►
Description
Arts Advisory Committee meeting from September 23, 2021. For full agenda details visit https://bit.ly/3i12MEd
A
B
A
A
There
he
is
connection
there,
he
is,
and
staff
with
us
today
are
dana
lockheed
danica,
lockheed
manager,
arts
and
sector
development.
Elizabeth
faucet
is
our
meeting
host
this
morning,
as
well
as
myself,
julia
mccarty
jansman
committee
clerk.
We
also
have
felix
lee
with
us
and
we
have
kelsey
pearson
as
our
delegation,
and
there
are
no
members
of
the
public
with
us.
So,
madam
chair,
if
you
want
to
start
the
meeting
I'll
turn
it
over
to
you,.
D
D
A
D
D
F
G
Oh
hi,
sorry,
I
didn't
realize
I
would
be
starting
the
meeting,
so
I'm
just
going
to
do
a
really
brief
presentation
about
my
experience
with
the
resiliency
grant
and
just
funding
in
general
as
a
as
a
practicing
artist.
So
my
name
is
kelsey
pearson,
as
you
may
know,
I'm
an
emerging,
multi-disciplinary
artist.
G
I
do
what
I
can
to
make
some
art
so
first
off
yeah.
So
I
was
a
recipient
of
the
resiliency
grant
and
I
just
want
to
give
some
background
about
what
the
last
couple
of
years
have
been
like
with
the
pandemic
as
a
practicing
artist
and
a
bit
of
the
unpredictability
there.
So
at
the
start
of
the
pandemic,
my
collective
was
looking
like
it
was
going
to
close.
G
So
we
started
planning,
we
actually
started
packing
our
bags
and
getting
ready
to
go,
and
then
we
started
selling
our
art
and
raising
funds
in
all
these
different
ways,
and
within
a
few
months
we
were
able
to
save
ourselves.
But
again
we
knew
that
this,
like
was
possible,
that
this
was
going
to
happen
again,
that
we
couldn't
just
be
living
months
to
months
like
just
barely
making
rent.
Along
with
that,
I
so
yeah
and
I
was
working.
G
This
artist's
life
of
the
the
struggle
is
going
to
fuel
creation
and
in
fact
it's
just
the
opposite,
and
whenever
and
not
only
just
like
the
struggle
with
paying
my
bills,
but
also
losing
my
community
in
these
ways,
because
when
I
feel
stifled,
I
just
stop.
I
stand
still
sorry.
I
lost
my
train.
I
thought.
G
So,
oh,
and
here
are
some
other
opportunities
just
to
give
you
a
background
of
the
type
of
opportunities
that
are
like
honestly
are
unpredictable
as
well
even
outside
of
a
pandemic.
At
the
start
of
the
pandemic,
I
was
scheduled
to
show
in
puerto
rico,
nova
scotia
several
states,
along
with
my
curatorial
debut
in
hong
kong.
These
were
all
pivotal
and
it's
hard
enough
getting
the
funding
to
go,
but
even
with
that,
there
are
other
things
that
came
in
the
way
like
a
pandemic.
G
So
all
of
these
were
cancelled.
All
these
things
put
strain
and
threatened
I'll,
put
strain
on
and
threaten
my
practice,
but
it
it
was
like
this
is
not
new.
This
happens
within
the
arts,
but
when
an
artist
does
not
have
the
funds,
it's
not
solely
them
who
suffers
so
some
things
that
dead
on
contributes
and
had
we
lost
it
on.
It
would
have
meant
that
we
wouldn't
be
able
to
do
our
drinking
draws,
which
is
a
community
hub
for
new
artists.
We
get
new
artists
just
who
just
moved
to
the
city.
G
Come
there
all
the
time
just
to
meet
other
people
and
feel
like
they're,
not
alone,
because
working
as
an
artist,
you
spend
a
lot
of
time
in
solitude,
so
getting
any
chance
to
go
see.
Other
people
is
huge
and
we
do
that
on
our
own
time.
We
don't
get
paid
to
do
these
things.
We
contribute
to
the
like
the
cultural
fabric
of
our
of
our
city.
G
We
work
on
the
public
with
the
we've
been
working
with
the
free
wall
and
with
our
own
space,
I
started
seeing
people
walking
their
dogs
down
by
dead
on
and
bringing
their
kids
down
there
to
look
at
some
free
art,
because
there's
such
a
like
strong
drive
for
the
individual
artists
to
move
out
of
the
gallery
setting
so
we're
moving
out
into
the
streets
and
moving
into
working
with
the
city
working
with
schools.
I
volunteer
with
art,
festivals,
all
the
time
with
schools.
G
We
teach
people
to
think
we
again
like
with
dead
on
we're
able
to
have
a
cultural
hub
for
people
to
show
up.
I
remember:
we'd
have
20
artists
at
a
time
on,
like
a
good
week,
coming
to
these
drinking
draws
and
meeting
each
other
and
giving
each
other
other
opportunities
with
the
window
displays
that
we
participated
in.
We
were
able
to
do
all
these
things
anyway.
G
So
I
was
losing
my
home
space
and
my
studio
space,
and
this
is
while
I
was
working
full-time
and
having
a
full-time
art
practice
and
acting
as
a
working
with
sorry
and
volunteering
within
the
community
and
that
sucks
that
that
is
just
the
reality
for
artists
in
this
community.
When
there's
so
much,
that's
uncalculable
that
we
contribute-
and
it's
not
so
clear,
and
it
doesn't
always
have
to
be
that
we
are
making
this
grander
like
a
public
art
piece
that
is
going
to
have
some
kind
of
communal
effect.
That
is
yes.
G
There
are
creation
grants
for
that.
But
there
are
all
these
little
things
that
add
up
to
one
great
big
thing
and
I
think
about
it:
kind
of
like
farmers
markets.
I
used
to
work
with
farmers
markets
and
in
when
I
worked
for
greater
napanee
and
just
giving
people
that
place
to
experience
like
meet
crafts,
people
and
buy
local
goods
in
any
way.
That
was
a
place
that
people
brought
their
kids
and
it
was
just
a
staple
for
the
community
and
yes,
the
resiliency
grant
was
great.
G
It
covered
my
studio
fees
for
the
summer
and
that's
it,
though
that
was
just
like
a
starting
point.
This
was
great
that
I'm
really
grateful
that
I
received
it,
but
I
think
that
there's
so
much
more
that
we
can
contribute
to
the
arts
for
individuals
and
not
necessarily
for
large
organizations,
because
there's
so
much
going
on
that
we
don't
necessarily
immediately
see
anyway.
I
rambled
a
little
I'm
sorry
that
wasn't
as
concise
as
I
wanted
it
to
be,
but
yeah.
Let
me
know
if
you
have
any
questions
well,.
D
C
Yeah,
I
great
thank
you
for
sharing
that,
and
yes,
that's,
sadly
so
frequently
a
story
of
artists.
But
I
was
wondering
how
you
heard
about
the
grant
and
how
difficult
or
easy
it
was
to
get
it
a
little
bit
more
about
how
you
finally
got
the
grant
and
what
we
could
do
to
make
it
easier
for
more
artists
to
get.
G
Thank
you
so
much.
That
is
definitely
something
I'd
love
to
talk
about.
I
was
fortunate
that
I
was
being
unfortunate
at
that
moment.
I
was
not
working
so
I
was
online.
I
was
able
to
see
it
immediately
and
for
the
first
round-
and
it
was
I
it
was
just
luck
that
I
saw
it
in
time
and
I
actually
was
still
in
classes
at
that
moment
and
I
was
not
paying
attention
during
lecture
and
I
filled
it
out
right
then,
and
there,
but
honestly
first
come
first
serve.
G
It
necessarily-
and
I
know
a
lot
of
people
who,
with
like
just
accessibility
issues
like
I
know,
people
with
disabilities
with
lack
of
access
to
internet
who
are
artists,
a
lack
of
access
to
phones
who
are
artists,
and
they
need
a
bit
more
time
generally
just
having
a
bit
more
of
a
gap
so
that
we
can
all
submit
with,
like
maybe
a
month's
notice
or
something
like
that
or
a
few
weeks
notice.
At
least.
I
think
that
that's
going
to
provide
a
better
stepping
stone
for
equal
opportunity.
D
D
G
D
G
D
D
The
collective
itself,
because
I
know
that
you
know
I
was
listened
to
another
talk
about
dead
on
and
I
was
just
I
was
just
wondering
because
I
know
they're
affordable,
but
yet
that's
only
one
part
of
your
expenses
in
your
boss,
so
I
just
I
am.
I
just
wondered
that
does
anyone
else
have
any
questions?
D
G
No
I'm
eligible
for
nan
yellman's,
which
is
2500,
is
it,
but
that
goes
to
one
person.
As
you
know,
and
ultimately,
a
lot
of
my
funding
comes
through
individual
project
projects.
I
do
a
lot
of
commissions,
I'm
eligible
for
some
ontario
grants,
but
a
lot
of
the
time
right
now.
I
I'm
in
a
three-year
master's
program
and
during
this
time
I'm
actually
less
eligible
for
funding
like
a
lot
of
entities
will
not
fund
students,
but
I
still
have
bills
to
pay.
G
I
have
more
bills
to
pay
and
I'm
still
contributing
and
I'm
still
making
art
that
isn't
specific,
like
specifically
for
my
thesis,
but
that
weird
gray
area
scares
away
a
lot
of
funding,
provincially
and
federally
and
elsewhere.
Unfortunately-
and
so
I've
been
going
on-
this
is
my
third
year,
I'm
in
my
piece
this
year
of
being
less
eligible
for
funding,
and
that,
unfortunately,
is
the
reality
of
also
being
a
young
artist,
because
there
are
a
lot
of
things
that
get
in
the
way.
C
F
D
G
So
actually,
yes,
that
is
a
really
great
question.
Thank
you
so
much
for
that
too.
So
I've
actually
taken
classes
on
grant
writing
at
my
university
and
unfortunately
it
is
a
full-time
job.
If
you
want
to
get
grants,
it
is
a
full-time
job
on
top
of
your
full-time
job,
on
top
of
your
part-time
job
and
that's
kind
of
the
catch-22
of
being
an
artist.
G
If
you
are
working
in
your
studio
too
much,
you
are
neglecting
your
gran
granting
opportunities
and
if
you
are
working
on
granting
opportunities,
you
are
not
protecting
your
studio
practice
and
you're,
not
actually
making
any
art.
And
then
what
are
you
and
statistically,
you
are
lucky
if
you
get
one
out
of
every
15
grants
that
you
apply
for
and
that's
not
an
exaggeration,
that's
actually
like
a
really
good
number.
G
If
you're
doing
that,
then
you
are
possibly
like
going
to
be
able
to
be
sustainable
through
granting
funding,
because
but
that's
not
the
reality
for
a
lot
of
artists,
so
you're
you're,
putting
in
countless
hours.
I
set
aside
a
few
hours
a
day
every
single
day,
just
looking
for
opportunities
and
working
on
opportunities
and
a
lot
of
that
yields.
Zero,
like
it
yields
zero
results.
Ninety
percent
of
the
time
and
yeah
it
is
unfortunate.
So
I
don't.
Even
I
can't
calculate
a
number.
F
H
Yeah,
less
of
a
question
and
more
to
just
speak
to
what
kelsey
is
saying
and
to
emphasize
that
I
was
an
artist
and
now
I'm
a
lawyer,
and
I
actually
find
it
easier
to
be
a
lawyer
and
earn
money
that
way
to
fund
my
arts
practice
than
I
did
to
write
grants
just
to
provide.
Obviously,
this
is
a
slightly
extreme
example,
but
it's
the
exhaustion
of
writing.
Grants
is
unbelievable
and
also
the
innate
privilege
you
have
to
be
crazy
literate.
Your
language
skills
have
to
be
amazing.
H
Your
organizational
skills
have
to
be
amazing
and
like
props,
to
you,
kelsey
for
having
all
those
skills,
but
the
inaccessibility
of
the
granting
system
to
people
who
struggle
with
literacy
with
literacy
and
struggle
with
computers.
Like
you
know
the
king
scenarios
council,
I
want
to
give
a
big
shout
out
to
ccaf.
I
think
everyone
is
doing
a
really
good
job
to
try
to
make
it
as
accessible
as
possible,
but
again
I'll
echo.
What
kelsey
said
about
how?
H
H
F
F
So
there's
often
the
assumption
when
you
hear
someone's
a
student,
it
means
they're,
they
haven't
emerged
yet
as
an
artist
and
that
more
and
more
is
changing
right,
because
a
lot
of
people
later
in
their
lives
are
going
back
to
school
and
or
going
to
other
opportunities
to
help
support
their
art
right.
You
know
to
find
some
security
in
your
life,
because
I
also
agree
there's
that
romanticism
about
oh
living.
You
know
starving
artists,
something
whatever
I
write
much
better
when
I've
got
a
good
meal
in
my
belly
right.
H
Yeah
absolutely
absolutely
and
to
just
push
on
that
point
dean
like,
I
think
my
husband
and
I
are
both
artists.
We
couldn't
have
started
a
family
unless
I
had
another
source
of
income.
Yes
and
starting
a
family
is
a
pretty
basic
human
right.
So,
like
props
to
you
kelsey
for
your
hard
work,
your
art's
terrific,
by
the
way
I
just
sent
you
an
email,
I
want
to
buy
one
of
your
rugs.
Oh
thank.
I
I
Yeah,
I
have
friends
that
were
actually
thinking
of.
They
said
that
there's
no
great
place
for
skaters
downtown
kingston
and
they
were
actually
it's
the
folks
that
opened
the
bsc,
skate
shop,
downtown
and,
of
course,
it's
just
a
retail
and
coffee
shop.
It's
it
doesn't
have
a
skate
ramp
in
there,
but
I
chatted
with
them
a
lot
and
they
expressed
that
there
was
like
such
a
need
for
that
downtown.
I
And
then
you
know
the
artists
that
are
working
in
there
are
maybe
sort
of
subsidized
through
a
through
a
different
avenue,
and
I
don't
know
if
that
would
kind
of
be
through,
like
recreation
funding
or
something
completely
different
from
the
arts,
but
just
to,
I
guess,
maybe
an
outside
the
box
idea
for
how
we
can
sometimes
fund
these
things
that
maybe
don't
always
directly
just
come
from
arts
funding.
There
might
be
other
other
avenues.
G
So
yeah,
no,
that's
actually
something
we've
talked
about,
and
I
do
believe
that
that
is
incorporated
into
our
application
for
the
adapt
grant
and
so
yeah.
We
built
that
because
we're
all
I
I'm
with
kingston
roller
derby,
I'm
on
the
board
of
directors
with
kingston
roller
derby.
I
am
part
of
community
and
bulls
which
brings
roller
skaters
to
skate
parks,
and
so
I
yeah
I
hit
the
mini
ramp.
Eric
is
a
long
time
skater
and
so
we're
all
of
our
members
and
yeah.
G
We
have
been
using
that
as
part
of
the
drink.
The
one
issue
with
that
and
we're
trying
to
figure
that
out
is
insurance
is
a
really
really
big
hindrance
to
open
that
up
to
the
public.
In
the
same
way,
we
have
been
doing
it
as
a
more
casual
thing
for
this,
because
we
are
integrated
into
the
skate
community.
Someone
asked
to
come:
do
it
we
can
go,
hang
and
like
actually
use
it,
and
but
yeah
indoor
recreation
as
well,
and
just
usable,
beginner
ramps
there.
G
D
G
I
Yeah
yeah,
I
think,
like
some
things
like
recreation
and
and
things
like
the
the
derby
scene
and
the
skateboarding
scene
and
art,
there's
a
there's
a
a
place
for
them
to
sort
of
meet.
I
think
and
maybe
share
resources
in
space
that
maybe
it's
not
the
exact
space
you're
in
right
now,
but
yeah
just
it
just.
I
G
D
G
J
Hi
thanks
so
much
nadine
for
those
of
you
who
haven't
seen
or
met
me
at
one
of
these
briefings
before
it's
been
a
long
while
actually
a
calendar
year.
Almost
since
I've
been
to
an
aac
meeting,
my
name
is
felix
lee
and
until
september
2021
I
was
the
grants
coordinator
for
the
kingston
arts
council.
As
of
last
week.
I
am
currently
acting
as
the
interim
executive
director.
J
Every
year
the
kingston
arts
council,
the
kac,
completes
an
annual
review
of
this
program,
which
means
that
we
collect
feedback
from
applicants,
recipients,
jurors
and
community
members.
This
feedback,
along
with
our
experience
as
the
administrators,
helps
us,
develop
the
kingston
arts
council
plan
for
administration
of
arts
funding
for
the
corporation
of
the
city
of
kingston,
which
we
will
abbreviate
to
the
plan
for
admin.
J
J
It
will
be
presented
to
and
approved
by,
the
kac
board
in
october,
the
aac
so
we'll
return
to
you
with
the
draft
in
november,
and
then
the
arts,
recreation
community
policy
committee
and
then
kingston
city
council
and
that's
in
preparation
for
the
launch
in
winter
spring.
2022
of
ccaf,
the
continued
impact
of
covid19
on
the
art
sector
and
the
kingston
community
presents
unique
challenges
and
opportunities
as
we
prepare
for
ccaf
2022.
J
Adapt
provided
100
000
in
total
to
15
projects
which
were
put
forward
by
individual
artists,
artists,
collectives
and
arts.
Non-Profit
organizations
to
address
pandemic
related
challenges
through
new
ways
of
working,
and
we
actually
are
very
excited
to
announce
the
adapt
recipients.
Yesterday,
they
are
currently
available
on
our
website
to
read
with
descriptions
of
those
projects
as
the
administrators
of
ccaf
the
ksc
work,
to
ensure
that
the
funding
program
nurtures
the
arts
community
and
is
evolving
in
response
to
changing
needs.
J
J
J
J
It
was
developed
and
rolled
out
between
february
and
may
of
this
year
so
quite
quickly
and
we're
looking
to
continue
that
impact.
In
a
longer
term,
as
our
community
recovers
in
2022,
we
believe
that
funding
is
still
really
important,
we'll
also
be
making
language
clarifications
to
definitions
in
project
grants
and
eligible
costs
to
better
reflect
our
current
practices
and
to
help
the
applicants,
and
we
are
also
considering
the
potential
for
individual
applicants
to
project
grants.
J
In
addition
to
these
ideas
that
will
go
into
the
plan
for
admin,
we're
also
looking
at
improving
the
application
process
itself.
This
is
something
that
we
do
every
year
to
improve
accessibility
in
line
with
best
practices
of
other
comparable
funding
programs,
so
that
includes
streamlining
and
shortening
the
application
process,
improving
the
legibility
and
accessibility
of
the
document
itself
and
creating
stronger
alignment
between
the
assessment
criteria
which
grant
applicants
are
provided
and
the
form
that
they
actually
have
to
fill
out.
J
We
just
heard
a
lot
of
really
great
feedback
from
an
artist
in
the
community,
which
I
think
helped
set
the
tone
for
this
to
discuss
the
continuing
impact
of
the
pandemic
on
artists
and
organizations.
The
challenges
that
you
perceive
the
community
facing
in
2022
and
the
ways
in
which
we
can
continue
to
grow.
The
secaf
program
to
support
the
city's
recovery
in
the
arts
and
culture
sector.
D
D
K
I
just
have
one
small
question:
the
hope
to
be
able
to
continue
with
the
resiliency
grant
felix.
Will
that
be
reliant
on
or
do
you
know
further
one-time
only
funding
from
the
city,
or
will
this
require
advocacy
for
continued
annual
funding?
That
would
allow
for
that
extra
100,
000
or
or
perhaps
even
more
to
accommodate
all
those
applications
that
you've
received.
L
Yeah
I
mean
I
can
I
can
sort
of
jump
in
on
this
alicia.
It's
a
great
question.
I
mean
in
this
moment
the
work
that
the
arts
council
is
doing
in
relation
to
the
ccaf
program
is
continuing
with
the
operating
and
project
grant
program,
which
is
you
know,
annually
approved
and
the
funding
is
annually
approved
through
the
arts
and
culture
services
operating
budget.
L
I
think
the
larger
city-led
review
that
is
is
due
imminently
in
terms
of
looking
at
the
program
since
it
first
was
established
in
2007,
add
a
pandemic
to
the
midst
and
and
figure
out
a
way
forward
for
c-caf
to,
as
felix
has
said,
effectively
service.
The
arts
community
could
see
individual
artists
funding
integrated
in
a
more
permanent
way.
J
We
are
considering
what
it
would
look
like
for
individual
artists
applicants
to
be
eligible
at
this
time:
yeah,
okay,
so
it's
not.
I
wouldn't
call
it
a
proposed
change
in
this
moment,
but
if
you
have
a
comment
on
what
that
would
look
like
for
the
program,
we
would
be
interested
to
hear
that
feedback
now.
B
L
E
F
J
That
is
a
great
question.
I
do
not
have
the
exact
number
in
front
of
me
of
unique
applications,
because
many
people
applied
twice.
There
were
approximately
160
applicants
in
each
round.
We
ran
two
deadlines,
but
there
was
quite
an
overlap
of
the
same
people
applying
again
who
were
unsuccessful
in
round
one
applying
in
round
two,
so
it
is
less
than
the
total
of
those
two
added
together.
F
E
J
J
We
also
would
consider
only
projects
that
are
not-for-profit
so
for
this
purpose,
we
would
look
at
their
budgets
which
they
have
to
provide
in
the
application,
and
they
cannot
retain
funds
through
the
project,
so
expenditures
have
to
match
the
revenue
that
they've
brought
in,
which
is
typical
for
arts
funding
in
in
this
style,
or
this
type
of
granting
in
municipal
funding.
That's
how
we
would
talk
about
nonprofit
in
terms
of
is
the
collective
acting
that
way.
L
So
I
just
want
to
add
that
one
sort
of
bit
of
context
for
those
creative
businesses
in
kingston-
and
I
also
just
wanted
to
follow
up
on
dean's
question
around
number
of
applicants
and
total
funding
requests.
I
think
it's
a
critical
point
to
share,
and
this
is
in
so
this
was
information
that
the
arts
council
collected,
but
through
the
program,
the
resiliency
grant
program.
L
The
arts
council
received
263
unique
applications
with
a
request
amount
of
three
hundred
thousand
ninety
six
dollars,
which
is
nearly
four
times
the
100
000
that
was
invested
for
this
program.
So
there
is
very
clearly
through
this
project
a
demonstrated
need
in
the
in
the
kingston
artist
community
for
this
type
of
funding.
F
Can
I
just
ask
again
about
that
the
description
you
were
talking
about
about
not
for
profit,
that's
a
very
specific
term,
which
I
mean.
If
you're
talking
about
a
business
or
incorporated
business,
you
have
a
for-profit
or
a
not-for-profit.
You
know
an
organization
with
charitable
terrible
number
and
all
that
kind
of
thing,
but
the
term
as
applied
to
are.
F
Are
you
also
like
looking
for
not-for-profit
projects,
because
that's
a
that's
a
little
bit
more
of
a
nebulous
term
like
a
a
not-for-profit
company,
doing
a
project
is
doing
a
not-for-profit
project,
but
an
individual
is
again
and
most
artists
are
not
incorporated
in
that
sense.
It's
so
is
there
some,
like
I
say,
is
there
some
cut
off
because
the
other
thing
about
not
for
profit,
it
doesn't
mean
that
no
one's
getting
paid.
That's.
C
J
So
it
is
being
used
in
terms
that
in
currently
the
way
that
ccaf
is
structured
right
now
we
have
two
eligible
groups
for
project
funding.
One
is
an
incorporated
non-profit
or
registered
charity,
which
is
a
legally
incorporated
entity,
that's
audited
and
has
a
special
tax
status,
so
they
would
have
a
number
through
the
government,
and
we
also
accept
applications
from
collectives
collectives
in
our
definition
have
to
have
at
least
three
members.
J
Those
three
members
have
to
each
be
a
signing
authority.
They
can't
have
more
than
three,
but
they
have
to
have
three
signing
authority
members.
They
must
have
a
bank
account
in
their
own
name
and
they
have
to
act
collectively
for
the
project,
so
we're
really
not
applying
that
not-for-profit
language,
except
to
refer
to
legally
incorporated
groups
which
are
an
eligible
category
in
the
application
that
that's
how
it's
talked
about.
J
I
think
that
we
would
have
a
I
was
seeking
to
sort
of
maybe
parse
out
some
nuance
in
counselor
neil's
question
around
maybe
applying
this
to
individuals,
but
as
it
stands
right
now,
the
language
that
refers
to
not-for-profit
in
the
in
the
plan
for
admin
in
the
guidelines.
It
refers
to
legally
incorporated
entities.
D
I
just
I
had
a
comment
more
just
going
back
to
what
annie
was
talking
about
with
literacy
and
language
and
accessibility.
You
know
for
people,
you
know,
during
with
wi-fi
issues
or
just
good
computer
equipment
issues
or
the
knowledge
clear
knowledge
how
to
use
that
process
of
an
online
application,
and
I
thought
it
was
interesting.
It
was
obviously
sparked
by
covid,
but
there
was
a
group
in
out
east
and
I
even
my
son
applied
for
a
job
and
they
it
was
using
video.
D
This
group
in
halifax
for
a
funding
opportunity,
was
accepting
video
submissions,
and
I
thought
that
was
really
interesting,
because
for
artists,
many
times
it
can
be
incorrectly
perceived
that
they're,
not
you
know
professional
or
have
a
you
know
an
impactful
idea
for
the
community
because
they
don't
have
the
language
or
they're
not
don't
can't
get
across
their
idea
in
a
different
way
right.
Everyone
has
different
styles,
so
anyways.
D
B
J
So
this
is
actually
a
change
we
made
in
2021
that
we
are
going
to
continue
in
2022
to
address
this
issue.
It
used
to
be
the
case
up
until
2020
that
we
required
everyone
to
submit
a
certificate
of
insurance
showing
that
they
had
purchased
5
million
liability
insurance,
saving,
harmless
both
the
city
of
kingston
and
the
kingston
arts
council.
J
This,
obviously,
as
we
talked
about
during
the
consultation
last
year
and
I
believe,
came
up
quite
frequently
in
both
the
aac
meetings
and
the
roundtables.
This
is
an
issue
for
small
collectives
because
it
presented
an
upfront
or
an
overhead
cost
that
they
had
to
cover
out
of
pocket
and
then
reimburse
with
the
ccaf
funding.
J
They
then
file
the
certificate
with
us,
demonstrating
that
they
have
successfully
paid
and
covered
that
cost
with
ccaf.
So
that
was
the
solution
that
we
reached
in
2021
and
was
implemented
for
this
year
and
has
gone
through
successfully
in
terms
of
people
collecting
their
funding
for
2021.
So
we
are
looking
to
continue
that
to
remove
that
upfront
cost
barrier,
because
you
are
correct
that
we
do
allow
them
to
input
that
as
an
expense
in
their
ccaf
budget,
and
we
do
encourage
them
to
use
the
funds
to
cover
the
cost.
B
J
So
resiliency
does
not
require
insurance.
The
resiliency
program,
the
application,
is
four
questions.
Long,
it's
quite
short:
it's
done
completely
online
in
browser.
You
don't
have
to
download
anything.
You
can
do
it
on
your
phone.
You
can
do
it
on
a
tablet.
That
was
the
way
that
we
set
it
up
to
make
it
more
accessible,
and
there
was
no
project
proposal
through
that
it
was
done
through
demonstration
of
need,
so
it
wasn't
adjudicated
by
a
jury.
J
We
won't
be
adjudicating
them
or
asking
for
project
proposals,
because
we
view
that
as
relief
funding,
we
are
looking
at
implementing
new
measures
to
address
some
of
the
challenges
that
the
delegation
brought
up,
which
is
feedback
that
we
have
received
from
recipients
and
applicants
as
well
around
the
first
come
first
serve
model,
so
we
are
looking
at
ways
to
make
that
more
accessible,
more
equitable
in
the
future,
but
we
are
not
going
to
ask
for
for
any
requirement
or
proof
of
insurance
to
receive
that
funding.
It's
it's
not
required
for
resiliency.
K
J
Yes,
so
we
are
doing
what
would
be
considered
an
expanded
consultation
from
previous
iterations
of
the
annual
review.
It
is
smaller
than
the
one
we
did
in
2020,
so
2020
involved
quite
a
large
public-facing
survey.
There
were
round
tables.
There
were
several
levels
of
group
discussion
that
happened
earlier
in
the
year
and
we
felt
that
was
necessary
because
of
the
really
extreme
and
sudden
change
in
circumstances.
J
In
2020
this
year
we
are
seeking
feedback
sooner
from
jurors
recipients,
applicants
and
we're
also
coming
to
the
aac
for
this
preliminary
consultation,
which,
in
up
until
2019,
was
not
common
practice.
So
we've
added
levels
to
the
consultation
for
this
year,
but
it's
smaller
than
2020.
part
of
that
is
seeking
feedback
from
resiliency.
J
So
we
do
ask
for
impact
statements
from
recipients,
and
those
are
timed
to
align
with
this
consultation
as
well.
So
recipients
are
required
to
do
that
and
we
do
receive
those.
We
also
have
taken
a
number
of
both
emails
and
arranged
a
number
of
one-on-one
meetings,
either
by
zoom
or
by
phone
throughout
the
summer,
with
people
who
applied
to
the
resiliency
program.
So
we
have
quite
a
bit
of
feedback
from
applicants
through
the
process.
J
We
were
interested
in
engaging
in
that
outside
of
the
annual
review,
because
it
was
a
brand
new
program,
so
we
were
really
eager
to
hear
from
applicants
who
both
did
and
did
not
receive
funding
on
the
process.
The
application
form
the
timing.
Those
were
things
that
we
have
consulted
with
them
about
and
there's
quite
a
bit
to
be
summarized
for
this
already
yeah.
J
D
L
Thanks
nadine,
thank
you
felix.
That
was
great.
I
just
yeah,
so
I'm
on
the
agenda.
I
just
have
two
additional
people
to
present
to
this
committee
for
the
art
and
public
places
working
group.
We
have
already
gone
through
the
initial
approval
process
of
those
committee,
members
of
those
working
group
members
and
but
we
have
secured
our
sort
of
final
two
for
this
working
group,
and
so
I'm
looking
for
the
arts
count
the
arts
advisory
committee's
approval
today,
the
individuals
being
put
forward
their
names
are
victor
oriucia.
L
D
D
D
At
the
beginning
of
october,
I've
been
involved
for
a
very
long
time
in
the
project,
but
I'm
moving
on
and
going
to
have
a
nap,
no
I'm
going
to
pursue,
pursue
what
brought
me
to
the
tet
project
in
the
first
place,
which
is
my
artistic
side
of
things.
So
it's
been
really
great
working
with
everybody
here
and
I
guess
at
the
next
meeting
there
will
be
a
movement
to
get
a
new
chair
and
I
just
want
to
say
thank
you
and
I'll
see,
I'm
not
going
anywhere.
L
Yes,
I
just
wanted
to
sort
of
you
know,
add
to
to
your
announcement
and
just
officially
thank
you
for
years
of
service
at
the
tech
center
for
creativity
and
learning
you
see
through
so
much
and
you're,
leaving
it
in
incredible
shape,
and
I
just
it's.
It's
been
amazing
to
sort
of
witness
this.
This
is
you
know
the
development
of
this
incredibly
important
arts
hub.
So
I
just
want
to
thank
you
for
again
for
your
work.
Thank
you
for
your
time
with
us
at
the
arts
advisory
committee.