creative idea/issue/process.
Participants will learn artistic skills, discuss issues in media, and walk away with the final,
printed collection of their works. https://www.artreach.org/fundedprojects
This is an inclusive space for youth between 14 and 19 years old with mentorship from
professional artists. Join us for art workshops to learn more about watercolour, oil, and
acrylic painting techniques, or just come during open studio days to work on your own
artwork. Materials provided and no experience necessary. Come to create, experiment, and
exchange ideas!
The Baobab Project: Tree of Life is youth-led Afrofuturistic arts project for African ancestral
and allied youth to explore identity and intersectionality through collectively chosen
multimedia art form(s) (ex. animated installation, phots exhibition, or theater). The project
asks the participants what comes to mind when you hear the words "Stolen from Africa?"
The Baobab Project was developed to connect secondary youth to young established
multimedia artists and Post Secondary education with OCAD University.
Stolen from Africa Presents: The Baobab Project Exhibit Launch – a youth led Afrofuturistic
collaborative animation arts project. This event is an Cultural Hotspot SPARK project in
partnership with the City of Toronto R.I.S.E. Edutainment's. This FREE event and Open Mic’s
theme of the night will parallel to that of the exhibition, asking performers, "What comes to
mind when hearing the words stolen from Africa?" The evening will have a headlining
performance by three time Dora Award-winning actor, playwright, singer and dub poet D'bi
Young Anitafrika. In addition, Donisha Prendergast (Granddaughter of RITA and BOB
MARLEY), will be featured alongside the youth in the screening/exhibit.
https://livinghyphen.ca/bipoc-writing-workshop
https://lakeshorearts.ca/write-by-the-water/
https://www.lisarobertsmla.ca/community-calendar/2019/11/21/bipoc-only-poetry-and-
music-writing-workshop
https://www.tcdsb.org/ProgramsServices/SchoolProgramsK12/Documents/Under%20the
%20Baobab.pdf

I'm Making Black History - Itah Sadu youtube

https://www.cbc.ca/arts/exhibitionists/afrofuturism-sci-fi-and-why-it-is-a-radical-act-for-
black-people-to-imagine-having-a-future-1.4510844
Nalo Hopkins and Itah Sadu
#blackgirlmagic
Caribbean Sci-fi Film 'Brown Girl Begins' Premieres in Toronto
https://anglescovered.blogspot.com/2018/02/caribbean-sci-fi-film-brown-girl-begins.html
She said it is her favourite genre and she thinks this is because when she was a kid she never
saw herself in the genre before
I meet publisher Sheila Barry (then at Kids Can Press) at panel about How to Get Published in
Children’s Books at A Different Booklist bookstore
I proposed and moderated the Future of Diversity in #KidCanLit, a panel about diversity in
Canadian children’s literature as part of the Canadian Society for Children's Authors,
Illustrators, and Performers (CANSCAIP) Annual General Meeting at A Different Booklist (ADB)
Bookstore in Toronto. officially launched A Likkle Miss Lou at A Different Booklist bookstore
in Toronto
Sharon M. Lewis
How Sharon Lewis adapted Nalo Hopkinson's Brown Girl in the Ring to film
https://www.cbc.ca/books/how-sharon-lewis-adapted-nalo-hopkinson-s-brown-girl-in-the-
ring-to-film-1.4532154
https://www.regentparkfocus.com/content/zine.html
Reducing Harm Through Outreach and Education
19 - Trinity-Spadina https://www.toronto.ca/legdocs/mmis/2018/hl/bgrd/backgroundfile-
118122.pdf
https://torontofoundation.ca/grants/

Diversity, Dialogue, & Disruption

Scarborough Arts brings artists to the community and community to the arts, by delivering
and promoting arts programming and cultural initiatives in collaboration with the children,
youth, and seniors they serve. East 2016 is a skills-based community arts program that
supports youth who want to develop their interest in art. Young people are guided through a
40-week process in the arena of a single arts discipline music, theatre, or film. Throughout the
year, participants are mentored by industry and community professionals. The program
concludes with a youth forum on arts as community practice, along with a final showcase
event where all streams developed throughout the year are showcased.
The Diversity, Dialogue, & Disruption initiative asks the question, what would happen if youth
disrupted dominant narratives of being, seeing, feeling, and acting, to build healthy spaces
for resilient youth from diverse backgrounds and with diverse perspectives to engage in
honest, healing dialogue? In collaboration with community organizations, youth will facilitate
deep community conversations on a variety of topics under the umbrella of mental health.
There are three categories of dialogue – peer to peer, youth to police, and community.
WEBSITE:
https://thestorefront.org/

https://roommagazine.com/blog/hunger-bipoc-speculative-fiction-canada
https://www.100abcwomen.ca/wp-content/uploads/2018/08/Job-Description.pdf

https://www.cbc.ca/arts/the-world-of-nep-sidhu-where-afro-futurism-combines-with-
punjabi-tradition-1.3182910
https://torontopubliclibrary.typepad.com/trl/2019/10/black-speculative-arts-movement-
bsam-toronto-2019-convention.html
tdsb creates
https://www.toronto.com/community-story/57669-celebrated-writer-encourages-courage-
at-tdsb/
https://yorkspace.library.yorku.ca/xmlui/bitstream/handle/10315/34199/MED00010.pdf?
sequence=5&isAllowed=y
https://www.tdsb.on.ca/Media/News/ArtMID/2750/ArticleID/958/Walk-with-Excellence-celebrates-
student-success

I think it’s really important to engage youth through the arts especially through the work we
do at RISE because in Scarborough there’s not a lot of places where people can express
themselves in a positive way. There’s a lot of young people who are really hurt on the inside,
who don’t have a space to talk about this stuff, who don’t have others to connect with and
really express what they’re feeling. Engaging these people is more than just inviting them to a
space, it’s also letting them know that there’s hope, that there’s an opportunity to take your
art to another level, or that you can use your art as a sense of healing, and as a sense of
expression.

Our work in schools is designed to stimulate and support high school students in their
development of cultural literacy, creative expression, as well as critical and imaginative
reflection; with an array of reciprocal benefits for students and the communities in which
they live.
The programs are related to the Ontario curriculum and provide teachers with powerful tools
to effectively engage students on historical and current issues of displacement, racism,
poverty and violence, as well as inspire collaboration, resilience and hope.

As an illustrator, designer, and artist, I strongly believe combining the written word with
images to tell a story is one of the most powerful ways to communicate. It is how children
begin developing storytelling and narrative skills from an early age. But as they grow older,
the emphasis is shifted into other academic areas. Rather than embracing the unique ways
the medium can communicate and provide access to different kinds of learners, the
combination of the visual and written word tend to be looked down upon and considered
“low art.” (Comics are for kids!) Zines are an opportunity to (re)introduce students to this
methodology and give them a chance to take on the role of learner and maker.
https://theartofeducation.edu/2017/12/14/zines/

https://artstartsto.com/programs/

The Baobab Project was developed to connect secondary youth to young established
multimedia artists and Post Secondary education with OCAD University.
Canadian BIPOC spec fiction is as diverse as the writers who creative it ranging from sci-fi,
fantasy and horror to magical realism. Though publication within the predominantly white
space of genre fiction remains a struggle, some BIPOC women-identified writers are
nevertheless carving out an incredible
BIPOC speculative fiction Afrofuturistic collaborative animation arts project community
participants who wish to develop a performance piece for sharing using diverse arts practices .

led Afrofuturistic arts project for African ancestral and allied youth to explore identity and
intersectionality through collectively chosen multimedia art form(s) (ex.
animated installation, phots exhibition, or theater
Stolen from Africa Presents: The Baobab Project Exhibit Launch – a youth led Afrofuturistic
collaborative animation arts project. This event is an Cultural Hotspot SPARK project in
partnership with the City of Toronto R.I.S.E. Edutainment's.
This FREE event and Open Mic’s theme of the night will parallel to that of the exhibition, asking
performers, "What comes to mind when hearing the words stolen from Africa?" The evening
will have a headlining performance by
https://www.artreach.org/fundedprojects

Our partners who help support our programs include Pathways to Education, George Brown
College, Daniel’s Spectrum, and A Different Booklist Cultural Centre. Workshop for teachers
which is a series of workshops on business skills, grant writing, marketing, and other arts-
related topics driven by youth demand. UforChange provides participants with these programs,
workshops, volunteer and employment opportunities, among other services on a pay it forward
basis. This means that in order to obtain access to these resources participants have to
contribute back to UforChange or the Regent Park community through volunteering. We have
chosen this system as a means to integrate youth not only to our UforChange family, as it
provides a support system for youth, but also to the Regent Park community in order to achieve
greater community development.

A 12 week zine-making workshop series, offering collaboration and a publishing opportunity for
young, emerging artists who live and work on various margins of existence.
https://www.arts.on.ca/grants/general-granting-information/guide-to-project-programs/questions-
%E2%80%93-community-engaged-projects/evaluation-rubric-%E2%80%93-community-engaged-
projects

“It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those
differences.”

Audre Lorde

Sadu is a bestselling children’s author, whose books are adopted by schools for curriculum and
adapted to film. A contributor to the development of the Canadian publishing sector, Sadu is
also founding member of the MY People Literary Awards and founding member of the Black
Book Affair.
The social advocate has designed, planned, developed, implemented and evaluated programs
for youth from Aboriginal and racialized communities residing in high density neighbourhoods.
One such program is the Fresh Elements/Fresh Arts program – an initiative designed for youth
to develop technical and production skills in the cultural industries.

From that initiative emerged the excellence of musicians Jully Black, Saukrates, and Kardinal
Offishall. Now celebrating its 20th anniversary, the program has become part of the youth-led
conference, Manifesto.
She has created youth programs that serve as models for job placement opportunities, skill
development, and leaders-in-training programming. She is founder of the Walk with Excellence
for schools in Toronto west and founding member of the annual Underground Freedom Ride in
celebration of Emancipation Day.

It is fair to say that Itah Sadu is an artist at heart. At any level of her community involvement,
there is often an element of art.

She advocated for and advised as grant officer for the Ministry of Citizenship and Culture, new
criteria for diverse artists by collaborating with Toronto Arts Council, Ontario Arts Council and
Scarborough Arts Council. This resulted in community-based youth arts initiatives and spaces
(i.e., Art Start) and the training of staff in Arts organization to be sensitive to equity issues.

A 15-year successful bookstore entrepreneur — “A Different Booklist” — Sadu is a board

member of Caribbean Canadian Literary Expo (CCLE) with a purpose to support the recruitment
of youth as volunteers at literary events, to encourage young emergent writers and illustrators
and youth interested in self-publishing and e-book applicants.

Ms. Sadu is also a Harry Jerome Scholarship Trustee and board member with a purpose to build
awareness of scholarships and grant opportunities for youth.

Holding a Bachelor of Arts Degree in Political Science from York University, Itah Sadu has
received numerous awards and certifications, some of which include: Sesheme Hero Amongst
Us; Black Business and Professional Association, Women of Honour; Toronto Arts Council
Foundation; and the African Canadian Achievement Award for Excellence in Business.
The project was supposed to end in late February but we are still running it now and most young people
and schools want to continue. The cause and the involvement of the community in this project has truly
been noticed and been encouraged all around me and in young people’s lives.

– Abel Maxwell, Art Place year two, worked with youth at the Centre Réveil International

What I can see in people’s eyes is that they need to have something positive in their neighbourhood.
They are tired of being tagged as a dangerous area. Between events like this, I think people enjoy the
idea of having something creative on the crescent. – Marc Walter, year three, worked with residents in
Ottawa’s Jasmine Crescent community

They love working on their projects and they usually bring each one home to finish or make another
version of it. I never give my group homework but they simply like to keep working on their projects.
These are new techniques and they want to keep exploring them. It is nice for me because it is like
planting the seeds and seeing whether it will grow into something or not. I like when they come into the
workshop with something new. I hope they will continue working on projects like this because I have
seen that it is very good for their well-being.

– Bozica Radjenovic, Art Place year three, working with seniors at Club Casa de los Abuelos

The impact was also felt by the community organisations which saw their participants grow both
artistically and personally through the projects. The value of creating these connections was also felt
monetarily by the Arts Council which successfully managed to raise$70,500 in external funding to
support the program.

We see music as a form of communication that really opens up the social part of the resident, the
reminiscing part of the resident. It brings beautiful smiles, it decreases anxiety, it opens
communications; it helps people to remember. This was the first time that we had a program that
encouraged residents to use instruments and not just their voice, and not just a sing-along. One of my
residents in particular, his name is Andy, and his wife was telling me that he had stuck his violin under
his bed and it had been collecting dust for the last two years. Well with this program, Andy brought his
violin down and started playing it again and his wife was telling me just this week that the smile on his
face – he’s actually started participating in family events and playing for different events, he’s been
coming to programs, he’s been playing it at birthday parties. His wife said it’s like he’s come to life.

– Christina O’Neil, Art Place year two, staff member at Unitarian House
This is the first time I have seen the residents write about their experiences. It was great to see them
produce so many pages! They don’t often have the opportunity to write once they move into our
residence. After the workshop, all seven participants were so enthusiastic about having the chance to
express themselves in both writing and conversation.

– Andrea Chartrand, Art Place year three, activity coordinator at Centre d’accueil Champlain

The project had an incredible impact on the girls because for them it is a kind of play, but also more
because they started to reveal issues they are having, like bullying. They trusted Naomi and it was a
comfortable place for them.

– Noushin, year three, staff member at Immigrant Women’s Services Ottawa

This project had a huge positive impact on our space/community by offering a safe, relaxing opportunity
for participants to explore their creative interests and enhance their artistic skill and knowledge.

– Melissa Weigel Chaplain, Art Place year two, staff member at The Salvation Army – Ottawa Booth
Centre

I found what I was looking for in the workshop: other artists, information, resources, and the right kind
of environment for sharing. The opportunity to network both with community resource workers and
other artists was the most valuable aspect of the symposium.

– 2017 Symposium attendee

The annual gatherings delivering community engaged arts training grew each year, providing training to
75 local artists. Whether artists participated in Art Place as an artist-in-residence, a conference facilitator
or participant, each one gained a better understanding of the community engaged arts landscape. These
gatherings also served as a gathering place for artists to discuss their work, share their experiences and
make connections with future community engaged arts partners.