Knowledge Café

Returning to the CAPACOA 2023 Conference is the mainstay program, the Knowledge Café. This program allows conference participants to join small roundtable discussions. These curated discussions, facilitated by industry experts, allow small groups to share their experiences along a range of topics.

The event will feature two rounds of discussions, with topics repeating in the second round. Each round will accommodate 7 to 8 participants at each table. Attendees are encouraged to move between tables during the rounds to engage in different discussions. Each round will begin with facilitator introductions, followed by group discussions to share knowledge and insights.

He Hononga - Working in partnership with international indigenous artists/organisations

  • Nā tō rourou, nō taku rourou ka ora ai te iwi

    With your food basket and my food basket, the people will thrive

    Prepare to bring an open mind, an open heart and a rourou (basket) of courage to this conversation facilitated by Aotearoa performing arts makers Amber Curreen & Dolina Wehipeihana.

    We will share our experiences and understandings of what empowering partnership for all can look like with other indigenous and non-indigenous organisations from a New Zealand perspective. We’ll share lessons learned, common difficulties, important principles and must-do’s that have arisen from our experiences. The group will be encouraged to add to this basket of knowledge with their own experiences and any questions will be encouraged. Through positive partnership we can create something greater than the sum of its parts and our people can indeed thrive. Through an empowering hononga (connection) with and between indigenous artists we can create new narratives that will change this world.

  • Amber Curreen (Ngāpuhi, Te Roroa, Te Rarawa) leads Te Rēhia Theatre Company and Te Pou Theatre and is a member of the PANNZ Executive Committee.

    Dolina Wehipeihana (Ngāti Tukorehe, Ngāti Raukawa) is Kaiārahi Māori / Director Māori at PANNZ (Performing Arts Network New Zealand), an independent producer and a founding member and current Chair of Indigenous Dance Company Atamira.

Navigating US Touring Requirements

  • If you are an artist or an agent booking an artist that is looking to tour in the United States for the first time, learn the basics before confirming your first engagement. If you’ve toured before, let’s share ideas, best practices, and more. Covered topics include the requirements and strategies for obtaining a visa (work permit), the different options available, and entry requirements. US taxation will majorly impact your tour budget–be prepared. Touring strategies in general may also be covered if time permits.

  • Danielle Devlin, Agent and Manager, Canis Major Music, Vermont, USA

Rewriting ‘Traditional’ Canadian: an exploration of what is considered traditional both in terms of what has historically been perceived as Canadian art making and performance practices from non-European immigrant cultures. 

  • Rewriting ‘Traditional’ Canadian: As we find ourselves in a racialized era of Truth and Reconciliation, how should we navigate this landscape with notions of ‘tradition’ as we reimagine arts curriculum and programming? A discussion of how to define an alternate vision of ‘Canadian’ that encompasses the IBPOC spectrum of cultures that make up our history.

  • Bageshree Vaze, Artistic Director of Pratibha Arts and 2022 Dance Collection Danse Artist Researcher-in-Residence

    Facilitator: Laura Philipps & Pratibha Arts

The use of immersive technology, specifically 360 video viewed in VR headsets, as a performance industry tool for presenters, touring companies, and academics.

  • In a world where we are looking for better ways to archive and share our work with an eye to reducing our carbon footprint and expanding access and reach within the performing arts, join Boomer and Carey Dodge in a lively discussion about integrating XR technology into our industry’s practice. This is NOT a discussion about creating XR projects but rather about how these technologies can be utilized in an industry facing capacity to better archive work with a goal to help presenters experience projects they might not be able to see in person, to help producing companies remount and relay a more fulsome and accurate portrayal of their work for potential touring and for academics to be able to look back on productions and experience the work in a way that is a thousand times better than the current back of the theatre, single camera recording.

    Experience: To help with the discussion and sharing, we will have Quest 2 VR headsets on hand with short examples of projects recorded using 360 audio/video capture over the past year including Omari Newton’s Redbone Coonhound, and Hiro Kanagawa’s Forgiveness.

  • Boomer Stacey: Artistic Producer, Carey Dodge: Technology Director

Examine the role of race, gender, sex, religious/spiritual affiliation and any other components of what we call ‘identity’, in a contemporary curatorial process.

  • Equity, diversity and inclusion (EDI) have become important considerations in our curatorial processes. However, many of us have training in art traditions with criteria for excellence that are notionally independent of the artist’s identity. How do we evaluate aesthetic quality in the contemporary performing arts? Trust the art, not the artist?

  • Neil Cadger; Artistic Director Living Things Festival

Building Stronger Production Foundations

  • To foster a strong arts scene that develops richly imagined shows with long lives and touring opportunities, we need to increase the presence of production workers across the sector, including increasing development opportunities, opening doors for participation in sector building, and creating space for production voices in community leadership.

  • Pip Bradford; Means of Production Member

Presenting queer artists (not just in Pride month) matters – how to do it with care, respect and a local lens.

  • We have seen a rise of drag, thanks to the mega-machine that is RuPaul’s Drag Race. This roundtable will share insights, tips and ideas on engaging with queer and drag artists in your community; as well as how to create new low-risk programming and how to keep these artists safe in your venues.

  • About the presenter: Sean Guist (he/him) is a queer artist, producer, director and bearded drag performer. He is the artistic director of Intrepid Theatre in Victoria, and is the founding curator of Intrepid’s OUTstages queer theatre festival. He is also the director and co-creator along with tenor Isaiah Bell of The Book of My Shames, a queer opera-storytelling solo show that has been touring the country. He can also be seen in sensible heels and sequins as the bearded drag queen, Woofie.

Older bodies in Contemporary dance – How old is too old?

  • Other artforms recognize an artist's maturing vision in their 50s: is contemporary dance essentially age-ist? What is at stake - art? activity? audience? aesthetics? - when older bodies perform? What are the markers of excellence, meaning and value?

  • Sara Porter; Artistic Director: Sara Porter Productions

Explore South America

  • An opportunity to learn about arts and culture in this region of the world.

  • Pedro Freitas; Périplo Produções

    Rodrigo González Alvarado; FIBA Market

Explore Australia & New Zealand

  • An opportunity to learn about arts and culture in this region of the world.

  • Catherine Jones, Director APAM

    Louise Gallagher, Director PANNZ

Explore the Nordic Region

  • An opportunity to learn about arts and culture in this region of the world.

  • Susanne Naess Nielsen, Director - Davvi Centre for Performing Arts

    Sigrid Aakvik, Art & About

Explore Spain

  • An opportunity to learn about arts and culture in this region of the world.

  • Marta Oliveres; El Alamo Creative Culture

Sponsored by: