Year in Review 2023/2024
Land acknowledgement:
Front cover photo credits: (From top to bottom) Jae Kim Photography, Métis Nation Saskatchewan, Kevin Hogarth, Culture Days Yorkton, FSI Studio (2023).
We are Treaty people
SaskCulture’s work and support reaches lands covered by Treaties 2, 4, 5, 6, 8, and 10, the traditional lands of the Cree, Dakota, Dene, Lakota, Nakota and Saulteaux peoples, as well as homeland of the Métis.
Table of Contents
03 04 05 06 07
Message from the Chair
Message from the CEO
Staff and Board 2023/24
SaskCulture Mission, Vision, Ends and Strategic Priorities
Members say.........2023 Membership Survey
Strategic Priority 1: Funding is Sustainable
and Adaptable to Changing Needs 08
Strategic Priority 2: Improve Inclusiveness, Diversity,
Equity, and Accessibility of Cultural Activity 18
28 29 26
SaskCulture Financials
Board and Committees
Culture Section of the Sask Lotteries Trust Fund for Sport, Culture and Recreation
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the Chair Message from
Reflecting on the year that has passed, it is heartening to see that more and more people are returning to the cultural activities they enjoy. Festivals are reporting stronger attendance, students are returning to weekly lessons, people are visiting galleries, museums and heritage sites, and communities are filling up their schedules with varied cultural events and activities. With this increased activity we see that applications for funding are on the rise. While some cultural experiences are still working to return to pre-pandemic levels, the cultural community as a whole has rallied and re-engaged many Saskatchewan audiences and participants, both in-person and online, who appreciate and value cultural activity in their lives. Just as pleasing, in May 2023, SaskCulture, alongside our partners Sask Sport, Saskatchewan Parks and Recreation Association and Government of Saskatchewan, renewed the Lottery Licence Agreement for six years (2024-2029) with a 3.75 per cent lottery licence fee. As long as lottery ticket sales remain strong, this lottery agreement guarantees eligible sport, culture and recreation organizations will continue to benefit from Sask Lotterie's proceeds. Thanks to this funding, residents benefit from a wide range of cultural programming and services, which foster the growth of inclusive and engaged communities and contribute to individual well-being, community pride and overall quality of life throughout the province. It’s important to note that by signing this agreement, SaskCulture agrees to help distribute funding to support these six public interest priorities: engaging diverse populations and creating inclusive communities; building community capacity and leadership engagement; supporting quality programs, facilities and environments; increasing accessibility; recognizing excellence and
celebrating achievements; and supporting individual well-being and active, healthy lifestyles.
Along with community needs, SaskCulture takes these priorities into consideration in its planning and review of funding options. It is hoped that the Funding Program Renewal Project currently underway will help us support an inclusive, diverse, equitable and accessible cultural community into the future. As this is my last year as Chair, I want to take this opportunity to say a special thanks to my fellow Board members and to Dean Kush and the amazing SaskCulture staff for all their hard work and support throughout this busy but exciting year. In addition, a very large thank-you to the many members and community cultural leaders who are working each day to support Saskatchewan’s dynamic and vibrant cultural experiences. Their work, along with the dedication of the SaskCulture Board of Directors and SaskCulture’s staff team, is contributing to engaging residents in meaningful cultural experiences and creating a culturally vibrant Saskatchewan.
Sincerely,
Jan Seibel
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the CEO Message from
This past year has been a testament to the resilience of Saskatchewan’s cultural community. There is still a lot of uncertainty out there, but the increased applications to SaskCulture’s funding programs show a province eager to engage in cultural activities. Cultural groups and communities are hosting more and more arts, heritage and cultural programming, providing a sense of optimism in turbulent times. Programs such as Culture Days Saskatchewan, which sponsored 31 hubs last year, saw over 45,000 people participating in person and even more online–a 14 per cent increase from the previous year. Applications to Creative Kids also increased 24 per cent since 2022. Fortunately, the applications we were able to approve also increased by approximately 6.7 per cent. Since its inception in 2010, Creative Kids has been able to fund nearly 14,000 applications in 266 communities across this province to the tune of almost $7 million dollars, thanks to the generosity of donors, sponsors and support from Sask Lotteries. Applications to SaskCulture’s other funding programs also rose last year. The Multicultural Initiatives Fund saw a record number of applications, an increase of 34.2 per cent, (55 applications in 2023/24, compared to 41 applications in 2022/23). In addition, our work this year with Gabriel Dumont Institute and the Northern Sport, Culture and Recreation District also yielded promising results with a 31 per cent increase in applications and confirmed our shared delivery granting model can deliver to the people of Saskatchewan. We also held the Museum Grant Program adjudication in 2023, which saw a record 113 museums receive their funding allocations for the next two years. In February 2024, SaskCulture held its three-year adjudication of Annual Global Funding. I want to thank the peer assessors who waded through hundreds and hundreds of pages of applications to determine funding levels. This fund, which supports 30 provincial cultural organizations, supports the core of cultural programming in the province. I want to commend the Eligible Cultural
Organizations on their efforts in these applications to demonstrate their impact in the province.
Besides increased applications, we were also able to move forward with several key projects this year. The launch of the Building Arts Equity: BPOC funding program in May, in partnership with SK Arts and the Multicultural Council of Saskatchewan, was a huge success. This program, delivered by SK Arts, helped validate our organizations’ continued efforts to move towards a participatory granting model. Our Funding Program Renewal Project continued with some pilot projects on evaluation, as well as finalizing our research objectives that will guide us through our consultation process in 2024/25. Also, work with Sask Sport, the Saskatchewan Parks and Recreation Association and the Districts for Sport, Culture and Recreation, continues to help renew the framework that will ensure continued support for communities all across Saskatchewan. As always, we are deeply thankful for Sask Lotteries Trust Fund for Sport, Culture and Recreation. Revenues continue to be stable and we all should be thankful to have this one-of-a-kind funding structure in our province. Thanks to Minister Ross and the staff at the Ministry of Parks, Culture and Sport for supporting the lottery system and for working with us to build a more culturally vibrant Saskatchewan. Finally, thank you to the SaskCulture board members and to all of our peer assessors and volunteers for all your efforts. To the SaskCulture staff team, I will always sing the praises of your work. You all inspire and energize me throughout the year.
Sincerely,
Dean Kush
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Staff 2023/24
Row 1 (L-R): Abiodun Oyelami, Alejandra Coronel, Alex Rogalski, Ana Cristina Camacho, Busayo Osobade, Catherine Folstad. Row 2 (L-R): Damon Badger Heit, Dean Kush, Tara-Leigh Heslip, Diane Ell, Elizabeth Akinyemi, Gloria Walsh. Row 3 (L-R): Jackie Ledingham, Lorelie DeRoose, Nichole Williams, Paul Gingras, Shawn Bauche, Shelley Fayant. Row 4 (L-R): Dennis Garreck (retired May 2023).
Board 2023/24
Row 1 (L-R): Christine Ruys, Heather Cline, James Ingold (Past Chair), Jan Seibel (Chair), Joanne McDonald, Lamarr Oksasikewiyin. Row 2 (L-R): Les Oystryk, Yvonne Hotzak, Roy Lavallee (appointed November 2023), Melanie Sunchild (resigned July 2023), Candice Evans-Waite (resigned March 2024).
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Culturally Vibrant Saskatchewan SaskCulture has a Vision for a
Mission
Vision
SaskCulture unites the cultural community and works to advance the cultural vibrancy of the province.
SaskCulture strives to build a culturally vibrant future in which all people in Saskatchewan, individually and collectively, celebrate, value and support participation in, and access to, cultural experience.
Principles and Values
SaskCulture supports engagement in cultural experience. Cultural activity / Engagement / Experiences / Revitalization
SaskCulture provides equitable and fair access to resources.
Sask Lotteries / Transparency / Accountability / Effectiveness / Delivery / Cultural impact / Accessibility / Unique service
SaskCulture will be responsive to people within Saskatchewan.
SaskCulture recognizes strength in common purpose.
Diversity / Inclusivity / Democratic process / Accessibility / Equity / Multiculturalism / Reconciliation
Cohesiveness / Collective effort / Advocacy / Cooperation / Partnership / Volunteerism / Cultural work / Treaty peoples
SaskCulture works to build a culturally vibrant Saskatchewan, where… • People of Saskatchewan actively value, support and participate in culture; and • The cultural eco-system in Saskatchewan is accessible, inclusive and sustainable. SaskCulture Ends
Photo by Kevin Hogarth (2023).
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Members say...
2023 Membership Survey In May 2023, SaskCulture asked its 160 member organizations and individual members how they felt about some of the key issues impacting their work in cultural activity. Over half, 103 members responded, providing us with some interesting insight into who is supporting cultural activity in the province.
Members who currently offer programs for specific equity-deserving groups
Members who responded
78.3% Funding to sustain operations Top issues for members
103 respondents say they have employees who are: who are:
68.4% (72) respondents say they offer programs for specific equity- deserving groups
77% 54.9% 56.9% 51% 43.1%
Under 29 years
Black/People of Colour People with disabilities
2SLGBTQIA+
67.5% Advance IDEA
First Nations or Métis
103 respondents say they have Board Members who are: who are:
66.9% Public value/ participation 62% Truth and Reconciliation
56.9% 56.9% 43.1% 38.9% 36.1% 43.1%
29.2%
48.4% 48.4%
40.3% 64.8% 35.5%
First Nations/Métis peoples
People with disabilities
Under 29 years
Black/People of Colour Living in remote areas
Immigrants <10 years
People living in remote areas
2SLGBTQIA+
BPOC
First Nations or Métis
People living in the North
2SLGBTQIA+
l
h
n
r
25.7%
Slightly less 14.9%
2.7% Not very likely
Somewhat unlikely
Really well 16.7%
Much less 5.1%
Somewhat likely 20.3%
Not very well 5.6%
53.6%
More Much more 31% 49%
Very likely 51.3%
Somewhat not well 24.1%
Somewhat well
g
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STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Increasing effectiveness and sustainability of funding
Deeper understanding of different value-based needs, key to funding renewal
Learning how to connect to a greater diversity of people and perspectives is key to building a better funding model that will be sustainable into the future. This past year, SaskCulture continued to move forward on the multi-year Funding Program Renewal Project, designed to ensure that dollars from the Culture Section of Sask Lotteries Trust Fund are used to benefit the people in Saskatchewan. In particular, the renewal process is focused on supporting Inclusion, Diversity, Equity and Accessibility (IDEA), advancing Truth and Reconciliation, establishing value-based evaluation and helping to ensure the sustainability of Saskatchewan’s cultural sector. “We spent the year learning more about the impact of current funding and exploring some of the barriers to funding that need to be addressed,” says Dean Kush, CEO, SaskCulture. “At this point, we are continuing to improve our understanding of value-based evaluation options, more participatory granting processes, the challenges faced by equity-deserving groups, as well as identifying objectives for future research and consultation.” The work over the past year included small pilot studies, performed by Reciprocal Consulting, from April to June 2023, which identified stakeholder feedback on evaluation tools, contributing to a wider framework that could be used to measure progress on inclusion, diversity, equity and accessibility, as a result of funding support. The process included a focus group and surveys of grantees, members, staff members and volunteers. According to Catherine Folstad, Supervisor, Granting and Technology, “The results of the pilots helped us better understand the tools needed to assess stakeholder awareness and alignment with IDEA and Truth and Reconciliation in their programming, services and decision- making.” The pilots helped refine questions that can
be used to collect input on funding program delivery, identify ways to improve delivery processes, learn more about equitable funding practices, including barriers and enablers, as well as measuring the Board and staff’s support for change going forward. SaskCulture recognizes the importance of helping the community learn and implement value-based evaluation practices. The Reciprocal report outlined the value of this type of data collection and analysis, as well as key policies that can be used by SaskCulture and others to ensure evaluation practices are ethical, safe, consistent and less of a burden. “By identifying and focusing on values, we can facilitate a way for SaskCulture and potential grant recipients to communicate about a funding program’s goals and intentions, provide a critical lens for interpreting outcomes and impacts, help establish value-based measurements and ensure the program is adaptable to changing circumstances.” – Catherine Folstad Folstad also noted that, evaluation data can be used to track the impact of the funding system, as well as to help advocate for necessary changes required to address the needs of the people in Saskatchewan. Kush adds that SaskCulture’s Funding Program Renewal Project also benefited from working with SK Arts on the Share and Connect and the Building Arts Equity: BPOC grant programs over the last year. “For both of these grants, we were able to explore and learn from the hands-on process of using participatory grant-making to become more responsive to the needs of equity-deserving
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groups,” he says. “It’s been a positive experience seeing community members be actively involved in the development and implementation of a grant program designed to meet their needs.” As part of its learning process, SaskCulture commissioned two reports designed to identify practices that help engage and support cultural engagement and access for people with disabilities and 2SLGBTQIA+ communities. Folstad notes that, “Each of these groups face different barriers to accessing cultural funding and these reports are helping us get a better understanding of some of the systemic issues, challenges, as well as funding delivery options already in use by other funding bodies.” Kush adds that much of the work in 2024 will focus on consulting with the wider cultural community. Over the past year, SaskCulture made progress on identifying its research objectives and establishing preliminary consultation plans. “It’s time to take some of what we have learned out to the community to get their input,” he says. “Community input, particularly from equity-deserving groups, will help us in identifying the key changes that need to take place to support an inclusive, diverse, equitable and accessible funding delivery system going forward.”
Progress was made on building equity in arts funding by working with community partners on a new grant. Photo by Ali Lauren, MCoS (2023).
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FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Increasing access to funding
Small grant has big impact for Sounds of Afghanistan
For years, music provided an outlet for one particular Afghan refugee group to advocate for the "voiceless" women in Afghanistan. When the Taliban seized power in their country, members of the musical group Sounds of Afghanistan fled to Saskatoon in 2021. While adjusting to life in a new country, they continued to perform and look for ways to get their messages out to the wider community. The group’s access to the Small Grant Accessibility Program (SGAP) provided them with the support to continue their role of healing and spreading their message through music. SGAP was designed to support first-time or under-served applicants undertaking unique and innovative cultural initiatives that respond to emerging needs. Maryam Masoomi, youth program facilitator, Saskatoon Open Door Society (SODS), was part of the musical group back in Afghanistan. In her role with SODS, she initiated the revival of the music group Sound of Afghanistan, which encourages Afghan youth, mainly girls from ages 12 to 23, to use their voices, find community, and build teamwork skills. “As you know, girls are not allowed to go to school in Afghanistan. The group wants to be a voice for other girls in Afghanistan. They also want to showcase and share their culture,” she says. “During one of the group’s performances on Canada Day, I saw their parents crying because they were so happy. The girls were so happy.” Masoomi says the music group is Saskatchewan’s first Afghan music cultural group and has performed at the Saskatoon Folkfest, Canada Day, and other cultural events. The group’s successful application to SGAP in 2023 paved the way for further project support from SaskCulture’s Multicultural Initiatives Fund. Fourteen-year-old Sajadia Ahmadi is one of the group’s youngest members. She says, “I really like singing. It feels so good when you introduce your culture to others and inspire them through our beautiful songs. I feel privileged when the audience gives us so many positive comments
about our performance, costumes, and beautiful culture.”
Harjeet Kaur, youth program team lead, SODS, says singing is helping the youth to heal from their experiences. “Singing brings joy and pure love, and it helps to heal,” she says. “With the extra support, we were able to purchase dresses for these participants. They loved it and flaunted it. We used some for transportation as well.” Kaur adds that the team plans to create a dance group for younger participants. “The plan is to get the girls to mentor these younger kids. We will then loop them into the music group later. This will help with our sustainability plan.” Since launching in 2021, the Small Grant Accessibility Program has helped over 49 new and under-served groups seeking support for their programs.
The Sounds of Afghanistan group was able to bridge to other funding programs thanks to the SGAP funding. Photo courtesy of SODS.
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STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Raising awareness for funding the arts Report demonstrates economic impact of arts funding in Saskatchewan
People need to understand that the arts have a significant economic impact in the province. A report, released in 2023, showed that for every $1 million invested by the province, SK-Arts-funded organizations were able to leverage over $2 million from the federal government, $1.8 million from the private sector, $1.75M from the municipal government, as well as generating $1.2 million in earned revenue. The Economic Impact of Arts Organizations Funded by SK Arts , released by Saskatchewan Arts Alliance (SAA), in November 2023, demonstrated the economic contributions made by funded arts groups. The report, based on Statistics Canada input-output multipliers, showed that for every dollar invested by the provincial government, arts organizations generated another $13.70 of economic output. “People involved in the arts inherently understand the benefits they bring to our quality of life, but there is an ongoing challenge to articulate those benefits to others in a measurable way,” says Em Ironstar, executive director, SAA. “This is something that we needed to be able to accurately talk about... what the arts and culture contribute to the economy of our province.”
The SAA decided to develop the economic impact report to help assist in advocating for increased resources for the arts, says Ironstar. Many arts organizations continue to face financial struggles and more discussions are needed to demonstrate the value of investment in the arts. “Without those investments at every level, from federal funding to private sector funding, an arts organizations’ ability to leverage additional dollars is really weakened,” Ironstar says. Since its publication, the SAA has been bringing the report to MLAs across the province, using the data as a starting point to build new relationships with government officials. “We’ve had really meaningful conversations that start from a common starting point of economic impact,” Ironstar says. Going forward, there are plans for SAA to continue building these relationships across the province as part of its advocacy work, aided by further research into the economic impact of the arts. “It is really important to invest in these arts organizations and experiences, and in the cultural life of our province,” Ironstar says. “This research is building the tools that we need to have these conversations.”
Revenue generated per $1 million invested
Revenue generated:
From:
$2,060,045.21
Federal government
$1,856,854.48
Private sector
$1,758,164.49
Municipal government
$1,265,850.96
Earned revenue
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STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Helping children and youth access cultural activities
Former Creative Kids recipients now champions for cause
When Cole Knutson was a child, he received Creative Kids support to pursue saxophone and piano lessons. Today, he is one of several former funding recipients who have stepped forward, eager to tell how they benefited from cultural activity and support from Creative Kids. Since its formation in 2010, Creative Kids has helped support thousands of children and youth, who faced financial and social barriers, access meaningful ongoing arts and cultural activities. By providing grants of up to $750 per kid, it makes a difference. The program appreciates hearing from former recipients who, after receiving this support at an early age, see it as contributing to their success. Now a successful professional musician, Knutson reached out to ask if he could give back by sharing his story. “The Creative Kids funding literally changed the course of my life. I developed skills that helped me deal with adversity. I gained a sense of belonging and I found my purpose,” he says. “I have had the distinct pleasure of living a rich life as a musician. My life has been so greatly enriched by such beautiful people, travels, experiences, and music.” Over the past decade, Knutson was awarded a number of scholarships that have allowed him to study abroad at prestigious music schools and perform at venues around the world, such as Carnegie Hall. He says, none of it might have been possible if it weren’t for the support from Creative Kids, which enabled him to explore his many artistic curiosities and grow as a musician. Brianna Dash, another Creative Kids recipient, was also eager to share her story. Dash became the first in Canada to complete the Advanced Solo Award Ballet exam, the highest ballet level within the Canadian Dance Teachers’ Association (CDTA). She attributes the support from Creative Kids, along with the skills she developed from her dance experience, as key to her success. She adds that learning to set goals and maintaining the discipline to achieve them are benefits of her dance instruction.
dance grew, as did my skills as a dancer and I was able to achieve this goal.” Dash credits her long-time dance teacher Melissa Wallace, owner of The Dance Studio of Swift Current, for her dance training and for helping her access Creative Kids. Youth participation in cultural activities leads to many long-term benefits. According to Gloria Walsh, manager, Creative Kids, “Cole and Brianna’s stories echo what the research on the benefits of arts and cultural activities has shown for years. When kids are able to participate in dance, theatre, music, art and cultural activities, it leads to successful milestones in adulthood.” In 2023, Creative Kids was able to support 1,313 more kids. “Unfortunately,” says Walsh,” due to limited funds, we were unable to fund an additional 508 deserving kids.” Walsh adds, “Thanks to Cole and Brianna sharing their stories, donors and sponsors may be inspired to give when they see why program costs should never be a barrier to getting kids involved with a cultural or creative activity of their choice.”
Brianna Dash (middle) says the Creative Kids funding helped her maintain her dance training, which led to her success. Photo courtesy of Melissa Wallace.
“Thanks to the Creative kids support, I was able to take so many different classes,” says Dash. “My passion for
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Successful musician Cole Knutson (right) stepped forward over this past year wanting to give back to the charity that opened up opportunities for him when he was most in need. Photo courtesy of Cole Knutson.
Our impact since 2010 Increasing funding
13,902 Applications funded
266 Communities supported
5,979 Facebook followers
$6.66 Million granted 598
Help us meet the need of every deserving child or youth by providing them with the opportunity to creatively engage their minds.
Music, dance, theatre, art, and cultural instructors paid
Make a donation at CreativeKidsSask.ca or call toll free 1-855-277-9469.
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STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Supporting sustainability of community culture
Culture 365: Enjoying cultural experiences year-round
Highlighting cultural activities all year-round is a great way to keep people engaged. Culture 365, a nation-wide initiative linked to Culture Days, was launched in Yorkton to increase the engagement of residents in the cultural life of its community. Who wouldn’t want to celebrate Culture Days all year long? Culture 365 was identified nationally as a means to keep Culture Days going throughout the year. Culture Days, held annually, encourages people to engage in free, interactive cultural activities held in communities across the country. In 2023, Culture Days in Saskatchewan, coordinated by SaskCulture, connected over 45,000 people to 295 cultural experiences in 45 communities scattered throughout the province, over a period of three weeks. Some communities, such as Yorkton, adopted Culture 365 to keep the celebration going. “The question came up, ‘Why don’t we do this all year ? Why does it have to be just those three weeks between September and October ? ’” says Lisa Washington, manager, community culture and heritage, City of Yorkton. “We also want to send the message that cultural activities and their benefits are available year- round and encourage people to support the artists and creators in their communities.” The initiative evolved from conversations with community artists and creators involved in Culture Days. The first Culture 365 event, Jamaican Cooking Class, held January 24, 2024 was hosted by 306 Nyammings , engaged community members in the tradition of authentic Jamaican cuisine. Taynika Walker, one of the company’s founders and class facilitator, taught participants how to make fried green plantain, known as Tostones, served with corned beef and sweet corn. Washington says the class was well received by participants, “opening people’s awareness and taste buds with different cooking styles.” She says that exploring traditional cooking techniques
helps others, “see things from a different point of view and it's a great way to learn about other cultures.”
In addition, Angelina Kardynal facilitated a needle-felting class in February 2024 and plans are underway for a macro-photography class facilitated by Shannon Erickson, as well as a henna painting class. So far, the activities have been popular. Washington says, “The cooking and needle- felting classes had 20 participants each, and the seats sold out quickly.” She says there are plans to organize online arts or culture activities for people who cannot attend the classes in person. SaskCulture continues to lead Culture Days Saskatchewan each year. It offers Culture Days Hub Sponsorships that support communities such as Yorkton. Washington appreciates SaskCulture’s support of Culture Days in Saskatchewan. She encourages communities to delve deeper into cultural activity that exists in the community, as well as the individuals involved. “There are artists who can teach about their own cultures—think of Culture Days as a celebration of who is in your community, not what is in your community.”
Yorkton residents learned how to make Jamaican cuisine as one of the Culture 365 events held throughout the year. Photo courtesy of Culture Days Yorkton.
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2023
The 2023 Culture Days Hub Sponsorship recipients
20
31
Hubs focused on Truth and Reconciliation
Hubs sponsored
Town of Gull Lake
City of Prince Albert
Sri Lankan Association of Regina Inc.
Melfort and District Museum
Town of Assiniboia
City of Yorkton
100,000+
Town of Carrot River
City of Swift Current
Willow Bunch Museum & Heritage Society Inc.
Nutrien Wonderhub (Saskatoon)
participated digitally and in-person
Regina Public Library
Town of Porcupine Plain
RISE UP Community Advisory Foundation
Oxbow & District Recreation Board
Silton Recreation Board
10,000 Est. attended National Day for Truth and Reconciliation events
Art Gallery of Regina
Village of Hazlet
Last Mountain Lake Cultural Centre
Beauval Minor Sports and Recreation
Nuit Blanche (Saskatoon)
City of Humboldt
The Reading Place (Battleford)
Climax Community Museum
295+
Saskatchewan Craft Council (Saskatoon)
Meadow Lake Library
Listen to Dis’ Community Arts Organization Inc.
City of Lloydminster
registered activities offered in-person, online and outdoors
Town of Lumsden
Free Flow Dance Theatre Inc.
City of Weyburn
Grand Coteau Heritage & Cultural Centre (Shaunavon)
About
45,000 Est.
$98,440 in support
attended in person
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STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Strengthening capacity-building for growing organizations
AFCS helps local Centres address capacity for cultural programming
In recent years, many Aboriginal Friendship Centres in the province saw unprecedented growth and demand for more culturally relevant programming. To help support this growth, the Aboriginal Friendship Centres of Saskatchewan (AFCS), worked with these centres to offer different capacity-building initiatives designed to help support staff in delivering meaningful cultural programming and services to their large and diverse communities.
Alicia Buckley, program director, AFCS, says that AFCS actively engages with urban Indigenous communities to identify and address their needs through evidence-based research and community consultations. “We’re seeing policy changes and public awareness changes that are really changing the way we address urban Indigenous people,” she says. This process helps identify programming priorities. The AFCS currently focuses on supporting different types of cultural capacity-building programs, such as Cultural Humility Training, which raises awareness of the barriers and the issues that Indigenous peoples face when accessing services. Cultural Humility Training was originally offered to over 1,800 staff of the Saskatchewan Health Authority. The one-day course, featuring Saskatchewan-focused information, is currently available to the public. Other capacity-building programs offered through AFCS include, “Honouring Her Spark” which supports Indigenous women’s and 2SLGBTQIA+ individuals’ economic empowerment, and a Safe Space Strategy, currently in development with partners from the Sexual Assault Services of Saskatchewan and OUTSaskatoon, aimed to address gender-based violence on Indigenous women and 2SLGBTQIA+ individuals. AFCS expanded from two employees in 2018 to 12 full-time permanent staff members this past year. Its work enables cultural leadership and connections essential to supporting inclusion, equity and accessibility, as well as advancing Truth and Reconciliation in different ways. As AFCS continues to expand as an organization, Buckley says the organization’s growth reflects a commitment to diverse representation and inclusivity in the workplace, which mirrors the welcoming nature of Friendship Centres to individuals of all backgrounds. “We welcome anyone and everyone. There is a reason why ‘Friendship’ is in the name of Friendship Centres.”
Aboriginal Friendship Centres of Saskatchewan addressed capacity-building through the development of new initiatives, which strengthened their programs. Photo courtesy of AFCS.
According to AFCS, Aboriginal Friendship Centres remain integral for Indigenous people in Saskatchewan who have moved from reserves to urban areas as they provide a sense of cultural identity, safety, and community engagement. Important gathering spaces, these centres offer a wide range of programs and services tailored to meet the diverse needs of urban Indigenous populations, supporting physical, mental, cultural, spiritual well-being, and intellectual development. “It’s very precious,” says Morgana Machea, manager, Safe Space Strategy, AFCS, of the role of Friendship Centres. “It’s the place to reconnect with your culture or to practice your culture. There are many generations of folks who still rely on Friendship Centres to have that connection.” AFCS, which receives Annual Global Funding from Sask Lotteries Trust Fund, serves as their advocate, support system and collaborator to help build capacity among centres to deliver culturally responsive programming.
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STRATEGIC PRIORITY 1 FUNDING IS SUSTAINABLE AND ADAPTABLE TO CHANGING NEEDS
Improving process for volunteers
Online Grant Platform improves user experience for assessors
Determining how grant funding is distributed involves reviewing multiple applications, evaluating each against grant criteria, as well as meeting and discussing as a panel before making final decisions. New updates to SaskCulture’s Online Grant Platform (OGP) were made this year to make this process much easier and accessible for volunteer assessors. The updates to the Assessor Portal of the OGP were identified from feedback collected from past assessors hoping to improve their experience. New features included tools to keep tabs on application scores and to increase access to relevant documents and different parts of the application. “The goal was for clear, intuitive access to information,” says Catherine Folstad, supervisor, Granting and Technology, SaskCulture. “The OGP is already fairly user- friendly, but when using the system for grant applications that have large amounts of data and information, we wanted to use technology as a meaningful resource.” Increasing the efficiency of the portal and decreasing the time needed to learn how to use the system is a priority. Volunteering as a peer assessor can be a significant time commitment, so the system needs to support rather hinder the work.
“Volunteers are busy. So anything we can do to help them with the process helps to ensure volunteers are satisfied and have a positive experience with SaskCulture,” says Folstad, “And, help ensure that they will want to come back and volunteer again in the future.” Another recent addition to the OGP is an accessibility widget that lets all users change the display features to change font, size, spacing, contrast and more. This feature makes it possible for users to address their individual needs and preferences. This addition is one step towards enhancing accessibility on the OGP. As for future updates to the platform, Folstad says that there are many priorities for the year ahead, including continuing to add more flexibility into the system to help support different formats of funding delivery, such as use in participatory grant-making. As for the Assessor Portal, SaskCulture will continue to adapt to make sure technology is an asset for all volunteers. “Volunteers are important to SaskCulture and the peer assessor process is pretty special — assessors are volunteers, giving back to the community by being part of the funding process.”
Improvements to the Online Grant Platform (OGP) provide volunteer assessors increased access to information needed for assessing SaskCulture grant applications.
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STRATEGIC PRIORITY 2 IMPROVE INCLUSIVENESS, DIVERSITY, EQUITY & ACCESSIBILITY OF CULTURAL ACTIVITY
Increasing equity, leadership and accessibility
By us for us: Innovation towards equity in arts funding
Organizers acknowledge that using the acronym BPOC, to recognize people of African, Black, Asian, Latin American, Caribbean and Middle Eastern descent, is an imperfect term that is not agreeable to all who are involved in this process. Using a name or acronym to identify numerous distinct cultures is challenging. While BPOC is currently being used for this program, all partners will strive to identify specific peoples involved where possible. Chancz Perry, program consultant, diversity and inclusion, SK Arts, says, the first round of funding had 33 applicants and successfully met some of the aims identified through the consultations. “Because this funding program focuses on BPOC people, it creates an invitation for people who might normally not know, or not normally apply,” he says. “It encourages them to pursue funding so that they can create and develop new work that can be traditional, contemporary or non- traditional.” At the first allocation, artists of colour that applied were able to connect with others from their artistic and cultural communities, as well as, artists from other ethnocultural communities, which provided opportunities of learning, mentorship and empowerment. As a result, 14 artists received funding from this program, and applicants had the opportunity to be involved in assessing their peers proposed projects. Perry adds that, “As a result of the applicants having access to many other applications through the assessment process, they saw some of the strengths in other people's writings. Learning how other artists approached writing the grant helped them to see how they could improve their own application the next time they applied.”
The new Building Arts Equity: BPOC (Black and People of Colour) Program was specifically designed by and for artists of colour who have been marginalized and excluded from arts funding. The inclusive and equitable program design, resulted in many new first-time applicants and another success with the participatory grant-making process. Leading up to this point, SK Arts and SaskCulture, in partnership with the Multicultural Council of Saskatchewan (MCoS), brought together artists from African, Black, Asian, Latin American and Middle Eastern descent in Saskatchewan to develop a grant program that would best meet their funding needs and eliminate identified barriers to access. These consultations, part of the participatory grant-making process, led to the development of a grant program designed for these communities, by these communities. “When we take direction and listen to the people who are experts in their cultures and their arts practice, we find out how to best support them,” says Damon Badger Heit, supervisor, Partnership and Inclusion, SaskCulture. The partners were involved in the creation of the Share and Connect grant in 2022 that used a participatory grant development to ensure more funding was accessible by Indigenous artists. “It creates a reciprocal relationship that we can continue to refine and improve. Community-led solutions build accessibility, equity and opportunities for arts activities that are truly informed by all the cultures present in Saskatchewan.” He says, when equity-deserving communities are consulted through a participatory grant-making process, their needs are bettered identified and it results in empowered solutions. The consultations identified a number of ways to better support artists of colour in Saskatchewan, such as mentorship opportunities, support for newcomers to find and apply for the grant, the need for authenticity of expression in their own culture and art, community-led knowledge transfer, as well as increased recognition, value, and respect for the diversity of the BPOC community.
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The Building Arts Equity program brought together artists of colour from African, Black, Asian, Latin American, Caribbean and Middle Easter descent to create a funding program that met their needs. Photo courtesy of SaskCulture.
Aster Ghebermicael, an applicant and assessor for the first round of funding, says she was surprised when she discovered a grant that she could apply to based on her cultural heritage. “I didn't think there would be a grant for someone just like me,” she says. ”I loved to see that there is this movement of welcoming other cultures to show their artistic side, as I feel like we all want to be seen and heard. I had such a huge network of artists open up to me that are willing to mentor and help me out the next time I apply. It was such a learning journey.”
Rhonda Rosenberg, executive director, MCoS, says “I am excited to learn from Building Arts Equity and I hope to see other grant programs, in our own organizations and beyond, implement approaches based in collaborative relationships and equity to address barriers related to racism and oppression.”
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STRATEGIC PRIORITY 2 IMPROVE INCLUSIVENESS, DIVERSITY, EQUITY & ACCESSIBILITY OF CULTURAL ACTIVITY
Increasing learning opportunities for community
New ideas for cultural leaders
Effectively leading a cultural organization requires an openness to change and growth. There are always new ideas, topics and leading practices waiting to be explored. This past year, SaskCulture offered members and others in the community several learning sessions on topics of interest. These online Lunch and Learn sessions were designed to provide cultural leaders with a quick introduction to emerging topics, along with ideas they could immediately put into practice.
In December 2023, cultural leaders were invited to attend Artificial Intelligence (AI): Myths, Needs, and Opportunities , presented by Amy Sample Ward, CEO, NTEN. Participants learned about AI, its current uses, as well as its potential to support work processes. The session focused on developing equitable practices and sound policies to guide the use of AI in organizations, as well as efforts to eliminate bias in results. In January 2023, SaskCulture’s Communication Manager Diane Ell presented on Strengthening Your Social Media Marketing in 2024 . This session focused on ways non-profit cultural organizations could build their organization’s social media presence by developing a strategy, effectively using tools, and designing and sharing value-added posts for intended target audiences. Later in February 2023, SaskCulture offered Intro to Cultural Humility Training presented by Melody Wood, of Aboriginal Friendship Centres of Saskatchewan (AFCS). The presentation provided an overview of the training program offered by AFCS designed to help participants gain knowledge and tools/techniques to create and offer culturally safe and inclusive programs and services for racialized and marginalized communities. Originally developed for use in the health-care sector, the program has been redeveloped by AFCS into a three-hour session of interest to the wider community. By fiscal year-end, SaskCulture was already planning more sessions for the upcoming year, including a session on Governance to be presented by Dawn Martin. Other topics identified in the 2023 Member Survey are being explored.
SaskCulture continues to offer learning opportunities to the cultural community that explore new ideas to support changing needs. Photo by Alex Rogalski, SaskCulture.
In November 2023, SaskCulture offered Financial Health & Sustainability for Non-Profits presented by James Barr and Diana Leray, from KPMG. The session covered how board members should review an organization’s financial statements and how to understand risks such as the potential misuse of funds or failure to adhere to laws and regulations. Different types of fraud, such as funding fraud, embezzlement and vender fraud, were discussed along with important systems of control.
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STRATEGIC PRIORITY 2 IMPROVE INCLUSIVENESS, DIVERSITY, EQUITY & ACCESSIBILITY OF CULTURAL ACTIVITY
Building cross-cultural understanding Fostering a deeper understanding of Reconciliation for newcomer youth
Interested in addressing Truth and Reconciliation, the Regina Open Door Society (RODS) remains committed to offering programming designed to help newcomer youth gain a deeper understanding of the injustices faced by Indigenous peoples. By acknowledging the past in an inclusive way, the engagement sessions, led by local Indigenous leaders, helped to break down stereotypes and promote respect for Indigenous identities and perspectives. The Youth Indigenous Education program, developed by RODS, offers an immersive and inclusive learning environment that furthers newcomers’ understanding of the land they now call home. The INVOLVE program, focused on Integrating Newcomers with Volunteer Opportunities to add Leadership Value through Education, includes hands- on workshops, led by Indigenous community members, to ensure that the work of Reconciliation can be put into action. Both programs have received support from the Multicultural Initiatives Fund over the years. “Sometimes people who are new to this place might have preconceived notions or opinions about Indigenous people that may not be correct,” says Joely BigEagle, an interdisciplinary artist and the co-founder of Buffalo People Arts Institute, who helped facilitate the sessions. “So it is important for there to be a point of connection to share the truths about how Indigenous people shaped and influenced Saskatchewan and Canada, as the original peoples.” She appreciated the opportunity to share her creativity and culture with these newcomer youth, while being a positive role model from the community. Participants in the sessions learned about the history and inter-generational impact of the residential school system and other colonial policies on Indigenous peoples and communities. According to Zuhal Latif, team leader, Welcoming Community For Newcomers, “Learning about these historical injustices is crucial for recognizing their ongoing impacts and the need for Reconciliation. [The engagement sessions] are able to provide participants with skills and strategies for engaging with Indigenous communities in respectful and meaningful ways.”
The sessions have included a variety of hands-on learning opportunities such as field trips to Wanuskewin, Indigenous- led cooking classes, as well as attending pow wows around the community. Latif says that, while there can be struggles to appropriately address some of the more complex issues of colonization, RODS has expressed a feeling of pride in fostering respectful and meaningful connections between Indigenous and newcomer populations. As for BigEagle, she feels the cultural-sharing and knowledge exchange has led to incredibly positive outcomes. “I loved working with the youth from other countries. Even though they may have had various issues of why they had to leave their country, they were all very positive youth, eager to learn and be engaged in the activities.”
Newcomer youth had the opportunity to gain a deeper understanding of Indigenous experiences and perspectives through programming from the Regina Open Door Society. Photo courtesy of RODS.
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STRATEGIC PRIORITY 2 IMPROVE INCLUSIVENESS, DIVERSITY, EQUITY & ACCESSIBILITY OF CULTURAL ACTIVITY
Increasing preservation of Northern languages
Northern community uses art and technology in language revitalization project
Visual artist, Michéle Mackasey has always felt strongly about the importance of language. In 2023, she knew her next art project would have to somehow advance language revitalization in an inclusive and accessible way that would give youth and their families the opportunity to learn by using a hands-on approach. After seeing online interactions that utilized the Dene language on social media platforms, she decided on an art project that would further develop how the Dene language could be more easily communicated by using technology. The project was part of the Northern Languages Program funded through the Northern Youth Cultural Fund, and led with the support of local Elders and educators. “As a French speaker who grew up with the privilege of plenty of access to my language, you begin to wonder why it isn’t a ‘right’ for Indigenous communities to continue to learn, read and write in their own language to keep that language alive.” She has been visiting the Denesuline communities of English River First Nation, Patuanak, Beauval, and the nearby Métis community of Île-à-la-Crosse, for nearly three decades. To help support the technological elements, Mackasey involved her son Ezaneh with the project. “The prospect of combining modern technology with traditional knowledge
to support language learning and cultural exchange was incredibly compelling to me,” he says. “It’s about creating bridges between generations and facilitating conversations that might otherwise have been lost.” His experience in keyboard development and creation, as well as a strong desire to keep his Denesuline language alive was the driving force for creating the world’s first Dene language keyboard for the project. “By integrating Dene language keyboards into our digital strategy, we empower future generations to actively connect with their cultural roots, ensuring that the Dene language remains a vibrant and integral part of daily life,” says Ezaneh. According to Mackasey, the art project was inspired by a photograph of a young woman who died in the community’s residential school in her early teens due to medical neglect. Mackasey used the photograph to guide community conversations. “This is the irreparable damage that has been caused to multiple generations in so many communities and families and individuals,” she says. The project included many phases and steps, involving a wide range of age groups. She has encouraged the youth involved to use the language keyboards to write messages inspired by the photograph in their Denesuline languages. These messages will eventually be engraved onto an estimated 17,000 tiny bottles, which will then be meticulously put together as a large-scale replica of the photograph of the young woman. According to Mackasey, the idea is to both acknowledge and process the past, while also carrying the Denesuline language into the future.
Youth in northern communities learned to communicate thanks to the development of the world’s first Dene language keyboard. Photo courtesy of Mackasey.
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