Archive for the ‘Artist Calls & Job Postings’ Category
Position: Outreach and Recruitment Trainee
Organization: The Centre for Indigenous Theatre
Duration of Contract: May 2013 to March 31, 2014
Application Deadline: May 10, 2013
Start Date: May 21, 2013
Rate: $15.00 Cdn
The Centre for Indigenous Theatre offers training in the performing arts to students of Indigenous ancestry. The Centre’s goal is to develop and implement educational programs that promote and foster an understanding of Indigenous theatre while providing the highest calibre arts training to Indigenous students from across Canada. The Centre for Indigenous Theatre offers a three-year, post-secondary conservatory program as well as introductory summer intensive programs.
The Centre for Indigenous Theatre is accepting applications for Outreach and Recruitment Trainee. This full time, 35 hrs per week contract position aims to provide the successful applicant with a strong arts administrative background through support Outreach and Recruitment activities in conjunction with other core responsibilities within the organization.
Duties: The successful candidate will be responsible for assisting senior staff and consultants in the following areas:
Outreach: assist with development and implementation of local outreach activities within the Greater Toronto Area; provide accurate information regarding CIT’s programs;
Marketing & Promotion: assisting with student recruitment for CIT’s full-time and summer training programs; Distributing promotional materials electronically, mail, in person;
Office Administration: assist with filing, database management, written communications, responding to information inquires
Artist Liaison: working with individual artists and organizations to ensure that communications are clear and consistent. Act as artist liaison regarding travel and accommodation.
- Strong written and verbal communication skills
- Strong organizational skills
- Proficiency with Microsoft Office Suite
- Understanding of Aboriginal Arts Community
- Valid Driver’s License is required; access to vehicle would be an asset
Funding for this position is made possible through Miziwe Biik Aboriginal Employment and Training. Applicants must meet Miziwe Biik’s eligibility requirements and be of Aboriginal ancestry (First Nations, Metis, Inuit).
Only qualified candidates will be contacted for an interview. Please send your application along with your Letter of Interest to JL Watson at email@example.com, or via mail at:
The Centre for Indigenous Theatre
401 Richmond Street West, Suite 205
Toronto, Ontario M5V 1X3
Phone: 416-506-9436 Fax: 416-506-9430
www.indigenoustheatre.com email: firstname.lastname@example.org
The Centre for Indigenous Theatre gratefully acknowledges the support of the following: Miziwe Biik Aboriginal Employment and Training, Department of Canadian Heritage, Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, Baagwating Community Association of the Mississaugas of Scugog First Nation, and BMO Financial Group,
SUMMER STUDENT DRAMA FACILITATOR
Post Date: April 26, 2013
Deadline for application: May 10, 2013 Location: Saskatoon, SK
Assignment: Full Time Summer Position
Pay Rate: $12.50/hour
Term: June 24-August 30, 2013
The Saskatchewan Native Theatre Company (SNTC) will engage a team of three facilitators in the delivery of the Metawewikamik Program. The facilitators will possess skills and knowledge required to provide a Cree culturally based drama camp. This summer, seven week-long programs will take place in urban, rural, and reserve locations throughout Saskatchewan.
Roles and Responsibilities
SNTC is looking for three facilitators for delivery of the 2013 Metawewikamik program, which will tour to different communities in the province this summer. As part of the team, you will work with youth ages 6-12 facilitating unique cultural and drama exercises, activities, and games. Each weekly program will conclude with a talent showcase performed by the youth for the community, coordinated by the facilitators.
- training and/or work experience in theatre and/or performing arts;
- a knowledge of First Nations language, culture, and peoples in Saskatchewan;
- a willingness to learn introductory Cree language skills and cultural practices
- experience working with children and youth;
- facilitation experience and group management skills are considered assets.
Summer student applicants must be registered or returning to school in the fall, and applicants must be bondable. A valid driver’s license and experience working with First Nations are also considered assets. Applicants must be willing to travel throughout the province as part of a team of workshop cultural arts facilitators. Applicants of Aboriginal (First Nations, Métis, Inuit) ancestry are encouraged to apply.
The Metawewikamik Program provides an opportunity for youth to be immersed in a cultural arts program that is fun, safe, and educational. The goal is to develop and foster their interests in the performing arts and reinforce awareness of First Nations culture and language.
Please send resumes to:
Alan Long, General Manager
Saskatchewan Native Theatre Company
914 20th Street West,
Saskatoon, SK S7M 0Y4
Phone: 306-933-2262 Fax: 306-933-2738
www.sntc.ca @sntc_ca facebook.com/sntc.ca
Call for Submissions: Director for “A False Face” by Jeff D’Hondt
CALL FOR A DIRECTOR:
A mainstage show in the 2013 Vancouver International Fringe Festival.
“A False Face” by Jeff D’Hondt
Hunter Stowe, a gifted Aboriginal palliative care worker determined to help people die peacefully, meets Jake Montour, an Aboriginal addictions counsellor terrified that he’ll soon be as shattered as his clients. More comfortable with death than life, Hunter somehow connects with Jake, not realizing that he’ll soon become the ultimate test of her true nature. Who is Hunter Stowe: therapist, lover or a false face?
Inspired by the playwright’s own experiences as a social worker in penitentiaries, hospitals, supportive housing and mental health programs, A False Face blends elements of comedy, drama, science and Aboriginal spirituality: a sort of sci fi love story, streaked with sardonic humour, and insights into the minds of the people trusted to help us in our weakest moments. Written for a cast of two in minimalist settings (a palliative care clinic, a lakeshore, two living rooms, a movie theatre, and a city bus), this play examines notions of memory, romantic love, and redemption.
The playwright/producer is currently looking for a talented and ambitious director to help bring this exciting new play to the stage in September 2013.
The ideal directorial candidate will be a well-connected member of the Toronto or Vancouver theatre communities, who is in the early-to-mid stages of his/her career. They will be expected to collaborate closely with the playwright/producer on all aspects of the production, including: casting, designing, budgeting, fund-raising and marketing. Applications from indigenous directors are highly encouraged. Anyone with an innovative voice, a keen sense of the dark side of love, and a keen sense of how to mine humour or compassion from the bleakest of moments, will be welcomed.
The performances will take place in Vancouver; rehearsals and preproduction will occur in Toronto. Financial compensation will follow a profit-sharing model. Transportation to and from Vancouver and accommodation costs for the festival will be covered by the producer.
Interested applicants are asked to send a cover letter and CV to email@example.com
Gwaandak Theatre is looking for a full-time (37.5 hrs per week) administrator/marketing coordinator for June 3rd – Nov 2013.
Deadline for applications, May 15th 2013.
For more information, see HERE.
Marjolène Gauthier (General Manager)
Whitehorse, Yukon, Y1A 1A3
Kaha:wi Dance Theatre Presents their 5th Annual KDT: Summer Intensive
KDT will be hosting their 5th Annual SI program this coming July 8 – Aug 2, 2013 at Dancemakers (15 Case Goods Lane, Studio 313). The one-of-a-kind program is a physical intensive that offers a foundation for understanding and interpreting the intersection of Indigenous and new dance performance.
The program is a physical training intensive that offers a distinctive combination of Western-based and Indigenous dance styles complemented by alternative training systems. In a collegial atmosphere KDT offers classes in contemporary technique, Indigenous exploration, artistic dialogue, and creative training systems for new dance performance. The program’s goal is to create a creative forum for artists to maximize physical training, body awareness, investigate and dialogue about Indigenous dance forms and explore performance.
The program is designed for pre-professional dancers, professional dancers, performance artists, choreographers, directors, movement analysts, teachers, and/or anyone with a foundational training and experience in dance. It’s is open to people of all cultural backgrounds. Participants can attend the full 4 week program or select certain classes or instructors that suit their interest and training needs.
KDT is excited to announce this year’s incredible line-up of instructors including Artistic Director and choreographer, Santee Smith who will lead classes in signature Kaha:wi influence and styles; Toronto-based dancer, choreographer and teacher Louis Laberge-Côté who will lead classes in Contemporary; and former National Ballet Company dance artist and Ryerson University Faculty Tanya Evidente-Mandrinowho will lead classes in Ballet. Guest instructors include internationally acclaimed Butoh artist and founder of Dairakudakan, Ko Murobushi (Japan) who will teach Butoh; internationally acclaimed performer and visual artist, Charles Koroneho (New Zealand) who will offer Muscle & Bone/Mind & Body classes; founder and Artistic Director of Zab Maboungou/Compagnie Danse Nyata Nyata, Zab Maboungou (Montreal) who will offer African Contemporary classes; renowned director of Native Pride Dancers Larry Yazzie (US) who will offer Powwow Styles; Artistic Director of Dreamwalker Dance Company and dance artist, Andrea Nannwho will offer Gyrokinesis; founder of Dancing Earth Creations, Rulan Tangen (Santa Fe, US), who will offer Contemporary – “Embodying Story”; and the return of popular Gaga, with Repertoire by LeeSaar The Company.
KDT SI registration is open! Class sizes are limited. Early registration is encouraged. All applicants must be 16 years of age or older.
For more information please visit our KDT Summer Intensive website: www.kahawidance.org/training
Summer Student Employment/ Audition Notice for Clay & Paper Theatre’s summer show
Clay & Paper Theatre is seeking 4 to 8 post-secondary student performers for our summer production of “Our Last Best Hope”, a new Canadian play about our need to engage a new vision to prevent us from plunging into the abyss of environmental and global ruin.
“First Nations represent Canadians’ last best hope of stopping Canada from mass destruction of our shared lands, waters, plants and animals in the name of resource development for export to foreign countries…” - Pam Palmater, Mi’kmaq lawyer and professor, and academic director of the Centre for Indigenous Governance at Ryerson University
These are full-time 35 hours/week positions from June 3rd to August 18th, 2013 (eleven weeks) with a variable schedule including performances in the evenings and on weekends. The program is funded by HRDC’s Canada Summer Jobs program at the minimum wage of $10.25/hour. For all positions you MUST be a post-secondary student returning to school in the fall, and be under 30 years of age.
Clay & Paper Theatre is a small but mighty OUTDOOR theatre company, so applicants must be prepared to work in beautiful Dufferin Grove Park in full public view in all kinds of weather and at a wide range of tasks to ensure the success of the summer show. The work will require a strong commitment to the artistic vision of the show and of the company and will require punctuality, flexibility, a willingness to learn and contribute, and individual organization. As a member of our summer troupe, performers/animateurs will learn and participate in the art of puppet construction, puppeteering (with puppets large and small), and outdoor performance skills and will engage in outreach workshops in the community of Dufferin Grove Park. Musical ability will be honoured, as will construction skills.
Clay & Paper Theatre seeks and encourages applications from people of all backgrounds and levels of experience. Aboriginal performers (including First Nations, Metis and Inuit) are especially encouraged to apply.
Please submit your resume and a short statement of why you would like to join our motley crew to firstname.lastname@example.org by Monday April 15, 2013. Auditions will take place during the week of April 22, 2013.
2-6 Performers/ Puppeteers
1 Assistant Stage Manager/ Performer
1 Assistant Designer & Builder/ Performer
Our newest production, by award winning playwright Gary Henderson, will be mounted as a site specific play during the 2013 Toronto Fringe. The play is relevant, it’s raw, and in light of all of the Idle No More campaigns, this play is important.
We are currently looking to cast the roles of MO and JESS- both First Nations women, strong, one in her 20’s, the other 30’s-40’s. It’s a great showcase, fully-developed gritty roles, and we are hoping for another life beyond the Fringe this fall.
AUDITIONS: Tuesday April 16th, 2013.
ABOUT: in a nutshell
In the back room of a deserted building, three women wait. Two are armed and the third is their bound and gagged captive who lies unconscious on the floor. The hostage, a policewoman, is the trump card in the tense face-off between protestors and armed police. The armed women- one calm and resolute, the other restless and volatile- wait for the phone call that will either save or end their victim’s life. As they wait, night and claustrophobia closes in around them and time starts to run out. Mo and Jess start a downward spiral of paranoid decisions about what to do with the hostage. The call does not come.
What truly makes this play unique, aside from the violence and dark nature of the award-winning script, is the fact that its characters are three fully developed roles for women. I am attracted to the brutally physical element of the piece, where violence plays a huge component. It’s shocking, especially because it does involve three women. These women aren’t fighting over the stereotypical “about a boy” issues. This is an intense hostage drama. They are involved in something very real, very present, and in some ways, very much beyond their control. Along the way, we are invited to debate the nature and causes of this violence, and the vicious cycle we are so often trapped in.
Any questions, concerns, actor submissions can be sent to: email@example.com
JOB POSTING with Raven Spirit Dance
Position: General Manager (25 hours per week). This is a permanent salaried position.
About Raven Spirit:
Raven Spirit Dance is a Vancouver based contemporary Aboriginal dance company founded in 1999 and incorporated in 2005.The artistic objectives of the company are the creation and production of new dance work, sharing this work with local and national communities and supporting the development of the senior, mid-career and emerging Aboriginal artists that work inside the sphere of the company.
More info can be found at: www.ravenspiritdance.com
The GM position works with the Artisitic Director, staff and Board of Directors to develop and manage the administrative infrastructure within the company in order to best support the artistic vision, work and mandate of Raven Spirit Dance.
- Accounting, Financial Statements and ongoing reporting to funding bodies (local, provincial and federal) and the CADAC system
- Staff, Board and office support including scheduling of meetings, general office admin and filing
- Creation and Production support including preparing contracts, booking of venue space, scheduling and communication/liason with all parties
- Grant-writing and final reporting
- General website updating (wordpress platform) and social media
- Attend all staff and board meetings as well as outreach and advocacy activities for the company
- Minimum 3 years of related experience in an arts organization or the equivalent in post-secondary training in an arts management program + relevent job experience
- Excellent writing skills with experience in grant-writing
- Excellent time management and organizational skills
- Experience in developing and managing budgets
- Strong communication skills and a generosity of spirit
- Comfortable working within a team environment as well as indepedently
- Flexible and able to adapt to a changing environment throughout the programmed season
Hours per week: 25 hours per week (3 days per week in the office + meetings + additional time as needed during production periods)
Renumeration: to be discussed based on experience
Start date: June 1st 2013
Application deadline: April 19th 2013
How to apply:
Please forward your resume and cover letter by email to: firstname.lastname@example.org with the subject line: GM POSITION.
We will only be contacting successful applicants to set-up interviews. No phone calls please.
For more information about Raven Spirit Dance programming please visit our website: www.ravenspiritdance.com
CALL FOR APPLICATIONS – ARTISTIC DIRECTOR
CAHOOTS THEATRE COMPANY is seeking applications for the position ofARTISTIC DIRECTOR
Cahoots Theatre Company has been dedicated to the creation, development and production of new Canadian plays that reflect our cultural diversity for 26 years. Cahoots Theatre Company believes that theatre should reflect the richness, diversity, and complexity that we live daily. Diversity means more than race or nation of origin or ethnicity. It also encompasses gender, sexual orientation, ability, language, and class. Cahoots is a registered charity.
Reporting to the Board of Directors, the Artistic Director will play an integral role in the following areas:
- Conceives and implements the artistic vision and strategy with focus on season programming, selection of artists and creative teams, and the curation, development and production of new works.
- Ensures that all productions and other programming are in keeping with the aims and policies of Cahoots and its mandate.
- Possesses a dedication to mentorship and outreach, and has an interest in actively recruiting new works and new artists.
Strategic and Operational Management
- Is the public face of Cahoots in the arts community.
- Partners with the General Manager on all aspects of company planning, programming, fundraising, budgeting, grant and foundation proposals at all levels, facility operations, board development, stewardship, networking and community outreach.
- Oversees existing artistic programs and is a leader in creating new artistic and audience development initiatives with an eye to revenue development and fiscal sustainability.
- Public Relations and Marketing
- Promotes the image of the Theatre within the general public and theatre community.
- In conjunction with the General Manager, represents the Theatre with federal, provincial and municipal service organizations and other outside groups.
- Meets regularly with other theatre companies and organizations for mutual benefit.
Funding and Fundraising
- Communicates with donors, potential donors and sponsors throughout the season, soliciting their continued support.
- Prepares and sources, along with the GM, any grant applications from various funding agencies.
- Works with the GM to develop and sustain strong, supportive and respectful working relationships with key people and institutions in the corporate sector.
- Understands and commits to the importance of revenue generation to support the artistic growth of Cahoots.
Please see http://www.cahoots.ca/company/job-opportunities/ for a more detailed list of job responsibilities for this Artistic Director position.
This is a part-time position, with an expectation of 28 hours per week on average (hours of work vary), but with flexibility allowing for the Artistic Director to accept outside contracts, subject to Board approval. Start date can be flexible, with allowance for availability of the selected candidate.
How To Apply
Please submit CV along with a letter of interest and motivation (max three pages), including salary expectation and three professional references, before end of Friday, April 12, 2013. Please submit by email (PDF or Word format) to: apply(at)cahoots.ca with Artistic Director Application in the subject line.
No phone calls please. We thank all applicants, but advise that only those considered for an interview will be contacted.
“IDLE NO MORE” Documentary Performance Project
WHAT IS THIS ALL ABOUT?
A collectively created documentary performance piece exploring the Idle No More movement in early 2013. The text will be verbatim, taken from transcribed interviews.
Launched on January 3rd, 2013, as the Idle No More movement continued gaining media presence, Theresa Spence had been on a hunger strike for 24 days, and Harper had yet to respond to her request, we kept coming back to the same question, “What now?”
I would like to to investigate this time in our lives, by inviting individuals to conduct interviews with diverse populations from all across Canada regarding Idle No More. I want to hear from First Nations people, recent immigrants, and settler populations, especially from those whose voices are not often given priority. I also want to hear from people who do not support Idle No More. I want the full range of opinion, knowledge, political engagement, spirituality, and optimism.
I challenge you to find a participant to interview who will tell you what they believe.The questions are very open ended on purpose. These interviews are not meant to educate the interviewee, but to hear what they really want to say.
The interview questions will be:
1. What brought us to this point?
2. What does this moment mean to you?
3. Where do you want to go from here?
Hopefully, we can also create an online forum where these responses can be read in their entirely at the discretion of the interviewee.
WHEN WILL THIS THING BE HAPPENING?
Collect interviews until January 31st.
Interview transcriptions should be submitted by February 31st.
The Development period will be from mid-February to April.
The script will be staged with performers in late April, resulting in a Workshop Production in May.
WHERE WILL THIS BE HAPPENING?:
Hopefully with the support of local arts organizations, we can stage the production in early May in Toronto, and ultimately, develop a touring version for the summer. If you can host a touring production or would like to see this production reach your community, please contact me. This is all in the very early stages, and dependent upon participation.
WHO WILL WORK ON THIS PROJECT?
Contribute by conducting a video or audio only interview with their selected interviewee. These can be recorded with your phone or computer. Interviews can be between 1 and 10 minutes, but these interviews must then be transcribed before they are submitted. Please include all of the “uh’s” and “er’s”, and pauses. All interviews must be accompanied by a signed consent form and should follow the proposed interview guidelines. Deadline for interviews is January 31st, and full transcription along with any audio or video should be submitted by February 31st.
Verbatim portions of these interviews will be used to create our production, and care will be taken toward fair and respectful representation of interview participants on stage. No Interviews can be guaranteed a spot in the final production. There is no limit to the amount of interviews we receive, and participation from non-art oriented people is encouraged. There will be no financial compensation for participating in this stage.
If you would like to respond to these questions yourself, please record a video of yourself on your phone or computer, then send it to us with the transcription. Please let me know if transcription is not possible, and we will arrange other plans.
If you would like to be interviewed by someone, send an email and we will match you up with a researcher. I am also available to take interviews through Skype.
Contribute by meeting once a week in Toronto for 10 weeks. Hopefully we can also include an online element, so participation isn’t all local. Developers will go through all documentation and transcription to make selections for the final piece. These sections will then be developed into a yet to be determined structure. Developers will be highly involved in the form and content of the piece. An estimated 12 – 20 people should be involved in this collaborative process. Experience with Theatre creation is beneficial. As lead developer, I will not be “writing” the performance, but leading a core group to the written completion of a new work. PLEASE NOTE: Hopefully, we can secure a bit of financial support for the core group of developers. This is not for monetary gain, as it will be minimal, and is to acknowledge your time and commitment. I understand the complicated nature of my decision to pursue funding.
Contribute by rehearsing, developing character, and presenting a collectively created performance to a live audience in Toronto. A core group of performers may emerge who will lead the possible touring version. First Nations performers are encouraged to participate, as well as folks of other populations. A 3 weeks rehearsal period in mid-April will result in a workshop production in May. The amount of performers required will be determined by the script, and another call out will be made in March. PLEASE NOTE: Performers will be paid through a profit share of box office sales, with surplus going toward touring costs.
Contribute by creating set, costume, lighting, choreography, and everything else required to make a production spectacular. Many volunteers will be needed for performance days. I would like the design to be a collaborative process, and am looking for key folks to head design teams and engage youth participation. Ideally this production will be collectively created, but we may need to call in a director to help us shape it. Suggestions are welcome. These will also be profit share positions.
Because we need to understand each other to move forward. We also need to create something NOW, knowing that it will be outdated by the time it is produced, to act as an indicator of how far we have come. I hope for this project to document our current understanding, personal decisions, and desires for the future. At this exact moment, we don’t have any answers, but I believe that we know what we want. I am trying to develop a project which will continue positive conversation and public presence. This project is not for my, or anyone else’s, personal professional gain, but is the only thing I know how to do to contribute to a larger cause. I intend to reveal truths, tell bad jokes, dance, sing, and shine a spotlight on the change we want to see.
HOW DO YOU GET INVOLVED?
Send a message to INMdocperformance@gmail.com.
Thanks for your interest,
This from Adaka:
The Adäka Cultural Festival is now accepting artist applications for the 2013 Festival to be held June 21-27 at the Kwanlin Dün Cultural Centre! The application form is attached or can be picked up from our office in the Whitepass Building. It will also be available on our website shortly www.adakafestival.ca. All interested artists are required to submit an application, regardless of whether you have participated in the past. See application form for detailed information. For further information, please contact our office at 667.7698 or email@example.com Happy New Year!