Do you have questions about the CARFAC-RAAV Fee Schedule?
IMAA is hosting a webinar for media arts organizations on December 7 at 1:30 pm EST / 10:30 am PST April Britski, CARFAC’s National Executive Director, will provide an overview of how the Fee Schedule works, including recent changes for 2024 and beyond.
+ Panorama + Featured Member : Regent Park Film Festival + Opportunities +Cyber Safe & Sound
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Les nouvelles de l’AAMI – NOVEMBRE 2023 L’actualité de ce mois en un coup d’oeil –» Cliquez ici !
Fonds d’acquisition d’équipement pour les arts médiatiques Les réacteurs à microfusion sont prêts ! Des nouvelles d’interConnect – Enquête Prochaines rencontres sur Discord Remerciements à Naimah Amin !
+ Panorama + Membre à découvrir Regent Park Film Festival + Occasions professionnelles + Cyber Sain et Sauf
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We’re excited to announce new opportunities under the DS4Y program!
Digital Skills for Youth (DS4Y) is a program funded by the Government of Canada which aims to help underemployed youth enhance and develop their digital and soft skills. Between November 2023 and March 2024, IMAA is offering funding for a minimum of 20 internships and artist residencies for underemployed youth.
The Independent Media Arts Alliance (IMAA) is seeking proposals from qualified web design and development firms to undertake a comprehensive redesign of our website. As a nonprofit arts service organization, an online presence is crucial to our overall operations, in order to maintain communication with members, and to present our various projects to the media arts community. We invite experienced individuals or design firms whose values align to our Basis of Unity to submit proposals for this project.
About the Independent Media Arts Alliance:
IMAA is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
Project Overview:
The project involves a complete redesign of our existing website, IMAA.ca, to create a modern, user-friendly, and responsive platform. The new website should reflect our organization’s branding, values, and objectives. It must also incorporate the latest web technologies and best practices for usability and accessibility.
Scope of Work:
The selected developer will be responsible for the following key tasks:
Conduct a comprehensive assessment of our current website and its shortcomings.
Collaborate with our team to define project goals, target audience, and design preferences.
Develop a detailed project plan, including timelines and milestones.
Create wireframes, prototypes, and design mockups for the new website.
Implement responsive design for optimal viewing across all devices and browsers.
Ensure high-level security and data protection measures.
Provide content management system (CMS) training to our staff for easy content updates.
Perform thorough testing and quality assurance.
Launch and deploy the new website.
Provide ongoing technical support and maintenance options.
Proposal Submission:
Interested firms should submit their proposals by October 31, 2023. Proposals should include the following:
Company background, including relevant experience in website redesign projects.
Portfolio showcasing previous website design and development work.
Detailed project approach and methodology.
Estimated project timeline.
Itemized budget, including all associated costs.
Evaluation Criteria:
Proposals will be evaluated based on the following criteria:
Experience and expertise in website design and development for nonprofit organizations.
Prioritizing experience with microsite creation.
Ability to work bilingually.
Demonstrated understanding of our organization’s mission and goals.
Creativity and innovation in design concepts.
Proposed project timeline and methodology.
Cost-effectiveness and value for the budget.
References and client testimonials.
Timeline:
Proposal Submission Deadline: October 31, 2023
Evaluation Period: November 1 – 10
Vendor Selection: November 14th
Project Start date: November 21st
Contact Information: For inquiries and proposal submission, please contact: Yuko Fedrau, Operations Coordinator, at coord@imaa.ca
Disclaimer: IMAA reserves the right to accept or reject any proposals received, to request additional information, and to negotiate terms with any qualified proposer. The issuance of this CFP does not commit IMAA to award a contract or pay any costs incurred in the preparation of a proposal.
We look forward to receiving your proposals and exploring the possibility of collaborating on this exciting website redesign project.
The Canada Council for the Arts | Conseil des arts du Canada and the Independent Media Arts Alliance (IMAA) are once again coming together to honour the recipients of the Governor General’s Awards in Visual and Media Arts (GGArts).
We are looking to pair Canadian filmmakers with the 2024 GGArts winners to create artistic video portraits (3 minutes max., including credits/bumpers) and a 30-second teaser. We also encourage production centres and filmmakers to enter an agreement that would help cover the costs of services and equipment they might need.
Type of Service Required : Video Production Services Closing Date : 13 October 2023 Contact Person : Sol Inés Peca Phone : 1-800-263-5588 | 613-566-4414, ext. 4139 Email : rfp-dp@canadacouncil.ca
Supported through Heritage Canada’s Community Support, Multiculturalism, and Anti-Racism Initiatives program, this is a first time, small-scale resource redistribution initiative for IMAA aimed at increasing capacity, connection and support within the independent media arts community. Led by the needs of our members, it will financially and administratively support selected organizations in finding and employing a ‘consultant’ to support their anti-racism capacity building project.
Five selected organizations within IMAA’s membership will receive a subtle yet powerful boost of up to $8,000 to put towards working with someone who will support your initiative. This careful fusion of resources is designed to empower smaller projects, equipping your organization with the tools and support needed to make a genuine and lasting impact.
IMAA News - June 2023 BDigital Skills for Youth (DS4Y) Quebec Regional Meeting interConnect CSMARI Discord Chats --» Sacrifice as Beginning, with Nasrin Himada [Through the Storm] --» Get to know IMAA [Take 2!] Summer Closure + Panorama + Featured Member : VUCAVU + Opportunities
Position: Research Intern Location: anywhere in Canada Wage: $18 per hour, 30 hours per week Contract Dates: June 20 2023 to October 23 2023
About the position: This internship will immerse you in the activities of the Independent Media Arts Alliance (IMAA). This internship will immerse you in the activities of the Independent Media Arts Alliance, an exciting and dynamic workplace that is currently engaged in a number of ambitious projects, which advance and strengthen the independent media arts community in Canada. The primary focus of this internship is research of not-for-profit media arts organizations across the country undertaking digital transformation work. Over the course of this four-month internship at IMAA, you will first receive intensive on-the-job orientation and training and then have the opportunity to participate hands-on in the management and promotion of an IMAA-led project. You will become familiar with the latest standards, recommendations, and tools, sharing them within the media arts community and soliciting their feedback and recommendations. You will benefit from exposure to a very experienced and highly professional team of arts administrators, organizers, and other specialists, participating fully in an exciting and ambitious project over the course of the four-month internship.
During your time with IMAA, you will be responsible for: – Research support for the interConnect project – Note-taking and editing support for the interConnect project’s working groups – Documenting digital projects
Your general responsibilities will also include: – Updating membership contact lists to facilitate engagement and community participation – Communications-related tasks (website maintenance, social media campaigns) – Supporting administrative tasks for the IMAA team
Over the course of this four-month internship, you will first receive on-the-job orientation and training and then have the opportunity to participate hands-on in our organisation’s active projects. You will benefit from exposure to a collaborative and community-minded team of arts administrators, organisers, and other specialists, participating fully in our day-to-day work over the course of the internship.
By the end of the internship period, you will have increased your understanding of the Canadian media arts sector, gained knowledge regarding your future specialisation within the field, equipped yourself with tools for seeking further employment or self-employment options, and be better positioned to pursue those options.
About you:
– You hold a degree in arts administration, film studies, library and information science, Indigenous studies, or another field related to the position.
– You have an interest for, and preferably also hands-on experience working in independent media arts (film, video, audio art, and/or digital art).
– You’re seeking experience in arts administration and wish to contribute to supporting the development of the independent media arts sector. You’re interested in distributing information or stimulating conversations that support independent media artists in their work.
– You have strong organisational skills, including proficiency with all standard digital office tools, and well-developed work practices. You are responsible, accountable, and able to work largely in a self-directed manner. You have excellent communications skills and a demonstrated ability to work well in teams.
– English language skills (written and spoken) are essential for this position. Written and spoken French would be considered an asset, but not a requirement of the position.
IMAA is strongly committed to correcting historical employment inequities in the sector it serves and is working proactively to centre diversity within the organisation. We welcome all applications from women, racialized persons/persons of colour, Indigenous peoples, persons with disabilities, persons of all sexual orientations and genders, and others who may contribute to the further diversification of ideas. Accommodations will be made available to applicants with disabilities in the recruitment process. If you require accommodation, please provide details in your application – you may append your requirements to your cover letter.
Governor General’s Awards in Visual and Media Arts – Discover the 2023 Winners!
The Canada Council for the Arts in collaboration with IMAA is pleased to present the winners of the #GGArts2023 Awards! Join us in congratulating and celebrating Germaine Koh, Nettie Wild, Evergon, Grace Nickel, Tim Whiten, Shannon Walsh, FASTWÜRMS and David Garneau. Bravo! en.ggarts.ca
IMAA News – March 2023 (Click here!) Become a Member or Renew your Membership! interConnect – Info Session: Call for Participation Upcoming Thematic Meetings on Discord Welcome to Faraz Abdullah, CSMARI Project Manager! DS4Y Funding Recipients 2022-2023 ASO Convergence Conference Ontario Arts Council Budget Cuts +Panorama +Featured Member : FAVA +Opportunities
$43,000 for approximately 39 weeks, at 28 hours/week
The Independent Media Arts Alliance (IMAA) is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
Our organization is strong and dynamic, anchored in its diverse membership from all regions of the country, and supported by a small but dedicated staff. We are innovative, forward-thinking and inclusive in our commitment to serve independent media arts communities in all their diversity from coast to coast to coast.
For more information about IMAA, its members and activities, visit www.imaa.ca
IMAA is excited to be hiring a Project Manager to lead its interConnect project. This individual will see the project through all its phases from initiation, to research, and completion.
interConnect comes out of feedback among arts organizations that suggests that the Digital Strategy Fund’s fundamental goals have yet to be fully met. While much important knowledge is being generated thanks to the Fund, the dissemination & concrete application of its results remain incomplete and unevenly distributed. Within the fields of visual arts, media arts, digital arts & contemporary craft, the majority of organizations and artists have yet to benefit substantially from this work. A relatively limited number of organizations are making great strides towards digital transformation and enhancing their effectiveness & sustainability in their respective communities. If these successes could be more widely shared, these transformative impacts would be amplified across the Canadian arts sector.
Based on this analysis, IMAA proposes an initiative comprised of 3 related activities:
(1) take stock of the enduring pain points experienced by organizations, collectives & artists in fulfilling their mandates or creating work;
(2) perform an extensive review, analysis & distillation of the most promising Digital Strategy initiatives already completed or underway;
(3) Match the newly developed expertise in the arts sector with the unmet needs and challenges experienced by the bulk of the arts community, using a methodology based on cooperative inquiry and documenting the results through a collective intelligence platform.
MAJOR RESPONSIBILITIES:
Lead the InterConnect project from April 2022 —January 2023
Manage project budgets in collaboration with the IMAA Director
Prepare reports and updates for public sector funders
Provide collaborative leadership to colleague contractors including the Communications Specialist and Researchers working on the InterConnect project throughout the research, outreach, hiring, interviews, communications phases of the project
Support community consultations with stakeholders to inform project deliverables
Coordinate outreach to expand the reach and relevance of InterConnect to new communities
Produce public reports at key milestones in the development process
Respond to any other related tasks and duties that are required.
QUALIFICATIONS & SKILLS
Experience in project and budget management
Experience working in artist-run, DIY, and/or independent organizations and collectives
Knowledge of Canada Council for the Arts funding programs
Excellent organizational skills and practices
Consensus decision making and facilitation experience is an asset
An understanding of anti-oppression and equity frameworks
Strong communication skills and experience with remote work and project management
Multilingualism an asset, English will be the primary language of project work
IMAA is strongly committed to correcting historical employment inequities in the sector it serves and is working proactively to centre diversity within the organization. We welcome all applications from women, racialized persons/persons of colour, Indigenous peoples, persons with disabilities, persons of all sexual orientations and genders, and others who may contribute to the further diversification of ideas. Accommodations will be made available to applicants with disabilities in the recruitment process. If you require accommodation, please provide details in your application.
We strongly encourage applicants from equity-seeking groups to apply. If you are comfortable self-identifying as such, we ask that you do.
To apply, please submit a cover letter and CV (in English or French) by email to the IMAA Hiring Committee: hiring@imaa.ca
Thank you for your interest. Due to volume only shortlisted candidates will be contacted.
*IMAA’s National Office is located in Montréal, but we will consider applicants based elsewhere in Canada. We are currently observing work from home protocols. The successful candidate may be required to travel as part of their functions.
This position is funded through the Canada Council for the Arts Digital Strategies Fund
The Independent Media Arts Alliance is pleased to announce the appointment of Barbora Racevičiūtė as the new National Director.
Barbora will guide IMAA in its mission to push for structural change with regards to labour and governance and to advocate for equity, anti-oppression and access. Barbora has held roles with various not-for-profit arts organizations and in the academy.
Her previous experiences as Interim Communications and Development Manager at Workman Arts and as Director of Operations with Images Festival have given her a focus on media arts, with a multidisciplinary mandate. She is committed to interdisciplinary partnerships and considers them essential to understanding the emerging priorities of the media arts sector and its overall development.
Barbora has been involved from the sector on the ad-hoc Basic Income Committee to provide resources and support for artists. She cares deeply about the next generation of arts workers and concentrates on building solidarity in the sector and combating labour precarity.
About IMAA
The Independent Media Arts Alliance(IMAA) is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
This workshop will be held on Thursday, November 25 and Friday, November 26 from 1:00 p.m. to 3:30 p.m. (EST). Please note that this workshop will be conducted in French and follows up on the anti-racism policy clinic held for IMAA’s English-speaking members with MANO.
Workshop Objectives
This workshop aims to equip participants with tools to help them understand current and historical issues of inclusion and exclusion. It will allow participants to better understand the specific Canadian and Quebecois historical contexts and grasp the particular manifestations of these contexts in our local and national cultural sphere, as well as the particular realities that participants experience within their cultural organizations.
Following the workshop, participants will be able to :
Identify implicit forms of bias.
Understand historical and contemporary power relations in relation to these explicit/implicit forms of bias.
Better understand implicit/explicit bias and identify the larger impacts of exclusion.
Reflect on the nuances of past “diversity” policies to determine whether or not they are beneficial to their organizations and the communities they wish to include.
Design new and innovative approaches within their organizations, informed by required and optional prior reading and discussion, to rethink past mistakes and shortcomings and highlight new practices.
Become more comfortable and open in conducting dialogues about issues of inclusion and exclusion in the cultural sector.
Ultimately, the goal is for these new tools to lead to new and tangible forms of diversity and inclusion policy within organizations.
Methods of learning
Reading excerpts from books and articles, viewing short videos, large and small group discussions, lectures and formal presentations.
Programming
Day 1: Introduction to implicit/explicit bias, exclusions, historical contexts of racial exclusions, modes of analysis.
Day 2: Discussions about existing modes of inclusion in participants’ organizations (failures and successes) and ideal and critical modes of inclusion.
Participant Engagement
Participants should set aside the time to read approximately 40 pages prior to the sessions. These readings will provide a common ground for the course and will be the focus of the discussions.
James Oscar’s Biography
James Oscar is a writer, art critic and curator. He has studied critical thinking closely with poet/writer Édouard Glissant. His work explores how the complexity of identities is disseminated in the visual, literary and performative arts. James has 27 years of experience writing about contemporary art, cultural criticism, and sociocultural urban histories. James has 28 years of experience in the field of diversity as it relates to cultural inequality and human rights as it relates to urban racialized communities. He is currently advising the City of Montreal on issues of cultural inequity in the city’s current cultural institutions. With his group Montreal in Action, he was one of the main contributors regarding cultural inequity in the first public consultation on systemic discrimination and racism in North America – the OCPM on systemic discrimination and racism. Read the full biography (French)
Montreal in Action
In 2018, Montreal in Action made history by collecting 22,000 signatures from Montrealers to force a public consultation on racism and systemic discrimination involving over 7,000 Montrealers in 2019. The following summary of the full report has been published. https://ocpm.qc.ca/…/files/pdf/P99/resume-reds_english.pdf
Registration will be on a first-come, first-served basis, as we are limited to 25 participants.
This workshop was initiated by IMAA and CQAM. Please note that CQAM is now the Regroupement de pairs des arts indépendants de recherche et d’expérimentation – Repaire, an organization born from the merger of CQAM and RAIQ.
The Independent Media Arts Alliance (IMAA) announces new Media Arts Fee Schedule for 2022
Wednesday, October 20, 2021 – At its Annual General Meeting on September 28th, IMAA’s membership voted unanimously to adopt a new transitional fee schedule, as a step towards greater harmonization artist fee recommendations and standards in the Canadian and Québec arts communities.
The 2022 IMAA Fee Schedule introduces significant changes that will impact media arts presenters differently. We recognize that most organizations have fixed budgets and that many plan their programming well in advance. In some cases, transitioning to the new Fee Schedule may require time and adjustment.
We encourage presenters to gradually adopt the new fee structure throughout 2022 and 2023, with the goal of fully adhering to the IMAA Fee Schedule standards by 2024. The 2023 and 2024 fee schedules will be soon available on IMAASource’s website. Presenters should always follow the spirit of the Guiding Principles in implementing a transition that is appropriate to their own organization’s situation.
The objective of the 2022 IMAA Fee Schedule is to raise the standards to which the entire independent media arts community should strive, in keeping with its values of fair remuneration for artists. We encourage organizations to use the new Fee Schedule when budgeting for future programming and to refer to it in grant applications.
$52,000-$58,000 per annum plus benefits, 32 hours per week, 6 weeks paid vacation.
Years of experience: 5 to 10 years
Location: Canada*
Benefits include: 4 weeks paid holidays + 2 weeks during the winter season, health-care spending account, work-from home allowance and annual cost-of-living adjustment to wages.
The Independent Media Arts Alliance (IMAA) is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
Our organization is strong and dynamic, anchored in its diverse membership from all regions of the country, and supported by a small but dedicated staff. We are innovative, forward-thinking and inclusive in our commitment to serve independent media arts communities in all their diversity from coast to coast to coast.
For more information about IMAA, its members and activities, visit www.imaa.ca
IMAA’s National Director is responsible for initiating and coordinating IMAA’s projects and activities. Candidates must have experience with grant writing and working in a non-profit arts environment, have comprehensive knowledge of the independent media arts in Canada, and demonstrate a strong understanding of arts funding and the political landscape in Canada.
MAJOR RESPONSIBILITIES:
Chart a course for the Alliance, responding to challenges, seizing opportunities and achieving buy-in and consensus for projects and initiatives with IMAA’s Board and membership;
Work with colleagues and partners in the arts sector to prioritize and pursue advocacy efforts on behalf of the independent media arts;
Research and prepare all operating & project grants for submission to funding agencies;
Promote and maintain communication among IMAA’s membership, staff and Board;
Encourage participation and development of committees among the board and membership;
Develop partnerships within the Media Arts community (in both the private and public sectors);
Ensure sound financial and administrative stewardship;
Support and supervise permanent and temporary staff; and
Respond to any other related tasks and duties that are required.
Work with the IMAA Board of Directors to continue advocacy activities and develop and implement new advocacy campaigns;
QUALIFICATIONS & SKILLS
5 – 10 years experience in related field
Excellent communication skills (written and oral) in both English & French
Experience in grant writing & budgeting
Understanding of non-profit Board governance
Excellent organizational skills and practices
Experience in project management and supervising personnel
Commitment to responding to the needs of the independent media arts community
Willingness to develop new links and partnerships
Bilingualism
IMAA is strongly committed to correcting historical employment inequities in the sector it serves and is working proactively to centre diversity within the organization. We welcome all applications from women, racialized persons/persons of colour, Indigenous peoples, persons with disabilities, persons of all sexual orientations and genders, and others who may contribute to the further diversification of ideas. Accommodations will be made available to applicants with disabilities in the recruitment process. If you require accommodation, please provide details in your application.
We strongly encourage applicants from equity-seeking groups to apply. If you are comfortable self-identifying as such, we ask that you do.
To apply, please submit a cover letter and CV (in English or French) by email to the IMAA Hiring Committee: hiring@imaa.ca
Thank you for your interest. Due to volume only shortlisted candidates will be contacted.
*IMAA’s National Office is located in Montréal, but we will consider applicants based elsewhere in Canada. We are currently observing work from home protocols. The successful candidate may be required to travel as part of their functions.
IMAA engaged in a national conversation to address online presentation models. As a result of this research, we will update our Fee Schedule to include online presentation and produce a series of additional resources on intellectual property, remuneration, accessibility and technical considerations.
The updated Fee Schedule and accompanying documents will be hosted on IMAASource, a searchable collection of resources and tools. The objectives are therefore as follows:
Main Objectives
Create or update web-based layouts for our WordPress website to publish the new resources. They include:
Work with an accessibility consultant (or a team member) to optimize the website for screen readers.
Secondary Objectives
Implement additional web functionalities, such as
a fee calculator and flow charts.
Fix major bugs (such as the display of the landing page and mobile navigation).
Further improve web accessibility.
Propose updates to the website in areas including
navigation, design, and search functionalities.
IMAASource is a work in progress. We are looking for a partner who has an interest in continuing to improve this project in other contracts and who can accompany us in determining the priorities for the development of the resource.
Additional information
The content will be produced in French and English.
The number of pages is yet to be determined, but IMAA can be in charge of the content entry.
Good knowledge of non-profit organization and the independent media arts sector is an asset.
Budget
The budget for the design and web development is limited to $ 4000 with an additional $ 400 for accessibility user testing (all before taxes). If necessary, secondary objectives could be deferred to other projects with additional budgets.
Project’s Schedule
July to August 2021: Production of the resources
September: Translation of the ressources
September 28, 2021: Fee Schedule is voted at the Annual General Meeting (AGM)
September to November 2021: Web design, development and integration
We conduct interviews and/or hire the successful candidate at the end of August/beginning of September. The designer will be able to start working before the vote on the Fee Schedule at the AGM as we do not expect major change in the layout.
How to Apply
Please include in your proposal the following elements:
a short statement of interest including if you will recommend (or already work with) an accessibility consultant,
a quote or preliminary budget,
a portfolio presenting past projects (website can act as a portfolio).
All proposals should be sent to Benjamin J. Allard at proj@imaa.cabefore August 19th. Applications should have “OPS Web – [YOUR NAME]” as a subject line.For any questions, please contact Benjamin J. Allard, proj@imaa.ca, (514) 686-1005.
Give your opinion! Call out to the Independent Media Arts Sector: Have your say on the ONLINE MEDIA ARTS PRESENTATION FEE SCHEDULE.
IMAA is currently accepting registrations to participate in the June 23, 2021, Public Consultation. // Prononcez-vous! Appel au secteur des arts médiatiques indépendants, c’est le moment de donner votre opinion sur le nouveau BARÈME DE TARIFS POUR LA PRÉSENTATION DES ARTS MÉDIATIQUES EN LIGNE.
L’AAMI accepte actuellement les inscriptions pour participer à la consultation publique du 23 juin 2021.
Following the discovery of the remains of 215 children who attended the former Kamloops Residential School in British Columbia, IMAA extends its deepest condolences to all members of the Tk’emlups te Secwépemc First Nation, as well as to all indigenous peoples.
In light of the horrific situation, we would like to share various support initiatives:
The Indian Residential School Survivor Society (IRSSS) whose mandate is to assist First Nation Peoples in British Columbia to recognize and be holistically empowered from the primary and generational effect of the Residential Schools by supporting research, education, awareness, partnerships, and advocating for justice and healing. The Indian Residential School Survivors Society also provides a crisis line. By phone: 1-866-925-4419 Donate | More about
The Hope for Wellness Help Line offers immediate mental health counselling and crisis intervention to all Indigenous peoples across Canada. Phone and chat counselling is available in English and French. On request, phone counselling is also available in: Cree, Ojibway, Inuktitut. Call the toll-free Help Line at 1-855-242-3310, 24 hours a day, 7 days a week, or use the chat box below to connect with a counsellor on-line. More about
The KUU-US Crisis Line Society is a non-profit registered charity that provides 24 hour crisis services through education, prevention and intervention programs. By phone: 1-800-588-8717, or on the website: kuu-uscrisisline.com.
Introduction The sudden surge of new presentation models exposes an urgent need to formalize standards for streaming and other types of online presentation of media arts. Current recommended fee schedules in Canada only partially reflect these new models and lack consensus on recommended minimum fees or presentation standards.
To address these issues, IMAA is engaging in a national conversation with media artists, arts service organizations, media arts festivals and independent distributors, galleries and other presenters. We want to establish a minimum fee schedule and create a best practice guide on intellectual property, remuneration, accessibility and technical issues for the presentation of media arts online.
The present survey is intended for Canadian representatives of media arts organizations and media artists or independent producers. Responses are collected anonymously. Only aggregated data will be shared with the IMAA network or otherwise made public.
Terms used in the survey are defined in this glossary.If you require assistance to fill-out the survey or would like to provide responses over the phone, please contact Marilyne Parent at engagement@imaa.ca.
This internship will immerse you in the activities of the Independent Media Arts Alliance (IMAA) and its close partner the National Indigenous Media Arts Coalition (NIMAC). Both organizations are exciting and dynamic workplaces that are currently engaged in a number of ambitious projects, which advance and strengthen the independent media arts community in Canada.
Your time will be split evenly between the two organizations.
During your time with IMAA, you will be responsible for:
Maintenance, expansion and promotion of our online resource hub IMAASource (imaa.ca/Source)
Participating in the early planning stages of a national media arts conference in 2022
While at NIMAC, your responsibilities will include:
Planning and promoting a series of online conversations on subjects of importance to Indigenous media artists
Logistics support (liaison with members, configuring communications tools)
Your general responsibilities at both organizations will also include:
Updating membership contact lists to facilitate engagement and community participation
Communications-related tasks (website maintenance, contributing to monthly newsletter, social media campaigns)
Over the course of this ten-month internship, you will first receive intensive on-the-job orientation and training and then have the opportunity to participate hands-on in our organizations’ active projects. You will benefit from exposure to a very experienced and highly professional team of arts administrators, organizers, and other specialists, participating fully in our day-to-day work over the course of the internship.
By the end of the internship period, you will have dramatically increased your understanding of the Canadian media arts sector, made concrete decisions regarding your future specialization within the field, equipped yourself with tools for seeking further employment or self-employment options, and be better positioned to pursue those options.
About you:
You hold a degree in arts administration, film studies, library and information science, Indigenous studies, or another field related to the position.
You have a passionate interest for, and preferably also hands-on experience working in independent media arts (film, video, audio art, and/or digital art). In particular, you have an affinity with or experience in the Indigenous media arts community.
You’re seeking experience in arts administration and wish to contribute to supporting the development of the independent media arts sector. You’re interested in distributing information or stimulating conversations that support independent media artists in their work.
You have strong organizational skills, including proficiency with all standard digital office tools, and well-developed work practices. You are responsible, accountable, and able to work largely in a self-directed manner. You have excellent communications skills and a demonstrated ability to work well in teams.
English language skills (written and spoken) are essential for this position. Written and spoken French would be considered an asset, but not a requirement of the position.
IMAA is strongly committed to correcting historical employment inequities in the sector it serves and is working proactively to centre diversity within the organization. We welcome all applications from women, racialized persons/persons of colour, Indigenous peoples, persons with disabilities, persons of all sexual orientations and genders, and others who may contribute to the further diversification of ideas. Accommodations will be made available to applicants with disabilities in the recruitment process. If you require accommodation, please provide details in your application – you may append your requirements to your cover letter.
CQAM and AAMI are collaborating with Diversité artistique Montréal (DAM) to offer our members a discussion and training on inclusion issues in the cultural sector on Tuesday and Wednesday, April 27 and 28, 2021.
The first day will serve as a preparatory step for the workshop the next day, by providing a common vocabulary. Several concepts will be discussed using historical background, artistic references and statistics. It will also address the concrete impacts that issues of under-representation can have in the workplace as well as some avenues to initiate a process of inclusion.
The second part will be a dialogue. A workshop will be held to discuss what is an anti-racist approach. Participants will be invited to submit their concerns and questions without judgment before and during the workshop so that it can be adapted to your realities. The goal of the exercise is to accompany your personal and professional reflections and to open up the field of possibilities for changes that you can implement with your team, your organization and your community. Any process of inclusion must be thought out and planned within your teams and organizations, but we hope to give you some foundations on which to develop it.
The main objective of the iDAM cell is to raise awareness in the cultural and artistic milieu of the systemic obstacles that limit the equitable development of artists and diversity and First Nations organizations and to accompany them towards sustainable change.
April 27 (from 9:30 am to 12:30 pm):
Diversity and indigenous peoples
Racism and systemic racism (through history)
Implicit biases
White privilege and white fragility
Allies
Intersectionality
Equity vs. equality
Inclusion vs. integration
April 28 (9:30am to 12pm):
Anti-racist approaches.
Analysis of the symbolic, organizational, communication and administrative components of organizations.
Recommendations for concrete actions for a structuring inclusive approach.
Suggestions for tools adapted to your needs.
Inclusion measures and policies.
Discussions on concrete concerns raised by participants.
Registration will be done on a first come, first served basis, as we are limited to 25 participants.
*Please note that this event will be conducted in French and follows up on the anti-racism policy clinic held for our English-speaking members with MANO and IMAA.*
The sudden surge of new presentation models exposes an urgent need to formalize standards for streaming and other types of online presentation of media art. Current recommended fee schedules in Canada only partially reflect these new models, and lack consensus on recommended minimum fees or presentation standards.
To address these issues, IMAA is launching a national conversation with media artists, arts service organizations, film festivals, independent distributors, galleries and other presenters. This work will establish a minimum fee schedule and create a best practices guide on intellectual property, remuneration, accessibility and technical issues for the presentation of media arts online.
This project will benefit the media arts community by:
– Encouraging the fair remuneration of media artists when their work is shown online;
– Clarifying fees and best practices for the online presentation of audiovisual work;
– Building the capacity of Canadian presenters to present audiovisual work online;
– Enhancing the accessibility of Canadian independent media arts disseminated online;
– Expanding the technical knowledge of Canadian presenters of media art online.
There are many ways to support this work:
1- Become a project supporter: Please consider making a financial contribution to this important work! By doing so, you will help ensure that all research participants are fairly compensated for their time, that project contributors reflect a broad diversity of voices and regional representation, and that our project’s outcomes are widely circulated and broadly accessible to our community free of cost. We suggest a contribution amount of $500. Your organization’s financial support will be acknowledged and displayed at all related events, press releases, media and promotional materials. IMAA is a charitable organization and can issue receipts for your donation if required.
2- Take part in the discussions: Join us for a round table discussion of these issues on March 24th. Follow this link to register. A second round table will be organized in June.
3- Spread the word:Sign up to our mailing list and subscribe to our social media channels below to follow our process and receive regular updates. Relay news from our project through your own communications channels and invite your community to join the upcoming round table.
4- Declare your support for these standards: Once the updated fee schedule and best practices have been approved by IMAA’s membership, we’d like you to demonstrate your commitment to upholding these standards. Stay tuned for details on how to display your support for our new fee schedule and best practices guide!
Get in touch with us:
If your organization is able to make a financial contribution please contact our Project Manager, Benjamin J. Allard.
For more information about the upcoming roundtable or to get involved in the process, please write to our Engagement Manager, Marilyne Parent.
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About IMAA
The Independent Media Arts Alliance (IMAA) is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
IMAA is a charitable organization and can issue receipts for your donation, if required.
IMAA is currently accepting registrations to participate in its March 24, 2021 Roundtableon Online Media Arts Presentation Standards.
🌎 Background and Invitation
— The sudden surge of new presentation models exposes an urgent need to formalize standards for the streaming and online presentation of media art. This is why IMAA is engaging in a national conversation to establish a minimum fee schedule and create a best practices guide.
How are media artworks currently presented online? What principles and best practices should guide us? What tools should be developed?
We want to hear from you! Attend the roundtable and contribute to the discussion.
The Canada Council for the Arts has announced the eight recipients of the Governor General’s Awards in Visual and Media Arts. Up to eight awards are distributed every year: six awards recognize artistic achievements, one award recognizes excellence in the fine crafts (Saidye Bronfman Award) and one award recognizes an outstanding contribution to contemporary visual arts, media arts or fine crafts. The winners receive a medallion and a cash prize of $25,000 each.
Since 2013, the Canada Council for the Arts and the Independent Media Arts Alliance have put out a call to professional Canadian filmmakers to create video portraits of the award winners. The following are the directors and the GG Award winners they have profiled.
IMAA salutes the outstanding work of each of these GG Award winners, and especially acknowledge the artistic achievement award given to Luc Courchesne (Media Artist)and Cheryl L’Hirondelle (Interdisciplinary Artist).
“Luc Courchesne is a pioneer in media art and design. From interactive portraiture to immersive experience apparatuses, he has developed innovative approaches that have earned him prestigious awards […]”. Read more
“Of Cree/Halfbreed and German/Polish ancestry, Cheryl L’Hirondelle is an interdisciplinary, community-engaged artist, a singer/songwriter and a critical thinker whose family roots are from Papaschase First Nation, amiskwaciy wâskahikan (Edmonton, Alberta) and Kikino Metis Settlement, Alberta. Her work critically investigates and articulates a dynamism of nêhiyawin (Cree worldview) in contemporary time-place with a practice that incorporates Indigenous language(s), audio, video, virtual reality, the olfactory, sewn objects, music and audience/user participation to create immersive environments towards ‘radical inclusion.[…]’”. Read more
>> Video portraits of the winners will be available on Air Canada’s domestic and international flights from May 1 to October 31, 2021.
As part of its Cyber Safe and Sound resource, the Independent Media Arts Alliance invites you to a Cybersecurity Workshop! Come share your inspiring initiatives, discuss your situations with colleagues and meet our experts.
This sharing and solving session of two-hour is designed to support arts organization employees in their cybersecurity efforts. If you consulted our cybersecurity resource, and if you wish to start to implement cybersecurity measures in your organization, this event is made for you.
This session will be divided in two parts: 1. A sharing information session on cybersecurity issues. This part will be confidential.
2. A collaborative brainstorming session to meet our cybersecurity experts. This part will be recorded and available on Cyber Safe and Sound website to inspire other organizations in their management of digital risks.
The event is open to all, but spots are limited. Please read this Participation Guide before registering.
English Session: Tuesday, March 16, 2021 Start time according to your time zone : PST (Vancouver) at 10am, MST (Edmonton/Calgary) at 11am, CST (Winnipeg/Regina) at 12pm, EST (Toronto/Montreal) at 1pm, AST (Halifax) at 2pm, NST (St. John’s) at 2:30pm.
The sudden surge of new presentation models exposes an urgent need to formalize standards for streaming and other types of online presentation of media art. To address these issues, IMAA is engaging in a national conversation with media artists, arts service organizations, media arts festivals and independent distributors, galleries and other presenters.
With this project, we want to establish a minimum fee schedule and create a best practices guide.
Interested in taking part in the conversation? You can join one of the three working groups:
Intellectual Property and Remuneration
The online presentation and distribution of media artworks challenge existing models for the remuneration of artists. The use of digital technology to disseminate works also raises specific issues related to intellectual property, including copyright, attribution standards, moral rights, fair dealing, etc. This working group will be directly involved in the development of a national media arts fee schedule for online presentation and support the development of best practices regarding intellectual property and digital practices.
Online Accessibility
Putting into practice accessibility-driven values – offline and online – is an ongoing process in which the media arts community is engaged. There is much to accomplish in this area, least of which is the development of a common understanding of what is meant by accessibility and how this translates into online presentation practices. This working group will lay the groundwork for the development of best practices for making online presentation accessible to audiences with diverse realities. We specifically value the contributions of those who have experienced lack of access to this working group.
Technical Considerations
Digital technology changes the playing field for media arts presenters and distributors, providing multiple new ways of disseminating work and reaching audiences. However, from a technical point of view, online presentation comes with its own set of issues. Setting security parameters, using a third party or custom-built platform, configuring geo-blocking, ensuring that works cannot be downloaded, these are only a few of the additional considerations that come with online presentation. With the goal of increasing the media art community’s capacity when it comes to online presentation, this working group will support the development of best practices related to technological issues and digital presentation contexts.
Engagement
These three groups will meet regularly to support the research, discuss best practices and provide feedback on working documents. The meetings, organized according to participants’ availability, will last between 1 and 2 hours (with some requiring up to 1 hour of preparation before the meeting). A compensation of $75 per meeting is offered.
February to end of April – Research Phase: Approximately 1 meeting per month.
May to end of August – Writing Phase: More frequent meetings as needed.
We encourage individuals with lived experience of oppression and self-identified members of marginalized communities to apply. If you require accommodations to participate, please address it in your application.
To participate
Send a brief letter of interest describing your relevant experience and skills and specifying the group(s) you would like to join (500 words max.) to engagement@imaa.ca.
Date: Tuesday, December 8th, 2020 Time: 1PM EST Free for IMAA and MANO members Session offered in English
IMAA andMANOhave partnered to bring a series of policy clinics to our members over the coming months.
The Anti-Racism Policy Clinic looks to expand the sector’s anti-racism work, not only by examining existing organizational policies, but by going beyond and exploring how these policies are enacted, or not; how they contribute to systemic change or how they might hinder real transformation.
Facilitators will review a sample of existing policies from the sector, provide feedback and an action plan to see these activated by indicating milestones and wins in a process that is complex, takes time, organizational and sectoral buy-in and requires both human and financial resources.
Particular attention will be paid to the challenges faced by organizations as well as strategies to move beyond diversity and into inclusion, belonging, equity and retention. The session will be facilitated by Malissa Bryan and Jess Notwell from the Rainbow Diversity Institute.
To sign up, please email Adriana at membership@mano-ramo.ca with the name of the person attending from your organization, their job or volunteer title/role, name of organization or group and email address.
Registrations will be managed on a first come-first served basis as we are limited to 24 participants nation-wide.
If you would like to submit your anti-racism policies for review, please indicate whether these can be shared with the group at the clinic in an anonymized format, or not.
If you have any questions please do not hesitate to get in touch with us!
The cultural, heritage and sport sectors were among the first to experience the immediate financial impacts of COVID-19 and will be among the last to return. These sectors are not only an important driver of the Canadian economy, but also play a critical role in nation building, fostering Canadian identity, and social cohesion. These guidelines are intended to assist with the development and consideration of written proposals that aim to support arts and culture, heritage, and sport organizations in the recovery period, where COVID-19 health and safety risks are expected to remain significant and normal economic linkages may still be damaged. If applicable, information is also requested on partnerships, costing, and return on investment.
Request for video proposals to honour great Canadian artists from British Columbia, Alberta, Saskatchewan, Manitoba, Ontario, Québec, New Brunswick, Nova Scotia and the Northwest Territories
Note: Due to COVID-19 and unpredictable travel restrictions, which may be tightened in the coming months, it may not be possible to film the GGArts 2021 video portraits on location. Should this be the case, the video portraits will have to be produced remotely without the possibility to meet and film the winners in person.
The Canada Council for the Arts and the Independent Media Arts Alliance (IMAA) are once again coming together to honour the recipients of the Governor General’s Awards in Visual and Media Arts (GGArts).
We are looking to pair Canadian filmmakers with the 2021 GGArts winners to create artistic video portraits (3 minutes max., including credits/bumpers) and a 30-second teaser. We also encourage production centres and filmmakers to enter an agreement that would help cover the costs of services and equipment they might need.
The commissioned filmmakers will be acknowledged in every way possible as creators of these videos. The video portraits will be shown on Council’s web site and YouTube channel. They will be promoted via social media, on partners’ web sites and at public events. The commissioned filmmakers and IMAA members are also encouraged to show the works on their websites and social media channels.
The videos will be a key element of a national campaign to raise the profile of the winners and the visual arts, media arts and fine craft in Canada.
Each video will be an artistic and original portrait of the GGArts winner of which the commissioned filmmaker has complete creative control. It will celebrate the winner’s achievement and the impact his or her life’s work has made on the lives of Canadians. The Council reserves the right to use the video portraits for promotional purposes. The commissioned filmmakers retain copyright and ownership of their works and may use them as they wish to promote their own work.
Budget (max.): $7,000 Deadline for submissions: Sunday, November 1, 2020 Deadline for questions regarding the RFP: Friday, October 23, 2020
Digital Shift will be comprised of six weekly sessions, held online from 10am -12pm (Pacific time) each Thursday from September 17 to October 22, 2020. Each session will be made up of a one hour round-table conversation, followed by a virtual break-out, where participants will gather in working groups to discuss the issues raised during the conversation. These discussions will have French/English translation and ASL interpretation.
The first session on September 17 will feature speakers France Trépanier & Chris Creighton-Kelly, co-directors of Primary Colours/Couleurs primaires. They will present “A Shifting Landscape” by approaching the immediate challenges in the Canadian arts system. Using a historical perspective, they situate the development of this Eurocentric system in the context of colonialism; the post World War 2 ‘cultural nation building’ period; the 80’s and 90’s push by IBPoC artists to gain access to this system; the 25 year response of Canadian arts institutions/organizations and the current resetting of this system in the wake of Indigenous struggles and the BLM uprisings.
Register for the first session here: bit.ly/RegisterWeek1 —– Digital Shift will also showcase the work of artists from the Pacific Region (BC and the Yukon) through a rotating weekly program of screenings, online artists’ works, and virtual walks by artists through different territories within the region. These pieces will be shown on our website from September 17 to October 28.
Events for the first week of September 17 to 23:
Featured Screening – “At the Confluence” programmed by Yukon Film Society (YFS) and The Klondike Institute for Art and Culture (KIAC). Works will be available to stream on our website in the Cinema.
Featured Artist Works by Farheen HaQ and Anchi Lin will be shown on our website in the Gallery.
Informal Meetup Sessions focusing on Artistic Staff and Technical and Production Staff will be held simultaneously on our website in the Main Hall on Sept. 22, 10am–12pm PST.
Digital Shift is hosted by the FLUX Media Gallery, which is situated on the ancestral and un-ceded territories of the Songhees and Esquimalt First Nations, including the WSANEC peoples of the Pauquachin, Tsartlip, Tseycum and Tsawout First Nations (Victoria BC). The Gathering is presented in partnership with the Media Arts Alliance of the Pacific (MAAP), the National Indigenous Media Arts Coalition (NIMAC) and IMAA.
IMAA to deliver Digital Skills for Youth program from 2020-2022
IMAA is pleased to announce that from September 2020 until March 2022, we will offer funding opportunities for youth internships as part of the federal government’s Digital Skills for Youth (DS4Y) program.
The DS4Y program is a national initiative coordinated through the Youth Employment and Skills Strategy overseen by Innovation, Science and Economic Development Canada (ISED). The program helps youth advance their digital skills, improve their employability and use their talent to their full potential in the digital economy.
Thanks to the DS4Y program, IMAA will help at least 35 underemployed post-secondary graduates develop their digital skills, gain valuable work experience and enhance their future employability through work and training internships hosted by nonprofits and small businesses in the arts and culture sector.
“Digital skills and work-integrated learning are key to future success, innovation and jobs in Canada,” said the Honourable Navdeep Bains, Minister of Innovation, Science and Industry. “The DS4Y program helps graduates get the best possible head start so they can thrive in the digital economy, while delivering the highly skilled workforce that Canadian businesses are looking for.”
To learn more about the Digital Skills for Youth program or to submit your application to host internships, please visit IMAA’s DS4Y page.
Resource List – Some places to give working locally in the US – Some places to give working nationally in the US – Some places to give working nationally in Canada – Some places to give working locally in Canada – Take Action (Call Scripts + Petitions) – Resources and educational tools (Some incredibly helpful and comprehensive resource guides, Podcasts, Movies and TV and Books) Anti-racism resources – Where you can donate – Online reading – On protest – Practicing Allyship – Prison Abolition – Videos – Podcasts – Books – Follow + Support Support Black initiatives or Organizers Helping Black Communities in Montreal – Lawyer/Legal Aid/Mobilization – Culture – Education/Youth – Assistance to migrants – Assistance to ethnic and racialized communities – Fight against poverty and exclusion / Entrepreneurship Anti-racism resources for white people by Women do Stuff (France) – Books – Articles, blogs – Films, series, documentaries – Podcasts – Youtube – Organizations, associations, collectives, activists – Youth – Collections
Workman Arts’ Anti-Racism Resources – Donate – Petition – Directories – Action – Tools IMAASource – (Re)conciliation – Think Before You Appropriate: A guide for creators and designers – Interactive Territory, Treaty and Language Map (Native Land) – Understanding Aboriginal Arts in Canada Today: A Review of Knowledge and Literature (Canada Council for the Arts) – Impacts and Benefits Agreement – Indigenous Corporate Training (ICT) – Indigenous self-government – Indigenous Corporate Training (ICT) – Indigenous Peoples: A Guide to Terminology – Indigenous Corporate Training (ICT) – 27 valuable “must do” tips for Working Effectively with Indigenous Peoples – Indigenous Corporate Training (ICT) – 23 Tips on What Not to Say or Do when Working with Indigenous Peoples – Indigenous Corporate Training Inc. (ICT) – United Nations Declaration on the Rights of Indigenous Peoples (UN) – Guidelines for working with First Nations, Inuit and Métis Elders (CACE) – Cultural Representation in the Media Arts, Ethics and Freedom of Expression (FOFA Gallery) – Learning From Indigenous Non-Governmental Organizations: A Case Study of Three INGOs in Canada with Transformative Impact on their Communities (Tides Canada) – Final Report of the Truth and Reconciliation Commission of Canada (TRC) – Cultural Diversity in the Media Arts (NIMAC – IMAA) Afrique au Féminin (Montréal-based) Afrobiz.ca: Black owned businesses in Canada BIPOC TV & Film Black Lives Matter: Ways You Can Help (unofficial) Black Lives Matter Vancouver Demands & Calls to Action
This internship will immerse you in the activities of the Independent Media Arts Alliance, an exciting and dynamic workplace that is currently engaged in a number of ambitious projects, which advance and strengthen the media arts community in Canada. This internship will cover two areas of activity: assisting in the coordination and planning of an online media arts gathering, and coordinating the operations of IMAA’s online resource hub IMAASource (imaa.ca/Source).
Over the course of this six-month internship at IMAA, you will first receive intensive on-the-job orientation and training and then have the opportunity to participate hands-on in the two projects described above: online media gathering and resource hub. You will develop new skills in the use of digital tools for sharing knowledge and facilitating conversation. You will benefit from exposure to a very experienced and highly professional team of arts administrators, organizers, and other specialists, participating fully in an exciting and ambitious project over the course of the six-month internship.
By the end of the internship period, you will have dramatically increased your understanding of the Canadian media arts sector, made concrete decisions regarding your future specialization within the field, equipped yourself with tools for seeking further employment or self-employment options, and be better positioned to pursue those options.
About you:
You hold an undergraduate degree in an arts or communications related field. You have a passionate interest for, and preferably also hands-on experience within the media arts (independent film, video, audio art, or new media/digital art). You have an interest in gaining experience in the use of tools to facilitate knowledge exchange and professional gatherings using online means. You have strong organizational skills, including proficiency with all standard digital office tools, and well-developed work practices. Familiarity with media streaming platforms and software would be an asset. You are responsible, accountable, and able to work largely in a self-directed manner. You have excellent communications skills and a demonstrated ability to work well in teams.
English and French language skills (written and spoken) are required, with preference given to fluently bilingual candidates with excellent writing skills. IMAA is committed to equal employment opportunities and encourages candidates who identify as women, Indigenous, members of visible minorities, LGBTQ2SIA+, and persons with disabilities to apply.
To apply:
Please use the young-canada-works.canada.ca portal to submit your application. Please include the following three documents with your application:
●your CV
●a cover letter summarizing your interest and relevant skills and experience
●a writing sample in either French or English (something you’ve written in the past either for work or for studies – we ask for this in order to get a sense of your writing skills)
Incomplete applications will not be considered. The application deadline is Friday June 26 2020 at 11:59 pm EDT.
The Independent Media Arts Alliance stands in solidarity with Black and Indigenous communities.
We are committed to confronting and fighting systemic racism, police brutality and oppression in all of its forms. We encourage members of the media arts community and beyond to amplify Black and Indigenous voices, to financially support initiatives in their local areas dedicated to racial justice, to engage with family, friends and colleagues in difficult and welcomed conversations of privilege and institutional racism.
We invite member organizations to share this statement or to create their own, to ask themselves what more they can do and to commit themselves to the constant learning that racial justice demands.
IMAA is proud to present its ambitious new action plan for 2019-2023. In this document, you will find details about IMAA’s six key goals and the various projects we will be undertaking to accomplish them. For more regular updates on our activities and projects, you can subscribe to our newsletter.
Where do the parties stand? Non-partisan information on parties’ platforms. Note that this page will be updated regularly as the Coalition receives answers to their questionnaire.
The Canada Council for the Arts | Conseil des arts du Canada and the Independent Media Arts Alliance (IMAA) are once again coming together to honour the recipients of the Governor General’s Awards in Visual and Media Arts (GGArts).
We are looking to pair Canadian filmmakers with the 2020 GGArts winners to create artistic video portraits (3 minutes max., including credits/bumpers) and a 30-second teaser.
Type of Service Required : Video production Closing Date : 24 September, 2019 Contact Person : Sylvain Laporte Phone : 1-800-263-5588 | 613-566-4414, ext. 5270 Email :sylvain.laporte@canadacouncil.ca
We are pleased to share the videos we produced this year for Arts Day on the Hill with theCanadian Arts Coalition in partnership with Saw Video and Playwrights’ Workshop Montréal. IMAA took part in Arts Day this year by interviewing several arts participants on the role of advocacy and promotion of the arts. Various messages were communicated by arts participants, among others, the essential need to fund the arts, Indigenous cultures, diverse cultural values, and official and minority languages.
Eight videos are now available for all to view on IMAA’s Youtube channel, including the speech made by the Minister of Canadian Heritage and Multiculturalism, The Honourable Pablo Rodriguez.
The Coalition’s messaging was focused on addressing weak links in the creative value chain. Arts Day delegates sought support in three areas: Arts presentation in Canadian communities; Training and internships; and Charitable donation incentives.
IMAA would like to thank the participants: Steven Smits, Producer and Independent Arts Manager,Niki Little, Director of the National Indigenous Media Arts Coalition (NIMAC), Cynthia Lickers-Sage, Visual artist from Six Nations and Executive Director, Indigenous Performing Arts Alliance (IPAA),Ellen Hamilton, Executive Director of Qaggiavuut, Janita Grift, Independent Arts Administrator, Jean-François Packwood, Executive Director of CCAFCB, Howard R. Jang, Vice President, Arts and Leadership, Banff Center for Arts and Creativity, Carmen Gibbs, Executive Director of the AAAPNB,Monique Renaud and Ainslee Beer of the Canadian Arts Coalition.
In 2016-2017, IMAA presented a series of two-day gatherings within the Canadian media arts sector, focusing respectively on Sound Art, Analogue Film, and Digital Strategy. Each gathering took place in a different Canadian city, exchanging views and strengthening ties within these far-reaching communities, while also offering an important space for focused conversations on pressing issues faced by each sector. With the idea to continue the discussions in a public format, IMAA has commissioned written reflections from several authors on a subject of their choosing with relevance to the discussions.
This reflection by Missy LeBlanc is in response to the National Indigenous Media Arts Gathering that took place in June 2018 at Wanuskewin Heritage Park in Saskatoon.
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June 12-15, 2018 – Saskatoon, SK
In June 2018 the National Indigenous Media Arts Coalition (NIMAC) in partnership with the Independent Media Arts Alliance (IMAA) held a national gathering at Wanuskewin Heritage Park in Saskatoon. The gathering—Listen, Witness, Transmit— brought Indigenous scholars, artists and cultural workers, along with non-Indigenous allies and media arts organizations together for three days of panel discussions, workshops, exhibitions, performances and screenings. The gathering was centered around Indigenous resurgence with each day dedicated to a specific resurgence practice— listening, transmitting, and witnessing.
The night before the official gathering start, there was a community feast to welcome panellists and participants. Alongside the feast was a viewing of Cree Métis artist Jason Baerg’s and Fransaskois artist Jean-Sébastien Gauthier We Are Star People, an interactive installation based on Cree cosmology that takes the viewer on a journey to Pakone-Kisik (Pleiades star cluster). The feast and installation was a way for all those involved to get to know one another and to start building relationships for the often heavy conversations that were to come during the remainder of the week.
For each day of the gathering, a film screening corresponding to the day’s theme was showcased over the lunch hour. All of the screenings were curated by Indigenous curators and featured films and video art created by Indigenous filmmakers and artists. On the first day, I had the opportunity to curate the first film screening, Reverberate, which reflected the theme of listening. Filmmaker, artist and curator Eli Hirtle (Cree, British, and German) used the theme of witness on day-two for his film screening micimwaci: kayâs, mekwâ, nîkânote // ᒥᒋᒪᐧᒋ: ᑲᔮᐢᒣᑳᐧᓃᑳᓄᑌ // timeless: past, present, future. For the last day of the gathering, Jennifer Smith (Métis) reflected on transmission in her film screening The Future.
The gathering kicked off with an opening from keynote speaker and powerhouse media matriarch, Métis filmmaker Marjorie Beaucage. Beaucage opened up the gathering with a poem and a discussion on storytelling. For Beaucage, stories are medicine and artists are storytellers. Stories connect us all and it is the responsibility of artists, as storytellers, to share and transmit these gifts and medicine. Beaucage ended her keynote with a screening of Giving Back, a video commemorating the 25th anniversary of the Aboriginal Film and Video Art Alliance gathering in Banff. The gathering was a way to create space where Indigenous artists could explore their stories in their way—something that is still being fought for today.
The first panel discussion “(Dis)Organizational Structures” was moderated by Jennifer Smith and featured panellists Lori Blondeau of TRIBE Inc. (Cree/Saulteaux/Métis), Dr. Erin Sutherland of Ociciwan Contemporary Art Collective (Métis and settler), and Tania Willard of Bush Gallery (Secwépemc and settler). The panel explored Indigenous arts organizations from across Canada that operate in a collective framework and utilize Indigenous methodologies and ways of knowing within their organizational structures. Through the use of personal narratives, the panellists shared their thoughts on why such collective models—rather than the Western white-cube model of organization—was the best fit for their organizations. They also spoke on the use of Indigenous labour within non-Indigenous spaces and what that means when it comes to the presentation of artistic work; dedicated spaces, or lack thereof, for Indigenous artists and collectives; and what sovereign Indigenous spaces could look like.
Day two of the gathering started with a lively panel discussion. “The Canada 150 Hangover” was moderated by Ariel Smith (nêhiyaw and Jewish) and featured Jason Baerg, Jamie Isaac (Anishinaabe), and Janet Rogers (Mohawk/Tuscarora). The panel delved into the topic of post-reconciliation and post-Canada 150 funding, and how Indigenous artists and arts organization can continue with the important conversations that were started during the ramp up to Canada’s sesquicentennial in 2017. Rogers, a prolific poet and sound artist, suggested that artists need to occupy and take back space and use it authentically rather than taking up space that is given. For Rogers, Indigenous lands are not stolen, but occupied lands, and the only way we are to get them back is to take the land back. Artists, as carriers of culture, can facilitate the occupation by taking back physical (gallery) space, land, and even the airwaves. Indigenous occupation will lead to Indigenous survival. Isaac, who is the Curator of Indigenous and Contemporary Art at the Winnipeg Art Gallery, works within and outside of colonial institutions. She noted that we are not at the beginning and that there has already been much work done by Indigenous cultural workers in the past, citing the 1992 Task Force Report on Museums and First Peoples, and that it is now time for institutions to address these calls to action. Baerg, an Assistant Professor in Indigenous Practices in Contemporary Painting and Media Art at OCAD University, spoke on his experience of decolonizing institutions by providing source material for his students and encouraging them through art. There has been much labour performed by many Indigenous artists and cultural workers to get us to where we are today, but it is time for colonial institutions to do some of the labour that is required for real structural change.
On the final day of the gathering, participants were encouraged to think about the theme of the day, transmit, and how they can continue the conversations that were started at the gathering once they return home. The panel “Publishing and the Self” moderated by Lindsay Nixon (Cree/Métis/Saulteaux), featured Joi T. Arcand (Cree) speaking on the zine Kimiwan, the blogger and arts writer Amy Fung, Victoria Inglis from Red Rising Magazine (Dënesułįne and Nîhithaw), and Dr. Julie Nagam, Chair of the History of Indigenous Art in North America, a joint appointment between the University of Winnipeg and the Winnipeg Art Gallery (Métis – Anishinaabe/French/German/Syrian). The panellists discussed ways of thinking and how, as Indigenous people, we can write our own histories and share our own stories. The panellists discussed the importance of archival documentation and dissemination for future generations by creating source material written from Indigenous perspectives and voices; the importance of giving space to voices that are not usually heard; and how and when to prioritize Indigenous languages over English within publishing.
Listen, Witness, Transmit focused on issues facing Indigenous media artists and organizations. However, these issues and topics are important to share with the larger media arts community. Indigenous artists and cultural workers have worked, and will continue to work, for the space and recognition they have received, but they cannot continue to do so alone. It is with the ethical allyship of non-Indigenous media artists and organizations that the space can be provided for these conversations to continue to grow.
BIO
Missy LeBlanc is an arts administrator and emerging curator of Métis, Cree and Polish decent. She recently completed an internship at the National Museum of the American Indian, Smithsonian Institution in Washington, DC and is currently the Program Coordinator for Ociciwan Contemporary Art Collective. LeBlanc holds a Bachelor of Arts from the University of Alberta, majoring in the History of Art, Design, and Visual Culture and Sociology, as well as a Diploma in Arts & Cultural Management from MacEwan University. LeBlanc was born, raised, and is currently based in Edmonton, AB.
Dates: October 1 2018 to March 29 2019 with a two-week paid break in December-January
English: Advanced
French: Intermediate
Job description:
This internship will immerse you in the activities of the Independent Media Arts Alliance, an exciting and dynamic workplace that is currently engaged in a number of ambitious projects which advance and strengthen the media arts community in Canada. The specific focus of this internship is the coordination and promotion of IMAASource (imaa.ca/Source), an online resource hub for media arts organisations. IMAASource offers access to a comprehensive, interlocking, and mutually reinforcing breadth of pre-existing content that has been developed by IMAA’s close partners, members, or counterparts in other fields.
Over the course of this six-month internship at IMAA, you will first receive intensive on-the-job orientation and training and then have the opportunity to participate hands-on in the management and promotion of IMAASource. You will become familiar with the latest standards, recommendations, and tools; sharing them within the media arts community and soliciting their feedback and recommendations. You will benefit from exposure to a very experienced and highly professional team of arts administrators, organizers, and other specialists, participating fully in an exciting and ambitious project over the course of the six-month internship.
By the end of the internship period, you will have dramatically increased your understanding of the Canadian media arts sector, made concrete decisions regarding your future specialization within the field, equipped yourself with tools for seeking further employment or self-employment options, and be better positioned to pursue those options.
About you:
You hold a degree in arts administration or equivalent. You have a passionate interest for, and preferably also hands-on experience within the media arts (independent film, video, audio art, or new media/digital art). You have an interest in gaining experience in arts administration and learning more about the available resources, guides, and standards that support this work. You have strong organizational skills, including proficiency with all standard digital office tools, and well-developed work practices. You are responsible, accountable, and able to work largely in a self-directed manner. You have excellent communications skills and a demonstrated ability to work well in teams.
English and French language skills (written and spoken) are required, with preference given to fluently bilingual candidates with excellent writing skills. IMAA is committed to equal employment opportunities and encourages candidates who identify as women, Indigenous, members of visible minorities, LGBTQ2SIA+, and persons with disabilities to apply.
To apply:
Please send an email to info@imaa.ca with “Hiring committee” in the subject line. Please include the following three documents as email attachments:
Your CV
A cover letter summarizing your interest and relevant skills and experience
A writing sample in either French or English (something you’ve written in the past either for work or for studies – we ask for this in order to get a sense of your writing skills)
The application deadline is Monday August 20, 2018 at midnight ET.
Mission & Mandate of IMAA:
The Independent Media Arts Alliance(IMAA) is a member-driven non-profit national organization federally recognized as the National Arts Service Organization for Canada’s media arts sector. Founded in 1981, IMAA is a key player in the domain of media arts on the national scene. IMAA works tirelessly to advance and strengthen the media arts community in Canada. Representing over 90 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
IMAA’s aims are:
> COMMUNICATIONS | to provide a forum of communication and discussion among independent media arts groups
> COMMUNITY | to provide opportunities for developing links between all members of the IMAA
> ADVOCACY | to represent the interests of independent media arts organizations before relevant agencies in the public and private sector.
This is the time to book your advertisement in the program guide Listen, Witness, Transmit,the NIMAC-IMAA National Indigenous Media Arts Gathering – (June 12 to 15, 2018) in Saskatoon, SK.
Listen, Witness, Transmit will feature keynote addresses, panel discussions, workshops, performances, exhibitions and screenings. Each day will employ a resurgence practice: the first day – Listening, the second day – Witnessing, and the third day – Transmitting to build momentum that informs Indigenous pathways of continuities, resilience and relationships through art, the community and the collective.
Your organization and logo will be displayed in the program, a great opportunity to connect with the community, show your support and provide a venue to showcase independent Aboriginal film, video, media arts and interactive media works.
ADVERTISING:
The deadline for ad bookings is April 30th. Download the form
For immediate release
The 2018 National Indigenous Media Arts Gathering Website is Now Live!
NIMAC and IMAA are pleased to announce the launch of the website for Listen, Witness, Transmit: the upcoming National Indigenous Media Arts Gatheringtaking place June 12 to 15, 2018 in Saskatoon, SK. Visit the 2018 National Indigenous Media Arts Gathering website regularly to stay up-to-date on the latest conference information on the schedule, discounts for travel and accommodations, sponsor and advertising opportunities, and learn more about guests that you will meet.Listen, Witness, Transmitwill feature keynote addresses, panel discussions, workshops, performances, exhibitions and screenings. Each day will employ a resurgence practice: the first day – Listening, the second day – Witnessing, and the third day – Transmitting to build momentum that informs Indigenous pathways of continuities, resilience and relationships through art, the community and the collective.
To register on eventbrite: click here
Early Bird Registrationswill be available until May 2, 2018.
In 2016-2017, IMAA presented a series of two-day gatherings within the Canadian media arts sector, focusing respectively on Sound Art, Analogue Film, and Digital Strategy. Each gathering took place in a different Canadian city, exchanging views and strengthening ties within these far-reaching communities, while also offering an important space for focused conversations on pressing issues faced by each sector. With the idea to continue the discussions in a public format, IMAA has commissioned written reflections from several authors on a subject of their choosing with relevance to the discussions.
This past November, the Winnipeg Art Gallery hosted the 3rd Annual Symposium on the Future Imaginary, which successfully amassed Indigenous scholars, artists, technologists, activists and members of the community in order to examine and discuss the outlook of Indigenous futurity. This was accomplished through incorporating new media, technology, innovation in conjunction with traditional knowledges, language revitalization and consultation from the community.
The symposium was kicked off with a screening of Skawennati’s Time TravellerTM series, followed by a panel discussion with collaborator Jason Edward Lewis, Chair in History of Indigenous Arts in North America Dr. Julie Nagam, new media artist Scott Benesiinaabandan and of course, Skawennati. The discussion was the ideal entry point to the symposium as it indicated what the remainder of the week would entail. They spoke of Indigenous knowledge and how to incorporate that into digital medias. With guidance from the Indigenous community and elders, they reveal new self-reflection of Indigeneity: one that surpasses Western narratives to create international platforms for healing and knowledge sharing.
Meanwhile, the first official day of the Future Imaginary symposium came two days later. The event welcomed the guests with a song sung by Métis artist Cheryl L’Hirondelle and Plains/Woodland Cree storyteller and actor Joseph Naytowhow. Dr. Julie Nagam opened with a discussion on colonialism within the art institution and how new media challenges these notions. She proceeded to explain that digital technologies surpass Western concepts of linear time and that it refuses the colonial binary of savage versus civilized. The idea that Indigenous people are “frozen in time” perpetuates inaccurate representation of Indigenous cultures and therefore is detrimental to the process of reconciliation. When Dr. Duke Redbird provided a Skype-in lecture, he explained the necessity of switching from colonial vision to an Indigenous worldview with innovation because that can offer sustainability in our Western world.
New media, such as games and graphics, can be considered methods of creating awareness for non-Western ways of life and representations of diversity. It allows for interactivity as a means of generating conversations among participants. By including storytelling, land-based epistemologies, guidance from the community, and by prioritizing Indigenous languages, we can utilize technology as a decolonial tool that allows us to delve deeper into our cultures. During the discussion titled Technology as Decolonial Tools, Scott Benesiinaabandan explained that digital media surpasses white-walled art institutions, that it is a portable method of art display that can facilitate accessible education platforms to our communities. Additionally, technology can strengthen bridges between communities by encouraging communication to distant relations across the globe. Meanwhile, graduate student of University of Hawai’i of Manoa Daniel Kauwila Mahi recognized that video games cultivate decolonial and sovereign potentialities, and through re-constructing coding through Indigenous languages (specially Hawai’ian), we can begin to dismantle colonization from the very foundation of the language of technology. Lastly, art historian Dr. Jolene Rickard stunned participators with her knowledge of past, present and future Indigeneity while inflecting Indigenous perception of non-linear concepts of time. She demonstrated this through the Haudenosaunee creation story of the Skywoman, providing evidence that Indigenous peoples are perpetually considering notions of the future. From the two colours of the Wampum belt, to the DNA of a birch tree, to binary coding, Rickard confirmed that the past, present and future are constantly working in conjunction to manifest fluid representations of time alongside land-based knowledges and histories.
The last day of the symposium consisted of a showcase of Indigenous-developed technologies, such as virtual reality and videogames. A selection of interactive works by digital media artist Elizabeth LaPensée lined the entrance of the Winnipeg Art Gallery, while a side room led you to participate and engage with virtual reality artworks, Kent Monkman’s The Honour Dance and Scott Benesiinaabandan’s Blueberry Pie Under the Martian Sky. Meanwhile, the main area offered a variety of innovative works such as Ogoki Language Inc.’s Ojibway Language App, an app that facilitates proper pronunciation while educating participants on Anishinaabe culture and important phrases. Additionally, the Ojibway Language App was designed to operate without an Internet connection due to the limited internet access of remote communities, advocating for a prioritization of the language across the nation.
The symposium invited Indigenous perspectives from all over the globe, from New Zealand, to Hawai’i, to the Arctic. However, the collective consensus is that Indigenous sovereignty is the most integral aspect to our culture preservation, revitalisation and maintenance. Digital artists are demonstrating that through the fusion of technology and innovation with storytelling, language revitalisation, ancestral knowledge and consultation from the community, new media can be used a decolonial tool in order to facilitate the ongoing process of reconciliation for the Indigenous population.
BIO
Adrienne Huard is an Anishinaabekwe currently based out of Tiohtià:ke (Montreal), Quebec. She is completing her Bachelor of Fine Arts at Concordia University, focusing on Indigenous art history while incorporating methods of decolonization within the art realm in order to ensure reconciliation for the community. She has been published in Canadian Art magazine and Red Rising magazine and will be pursuing her master’s degree this fall.
Announcing the NIMAC-IMAA National Indigenous Media Arts Gathering 2018
The Independent Media Arts Alliance (IMAA) in partnership with the National Indigenous Media Arts Coalition (NIMAC) are pleased to announce that the National Indigenous Media Arts Gathering 2018 will take place June 12-15, 2018 in Saskatoon, SK. This joint NIMAC-AAMI Gathering will address concerns of the Indigenous media arts community in Canada. Speakers’ lectures, round tables, workshops, presentations, exhibitions and film screenings will be on the agenda.
EntitledListen, Witness, Transmit,each day will employ a resurgence practice: the first day – Listening, the second day – Witnessing, and the third day – Transmitting, to build momentum that informs Indigenous pathways of continuities, resilience and relationships through art, the community and the collective.
The gathering will be an opportunity for cultural workers in the field to build their national network with the view of strengthening independent media arts organizations and collectives.
The National Indigenous Media Arts Coalition’s (NIMAC) priority is to support, promote, and advocate for Indigenous media artists and arts organizations within the context of Canadian media arts practices. We connect Indigenous artists to not-for-profit arts organizations on a national scale.
NIMAC is a permanent region within the structure of the Independent Media Arts Alliance (IMAA), acting as the Indigenous arm.
The Independent Media Arts Alliance (IMAA) is a member-driven non-profit national organization working to advance and strengthen the media arts community in Canada. Representing over 100 independent film, video, audio, and new media production, distribution, and exhibition organizations in all parts of the country, the IMAA serves over 16,000 independent media artists and cultural workers.
In 2016-2017, IMAA presented a series of two-day gatherings within the Canadian media arts sector, focusing respectively on Sound Art, Analogue Film, and Digital Strategy. Each gathering took place in a different Canadian city, exchanging views and strengthening ties within these far-reaching communities, while also offering an important space for focused conversations on pressing issues faced by each sector. With the idea to continue the discussions in a public format, IMAA has commissioned written reflections from several authors on a subject of their choosing with relevance to the discussions.
This reflection by Aimée Mitchell is in response to the Analogue Film Gathering that took place 23-24 March 2016 in Calgary, AB.
Participants at the Analogue Film Gathering
IMAA Analogue Film Gathering – The Ecologies of Film
This past March, I joined representatives from across the Canadian media arts sector who gathered in Calgary to discuss the ways in which the media arts sector can continue to support the production, exhibition, and preservation of analogue film. It was a chance for those engaged within this network to voice concerns and strategize a focused way forward together with the Independent Media Arts Alliance (IMAA). Staff and board members from production and distribution centres, alongside folks from film collectives and our last standing film labs in Canada were present. For two days we addressed the specific needs of analogue film from on-the-ground perspectives, and brainstormed ways forward in regards to sharing and accessing resources, approaching funding bodies for preservation support, and addressing the need for equity and outreach within the sector both for staff and the communities they serve.
The gathering coincided with the Calgary Society of Independent Filmmakers (CSIF) $100 Film Festival, which happened to be celebrating its 25th anniversary. The festival is one of the few in Canada that solely showcases the work of small-gauge film on film – a poignant and complimentary event that put into practice some of the concerns raised during our daytime sessions.
So after a day of thoughtful discussion, we found ourselves immersed in film and critically engaging with the very medium we spent the day unpacking. Those in the media arts sector understand better than anyone the immense labour that lives within a finished film print running through a projector. But there was something about the proximity of our discussions and engaging with film each night that amplified the network of labour for me. Mostly, it allowed me to consider the ways in which the sector operates as an ecosystem with internal and external forces impeding on its ability to thrive.
What follows here is a recap of the questions, concerns, and suggestions that emerged from the two-day gathering – through the lens of safeguarding analogue film practices and preservation within the media arts sector. This look back at our discussions reveals the gaps and lacks – where we need to learn from failures in order to move away from systems perpetuating inequity and consider whose voices are being safeguarded.
Production
Questions:
Knowledge sharing and apprenticeship: how does the sector hold on to knowledge about the repair and care for legacy media?
How can the sector move away from reifying film technology, and the idea of it being an exclusionary medium in order to make it accessible to everyone?
How can production centres address the rural/city divide in terms of resource access?
Concerns:
Scarcity of hardware, repair, and supplies.
Meaningful outreach to marginalized communities where the labour of outreach is not placed on the partnering organization.
Suggestions:
Provide the media arts network with an active database of who has which specialized film equipment and where it is located.
A digital database of equipment manuals that people can continually add to.
A list of individuals who can do major repairs (i.e. the travelling Steenbeck repair person).
An actively updated parts sourcing database for equipment and gear.
Partnering with engineering schools for tooling and 3D part prototyping.
Production centres bulk buying supplies within a region, or perhaps the sector (i.e. approaching Kodak for a bulk purchase of film stock). If a partnership could be made, perhaps they would also donate additional stock for outreach programs.
Create a database of labs in North America and what kind of processing they specialize in to share with filmmakers.
Partnering with schools and community organizations to teach the basics of analogue film in their learning environment rather than at a production centre.
Labs
Concerns
Managing the expectations of filmmakers regarding the fidelity of the original film image versus a new print, and the quality of image of a digital scan.
The precarity of the state of labs, though business is often steady.
Suggestions
Work with distributors and production centres to educate analogue filmmakers about the fidelity of analogue and digital transfers.
Work with distributors and production centres to educate analogue filmmakers about the value of digital scans, especially as a point of reference for the lab. High-resolution film scans are welcomed by archives and labs. It is a safe way to access the work without having to expose original elements to possible damage or environmental changes.
Distribution & Programming
Questions:
How can distributors work with production centres and programmers to promote the work of artists of colour and folks from marginalized communities? How can the notion of a distributor’s film canon be revised, reconsidered, done away with? Who does the notion of a canon serve?
How do distributors support the circulation of film on film when a print is delicate?
How do you not scare off a programmer from showing fragile or one of a kind prints, knowing that they would be liable for damage?
Concerns:
Not enough filmmakers of colour, Indigenous, and Two Spirit folks are being distributed and programmed, especially when they are emerging artists and need the encouragement in order to pursue their art practice.
Distribution centres have become de facto archives, but have no funding to support the safeguarding work they inevitably do by caring for a print collection.
How to keep a fragile film collection active, yet consider the fidelity of the works and the intentions of the artists.
Suggestions:
Bring the National Indigenous Media Arts Coalition (NIMAC) into the conversation and listen to what the organizations and artists they represent need and would like support on.
Create more forums for artists to voice their needs with their distributors beyond an annual general meeting.
Develop a dedicated film vault for filmmakers to deposit elements, or partner with one of Canada’s larger archives to begin the discussion of independent artist deposit.
Create a standardized film print inspection form for internal use at distribution centres to accurately track print conditions. These reports could be shared with filmmakers.
Work with filmmakers to discuss their film preservation plan, legacy, and safeguarding their original elements.
Work with IMAA and production centres to secure artist rates at film labs for striking new prints.
Work with labs to educate filmmakers about the benefits of digitizing their work, and help to manage the expectations of the fidelity of the digital scan.
Projection & Exhibition
Questions:
How does a filmmaker or distributor make the call as to what exhibitor is to be trusted with a rare print?
How can distributors and artists educate programmers in the importance of showing film on film when it is possible?
Who should pay for the costs of a new print when damage is done? When is a new print required? What level of damage?
Concerns
Programmers, when given the option, will often choose digital over a print to keep down shipping and projection costs.
There are fewer and fewer venues with 16mm and 35mm pedestal projectors.
There are fewer projectionists who can confidently project and troubleshoot pedestal projectors.
There are fewer people able to properly service projectors.
There are fewer sources for projector parts (for those organizations who are not already hoarding a variety of projector models).
There is no projection/exhibition guideline standard to follow for smaller micro cinemas outside of cinematheques.
Micro cinemas and collectives do not always have the means to pay for replacement prints when a film is damaged, leaving the collective, filmmaker, and distributor left trying to sort out a solution.
Suggestions
Compile and actively update a database of exhibition spaces that have film projection available, including the projector models, bulb wattage, gauges, and film speeds.
Make available a database of digitized projector manuals.
Bring trained projectionists to different regions of the country to knowledge share and give workshops on the basics of film projection, maintenance, and repair.
Create a standard film information sheet that distributors and independent filmmakers can modify and fill out to send along to exhibitors/projectionists. This would also include basic projection tips, and an area for the projectionist to fill out if there was damage or issues with the screening.
Partner with engineering schools for tooling and 3D part prototyping of projector parts (especially rollers and archival gates).
Since the Analogue Film Gathering, movement has been made on a few fronts in terms of advocacy and organizing. A group of attendees at the gathering have continued the conversation on how the sector can move forward on the issues raised this past March. Discussions have been focussing on how a larger national or international gathering could take place within the next few years. While ideas are still in the brainstorming stages, the momentum created by the Analogue Film Gathering is still resonating with participants and calling them to action.
In addition, many of the distribution centres and media arts organisations have also been invited to participate in a SSHRC Partnership Grant spearheaded by Professor Janine Marchessault at York University. I had the opportunity to work on this grant application as an administrator, and once again was inspired by the immense amount of enthusiasm within the media arts sector to come together and share expertise in safeguarding the ecology of the network. Archive-Counter Archive: Activating Canada’s Moving Image Heritage (A/CA) is a 6-year research-creation partnership that seeks to address the crisis facing Canadian audiovisual heritage through a systematic, multi-institutional plan for facilitating public access and public policy. A/CA seeks to activate Canada’s most precarious audiovisual heritage by studying and engaging with a selection of case studies at Canada’s artist-run centres including the Canadian Filmmakers Distribution Centre, Groupe Intervention Vidéo, Urban Shaman, VIVO, Vtape, and the Winnipeg Film Group. These case studies will encompass media arts made by women, Indigenous peoples, the lesbian, gay, bisexual, transsexual, two-spirited and queer (LGBT2Q) communities, and archives from Canada’s immigrant communities. The project hopes to foster an audiovisual archive network in Canada, linking community archives to citizens, researchers and policymakers to identify the needs of audiovisual preservation across different community contexts, and illuminate the challenges and epistemologies that surround 21st century archives. The success of this grant would strengthen the audiovisual preservation advocacy that IMAA and the sector continues to move forward on. The much anticipated outcome of this project proposal is expected in late March 2018.
Returning to the metaphor of the ecosystem to discuss safeguarding analogue film in all its capacities: the 21st century is deeply invested in models of sustainability that involve everyone doing their part to save, reserve, or protect resources. If we think about analogue film as an ecosystem that needs to be revived as a cultural resource, then there needs to be strategies and resources implemented and shared to sustain the system in a way that serves all parties involved. The Analogue Film Gathering enabled the sector to gather an overview in order to move into action. Activating the media arts network requires both professional and unrecognized skill sets to work together – those within our formal media art spheres, but also those who continue to be left out. These conversations are integral moving forward. Agency must be felt within the network of the ecosystem in order to keep the environment active, vibrant, and growing.
Lastly, my perspective and position within this ecosystem at the time of the Analogue Film Gathering was from the standpoint of a film distributor and collections manager at the Canadian Filmmakers Distribution Centre (CFMDC). I have since left my post at CFMDC, but continue to find myself connected to the community in my other capacities as a projectionist, programmer, academic, and media arts advocate. I have cared about the living and active legacy of unique film prints from these views: as someone who works with artists to safeguard their work while also keeping it in circulation, as the person trusted to inspect, thread, and project artisanal prints, as a programmer who respects the artistic choices of a filmmaker wanting to screen their film on film, and also as a scholar interested in the history, politics, and day-to-day practices of audiovisual preservation in Canada. From these various perspectives I have reflected on the March gathering, and the network that supports the artists who continue to experiment with analogue film. I look forward to witnessing and participating in future gatherings to build on the momentum that this event ignited.
******
Bio:
Aimée Mitchell is the former Distribution and Collections Manager at the Canadian Filmmakers Distribution Centre. She is currently the Project Manager for the XL-Outer Worlds Project, which is commissioning five Canadian artists to create short large-scale films inspired by the invention and technology of IMAX. She is a MITACS Post-Doctoral Fellow at York University, where she is researching the early history of IMAX, and the reconstruction of this history through traces from personal fonds and counter archives. She holds a PhD from the York and Ryerson University Joint Communication and Culture Program. Her dissertation explored the politics and practices of audiovisual archives in Canada, and more specifically, the importance of DIY archiving practices in its various forms. She was an archival researcher and contributor to the book Reimagining Cinema: Film at Expo 67 (MQUP 2014). She is a collective member of the Toronto Queer Film Festival, which showcases contemporary, innovative, queer and trans film and video art, and also a board member of the8fest small gauge film festival. She is an advocate for media artists of all gauges and mediums.
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