At the annual CAPACOA Confernece, through the Paul Gravett Scholarship Fund, CAPACOA is able to offer an emerging art professional a guaranteed attendance to the 2019 CAPACOA Conference, and participation in The Succession Plan (TSP). CAPACOA will absorb the costs of the successful applicant’s attendance to the Conference, including airfare and accommodations up to $1,000. Nourishment and other incidentals are to be covered by the attendee. This scholarship supports young performing arts professionals for whom the costs of attendance are prohibitive.
An eligible candidate is:
- Reside in Canada
- Works in the performing arts as: an artist, artist agent or manager, arts administrator in a presenter (theatre, festivals, and music presentation)
- Applicants must be in the initial stages (1-10 years) of their careers
Consideration is given to members of marginalized or underrepresented groups, including, but not limited to, First Nations, Inuit and Metis people, People of Colour, LGBTQ2+ people, Immigrants and Refugees, and any intersection or overlap between these communities. The successful applicant must participate in the TSP program.
TSP is a program wherein CAPACOA reaches out to emerging and mid-career arts professionals seeking to strengthen core competencies, provide leadership development and equip participants with the tools and resources necessary to be active participants in the development of arts and culture in their community.
Feel free to connect with Andrew Giguère for any questions.
Since the beginning of my career in the performing arts sector in 2014, after
having completed a bachelor’s and a master’s degree in drama, I was called upon to complete
My journey, marked by trial and error, makes me proud for many reasons. First of all, I have always continued to believe in my abilities and to move forward in spite of the wind blowing in the opposite direction. Thirsty for knowledge, year after year, I have honed my skills and learned a lot about myself. In just one year of work at the Théâtre de l’Œil as head of diffusion, I managed to create a Quebec tour for two new creations with 83 performances (including
the options), which is more than satisfactory considering the reality of young theatre public in Quebec (growing number of companies, decrease in programming, etc.).
In my first year of employment, I also participated in 6 performing arts markets,
including 4 internationally (RIDEAU, CINARS, CAPACOA, PAMS, APAP, IPAY). In addition, my first deal, just 5 weeks after I took office, was on a territory that was completely unknown to me, in Seoul, South Korea (PAMS). I have The Théâtre de l’Œil was able to promote the Théâtre de l’Œil to presenters working throughout the world. Every time a market offered a mentor match program,
I signed up to learn more about my work. I also participated in two training sessions on dissemination (the first focused on dissemination in Quebec and the
second focused on international dissemination), with the aim of improving my
knowledge and to better understand the issues in my sector.
After having gone through all this since the beginning of my career, and having spent a year in the position as a broadcast manager for a puppet company of the caliber international, I can say that I have finally found my ikigai (Japanese concept).
Adam Moffatt is a young arts manager currently based out of Toronto.He has been working in the industry for the past four years.
After completing his degree at the University of Toronto, he moved into the arts, and completed Humber Colleges “Arts Administration and Cultural Management” program with honours.
He has recently started his own freelance company, prioritizing Indigenous, POC, non-binary, and female lead arts and music projects. Adam aims to assist artists and organizations with their needs through strong programming, administrative, curatorial, event coordination, and production skills.
Adam has tirelessly executed projects including Music In Trillium Park, Nuit Blanche Toronto, in/future, Planet IndigenUS, imagineNATIVE Film + Media Arts Festival, Hot Docs Ted Rogers Cinema, and Intertribal Gathering 2018, and has worked with organizations such as Ontario Place, Small World Music Society, Harbourfront Centre, City of Toronto, Kaha:wi Dance, and the Indigenous Performing Arts Alliance (IPAA).
“Attending CAPACOA this year was a fantastic opportunity, and I am extremely thankful for the scholarship. Up until CAPACOA 2018, my network of arts workers was in mostly Toronto.
My goal for the conference was to change this, and expand my network both nationally and internationally, and this was something I feel I accomplished. I now have great contacts from Vancouver to Charlottetown. I met a number of international agents who are interested in working with me in the future. I would not have been able to attend CAPACOA, CINARS, or Mundial Montréal without the support of this scholarship, and I am truly thankful for it.”
In his spare time Adam is a drummer and percussionist, and is attempting to create his first solo electronic release in 2019.
We were able to offer the scholarship thanks in large part to the generous financial support of Massey Hall and Roy Thomson Hall and the CAPACOA Board of Directors.
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