Professional Documents
Culture Documents
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
PRELUDE:
Did
you
know
that
the
Global
Centre
for
Pluralism
was
in
Canada?
Did
you
know
it
was
right
here
in
Ottawa?
I
am
curious
about
the
contexts
in
which
we
understand
the
nature
of
our
potential
based
on
the
institutions
in
which
we
place
value
and
feel
that
institutions
and
/
or
organizational
culture
can
shape
how
we
see
ourselves.
What
does
the
history
of
migration
in
Canada
holds?
These
historical
connections
are
like
a
fossilized
anatomy
waiting
to
be
unearthed.
I
choose
to
start
with
the
word
migration
as
opposed
to
immigration
because
I
feel
that
social
migration,
forced
or
by
choice,
offers
more
interesting
and
nuanced
capacities
for
how
to
analyze,
assess
and
understand
Canada
as
it
was
in
the
past,
as
it
is
in
the
present
and
what
it
can
potentially
be
in
the
future.
Canada
as
a
nation
was
indeed
preparing
itself
for
pluralism
earlier
than
the
influx
of
immigration
in
the
1960s
multicultural
framework,
the
settlement
/
race
debates
of
the
1980s,
the
diversity
framework
of
the
1990s
and
the
later
and
most
present
the
equity
framework
of
this
century.
In
fact,
a
perception
of
multiculturalism
as
largely
symbolic
and
incapable
of
creating
a
major
social
impact
has
been
reinforced
by
the
fact
that
program
expenditures
are
very
small.
Whatever
the
impact
of
policies
such
as
multiculturalism
on
paving
the
way
for
the
social
integration
of
immigrants,
findings
suggest
that
they
may
have
worked
less
well
for
racial
minority
groups
than
for
White
immigrant
groups.
Jeffrey
G.
Reitz
/
Rupa
Banerjee,
Belonging,
Diversity,
Recognition
and
Shared
Citizenship
in
Canada.
I
wish
to
use
this
map
to
analyze
this
presentation
and
to
chart
a
way
forward,
confident
in
the
fact
that
pluralism
in
the
arts
can
be
a
catalyst
for
social
change
and
inclusion.
INTRODUCTION
I
start
this
presentation,
under
one
very
important
premise
that
pluralism
can
be
a
way
to
move
Canadas
artistic
capabilities,
social
awareness,
and
nationalism
into
the
future.
Where
are
we
now?
What
is
the
voice
of
Canada
in
the
future?
In
what
contexts
do
we
assess,
progress
and
be
responsive
to
the
Canada
of
the
future?
Can
the
Arts
help
in
this
social
Change?
If
so,
how?
Other
questions
arise.
What
constitutes
a
Canadian
culture?
How
is
it
viewed,
understood
and
comprehended
in
the
context
of
other
national
World
cultures?
These
questions
I
feel,
unearth
a
deeper
dialectic
or
dichotomy
that
is
problematic
in
the
context
of
identity
and
being
Canadian.
Without
getting
too
much
into
the
debate
around
representation
I
always
question
that
if
my
body
is
seen
as
from
somewhere
else
then
how
can
inclusion
be
fully
achieved?
This
is
the
concept
of
the
other
explored
by
cultural
theorist
Edward
Said.
The
problem
he
mentions
is
that
the
other
seen
here
as
the
immigrant
is
always
located
somewhere
else.
The
persons
identity
then
becomes
a
duality
of
existence
neither
here
nor
there.
Many
years
later
and
into
the
reality
of
the
Canadian
future,
one
wonders;
how
do
the
incumbent
visible
minority
majority
becomes
a
part
of
our
ongoing
conversations?
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
The
Canada
of
the
future
is
slated
to
undergo
a
demographic
transition
where
visible
minorities
will
represent
the
majority
of
the
countrys
population
Large
urban
centers
will
be
the
nucleus
of
this
change.
Im
curious
about
how
are
we
readying
the
population
and
institutions
for
such
a
change
and
how
pluralism
can
be
a
guide.
While
prior
policies
sought
to
honour
everyones
cultural
experiences,
in
many
ways,
said
policies
segregated
the
collective
understanding
of
how
the
cultural
difference
could
be
used
in
forging
a
Canada
of
the
future.
The
understanding
and
implementing
of
a
strategic
pluralist
framework,
I
will
argue,
has
the
potential
to
honour
many
perspectives
regardless
of
cultural
difference.
It
has
the
potential
to
nudge
each
unique
voice
to
carve
approaches
and
methodologies
important
for
Canadian
artistic
and
socio-
cultural
progression.
The
work
of
Cultural
Pluralism
in
the
Arts
Movement
Ontario
(CPAMO),
offering
artists
/
organizations
skills
development
and
advocacy
through
partnership,
is
steeped
in
shaping
an
understanding
of
artistic
practice,
administration
and
presentation
of
the
Arts.
CPAMOs
work
largely
focuses
on
this
poignant
relationship
of
the
future.
I
seek
to
investigate
the
ways
in
which
pluralism
can
be
that
catalyst
for
said
change
on
three
levels.
The
presentation
offers
a
cross
disciplinary
approach
to
the
actions
items
mentioned.
1.
Pluralisms
implementation
will
influence
social
change,
community
and
policy
2.
Boost
Economic
development
of
many
institutions
e.g.
theatres,
arts
organizations,
and
artists,
3.
Support
innovation
through
focused
development
via
mentorships,
resource
sharing
etc.
4.
Foster
community
engagement
TAKING
STOCK:
UNDERSTANDING
THE
FRAMEWORK
The
big
P
in
the
room
PLURALISM.
Here
I
beg
to
break
up
formats
a
bit
and
probe
you,
about
pluralism.
Have
you
heard
of
the
word
pluralism?
Where
did
you
first
hear
the
word?
What
thoughts
came
to
mind?
Do
you
understand
the
concept
pluralism?
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
Pluralism
is
a
set
of
intentions
and
practices
that
seek
to
institutionalize
recognition
of
difference
and
respect
for
diversity
as
civic
culture.
Pluralism
involves
a
wide
range
of
issues
from
cultural
expression
and
economic
development
to
legal
frameworks
and
political
institutions.
Supporting
pluralism
therefore
requires
multi-
dimensional
approaches
to
change.
In
the
late
1980s
and
1990s,
His
Highness
the
Aga
Khan
began
asking
Canadian
leaders
to
explain
the
key
to
Canadas
success
in
managing
its
diversity.
In
July
2001,
a
formal
Pluralism
Initiative
was
launched
to
understand
how
and
why
Canadas
unique
experiment
worked
and
how
its
lessons
might
be
shared
with
other
culturally
diverse
societies
around
the
world.
The
Global
Centre
for
Pluralism
is
based
here
in
Ottawa.
IMPORTANT DISTINCTIONS
DIVERSITY
PLURALISM
Diversity
can
and
has
often
meant
The
dynamic
of
pluralism,
is
one
of
isolation
with
little
traffic
between
meeting,
exchange,
and
two-way
them.
communication.
In
diversity,
tolerance
is
important,
but
Pluralism
is
more
than
the
mere
is
too
thin
a
foundation
for
a
diverse
and
tolerance
of
differences;
it
requires
complex
society.
It
does
not
require
some
knowledge
of
our
differences.
The
people
to
know
anything
about
one
similarities
are
where
the
another
engagements
and
conversations
can
begin.
Diversity
acknowledges
difference
but
does
not
require
any
active
participation
Pluralism
encourages
active
with
difference.
engagement
in
acknowledging
and
Diversity
does
not
involve
many
active
removing
our
ignorance
towards
each
engagements
with
those
things
that
are
another
and
focusing
on
commonality
diverse
Pluralism
is
not
simply
relativism,
but
Diversity
rarely
invites
engagement
makes
room
for
real
and
different
between
what
are
our
ignorance
commitments.
It
invites
people
to
be
towards
each
other.
engaged
in
creating
a
civil
society,
through
the
critical
and
self-critical
encounter
with
one
another
Pluralism
is
not
the
sheer
fact
of
plurality
or
diversity
alone,
but
is
active
engagement
with
that
diversity.
Real
pluralism
requires
participation
and
engagement.
Pluralism
is
a
process
of
creating
a
society
by
acknowledging
our
deepest
differences,
nurturing
constructive
dialogue,
revealing
both
common
understandings
and
real
differences.
Pluralism
involves
the
commitment
to
being
at
the
table
--
with
ones
commitments;
encouraging
a
climate
of
dialogue
is
foundational
for
pluralism.
http://www.pluralism.org/pluralism/essays/from_diversity_to_pluralism
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
[SECTION
1]
CULTURAL
INSTITUTIONS
Its
important
to
consider
the
roles
cultural
institutions
play
in
using
pluralism
as
a
means
for
social
change.
They
hold
many
aspects
of
policy;
strategic
development
and
planning
that
could
be
used
to
shape
the
consciousness
of
Canadians
in
the
future.
They
are
important
components
that
can
enhance
the
possibilities
of
pluralisms
impact
as
most
organizations
actually
intersect
with
the
activities
of
cultural
institutions.
I
must
be
clear
to
clarify
that
when
I
use
the
word
cultural,
this
definition
could
include
the
culture
in
the
multiculturalism
framework
(representing
a
persons
ethnicity).
However,
I
choose
to
focus
not
on
the
micro
level
of
definition
or
understanding
of
the
word
but
on
its
larger
representation
under
the
speculations
of
a
Canadian
culture.
As
mentioned
in
the
introduction,
a
challenge
with
the
multicultural
framework
is
that
culture
is
always
seen
as
from
somewhere
else
and
never
in
the
context
in
which
cultural
migration
/
immigration
have
actually
changed
and
indicatively
created
a
Canadian
culture.
Canadian
cultural
institutions
include
foundations,
social
service
organizations,
historical
societies,
museums,
funding
bodies,
media,
etc.
Research
Using
statistics,
cultural
institutions
can
create
the
possibility
for
having
programs
geared
to
and
influencing
the
demographic
changes
in
society.
Research
offers
important
trends
in
the
changing
landscape
of
a
Canadian
society.
This
information
becomes
a
cultural
currency
that
can
be
harnessed
for
social
impact.
The
focus
on
youth
is
one
such
response
to
the
changing
demographic
in
Canadian
society.
I
am
curious
about
how
cultural
institutions
adapt
and
respond
to
changes.
As
a
consultant
to
Arts
organizations,
I
have
to
be
cognizant
of
said
shifts
and
aim
to
use
the
indicators
in
addressing
programming
based
on
access
and
development.
Who
has
and
who
provides
said
access?
Where
are
participants
coming
from?
How
are
they
interacting
with
cultural
institutions?
Are
they
meaningful
or
superficial
interactions?
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
EXAMPLE
One
of
the
main
concerns
is
Arts
organizations
/
theatres
losing
attendances
and
in
this
scenario,
one
could
explore
how
and
why
they
are
doing
so
and
if
a
pluralist
framework
could
mitigate
the
changes
leading
to
increased
participation.
The
answer
is
yes.
I
would
suggest
exploring
how
the
marketing
of
event
is
executed?
Are
they
speaking
to
a
wide
range
of
sensibilities
of
the
now
aging
and
diverse
audience?
How
appealing
is
programming
to
the
aforementioned
demographic
of
youths?
How
are
they
engaged
in
the
organizations
programming.
Is
marketing
done
in
more
than
one
language?
Is
connections
made
to
other
cultural
considerations.
CASE
IN
ACTION
Cultural
pluralism
in
the
Arts
Movement
Ontario
(CPAMO)
develops
all
its
programs
from
surveying
its
members
and
through
interviews.
This
allows
CPAMO
to
able
to
devise
the
next
round
of
services
/
workshops
and
programs
based
on
the
collective
contribution
and
suggestions
from
its
members.
The
research
phase
allows
for
the
Arts
Service
organization
to
implement
/
facilitate
all
its
programs
from
a
pluralist
framework
instead
of
assuming
what
may
be
important
to
its
members.
It
has
been
able
to
serve
the
needs
of
its
members
while
offering
interesting
development
based
workshops
on
the
changes
in
the
Arts
milieu.
How
do
cultural
institutions
use
this
information?
Policy
The
role
of
organizations
in
policy
implementation
based
on
pluralism
is
an
integral
one.
As
an
organization
embracing
the
tenants
of
pluralism,
one
would
take
into
considerations
not
only
the
trends
like
that
of
the
changing
demographic
of
Canadas
population
but
also
those
experts
in
the
field
can
be
added
to
the
policy
development
phase
that
are
from
diverse
considerations.
One
of
the
main
premise
of
pluralism
is
based
on
having
plurality
in
conversation,
implementation
and
consultation,
it
begs
to
question
in
any
topic
who
is
missing
from
the
table
that
could
in
any
instance
add
insight
to
the
conversation
and
therefore
contribute
to
policy
making.
EXAMPLE
Canadian
Dance
Assembly
under
its
previous
Executive
Director,
who
realized
the
need
for
a
more
inclusive
framework
in
dance,
carried
out
a
research
phase
with
a
consultant
from
CPAMO
and
realized
that
many
Canadians
artists
and
arts
organizations
was
still
not
familiar
with
the
concept
of
Pluralism.
Many
thought
in
the
diversity
framework
instead
off
a
pluralist
framework.
Pluralism
is
not
just
about
acknowledging
difference
but
also
counting
on
this
difference
as
a
means
to
forging
something
new
unique
and
valuable.
In
this
case,
the
CDA
being
a
voice
for
Canadian
dance
artists.
CASE
IN
ACTION
The
value
here
for
the
Canadian
Dance
Assembly
is
in
the
total
understanding
of
the
diverse
practices
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
and
origins
of
its
members
and
arts
organizations
and
how
as
a
ASO
or
an
art
service
organization
they
could
then
capitalize
on
the
pluralistic
framework,
giving
voice
to
difference,
minority
equity,
inclusivity
and
also
to
the
foundations.
The
organization
now
has
more
activity
from
a
wide
range
of
artists
who
were
for
the
most
part
inactive
members
who
did
not
fully
see
their
artistic
approaches
and
practices
represented.
Strategic
development
In
understanding
and
detailing
ones
research,
policy
should
be
reflective
of
the
statistics,
which
should
always
be
understood
in
context
to
social
considerations.
Strategic
Development
in
Pluralism
for
Arts
organization
should
take
into
considerations
how
and
when
programs
are
devised
and
implemented.
The
assumption
should
never
be
that
your
staff
and
participants
are
familiar
with
Pluralism
and
its
potential
social
currency.
An
organization
should
be
vigilant
in
constantly
communicating,
via
strategic
messaging,
the
value
of
pluralism.
Only
then
can
the
efficacy
of
said
measures
be
fully
actualized
in
a
national
and
social
context.
There
are
many
variables
to
be
considered
from
the
research
and
policy
phase.
However,
how
can
organizations
understand
the
importance
and
relevance
of
Pluralism
in
organizational
development
that
have
social
influence?
In
which
ways
can
it
be
communicated
and
affirmed
in
the
organizational
practices?
After
unanimous
Board
approval
of
the
report
and
decision
in
the
case
of
Canadian
Dance
Assembly,
they
created
both
a
Pluralism
Committee
and
have
developed
policies
in
its
upcoming
Strategic
Plans
for
the
next
three
years
to
work
with
its
Board,
Staff,
Committees
and
Membership
on
Pluralism.
Pluralism
in
the
Arts
influencing
change
calls
for
proactive
research,
policy
and
development.
EXAMPLE
The
Royal
Ontario
Museum
in
1990
came
under
fire
for
Into
the
Heart
of
Africa
which
revealed
a
certain
pusillanimity
among
museums,
their
directors
and
their
boards.
Museums
in
Ottawa,
Vancouver,
Los
Angeles
and
Albuquerque,
all
of
which
had
booked
the
exhibition,
cancelled
when
they
heard
about
the
trouble.
It
died
with
the
end
of
its
Toronto
run
in
August,
1990.
Robert
Fulford
Globe
and
Mail.
I
question
why
was
this
so?
Why
a
cultural
institution
publicly
funded
by
taxpayers
dollars
came
under
such
backlash
from
a
community
and
what
frameworks
were
in
place
to
support
this
decision.
CASE
IN
POINT
Having
licked
its
wounds
and
through
many
diversity,
inclusion
and
training,
the
ROM
issued
an
RFP
for
Expressions
of
interests
about
where
and
what
should
/
can
be
exhibited
in
a
show
about
African
culture
and
influence
in
Canada.
This
version
will
arguably
have
the
representation
of
diverse
stories
of
Africa
in
the
likeness
of
those
working
in
the
field
and
not
based
on
the
curatorial
bias
or
knowledge
of
one
person.
The
problem
here
is
that,
if
not
presented
well
it
shapes
the
representation
of
a
people.
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
[SECTION
2]
COLLABORATIVE
ARTS
ENTERPRISES
The
socio-cultural
currency
of
using
pluralism
in
engaging
cultural
institutions
as
catalyst
for
social
change
can
be
understood
for
its
capacity
in
leveraging
individual
development
in
the
Arts
on
many
levels.
Some
of
the
key
considerations
should
be
in
the
areas
of
mentorship
models,
strategic
partnerships
and
shared
resources.
I)
Mentorship:
If
a
cultural
institution
truly
understands
its
role
in
engagement
of
the
society
then
mentorships
emerge
as
an
important
way
to
galvanize
the
future
leaders
now.
In
doing
so,
we
are
in
turn
developing
the
leadership,
creative
capacities
and
curiosity
of
the
future.
Professor
Rex
Nettleford,
the
late
Artistic
Director
of
the
National
Dance
Theatre
Company
of
Jamaica
and
Vice
Chancellor
of
the
University
of
the
West
Indies,
sought
constantly
to
articulate
that
the
context
of
how
creativity
was
an
integral
part
of
creating
curiosity
poised
on
asking
questions
of
imagining
a
new
future
could
come
from
cultural
institutions.
This
is
where
he
located
the
nucleus
of
social
innovation.
II)
Strategic
Partnerships:
Pluralism
prompts
for
the
assessment
of
influence;
asking
who
is
missing
from
the
conversation
(the
table
where
decisions
are
being
made).
Cultural
organizations
working
in
the
pluralism
framework
through
the
methods
of
assessment
mentioned
in
Section
1)
could
generate
important
information
about
others
also
working
in
the
field
with
similar
interest.
I
am
aiming
to
paint
a
map
where
Pluralism
in
the
Arts
can
provide
the
opportunity
for
amazing
partnerships
with
other
organizations,
and
in
community.
There
are
and
can
be
many
levels
to
this
partnership
being
it,
in
kind,
mutual
benefit,
co-facilitation
that
can
be
negotiated.
Many
funding
bodies
value
and
honour
partnerships,
which
could
increase
the
viability
of
being
funded;
there
is
an
impact
factor.
III)
Shared
Resources:
Though
hard
and
challenging
to
navigate,
the
sharing
of
resources
between
not
like
minded
organizations
but
many
varying
organizations
under
a
pluralist
lens
offers
a
wide
range
of
possibilities
of
how
shared
resources
can
benefit
a
multiplicity
of
organizations
working
in
the
socio-
cultural
realm
and
can
also
be
economically
rewarding.
In
many
organizations
there
are
indices
for
how
to
assess
impact.
But
in
sharing
resources
impact
has
the
potential
to
be
multiplied
based
on
the
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
shared
capacities?
These
capacities
can
include
infrastructure,
organizational
capacities
(operations,
marketing
etc.),
facilities
and
its
management
and
programming.
One
example
can
be
maximizing
social
media,
data
/
communication
reach
through
shared
communications
strategies.
This
has
the
potential
of
offering
more
visibility
and
also
participation
that
could
lead
to
a
boost
in
economic
gains.
EXAMPLE
Manifesto
has
emerged
as
a
major
force
of
how
the
Arts
can
impact
social
change
on
many
levels.
The
organization
created
with
a
focus
on
urban
hip-hop
culture
has
become
a
major
platform
for
conversation,
presentation
and
advocacy
around
access,
youth
culture
and
hip-hop.
Their
partnerships
are
many
and
their
funding
is
impressive
and
branched
off
into
community
projects,
merchandise
and
community
TV
station.
CASE
IN
POINT
They
have
leveraged
all
the
areas
mentioned
above
into
an
organization
structure
that
if
articulated
as
such
or
not
is
about
a
pluralist
model
of
operation,
programming
and
presence.
Their
mandate
states
Our
programs
aim
to
cultivate
multi-disciplinary
artistic
and
professional
development
for
young
people
and
artists
across
mediums.
Building
careers,
fostering
community
connections
and
fuelling
civic
pride
all
while
contributing
to
the
vitality
of
the
city
we
love.
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
[SECTION
3]
SOCIAL
ARTS
ENGAGEMENT
Strategic
placement
in
society
for
any
cultural
organization
is
key,
with
the
considerations
mentioned
above
cultural
organization
could
seek
to
implement
programs
steeped
in
Social
Arts
Engagement
supported
by
pluralisms
framework.
The
intent
here
is
not
to
create
artists
from
the
engagement
but
encourage
participation
in
the
arts
as
a
social
practice.
Arts
engagement
should
take
into
consideration
once
again
the
needs
of
the
particular
area
being
served
and
should
be
steeped
in
social
activism,
with
the
Arts,
as
the
basis
of
expression.
Is
the
program
diverse
in
its
intent,
content,
forms
and
outcomes?
Indeed
thinking
pluralistically
would
take
into
consideration
that
administers,
who
facilitates
and
who
executes
said
programs
and
if
they
too,
as
employees,
are
trained
in
the
organizations
goals
towards
pluralism.
Engagement
strategies
geared
towards
community
development
would
address
local
issues
in
the
community
based
on
diverse
stories
of
the
relationship
to
communities.
Who
and
how
does
one
engage?
Is
a
recommended
question
for
every
single
engagement?
With
an
Arts
organization
thats
only
5
years
old,
I
have
managed
through
engagement
to
have
more
than
1300
likes
on
our
Facebook
page
and
post
every
kind
of
information
on
the
Arts
possible
on
the
page.
I
encourage
you
to
join
in
our
conversations
steeped
in
research,
creative
practices
and
development
tools
in
the
Arts.
Do
like
us
on
Facebook
search
KasheDance.
A
Pluralist
society
starts
I
believe
with
every
connection.
EXAMPLE
As
an
Ontario
Arts
Council
funded
Artist
in
Education;
I
deliver
25hrs
of
arts
education
in
6
Ontario
Schools
since
2007.
Three
years
ago,
I
didnt
connect
the
artistic
practice
to
any
thoughts
in
pluralism
or
the
inclusivity
framework
and
upon
entering
a
school
I
had
an
awakening
that
not
only
changed
the
way
I
now
deliver
the
programming
but
also
sparked
my
passion
for
what
I
now
call
Arts
Engagement
by
and
for
whom
Some
of
these
included:
1.Female
Muslim
participants
2.
Drama
students
3.
Stigmatized
Youths
4.
At
risk
youth
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014
CASE
IN
POINT
I
was
presented
with
many
realities
in
education
not
experienced
previously
in
the
program
and
by
learning
and
consequently
understanding
socio-cultural
sensitivity,
the
experience
helped
in
creating
programs
of
engagement
that
takes
into
consideration
those
you
are
trying
to
engage.
More
than
any,
that
experience
taught
me
that
I
too
was
a
student
in
the
classroom.
In
fact,
in
acknowledging
the
points
above,
I
was
able
to
use
dance
as
a
means
of
empowerment
through
having
the
students
owing
the
work
in
their
bodies
and
in
their
unique
ways.
We
became
collaborators
in
the
creation
of
something
meaningful.
[CONCLUSION]
To
understand
pluralism
in
the
Arts
as
a
catalyst
for
social
change
and
inclusion
will
ultimately
require
a
rigorous
assessment
of
the
history
of
immigration
in
Canada.
While
we
were
at
the
forefront
of
the
consideration
of
said
changes
in
the
1960s
our
scope
for
the
future
will
require
not
immigration
but
socialization
the
ways
in
which
Canadians
form
socio-cultural
associations
within
the
larger
context
of
being
Canadian.
Pluralism
through
the
Arts
can
be
a
way
to
move
Canadas
artistic
capabilities,
social
awareness,
and
nationalism
into
the
future.
The
questions
are
managed
to
become
a
deeper
dialectic
or
dichotomy
that
is
problematic
in
his
association
with
the
identity
of
being
Canadian
if
my
body
is
seen
as
from
somewhere
else,
The
Other
According
to
cultural
theorist
Edward
Said.
The
problem
he
mentions
is
that
the
other
sitting
here
as
the
immigrant
is
always
placed
somewhere
else.
The
persons
identity
then
becomes
a
duality
of
existence
neither
here
nor
there.
Many
years
later,
how
does
the
incumbent
visible
minority
majority
becomes
a
part
of
our
ongoing
conversations.
Understanding
and
implementing
of
a
strategic
pluralist
framework
through
the
Arts
has
the
potential
to
honor
many
perspectives
regardless
of
cultural
difference
and
has
the
potential
in
allowing
for
each
unique
voice
to
carve
approaches,
methodologies
important
for
Canadian
artistic
and
socio-cultural
progression
through
partnerships
steeped
in
artistic
practice,
administration
and
presentation
of
the
Arts.
We
sought
to
navigate
through
what
is
Pluralisms;
its
implementation,
potential
influence
on
social
change,
community
and
policymaking.
How
one
can
use
the
model
to
support
innovation
through
focused
development
via
mentorships,
resource
sharing
and
in
turn
foster
community
engagement
and
development.
Pluralism
as
a
mechanism
for
social
change
should
be
embraced
on
all
levels
of
society,
the
community,
artists,
arts
organizations,
cultural
funders,
Foundations
and
in
government.
Through
Research,
policy,
development,
Pluralism
in
the
Arts
offers
a
microscope
into
a
future
grounded
on
collaborative
Arts
Enterprises
and
Social
Arts
Engagement
influencing
the
generations
of
Canadian
future.
Presented
at
Michaelle
Jean
Foundations
Power
of
the
Arts
National
Forum
Acting
Now
for
Social
Change.
Author
Kevin
A.
Ormsby
November
2014