Reflection on the Conference of Saskatchewan Association of Theatre Professionals (SATP).

-Dr Olusola John

It was a great experience participating in the convention of performing artists on the Prairie under the umbrella of the Saskatchewan Association of Theatre Professionals (SATP) held in Saskatoon. The gathering would be my first official engagement since I resumed as a Visiting Researcher with the Centre for Socially Engaged Theatre (C-SET) at the University of Regina. C-SET is a member of the association. The convention is the first since the global pandemic. Therefore, it was a reunion in some ways.

Summarily, the conference started with the welcome musical performance titled ‘Bits & Pieces of Dis’ & Dat presented by the Dripping Honeys. The performance focused on inclusion and disability in the arts and created a space for conversation on issues of accessibility within the arts within the Canadian Prairies context. Scholars have articulated the understanding, aesthetics of the disabled in the arts and the need for inclusion, access and representation (Pierre, (2022) Price (2011), Siebers (2010),). The performance speaks to the different perspectives people held about the disability ranging from sympathy to heroism. The performance showed various levels of accessibility. For instance, one of the actors who was in a wheelchair, performed beautifully through voices despite the fact that they were unable to dance. The performance portrayed that “disability does not change someone’s mind and personality.” (actor’s dialogue) The access of arts to the disabled community has been of utmost interest to the Canada Council for the Arts, as articulated in one of their reports (Jacobson and McMurchy 2010). In addition, a performance piece titled “You Don’t Know Me” expressed how people attempt to make heroes out of disabled people while ignoring that it is their reality. They wish to be seen as ordinary people living their normal lives.

The official welcome ceremony acknowledged the original owners of the land of Canada before colonization and the ongoing work towards Truth and Reconciliation in the country. The effect of colonization is similar in every country it took place, there is the alteration of the people’s identity however, the acknowledgement of the land owners as a mark of respect was new to me. I found similar experience among the various ethnic groups in Nigeria as they were left groping for their true identity. I have often seen as a byline in official documents but not witnessed. This led me into understanding the dynamics of relationships among the various groups and the land owners. Also, to see that the Truth and Reconciliation Commission similar to the one in South Africa, did a thorough job that provokes the history of the natives.

The first session, “Balancing Act: caregiving in the Performing Arts”, explored the idea of care, support and reception for performing artists. The session was moderated by Kris Alvarez, who raised questions such as, “How do I know a care package is for me when people say things like, “if you need anything, ask?” Contributions came from participants about artists struggling for funding, fear of asking for too much, fear of the benefactors using help as a weapon of control, and why a benefactor need to ask for support when it is obvious that support is needed.

Moreover, another interesting idea from the session was the question, “who cares for the caregiver?” This reminds me of Daniel Goleman (1995)’s work on emotional intelligence. Coleman (1995) reiterates the connection between care and empathy, a crucial component of EI. As an EI consultant myself, this point was a major takeaway for me. Particularly, how can EI better position the art and culture sector (beyond Theatre) on issues of care and empathy? I watch the room as people spoke and something was very clear to me- someone needs to model this care. While pondering on this, I noticed that a particular lady’s name was mentioned by a couple of people that she was there for them when they needed help. I felt the challenge to every artist at the end of the session was to be the change we want to see in others. Self-awareness, awareness of others, self-management, authenticity, emotional reasoning, positive influence, which are components of EI create more opportunities for self-care and build genuine relationships with others? this is because giving and receiving care require a level of emotional awareness and vulnerability (Palmer 2008). The session was therapeutic as artists spoke about their struggles post-pandemic and the process of recovery. The responses all agreed that care could be informed of tenderness, caring, time and money.

In addition, the session on “Accessibility in the Arts: Calling to a New Standard” was moderated by Tracie Foster and Em Ironstad. The project is a collaboration between Listen To Dis and the Saskatchewan Arts Alliance. Tracie and Em discussed the creation of a living document on access to create resource for individuals and organizations within theatre. Tracie’s work on access has become a reference point on the Prairie as she is consulted by profit and non-profit organizations on the subject of access.

Also, the session, “C-SET: Prairie Research and Progress”, hosted by the Centre for Socially Engaged Theatre (C-SET) at the University of Regina and presented by Dr. Taiwo Afolabi highlighted the sector-focus research initiatives at the Centre and the Centre’s role in co-developing and co-coordinating programs such as the arts leadership training course that has graduated two cohorts and is in its third cohort. Other ongoing research projects include the Future Prairie Theatre, Equity in Cultural Policy. This session reiterated the role of research in creating a building a thriving sector. Inthamoussú, and Ammar, (2022) Bunting, Catherine, et al. (2010).

Finally, my takeaway from the conference revolves around the importance of human connections, leadership and emotional intelligence to the continuous growth of the performing arts within the province of Saskatchewan. Certain issues were brought to fore revolving around creating an impactful theatre through visionary leadership. This requires training and retraining of the art leaders. Also, emotional intelligence should be mainstream in order to guarantee the welfare of the artists on the prairie. The SATP did an incredible job in putting the conference together thereby demonstrating the visionary leadership to create space for crucial conversation around making meaningful progress in the performing arts post pandemic. As one member said, “we would have driven a longer distance to be part of this conference.”

Sola John, PhD

Visiting Researcher, C-SET

Works Cited

Bunting, C, et al (2010) “Achieving great art for everyone.” London: Arts Council England.

Goleman, D., & Intelligence, E. (1995). Why it can matter more than IQ. Emotional intelligence.

Inthamoussú, M., and Ammar K (2022) “A crisis of sustainable careers?”.

Jacobson, R., & McMurchy, G. (2010). Focus on disability and Deaf arts in Canada. Canada Council for the Arts.

Palmer, B Gignac G, et al (2008). A Comprehensive framework for emotional Intelligence In Emotional Intelligence: Theoretical and Cultural Perspectives, Nova Publishers.

Pierre, J. S. (2022). Cheap Talk: Disability and the Politics of Communication. University of Michigan Press.

Price, M. (2011). Mad at school: Rhetorics of mental disability and academic life. University of Michigan Press.

Siebers, T. (2010). Disability aesthetics (p. 124). Ann Arbor: University of Michigan Press.