My Journey and Experience at the 2023 Saskatchewan Association of Theatre Professional (SATP)’s TheatreCon in Saskatoon.

–Friday Gabriel

As a new international student in Canada, my journey to the 2023 Saskatchewan Association of Theatre Professional (SATP) Theatre Convention in Saskatoon was a remarkable experience that broadened my horizons and allowed me to explore the vibrant world of theatre and live performance in Saskatchewan and Canada. It was an extraordinary opportunity for me to connect with diverse practitioners, artists, and enthusiasts in Saskatchewan, Canada. I will be sharing my exciting journey and memorable experiences at the Convention in this blog post.

The Journey Begins – A Scenic Road Trip

My journey to the Bridge City (Saskatoon) for the 2023 TheatreCon was a 2-hour road trip from Regina. The road trip itself was an adventure, allowing me to witness the picturesque landscape of the province. The serene environment and the vast expanse of farming land we passed on the way were a sight to behold. It was a scenic and calming drive that set the stage for the exciting convention ahead.

The SATP’s Convention was undoubtedly the most significant convergence of theatre and art practitioners across Saskatchewan – a platform where creativity, innovation, and collaboration thrived. From the moment I arrived in Saskatoon, I could feel the energy and enthusiasm in the air.

The convention kicked off with a mesmerizing performance by “The Dripping Honeys” titled “Bits & Pieces of Dis’ & Dat.” This performance was a dazzling montage of music, theatre, and talk-back on the theme of inclusion for persons with disabilities. It set the tone for the entire event, emphasizing the power of art in promoting inclusivity and diversity.

The Balancing Act – A Moment of Deep Conversation

One of the sessions that left a lasting impression on me was the “Balancing Act” hosted by Kris Alvarez. This engaging session fostered a sense of community as we delved into a deep and genuine conversation about the state of care packages for performers. We discussed the often-overlooked needs of performers and how their sacrifices are not always adequately recognized or reciprocated. It was an eye-opening conversation on caregiving within the performing arts, and it was evident that the performing arts industry needs to prioritize caregiver support.

Acknowledging performers not just as artists but as individuals with unique challenges underscored the emotional and physical toll of their profession. This revelation highlighted the crucial need for the performing arts community to prioritize the well-being of its contributors, emphasizing caregiver support as a cornerstone.

The conversation didn’t shy away from addressing the industry’s demanding nature, from irregular schedules to the relentless pursuit of perfection leading to burnout. This prompted a thoughtful reflection on how the performing arts community can better recognize, appreciate, and support the holistic well-being of its members, especially in terms of caregiving dynamics.

Cid-Vega et al. (2023) emphasized the significant stressors in the performing arts, including poor working conditions, substance use, sexual violence, economic disparities, and body image pressure. They called for addressing mental health concerns alongside overcoming barriers such as unpredictable schedules, income instability, stigma, and identity-based discrimination, stressing the need for targeted interventions.

In essence, “The Balancing Act” not only brought attention to the challenges faced by performers but also passionately advocated for positive change. The session aligns seamlessly with the growing call for a more compassionate, supportive, and sustainable performing arts community, setting the stage for a transformative journey ahead.

A Day of Learning and Networking

The second day of the convention was packed with engaging programs, providing a great platform for me to meet and network with like-minded individuals, including Canadian and indigenous artists. The “Talk to the Funders” session was particularly informative, with grant organizations like Saskatchewan Arts Boards (Sask Arts), represented by Philip Adams, and Creative Saskatchewan (Creative Sask), represented by Charles Umeh, sharing numerous funding opportunities available for live performers. It was eye-opening to discover the various grant options and support systems available in the arts community.

The “Playwright Hangout” session, hosted by the talented Daniel MacDonald, was equally inspiring. This practical session proved to be immensely beneficial for someone like me, with a primarily media-focused background. It was a great opportunity to learn from experienced playwrights.

Reimagining Accessibility in the Arts

The session, led by Traci Foster and Em Ironstar, offered a profound experience, emphasizing the imperative for the arts to become an inclusive space for everyone, regardless of their abilities. It called for a new industry standard, stressing the significance of accessibility and inclusivity.

Foster, the founder and executive artistic director of Listen to Dis’ Community Arts Organization, actively promotes disability culture by creating opportunities for artistic expression and performance, particularly addressing the limitations faced by the community in art processes and education.

The session underscored the crucial need for increased representation of artists with disabilities in the arts. It goes beyond merely providing opportunities; the focus is on integrating their perspectives into the artistic narrative. This integration serves as a powerful catalyst for challenging societal norms, dismantling stereotypes, and fostering a more inclusive understanding of the human experience.

In Carolyn Lazard’s book, “Accessibility in the Arts: A Promise and a Practice,” she discusses specific ways in which disabled individuals face exclusion from cultural spaces, offering potential solutions to these barriers. Lazard defines disability as an economic, cultural, and/or social exclusion based on physical, psychological, sensory, or cognitive differences. The Accessible Canada Act (ACA) fulfills the Government of Canada’s commitment to accessibility and the rights of persons with disabilities, yet Lazard notes that many organizations view accessibility as a legal necessity rather than an indispensable commitment.

The call to action extends to arts organizations, policymakers, and the wider public, advocating for inclusive policies, funding, and education. Arts institutions are encouraged to invest in training programs that sensitize artists, curators, and administrators to the importance of accessibility.

The session also emphasized the necessity for open conversations and partnerships between the arts community and individuals with disabilities, ensuring that the voices and needs of the disabled community are integral to the ongoing development of the arts. As Kurihara (2004) pointed out, while people with disabilities appreciate current efforts to make the arts accessible, there is room for improvement to achieve greater consistency and standardization.

The Centre for Socially Engaged Theatre Takes the Stage

The highlight of the convention for me was the session hosted by the Centre for Socially Engaged Theatre (C-SET), led by Dr. Taiwo Afolabi. The session focused on “Prairie Progress and Research,” providing a platform to share insights into the Centre’s objectives, ongoing research, and impactful work. He showcased the Center’s commitment to using theatre as a catalyst for social change, justice, and community engagement.

My journey to Saskatoon for the 2023 SATP’s Theatre Convention was not just a trip; it was a transformative experience. I left the event with a deeper appreciation for arts and theatre, as well as a network of creative individuals who share a passion for making a positive impact through live performances. The 3-day event was indeed a testament to the power of arts to inspire, connect, and effect change, and I am grateful for the opportunity to have been a part of it.

The memories and lessons I gathered from this condition will continue to shape my artistic pursuits for years to come, and I sincerely hope this reflection will serve as an inspiration for others to explore and engage in the dynamic world of performing arts.

End Notes:

Cid-Vega, Alejandra, and Adam D. Brown. “Reimagining communities of care in the performing arts: A call for a community-based task-sharing approach to address the mental health needs of performing artists.” SSM-Mental Health 3 (2023): 100222.

Kurihara, Yuki. Accessibility in the arts. American University, 2004.

Lazard, Carolyn. Accessibility in the Arts: A Promise and a Practice. Recess Art, 2019.