SaskCulture Year in Review 2024-25

Year in Review

Table of Contents

03 04 05 06 07

Message from the Chair

Message from the CEO

Staff and Board 2024/25

SaskCulture Mission, Vision, Values and Ends

Increasing Reach and Access

Strategic Priority 1: Funding is Sustainable and Adaptable to Changing Needs Strategic Priority 2: Improve Inclusiveness, Diversity, Equity, and Accessibility of Cultural Activity

28 30

SaskCulture Financials

Board and Committees

Culture Section of the Sask Lotteries Trust Fund for Sport, Culture and Recreation

Land acknowledgement:

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.

FRONT COVER Photos by FSI Studio and Kevin Hogarth.

Photo by FSI Studio

Message from

the Chair

On behalf of the Board, I want to thank the amazing SaskCulture staff for all their great work over the past year. Thank you as well to our partners, the cultural communities, and everyone who continues to show such dedication, passion, and trust. The path ahead is bright, and I look forward to walking this journey with you all.

We are especially grateful to the cultural communities, who have not only provided numerous opportunities for all people to experience arts, heritage and multiculturalism throughout this province, but have also been a vital part of this work, sharing concerns and perspectives in conversations that are helping us move forward with greater awareness and understanding. At the Board level, we have taken meaningful steps to ensure our leadership reflects the diversity of the communities we serve. I am truly honoured to work with these dedicated volunteers, who pour their hearts and souls into ensuring that we have a strong, inclusive, and thriving cultural community. There is still much to learn and do. As we continue to listen, evolve, and lead with care, I believe that, together, we are building something that will have a positive impact on generations to come.

This past year has reminded us of the importance of listening, not only within SaskCulture, but also to the cultural communities we serve and belong to, to one another, and to the changing world around us. As we navigate shifting social, economic, and community landscapes, we are reminded of the importance of staying responsive, open, and grounded in our values. The Board remains deeply committed to our current Strategic Plan, with a strong focus on advancing Inclusivity, Diversity, Equity, and Accessibility, and Truth and Reconciliation Calls to Action. These values are not only central to our daily work, but they are also shaping the direction of our Funding Program Renewal Project, which is now in the consultation phase. Feedback gathered during this phase will help inform how we continue to serve and support the cultural communities in the future.

Sincerely,

Yvonne Hotzak

Photo by Kevin Hogarth.

Message from the CEO

On the granting side, we saw historic levels of uptake in SaskCulture’s programs. In 2024, the Aboriginal Arts and Culture Leadership Grant received 38 applications — a 46.2 per cent increase from the 26 received in 2023. The Métis Cultural Development Fund also saw an increase, with 37 applications submitted in 2024, a 32 per cent increase from the previous year. We launched an Accessibility Fund to ensure lottery funds are accessible to as many organizations as possible. SaskCulture provided ten lunch and learn webinars — over 400 people tuned in to learn with us! As part of our Funding Program Renewal Project, our staff was busy working with consultants to launch the largest consultation in our organization’s history. This marked a significant milestone in our efforts to listen, learn, and better understand the evolving needs of Saskatchewan’s cultural community. This consultation is the first of more to come, as we

continue to work toward a funding system that is more inclusive, responsive and sustainable. None of this would be possible without funding provided through the Sask Lotteries Trust Fund for Sport, Culture and Recreation. The past year was definitely one that required all hands on deck. I want to thank our partners and the SaskCulture staff for their dedication and seemingly endless levels of passion and energy. Of course, I need to thank our Board of Directors for their leadership and insight as we move forward to build a more culturally vibrant Saskatchewan!

As we do our daily work and try to keep up, as well as attempt to respond to all the needs and issues facing the cultural sector, it sometimes does not leave us much time to reflect on the work that has been done. Yet reflection is important, not only to celebrate our accomplishments, but also to honour the people and partnerships that make that progress possible. This past year, we celebrated several milestones. Culture Days celebrated its 15th year! In Saskatchewan, we once again surpassed attendance records at Culture Days events with over 120,000 Culture Days participants attending 315 different events in 52 communities. Creative Kids has funded over 16,000 applications in nearly 300 communities in our province since its start nearly 15 years ago. That put $7.6 million dollars in the pockets of cultural workers in our province.

Sincerely,

Dean Kush

Staff 2024/25

Row 1 (L-R): Abiodun Oyelami, Alejandra Coronel, Alex Rogalski, Ana Cristina Camacho, Busayo Osobade. Row 2 (L-R) : Catherine Folstad, Damon Badger Heit, Dean Kush, Elizabeth Akinyemi, Gloria Walsh. Row 3 (L-R) : Jackie Ledingham, Leo Keiser, Lorelie DeRoose, Nichole Williams, Paul Gingras. Row 4 (L-R): Shawn Bauche, Shelley Fayant, Tara-Leigh Heslip, Tomasin Playford, Diane Ell (retired April 2025).

Board 2024/25

Row 1 (L-R): Christine Ruys, Jan Seibel (Past Chair), Jenni Lessard, Joanne McDonald, Kayla Ironstar. Row 2 (L-R) : Lamarr Oksasikewiyin, Larry Pearen (resigned April 2025), Les Oystryk, Sekwun Ahenakew, Yvonne Hotzak (Chair).

SaskCulture has a Vision for a

Culturally Vibrant Saskatchewan

Vision

Mission

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.

SaskCulture unites the cultural community and works to advance the cultural vibrancy of the province.

Principles and Values

SaskCulture supports engagement in cultural experience. Cultural activity. Experiences. Engagement. 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. Diversity. Accessibility. Inclusivity. Equity. Democratic process. Multiculturalism. Reconciliation.

SaskCulture recognizes strength in common purpose. Cohesiveness. Collective effort. Advocacy. Cooperation. Partnership. Volunteerism. Cultural work. Treaty peoples.

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.

Increasing Reach and Access Over the past year, SaskCulture reach and impact have increased. More community groups are accessing funding, building partnerships, and engaging youth. This increase highlights SaskCulture’s commitment to ensuring that cultural experiences are accessible, inclusive, and impactful for communities across Saskatchewan.

Increase in project grant applications

Reaching new groups

254

178

Total applications received

New applications received

43% increase In 2024-25, 254 applications were submitted to SaskCulture’s project grants in 2024–25 — a 43% increase.*

64% increase In 2024-25, 82 groups applied for the first time, compared to 50 in 2023–24.*

Increase in support for youth-focused initiatives

181

1,013,845

926,485

133

Youth- focused

Funding for youth- focused projects ($)

applications adjudicated

9.4% increase

36% increase

More youth-centered initiatives are being supported across the province.*

2023-24

2024-25

* These numbers do not include operational grants.

Increasing cultural connections

Culture Days Hub Sponsorship partnerships

Culture Days Hub Sponsorship partnerships supporting Truth and Reconciliation

201

2023

283

2024

41% increase 69% increase More partners are supporting Culture Days hubs and advancing Truth and Reconciliation through their events.

Photo by FSI Studio.

Strategic Priority 1 Funding is sustainable and adaptable to changing needs

Increasing impact and sustainability of funding

Shaping equitable funding through continuous learning

Consultants from Ivy + Dean presented the findings from consultation reports to SaskCulture staff.

C reating a more equitable system is essential to shaping a funding model that is both inclusive and sustainable. Over the past year, research and consultations from SaskCulture’s Funding Program Renewal Project have guided ongoing efforts to reflect, reassess, and implement small but meaningful changes along the way.

“This work is grounded in ongoing learning and engagement, ensuring that the evolving funding model better responds to the diverse needs of communities across Saskatchewan,” says Dean Kush, chief executive officer, SaskCulture. Several recent reports, such as the Leading Funding Practices to Support People with Disabilities by

Left Turn Right Turn, Funding the Rainbow: Informing Queer and Trans Inclusive Funding Practices at SaskCulture by Ivy + Dean Consulting, and Leading Equity Funding Practices in Support of IDEA by Praxis Consulting, have played a key role in helping SaskCulture better understand gaps in funding, particularly those affecting people with disabilities, 2SLGBTQ+ individuals, and other

SaskCulture worked with Ivy + Dean Consulting, Left Turn Right Turn, and Praxis Consulting to explore leading funding practices to help guide its strategic direction.

Currently, the Funding Program Renewal Project is in the consultation phase. To support the consultation process, SaskCulture enlisted the expertise of Ivy + Dean Consulting and Common Ground Consulting to engage with cultural communities through surveys, one-on-one conversations, and focus groups. These consultants are connecting directly with cultural leaders, grant applicants, and community organizations to better understand how funding programs can be more inclusive and accessible. “We’re not rushing to conclusions. We can’t do this work without listening to the people we serve,” Kush explains. “We know we don’t have all the answers, and that’s why we want people to participate in these consultations and share their thoughts.” SaskCulture encourages individuals and groups in the cultural community to share their thoughts. Visit the SaskCulture website to learn more about the Funding Program Renewal Project.

more trauma-informed language in the application form, which helps applicants recognize and avoid potentially triggering content in their projects or events while also encouraging thoughtful and respectful ways to describe their work. The change for the CCEP grant focused on improving access by expanding eligibility to include non-profit organizations applying for the grant. Previously, only municipalities, First Nations, Tribal Councils, Métis Locals and Métis Regions could apply. This change allows more grassroots and community-driven initiatives to receive support and engage in meaningful cultural planning. While changes were made to existing programs, some focused on creating entirely new ones. An example is the Accessibility Fund, designed to support organizations led by individuals who experience barriers. “This work is not only about rethinking access, but about creating conditions for people to lead, shape, and grow spaces within their own communities,” says Kush.

equity-denied groups. These reports have already helped in shaping small but impactful changes. “We are making the connection between the research that we’ve done and some initial consultations, and making small improvements,” says Catherine Folstad, supervisor, granting and technology, SaskCulture. “With each of the reports, we are learning and finding ways to connect with previously unreached groups and better serve communities.” One example is the adjustments to existing SaskCulture grants, including the Multicultural Initiatives Fund – Project (MIF-P) grant and the Community Cultural Engagement and Planning (CCEP) grant, to improve accessibility. For the MIF–P grant, the program was expanded to include two levels of funding — Small and Major projects. This allows groups with different capacities and project types, especially those that did not previously meet the original criteria, to apply for the stream that best suits their needs. Another key change includes

Strategic Priority 1 Funding is sustainable and adaptable to changing needs

Improving access and building capacity

New fund supports access to grants

B arriers to accessing funding for arts and culture projects remain a challenge for many individuals and organizations, but a recently introduced support fund is helping change that. Launched in January 2025, SaskCulture’s Accessibility Fund is designed to support applicants throughout the granting process, helping them address communication and other accessibility needs that might otherwise stand in the way.

Tara-Leigh Heslip, outreach consultant, SaskCulture, says that the idea for the Accessibility Fund came from SaskCulture research projects over the years as part of the ongoing Funding Program Renewal Project. The Fund was developed as a way of meeting the needs of applicants, in response to the growing recognition that “everybody is coming to grant writing from a very different place.”

“This is a way to level the playing field,” Heslip says. “It is needed, to address the barriers for people to have the best outcome possible in their grant applications, and better support all of the groups that are doing incredible work in this province.” The Accessibility Fund provides support to organizations led by individuals who face barriers and would benefit from assistance in applying for

The new Application Assistance page on the SaskCulture website connects potential applicants with information and resources, including the Accessibility Fund.

Launched in early 2025, SaskCulture’s Accessibility Fund supports individuals and organizations facing barriers to accessing its grant programs.

their capacity to deliver arts, heritage and cultural programs. Heslip notes that ongoing efforts are in place to ensure the Fund continues to meet this goal while remaining responsive to evolving needs and feedback. “We’ll be evaluating and adjusting processes as we go,” she says, “We are always looking for feedback from applicants, as well as our staff, to make sure that it is a smooth process for everybody.” The Accessibility Fund is available

SaskCulture grant programs. It is intended to help those who may experience challenges related to disability, neurodiversity, language, technology access, or communication, including people who are deaf or hard of hearing, blind or partially sighted, or who experience other accessibility needs. Applicants can use the fund to cover the direct costs of hiring someone to assist with tasks such as creating an account, completing and submitting an application, or preparing a follow- up report on the Online Grant Platform. To develop the Fund, the SaskCulture team researched similar supports offered by other organizations, most notably, the Accessibility Fund from SK Arts, which served as a key reference point, says Heslip. The draft

program was then sent out for external review, with adjustments made based on the feedback received. Before the Fund officially launched, all SaskCulture staff participated in Accessibility Awareness Training to ensure they were prepared to support its delivery. “As part of our research, we identified that there was a huge benefit to ensuring that the staff had education and understanding of the barriers that people face, to give them the tools to have those discussions,” Heslip says. “We have had interest and are really looking forward to seeing uptake increase over the coming year.” By supporting organizations with accessibility needs when applying for or reporting on SaskCulture’s grants, the Fund strengthens

on an ongoing basis for all grant programs delivered by SaskCulture.

Strategic Priority 1 Funding is sustainable and adaptable to changing needs

Reactivating cultural connections

Celebration returns stronger after pandemic pause

F ive years after its last major cultural gathering, the Burundian community in Regina came together once again to celebrate culture and heritage, marking the first time the community hosted its New Year’s celebration since the pandemic. Bertrand Ninteretse, communications and visibility coordinator, Burundian newcomers to the community, but the members of the Association have not had the opportunity to gather again, despite a demand for it. This is why the group applied to the Small Grant Accessibility Program (SGAP). “It’s important for our community Community of Regina (BCR), says there have been many generations our identity and our history before and after we came to Canada,” Ninteretse says. “You know us Burundians, we love to meet, share food, and dance to music.” The event successfully brought together over 260 people, surpassing the group’s to stay connected with one another to teach our future expectations, mostly from the Burundian community, but also from other local French-speaking African cultural communities. Ninteretse says support from SGAP helped make this possible.

The Burundian Community of Regina’s New Year’s event was a chance to gather, celebrate culture, and strengthen community connections. Photos courtesy of the BCR.

of ensuring visibility and representation. According to Ninteretse, maintaining a strong public presence has helped the community build relationships, partnerships, and even donor relations. Most importantly, it provides Burundian newcomers with a welcoming space where they can feel supported as they begin to build their lives in Canada. “Our goal as a community is to create a strong relationship between our members in order to help them get opportunities in the future,” Ninteretse says.

The Association is now looking into organizing a future event together with other French-speaking groups to further strengthen these relationships. There are plans to hold the New Years event annually once again, and to potentially gather to celebrate Burundi Independence Day in July. “We are planning to organize a big event in the summer that will bring people back together and celebrate our culture, history, and heritage together outside under the sun,” Ninteretse says. Bringing back in-person events aligns with the BCR’s mission

Strategic Priority 1 Funding is sustainable and adaptable to changing needs

Strengthening support for repatriation

MAS builds relationships and capacity in repatriation work

U nderstanding that repatriation, the Museums Association of Saskatchewan (MAS) is working to remove long- standing barriers to repatriation in the province. Guided by the knowledge of Elders and Knowledge Keepers, MAS is moving forward at the “pace of trust”, authentic, trust-based relationships are at the heart of meaningful prioritizing respect, collaboration, and Reconciliation every step of the way. Emma Morris, executive director, MAS, says forming the Elders Circle was key to moving forward. “We’re trying to inform and educate and do this in a good way. As the Elders have told me again and again, ‘We move at the pace of trust,’” she adds. “Not every Rights Holder is going to be immediately ready to take these cultural belongings back, and that’s up to each museum to navigate that. But the important piece is that museums need to be ready to respond to seek advice was one of the first steps MAS took toward building resources to help its members learn how to approach repatriation. Sitting in the Circle currently are Knowledge Keeper Dr. Linda what Rights Holders need.” Forming the Elders Circle to Young, Cy Standing and Sid Fiddler. “Having that high-level guidance

Gabriel Essaunce Lamarche works with museums across Saskatchewan to identify items for repatriation and build relationships with Indigenous communities. Photo by Amber Hanover.

LEFT To support museums across the province, MAS released a film in May 2025, titled Finders Keepers: In the Spirit of Repatriation , offering guidance on how to approach repatriation. Photo by Sawyer Morris. BELOW The Museums Association of Saskatchewan created an Elders Circle to help guide respectful repatriation efforts across the province. Photo by Sawyer Morris.

a good ongoing relationship with nearby Indigenous communities to ensure the items are handled with respect.” With an understanding of the history of colonialism, he approaches his work with respect for each community’s perspective on how items should be repatriated. “Previously, there was a provision in the Indian Act that expressly prohibited traditional ceremonial practices, so a lot of traditional ceremonies had to go underground and be kept secret to keep them alive between about 1890 and 1950,” he explains. “Because of this, there is still a hesitancy in a lot of Indigenous communities to share the traditional knowledge they carry. It’s important for me and for museums to be open and create a safe space where communities feel comfortable coming forward.”

Some of Essaunce Lamarche’s priorities moving forward are to “get sacred ceremonial items that are in museums back under the care and authority of Indigenous Elders,” he says. “The next highest priority is dealing with archeological materials. There needs to be more Indigenous input in how these items are displayed and the interpretive story we tell about the past through these items, to frame it in a much more respectful way.” A lot of repatriation has already happened quietly across the province without media coverage, says Morris. “It’s private and based in ceremony in some cases, and so it’s not something that can be shared, but witnessing that and being a part of that is so powerful.”

from Elders and Knowledge Keepers has been so necessary for this work,” Morris says. Knowledge Keeper Dr. Linda Young agrees. “Inviting Elders and Knowledge Keepers who can provide guidance by sharing their collective knowledge gleaned from lived experience, oral history and ceremony honours First Nations and Métis traditions when handling sacred objects,” she says. “For me, the pace is a reference to protocol, the offering of tobacco when seeking knowledge, and trust from both parties emerges from this process.” Other steps MAS has taken over the past two years included hiring Gabriel Essaunce Lamarche in the new role of repatriation and community liaison this past September, as well as establishing online educational resources for repatriation, developing a database to house all of the materials that should be repatriated, and creating a film on the process and power of repatriation, entitled Finders Keepers: In the Spirit of Repatriation , which was launched in May 2025. “My role includes helping museums develop repatriation policies, to identifying artifacts and connecting with communities,” says Essaunce Lamarche. “From my upbringing as a member of Beausoleil First Nation in Ontario, I understand the protocols around caring for these items. It’s really important that museums do build

Improve inclusiveness, diversity, equity and accessibility of cultural activity

Strategic Priority 2

Deepening understanding of Truth and Reconciliation

Guiding change through relationships and shared learning

T he release of the Truth and Reconciliation Commission’s (TRC) Call to Action in 2015 marked a defining moment for SaskCulture’s commitment to listen deeply, confront difficult truths, and take meaningful steps toward change. Through ongoing staff training, community engagement, and support for Indigenous-led initiatives, SaskCulture has been on a learning journey rooted in building respectful relationships and turning its commitment into action. Damon Badger Heit, supervisor, partnership and inclusion, SaskCulture, notes that SaskCulture had already begun some work towards supporting both Indigenous-led cultural initiatives and cross-cultural awareness activities prior to the release of the TRC report, but the framework offered by the Calls to Action report made it clear — there was still so much more to be done. “The first thing we learnt as an organization is that it is everyone who has responsibilities to take meaningful steps forward, both as individuals on a personal journey of Reconciliation, as well

Current and former SaskCulture staff attend the Wîcihitowin Indigenous Engagement Conference, taking part in shared learning and reflection as part of ongoing Truth and Reconciliation efforts.

It brought the impact of colonization to life in a way that reading never could. That, along with other learning opportunities, helped us see why this understanding must be at the heart of the work we do.”

as contributing to advancing the work of SaskCulture as a whole,” says Badger Heit. “Truth and Reconciliation touches on all facets of society and at all levels of an organization. It is not a First Nations person’s or individual staff role to lift on behalf of the entire organization. It’s everyone’s responsibility.” One of the first key changes SaskCulture made was to support ongoing learning opportunities for both staff and Board members. Attending conferences such as Wîcihitowin, participating in First Nations and Métis awareness training, engaging with Elders and residential school Survivors, and watching films such as N î pawistamâsowin: We Will Stand Up by Tasha Hubbard together as a staff and holding space for difficult dialogues all contributed to a deeper understanding of the histories and lived realities of Indigenous peoples, and the ongoing impact of colonial systems on their inclusion and engagement. Taking part in truth-telling opportunities helped create the space for honest conversations and enabled the Board and staff, who will be involved in this work, to better understand the importance of building relationships and advancing Reconciliation within the cultural sector and beyond. “SaskCulture created space for us to have difficult and emotional conversations with one another. It wasn’t easy, but it became a meaningful part of our work,” says Lorelie DeRoose, granting and evaluation coordinator, SaskCulture, who joined the organization just weeks before the release of the TRC report in 2015. She continues, “Having Elders such as Eugene Arcand guide us through those moments brought a depth of understanding we couldn’t have reached on our own.” Busayo Osobade, communications manager, SaskCulture, shares a similar experience. “My first experience with the KAIROS Blanket Exercise was at SaskCulture, and it was facilitated by Elder Lillian Piapot,” she recalls. “Physically stepping through the history and lived realities of Indigenous peoples made it real.

Over time, several key

moments have paved the way for meaningful change. From

2016 to 2018, SaskCulture

coordinated a Reconciliation and Respect: Canada 150 and Beyond project — an initiative aimed at creating long-term partnerships with organizations such as the Buffalo People Arts Institute, Gabriel Dumont Institute, Saskatchewan Indigenous Cultural Centre, Saskatchewan Aboriginal Writers’ Circle Inc. and SK Arts, which led to reimagining new modes of sustained partnerships and ultimately gradual change to funding processes and programs that includes Indigenous leadership working directly with SaskCulture. In 2018, SaskCulture amended its Principles and Values within its Constitution to include a formal commitment to Truth and Reconciliation. This shift embedded Reconciliation into the very foundation of the organization, not as an add-on but as guiding principles to its work. And more recently, the Funding Program Renewal Project reflects a deep commitment to Inclusivity, Diversity, Equity and Accessibility, including Truth and Reconciliation, ensuring that SaskCulture’s funding system better reflects the diverse histories, voices, and needs of Indigenous peoples and communities across Saskatchewan. “Including Truth and Reconciliation in our Constitution was a moment of deep reflection for us. It signaled

a shift in how we see our role,” says Dean Kush, chief executive officer, SaskCulture. “It challenged us to look inward, to acknowledge where change was needed, and to move forward with greater care and responsibility.” SaskCulture continues to work closely with Indigenous partners and community leaders to help guide its path. The generosity of Indigenous Elders, leaders, volunteers and partners continues to be instrumental on this journey, which still has a long road to travel. “These changes would not have been possible without the many meaningful relationships we’ve built with First Nations and Métis peoples and organizations, whose guidance, trust, and honesty have helped shape our understanding and direction,” says Badger Heit. Kush agrees, adding that SaskCulture recognizes Reconciliation as an ongoing journey — one rooted in continuous listening — and is committed to walking that path with open ears, minds, and hearts.

Improve inclusiveness, diversity, equity and accessibility of cultural activity

Strategic Priority 2

Investing in youth to build lasting impact

Creating lifelong opportunities for youth

S upporting children investment in any community. Creative Kids has made a lasting impact by helping thousands of young people across Saskatchewan communities, who face financial and social barriers, to participate in meaningful arts and cultural experiences. and youth’s access to life-changing cultural activities is an important Since 2010, the program has funded over 16,000 applications, creating opportunities for youth to grow, connect and thrive. Keegan and Taegen Isaac, two brothers from the North Battlefords area, are an example of this impact. Taking violin lessons as children, thanks to Creative Kids funding, put them on a path to becoming active members of their community. After sharing their love for music by performing at care homes for years while growing up, today, Taegen is studying to become a doctor, and Keegan is studying to teach music. “Studying music made me feel unique as a kid. It gave me a sense of confidence. It led to some of my greatest

Keegan and Taegen Isaac fell in love with music thanks to the violin lessons they accessed through Creative Kids funding as children. Photos courtesy of Keegan Isaac.

that program costs should never be a barrier to kids experiencing the benefits of cultural or creative activities. “Removing financial barriers to participation in creative activities puts children and youth on a path of success into adulthood,” Bauche says. “We are seeing this impact in real time — now that Creative Kids has been in operation for almost 15 years, more and more past funding recipients, now adults, are coming forward to share how much this support has made an impact in the trajectory of their lives.” Keegan is one of many young people whose lives have been shaped by support from Creative Kids. Reflecting on his experience, he says he’s “thankful for everyone” who has made the program possible. His words echo the many heartfelt testimonials Creative Kids has received since 2010. “I am thankful for their support. Their contributions are an investment in the future of children in Saskatchewan, and that is something that never goes to waste,” Keegan says. “Creative Kids makes access to art more equitable across the province, and that is so vitally important.”

friendships and to many learning opportunities,” Keegan says. “It taught me that music education is so important, and that’s why I am studying education now.” As the cost of living continues to rise, more families are turning to Creative Kids for support, resulting in a record number of applications. Now more than ever, children and youth need support accessing the benefits of arts, cultural and creative activities, and that’s where Creative Kids comes in. Shawn Bauche, program consultant, Creative Kids, says

Our impact since 2010 15,928 Applications funded 282 Communities supported 6,293 Social media followers $7.61 Million granted 602

Help us meet the need of every deserving child or youth by providing them with the opportunity to creatively engage their minds.

Registered music, dance, theatre, art, and cultural instructors

Make a donation at CreativeKidsSask.ca

or call toll free 1-855-277-9469.

Improve inclusiveness, diversity, equity and accessibility of cultural activity

Strategic Priority 2

Sustaining cultural engagement across communities

Event organizers reflect on the benefits of ongoing participation

S ince 2010, Culture Days has helped highlight the powerful role that arts, culture, and heritage play in bringing Saskatchewan communities together. The national celebration has become a key part of community life in the province, helping to build a shared understanding of how Culture Builds Community . In 2024, Culture Days marked its 15th year, celebrating continued growth, engagement, and lasting community impact. Each year, more events are held, participation grows, and the range of cultures represented continues to increase. Behind that growth are dedicated organizers who return year after year, motivated by the positive change they see in their communities. Since 2015, the City

as well as fosters a great sense of belonging and civic pride.” Furstenberg says Culture Days continues to provide opportunities to make the public aware of the incredible arts and cultural programs that are already free and accessible throughout the year. “Key comments that come up from participants include how Culture Days helped our residents discover new cultural experiences that they wouldn’t have sought out on their own. They also say it helped them feel more connected to the community.” The Art Gallery of Regina also began organizing Culture Days events in 2015 and has seen firsthand how it continues to grow each year. Sandee Moore, director

of Prince Albert has participated in Culture Days Saskatchewan, consistently accessing SaskCulture’s support to bring cultural programming to life each fall. Tia Furstenberg, arts and culture coordinator, City of Prince Albert, says they continue to organize Culture Days Hubs because their community members and partners are both enthusiastic and dedicated to the yearly celebration. “They return every year with fresh ideas and a commitment to building on the past year’s successes. We want to continue because community connections and shared experiences matter,” she says. “Culture Days strengthens our relationship with local artists, organizations and our residents,

Saskatchewan 2024

participated digitally and in person.

200,000+

hubs were sponsored.

people attended National Day for Truth and Reconciliation events.

15,000 (estimated)

hubs focused on Truth and Reconciliation.

The 2024 Culture Days Hub Sponsorship recipients

Melfort & District Museum Nuit Blanche Nutrien Wonderhub Oxbow & District Recreation Board Inc. Regina Public Library Rise Up

Art Gallery of Regina Azerbaijani Cultural Association of Regina Buffalo Narrows Friendship Centre Inc. City of Humboldt City of Lloydminster City of Prince Albert City of Swift Current City of Warman City of Weyburn City of Yorkton Climax Community Dance Theatre Grand Coteau Heritage & Cultural Centre Inc. Museum Free Flow Indian Head Public Library Last Mountain Lake Cultural Centre Inc. Leader & District Chamber of Commerce Listen to Dis’ Community Arts Organization Inc. Meadow Lake Library Métis Nation SK Queen City Local #34 Inc.

Culture Days events have helped the Art Gallery of Regina to make their events more experiential. Photo courtesy of the Art Gallery of Regina.

Community Foundation

Saskatchewan Craft Council Saskatchewan Mongolian Community Sri Lankan Association of Regina Inc. Town of Arcola Town of Gravelbourg Town of Gull Lake Town of La Ronge Town of Lumsden Town of Porcupine Plain Town of Rosthern Town of Wynyard The Reading Place Inc.

support,” she explains. “For example, it helps us hire someone to provide American Sign Language interpretation during artists’ talks, or bring in people from specific knowledge areas such as Elders or Knowledge Keepers.” Furstenberg adds that Culture Days really does help build community. “The 2024 Prince Albert National Attendee survey results say it all,” she says. “74 per cent of participants said they were more likely to seek out cultural events after attending, and 90 per cent of participants expressed a deeper appreciation for local arts history and cultural diversity.” That growing impact was reflected nationally, with the cities of Prince Albert, Regina and Yorkton recognized among the top participating communities in Canada in 2024.

and curator, Art Gallery of Regina, says the Gallery’s participation in Culture Days has allowed for strong partnerships and inspired more people to become year-round participants. “What is important about becoming a part of Culture Days is that it really allows us to create active ways for people to engage with artwork. It supports the work that artists do that is interactive, participatory and community-based. We can be a part of something greater than we could achieve on our own as a small gallery with two staff.” For Moore, participation in Culture Days helps increase the visibility and accessibility of the Gallery’s events, while also offering other benefits.

“The Hub Sponsorship from SaskCulture, for

instance, allows us to enrich programming that we don’t always have the funds to

(Battleford) Wheatland

Regional Library Village of Hazlet

registered activities offered in person, online and outdoors.

315+

$104,900.00 in support

52,000 (estimated)

attended in person.

Improve inclusiveness, diversity, equity and accessibility of cultural activity

Strategic Priority 2

Building equity through participatory grant-making

Involvement in grant assessment builds shared understanding

Sonia Reid hosted a Gospel Choir workshop in Saskatoon, which culminated on a Finale Concert performance, thanks to BAE funding. Photo courtesy of Sonia Reid.

S ince the Building Arts Equity: BPOC (BAE) program was launched in 2023, the grant has engaged around 50 applicants in participatory grant- making, with an application review process that involves local artists, community members, and experts to review and provide feedback on applications. For Saskatoon-based artist Sonia Reid, a past applicant and peer-assessor, being part of the participatory adjudication process was “introspective.” The experience was an opportunity for her to gain valuable insight into how others structure their proposals, and what makes one stand out. “You have to get clear about your ‘why’ — why this matters, why now, and why it helps the community,” she says. “The most compelling ones were the ones where you could feel the heart... This isn’t just about art for art’s sake — it’s about building something bigger.” SaskCulture partnered with SK Arts and the Multicultural Council of Saskatchewan to develop the BAE program. The Program supports many artists from African, Black, Asian, Latin American, Caribbean and Middle Eastern descent in Saskatchewan who want to pursue projects that celebrate cultural diversity and promote inclusion in the arts. Damon Badger Heit, supervisor, partnerships and inclusion, SaskCulture, says that sitting in on the BAE Program adjudications in February, now two years after the program launch, was “inspiring.” “People are taking ownership of the process. I learnt much from listening to people from different nationalities, backgrounds and artistic practices, share a deep level of understanding with each other — of their shared

Reid gained insight into the granting process through the BAE Program, as an applicant and peer-assessor. Photo courtesy of Sonia Reid, www.gcyxe.com.

performance that left everyone, including Reid, awestruck. As the population of Saskatchewan continues to grow and change, Reid says that grants such as the BAE Program are a springboard that ensures artists who identify as Black or persons of colour have the tools, resources, and recognition they need to step into the spotlight. “This is about more than just music,” she says. “It’s about creating spaces where people can come as they are and find joy, expression, and belonging. That’s what the arts are supposed to do.” The BAE program received 64 applications in 2024 and is on track for increased submissions in 2025.

experiences and barriers,” Badger Heit says. “That shared understanding leads to applicants supporting each other and supporting the projects that could have a big impact on a community.” Reid applied to the BAE Program to help bring an idea to reality: a Gospel Choir workshop that blended performance, education and community. “I was missing gospel music, specifically Black gospel, the kind I grew up with,” she says. “What if we could create something immersive ? Just one weekend, full- on music, joy, and celebration.” In 2024, over 30 singers of all backgrounds came together on a weekend in Saskatoon, many of whom had never sung gospel before. The workshop blended performance and education into a whirlwind two-day experience, which ended with a live

Improve inclusiveness, diversity, equity and accessibility of cultural activity

Strategic Priority 2

Increasing cultural programming in the North

Library art program fills community gap

W hile there are many opportunities for youth to get involved in sports in La Ronge, arts and cultural activities are few and far between. It’s not due to a lack of demand, though, which is why the Alex Robertson Public Library approached local artist Annalisa Heppner to get involved. She was initially asked to paint a mural in the library, but ongoing discussions led to the idea of also holding art classes for children. The resulting Arts in the Library project was funded through the Northern Youth Cultural Fund and aims to improve the accessibility of cultural programming and activities in the area. The classes, held in fall 2024, were incredibly popular, reaching full capacity with wait lists. Twenty-four children aged seven to 12 grew their art-making skills over eight weeks. While Heppner does not have a background in teaching, she soon discovered she has a knack for it. She engaged the students with a variety of media, including acrylic paint markers, chalk pastels, and mixed media. “I was proud to see the growth that took place over the course of eight weeks, particularly in the older kids’ confidence levels and the younger students’ engagement and focus levels,” Heppner says.

The kids loved the program and participated fully, with near- perfect attendance. More than 60 people attended. An open house was held at the end of the program to present the resulting artwork to parents, friends, and members of the community. “Everybody loved it. The children had a great time, and their parents were all very complimentary of the space and the incredible art projects,” says Stares. The La Ronge Arts Council also invited the art program students to display work in their annual Student Art Show. “It’s important to show kids that it’s a viable option to pursue art, whether professionally or non- professionally,” Heppner says. The Arts in the Library program was so successful that parents started asking them to provide art programs for adults. Due to community demand, the library held another session of kids’ classes with Annalisa and has plans for more programming with her. “The Northern Youth Cultural Fund is such an amazing grant,” says Stares. “It’s a great opportunity for us, and we’re going to continue to apply for new and unique arts programming.”

“Providing creative opportunities for youth is a great way to strengthen their connections with community, and more art is always a good thing.” Sean Stares, library administrator, Alex Robertson Public Library, says the program was a rare opportunity for youth in the area to receive quality instruction in the arts. “Children’s arts programs are usually on the simplistic side, but this was definitely on the art side,” says Stares. “Annalisa is a fantastic mentor to these children. She’s very patient and gives them quality advice and techniques you don’t usually get in a children’s art program.”

Families and friends attended the student art show opening reception to see the students’ progress at the end of the Arts in the Library course. Photos by Annalisa Heppner.

Improve inclusiveness, diversity, equity and accessibility of cultural activity

Strategic Priority 2

Building capacity in the cultural sector

Lunch and Learns support member growth

S askCulture’s support of a culturally vibrant province is not just about providing funding or supporting event organizers; it’s also about equipping cultural leaders with the knowledge and tools they need to thrive. One of the ways it is helping build capacity is through its ongoing Lunch and Learns. In 2024, over 400 members of the cultural community accessed learning opportunities through SaskCulture’s Lunch and Learn webinars, building on the initial success of its webinars in 2023. The sessions reached around 70 registrations each, with the most popular sessions engaging over 100 people at a time. Nichole Williams, executive assistant, SaskCulture, who also coordinates the webinars, says the interest in the webinars has grown significantly with more cultural leaders tuning in for quick introductions to emerging topics and actionable ideas to take back to their teams. She notes that the online format of the sessions has received positive feedback, as it offers participants greater flexibility and easier access to the learning opportunities.

“People really appreciate that they can access the recordings afterwards, so even if people are not able to attend the actual day, they can still access it when it works for their schedule, and share it with their staff and Board,” Williams says. The year kicked off with Governance Basics in April 2024, presented by Dawn Martin, which shared an overview of non-profit governance fundamentals. In August, the Informing Queer & Trans Inclusive Funding Practices webinar, presented by Ivy + Dean, shared key findings from

a secondary research project commissioned by SaskCulture. Also in August, SaskCulture launched a five-part webinar series focusing on the Nonprofit Lifecycles approach to highlight the key capacity areas of governance, management, administrative systems, and financial resources. The series provided participants with tools to assess their organizational sustainability and align resources with their mission. Other highlights included Identifying Leading Equity Funding Practices to Support People with Disabilities in January 2025,

Media Relations for Non-profits in February, and Trauma-Informed and Cultural Sensitivity Training in March, presented by Eliza Doyle and Holly Rae Yuzicapi of the Community Arts Mentorship Program. Looking ahead, Williams says SaskCulture will continue to offer webinars that share insights and emerging ideas with the cultural community, further strengthening the province’s cultural network.

Management’s Responsibility

Independent Auditors’ Report

To the Members of SaskCulture Inc.:

Opinion The summary financial statements, which comprise the summary statement of financial position as at March 31, 2025, and the summary statements of operations for the year then ended, and related notes, are derived from the audited financial statements of SaskCulture Inc. (the “Organization”) for the year ended March 31, 2025. In our opinion, the accompanying summary financial statements are a fair summary of the audited financial statements, on the basis described in Note 1. Summary Financial Statements The summary financial statements do not contain all the disclosures required by Canadian accounting standards for not-for-profit organizations. Reading the summary financial statements and the auditor’s report thereon, therefore, is not a substitute for reading the audited financial statements and the auditor’s report thereon. The summary financial statements and the audited financial statements do not reflect the effects of events that occurred subsequent to the date of our report on the audited financial statements. The Audited Financial Statements and Our Report Thereon We expressed an unmodified audit opinion on the audited financial statements in our report dated May 9, 2025. Management’s Responsibility for the Summary Financial Statements Management is responsible for the preparation of the summary financial statements in accordance on the basis described in Note 1. Auditor’s Responsibility Our responsibility is to express an opinion on whether the summary financial statements are a fair summary of the audited financial statements based on our procedures, which were conducted in accordance with Canadian Auditing Standards (CAS) 810, Engagements to Report on Summary Financial Statements.

Management is responsible for the preparation and presentation of the accompanying financial statements, including responsibility for significant accounting judgments and estimates in accordance with Canadian accounting standards for not-for-profit organizations. This responsibility includes selecting appropriate accounting principles and methods and making decisions affecting the measurement of transactions in which objective judgment is required. In discharging its responsibilities for the integrity and fairness of the financial statements, management designs and maintains the necessary accounting systems and related internal controls to provide reasonable assurance that transactions are authorized, assets are safeguarded and financial records are properly maintained to provide reliable information for the preparation of financial statements. The Board of Directors is composed of Directors who are neither management nor employees of SaskCulture. The Board is comprised of community volunteers elected by the membership who review the financial statements in detail with management prior to their publication. The Board is also responsible for recommending the appointment of SaskCulture’s external auditors. MNP LLP is appointed by the members to audit the financial statements and report directly to them; their report follows. The external auditors have full and free access to, and meet periodically and separately with, both the Board and management to discuss their audit findings.

May 9, 2025

Dean Kush, CEO

Regina, Saskatchewan May 9, 2025

Chartered Professional Accountants

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