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Supporting Performing Arts in Rural Communities
An Evaluation of SPARC’s Ontario Trillium Foundation grant Outcomes &
Objectives from March 2014 – July 2015
&
Evidence in Support of the Development for a Performing Arts Network for rural
and remote communities across the Province of Ontario
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Evaluation Contents
INTRODUCTION ........................................................................................... 3
SPARC History ................................................................................................................ 3
Evaluation Overview........................................................................................................ 4
PROJECT EVALUATION ................................................................................. 5
A. The Symposium .......................................................................................................... 5
B. The Youth Summit ...................................................................................................... 9
C. The Catalyst to Create a Network ............................................................................. 12
C.1. The Network Summit ..................................................................................... 15
C.2. SPARC Online ............................................................................................... 19
C.3. SPARC Network & Framework Model ........................................................... 21
D. Other Measurements ................................................................................................ 23
CONCLUSION ............................................................................................. 25
Resource Documents ..................................................................................... 28
References ................................................................................................. 29
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INTRODUCTION
SPARC History
The Arts have played a significant role within Haliburton County over the past 45 years. In 1968
the Haliburton School of The Arts was founded by a local group (the Haliburton Highlands Guild
of Fine Arts) in collaboration with the new Sir Sandford Fleming College in Peterborough. This
school began to attract artists to the community to teach the courses and helped to develop a
growing community of artists who made their living in the County. The Guild supported the
development of a variety of small groups that began developing arts activity in a number of
sectors. This led to the creation of the Rails End Gallery in 1976, the Haliburton Concert Series
(offering three (mostly classical) concerts each year) and the Haliburton County Studio Tour in
1987.
In 1997, an Arts Committee was formed as an ad hoc committee of the Community Economic
Development Committee of the Haliburton County Development Corporation (a Community
Futures Corporation) to support local economic development through the promotion and
advancement of the visual arts in Haliburton County. This committee undertook a wide range of
initiatives including the installation of public sculptures, creation of the Haliburton Sculpture
Forest, development of marketing materials related to the visual arts, artist demonstrations, and
professional development workshops for visual artists.
In 2002, the Arts Committee, in collaboration with other key arts organizations in the County,
supported the creation of an Arts Council for the Haliburton Highlands and identified a mission
and mandate for this endeavour. The Arts Council ~ Haliburton Highlands (ACHH) was formed
under the umbrella of the Haliburton County Development Corporation in the fall of 2003. A call
was put out to the community for individuals who wished to serve on a Steering Committee to
oversee the development of the Arts Council. This group worked to create a framework for
committees, membership, programming and marketing, refined the mission and mandate,
recruited a broad membership, put all of the administrative systems in place for incorporation and
initiated a variety of programs to meet the mandate.
In the fall of 2005 the membership of the ACHH elected a board of directors (to replace the
steering committee) and adopted a set of by-laws and filed for incorporation. The ACHH
membership consists of artists, arts businesses, arts organizations, supporting businesses and
organizations and individuals.
In 2009, over 20 representatives of groups involved with the production, presentation, and
creation of performing arts in the Haliburton Highlands met to explore how performing arts groups
might more effectively work together for their mutual benefit. In March 2010, this group
coalesced as Highlands Performing Arts (HPA) and did some work to develop a logo, branding
and a website to highlight performing arts in the Haliburton Highlands – Dance, Music, Theatre
and Media Arts.
In October 2011, the Arts Council ~ Haliburton Highlands hosted a meeting with HPA, a regional
program officer from Canadian Heritage, and the executive director of Ontario Presents to
discuss ways to support the performing arts in rural areas. The vision evolved into a 4-day
Symposium held in Haliburton County in April 2014 that brought together rural creators,
producers, and presenters from Ontario and even further afield in order to share experiences and
expertise on how to grow and sustain the performing arts in rural settings.
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This working group formed officially under the auspices of the Haliburton County Community Co-
operative as the Symposium for the Rural Performing Arts Working Group. Collaborating partners
were the Arts Council ~ Haliburton Highlands, Conjurors of County Town, Highlands Summer
Festival, Dusk Dances Haliburton, Forest Festival, Haliburton County Folk Society, Sticks and
Stones Media Productions, Those Other Movies, Haliburton County Community Co-operative and
Fleming College – Haliburton School of the Arts.
The Symposium took place on April 24-27, 2014. It provided a stage that shone a spotlight on the
unique opportunities and challenges faced by those who create, produce, present and animate
the performing arts in rural settings, the work that is taking place and the need to profile rural
performance art. The Symposium received funding from the Ontario Ministry of Culture, Tourism
and Sport, Canadian Heritage, the Ontario Trillium Foundation and the Haliburton County
Development Corporation. It also received significant sponsorship from Fleming College – The
Haliburton School of The Arts, Technicalities Plus, TicketPro and the Ontario Highlands Tourism
Organization.
The Symposium generated interest far beyond the initial projections of the organizers and
indicated a need for an ongoing mechanism to connect rural producers, presenters, creators, and
animateurs beyond the SPARC Symposium. Shortly before the Symposium, organizers received
notice of funding from the Ontario Trillium Foundation through the Haliburton County Community
Co-operative. This funding supported the Youth Summit at the Symposium and provided the
opportunity to explore the formation of a Rural Performing Arts Network over the following year by
providing financial support for a network coordinator position, a Network Summit and the creation
of a dynamic online platform.
Evaluation Overview
This evaluation reviews the activities and outcomes of SPARC from March 2014 to July 2015 in
relation to the goals established by the SPARC Committee and the objectives set out in the
Ontario Trillium Foundation funding agreement.
SPARC had three major goals
Goal #1
Host a four-day symposium for presenters, producers, creators and animateurs that will:
share knowledge and experience about how to grow and sustain the performing arts in a
rural setting.
provide a forum for rural performing arts, presenters, producers, creators and animateurs ,
to exchange knowledge, learn new skills, network and develop partnerships, and to spark
inspiration.
advance discussions about how we can create and nurture supportive networks, and
increase the profile of rural performing arts, ultimately contributing to the health and vitality
of our communities
showcase exemplary performing art created in rural communities and provide field trips so
that delegates can experience art on the landscape and/or explore natural out of doors
performance venues may also be on offer
Present creative approaches to engagement in cultural tourism
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Explore the connection between rural performing arts and vital communities
Goal #2
Host a Youth Summit within the Symposium that will:
“take the pulse” of rural communities in which youth are involved in the performing arts as
performers, creators, directors, technicians, presenters and producers.
provide an open forum for these youth to exchange ideas and concerns, connect and
network and look at ways to create new opportunities in the future.
Goal #3
Use the Symposium and Youth Summit as catalysts for the development of a network of rural
producers, presenters, creators, funders, and community animators.
The following Objectives, Expected Results and Performance Indicators were set
out in the funding agreement with the Ontario Trillium Foundation :
Objectives
OTF Results Indicator: 120 participants at events for learning and sharing
OTF Outcome Indicator: 50 participants in training session who cite an increase in skills
Expected Result:
Increased capacity to produce an arts event and launch a rural performing arts network
Progress Measures:
120 delegates and 14 youth from rural communities attend SPARC Symposium and
Youth Summit
Workshops, round-tables and lectures are finalized
50 delegates commit to a process of building a business case for sustainable networking
Online networking portal with interactive tools created to advance networking
New Model for the development of rural performing arts is launched
PROJECT EVALUATION
A. The Symposium
The first of its kind in Canada, the Symposium focused on the business of performing arts in a
rural setting, and featured three streams of exploration – creation, production and presentation –
with a focus on four broad sectors of the performing arts – dance, theatre, music and media arts.
Please visit http://www.sparcperformingarts.com/media/SPARCMainMag001/#p=1 for the
Symposium Interactive E-Magazine.
While the partner organizations anticipated some out-of-province rural presenters would attend
the symposium, they thought financial constraints created by geographic distance could result in
a majority of participants from central and eastern Ontario. The invitation to attend was extended
to rural communities across the country.
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OTF Progress Measure: 120 delegates and 14 youth from rural communities attend
SPARC Symposium and Youth Summit
139 delegates registered to attend and participated in the Symposium. The majority of delegates
were from Ontario (117), a total of 22 attendees from British Columbia, Yukon Territory,
Saskatchewan, Manitoba, Quebec, New Brunswick, Prince Edward Island, Newfoundland,
Scotland and the USA also attended.
A total of 37 Workshops, 3 Plenary keynote presentations and 2 Networking Plenaries were
delivered by 57 presenters (a total 60 presenters).
An online evaluation tool for the Symposium was developed, with support from the U-Links
Centre for Community-Based Research (a local not-for-profit research organization) who provided
the online platform. The online evaluation was emailed to 128 delegates (with exception of 11
members of the partner-organizing committee members) on the last day of the Symposium and
104 delegates responded.
The evaluation questions were designed to measure quantitative and qualitative results related to
the objectives of the Symposium.
The projected OTF outcome was that 50 participants would cite an increase in skills.
As seen in the figure below extrapolated from the online evaluation, over 50 respondents agreed
that the SPARC Symposium provided information that they can use in their community and/or
work.
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The survey also measured the relevance and usefulness (providing information to use in
respondents’ home communities) of all program workshops and plenary sessions. Overall,
respondents strongly agreed that information was relevant, useful and presented effectively.
Networking
Symposium delegates have been networking with one another ever since the Symposium, using
the Delegate List that was prepared and circulated post-Symposium. Just one of many examples,
as a direct result of the Symposium, the 14th World Festival of Children’s Theatre has formed a
Youth Artistic Advisory Committee, composed of four of SPARC’s Youth Caucus members.
Target Audience/Who Came
The Symposium aimed to engage creators, producers, presenters and animateurs in the
disciplines of dance, theatre, music and media arts living in rural communities in Ontario and
Canada. This included individuals who work with organizations as professionals and volunteers,
as well as artists who are engaged in the performing arts in rural communities.
The Symposium was successful in engaging a broad spectrum of the performing arts community.
Respondents were asked about the “many hats” they wore within the performing arts and
identified that they were involved in a number of roles and involved in different disciplines in the
performing arts as well as beyond.
The below represents data extrapolated from the SPARC Symposium Evaluation Full Results
Report 2014. It demonstrates the percentage of attendees who identified as creators, presenters,
producers, community animateurs, and funders in dance, music, theatre, and media arts as well
as other roles.
Organizations Engaged
A total of 113 performing arts organizations from all regions of Ontario (using the Ontario Arts
Council regional map to define regions of Ontario), across the country and internationally were
represented at the Symposium.
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It is clear from the evaluation results that the Symposium recognized the key role of the
performing arts as a catalyst for change and capacity building in rural communities; provided
activities that supported the emergence of and contributed to the development of performing arts
networks in rural communities; furthered the professional development of performing artists facing
barriers and made a unique contribution to the overall development of the performing arts in rural
communities.
Symposium Accolades
A variety of comments were made by presenting arts organizations and individuals anonymously
via the Evaluation, and others via letter or email. Here is a selection of comments that
demonstrate the breadth of the benefits presenting organizations and individuals feel they
received as a result of attending the Symposium, as well as going forward:
Example 1: “The Symposium was timely, well-organized, rich in content and inspiring. It covered
the cultural, economic and social aspects that the arts can help us develop in our communities. It
presented a wealth of examples, described by the people actually doing the work. It brought
together people from across the country (Newfoundland to the Yukon and BC) as well as some
wonderful visiting performers from Scotland. It left me with many messages and much information
to bring back to my local community. It gave me a much clearer understanding about how
performing arts, music, publishing, story and exhibits can help us interpret and share our local
culture, history and traditions, at the same giving these parts of our life lasting power and
meaning into the future. What a wonderful event.”
Example 2: “What was so good about this conference was the opportunity for networking and
interaction with people of different ages, backgrounds and locations. A lot of thought and
preparation obviously went into setting this up, and it sure paid off. With the sheets on the walls,
the mapping of where we were each from, there was a visual component to the celebration of
diversity that we represented. This may seem trivial, but it was not. It set a tone that immediately
and constantly reminded us that we represent communities far and wide, that we are
representatives of the Canadian patchwork of culture, and that together we represent a potential
network for greater awareness, understanding and support for the arts as engines of expression,
identity, cultural and economic development and local pride.”
Example 3: “The contacts we made with Theatre Ontario, the funders and a variety of other
people will be very valuable. You may be interested to know that as a direct result of the
conference, the WFCT has formed a Youth Artistic Advisory Committee, composed of four of the
Youth Caucus members. They eagerly agreed to work with us on a defined and time-limited
project. They will be looking at the festival through young eyes, to see what is missing, and how
the festival can support the children better, as well as seeing how young people can be integrated
into the festival in a meaningful way. Our intention is to act upon their recommendations where
possible, and to keep the door open for them to give further feedback and support. We really
appreciated all the work that went into SPARC and will continue to support it however we can.
Keep in touch,
Ron Dodson and Wendy McNaughton, Artistic Directors
14th World Festival of Children’s Theatre”
Example 4: “Thank you for such an enriching, dynamic, very well thought first symposium on
Performing Arts in Rural Communities. It was absolutely wonderful to learn more about your
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community, network with everyone. So many great exchanges and new seed ideas were planted
during SPARC - I plan to continue to exchange over the next few months with as many delegates
met as possible, and I look forward to your SPARC number two already.
Thank you again for your great generosity and leadership, fantastic welcome.
All the best,
Stéphanie Filippi – Outreach, Touring Sales Manager (Bilingual)
Prologue to the Performing Arts / Prologue aux arts de la scène”
Example 5: “It is hard to express how important this conference was, and will be for our future.
We now see that the arts not only generate economic renewal and pride in community, but that
they clear a path ahead toward diversity and cultural renewal. This was made so clear in all the
presentations, workshops and addresses.
We returned home with a renewed sense of purpose and a commitment to build the creative
communities in which we want to live. Our society tends to view the arts as frill activities carried
out by inspired kooks. They are anything but. Every single part of our human-made world started
out as someone's crazy idea, a theory, a design - the only way we can adapt and collaborate
to build a sustainable future is by nurturing the creative in ourselves and our communities.
What an amazing experience the SPARC conference was. I learned a lot, came home with
material and ideas to share with other artists and groups here, including our town council, to
whom I will be making a full report soon, and it also put me in touch with others whom I am so
glad to know, and may work with in future.
Dan Rubin
Pouch Cove, NL”
Example 6:”Feeling more clarity and greater focus, that a lot was accomplished and new many
seeds planted. I am bringing back home many fresh ideas and information to share back with my
organization - planning to follow up on the many conversations and networking which took place -
I look forward to the next SPARC Symposium.”
B. The Youth Summit
Embedded within the Symposium was a Summit for youth 16-29. The purpose was to “take the
pulse” of rural communities in which youth are involved in the performing arts as performers,
creators, directors, technicians, presenters and producers.
The Summit provided an open forum for youth to exchange ideas and concerns, connect and
network and look at ways to create new opportunities in the future.
OTF progress measure: 14 Youth attend the SPARC Symposium and Youth Summit
Result:
The SPARC Committee projected 14 youth delegates would attend the Symposium and Youth
Summit, representing the 7 regions of Ontario. The online evaluation tool contained a specific
section called Youth Survey: a total of twenty-five delegates responded identifying themselves as
between the ages of 16 and 29 years of age; twenty-two completed the full survey; fifteen (15)
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youth were supported by the Ontario Trillium Foundation Grant to attend the Symposium (one
more than estimated); an additional 6 were supported by organizations in their community (two
local municipalities: the Municipality of Dysart et al and Township of Minden Hills supported the
attendance of 4 youth delegates). Of the remaining 6 delegates who identified as youth, 3
attended the Symposium on Friday only, and the remaining 3 did not complete the evaluation.
A total of 19 youth were financially supported to attend the Symposium and Youth Summit.
The Youth Summit provided an open forum for youth to exchange ideas and concerns, connect
and network, and look at ways to create new opportunities in the future.
In addition to having youth involved in all aspects of the Symposium, four events were specifically
planned to focus on the challenges and successes of youth involved in the performing arts in rural
communities. The purpose of these events was to give youth an opportunity to network with each
other and to collectively explore their experiences and articulate their particular interests and
assets. The intent was to have a clear youth voice reflected in the Symposium Wrap-up and a
report that would ensure the ongoing inclusion of youth in a rural performing arts network.
Please see http://www.sparcperformingarts.com/media/SPARCYouthMag001/ for the Symposium
Youth Interactive E-Magazine.
The four Youth Summit events were actively planned and facilitated. Youth were encouraged to
join and participate in a private SPARC Youth Group on Facebook prior to attending the
Symposium. All but two Youth joined the group and posted an informal introduction to
themselves.
Four Youth Summit Activities
1. On Thursday, a Meet & Greet: Dinner, A Social Exchange: This provided an initial opportunity
for young performing artists from across the province to connect and network with fellow SPARC
youth participants. Participants met over dinner, participated in a networking exercises and a
Youth Summit program overview and then attended the Symposium’s evening Welcome
Reception and Open Stage performances.
2. On Friday, an Open Forum & Lunch: This provided an open forum for youth to express and
exchange ideas and concerns, and ‘take a pulse’ of the challenges and advantages faced by rural
youth involved in the performing arts. Participants were encouraged to seek resolutions and
creative problem solving inspirations during their attendance of the rest of SPARC’s
programming.
3. On Saturday, Wintergreen – Mobile Workshop, Debrief & Inspirations: Youth had the option of
travelling to the Wintergreen location to meet young local performing arts professional Ryan
Dawson. Ryan explained his experiences as a youth in a rural community and shared the history
behind Wintergreen as a performing arts location. Participants enjoyed a catered lunch, and then
continued their discussion to reach some consensus on how best to present the youth
perspective to the full symposium.
4. On Sunday: After four days of learning, sharing, discussions, presentations and performances
all SPARC participants spent the last 90-minutes bringing it all together and laying the
groundwork for a network of creators, presenters, producers, and community animators involved
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in the performing arts in rural communities. The Youth Summit participants presented their
perspectives to the Plenary, using all resources and skills available, with a view to building a
foundation for ongoing youth engagement in the province-wide network, as it develops. The
Youth presentation was incredibly well-received by the plenary and encouraged great discussion.
While many issues were discussed by the SPARC Youth throughout the 4 days of the
Symposium, among the different experiences in remote vs. rural communities, benefits to living
in rural communities vs. cities (e.g., freedom of expression, community support), the youth chose
to present three separate and distinct ideas to the closing plenary.
Youth Outcomes
The first topic discussed was youth migration. The SPARC Youth felt the focus of rural
communities should be focused not on youth retention but return; that youth should be
encouraged to leave, gain other experiences and then return to their communities. The incentive
for return was described as programs that specifically offer youth work (paid) opportunities in their
field. The SPARC Youth then demonstrated attracting youth audiences with modern “word of
mouth” involving social media.
The second group focused on interruptions in the process of mentoring youth in the performing
arts. They felt that many programs failed to successfully target youth at their most vulnerable
stage. They observed that there are many programs in elementary school to involve students in
the arts but these programs drop away once they are in grades 9-10. Youth in grades 9-10 are in
a challenging transitional stage and the performing arts can offer support to youth who are
dealing with anxiety and depression, learning challenges, confusion about identity, including
sexual orientation. They observed that fewer youth are involved in the performing arts in later
years and that the need to grow the next generation of performing arts presenters/performers
during grades 9-10 is crucial.
The third group gave a performance-based presentation that demonstrated youth integration. The
youth appreciated their voices being heard and the opportunity to develop a presentation with
their peers, but this also gave them the feeling of being a special interest group. They talked
about the importance of space in their home communities: a physical space that isn’t separate
from the main initiative, a space that isn’t temporary or different than what adults use. They
observed that youth are often treated differently: e.g. a stage or time slot particularly for youth,
opportunities not continuously or reliably available year after year, particular conditions applied.
Although youth specific programming was deliberately included in the Symposium, the events
were, for the most part, held separately from Symposium programming. Youth feedback was
clear that although they appreciated the opportunities provided at the Symposium (to have
focussed conversations and networking opportunities) they would like to be given space for their
voice within the larger conversation: they may be young but their interests and concerns are
similar to non-youth. They want to contribute and be included as equals. This is reflected in the
evaluation response c) above.
Overall, the feedback on the Youth Summit at SPARC was very positive. Youth felt “energized”,
“amazed”, “excited” and "connected". Many planned to maintain connection with others whom
they met at the Symposium, and to continue to be involved as movement toward creating a
network among rural performing artists proceeded.
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The online Symposium evaluation tool included a section specific to Youth Delegates. 22 youth completed the evaluation though only 16 participated the Youth Caucus.
C. The Catalyst to Create a Network
Symposium participants had opportunities to network and exchange ideas: In addition to the time provided at breaks, luncheons and evening social events, the SPARC
Committee deliberately created two specific program elements to ensure that delegates
opportunities to network and exchange ideas:
i) SPARCing Exchange Café: To open the Symposium, the Great Hall and Commons of the
Haliburton School of The Arts was transformed into a neighbourhood café – the type of place
where the air is buzzing with ideas and folks could hop from table to table to greet old friends and
meet new people; where the walls were covered with pictures, bulletins, helpful information, and
notes about what people were seeking and what people were offering. A key goal of SPARC was
to create an environment where people could exchange ideas, find opportunities for collaboration
and discuss solutions to tricky problems. Everyone had a part to play in the SPARCing Exchange
Café, and an opportunity to meet people engaged in the performing arts from rural communities
throughout the province (and across the country).
Participants were able to share information about who they were and what they do, their hopes
and dreams, what they were seeking, and what they had to offer. All of this information was
posted — creating a Living and Thinking Wall that grew and evolved throughout the 4 days of the
symposium and contributed to the creation of a network.
ii) Bringing it All Together & Closing: After four days of learning, sharing, discussions,
presentations and performances participants spent the last 90 minutes bringing it all together and
laying the groundwork for a network of creators, presenters, producers, and community
animateurs involved in the performing arts in rural communities. Throughout the Symposium a
team of videographers, artists, observers, and social media watchers captured the flow and the
flavour of the many parts of SPARC. This team delivered a short multi-media presentation
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reflecting the experience. The Youth Summit reported on their findings and recommendations for
the future; the Living and Thinking Wall was examined to inform on how Symposium participants
had come together to share, collaborate and create dreams for the future.
Imbedded in the Symposium were two components which collected extensive input from
delegates on their Hopes & Dreams as creators, presenters, producers and animators in the
performing arts in rural communities (the SPARCing Exchange café) and what they were Seeking
& Offering.
Here is a pertinent selection of Symposium delegates’ Hopes & Dreams:
work in the arts and be economically able to live in rural Canada
young people would be able to stay in the community and earn a livelihood working in the
arts
expand arts and creative opportunities for children and youth in rural communities
disappearance of urban/rural split
supporting and animating sustainable performing opportunities for artists that is
collaborative and reflects the rural environment
vibrant community connected to the landscape
a healthy rural Ontario
make a thriving, profitable and sustaining performing arts venue within a thriving,
profitable and sustainable community.
new plays that reflect current diverse rural communities
for my organization to be loved and supported by the community
make area more aware of our history in a fun way
to have community care and support persons involved with arts/dance/art/drama
dream of communities and networks that stem from the arts
funding appropriate for rural reality
network with people in performing arts
create a network
stronger connections between northern Ontario and established arts programs in
southern Ontario
create on-line information hub for rural arts leaders
put rural youth on the map
Jim Blake, a member of the Symposium Working Group, analyzed this information and presented
it back at the Plenary in order to frame the conversation around developing a Network for rural
performing arts.
Networking Survey
Conducted at the Symposium Closing Plenary, the Symposium Survey collected 67 responses
from the 100 delegates present (a 67% completion rate).
All participants but one said they were in networks, and most listed several they are connected to.
Just under half of the respondents, said a definite “yes” to a need for a network for rural
performing arts. A very small group said “yes with reservations” (noting concerns about funding
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and using up resources without producing results) and only one said “no”, citing that they felt
existing networks provided appropriate support that many people were not aware of. It should be
noted that while many respondents did not explicitly say yes to a network, they instead wrote
down services/areas of interest they felt could be addressed by the network.
In response to requests for “ways of doing” a network, respondents focused on suggestions for
services and actions they felt were needed. The need for new ideas, innovations and solutions
was most cited by respondents, followed by connecting and sharing resources and information.
Funding was mentioned frequently with most requesting a current master database of funding
available and support for seeking funding. Support, as a concept rather than in a specific context,
was frequently mentioned.
Assistance with collaboration and a comprehensive contact database were suggested by several
respondents. Regional networks were also mentioned by several respondents as possibilities.
From there, SPARC received many other suggestions for characteristics that SPARC should
have. Some respondents asked for a network that was responsive and flexible. The inclusion of
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new media and heritage were mentioned. A national focus and leadership were two suggested
qualities for the network.
Communications methods are important, specifically noted were creating an online forum and a
list serve. Also mentioned was the need to support youth and mentoring. Events such as the
SPARC Symposium, as well as regional events, were cited. Services such as promotion, block
booking, event listings, a venue database and a guide to venue management and best practices
were some of the suggestions.
Sector, capacity and audience growth as well as community engagement were also areas of
concern. Several respondents said that discussions about challenges were important. One
respondent felt membership in the network should be cheap or free, and several had concerns
about how the network would be funded.
When asked if they would be interested in participating in the SPARC Network, 52 responded
yes, 2 responded no. When asked if they would be interested in helping develop the SPARC
Network, 27 said yes (40%) of which 3 indicated they would be interested in starting a regional
network in their area. 11 respondents said no citing current commitments or a perceived lack of
skill to contribute. Of the 67 respondents, 9 then submitted an application for the SPARC Network
Summit.
OTF progress measure: 50 delegates commit to a process of building a business case for
sustainable networking
Result:
On the last day of the SPARC Symposium, 27 delegates indicated an interested in actively
helping to develop the SPARC Network. (40% of respondents) SPARC also created a database
of Symposium delegates were committed to continue to work supporting and working with a
performing arts network for rural and remote communities. Furthermore, SPARC has been
connecting with additional stakeholders and continues to do so to solicit support for its Network
efforts.
C.1. The Network Summit
As part of SPARC’s activities as outlined in its Ontario Trillium Foundation grant, SPARC began
preparations for a late fall Network Summit in the summer of 2014. SPARC’s new Network
Coordinator, reviewed the Symposium results and also embarked upon research for developing
networks, successful models, and connecting with existing Networks/Arts Service Organizations
to ensure support, clarity and limit the amount of overlap.
The SPARC Network Steering Committee set out ambitious goals:
to explore, identify and co-create a network for performing arts in rural communities that
has a positive impact, is accessible, requires low management and is a vital resource;
to identify key challenges, innovations and opportunities that continually impact the
performing arts in rural and remote communities; and
to bring together communities, regional and national, to interact, share and collaborate.
The Network Summit needed participants who were ready and willing to explore a broad
landscape in terms of creating a new kind of network. A call for participants was sent out via
social media, e-newsletters and partner individuals and organizations to encourage applications.
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Interested participants were required to complete a short application including a short bio and
reason for their interest in participating. Submissions were reviewed-by- jury, comprised of 3
Network Steering Committee members. 26 applications were received and 25 were accepted.
Invitations were also extended to representatives of Canadian Heritage, the Ontario Arts Council,
the Canada Council of the Arts and the Ontario Trillium Foundation.
OTF progress measure: 50 delegates commit to a process of building a business case for
sustainable networking
Result:
Ultimately, the Network Summit had 26 participants (52% of original target of 50) including
representatives from Canadian Heritage and the Ontario Trillium Foundation. A representative
from the Ontario Arts Council cancelled at the last minute due to illness and there were a few no-
shows due to inclement weather. While the group size was less than initial projections and hopes,
the group represented quite a few OAC regions and performing arts disciplines and the SPARC
Network Steering Committee felt confident that those who came were, as the saying goes, the
“right people”.
Pre-Summit package
A pre-Summit package was developed for participants that provided a short history of SPARC
and a proposed vision, objectives and guiding principles for the Network. It also contained the
results of SPARC’s surveys and other back ground information. To help participants prepare
themselves, 7 key questions the Summit would focus on were provided for participants to
consider. A history of rural performing arts and presenting was also included, based upon the
research within The Value of Presenting: A Study of Performing Arts Presentation in Canada by
Inga Petri for CAPA/COA (Canadian Arts Presenting Association)i.
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Designing and Executing the Summit
The Network Summit was designed to created opportunities for exploration, analysis and
synthesis as well as convergent and divergent thinking. There was no specific pre-defined
destination to reach, but rather a broad goal – strengthening the performing arts in rural
communities – and deliberative processes that ensured all participants had a voice and used it.
Liberating Structures were employed for select facilitation exercisesii.
The co-facilitators led participants through a series of working sessions designed to answer
important questions about what kinds of gaps currently existed, what SPARC as a network might
do, how it might operate, who it would be for, how the network could be activated and engaged
participation secured over time, what participants could contribute to a rural network, what they
needed from it and an exploration of various organizational models.
Through a series of small group working sessions and interactive activities participants explored,
discussed and debated these questions and in the process identified existing gaps and outlined
key opportunities for the SPARC Network moving forward.
SPARC engaged the services of a graphic recorder to capture, in real time, the conversation and
decisions reached by Summit delegates.
The Sunday of the Network Summit was devoted to the building and creation of an organizational
model and decision-making regarding next steps. The co-facilitators also collated and presented
key outcomes from Saturday’s exploratory work, using the graphic recordings as visual aids.
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Network Summit Key Outcomes
Several key decisions were reached by delegates to support the creation of a Network Model
responsive to the specific needs of rural communities to support capacity building:
1. Creating a Network the size and scope of Ontario is a significant undertaking. In the future,
developments in Ontario will be shared with other provinces/networks with the intention that
Ontario’s network could be a model and starting point for a future national SPARC Network to
connect provincial/regional network hubs* across Canada.
2. Regionally based (NE, NW, SE, SW) Hubs*, developed with support from SPARC but created
by each regionally based performing arts community, will inform specifically what and how
SPARC Network services will be delivered (e.g. providing a framework for shared voices and
shared work – enabling the Network to collaboratively build a body of knowledge and resources);
people have a say in shaping the services and programs that the Network provides and delivers.
3. SPARC, for the time being, remain as a collaborative model and focus on building the Network
with the understanding that it may transition into another organizational model at some point in
the future.
4. Three working groups were identified and established to reflect the three main activities that
the SPARC Summit participants identified as next steps:
a) SPARC Symposium Working Group;
b) Outreach Working Group; and
c) Communications Working Group.
Summit participants signed up for these Working Groups, Terms of Reference created and
additional members have joined.
A total of 21 people from across Ontario are involved and active committee members. The
Network Coordinator, is an ex-officio member on all working groups, providing support and
resources as necessary.
5. SPARC’s Mission, Vision, Objectives and Guiding Principles were reviewed and confirmed:
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Mission:
Performing Arts contribute to the vibrancy and well-being of communities. The SPARC mission is
to connect creators, producers, presenters and animateurs to sustain and grow the performing
arts in rural and remote communities.
Vision:
A vital network of creators, presenters, producers and animateurs in the performing arts that
encourages communication and collaboration for the betterment of rural and remote communities.
Objectives:
To bring together rural and remote communities, regionally and nationally, to interact,
share and collaborate in order to promote health and wellbeing through the performing
arts;
To build a network connecting the performing arts across rural and remote communities
that is accessible, sustainable, easily manageable and vibrant;
To continuously identify, articulate and share challenges, solutions, needs and
opportunities that will strengthen the performing arts;
To demonstrate the value of the performing arts in improving the social and economic
health of communities; and
To collect and curate resources and information that will support and enrich the
performing arts.
Guiding Principles:
Inclusive
Grassroots
Sustainable
Innovative
Collaborative
SPARC also created an informative Network Summit video:
http://www.sparcperformingarts.com/2015/03/sparcs-network-summit-watch-the-video/
C.2. SPARC Online
Social Media
SPARC has an active online presence and regularly posts and interacts with Twitter and
Facebook.
SPARC Twitter: 293 followers.
SPARC Facebook: 244 Likes
Dynamic Online Platform
OTF progress measure: Online networking portal with interactive tools created to advance
networking
Result:
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The SPARC Network has a dynamic on-line communications platform which is comprised of its
website and attached online social network. www.sparcperformingarts.com
SPARC’s website has been re-tooled and refocused to reflect and inform upon its Network
development and features:
A SPARC-curated live Twitter feed featuring current, up-to-the-minute Tweets from
provincial and national accounts pertaining or of interest to rural performing arts
SPARC’s Blog – updated regularly on SPARC’s activities, conferences, news and
opportunities
A brief history of rural performing arts in Canada
Information and a recap of the Network Summit
Information and E-magazines about the Symposium and its Youth Summit
A live stream of SPARC’s Facebook page
SPARC has also developed a social network that can be accessed via its website. Anyone can
sign-up to become a member and post materials, comments, advice, promotions relating to the
performing arts and rural and remote communities. This online network has been developed as a
standalone component so that SPARC will own and retain all of the content, but based upon
familiar social networks such as Facebook for ease of use. SPARC Online offers:
Member’s sign in via Facebook or standalone account creation
Members/Organizational profiles with links to members/organization’s websites and
social media
The ability to post status updates, pictures and documents
Join/start a Group for a particular topic – groups can be public/private
Join/start a Forum for a particular topic
Friend other members
Send direct messages
The ability to search posted content for keywords/topics
The ability to view a map of members
SPARC has designed this Online Network to:
Provide a space for creators, presenters, producers and animateurs to connect that
removes distance and travel barriers
Provide a space that is user-friendly through familiarity to Facebook, the most prevalent
social network in rural communities
Provide a space to collect and assess new innovations in the performing arts surrounding
(but not limited to) audience development, grants, budgets, volunteers, touring, venues,
producing, presenting etc
Provide a space for newcomers, amateurs, volunteers, professionals to meet established,
experienced mentors/coaches
Keep the pulse of performing arts in rural and remote communities to better represent
and provide advocacy on their behalf
SPARC’s Network Coordinator, through research and multiple conversations, has a good grasp
on the difficulties in creating and maintaining an online network. This platform is and will be
successful due to:
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Starting with an existing and active network community formed by the 3 SPARC Working
Groups and the Network Steering Committee: users are far more likely to join a
community if it already has members
Through its research, SPARC has learned that this approach – slow but steady growth,
and a high level of participation from each member – is well a proven and well
documented approach to long-term success. (See
http://www.feverbee.com/2010/06/primeronlinecommunity.html)
Promotion Online via social media, e-newsletter, partners, user promotion, and SPARC’s
website
Promotion in-person via proposed regional consultations across Ontario and future
Symposia
C.3. SPARC Network & Framework Model
OTF progress measure: New Model for the development of rural performing arts is
launched
Results:
The creation of a model which is responsive to the specific needs of rural communities to support
capacity building.
SPARC’s Network model has been based on the framework and structure of The Constellation
Model of Collaboration. Originally a model for partnerships, the Centre for Social Innovation has
had the opportunity to adapt the constellation model to enable networks to thrive in its work
incubating the Ontario Nonprofit Network - a network of networks serving 45,000 Non-profits
across Ontarioiii. In this model, SPARC is viewed as “the connector” and its Network Steering
Committee is referred to as the Stewardship Groupiv.
SPARC’s plan for developing into a Network based upon the Constellation model has also been
influenced by its research into network building. SPARC has attended sessions in network
weaving, network mapping and also researched successful approaches to Network Building.
SPARC has spoken with several Network experts and also used the work of June Holley, author
of An Introduction to Network Weaving and Network Weaving Handbook, as a guidev.
SPARC is planning regional consultations so that SPARC Network representatives can meet with
as many potential users as possible to solicit their input on the further development of the SPARC
Network’s services, programs and its Online Platform. These regional consultations are also
intended to activate the formation of regional hubs/constellations, an outcome from the Network
Summit and part of SPARC’s Network Model. The initial target areas were selected to range over
the 7 rural regions of the Ontario Arts Council’s regional map and also target areas where
SPARC has local allies to ensure local support and promotion.
The Arts Council ~ Haliburton Highlands, as a lead partner of SPARC, has applied for funding for
a series of regional consultations across Ontario in 2015-2016 to Canadian Heritage. SPARC will
also be applying in October to the Ontario Arts Council for support for the consultations. SPARC
also intends to submit a Grow Grant application to the Ontario Trillium Foundation to further
support SPARC’s development including consultations in 2016-2017 and the formation and
support of regional SPARC Hubs.
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SPARC’s consultations will further inform the Network’s breadth (who isn’t yet in the Network?
who should be?) while further exploring and defining which tools and methodologies can help this
particular group of people reach their desired goals within the parameters of their access, skills
and resources. SPARC Online will be demonstrated and participants at the consultations will be
encouraged to sign-up and/or provide feedback to increase the community’s capacity to engage
online and learning about and sharing the innovations and resources occurring across Ontario in
rural and remote communities.
SPARC has received letters of support for its proposed consultations from:
Dryden Entertainment Series
Dryden Area Cultural Partnership
Theatre 17 Dryden
Thinking Rock Community Arts (Sault Ste. Marie)
Dufferin Dance Network
Old Town Hall (Waterford, ON)
Minto Arts Council
Theatre Orangeville
Young Imaginations (Picton, ON)
Small Pond Arts (Picton, ON)
MANO (Media Arts Network of Ontario)
Ontario Presents
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SPARC will continue to connect with supporters and new individuals/organizations to gain
support, insight and potential partners.
SPARC also plans to document its Symposium Model as it plans and delivers the 2016
Symposium. The Symposium was the product of a hard-working and ingenious collaboration
between local partners in the Haliburton Highlands who leveraged their individual networks and
contacts to solicit regional, provincial and national support. An application to partially support the
2016 Symposium has already been prepared and submitted to Canadian Heritage’s Canada Arts
Presentation Fund Development Program and includes a scale-up of the 2014 Symposium and
adjustments to improve its impact based upon the evaluation and changes with in the industry.
The 2014 Symposium has already had an impact on subsequent conferences:
The November 2014 Yukon Arts Presenters Summit borrowed several organizational
elements as well as two keynote speakers
The May 2015 Culture Grows Here event in Barrie, ON featured SPARC as a presenter
and also featured one of SPARC’s keynote speakers after reviewing SPARC’s
Symposium e-magazine.
For the 2016 Symposium, the Arts Council ~ Haliburton Highlands has stepped up to become the
lead partner for the Symposium, providing fiduciary and administrative oversight. A detailed
agreement that will serve as the template for future Symposia partners has also been developed
based upon the successful host community model from the Storytellers of Canada.
D. Other Measurements
Contact Databases
A database of contacts is developed as the foundation for a regional, provincial (potentially
national) network of creators, presenters, producers and animateurs in each of the four sectors of
performing arts measured by scope, geographic location, and quality of people identified and
engaged.
Two databases were created:
One large 400+ database of performing arts organizations and individuals, and funders
and community groups who support performing artists in rural communities (the majority
of whom have “opted in” as a result of new anti-spam legislation);
A second database created at the Symposium by participants committed to working with
SPARC to continue to work supporting and working with a rural communities performing
arts network.
Networking/Promotion
Over the last year SPARC has attended, networked and promoted SPARC at:
Ontario Nonprofit Network’s Annual Conference – Toronto, ON
Community Knowledge Exchange Conference – Toronto, ON
Youth Social Forum’s Collaboration Camp – Nobleton, ON
CAPACOA – National Conference, Halifax, NS
Culture Grows Here – Barrie, ON
Dream Big North - North Bay, ON
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Rural Ontario Institute’s Rural Focus Session on Knowledge Networks - Peterborough,
ON
SPARC has also presented about SPARC, its Symposium and Network Development at:
CAPACOA – National Conference in Halifax
Session attended by 30+ individuals from local, regional, national performing arts
organizations/networks as well as rural presenters, producers, creators and animateurs.
Culture Grows Here – Barrie, ON
Presented on panel to audience of 80+ from cultural institutions, tourism, arts service,
regional municipalities from across Southern Ontario on “Creative Approaches to
Developing Culture in Rural Communities”.
Dream Big North – North Bay, ON
Presented on panel to audience of 10+ of artists, performers, presenters, art service
organizations from Northern Ontario on “Rural Renaissance”.
Relationships
In addition to the organizations at which SPARC attended, networked or promoted the Network,
active relationships have been developed with the following organizations who have agreed to
provide resources and valuable expertise and support to the Network:
Indigenous Performing Arts Alliance
MANO (Media Arts Network of Ontario)
Work in Culture
White Water Gallery
Yukon Arts Presenters Network
Youth Social Infrastructure Collaborative
Rural Ontario Institute
Arts Nova Scotia
Atlantic Presenters
Ontario Presents
CAPACOA
Folk Music Ontario
Theatre Ontario
Professional development collaborations/partnerships
Because the Symposium was the first of its kind in Canada, the number of professional
development collaborations/partnerships as a result of new connections/relationships developed
due to the Symposium is hard to measure. However, some specific examples about which
SPARC is aware are:
Sticks and Stones Productions (formerly Highlands Media Arts): as a result of the
Symposium’s efforts to create a highly creative program opening, and creating post event
interactive e-magazines, Sticks and Stones Productions hired a number of youth to take
pictures and capture live footage of the proceedings and also hired a youth to research
and implement cutting edge media arts technology to produce and create the e-
magazines for the Symposium and Network Summit – and this youth is still working for
Sticks and Stones Productions.
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Arts Council ~ Haliburton Highlands: the Symposium led to the formation of a Network of
Rural Performing Artists. Over the past year, the Arts Council ~ Haliburton has partnered
with the Haliburton Highlands Community Co-operative to provide administration for the
SPARC Network and provide office space for the Network Coordinator. Going forward,
the Arts Council ~ Haliburton Highlands has become a lead partner for the SPARC
Network and its planned 2016 SPARC Symposium.
Haliburton School of The Arts of Fleming College: as a result of their partnership with
SPARC as the host facility for the 2014 Symposium, they were able to establish a
valuable connection with the Center for Rural Arts Development and Leadership
Education in the United States, and will be collaborating in the future.
The 14th World Festival of Children’s Theatre (WFCT): WFCT made valuable contacts
with Theatre Ontario, a number of funders and a variety of other people and
organizations. As a direct result of attending the symposium, the WFCT has formed a
Youth Artistic Advisory Committee, composed of four of SPARC’s Youth Caucus
members.
Canadian Arts Presenting Association (CAPA/COA) Erin Benjamin, Executive Director
wrote: “It was a special privilege to share important information from our Value of
Presenting study with those gathered through Inga Petri’s keynote – bringing greater
meaning to the work we do at CAPACOA and added value to our government partners,
while reinforcing the importance of rural presenting as it relates to the field nationally,
even internationally. SPARC is a catalyst for change. CAPACOA will be pleased to
support whatever next steps the community identifies as key. We are all in this together,
and this initiative, and those who emerge as its leaders, will be vital partners in ensuring
Canadians – in all communities from coast to coast to coast, benefit from the many ways
in which the performing arts enrich our lives and the cities, towns and villages where we
live.” CAPA/COA then provided a space at their 2015 National Conference for SPARC to
lead a discussion on rural performing arts and the creation of the SPARC Network.
Additional Unexpected Impacts
SPARC conducted an Economic Impact survey completed by 71 Symposium delegates.
Questions were asked about accommodation, food & beverage, art & culture and retail shopping
expenditures anticipated during their stay in the community.
Based on 130 delegates, it is estimated that the delegates injected $48,946 into the local
economy.
The direct expenditures of the Symposium in the local community were: $84,379.
The total direct injection into the local economy of the Symposium was $133,325.00
CONCLUSION
The Haliburton County Community Co-operative, the Arts Council ~ Haliburton Highlands, and
the supporting partner performing arts organizations who form the SPARC Network Steering
Committee have played a significant role promoting and developing the performing arts in rural
and remote communities across Ontario and beyond.
As this evaluations demonstrates, the SPARC Symposium represented a significant coming-
together for those in performing arts across rural Canada, surpassing funder expectations and
target objectives. Delegates shared and learned from each other as well as industry experts, and
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left renewed, inspired and with additional knowledge and tools to assist their work and
communities.
The results of the evaluation provided the empirical data that demonstrate that the project
achieved its goals and objectives; that these events served as the catalyst to create a
network of rural producers, presenters, creators, funders and community animateurs,
laying the foundation to develop and expand a network for rural Ontario and to
opportunities for sharing knowledge, resources and experience.
The Closing Plenary format and survey provided the data and formed the basis for recognizing
the need for a responsive network model specific to the needs of rural communities to support
capacity building. The results also support a creation model that is designed by rural and remote
Ontario performing arts communities to meaningfully meet the needs of and provide services to
that performing arts community.
Since then Symposium, SPARC has embarked upon the challenging and informative transition to
become the SPARC Network. This transition was affected through considerable research and
consultation with network experts, established networks and arts service organizations, and most
importantly, with stakeholders – creators, presenters, producers and animateurs in the performing
arts in rural and remote communities across Ontario. Many of these stakeholders and art service
organizations are already part of SPARC’s Network.
As the survey conducted at the Symposium demonstrates, the interest and need for SPARC’s
Network is great but the capacity of many working in rural performing arts is already full or over-
extended. In researching networks and speaking with network experts, SPARC has corrected its
expectations to allow for slower growth to allow for different levels of input and impact on its
activities from stakeholders and to ensure long-term sustainability.
SPARC has formed a Network that is 400+ strong, with a dedicated catalytic circle comprised of
its three working groups and its Network Steering Committee. In the past year, it has gained 17
new volunteers who have committed to developing the Network and assisting with efforts to
engage more stakeholders. It has also identified a suitable and successful network model and
identified areas for regional hubs/constellations. It also has begun planning for the 2016
Symposium and intends to document the Symposium model to allow other Symposia to occur
across the Province and beyond, and has developed a host community relationship with the Arts
Council ~ Haliburton Highlands based upon a successful model.
SPARC has also recently constructed its Online Network platform as part of its dynamic website.
This platform is intended to effectively connect stakeholders and amass the incredibly knowledge
and innovations residing within rural communities; in part, to better support the next generation of
rural artistic leaders and creators.
Evaluative materials from the SPARC Symposium plus SPARC’s subsequent surveys and
outreach efforts have established that the majority of those working as creators, presenters,
producers and animateurs in the performing arts want and need to connect, to share and learn
from each other and are in support of the creation of a Network to support this. SPARC’s work of
the past year has yielded a solid yet adaptive foundation to affect the next steps of Network
Development.
In order to expand the Network, connect with more stakeholders and populate the Online
Network, SPARC intends to apply for a three year Grow Grant to the Ontario Trillium Foundation.
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This funding would scale up Network efforts, assist in the formation of hubs, improve/streamline
its online presence, create services/revenue streams and support future Symposium as the in-
person event of the SPARC Network. This funding will be sought under the Connected People
Action Stream with the grant result “People have a say in shaping the services & programs that
matter to them” as SPARC’s next stage is all about connecting its stakeholders and receiving
their input in its services/program development. This grant will be applied for by partner
organization the Arts Council ~ Haliburton Highlands who values SPARC’s work and is committed
to further supporting its performing arts members and reaching out to others across Ontario.
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Resource Documents
1. Symposium E-magazine
http://www.sparcperformingarts.com/media/SPARCMainMag001/
2. Symposium 2014 Delegate List
3. SPARC Symposium Evaluation Full Results Report 2014
5. Symposium Youth E-magazine
http://www.sparcperformingarts.com/media/SPARCYouthMag001/
6. SPARC Youth Madeline Smith Reflections
http://theatreontario.blogspot.ca/2014/05/space-to-create-reflections-on.html
7. SPARC Main Services Activity Summary
8. SPARC Symposium Hopes & Dreams
9. SPARC Network Summit Participants
10. SPARC Network Summit Package
http://www.sparcperformingarts.com/wp-content/uploads/2014/09/PRESUMMIT-
PACKAGE-FINAL.pdf
11. SPARC Working Group Terms of Reference & Membership
http://www.sparcperformingarts.com/sparc/network-working-groups/
12. SPARC Symposium Network Commitments
13. SPARC Economic Impact Survey
To obtain a copy of any of the above, please contact SPARC.
Visit SPARC Online at www.sparcperformingarts.com for additional information and media.
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References
i The Value of Presenting: A Study of Performing Arts Presentation in Canada by Inga Petri, 2013,
commissioned by Canadian Arts Presenting Association (CAPA/COA).
http://www.capacoa.ca/en/services/valueofpresenting/final-report
ii Liberating Structures http://www.liberatingstructures.com/
iii The Constellation Model http://socialinnovation.ca/constellationmodel
iv The Constellation Model
http://www.hclinkontario.ca/images/Uploaded_files/2010/09/AtAGlance_CollaborativeGov_2011.pdf
v Network Building by June Holley and Valdis Krebs
http://www.orgnet.com/BuildingNetworks.pdf