The Creation Fund
The Creation Fund is a presenter driven initiative in which a group of Presenters who are members in good standing of The CanDance Network may apply for matching funds to support a Creator Artist they would like to commission to create a new work. CanDance member presenter (or presenters) champions an artist’s work and seeks CanDance partners to co-commission or to exchange a new work. At each CanDance meeting, time is allocated for presenters to discuss artists and projects they are eager to support.
Generally, a Creation Fund commission needs a commitment from four presenters who agree to invest in the work for it to qualify for matching funding from the CanDance Network. Not only do the presenters commit financially to the commission, they also commit to presenting the finished piece in a future season. They often work together in helping the artist develop a tour for the new creation.
Not all CanDance members have the financial resources to commission new works. Oftentimes, CanDance members are interested in presenting the finished piece, regardless of whether they have invested in the commission.
There is no form or standard process for artists to apply to the Creation Fund. As an artist, your best approach is to develop a professional relationship with a CanDance member who has indicated support for your work (either through a past presentation or in conversation). Talk about your project and ask that presenter if s/he might take your initiative forward to the CanDance members.
Before you contact one of the CanDance Network members:
• Read and assess the presenters' pages and websites. Choose members who have programming aesthetics and season schedules compatible with your work. Make sure their theatre/space can accommodate your needs.
• Assemble a proposal that clearly describes you and your artistic project. Include the number of performers, length of piece(s), technical and any additional requirements. If appropriate, provide options for a shared program or a full evening of work. List the dates that you are available, and types of outreach activities you offer. Enclose a press kit that highlights your professional achievements.
• Send your proposal a minimum of 18 months before you want to tour. (Do not wait until the last minute to contact presenters).
• Follow-up with the presenter to make sure they received your proposal. Ask when they make final programming decisions.
• Add presenters to your mailing list and invite them to showings of your work at home, in festivals, or on tour. Give them as much advance notice as possible.
Often performance or residency fees will not cover all your touring costs. You need to raise additional funds for creation, re-mount, travel and/or rehearsal from private sources or government grants (see listings for the Canada Council, Service and Umbrella Organizations for more information). There may be two or more years between your first approach to a presenter and a booking. The number of artists requesting support far exceeds the opportunities available. Make your work, promotional materials, and organization as professional as possible to get that extra edge.
Generally, a Creation Fund commission needs a commitment from four presenters who agree to invest in the work for it to qualify for matching funding from the CanDance Network. Not only do the presenters commit financially to the commission, they also commit to presenting the finished piece in a future season. They often work together in helping the artist develop a tour for the new creation.
Not all CanDance members have the financial resources to commission new works. Oftentimes, CanDance members are interested in presenting the finished piece, regardless of whether they have invested in the commission.
There is no form or standard process for artists to apply to the Creation Fund. As an artist, your best approach is to develop a professional relationship with a CanDance member who has indicated support for your work (either through a past presentation or in conversation). Talk about your project and ask that presenter if s/he might take your initiative forward to the CanDance members.
Before you contact one of the CanDance Network members:
• Read and assess the presenters' pages and websites. Choose members who have programming aesthetics and season schedules compatible with your work. Make sure their theatre/space can accommodate your needs.
• Assemble a proposal that clearly describes you and your artistic project. Include the number of performers, length of piece(s), technical and any additional requirements. If appropriate, provide options for a shared program or a full evening of work. List the dates that you are available, and types of outreach activities you offer. Enclose a press kit that highlights your professional achievements.
• Send your proposal a minimum of 18 months before you want to tour. (Do not wait until the last minute to contact presenters).
• Follow-up with the presenter to make sure they received your proposal. Ask when they make final programming decisions.
• Add presenters to your mailing list and invite them to showings of your work at home, in festivals, or on tour. Give them as much advance notice as possible.
Often performance or residency fees will not cover all your touring costs. You need to raise additional funds for creation, re-mount, travel and/or rehearsal from private sources or government grants (see listings for the Canada Council, Service and Umbrella Organizations for more information). There may be two or more years between your first approach to a presenter and a booking. The number of artists requesting support far exceeds the opportunities available. Make your work, promotional materials, and organization as professional as possible to get that extra edge.
Download the Application Guidelines: Download the Frequently Asked Questions:
|
| ||||
Download the Application Budget Template:
| creation_fund_budget_template_2022.xlsx |
Past Creation Fund Commissions
•2020-2021: Crazy Smooth and Naishi Wang & Jean Abreu
•2019-2020: Guillaume Côté and Anne Plamondon
•2018-2019: Kidd Pivot and Dancers of Damelahamid
•2017-2018: Peggy Baker Dance Projects and Lara Kramer Danse
•2016-2017: Compagnie Virginie Brunelle and Fortier Danse-Création
•2015-2016: Company 605: Vital Few and Frédérick Gravel
•2014-2015: Daniel Léveillé Danse: Solitudes duo and Out Innerspace: Major Motion Picture
•2013-2014: Fortier Danse-Creation: Misfit Blues and Kidd Pivot: Betroffenheit
•2012-2013: RUBBERBANDance Group: Empirical Quotient and Le carré des lombes (Daniele Desnoyers): Paradoxe Melodie
•2011-2012: Wen Wei Dance: 7th Sense and Van Grimde (Corps Secrets): The Body in Question
•2010-2011: Dana Gingras (Animals of Distinction): Heart as Arena and Aszure Barton & Artists: Awaa
•2009-2010: Ame Henderson: Relay, Louise Lecavalier: Children & A Few Minutes of Lock and Byron Chief Moon: Essence of Life
•2008-2009: Jose Navas (Compagnie Flak): S, and Denise Fujiwara: Lost and Found
•2007-2008: Montréal Danse Commissions Sarah Chase: On the Ice of Labrador and Matjash Mrozewski: Break Open Play
•2006-2007: Tara Cheyenne Friedenberg: Nick & Juanita, Martin Bélanger: Grand Unified Theory and Pierre Paul Savoie Danse: Diasporama
•2005-2006: George Stamos and Crystal Pite (Kidd Pivot): Lost Action
•2004-2005: Wen Wei Dance: Unbound
•2003-2004: Natasha Bakht commissions Shobana Jeyasingh: Triptych Self
•2002-2003: Daniel Léveillé Danse: The Modesty of Icebergs
•2001-2002: Lola MacLaughlin (Lola Dance)
•1999-2000: The Holy Body Tattoo, Deborah Dunn, Coleman/Lemieux, and Peggy Baker commissions Paul-André Fortier
•1998-1999: David Pressault, Roger Sinha, and José Navas
•1997-1998: Gwen Noah, Andrew Olewine, and Tedi Tafel
•1996-1997: The Holy Body Tattoo, Pierre-Paul Savoie Danse, and Julia Sasso
•1995-1996: José Navas, Lee Su-Feh, and Roger Sinha
•1994-1995: Deborah Brown, Tedd Robinson, Deepti Gupta, Kokoro Dance, and Yvonne Coutts
•2019-2020: Guillaume Côté and Anne Plamondon
•2018-2019: Kidd Pivot and Dancers of Damelahamid
•2017-2018: Peggy Baker Dance Projects and Lara Kramer Danse
•2016-2017: Compagnie Virginie Brunelle and Fortier Danse-Création
•2015-2016: Company 605: Vital Few and Frédérick Gravel
•2014-2015: Daniel Léveillé Danse: Solitudes duo and Out Innerspace: Major Motion Picture
•2013-2014: Fortier Danse-Creation: Misfit Blues and Kidd Pivot: Betroffenheit
•2012-2013: RUBBERBANDance Group: Empirical Quotient and Le carré des lombes (Daniele Desnoyers): Paradoxe Melodie
•2011-2012: Wen Wei Dance: 7th Sense and Van Grimde (Corps Secrets): The Body in Question
•2010-2011: Dana Gingras (Animals of Distinction): Heart as Arena and Aszure Barton & Artists: Awaa
•2009-2010: Ame Henderson: Relay, Louise Lecavalier: Children & A Few Minutes of Lock and Byron Chief Moon: Essence of Life
•2008-2009: Jose Navas (Compagnie Flak): S, and Denise Fujiwara: Lost and Found
•2007-2008: Montréal Danse Commissions Sarah Chase: On the Ice of Labrador and Matjash Mrozewski: Break Open Play
•2006-2007: Tara Cheyenne Friedenberg: Nick & Juanita, Martin Bélanger: Grand Unified Theory and Pierre Paul Savoie Danse: Diasporama
•2005-2006: George Stamos and Crystal Pite (Kidd Pivot): Lost Action
•2004-2005: Wen Wei Dance: Unbound
•2003-2004: Natasha Bakht commissions Shobana Jeyasingh: Triptych Self
•2002-2003: Daniel Léveillé Danse: The Modesty of Icebergs
•2001-2002: Lola MacLaughlin (Lola Dance)
•1999-2000: The Holy Body Tattoo, Deborah Dunn, Coleman/Lemieux, and Peggy Baker commissions Paul-André Fortier
•1998-1999: David Pressault, Roger Sinha, and José Navas
•1997-1998: Gwen Noah, Andrew Olewine, and Tedi Tafel
•1996-1997: The Holy Body Tattoo, Pierre-Paul Savoie Danse, and Julia Sasso
•1995-1996: José Navas, Lee Su-Feh, and Roger Sinha
•1994-1995: Deborah Brown, Tedd Robinson, Deepti Gupta, Kokoro Dance, and Yvonne Coutts
Artists’ comments on the Creation Fund:
Sur la glace de Labrador
"Being chosen by CanDance for a Creation Fund project has been extremely positive for two reasons. The first, of course, is the financial assistance it gave us in the creation of the work with Sarah Chase. This time also allowed her to evolve her distinctive way of constructing a solo or duet work to meet the demands of a group piece. The Second impact of the creation fund has been on the immediate touring life of the project. Typically, there is at least a year between the premiere of a new work and its first touring dates. With the CanDance presenters involved in the project, we are assured of an immediate touring life for the piece as well as excellent showcases for other presenters to see the work."
-2007-2008, Kathy Casey, Montreal Danse
Tryptych Self
"It was very rewarding to have been chosen for the Creation Fund. As a result of the project, I was able to connect with and meet new collaborators in both Britain and Canada. The prestige of the CanDance fund seemed to follow me wherever I went in CAnada such that even people who did not know my work were intrigued to find out more. Participation in the Creation Fund has definitely benefited my career. I have improved my own skills of choreography by observing and collaborating closely with Shobana Jeyasingh, a choreographer whose work and mind I value greatly. The Creation Fund has given me a new piece to add to my repertoire of solo works making it more feasible for my work to tour and be seen in more diverse venues nationally and internationally. "
-2003-2004, Natasha Bakht, Dancer
Break Open Play
"It was a great honour to have been selected by the CanDance Creation Fund to receive funding towards the creation and touring of Break Open Play. At this stage in my career, it is a huge vote of confidence to have this kind of support and resource to work with. With few exceptions, my work within Canada has been mostly showcased in Ontario. It is encouraging and inspiring to receive this national visibility and recognition."
-2003-2004 Matjash Mrozewski, Toronto
Circa
"Beyond the cash prize, the commitment of presentation and the endorsement of the network bring credibility to the project while it is in its developmental stages. This was particularly true when it came to raising funds from foundations and other co-producers."
-1999-2000, Noam Gagnon and Dana Gingras, The Holy Body Tattoo, Vancouver
Volio
"I felt the Creation Fund gave me the freedom to create the kind of work that I wanted, as Volio would already have a touring life ahead of it. It provided exposure to a broader audience and helped to raise the profile of the company. (Volio premiered at the Canada Dance Festival at the National Arts Centre on June 8, 2002 and went on to give 21 performances in nine cities plus 26 artist talks and workshops.)
-2001-2002, Lola MacLaughlin, Lola Dance, Vancouver
