Orchestras Canada/Orchestres Canada

Author: Boran Zaza

A Statement on Racial Inequity from Orchestras Canada

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While Orchestras Canada serves a national network of Canadian orchestras, our office is on the treaty and traditional territory of the Michi Saagiig Anishinaabeg. We offer gratitude to the First Peoples for their care for, and teachings about, our earth and our relations. We will honour those teachings.

We are grieved by the anti-Black racist events in recent weeks.

We acknowledge that our society is built on, yet critically weakened by, systemic racism.

Orchestras Canada is committed to a more just society for all.

We are committed to sustained and effective action, manifested through our internal practices and our service to orchestras and the music that is shared.

With much to learn, we approach this important work with humility and transparency, guided by colleagues with lived experience. Their guidance is truly a generous gift.

We call on Canadian orchestras to recruit Black people, Indigenous people, and People of Colour in decision-making roles, as board members, lead volunteers, arts workers, and arts leaders.

We call on Canadian orchestras to welcome Black artists, Indigenous artists, and artists of colour to their stages, as conductors, performers, soloists, composers, mentors, and creators.

Until Canadian orchestras are fully welcoming and accessible, Orchestras Canada will encourage orchestras to adopt external strategies and internal practices that will foster an inclusive network of diverse leaders, artists, arts workers, volunteers, and audiences.

At our national conference in 2016, members asked OC to take the lead on commissioning and curating resources to inform Canadian orchestras’ work in inclusion, diversity, equity, and accessibility. Since then, this work has been a focus for us, and has informed our research, knowledge-sharing, and convening practices, along with our nominating and recruitment efforts. The following is a short list of the resources that we’ve developed; more can be found here.

OC Resources

Other resources that we have found helpful

Briefing to the Standing Committee on Finance

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May 8th, 2020

Orchestras Canada/Orchestres Canada (OC) is the national association for Canadian orchestras, representing over 130 groups from coast to coast, ranging from volunteer-driven community ensembles to youth and training orchestras to nationally and internationally-renowned groups. Our mandate includes advocacy, convening, research and knowledge-sharing, and we work in close collaboration with the Canadian Arts Coalition, Canada’s Performing Arts Alliance, and Imagine Canada.

We are pleased to share orchestras’ perspectives on the Government of Canada’s responses to the COVID-19 pandemic, and hope they are helpful in the Committee’s work.

Context

Canadian orchestras are not-for-profit organizations and registered charities. In 2018-19, according to OC’s comparative data from 71 of our largest member orchestras, orchestras derived 35.8% of their revenues from ticket sales and sold services, and 40.2% from individuals, corporations, foundations, and special fundraising events. Government support (from all three orders of government) made up the difference. Our members reported revenues of almost $218 million and connected with 2.8 million Canadians.

Canadian orchestras are structured in different ways, depending on mission, mandate, and community context. They range from volunteer groups with a paid music director and a hands-on board of directors to fully-professional ensembles with collective bargaining agreements with tenured musicians, a professional staff, and a high-powered governance board – and all points in between. Depending on the size of the orchestra, anywhere from one to well over 200 people are paid to do work directly for and with the orchestra each season, and they are all vulnerable to changes in their orchestra’s financial health. Orchestras also tend to plan and market their concerts 18-24 months in advance.

With public gatherings effectively banned in mid-March, our orchestras moved to cancel already-scheduled (and in some cases, sold-out) concerts; as the pandemic has continued, orchestras (which typically perform a September-June season, with some groups also programming in the summer months) have cancelled both spring and summer programs. Refunds or credits for ticket purchases have been processed; and many loyal patrons have converted the value of their tickets to charitable donations. We are tracking the impact of the pandemic on contributed income, and will have more to report as orchestras complete their fiscal years.

Still, we emphasize that some 76% of orchestras’ revenues are vulnerable at this time, their potential loss is highly destabilizing, and – as Canadian Heritage minister Steven Guilbeault said to Montreal’s Chamber of Commerce last week, “« Il est difficile de voir un retour à la normale avant le début de l’année prochaine, et c’est peut-être ça aussi, un scénario optimiste ». Indeed, every published provincial guidelines place concerts and other large public events in the final stages of their proposed reopening plans.

Orchestras are now looking at alternate scenarios for fall 2020 and beyond, including the cancellation or postponement of concerts, the implementation of physical distancing measures for artists, audience members, and venue workers, and re-programming already-planned concerts to feature smaller ensembles, physically-distanced audiences, and different venues. The logistical, financial and legal challenges that these scenarios imply are daunting: the increased costs of implementing recommended health and safety measures combined with significantly reduced ticket revenues are simply incompatible. At the same time, we emphasize that orchestras will not put the health of audiences, artists or workers at risk.

Observations on Supports from the Government of Canada

First of all, orchestras are profoundly grateful for the speed at which the Government of Canada has moved to implement economic supports across the broader economy: speed that has been matched with a high level of responsiveness to emerging needs and issues. The pace at which such programs as the Canada Emergency Wage Subsidy, Canada Emergency Response Benefit and the Canada Emergency Bank Account have been successfully introduced and adapted to meet diverse needs across the economy has been nothing short of remarkable. We also note the Canada Council for the Arts’ decision to expedite the release of 35% of core grants to organizations payable in the 2020-21 fiscal year; while this will not have an impact on year-end results, it will assist some 37 Canadian orchestras to manage cash flow at a tremendously challenging time. Thank you.

Secondly, we eagerly await details on the $500 million investment in arts, culture and sports, first announced by Prime Minister Trudeau on April 17. We hope that some portion of it can be directed to meet needs not yet addressed in the cross-economy measures already in effect.

Specific gaps during the emergency relief period include the following:

  • The CEWS only applies to employees, and not to long-time independent contractors. This leaves a number of orchestras in a difficult situation: they are continuing to compensate their contracted musicians (whom they treat as independent contractors) to create and work from home, but are not yet eligible for any form of subsidy to assist with this cost. This could be addressed by expanding the program to incorporate more classes of workers.
  • We also note that CEWS is due to end June 6: well before orchestras are likely to see any stability in their earned or contributed revenues, since many may still be closed until early 2021 or later.
  • The CEBA is available only to groups with payroll between $20,000 and $1.5 million per year. Larger groups, with greater cash flow assistance needs, are ineligible for consideration for interest-free loans by BDC and EDC because they are organized as registered charities. This could be addressed by expanding the CEBA to cover more employers, or potentially removing the exclusion of organizations that further a charitable purpose under the Canada Small Business Financing Act, to enable banks to assist larger organizations in our sector and to provide additional support for mid-sized orchestras who need more than the $40,000 that CEBA offers.
  • Smaller arts organizations and grassroots community groups have, to some extent, fallen between the cracks of the targeted government assistance to date, yet play a key role in their communities and are profoundly affected by the crisis. We join with Imagine Canada in the call for a non-profit and charitable sector stabilization fund to help them continue to function through this time.
  • Many cultural and community-based organizations own and manage their own buildings, edifices that need to be heated, lit, secured, and maintained even when closed and not generating revenue. They are under unique pressure at this time. Again, we are pleased to support Imagine Canada’s call for a sector stabilization program that would help address the needs of valued community-based groups that own and manage community infrastructure.
  • We’d also emphasize the desirability of providing broad-based incentives for charitable giving and business sponsorship at this time. We support a temporary increase in non-refundable tax credits for charitable giving, believing that this will be the most helpful to the greatest number of groups, and would be relatively easy to administer.

At another point in the Standing Committee’s process, we would be pleased to share perspectives on the re-building, re-imagining and re-launching phases ahead. Although the timeline for lifting restrictions is currently and inevitably far from certain, it is likely that the live performing arts will be at the far end of that process. Identifying and addressing the interim needs for support for our sector will be fundamental to achieving a robust and comprehensive return to core activities.

In both good and challenging times, our member orchestras serve and connect with audiences in every Canadian province. The Government of Canada has been an important partner in this work over many years, and we look forward to continued work together. Thank you for your consideration.

Katherine Carleton, C.M.
Executive Director
Orchestras Canada/Orchestres Canada

Orchestras Canada’s COVID-19 Response and Services

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A letter from our Executive Director, Katherine Carleton

Dear members,

In the last four weeks a wave of cancellations has spread across the country in the wake of lockdown measures to contain the spread of COVID-19. Every one of our approximately 130 member orchestras has been affected.

It has been nothing short of inspirational to see the adaptability of Canadian orchestras who are now creating more online content than ever. Orchestras Canada has also increased our level of online activity to support our members going through these unprecedented challenges. We know that orchestras are stronger together than they are alone, and we have been expanding and adapting our four mission pillars to help orchestras respond to the current crisis.

Convening

Over the last month OC has convened online meetings with a number of stakeholder groups to exchange information, ideas and to design collective responses to the current shutdown. We have held meetings with orchestra CEOs, youth orchestra leaders, personnel managers, and with groups of marketing and education staff. We’re making plans to continue and expand these meetings. Let us know what you need.

Advocacy

Our advocacy committee has been hard at work assessing the best way to approach federal government decision-makers and make them aware of orchestras’ needs. We’ve written a letter to several government ministers, and are encouraging our members to share the letter with their local MPs. For obvious reasons, we’ve focused on emergency short term measures. We’ll continue this, even as we consult with you to develop re-launch and resilience strategies for Canadian orchestras.

Knowledge-sharing

We are issuing frequent updates to our members with news that directly affects the arts sector, as well as resources and tools to equip you to respond to the current situation. We’re also happy to share your initiatives and triumphs. You can read these updates on our COVID-19 page, or by signing up to our email list.

Research

So far we have run two surveys that have measured the immediate impact of the COVID-19 shutdowns on our members, and have reported back with some initial insights from our statistician, Steve Smith. This data collection is an ongoing process: while we’re aware that you’re being approached we’ll be collecting and analyzing further data.

I encourage you to take a look at what we’ve been up to, and encourage you to get in touch with us to share resources, brainstorm ideas, or just to check in. Take care,

Katherine Carleton C.M.
Executive Director
Orchestras Canada/Orchestres Canada

Marketing & Fundraising in a Time of Crisis: Panelists

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Jeff Alexander is the President of the Chicago Symphony Orchestra Association. He has overseen the activities of the orchestra’s 125th anniversary season; worked in support of the wide range of education and community engagement program; supported and represented the organization on multiple domestic and international tours; and led a process to develop a new strategic plan for the Association. Prior to his work at the CSO, Alexander worked in senior management roles at the Vancouver Symphony Orchestra and the Cincinnati Symphony Orchestra. He is a former board president of Orchestras Canada.

Dale Hedding is the Vice-President of Development at the Chicago Symphony Orchestra. A passionate advocate for arts that inspire, he brings to the organization more than 25 years of leadership experience in arts, culture and education institutions, including successful tenures at the Arts Consulting Group, Baltimore Symphony Orchestra, Atlanta Symphony Orchestra, and the John F. Kennedy Center for the Performing Arts.

Ryan Lewis is the Vice-President of Marketing and Sales at the Chicago Symphony Orchestra, serving there as a member of the senior management team and leading a department that is responsible for marketing, communications and design, digital content and web technologies, as well as ticketing and patron services. Prior to his current role at the CSO, he held positions with Opera Philadelphia, the John F. Kennedy Center for Performing Arts and Washington National Opera.

Trust, Transparency and Truth

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Marion Newman

The 2015 Truth and Reconciliation report and its calls to action destabilized many common assumptions about relationships between Indigenous and settler communities in Canada. In response to the report, many orchestras and other cultural institutions began to examine how we engage with our communities, and to rethink the ways in which we collaborate and partner with Indigenous nations, Indigenous people and Indigenous organizations.

Following the creation of an Indigenous Advisory Council at the Regina Symphony Orchestra in 2017, a lot of work has been done to grow this relationship. We spoke with the RSO’s music director, Gordon Gerrard, and mezzo-soprano and Indigenous Advisory Council member, Marion Newman, to learn more about this initiative.

How it started
Gordon Gerrard

The establishment of the Indigenous Advisory Council (IAC) at the RSO started with the appointment of a new board member, Audra Young, a member of the Cowessess First Nation. Its formalization came as a result of the consultation required for a substantial outreach project with Buffy Sainte-Marie, and one of the first projects that followed was the newly created Forward Currents Festival. Initially the IAC was made up of 12 members who met monthly, principally to advise the newly arrived Music Director, Gordon Gerrard and then-Executive Director Tanya Derksen on elements of Indigenous programming in the orchestras season. “There’s no rulebook for this kind of thing,” Gordon says, “but we wanted to make sure that this was a lasting beneficial relationship to both parties, rather than a one-off exchange.”

Through a desire to allow the time needed for these conversations, the IAC now meets less frequently, but advises on many more aspects of the RSO’s activities. Everything is interconnected. Other orchestras are following this model; the Vancouver Symphony Orchestra, for example, has established its own Indigenous Council.

Risks and True Consultation

While there was some nervousness about the path on which the orchestra and the IAC were embarking, there was an understanding in the importance and openness of this work. Mezzo-soprano and IAC member Marion Newman cites an established relationship and trust with Gordon as a primary reason for her willingness to join. “We get asked to consult on projects all the time,” Marion said. “It’s less often that the organization actually listens. Because I already trusted Gordon, I knew the orchestra would actually listen to what we had to say. “

Both Marion and Gordon agreed that this is long, sustained and slow work. It required a transparency from the orchestra, sharing things that they weren’t used to sharing with outside groups. “We’re still in the truth part of Truth & Reconciliation,” Marion says. This is uncomfortable, but necessary work to do if true consultation and partnership is the genuine goal. Ultimately this has been a positive experience for the RSO, and advice from the IAC now affects every aspect of their work, such as land acknowledgments, clarifying what true consultation is and guiding all of its stakeholders in developing their own ways to engage in this work.

The Forward Currents Festival

The first project the IAC consulted on was the newly created Forward Currents Festival. “Each year the festival focuses on an issue that is socially relevant to our community here in Regina”, says Gordon. The first edition in 2018 focused on Truth and Reconciliation, and the 2019 edition focused on mental health awareness.

“It’s a very direct way to connect with people who believe that the orchestra isn’t for them,” says Gordon. By taking the orchestra outside of the traditional concert hall, the festival reached a whole new audience who may never have considered attending a traditional orchestral concert. Marion recalls being greatly touched at the first edition of the festival. “It was incredible to see Indigenous people in the audience being moved by the orchestra collaboratively telling their stories, and for these same people to see non-Indigenous audience members moved by Indigenous stories.”

Next Steps

The IAC is now starting to look forward to future seasons in terms of what is programmed and how partnerships are approached. They are also looking into how this work can have a lasting impact on the RSO. Cultural competency training is key, and they hope to soon establish a set path whereby new musicians, staff and board members at the orchestra will receive appropriate training to equip them to work in respectful collaboration with the IAC and other outside communities the RSO may partner with.

This is difficult work and it takes time. Strong individual relationships, trust and transparency need to be at its heart.

Canada Emergency Wage Subsidy Program

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Updated April 9th, 2020

The Government of Canada has announced details for the proposed Canada Emergency Wage Subsidy program offering a 75 per cent wage subsidy for qualifying businesses, for up to 3 months, retroactive to March 15, 2020.

  • The Canada Emergency Wage Subsidy would apply at a rate of 75 per cent of the first $58,700 normally earned by employees – representing a benefit of up to $847 per week. The subsidy would be in place for a 12-week period, from March 15 to June 6, 2020.
  • Eligible employers that suffer a drop in gross revenues of at least 15 per cent in March, and 30 per cent in April or May, when compared to the same month in 2019, would be able to access the subsidy.
  • Eligible employers would include employers of all sizes and across all sectors of the economy, with the exception of public sector entities. (Editorial note:  These seem to include municipalities, universities, schools and hospitals.)  Charities and not for profits are eligible if they can demonstrate the required drop in revenue.
  • For non-profit organizations and registered charities not as deeply affected, the government will continue to consult with the sector to ensure the definition of revenue is appropriate to their circumstances. The government is also considering additional support for non-profits and charities, particularly those involved in the front line response to COVID-19. Further details will be announced in the near term.
  • An eligible employer’s entitlement to this wage subsidy will be based entirely on the salary or wages actually paid to employees. All employers would be expected to make best efforts to top up salaries to 100% of the maximum wages covered.
  • The program should be launched in the next 3-6 weeks, depending on parliamentary approval and the pace at which the on-line application process can be developed, fine-tuned and launch.
  • President of the Treasury Board Jean-Yves Duclos noted for the “cultural sector” that all businesses receiving public funds are eligible for the subsidy – this seems to imply those that receive government grants, rather than public bodies like universities, colleges, schools and hospitals which were identified as being exempt by Finance Minister Bill Morneau.
  • No cap on how much an employer can receive.
  • Applies to active employees and well as those who have been furloughed because of a lack of work.
  • Charities and non-profit organizations can choose to either include or exclude revenue from government when calculating their revenues.
  • Organizations can calculate their revenues using either accrual or cash accounting.
  • Adjustments will be made if the employer/employee is participating in other COVID-19 emergency response programs.
  • Applications will be through a web portal accessible through organizations’ CRA MyBusiness accounts.

Editorial note: If your organization cannot demonstrate a 30% revenue drop, you may not qualify for the 75% wage subsidy; however, your organization may qualify for a program announced earlier that provides a 10% contribution to wages, through the monthly remittances to the Receiver General.  Organizations cannot access both programs.

Government provides further flexibility for employers to access the Canada Emergency Wage Subsidy (press release, April 8th)

The media release from the April 1st announcement is here.

Ontario Arts Council and COVID-19

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The Ontario Arts Council has changed some of its grant program deadlines for this spring, and you can click through to details from this page. The OAC also has useful and regularly-updated COVID-19 FAQs on its website, here.

Minister’s Town Hall Meeting

This morning, March 26, Lisa Macleod (Ontario Minister of Heritage, Sport, Tourism, and Culture Industries) held a telephone town hall meeting with over 1250 stakeholders from across Ontario.  Referencing both the province’s identification of essential services (on Monday evening) and the Economic Statement (issued on Wednesday), Minister Macleod outlined a number of measures that the Government of Ontario is taking to assist with relief and recovery of the sectors associated with the Ministry, as follows:

  • The commitment to keep money flowing quickly through existing Operational Service Agencies such as the Ontario Arts Council, Celebrate Ontario, the Ontario Trillium Foundation and the Ontario Cultural Attractions Fund. The Minister did not reference any increases to funding: OC has asked the Ontario Arts Council for more information as it becomes available.
  • The impending launch of a new Ontario Live online portal, where musicians, artists, libraries, museums and others can share their work with Ontarians. This is a partnership between the government and an array of artists, arts organizations, and such industry titans as Universal Music and Shopify.
  • The re-tooling of the Ontario Music Fund to get funding into the hands of emerging artists quickly.
  • Additional funding allocated to Tourism Development programs, which will be expanded to include Tourism Relief initiatives.
  • Additional funding allocated to Destination Ontario to help rebuild tourism, once recovery commences.
  • Permission granted to restaurants and bars to sell and deliver unopened packages of liquor in their stock.
  • Funding for Ontario hotels to serve as overflow space for health care workers, those in quarantine, and people in need of shelter (whether because they are not securely housed, or other reasons).
  • The extension of film and television tax credit to ensure that freelance workers in the industry have access to income during a period of time when production has ceased.
  • The commitment to work with provincial sport organizations and athletes to ensure that athlete development efforts are not damaged by the cancellation of major amateur sports events in the province and around the world.
  • The commitment to support existing Operational Enterprise Agencies (including the Royal Ontario Museum, Science North, etcetera) through the recovery period.

Remuneration Information on the Job Board

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As of April 13th, 2020, jobs posted on Orchestras Canada’s job board will require remuneration information. This could take the form of:

  • an annual salary (or salary range)
  • an hourly rate (or range)
  • a per service rate
  • a total amount, for contract work or an RFP for example

Pro-bono jobs or professional development opportunities will be marked as such. Many of the jobs posted on our job board are for positions in unionized orchestras, where pay is defined in a collective agreement. We want to make the terms of pay as clear as possible to the musicians applying for these jobs. Likewise, we want to make salary details as clear as possible up front for administrative jobs as well.

Mandatory salary disclosure is fast becoming standard in the arts and non-profit industries. Practices such as this promote pay equity, help to reduce the gender and colour wage gaps, and are win-win for employers and job-seekers for a number of reasons.

For employers

  • It saves time when hiring. You’ll get fewer candidates who are overqualified or underqualified. Waiting until the end of the hiring process to discuss salary expectations means you could interview several candidates before finding someone who will agree with your terms.
  • It reduces staff turnover. Disclosing salary expectations early on minimizes the difference between a job seeker’s expectations and their reality. It starts out the employer-employee relationship as one of trust.
  • It’s fast becoming industry-standard. Other arts and non-profit job services following these practices are Work In Culture, the Professional Alliance for Canadian Theatres, the Ontario Non-Profit Network, the BC Alliance for Arts and Culture, and many more. Some people simply do not apply for jobs that don’t include salary information. Hiding this may be driving away good candidates.

For job-seekers

  • It saves time when job searching. Salary ranges are often a good indicator of the level of experience and qualifications you might need for a job. It means you won’t spend all day writing a cover letter for a job for which you’re woefully underqualified.
  • It acknowledges that people need to support themselves. You can make an informed decision about whether the particular job is an appropriate fit in your current financial or family situation.
  • It helps to reduce the gender and colour wage gaps. Salary posting at the outset ensures that all candidates are starting from a level playing field.

COVID-19 Resources

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If you are experiencing difficulties, the Google Doc below can also be accessed here. You can contribute resources to the document here.

Four questions to ask before starting any digital project

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Blog post by Nick Walshe, Orchestras Canada

Last month, I attended the Canadian Opera Company’s (COC) second Digital Stage Symposium. The Digital Stage is a collaborative project between the COC, the National Ballet of Canada, and Sheridan College’s Screen Industries Research and Training Centre, and is supported by the Canada Council for the Arts. It is designed to explore and embrace new technology in the arts, equipping arts organizations with what they need to thrive in a constantly changing digital landscape. From apps designed to help audience members engage with the works presented at a concert (last year we wrote about the Winnipeg Symphony’s adventures with an audience engagement app), to ‘smart’ wearable items designed to help performers and artists monitor their bodies, the Symposium presented a wide range of cutting-edge digital technology. More information on these technologies and others can be found in their initial Digital Horizon Scan.

Download the Horizon Scan here.

Unsurprisingly, there was no single technology that stood out as a game-changer for orchestras. The question of how we engage with our audience digitally or live is complex, and only complicated further by the wide range of sizes of Canadian orchestras and the diversity of the communities they serve. I came away from the day with more questions than answers and felt that rather than providing a list of new technology to explore, it could be more useful to share a list of questions I kept coming back to when looking at how orchestras might engage more deeply with digital technology. This non-exhaustive list of four questions is designed to spark discussion and thought before starting any digital project.

What problem are you trying to solve by undertaking this project?

As they say, “every solution has a problem”. It’s important to look at what problems we’re trying to solve with technology, and what other solutions may exist to the same problem. Our audiences can feel when the use of tech becomes ‘gimmicky’. Considering how stretched resources are at arts organizations, it’s important that our investment in technology aligns with our organization’s goals. Are we trying to educate the audience? Increase audience numbers? Deepen their engagement by livestreaming or creating ways for them to participate digitally?

Has it been done before, and did it work?

While Canadian orchestras operate in diverse communities with different tastes, strengths and demographics, there’s no need to reinvent the wheel with every digital project. It’s worth exploring who is using the new technology being considered and seeing what they learned from implementing it. These examples may not come from the orchestra world; we have much to learn from other art forms’ use of digital technology, from dance to theatre to visual arts.

What does this do to the live product?

Or perhaps, what IS the live product? Every exploration into the digital realm has the potential to make us more aware of the live product we present. We often talk about the live experience as one of the most important aspects of what we do as orchestras. Can we bring this experience to more people? Do the forms of digital technology we plan to use enhance or detract from the experience of our live audience? In a digitally connected world, it’s important that we acknowledge online forms of engagement for people that are unable to get to the concert hall for a variety of reasons.

What resources are we lacking in order to get there?

With many arts organizations running at (and pushing) the limit of which they are capable, it’s important to have a plan to bridge any knowledge or resources gaps. Issues of time, money and the knowledge of people within the organization are critical. Is an outside consultant needed, and how much of their time can we afford? Are there additional funding streams we can apply to for this project?

These questions are designed as a starting point for discussion before embarking on a digital project; there will no doubt be other important conversations to be had. We’re excited at the possibilities that new technology will bring to the orchestral sector and the arts world, but acknowledge that this is fast-moving and requires a smart investment of time and resources from decision-makers at our orchestras.

The Canadian Opera Company’s Digital Stage project is ongoing and scheduled for completion in June 2020. Learn more at https://coc.ca/digitalstage.