2025/2026 Year in Review
Contents Table of
26 27 16 8 24
3 5 4 6 7
Message from the Chair
Strategic Priority 1: Funding is sustainable and adaptable to changing needs
Strategic Priority 2: Improve inclusiveness, diversity, equity and accessibility of cultural activity
Message from the CEO
Staff and Board 2025/26
SaskCulture Financials
SaskCulture Mission, Vision, Ends, Principles and Values Public Perceptions of Arts, Culture and Heritage in Sask.
Board and Committees
Culture Section of the Sask Lotteries Trust Fund for Sport, Culture and Recreation
Land acknowledgement:
We are Treaty people
Front Cover
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.
Photos by Kevin Hogarth, Saskatchewan Association of International Languages, FSI Studio and Afro Tribes.
2
the Chair Message from
It’s hard to believe a year has already passed. As I reflect on the past year, I’m reminded of the strength and creativity that exists within our communities. Across Saskatchewan, cultural organizations and communities continue to adapt in the face of change, finding new ways to connect, create, and sustain their work. These realities have shaped important conversations over the past several years and have helped clarify the path forward for SaskCulture. SaskCulture is moving forward with greater focus and intention. Our recently approved Strategic Plan reflects where we are going next. It is grounded in what we have heard through ongoing engagement with the sector and sets a clear direction for how SaskCulture will continue to support cultural experiences across the province. This includes a commitment to Inclusivity, Diversity, Equity, and Accessibility, and advancing Truth and Reconciliation, and ensuring that youth and communities across Saskatchewan feel reflected and supported in our work. We extend our sincere thanks to the many individuals and organizations who shared their perspectives through Consultations, including the Funding Program Renewal and the Annual Global Funding consultations, and other engagement opportunities. Your voices continue to shape our understanding and guide our decisions in meaningful ways.
The Board is focused on ensuring that resources are managed responsibly and that decisions reflect both current realities and long-term sustainability. I am honoured to work alongside a dedicated group of Board members who bring care, insight, and a shared commitment to a strong and inclusive cultural sector. While the environment around us continues to evolve, so too does our approach. We move ahead with a deeper understanding of the sector, a clear sense of purpose, and a continued commitment to those we serve. On behalf of the Board, I would like to thank SaskCulture staff for their dedication. Thank you as well to our partners and to cultural communities throughout the province for your continued passion, collaboration, and trust.
Sincerely,
Yvonne Hotzak Chair, SaskCulture
3
the CEO Message from
It’s often in the small, everyday moments that the impact of this work becomes clear, whether it’s a community gathering, a young person discovering a new creative outlet, or a story being shared and preserved. These moments, happening in communities across Saskatchewan, are a reminder of why this work matters, and the role culture continues to play in bringing people together. Organizations, artists, and volunteers continue to move their work forward, even as they navigate ongoing changes and uncertainties. What stands out most is not just the work itself, but the spirit behind it, the willingness to adapt, to support one another, and to keep showing up for communities. Through the Funding Program Renewal Project, SaskCulture has been making changes shaped by what we have heard from communities and organizations. This includes moving to 100% upfront funding for SaskCulture project grants to reduce cash-flow barriers and embedding more trauma-informed approaches into our programs and assessment processes. We have also introduced priority areas in some programs to better support equity-denied communities. These are small but meaningful steps toward a more responsive and accessible funding system. This year also gave us the chance to celebrate meaningful milestones. Creative Kids marked its 15th year, supporting over 18,000 young people in exploring their creativity, investing more than $8.76 million in the sector, and supporting over 710 local instructors. It’s a milestone that reflects the lasting impact of this program and the many artists, cultural workers and organizations who bring it to life.
We also continue to see strong interest in SaskCulture’s programs, with participation and engagement reflecting the important role arts, culture, and heritage play in people’s lives. I want to thank SaskCulture staff, who, behind the scenes, continue to bring care, thoughtfulness, and dedication to this work each day, helping to support the many people and communities who make culture thrive across Saskatchewan. I am equally grateful to our partners and community leaders across the province for their collaboration and commitment. This includes the Sask Lotteries Trust Fund for Sport, Culture, and Recreation, whose funding support makes this work possible. And thank you to our Board of Directors for their steady leadership and support. There is still much ahead, but I remain encouraged. When I look at the work happening across Saskatchewan, I see a community that is resilient, connected, and committed to growing together. It is a privilege to be part of this shared journey to build a culturally vibrant Saskatchewan.
Sincerely,
Dean Kush CEO, SaskCulture
4
Board
Row 1 (L-R): Christine Ruys, Erin Folk (resigned March 2026), Jan Seibel (Past Chair), Jenni Lessard, Kayla Ironstar, Les Oystryk. Row 2 (L-R): Mirtha Rivera, Sekwun Ahenakew, Tyson Liske, Yvonne Hotzak (Chair).
Staff
Row 1 (L-R): Abiodun Oyelami, Alejandra Coronel, Alex Rogalski. Row 2 (L-R): Ana Cristina Camacho, Busayo Osobade, Catherine Folstad, Damon Badger Heit, Dean Kush, Elizabeth Akinyemi (On leave). Row 3 (L-R): Gloria Walsh, Hannah Williams, Jackie Ledingham, Kate Byblow, Leo Keiser, Lorelie DeRoose. Row 4 (L-R): Nichole Williams, Paul Gingras (Retired April 2026), Shawn Bauche, Shelley Fayant, Tara-Leigh Heslip, Tomasin Playford.
5
Culturally Vibrant Saskatchewan SaskCulture has a Vision of a
Mission
Principles & Values SaskCulture supports engagement in cultural experiences. We value Cultural Activity, Experiences, Engagement and Revitalization. SaskCulture will be responsive to people within Saskatchewan. We value Diversity, Accessibility, Inclusivity, Equity, Democratic Process, Multiculturalism and Truth and Reconciliation. SaskCulture recognizes strength in common purpose. We value Cohesiveness, Collective Effort, Advocacy, Cooperation, Partnership, Volunteerism, Cultural Work and Respectful Relationships as Treaty People. SaskCulture provides equitable and fair access to resources. We value Sask Lotteries, Transparency, Accountability, Effectiveness,
SaskCulture unites the cultural community and works to advance the cultural vibrancy of the province.
Vision
SaskCulture Ends 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 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.
Delivery, Cultural Impact, Accessibility and Service.
6
In 2025, SaskCulture conducted a Public Perception of Arts, Culture and Heritage in Saskatchewan survey with Insightrix. A total of 802 Saskatchewan residents were surveyed. Results show that almost all respondents, across age groups, believe arts, culture and heritage are important to them, while also identifying barriers that may limit participation in cultural activities. Public Perceptions of Arts, Culture and Heritage in Sask.
Overall Importance of Arts, Culture and Heritage
of residents say arts, culture and heritage are important to their personal well-being 75%
say they are very important 29%
say they are somewhat important 47%
say they are not at all important 4%
Participation Frequency by Age
Monthly+
Ocasionally
Rarely
Not at all
23%
19%
38%
19%
18-34
20%
35%
25%
20%
35-54
17%
35%
24%
24%
55+
Top Barriers to Participation
Barriers by Age Group
28%
18-34 35-54 55+ 32% 33% 21%
Lack of time
Lack of time
Lack of Interest / Options
26%
Lack of Interest / Options
27%
27%
25%
23%
Cost
Cost
25%
28%
19%
Distance / Rural Location
18%
Distance / Rural Location
14%
16%
22%
10%
Lack of Awareness
Lack of Awareness
18%
8%
6%
6%
Health / Mobility
Accessibility / Inclusion
5%
7
Strategic Priority 1
Funding is sustainable and adaptable to changing needs
Community voices drive change Advancing inclusive and responsive funding
Communities across Saskatchewan are helping shape how SaskCulture’s funding programs evolve. Through ongoing conversations, feedback, and shared experiences, people are identifying what’s working, what’s not, and where changes are needed to make funding more accessible and inclusive. These conversations are helping identify barriers and highlight ways to better support equity- denied communities, including Indigenous, ethnocultural, 2SLGBTQ+, and disability communities. SaskCulture continues to listen and adjust its approach as it learns. “We are continuing to listen carefully and apply what we’re learning as we go,” says Dean Kush, chief executive officer, SaskCulture. “This is not a one-time process; it’s ongoing, and it’s shaping how we move forward as an organization.”
Feedback gathered through consultations and research has also directly informed SaskCulture’s five-year Strategic Plan. Rather than treating Funding Program Renewal as a separate initiative, the Strategic Plan positions it as ongoing work to strengthen SaskCulture funding programs. Among the changes informed by this feedback is a move to provide 100% upfront payment for SaskCulture’s project grants. This approach removes cash flow barriers and enables organizations to focus their energy on delivering meaningful work in their communities. This shift reflects what was heard through funding research and sector consultations about trust-based granting practices. It is balanced by a follow-up reporting process that supports accountability. Other changes focus on making funding more intentional and impactful. The Multicultural Initiatives Fund – Project, for example, now includes two streams for Major and Small projects, to increase support for smaller initiatives from rural regions in the province. This ensures that funding supports work that reflects community priorities. Changes are also being made to how programs are experienced by applicants and assessors. Many grant programs now include a trauma- informed approach, asking applicants to consider how their work supports participant well-being,
What’s being heard is already shaping action.
8
and including content warnings for assessors when materials may be sensitive. Programs are also becoming more responsive to who is applying. The Small Grant Accessibility Program now prioritizes 2SLGBTQ+ and disability cultural initiatives. The most recent intake saw increased applications from both groups, showing that these changes are helping to open doors to more communities. “At every step, we’re asking how we can do better. It’s about making sure people see themselves in these programs and feel encouraged to apply.” –Dean Kush He adds that this work is about listening, adapting, and learning, and encourages the cultural community to visit the SaskCulture website to learn more about the Funding Program Renewal Project.
SaskCulture staff and Board Members gathered throughout the year to discuss the results of consultations, learn, and participate in the strategic planning process.
9
Strategic Priority 1
Funding is sustainable and adaptable to changing needs
Celebrating 10 years of the Online Grant Platform Continuous improvement to applicant and volunteer experience
Before 2015, applying to SaskCulture grant programs was a fully manual process. Applications were submitted on paper, and assessor notes had to be manually entered into the system by staff members. That changed with the launch of SaskCulture’s Online Grant Platform (OGP), which transformed how grant applications and assessments are managed. Catherine Folstad, supervisor, granting and technology, SaskCulture, led the project at the time. She says the shift to an online system helped streamline SaskCulture’s work.
custom platform tailored to the organization’s needs.
“That really drove the direction for building a custom solution for what is the core offering of SaskCulture: granting,” says Nooy. “We are constantly receiving from the applicants that the OGP is a very user-friendly tool. I think that speaks to the amount of work that was put into the platform.” Lorelie DeRoose, granting and evaluation coordinator, SaskCulture, joined SaskCulture shortly before the OGP launched in 2015, and says the platform has been a big part of her day-to-day work.
Today, the OGP plays an important role in how SaskCulture gathers and uses data for evaluation and planning. Information such as application numbers and applicant trends helps staff better understand who is seeking support and where gaps may exist.
“The OGP completely changed how we managed granting,” says Folstad. “What was once a very time- consuming, paper-based process became much more efficient and accessible for both applicants and assessors. Looking back over the last 10
years, it’s rewarding to see how much the platform has improved the experience for everyone involved.” The OGP is a multi-user online system that allows applicants and assessors to securely access, submit, review, and organize grant information in one place. Tailored specifically to SaskCulture’s processes, the platform has changed administrative workload, improved efficiency, and become an important tool for grant management and program evaluation. Leonard Nooy, software development and strategy, Structured Abstraction (SA), was brought in to help SaskCulture move away from its paper-based application process and continues to support the OGP through ongoing maintenance. While off-the-shelf systems were considered in the early stages, Nooy explains they did not fit SaskCulture’s granting processes, which led to the development of a
“The OGP helps us know who is looking for support, and if they’re not reaching out to us, we can reach out to them,” says DeRoose. Beyond informing decisions and planning, the data collected through the platform also helps SasCulture tell stories about the impact of funding across the cultural sector. Looking ahead, DeRoose says she hopes the OGP will continue to evolve, with even more ways to make information searchable and useful. While the platform was originally designed to replicate a paper-based process, it has grown into a flexible system that adapts alongside SaskCulture’s changing approaches to grant-making. “We set ourselves up well 10 years ago for where we are now,” she says. The platform has been able to evolve and helped to really seamlessly move around in a digital world.”
10
Strategic Priority 1
Funding is sustainable and adaptable to changing needs
Changes to SGAP support underrepresented organizations Building and strengthening relationships
In response to feedback gathered through community consultations as part of the ongoing Funding Program Renewal Project, SaskCulture updated the Small Grant Accessibility Program (SGAP) guidelines in 2025 to prioritize initiatives focused on 2SLGBTQ+ and disability cultural communities. Prior to the changes, some groups from the 2SLGBTQ+ and disability cultural communities “were not accessing this grant because they were unsure if they fit into SaskCulture’s scope,” says Tomasin Playford, outreach consultant, SaskCulture. The additions to the priorities list have been successful in broadening the grant program’s reach. “After adding initiatives with a 2SLGBTQ+ cultural and disability cultural focus to the priorities list, we immediately noticed an increase in applications and interest,” Playford says. The 2 Spirit Alliance of Saskatchewan (2SAS) is one of the organizations that has applied for SaskCulture funding for the first time since the changes to the SGAP. In early 2026, 2SAS received SGAP funding to host a Two-Spirit Awareness Day and Spring Equinox celebration in March in Regina. The group organized the event because, in consultations with the Two-Spirit community, 2SAS found that the most requested need was safe ceremonial spaces. Jordy Ironstar, volunteer council member, 2SAS, says that Two-Spirit community members run into barriers in accessing these spaces, because “often ceremony or cultural gatherings can have emphasis on one’s biological sex. A lot of Two-Spirit folks don’t feel comfortable in these spaces because they feel they will have to explain or justify who they are. “We assist in cultural activities respectfully while respecting protocol but recognize that the notion of gender and sex are two different aspects of a person’s identity. We add
educational aspects to make sure our Two-Spirit relatives understand who we are, what we do (in ceremony) and why we do it,” Ironstar adds. The group has hosted the Two-Spirit Awareness Day celebration twice in previous years, at friendship centres and with exclusively First Nations and Métis participants. This year, 2SAS held the event at the University of Regina, which Ironstar says inspired interest from the broader campus community. “One of the students, a newcomer, came up to me and shared about their culture and teachings of gender and sexually diverse people, reflecting on contrasts and similarities,” Ironstar says. “That diversity is something I want to think about incorporating moving forward.” Aside from offering a safe ceremonial space for the community, 2SAS’ event was also successful in bringing wider awareness to Two-Spirit Awareness Day. To build on this momentum, 2SAS is preparing to seek a provincial proclamation for the commemorative day next year. Playford says that SaskCulture is already receiving more inquiries from 2SLGBTQ+ and disability cultural groups for future funding rounds, and anticipates interest in the grant will keep growing. “I hope that the word will spread in local communities, and that more people learn about this resource,” Playford says. “It’s important for people to know that they are being prioritized.”
11
Strategic Priority 1
Funding is sustainable and adaptable to changing needs
Embracing new tools and ideas
Pilot programs build capacity Cultural organizations across Saskatchewan are navigating change and finding ways to connect and share their work. In response, SaskCulture launched two pilot projects in 2025 to support these evolving needs. understood the role was both validating and valuable,” Jungwirth says.
SaskCulture covered all program costs to ensure participants could fully engage and benefit from the experience and is now exploring ways to continue the mentorship program, with adjustments based on what was learned through the pilot. In early 2026, SaskCulture also launched the Artificial Intelligence (AI) Learning Network to help organizations use AI in practical, ethical and safe ways. Catherine Folstad, supervisor of granting and technology, SaskCulture, says that the idea came after hearing from the cultural community that many were feeling overwhelmed by AI. The Network consists of representatives from various cultural organizations, who are connecting online to share ideas and resources. “I hope the network builds confidence and practical insight that can be shared with the wider sector. From there, those learnings can guide future support based on community-identified needs, helping organizations strengthen digital skills and capacity in a rapidly changing environment,” Folstad says. In addition to these new programs, SaskCulture continued to offer its free, monthly virtual lunch-and- learn webinars. The sessions covered a range of topics, helping organizations access resources and build skills.
One of these was the Communications Mentorship Pilot Program, developed in response to member survey feedback that identified a need for more communications support. The six-month pilot matched four SaskCulture member organizations with two experienced communications professionals, offering tailored, one-on-one mentorship. Busayo Osobade, communications manager, SaskCulture, says the need for the program was clear. “We were hearing repeatedly that groups needed more support in this area, so we decided to try something new by introducing a mentorship program. This one-on-one approach allowed groups to receive support tailored to their specific needs.” Jennifer Jungwirth, executive director, Saskatchewan Music Educators Association, was one of the mentees for the pilot program, and found the experience rewarding. With support from a mentor who understood their day-to-day work, mentees were able to build confidence and feel supported when navigating communications. “Having the opportunity to exchange ideas and discuss current issues with someone who truly
12
Reaching new audiences through digital storytelling
SaskCulture’s growing online presence is helping more people discover and engage with arts, culture, and heritage stories from across Saskatchewan. This year, the SaskCulture Communications team expanded its reach by introducing digital storytelling for the bi-annual Engage Magazine , which highlights stories from the cultural sector. Beginning with the Fall 2025 issue, Engage has been published in both digital and print formats, featuring new content such as video stories, podcast episodes, and photo stories. “While we still offer a print version, moving beyond a print-only format has given us the freedom to explore new ways of telling stories,” says Ana Cristina Camacho, communications coordinator, SaskCulture. The change was informed by past evaluations, which showed that Engage was not reaching younger audiences as effectively as it could. To address this, SaskCulture staff introduced digital story formats that are better suited to social media platforms popular with youth. The two issues of Engage published since these changes have received positive feedback from the community and have reached wider audiences on social media. To better understand the impact of the new format, SaskCulture conducted an Engage reader survey in Fall 2025, which found that most respondents prefer to read the magazine digitally.
“We are seeing a strong response to video and podcast stories — formats that we can share on social media to help people quickly understand what the story is about,” Camacho says. “Organizations featured have also given positive feedback. Not all stories are best suited to a written article, and now we can tell these cultural stories in more dynamic ways.” By adapting to meet people on the platforms they use every day, SaskCulture is expanding its reach and connecting with new audiences across the sector.
The Fall 2025 issue of Engage was the first one to include video stories, podcast episodes and photo stories.
13
Strategic Priority 1
Funding is sustainable and adaptable to changing needs
Supporting community impact across Sask. Strengthening the impact of district funding
Communities are working together to strengthen cultural experiences and opportunities at the grassroots level, including access to sport and recreation in Saskatchewan. As one of the tri-global partners managing the Sask Lotteries Trust Fund for sport, culture and recreation, SaskCulture works alongside Sask Sport and the Saskatchewan Parks and Recreation Association to support meaningful cultural outcomes and build community capacity. This also includes supporting a renewed District Funding Framework that helps communities, grassroots leaders, and organizations respond to local needs through a community development approach. “We contributed to the framework renewal by strengthening the funding model and ensuring cultural outcomes were clearly reflected,” says Damon Badger Heit, supervisor, partnership and inclusion, SaskCulture. The renewed District Framework modernizes a 2008 funding model, creating a more consistent and coordinated approach across all seven Districts while still allowing flexibility to respond to local needs. Work began in 2023 with the Tri-Globals and Districts, supported by Strong Roots Consulting, which led the Consultations and developed a report released in 2025. This work laid the foundation for a new application and reporting model. Key changes include a stronger focus on Community Capacity Building as the foundation of District funding, organized under three pillars: leadership and volunteer development, awareness and connection, and governance and operational excellence. The framework also clarifies roles between funding partners
and Districts, while simplifying reporting to better reflect how work is happening on the ground. A significant shift in the renewed framework is the integration of Inclusion, Diversity, Equity, and Accessibility (IDEA), along with Truth and Reconciliation, as core guiding principles. “Two guiding principles, IDEA and Truth and Reconciliation, were established as core to the framework, not just add-ons, and meant to be integrated across all three pillars,” says Badger Heit. “It’s about building the ability of communities to deliver sport, culture, and recreation in ways that reflect inclusion and Truth and Reconciliation.” The renewed District Framework is already creating clearer expectations, reducing administrative burden, and giving Districts more flexibility to respond to local needs. Districts have now completed the first application cycle, and the first reporting cycle under the new framework will be finished in summer 2026. Following this, the Tri-Globals and Districts will review both the process and its outcomes, making adjustments as needed to continue improving and clarifying the framework moving forward.
14
Strategic Priority 1
Funding is sustainable and adaptable to changing needs
Building pathways to success
Sask. debate community wins big The last two years have been exceptional for students involved in the local speech and debate community. Saskatchewan debaters have won both National Championships at Senior (high school) level for the past two years. They also took second place in 2024 in the Junior (elementary) Nationals and first place in 2025. As a result, Saskatchewan debaters went to both Senior and Junior National Championships in May 2026 as defending champions. Additionally, a Saskatoon-based high school debater is on Team Canada Debate, making it the third year in a row that a Saskatchewan debater has been selected on the national team in global competitions. Recent successes are due, in no small part, to the ongoing efforts of the Saskatchewan Elocution and Debate Association (SEDA) and its volunteers and alumni. SEDA, a province-wide organization funded by SaskCulture’s Annual Global Funding, teaches speech and debate skills to students in Grades five to 12. The organization helps young people find their voice, build confidence, and strengthen critical-thinking and communication skills they can carry not only into competitions, but also into school, community life, and future opportunities. Recent Saskatchewan debater successes are especially impressive because they are competing against debaters from more populous provinces where private schools, with additional resources such as specialist debate coaches and programming, are more common. So, what’s working so well for Saskatchewan? Peter Hedley, executive director, SEDA, explains that “We now have three generations of SEDA alumni involved in supporting and delivering our programs. They volunteer their time by serving on the board and continuing to coach.
“It is vitally important the current generation of young debaters can learn from those who have gone before them, who also serve as living proof that pathways to success in debate and life exist and can be achieved,” Hedley says. SEDA celebrated its 50th anniversary in 2024. “It was started by a small group of teachers in Regina who felt this critical area of learning wasn’t available through public school curriculum,” Hedley says. “It grew around the idea of school speech and debate clubs, including meeting for friendly but competitive tournaments to debate against each other.” SEDA’s Speech and Debate Academy is the only province-based program of its kind in Canada. It offers extracurricular classes in debate and public speaking in person and online, ensuring access for youth across the province. Debate activities are open to anyone, whether they want to compete or not. “Some people will always be more serious, competition- focused debaters, and others just enjoy taking classes and learning skills,” Hedley says. “Our goal is to make it an enjoyable experience for everyone.” While national accolades are something to celebrate, Hedley explains they’re not the focus. “Competition success is great for our debaters but, if the only goal is winning, it flies in the face of who we are in Saskatchewan,” he says. “Our way is to be humble, do the best you can, and use the learnings to do better next time. Having the chance to represent our province means they’ve already won.”
15
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
Investing in the future of culture
Creative Kids celebrates 15 years of impact
In 2025, the Creative Kids charity reached a milestone: 15 years of supporting Saskatchewan kids, families and service providers by lowering barriers to creative activities. Since its launch in 2010, Creative Kids has funded over 18,000 Saskatchewan kids to access creative activities including art, theatre, music, dance and cultural lessons. From the start, SaskCulture has worked to support the ongoing development of the Creative Kids charity and grant program. It all started when community members approached Rose Gilks, who was SaskCulture CEO at the time, with the idea for the program. This led to a feasibility study, consultations, and the eventual launch of Creative Kids. Gilks says that, from the start, SaskCulture recognized that investment in youth’s access to arts, culture and heritage was a priority for the future of the sector. “Whether it’s something that [kids] take up professionally, or if it becomes a hobby, it’s something that helps them with their life forever,” Gilks says. “This is about providing an opportunity for someone to grow in a much broader way than they would if they didn’t have this.” Dr. David Millar, a Regina-based chiropractor and long-time supporter of the arts, was the first to bring up the idea to SaskCulture after noticing the need for support in the community. He modelled his idea for the program after the charity KidSport, which offers similar support for sports activities. “I believe that participating in arts and cultural activities can be transformational for people; and so, it’s something that I want to see as many people be able to experience as possible,” Millar says. “Creative Kids fills that gap and creates an entryway for kids and youth to enter the cultural sector.” Thanks to the support of community volunteers, donors, and sponsors, Creative Kids’ impact now reaches far
and wide. Creative Kids has supported families in more than 294 communities across Saskatchewan since 2010. Arts, heritage and cultural activities help children and youth across the province build a lifelong appreciation for the arts, as well as many skills. Regina-based artist Karlie King, whose children receive support from Creative Kids, says, “Creative Kids is an ‘essential.’ “Every person should have the opportunity to foster their creativity and have a safe place to express themselves artistically, and Creative Kids makes that happen for so many,” she adds. Instructors benefit too. When families are approved for Creative Kids support, Creative Kids pays service providers directly for their class fees. This allows arts educators across the province to reach more students without shouldering the cost. Creative Kids has supported over 710 local instructors in music, dance, theatre, and other arts and culture programs over the years, with over $8.76 millions in funding. After 15 years of operations, Creative Kids has become an established resource that families across the
16
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
province turn to every year. Past recipients from the early years of the program have gone on to become cultural educators and leaders themselves. By lowering barriers to participation, the grant program helps build a future where the cultural sector is more diverse and vibrant than ever. Thanks to support from the Sask Lotteries Trust Fund for Sport, Culture and Recreation, SaskCulture is able to cover all administrative costs for Creative Kids, so that 100% of donations to the charity go back to the community, and support local service providers and families for years to come.
Creative Kids staff celebrated the 15th anniversary with Dr. David Millar and Rose Gilks at the SaskCulture 2025 AGM.
Making a Difference Since 2010 For 15 years, volunteers and supporters from the cultural community have rallied to make Creative Kids support accessible to more and more children and youth.
294 Saskatchewan communities reached
18,351 Applications funded
710 Music, dance, theatre, art, and cultural instructors supported
$8.76 Million granted
Help us meet the need of every deserving child or youth by providing them with the opportunity to creatively engage their minds. Make a donation at CreativeKidsSask.ca or call toll free 1-855-277-9469.
17
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
Improving access in rural communities
Culture Days fosters cultural engagement in small town
When small rural communities do not have libraries, museums, or art galleries, cultural programming can be limited. In Silton, that gap is being reimagined. Through SaskCulture’s Culture Days Hub Sponsorship, along with casual pop-up programming, new opportunities have emerged to connect residents with art, culture, and heritage experiences in accessible and engaging ways. The community has held Culture Days events annually since 2021, thanks to the SaskCulture sponsorship, making cultural experiences possible for its residents. Aileen Martin, volunteer, Silton Recreation Board, says, “Culture Days is a good program, with a national initiative behind it, that already has momentum and a voice, so it’s easier to pick up and join because people have heard of it before.
“With the 4-H Club’s help, we were able to do nature crafts, an outdoor scavenger hunt and a native plant walk, which was well attended. They were great to work with,” Martin says. “We also had a local artist from Lumsden come do a storytelling event and a workshop to paint a piece of Silton’s past, [and we also] brought a travelling museum from the Diefenbaker Center.” Martin adds, “Without the Culture Days Hub sponsorship, our community wouldn’t have had these arts, culture, and heritage experiences. But, because we have, people now look forward to and have come to really value being a part of Culture Days.”
Culture Days Silton connected with young volunteers from the Long Lake 4-H Club to increase their reach to youth. – Photos by FSI Studio
“Also, the Organizer Resources available on culturedays.ca, such as the marketing tools, help when you hold your events,” she adds.
Over the years, Culture Days has helped arts and cultural organizers in Silton build community connections that have led to more creative experiences in the area. Two years ago, when the Silton Recreation Board worked with the towns of Strasbourg and Nokomis to hold barn quilting sessions, it lit a creative spark within the community. Since then, the barn quilting sessions have grown into an ongoing initiative, now carried on by the different Sport, Recreation and Culture Districts around the province. “There is even a Facebook page and people are always asking, ‘How can I get involved?’” Martin says. This past year, Culture Days events also helped connect the community with the Long Lake 4-H Club, a local youth organization, and their youth leaders, creating new opportunities to support and expand cultural programming during Culture Days.
18
2025 Culture Days Hub Sponsorship Recipients
Beauval Minor Sports and Recreation La Ronge Library Board o/a Alex Robertson Public Library Rise Up Community Advisory Foundation City of Lloydminster City of Prince Albert The Reading Place, Child and Youth Development by Reading Inc. Melfort and District Museum Town of Porcupine Plain Town of Rosthern Town of Waldheim City of Humboldt Free Flow Dance Theatre iyinisiwin Story Institute Incorporated Nuit Blanche Saskatoon Contemporary Arts Festival Nutrien Wonderhub Riversdale Chinatown Saskatchewan Craft Council Saskatoon Pipe Band Collective Saskatoon Museum of Military Artifacts Wheatland Regional Library City of Martensville Prairie Central District for Sport, Culture & Recreation
Town of Wynyard Town of Lumsden Last Mountain Lake Cultural Centre
2025
Silton Recreation Board Langenburg Community Development Committee Art Gallery of Regina Azerbaijani Cultural Association of Regina Creative City Centre Listen to Dis’ Community and Art Organization Métis Nation Queen City Regina Public Library Taro Parbon Cultural Association Eastend Arts Council Town of Maple Creek Climax Community Museum Leader and District Chamber of Commerce Town of Gravelbourg Town of Gull Lake City of Swift Current - Recreation and Parks
23
47 Hubs sponsored
Hubs focused on Truth and Reconciliation
250,000+
participated digitally and in person
15,000
attended National Day for Truth and Reconciliation events
350+
Village of Hazlet City of Weyburn City of Yorkton Free My Muse
registered activities offered in-person, online and outdoors
Willow Bunch Museum & Heritage Society Inc. Oxbow and District Recreation
52,500 attended in person
$131, 275 in support
19
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
Increasing authentic inclusion
New project to support more inclusive engagement
Authentic engagement begins with understanding. That is why SaskCulture is investing in research and education through a project aimed at addressing systemic gaps in cultural funding and strengthening relationships with equity-denied communities. SaskCulture is developing a new Engagement Strategy Development Project as part of its ongoing Funding Program Renewal Project and consultations with the cultural community. In particular, findings from Ivy + Dean Consulting reports, Funding the Rainbow and Renewing with Purpose, highlighted the need for more intentional, informed, and inclusive approaches to engagement across the sector. Leo Keiser, granting and community engagement coordinator, SaskCulture, explains that the Project will help shape SaskCulture’s approach to engaging with 2SLGBTQ+ and disability cultural communities, while also guiding the development of internal and external education and training plans. “SaskCulture is taking feedback from the community seriously; this is part of SaskCulture’s role in supporting the cultural vibrance of the province,” Keiser says. Over the past year, Keiser has led the Project through the first steps of conducting research and environmental scanning. This included research into the existing organizations in the 2SLGBTQ+ and disability cultural communities, as well as into the funding landscape for these groups. This research is meant to serve as context for relationship-building. “These relationships are built through engagement, through showing up, and through understanding and connecting with communities,” Keiser says. “It’s important to have relationships grounded in community and reciprocity.”
After these steps, SaskCulture started the planning work by putting together a staff committee. Keiser says that the committee is helping guide the work that will take place in the coming year, which will be focused on staff-wide training to improve capacity, and an internal organizational review through an equity lens. “We are aiming to bolster staff capacity to ensure that we’re in a good position to serve the entirety of the diversity of culture in Saskatchewan,” says Keiser. “That includes 2SLGBTQ+ culture and disability culture; these communities have not had appropriate representation or space within funding structures.” SaskCulture plans to eventually undertake external work as part of the Project, which is projected to include membership development for 2SLGBTQ+ and disability cultural organizations. However, there is “internal work to be done first,” as Keiser explains that “the intention is to build capacity and really build trust first, to make sure that relationships stay strong in the long-term.”
Consultants from Ivy + Dean presented the findings from consultation reports to SaskCulture staff which prompted further work on the topic of community engagement.
20
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
Addressing systemic inequity through education Advancing Truth and Reconciliation, and inclusion for all
Over the past year, SaskCulture participated in a pilot program designed to help organizations better understand and address the impacts of colonial systems and the inequities they create for marginalized communities. The Multicultural Council of Saskatchewan’s (MCoS) new program, We Are READI (Reconciliation,
The program includes a range of supports designed to help organizations create meaningful and lasting change. These include educational learning modules that guide systemic transformation as well as consultation that strengthens accountability and helps teams take practical and meaningful steps toward cultural safety and impactful action. It offers tools to help organizations address systemic barriers, align their structures and practices with equity
Equity, Anti-racism/Anti-oppression/ Access, Decolonization/Diversity, Integration/Inclusion), supports organizations in advancing equity, diversity and inclusion through an anti-racism and anti-oppression lens. For its pilot phase, MCoS selected SaskCulture and the Saskatchewan Archaeological Society to participate. “Addressing systemic inequality, both historical and ongoing, requires more than standalone policies or initiatives,” says Yordanos Tesfamariam, education manager and project lead, MCoS. “Meaningful and lasting change happens when an anti-racist, anti- oppressive, decolonized, and trauma- informed lens is embedded across all organizational policies and practices.” Tara-Leigh Heslip, outreach consultant, SaskCulture, says that taking part in the pilot project benefited SaskCulture staff and the organization at large.
and justice, and build stronger, more authentic relationships with communities. Flany Ba, the equity, diversity, and Inclusion consultant for the program, says that “Decolonization and anti- racism and anti-oppression work is not something that will be done in one day; it’s not possible.” The program’s design reflects this understanding, taking a long-term, thoughtful approach to change. Becky Sasakamoose Kuffner, the program’s anti-racism consultant, agrees. “Decolonial education has proven to be not only trauma- informed, but it brings human beings, all of us, back to the cycles and the rhythms of who we are as parts of nature,” she says. “That’s why we began by bringing humanity into what we’re doing, moving away from the status quo.”
“It was important for SaskCulture to be involved with the pilot of the program, as anti-racism, anti-oppression, inclusivity, equity, and diversity are all principles that are built into our Strategic Plan and need to be backed up by learnings and actions,” says Heslip. “All of the staff at SaskCulture found the learning modules to be very approachable.”
To support this approach, the program also intentionally builds reflection into its learning modules, helping participants deepen their understanding and apply what they learn in meaningful ways.
21
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
Cultural advocacy makes a difference Bringing community together with a united voice
As the collective voice for local arts organizations, arts workers and artists, the Saskatchewan Arts Alliance (SAA) continues to play a key role in advancing cultural advocacy in the province. The SAA is one of SaskCulture’s Communities of Interest partners, organizations that don’t just represent specific groups, but also bring valuable insight and expertise from across Saskatchewan’s cultural landscape to help guide SaskCulture’s work. Over the past year, the organization has helped build momentum around important sector issues while contributing to several advocacy successes. Em Ironstar, executive director, SAA, says advocacy is important because cultural workers need to lead the conversation about the impact their work has on communities and the sector. “There are a lot of misconceptions and misunderstandings around arts funding, cultural funding, and our sector in general. That’s why we need to change the narrative,” Ironstar says. This year, that work proved even more important. At the municipal, provincial and federal levels, proposed threats to arts funding created concerns across the cultural sector and sparked collective action. In response, the SAA spent much of the year mobilizing support through advocacy efforts, including letter-writing campaigns in Saskatoon and Regina that helped prevent proposed municipal funding cuts. It also brought the sector to the forefront in publications across Saskatchewan by holding a press conference to “get arts and culture out in the media in a positive light,” leading up to the provincial budget. The SAA took this opportunity to share its new Perspectives on SK Arts and Culture report, which shows “strong public support for the arts and culture in our province and also strong support for public funding and public investment.” On budget day 2026, SK Arts saw sustained funding for the year.
Finally, the SAA was also part of a big win for arts funding nationwide. As a member of
the Canadian Arts Coalition advocacy group, the SAA helped organize a national letter-writing campaign to advocate in support of the Canada Council for the Arts, which was facing a 15% reduction. This resulted in over 10,000 people from across the country writing over 50,000 letters. Not only was the Canada Council not subjected to departmental cuts, but it also saw a $6 million increase in investment. “I was excited to see this advocacy in motion at a national level, seeing that many people across the country engaged in saying ‘this is important to us, and this is something that we need,’” Ironstar says. Throughout it all, the biggest takeaway for Ironstar was the community’s collective strength. “The SAA led the charge for the mobilizing and collective voice for arts and culture,” Ironstar says. “It was heartening that we saw a mobilization of arts and culture leaders and organizations.” As Ironstar says, “Advocacy is a long game.” In the coming year, she says the SAA will build on this momentum by connecting with more organizations to support their relationship-building with government and media. As well, it will continue to advocate for adequate funding for SK Arts, to move from flat funding to increased support. To prepare for this, the SAA is working on an updated report on the economic impact of arts organizations funded by SK Arts. “We are economic drivers at a provincial level and nationally. We know that the arts and culture make our lives, our cities and our province a better place, and that we generate a strong economic return,” Ironstar says. “We all have to raise our flag and talk about it in this way.”
22
Strategic Priority 2
Improve inclusiveness, diversity, equity & accessibility of cultural activity
Increasing accessibility in rural communities
Museum video tour supports language revitalization
In Duck Lake, history is not only preserved in artifacts, but also in the languages that have shaped the region for generations. At the Duck Lake Regional Interpretive Centre, a new project is making the museum more
Vandale of St. Louis and linguists to ensure that the translations are culturally appropriate and reflect the local dialect.
“There’s no attempting a project like this without working with the Métis Elders,” says Perillat. “They are the ones who carry the language and the knowledge. Everything we do is guided by them.” This project is especially meaningful for youth, as it is designed not only as an accessibility tool, but also as a tool to connect younger generation with the voices, histories, and identities that shaped their community. Perillat says that the inclusion of Michif is only natural, as a language deeply rooted in Métis culture. “I want young people to understand how deep their roots go in this area,” Perillat says. “Their cultures helped
accessible while ensuring those languages remain a living part of the community’s story. Supported by the Métis Cultural Development Fund (MCDF), the interpretive centre is creating a video version of its tower tour, incorporating Michif, alongside English and French, with plans to also include Cree. The project aims to improve accessibility for visitors unable to climb the tower, while also supporting cultural retention and language revitalization A local landmark since opening in 1990, the interpretive centre, with its
shape this entire region. It’s important that they regain that sense of place and re-embrace who they are. Language is such an important part of that identity.” Beyond improving accessibility, the project also reflects a broader commitment to inclusivity in cultural spaces. It allows more people to see themselves, their histories, and their languages represented in a museum setting. The interpretative centre hopes to expand the multilingual approach across more exhibits and continue building partnerships that support cultural preservation. For Perillat, the goal is to ensure that both the stories and the languages of the region are preserved for the future generations. “Language is integral to who we are,” she says. “When we lose it, we risk losing so much more. It’s our responsibility to help keep it alive.”
90-foot tower, offers panoramic views of the surrounding landscape. The area around Duck Lake is historically significant for both Métis and Willow Cree communities, particularly the locations of key events from the 1885 North West Resistance. While the tower aims to welcome a diverse audience, by offering text in multiple languages, the physical climb has limited access for some visitors. “We realized that anyone with mobility challenges or even a fear of heights was missing that experience,” says Celine Perillat, who has been the administrator of the Duck Lake Regional Interpretive Centre since 1999. “This project allows us to bring the tower to them, while also creating an opportunity to hear the languages spoken.” With support and guidance from Gabriel Dumont Institute, the museum worked with Métis Elder Sonny
23
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44Made with FlippingBook - Online catalogs