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A video project exploring the concepts of art and vitality. Created by local film artist, Stefan Sago, who interviewed many London artists and arts leaders to see why art matters to us all.

Creation Story by Mike Cywink As Canada has designated the month of June as Indigenous History Month and June 21st as Indigenous Peoples Day (formally Indigenous Solidarity Day) in an effort to come closer to reconciliation, it is a great opportunity to learn more and educate ourselves on the history of the Indigenous peoples who are the original caretakers of this land. Since time immemorial, Indigenous peoples have played an important role in the preservation and protection of the earth through advocacy for clean water, opposition to fracking, and education on traditional foods in order to achieve food sovereignty. Indigenous peoples have been fighting for Mother Earth, on the frontlines of many environmental issues/protests of the day. The London Arts Council would like to thank the original caretakers of the land and those who are continuously taking care of our environmental wellbeing, which is also intrinsically linked to our spiritual, emotional, and physical wellbeing. We acknowledge our privilege of working and living on this land that was taken from the original people and understand that we need to participate in making meaningful efforts and actions towards reconciliation. We acknowledge that the Indigenous peoples of this land were also the original storytellers and participated in many elaborate and beautiful artforms pre-contact. Therefore, we are committed to working towards creating and cultivating inroads towards equity and accessibility of services to Indigenous artists, creators, and arts organizations within our day-to-day operations and programs. We encourage you to continue to learn about whose land you are living and working on, and to remember that ally is a verb which requires actions. If you are looking for resources to make the most of your Indigenous History month, check the resources below: London Arts Council Land Acknowledgement: https://www.londonarts.ca/land-acknowledgement Watch some free films by Indigenous filmmakers: https://www.nfb.ca/channels/edu_home_indigenous_voices_reconciliation_en/ Indigenous Solidarity Day pow wow: https://atlohsa.com/blogs/news/celebrating-the-27th-annual-indigenous-solidarity-day-june-21-2023 Whose Land are you on: https://native-land.ca/ Ally Toolkit: https://reseaumtlnetwork.com/en/publication/ally-toolkit/ Biindigen’s 30 Day Indigenous History Month Challenge: Wampum Learning Lodge Biindigen's 30 day Indigenous History Month Challenge In friendship, Janet Antone with the rest of the London Arts Council Team

LBMX Place Musicians Mentorship Program provides local musicians with an opportunity to develop, perform, and learn so their unique voice can become part of our vibrant community through the gift of music. LBMX Place and London Arts Council connect and celebrate musicians and artists who are crucial to our local community and culture. Expressions of Interest (EOI) The London Arts Council (LAC) in partnership with LBMX Place invites individual musicians and bands residing in London, Ontario and surrounding First Nations (the Chippewas of the Thames First Nation, the Oneida Nation of the Thames, and the Munsee-Delaware Nation) to apply for a paid opportunity to participate in the LBMX Place Musicians Mentorship Program as a Mentor (3 mentors), Mentee (6 mentees), Mentor Band (2 bands) and Mentee Band (2 bands). Applications for this opportunity are now closed. Program Description LBMX Place Musicians Mentorship Program will provide local individual musicians and bands with an opportunity to grow, perform, and connect within our vibrant music sector and throughout our broad community. This program will enable experienced musicians (solo and band) to mentor emerging musicians (solo and band) through unique performance opportunities and in-depth mentorship sessions. Additionally, all program participants will be provided with meaningful professional development opportunities through music sector specific workshops. Each session will be facilitated by relevant industry professionals to support musicians’ further development. Topics include: Music industry and Law (copyright, song writing agreements, performance royalties, etc.), Finance Management (taxes), Grant Proposal Development, and Marketing and Communications. Timeline and Process (Project Duration: May - December 2023) Note: Timeline provided here is for general information purpose only. This information is subject to change based on unforeseen circumstances and programming requirements. Application Information For Mentees 2. For Mentors **You MUST read the full application information for this opportunity prior to filling out the online application.** Online Submission Artists/creators wishing to be considered must complete all application requirements. Please complete all required fields of the online application form and submit the required application documents. Incomplete and/or late applications will not be accepted. Applications submitted through other means, such as fax, mail, and email will not be accepted. It is the applicant’s responsibility to ensure the application is submitted by the deadline. London was recognized as Canada's first UNESCO City of Music on November 8, 2021. The London Arts Council (LAC) continues to support the broader artistic community through diverse programming in collaboration with public, private, and community partners. As a partner organization, LAC participates in the planning and implementation of the UNESCO City of Music Designation Plan connected with the London Music Strategy and London's Cultural Prosperity Plan. For any questions about this project please contact info@londonarts.ca For any Call to Artists updates please check the website at www.londonarts.ca

London Arts Council celebrated our 8th year of participation in Canada's national celebration of arts & culture by bringing the breadth of London creativity to a single, jam-packed site: Dundas Street. CULTURE DAYS on DUNDAS STREET (September 29th & 30th, 2017) ​ London Arts Council celebrated our 8th year of participation in Canada's national celebration of arts & culture by bringing the breadth of London creativity to a single, jam-packed site: Dundas Street. This carefully curated, one-of-a-kind spectacle was designed for Londoners and visitors alike. It featured: large-scale video projections on Dundas Street buildings, a 360° main stage for music performances, a 90-foot long community mural, multimedia and multicultural dance creations, curation by and collaborations with LAC's Artist in Residence and Poet Laureate, a human post office circulating mail art created by youth through LAC's Culture City program, and a storefront takeover showcasing 15 art installations (photography, sculpture, painting, and projection) created by professional London artists. Special thanks to London Fringe, Nuit Blanche, Museum London, TAP Centre for Creativity, and London Music Hall for their support in presenting London's Culture Days 2017! ​ ​ Funders of Culture Days 2017

Changing lives through the power of music WHAT IS BELONG TO SONG? Belong to Song is a weekly music session for those with lived experience of mental illness. ​ Each session is attended by participants in various stages of recovery and with a wide range of musical abilities. Supported by a peer facilitator and professional musician working together to engage participants in music making. All musical genres are welcome and appreciated.​ Many participants share original songs, improvise with the band, or bring lyrics or melodies that facilitators help complete. Everyone who wants to perform has an opportunity. Some participants come to play an instrument or sing, others just to listen. ​ Belong to Song participants come from CMHA Middlesex, My Sisters' Place, the Prevention & Early Intervention for Psychoses Program (PEPP), Assertive Community Treatment (ACT) Teams, Parkwood Institute Mental Health Care, and other mental health agencies in the London region. ATTEND A SESSION The program reduces stigma about mental illness, improves participants' self-esteem, and builds community through group music-making. Participants have opportunities to perform in the community several times a year, and many regularly socialize outside of the program. SUPPORT THE PROGRAM Originally founded and supported by London’s Mental Health Promotions Committee, Belong to Song is now a collaboration between the London Arts Council (providing program coordination, administration, and facilitation) and the Canadian Mental Health Association Middlesex (providing staff support as needed, program space, and client referrals). Friends of Belong to Song • Sue Brown • • Frederic Laloux • • The Rotary Club of London-Lambeth • RECORDING PROJECTS When funding is available, Belong to Song participants receive mentoring from professional artists and financial assistance to attend regular musical and vocal master classes, to record demos of their favourite songs, and to write and record their own original songs. STRONGER THAN BEFORE These twelve original songs are the result of several months of master classes in vocal performance, song-writing, and demo-recording for Belong to Song participants. ​ “Mr. Stranger” | Za Za “Mind’s Lament” | Jaimelyn Thibeault “Precious Gift of Recovery” | Louise Blakey “Walking on Eggshells” | Beth Reimer “Can I Hold Your Hand Tonight?” | Desiree Terrebonne “Freaks in the Park” | Tim Clark “Ms. Pandora’s Box” | Nina Jogia “I Saw a Star” | John Mackey “A Mother’s Love” | Gloria Ellis “Hall of Fame” | Christine Bolton “Drive” | Kim Redlin “Stronger Than Before” | Kathy Bulmer ​ Stronger Than Before (2018) was produced by Catherine McInnes, Jake Levesque, & Simon Larochette and recorded at The Sugar Shack Recording Studio with funding from the Ontario Arts Council, the Westminster College Foundation, and the Rotary Club of London-Lambeth. GOOD COMPANY Good Company (2017) is a true labour of love—with eleven original songs written and performed by Belong to Song community musicians, all of whom have lived experience of mental illness. ​ "Bravado" | Gloria Ellis "Smother Me" | Sharon Mullen "Catastrophe" | Christine Bolton "Mixolydia" | Tim Clark "Steady Onward" | Kim Redlin "Another" | Kevin Gustaevel "On the Welfare Line" | Jaimelyn Thibeault "My Sistah, My Guide & My Friend" | Louise Blakey "Bad Boots" | Desiree Terrebonne "What's That Sport" | Rob Whiteman "Good Company" | Larry Lund ​ Purchase a copy of the CD by contacting London Arts Council at info@londonarts.ca or 519 439 0013.

FOLLOWING IN HIS FOOTSTEPS (2018) Concrete, rock, galvanized and porcelain enamel steel, native perennials. 409m square in area. Following in his Footsteps pays tribute to Terry Fox as a historic figure — and celebrates his dream of finding a cure for cancer. This permanent, immersive landscape artwork will be integrated into the Terry Fox Parkway, the site of the annual Terry Fox Run (held every September since 1981). The artwork is also accompanied by a commemorative plaque featuring Cliff Kearns’s portrait Marathon of Hope - Terry Fox (1981, oil on canvas). ​ Designed to bring Terry’s spirit to life and inspire a unique experience for each visitor, Following in his Footsteps evokes the Canadian landscape Terry travelled, his heroism, and our shared potential for courage. Signposts mark distances to the cities on Terry’s route. Two boulders, one from Newfoundland and the other from Thunder Bay, mark the extent of his run. The variety of flowers planted here bloom at specific times of the year, commemorating three dates: the beginning of the Marathon of Hope, Terry’s arrival in London, and his passing. The patterned pathway and replica of Terry’s shoeprints suggest his iconic running gait, allowing us the opportunity to follow in his footsteps and continue his inspiring legacy. Notation in miles is used in the artwork as Terry, along with most Canadians of the period, thought and spoke using this Imperial unit. While Canada had officially adopted the Metric system prior to 1980, the cultural currency of the Imperial continued to be widely employed. Terry’s diary and interviews during his journey directly reflect this usage. ​ Artists: LeuWebb Projects, composed of Christine Leu and Alan Webb. ​ Supporters: London Arts Council and City of London Public Art Program ​ Location: Terry Fox Parkway near Greenway Park Saturn Playground 50 Greenside Avenue, London, ON N6J 2X5 ​

Position and Submission Process Cultivating Allyship Specialist Hours: Part time - Full time – 25-35 hours/week Compensation: Commensurate with experience ($30,000-34,000) Application deadline: Friday, February 17th, 2023 at 4:00pm Anticipated start date: Monday, March 13th, 2023 Description The Cultivating Allyship Specialist is responsible for carrying out various programming and administrative tasks and reports to the Executive Director. Execution and evaluation of every facet of the Cultivating Allyship work fall under this position's purview. The position calls for a passionate, committed, and structured individual who can take initiative and further London Arts Council (LAC)’s mission of equity and accessibility, particularly in the areas of anti-racism, anti-oppression, decolonization, diversity, and inclusion. Requirements LAC’s Cultivating Allyship Specialist opportunity is for an individual with lived experience and deep connection to equity-deserving communities, who is reflective, highly empathetic, sensitive, and eager to learn from other equity deserving communities and individuals. Given the historical context of where we are situated, this person should be dedicated to on-going learning and unlearning of Indigenous histories, culture, and the effects of colonialism in Indigenous oppression, including the role of the residential schools. The person should be also openminded and willing to expand his/her/their lived experience and knowledge to achieve greater understanding about all equity deserving communities. This person should have willingness to step outside of his/her/their comfort zone in the pursuits of relationship building, taking down barriers, and meaningful actions. Other job requirements are as follows: Post-secondary education in Indigenous Studies, Arts, Philosophy, Education, Arts Management, Equity Studies, Social Science, Human Resources, or related discipline. Additional training or certifications in Diversity, Equity, and Inclusion are considered an asset. Minimum 3 years of work experience in administration, program development and delivery. Experience working or volunteering in arts and/or non-profit organizations is considered an asset. Effective written and verbal communication skills Ability to collaborate and work well in a team environment Good organizational and time management skills Able to work well under pressure and meet deadlines Strong belief in importance of community building with a great deal of experience in community outreach ​ Responsibilities Programming/administrative responsibilities in Cultivating Allyship include: Collaborating with team members to develop, implement, and evaluate strategies/tools/projects/programs that reduce barriers, promote equity and accessibility, as well as increasing participation of artists from equity-deserving communities Supporting inclusion of equity-deserving communities for projects and/or programs that are supported by LAC Conducting research and participating in professional development opportunities in relation to effectively supporting equity-deserving communities Providing trainings for the LAC team and other arts organizations regarding Cultivating Allyship resources and practices Cultivating Allyship with community partners and other organizations to support the work of Anti-Racism/Anti-Oppression/decolonization/diversity/inclusion in the arts Liaising with project partners and identifying/pursuing prospective community partnerships Participating in committees and working groups, representing LAC in the Cultivating Allyship area Organizing and facilitating Bizindaage Sharing Circles with equity deserving community members Leading specific projects assigned by the Executive Director Collaborating with LAC’s Communications and Marketing Team to create and update the content for LAC’s Cultivating Allyship webpage and indigenouslondonarts.ca website Working with LAC’s Development Team to identify funding opportunities for projects/programs that support equity-deserving groups (e.g., to connect with career building opportunities, amplify their voices, and build greater visibility for their work) Updating the Cultivating Allyship Framework, as needed Regularly meeting with the Executive Director to plan, discuss, and seek approval for new initiatives and required adjustments Developing and maintaining administrative processes (e.g., timelines/work-backs for programs and projects, program documentation, etc.) Keeping an organized file system and saving all documents in the shared folder

For Black History Month, LAC worked with Silence Genti, Writer-in-Residence, to develop a series of honest, thoughtful, and inspiring stories highlighting the experiences and perspectives of Black artists in our community. Throughout the month of February, we will be publishing one story each week on our Cultivating Allyship webpage. Silence Genti Silence Genti is a former Zimbabwean journalist now living in London. Silence has written for publications such as Toronto Star, The Beat and NOW and also co-founded The Insider, a now-defunct community newspaper. A father of two, he is an avid community builder dedicated to building a better world for his children. He can be reached via iamsilence.ca. I often say I didn't know I was black until I came to Canada. It’s not that my skin colour changed when I landed at Pearson Airport. Rather, it’s the fact that my melanin became the primary, if not only, definition of who I am. I don’t know how Mathieu Da Costa, the first Black person in Canada according to some records, felt when he landed in what is now Canada as part of a 1604 Portuguese exploration team. But I struggle with the idea that all of me, and who I am, wholly belongs in this narrow box. Four centuries past Da Costa’s expedition, the Black community now accounts for approximately 16% of the population defined as a visible minority. In the last century, artists like Montreal’s Oscar Peterson and Nova Scotia-born contralto Portia White rose to prominence. Their success paved the way for another generation of stars including Jully Black, Michee Mee, Maestro Fresh Wes, Saukrates and Measha Brueggergosman. And London has its fair share of black artists. At present, London’s black community is diverse in origins -- descendants of the early black communities, Africa and the Caribbean and Latin America. JagHuligin was born into a family of five in the Bahamas. He grew up singing in church and his mother pushed for him to be a singer. His grandmother was a folklore singer signed to a major record label. He came to London via Fanshawe College. In true Bahamian fashion, there is a strong maternal figure at the centre of his life. “My mom was always trying to get me to do things. Do this choir thing, she would say. All my Saturdays and Sundays were taken up [because she wanted me to do music]. If it wasn't for her doing that, I wouldn't be here.” His compatriot Asante grew up in Markham, east of Toronto. His mother and father are Haitian & Jamaican respectively. He grew up in what he calls blackness. “I was consuming so many different cultures [when growing up]. Some people around me though only knew black culture when they went to university. Yet I walk into some places where some people feel like they need to prove that they are black.” He has issues with the term black. “I don’t think the word captures who we are. There are Jamaicans, Nigerians, and many others…Why do we allow ourselves to be locked in one box.” “I wouldn’t call myself a black artist. Were it not a business choice, I’d never promote myself as such…Music is more than just colour. I only make music that calls to me.” Jag agrees: “It makes it easier for the industry to label you as black and urban. Because different genres are associated with certain people.” He adds: “Most people seem to identify Black American culture as Black Canadian culture. There are similarities but there are major differences as well.” Nigerian-born visual artist Amsa Yaro agrees American Black culture and history is “jumbled up together” with Canadian. “I was only fully aware of Canada as a country when a relative of mine came to school here and that was the beginning of my full-on awareness of Canada even being in existence, so US black culture and history was more well-known than Canadian, especially in the media.” “Even when I moved here, there wasn't a lot of talk about Canadian black history, you literally had to search for it to find it or you stumble upon it along the way.” There are dangers in failing to recognize the diversity within the black community, she cautions: “By throwing us into one box, we are expected to behave a certain way that if it doesn't fit into the box, it is deemed as a threat. It kills creativity, trust, and fellowship because we are forced to conform or not be understood when things are approached differently. It creates unhealthy competition where resources are hoarded amongst groups, not shared to make the whole stronger.” The vibrancy of the black community, the stories of who we are, can be lost inside a box. If we take the time to know and acknowledge all these layers, all of London becomes richer and benefits from this.

For Black History Month, LAC worked with Silence Genti, Writer-in-Residence, to develop a series of honest, thoughtful, and inspiring stories highlighting the experiences and perspectives of Black artists in our community. Throughout the month of February, we will be publishing one story each week on our Cultivating Allyship webpage. Silence Genti Silence Genti is a former Zimbabwean journalist now living in London. Silence has written for publications such as Toronto Star, The Beat and NOW and also co-founded The Insider, a now-defunct community newspaper. A father of two, he is an avid community builder dedicated to building a better world for his children. He can be reached via iamsilence.ca. Several containers of curry and jerk chicken are being passed around. Three artists are enjoying a meal together on a Thursday afternoon. The conversation is flowing freely like early winter rain. JagHuligin and Amsa Yaro are debating the good and bad of having/not having kids, leading the youngest member of the trio, 23-year-old Asante Deluy, to playfully declare he may be too scared, and scarred, by the conversation to ever have kids. Several half-sliced beef patties remain untouched on the table. As a container of the Caribbean staple of rice and peas is passed around, someone comments that in the Bahamas, they religiously call it “peas n' rice.” The conversation eventually veers towards the month that marks the end of winter in the Northern Hemisphere. Every February, Canada seems to dedicate a minute to everyone Black. Artists, speakers and other Black folks receive abundant requests to ‘represent’ - much more than any other month. “Black History Month (BHM) feels like an excuse to jam-pack everything black into one month,” says visual artist Amsa Yaro. Toronto was the first municipality in Canada to proclaim Black History Month in 1979. Almost 20 years later, the rest of Canada followed suit in 1995, after a motion introduced by Dr. Jean Augustine. Augustine was the first Black Canadian woman to serve as a federal Minister and Member of Parliament. “I do tend to get more opportunities, or well, more organizations and ‘people’ tend to reach out more in February,” says Amsa. Born in Nigeria, Amsa has been a London resident for the last few years. She participates in different BHM events. In 2022, she co-hosted a local artist-led art exhibition. “I personally don't see it as an added value to me as I understand mainly why the reach out takes place. It's meant to represent intentional ‘representation or investment towards Black people, black businesses and such'." Music artist Asante is in agreement. As an artist, he welcomes the increased focus on his creative work around February. However, “I definitely don’t feel more valued. I take all the extra opportunities with open arms…but I definitely don’t feel more valued or loved.” The trauma surrounding Black History Month troubles the Richmond-Hill-raised artist. “Black History Month feeds off of trauma. They glorify the lowest points of Black culture and flash it in our face. They focus on slavery and oppressed black people rather than focus on us being Kings and Queens, or us having one of the richest men in history, or even all the inventions our cultures brought to the world.” Bahamas-born artist and performer JagHuligin has been in London for almost a decade. He sees Black History Month as an important tool to learn. “We need to educate ourselves. We need to learn more about Black history.” Jag says being an artist who is also Black can come with being pigeon-holed. “Sometimes there is pressure to tell certain stories.” Asante shies away from being defined through a single lens. “I used to do a lot of events for the Black Students Association. I was careful with what kind of songs I chose. But I never was like ‘let me write a song for that [BHM] event’.” While Black History Month often suggests more opportunities for creators, Asante reminds us that there are usually limited opportunities for Black artists all year round. “We are always competing against one another for the one spot reserved for Black people.” Amsa sees a need for artists and the community to come together. “Historically, we have been taught not to come together as a group. We have to understand: numbers are power." She hopes for less tokenism, and more sincerity when it comes to BHM. “I think the focus of Black History Month is to push the actions, the attention and everything surrounding it beyond the month itself.” Jag says Black artists and other players need to come together. “What do we want London to see during Black History Month? If we take all our BHM ideas and create one big thing, we can make an impact.” Asante, on the other hand, wishes for a bigger and diverse celebration of Blackness. “We need to have African Week and Caribbean Week, food festivals…” Asante is hinting at an issue that many grapple with. How do we unravel and acknowledge the diversity of the Black community? Or more succinctly, what is Black?

For Black History Month, LAC worked with Silence Genti, Writer-in-Residence, to develop a series of honest, thoughtful, and inspiring stories highlighting the experiences and perspectives of black artists in our community. Throughout the month of February, we will be publishing one story each week on our Cultivating Allyship webpage. Silence Genti Silence Genti is a former Zimbabwean journalist now living in London. Silence has written for publications such as Toronto Star, The Beat and NOW and also co-founded The Insider, a now-defunct community newspaper. A father of two, he is an avid community builder dedicated to building a better world for his children. He can be reached via iamsilence.ca. Shohwera! I dreaded that word when I was young in my native Zimbabwe. You see, my mom (and most mothers) always told the story of the boy who got a shohwera, (an inflamed swelling or boil) on the edge of his eyelid because he looked at something he wasn’t supposed to. Discouraging this behaviour was the motivation behind this rather incredulous story. Our children learn from stories as we do. Stories are all around us, helping us make sense of the world and its wonders. They teach us right from wrong, guide, and enrich our lives. Most importantly, they help create a shared understanding of our world. In fact, most traditional cultures have a special role for storytellers. Since the 13th century, griots have been custodians and orators of the history of their communities in West Africa. Dastangoi, in Urdu, is another form and tradition of storytelling as is Rakugo, in Japan. Because stories are so powerful, they can also be dangerous. Often, we rely on single stories to define people, communities, cultures or just things we know nothing about. What causes a restaurant host to assume that when a man and woman walk into a restaurant, the male will pick up the cheque? Why do some look with unasked-for pity when they hear where one was born? Single stories do a disservice to all of us. They reduce our friends, neighbours and fellow human beings to single, monotonous stereotypes. The beauty, and complexity, of humanity can only be captured in the multiple facets and stories of all that we are—happy, sad, joyful, hopeful etc. “One feather does not describe the whole pigeon,” my mother always said. A pigeon has multiple types of feathers—from hair, contour to wing and tail feathers—and thousands of feathers. Each individual is a complex being with so many feathers or layers. Each of us have a myriad of changing stories that explain who we are. The idea that a single story could adequately define anyone or anything is ludicrous at best and damaging at worst, yet we do this every day without missing a beat. Even how we talk to people we meet can limit our ability to get to know them. Within the first few seconds of a conversation, one’s job comes up. "So, what do you do?", we ask. If the other person looks or sounds different from us, we might even start with, "Where were you born?". Questions are a great way of learning—about people and everything around us. They often lead to stories. The type of questions we ask though, may limit how much we learn. Why assume that my job is the most important thing to me? "What brings you joy?" is one of the most stirring questions I have been asked. Such a question allows me to talk about what I care about. It could be my children. It could also be my garden. As we emerge from a COVID reset, our community needs to recuperate our connections to a world that was shaken to its roots by the pandemic, to each other, and build anew. Stories are a way of understanding and getting to really know each other. Stories delve into more of who each of us is, and peel back past the first layer.

Submissions for this program are now closed. The London Arts Council (LAC) invites visual artists and creators residing in London, Ontario, surrounding First Nations (the Chippewas of the Thames First Nation, the Oneida Nation of the Thames, and the Munsee-Delaware Nation) to apply for a paid opportunity to participate in LAC’s new community-focused arts program, Belong – Inclusive Arts Experiences for Children and Youth asArtist-Educator Mentors (5 mentors) or Artist-Educator Mentees (10 mentees). Applications will be accepted through the online application only, until Friday, January 20, 2023 at 4:00 pm. Program Overview: Belong – Inclusive Arts Experiences for Children and Youth Belong is a new community-focused inclusive arts program that will include weekly arts activities at 5 different neighbourhood resource centres. This program will provide: children and youth with high-quality, inclusive arts education experiences that promote creativity, self-exploration/expression, and a sense of belonging emerging artists/creators with authentic and enriched apprenticeship/mentorship opportunities through co-development/delivery of arts sessions and mentorship sessions professional artistic programming for neighbourhood resource centres that serve newcomer and low-income populations, thus furthering their mission for their community Artist-Educator Mentors will take part in Belong for 2 terms (14 months). This will involve orientation and training, concept development, co-creating lesson plans with mentees, monthly one-on-one mentorship sessions, and delivery of 40 (3 hour weekly) arts sessions, including time for setup and cleanup. Mentors will be compensated at a rate of $50 per hour for delivering programs and $25 per hour for orientation, training, mentorship sessions, development, planning, and preparation. Note: The time commitment is estimated to encompass approximately one day a week (*one day and a half for a 2-month period) and total payment that goes directly to each artist-educator mentor will be $11,500.00 Artist-Educator Mentees will take part in Belong for 1 term (8 months). This will include orientation, training, co-creating lesson plans with a mentor and a fellow mentee, monthly one-on-one mentorship sessions, and delivery of 22 (3 hour weekly) arts sessions, including time for setup and cleanup. Mentees will be paid $30 an hour for program delivery and $20 per hour for orientation, training, mentorship session, development, planning, and preparation. Note: The time commitment is estimated to encompass approximately five hours a week and will pay a total of $3,300.00 Online Submission Artists/creators wishing to be considered MUST read the application package thoroughly prior to filling out the online application form and complete all application requirements. Please complete all required fields of the online application form and submit the required application documents. Incomplete and/or late applications will not be accepted. Applications submitted through other means, such as fax, mail, and email will not be accepted. It is the applicant’s responsibility to ensure the application is submitted by the deadline - Friday, January 20, 2023 at 4:00 pm. Artist-Educator Mentors: Artist-Educator Mentees: For any questions about this project please contact info@londonarts.ca For any Call to Artists updates please check the website at www.londonarts.ca *The Belong program is supported through the City of London's London Community Recovery Network (LCRN)*

Veronica Antipolo joined the London Arts Council team as Administrator, Cultivating Allyship in 2022. She brought with her 20+ years of administrative experience, as well as extensive experience in writing, storytelling, and event production, with an emphasis on amplifying the voices of equity-deserving communities. With LAC’s Writer-in-Residence, Silence Genti, Veronica co-curated the Cultivating Allyship Storytelling Series, and has facilitated listening sessions with IBPOC communities focused on building meaningful connection and developing equitable and accessible programming and practices. Veronica will be starting at TAP Centre for Creativity as Outreach Coordinator, and will spend more time on her storytelling and event production passions. While we’re sad to see Veronica go, we’re excited for her and wish her the best on the next leg of her artistic journey! Thank you for bringing so much enthusiasm and passion to our team, Veronica! ❤ - The LAC team