Administrative Structure for Arts Grants

The Special Committee to Review the Final Report of the Toronto Transition Team recommends:

(1)the adoption of the following report (December 3, 1998) from the President of the Toronto Arts Council (TAC), subject to amending Recommendation No. (3) embodied therein by striking out the word "Budget" and inserting in lieu thereof the word "appropriate", so that Recommendation No. (3) now reads as follows:

"(3) the Toronto Arts Council prepare and submit its annual Cultural Grant budget request to City Council through the appropriate Committee for approval by City Council; and

(2)that the President of the Toronto Arts Council be requested to report to the Economic Development Committee on how the City can stimulate amateur theatre in the City of Toronto:

Purpose:

To submit the report from the Toronto Arts Council recommending an administrative structure for arts grants for the city.

Financial Implications and Impact Statement:

The recommendations in this report have no direct financial implications.

Recommendations:

It is recommended that:

(1)the Toronto Arts Council be approved as the city-wide arm's length administrative body in relation to the funding of the arts and cultural organizations and artists in the City of Toronto;

(2)the Toronto Arts Council report to City Council through Economic Development Committee;

(3)the Toronto Arts Council prepare and submit its annual Cultural Grant budget request to City Council through the Budget Committee for approval by City Council;

(4)City Legal work with the Toronto Arts Council to establish the terms of a new Grants Agreement with the City. The Grants Agreement should ensure, among other things:

(i)full financial accountability to City Council;

(ii)City Council control over policy;

(iii)City Council approval of the total Cultural Grants envelope;

(iv)continuation of City Council appointments of five Councillors to the board of directors of the TAC; and

(v)a framework that establishes TAC as an integral part of the City's functional structure;

(5)the Toronto Arts Council continue to realign its structure and process to fit the amalgamated City;

(6)appropriate partnerships be developed between TAC and the Culture Office to ensure efficient and effective coordination of the City's arts and culture objectives;

(7)implementation proceed regarding the recommendations of the Commissioner of Economic Development, Culture and Tourism's report of September 11, 1998 and that the four local arts councils that are not funding bodies continue to report to and enter into a purchase of service agreement with the Culture Office;

(8)appropriate City Officials be authorized and directed to take the necessary action to give effect to these recommendations.

Introduction:

The future of funding for arts and culture has been studied for two years, ever since it became clear the seven municipalities that made up Metro Toronto might be amalgamated.

And this much has been agreed to: arm's length is the way to go. This has been the recommendation of every group that has studied the issue, including the report from the ARA Consulting Group to the Special Committee to review the Final Report of the Toronto Transition Team

Unfortunately the version of arm's length described in the report is not arm's length as the majority of the arts community understands it, and, in our opinion, would not properly serve the elected politicians, the artists or the citizens of Toronto. First, the report suggests eliminating direct reporting and accountability to City Council. But effective and responsible arm's length bodies only work when a balance is achieved between the special purpose body and the elected political representatives. Such bodies are asked to do a job for a government, and can't effectively do that job unless they can report on their ideas and results in the proper political forum. The report suggests that the Culture Office should be charged with oversight of the TAC - in effect, that the arm's length body would report to a bureaucratic mechanism. No other arm's length arts funding body in Canada reports in that manner.

The Toronto Arts Council understands the need for scrutiny by appropriate city staff (see figure 1). The TAC also understands the need for partnership with the Culture Office (see figure 2). We have always supported the concept of a Culture Office as an entity with a vital and strategic role in areas such as cultural tourism, international cultural relations, and cultural policy development. The Culture Office has important new territory to define in the future of the arts in the city. The recommendation's in the ARA report ask it to keep doing a large part of the funding job that can responsibly, economically and efficiently be handed over to an arm's length body. Worse, the report asks the Culture Office to in effect also administer the arm's length body. This does not seem like an effective distribution of resources.

The existing structure of the relationship between the TAC and the City and the terms of the existing Grant Agreement were developed with the intense involvement of the City legal department. Senior members of the legal department were involved in all stages of the negotiation of the Grant Agreement and legal issues were carefully considered when the Agreement was drafted. The City legal department was not only satisfied that the structure was acceptable from a legal perspective but that it was the best method for achieving accountable arm's length for both politicians and the arts community.

The Recommendation of the Transition Team:

In its final report, the Transition Team recommended:

"That council should establish a new city-wide Toronto Arts Council, as an arm's length funding and peer review body to administer grants to arts and cultural organizations, according to policy guidelines established by Council.

The Arts Council should be based on the existing Toronto Arts Council and it should report to Council through the Community and Neighbourhood Services Committee."

City Council later amended that recommendation to read "based on the existing Toronto Arts Council model" when it referred the issue to the Special Committee.

The ARA report quotes these recommendations but does not explain how it came to a decision to recommend a different funding structure.

Consultations:

Staff at the City of Toronto and the Toronto Arts Council took the Transition Team's recommendations out to the community to check what had been said over and over again during the Transition Team's consultations: that arm's length is the preferred model for funding arts and culture grants.

The Arts Council itself went into every community in the new City to speak to artists, to build consensus between communities, and to find out what they thought needed to be done.

A joint discussion paper was distributed by the Culture Office and the TAC to more than 1,600organizations and individuals throughout the new City of Toronto. The discussion paper included an invitation for written comments.

Public workshops were held, and confidential interviews were conducted.

This was the consensus:

(a)It is important for the City to support arts and culture.

(b)The grants program should support both professional and community-based arts and culture activities.

(c)A majority support a peer-review process for making grants, and an arm's length grants decision-making structure.

There were some caveats. Some community-based arts organizations were worried that their needs would be over-shadowed by those of professional arts organizations. And some of the large professional arts organizations were worried their resources would disappear to service the needs of the community-based arts groups.

The Toronto Arts Council understands these anxieties. Amalgamation has been difficult as great change is being undertaken in a very short time. The TAC has been working to strengthen communities' understanding of each other. We have been trying to bring communities together.

The ARA Report:

There are elements in the report that we support and that have overall merit such as the endorsement of arm's length principles and the report's articulation of a set of guiding principles for the city's support of arts and culture.

However, in a number of critical areas, the report is inherently flawed:

(a)The report justifies an additional level of management of arts and culture grants in the City. That money would be better spent directly on the arts.

(b) The report reduces the political accountability of the Arts Council by eliminating the TAC's direct reporting relationship to the political body. The TAC would report to bureaucrats and not directly to Council through the Economic Development Committee.

(c)The report reduces the political accountability of the Arts Council a second time by recommending that all politicians be removed from its board.

(d)The report effectively relegates the Toronto Arts Council to the status of an advisory committee of the Culture Office. This in fact eliminates arm's length while purporting to support it.

The ARA report also qualifies its support of arm's length. The report does not envision an arm's length process for large scale organizations or for community-based organizations. The report recommends arm's length only for groups where "artistic merit...is dominant" (and only "where necessary").

Basically, the report ignores the spirit behind the new city. Amalgamation was supposed to bring people and structures together. The report instead divides the arts community. Its recommendation that arts groups be put into one of three categories has the potential of pitting them against each other when, in fact, they are deeply interrelated.

Conclusions:

The Toronto Arts Council believes that arm's length status is not antithetical to political accountability. We know of no arm's length body - federal, provincial, or local - that reports to bureaucrats rather than politicians. This includes the Canada Council and the Ontario Arts Council. It also includes the Montreal Arts Council, and the London (England) Arts Board. Both the Montreal Arts Council, and the London Arts Board also have appointed politicians sitting on their arm's length boards.

The Toronto Arts Council, the arts community in Toronto, and many citizens throughout the city have spent valuable time over the past two years in public discussion and debate on the issues surrounding the delivery of arts grants in the City. Their views overwhelmingly support a true arm's length body, modeled on the Toronto Arts Council. It is difficult to understand at this stage of amalgamation, why recommendations would be put forward that are more costly, that diminish accountability, and that reduce real citizen involvement.

The Toronto Arts Council has a long history of working productively with the arts community, with city politicians and with bureaucrats. We welcome the opportunity to partner with the Culture Office in ways that will benefit not just the City's artists, but the entire community.

We welcome the opportunity to work on behalf of the City. We therefore urge members of the Special Committee, and members of Council to support the recommendations in this report.

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Appendices

(1)Summary of 1998 Activities.

(2)TAC'S Volunteer Structure.

(3)TAC Transition Consultation Process.

(4)TAC'S Mission Statement.

(5)TAC's Board and Committee List.

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Appendix 1

Summary of 1998 Activities - Toronto Arts Council

(1)Reviewed over 1,000 applications (90 per cent. of all applications requesting cultural grants support from the City of Toronto):

(i)357 from organizations and artists collectives; and

(ii)720 from individual artists.

(2)Managed $7.3 million of the City's cultural grants budget (representing 70 per cent. of overall cultural grants budget).

(3)Organized and implemented a city-wide nomination process to TAC Board and Committees in which 800 nomination forms were distributed to the artists, arts supporters and arts organizations across the City resulting in:

(i)eleven new board members from outside the former City of Toronto; and

(ii)eighteen new arts committee members from outside the former City of Toronto.

(4)Managed a volunteer structure of over 71 individuals.

(5)Partnered with and implemented a joint community consultation process with the City's Culture Office in which over 1,600 individuals participated.

(6)Worked with Toronto''s arts community, the Mayor's Office and City's Assessment and Tax Policy Task Force to create Toronto Arts Tax Alliance which:

(i)collected information on the effects of provincial tax policy legislation on Toronto's arts and culture sector;

(ii)communicated problems with the legislation to the arts community, city politicians and provincial politicians and officials; and

(iii)recommended the province and the city implement changes to the tax policy legislation in order to mitigate impact on Toronto's arts and culture sector.

(7)Researched the financial and economic changes to Toronto's non-profit arts community during the period 1991 to 1996. The report will be released in early 1999.

(8)Developed the Arts and Community Committee as part of TAC's arts committee structure.

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Appendix 2

TAC'S Volunteer Structure

One of TAC's acknowledged strengths is the organization's strong ties to and base in the community. TAC accesses over 10,000 hours of volunteer time each year from people with extensive and specialized knowledge of the arts community and its importance to the health and wealth of the City. Their volunteer contribution, valued at approximately $500,000, almost equals the TAC's annual operating budget.

It is not possible to put an estimate on the less tangible but equally valuable aspect of the volunteer base of TAC. TAC's structure of volunteer board and committees provides the organization with a direct connection to the arts community and the community at-large. The artists and other citizens knowledgeable about the city's cultural life involved in the board and committees are the TAC. They reflect the full diversity and cultural richness of the city itself. Their careful deliberation on over 1,000 grant applications a year has effectively guided the former City of Toronto's investment in the arts to have the greatest positive impact for the city.

In our consultations, frequent and unsolicited observations have been made that the TAC's granting process, which rests on these volunteers, is exemplary for its community involvement, transparent processes, fairness and accessibility.

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Appendix 3

TAC Transition Consultation Process

1998 Community Consultation:

As part of the work of the City Council-appointed Municipal Grants Review Committee, the Toronto Arts Council and the City's Culture Office jointly undertook a review and consultation process to establish an integrated arts and culture grant policy for the City of Toronto, to develop operating guidelines for the new City-wide Toronto Arts Council and to consider a broad range of issues relating to arts and culture funding throughout the new City.

As part of this process there were focussed consultations with the arts community, a large arts community meeting and other individual consultations by an independent consultant. The single largest issue raised by those who participated was the adoption of the "arm's length" principle. Feedback from the consultations that have taken place through this review indicate strong support for "arm's length."

TAC Transition Steering Committee:

As it reported to The Special Committee on February 5, TAC established a Transition Steering Committee in May, 1997, to begin consideration of issues involved in expanding TAC's services to the new city. Its membership included persons knowledgable about and active in the arts communities in the six former municipalities. This committee made recommendations to the TAC Board of Directors and staff regarding matters related to community outreach and program review.

The Transition Steering Committee has been involved in the development of the process of consultation on re-vamping the TAC to serve the new city. This committee has helped to guide the TAC during its initial and intermediate transition process.

Focus meetings:

As reported to The Special Committee on February 5, the TAC began its consultation on how to re-vamp to provide its services to the entire city in December of 1997. As a first step, meetings were held with artists, representatives of arts groups, local arts councils and municipal staff in each of the former municipalities.

Arts in the Community:

Meetings with the Transition Steering Committee, key groups and individuals in all of the former municipalities have been undertaken to develop an understanding of the range of arts activities that exist in all of the former municipalities.

Toronto Arts Council has been funding community-based arts groups and projects since its inception in 1974. The term "community arts" has been used to describe collaborative activities involving a community (which may be defined by a variety of common ties including race, nationality, age, economic status, geography, etc.) where the creative process within the community is valued as much as the artistic outcome.

TAC has initiated a review process in order to make decisions on how it can best address funding needs in all areas of the new City. On the advice of those consulted, Toronto Arts Council is developing an Arts and Community committee as part of its arts committees structure.

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Appendix 4

Toronto Arts Council

Mission Statement

Premise:

A great city fosters a vibrant cultural scene and recognizes the importance of the arts to the quality of life of its citizens. Strategic municipal arts investment is a key factor in generating a healthy city economy, promoting cultural tourism, creating training and employment opportunities, and seeding the cultural industries.

Mission:

Toronto Arts Council is an arm's length body that supports the development, accessibility and excellence of the arts in Toronto.

Toronto Arts Council, on behalf of the City of Toronto, offers grants programs to the city's arts organizations and professional artists. These programs support a broad range of activities from individual creation and small start-up projects to some of Canada's largest and most renowned arts institutions.

Operating Structure:

Toronto Arts Council's volunteer board and committees are made up of artists, other arts professionals and arts supporters. To guarantee accountability, City Council appoints five of its members to Toronto Arts Council's 29 member Board of Directors.

Toronto Cultural Advisory Corporation, the body that elects the Toronto Arts Council Board of Directors, includes all City Councillors as well as all members of the TAC board and committees. Toronto Arts Council reports to City Council through the City's Economic Development Committee. Committees and juries review applications for funding and make grant recommendations to the Board of Directors. The board and committees are aided by a small, professional staff. Toronto Arts Council programs are funded through an annual appropriation from the City of Toronto.

Toronto Arts Council's two key operating principles - arm's length funding and peer review - are applied to ensure the City of Toronto vigorously pursues artistic excellence and innovation and steadfastly protects freedom of expression.

Core Values:

In everything it does, the Toronto Arts Council strives to be:

(a)accessible and approachable;

(b)inclusive and equitable;

(c)progressive and responsive; and

(d)accountable and efficient.

The Special Committee to Review the Final Report of the Toronto Transition Team submits the following report (November 23, 1998) from the Chief Administrative Officer:

Purpose:

To submit the report from ARA Consulting Ltd., recommending an administrative structure for arts grants for the City.

Financial Implications and Impact Statement:

The recommendations in this report have no direct financial impact.

Recommendations:

It is recommended that:

(1)the recommendations submitted by ARA Consulting Ltd., in their report entitled "Governance Model for Arts and Culture Grants" be adopted;

(2)the Commissioner of Economic Development, Culture and Tourism modify the 1999 grants process to be consistent with the model proposed in the Consultant's report, should this be approved by Council;

(3)the Commissioner of Economic Development, Culture and Tourism develop an implementation plan within Corporate budgetary guidelines and report thereon to the Economic Development Committee;

(4)the Commissioner of Economic Development, Culture and Tourism work with the Chief Administrative Officer, Solicitor, and Toronto Arts Council to propose revisions to the legislation and the grant agreement with the Toronto Arts Council to address concerns articulated in the consultant's report; and

(5)the appropriate City officials be authorized and directed to take the necessary action to give effect thereto.

Council Reference/Background/History:

At its meeting of January 2, 3, and 4, 1998, Council referred the following motion to the Special Committee to Review the Final Report of the Toronto Transition Team: "The Arts Council should be based on the existing Toronto Arts Council model and it should report to Council through the Community and Neighbourhood Services Committee".

On March 4, 1998, Council approved the recommendation of the Special Committee to refer the structure of arts administration in Toronto to the Chief Administrative Officer for a report to the Special Committee. In the interim, the grant agreement between the City of Toronto and the Toronto Arts Council (TAC) was modified to permit Council to nominate 5 members of Council from across the City to TAC's Board of Directors.

The Commissioner of Economic Development, Culture and Tourism consulted with major arts organizations and stakeholders and recommended an interim process for distributing grants for 1999. The Interim Measures report adopted by Council at its November meeting proposes extension of the agreement for one year beyond the March 1999 expiry date of the current agreement.

The five Councillors serving on the TAC Board of Directors requested that the Chief Administrative Officer report on the governance structure for arts grants at the November meeting of the Special Committee. To meet the requested deadlines, the Chief Administrative Officer engaged ARA Consulting Ltd. to review the many background documents and position papers developed for submission to the Toronto Transition Team, conduct interviews with selected stakeholders and experts outside the City structures, and prepare a report recommending a conceptual model for administration of arts grants. The attached report articulates the relative roles of the major stakeholders in the conceptual model recommended by the Consultants.

Comments:

Prior to amalgamation, each of the seven municipalities made grants to arts organizations. The two major municipal funders, Metro Council through the Culture Office, and the Toronto Arts Council, both recommended grants using a peer review process to assess merit. The major difference, however, was that the former City of Toronto provided a grant to an external organization, the Toronto Arts Council, to administer the grants function, whereas Metro's used peer review panels in the formulation of grant recommendations for Council approval. The former City of Toronto did not have a culture office within the City organization.

Basically three categories of arts grants were inherited by the unified City as described in the ARA report. Metro provided sustaining grants to the major nationally recognized arts organizations based in the City and to organizations involved in a variety of non-profit professional arts disciplines throughout the region. The TAC distributed grants on behalf of the former City of Toronto to similar organizations and individuals within its jurisdiction, and the other former municipalities primarily provided grants to organizations providing services and support to professional organizations and to community based arts and culture organizations.

The respective funding roles of each of the municipal governments has been developed and refined over the past 25 years in the context of funding provided by the federal and provincial governments. Government funding of professional not-for-profit arts organizations has been a balanced partnership among 4 levels of government, each with clearly stated public policy objectives. Both the federal and provincial governments use agencies of the government, the Canada Council and the Ontario Arts Council, to provide the independent grant adjudication and distribution function. In both cases, there are also related culture policy functions resident in a ministry or department. The consultant's report did not pursue the creation of an agency for this purpose at the City.

There were clearly a range of objectives driving the grant programs within a two-tier municipal framework. In the absence of a policy review for the new City, it has been assumed that the new unified City will continue to support the collective policy objectives of the former cities. Once the structure for administration has been decided, consideration of policies and priorities should resume. In the meantime, however, there is a need to rationalize the process for distributing grants in each category to ensure that all City districts have access to funding on the same footing.

Recognizing the different objectives for each of the grant categories, the ARA report recommends roles for the various stakeholders which optimize peer review concepts within legal bounds and effectively links process to objectives.

The process for 1999 recently approved by Council is inconsistent in some ways with the model recommended by ARA. In the absence of a reformed structure, the intent was to make changes in the structure and procedures of the TAC and modifications to the grant agreement to implement the 1999 approved process. If Council approves the model proposed by ARA or any variation which is inconsistent with the process designed for 1999, it would be preferable that the 1999 process be modified to be consistent with the model approved by Council rather than proceeding with the 1999process as defined and change again in 2000.

The ARA proposal is a high level conceptual model. The precise organization of the various business units, the staff placement, and budget assignments will need to be planned and implemented by the department. In addition, changes to the grant agreement with the Toronto Arts Council are recommended in the ARA report. The Commissioner should work with the City Solicitor, the Chief Administrative Officer, and the TAC in initiating these changes and recommending any legislative changes necessary.

Conclusions:

The structure appropriate to administer arts grants has been the subject of much discussion over the last two years by stakeholders and other interest groups. The report from ARA Consulting Ltd. recommends a conceptual model which strengthens accountability and public participation, while maintaining the arms' length process where appropriate. In addition, the model facilitates coordination with other City activities and reinforces accountability within the City structure. The Commissioner of Economic Development, Culture and Tourism concurs with the recommended directions outlined in the Consultant's report.

To operationalize this model or any variation of it, implementation must be planned and activated, the 1999 process revised, and the grant agreement revised.

Contact:

Nancy Autton 397-0306

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Recommendations and Conclusion embodied in the report, entitled "Governance Model for Arts and Culture Grants, prepared by The ARA Consulting Group, a Division of KPMG LLP, dated November, 1998:

It is recommended that City Council and the Economic Development Committee:

(1)consult with the public and arts organizations;

(2)develop a strategic plan to guide City involvement in the arts and culture;

(3)develop policies necessary to carry out that plan;

(4)approve three envelopes of grants for the different types of grants noted above;

(5)approve the specific grants to the seven largest arts organizations; and

(6)approve a grant to the Toronto Arts Council for those organizations requiring an arm's length review of artistic merit.

It is recommended that the City Culture Office:

(1)provide support to Council to fulfil its functions;

(2)conduct research and promotion or contract with others to do it;

(3)manage the grant contracts;

(4)manage community arts grants;

(5)administer other arts policies; and

(6)co-ordinate arts activities with other activities of the city government.

It is recommended that the Toronto Arts Council:

(1)continue as an independent non-profit organization;

(2)continue to re-align its structure and processes to fit the amalgamated city; and

(3)contract with the City Culture Office to distribute the grant for organizations that require an arm's length grant process.

It is recommended that the contract between the City and the Toronto Arts Council:

(1)focus on outcomes and measures of performance;

(2)not include clauses appointing Councillors to the TAC board; and

(3)create a reporting relationship to the Culture Office rather than the Economic Development Committee.

The preceding review of options for governance of arts and culture grants and related issues has attempted to balance inherent and healthy tensions in the arts and governance. It is designed to support the further development of the arts community, independent of but in partnership with the City government. The governance model supports diversity of participation in public policy debates by arts organizations and the public. It also allows for diversity in grants to meet different public policy objectives. As noted in the report, two essential missing pieces are a strategic plan for arts and culture and an evaluation framework to measure progress toward achieving the objectives of such a plan.

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The Special Committee to Review the Final Report of the Toronto Transition Team reports, for the information of Council, having also had before it the following communications:

(i)(September 23, 1998) from the City Clerk, advising that the Economic Development Committee on September 18, 1998, during its consideration of a report (August, 1998) from Anne Collins, President, Toronto Arts Council, which covered the first six months in 1998 (January 1 to June 30, 1998) and described the economic impact of the City's financial investment in the arts community and the impressive array of new work, creativity and community animation which resulted, took the following action:

(1)received the report (August, 1998) from Anne Collins, President, Toronto Arts Council, and forwarded it to City Council for information at its next meeting on October 1, 1998; and

(2)referred the following Recommendation No. (103) of the Toronto Transition Team to the Commissioner of Economic Development, Culture and Tourism with a request that he submit a report to the Special Committee to Review the Final Report of the Toronto Transition Team and that the Special Committee forward its recommendation in this respect to the Economic Development Committee for consideration and subsequent submission to City Council:

"Council should establish a new City-wide Toronto Arts Council as an arm's length funding and peer review body to administer grants to arts and cultural organizations, according to policy guidelines established by Council."

(ii)received from the following respecting Arts and Culture in the City of Toronto:

-(October 21, 1998) Ms. Joy Hughes, Cedar Ridge Studio Gallery;

-(October 22, 1998) Ms. Angela Lee;

-(October 22, 1998) Ms. Wendy Lilly, Waterfront Trail Artists;

-October 22, 1998) Ms. Elizabeth Cinello;

-(October 22, 1998) Mr. Dirk McLean;

-(October 22, 1998) Mr. Robin Collyer;

-(October 23, 1998) Ms. Rosa Maria Luza, Director, The Patron of Peruvian Arts;

-(October 23, 1998) Ms. Sarindar Dhaliwal;

-(October 23, 1998) Ms. Lee Pui Ming, Musician;

-(October 24, 1998) Ms. Joan A. Pierre;

-(Undated) Ms. Rina Fraticelli, Wild Zone Films;

-(Undated) Ms. Cheuk C. Kwan;

-(November 28, 1998) from Ms. Barbara Fischer;

-(November 30, 1998) from E. Drew Huffman;

-(November 30, 1998) from Mr. David Powell, Co-Artistic Director, Puppet Mongers;

-(November 30, 1998) from Mr. Eric Field, Waterfront Trail Artists;

-(November 30, 1998) from Ms. Wendy Lilly, Waterfront Trail Artists;

-(November 30, 1998) from Ms. Gabrielle Wimmerschoff, Waterfront Trail Artists;

-(November 30, 1998) from Mr. Gerald Smith, First Stage in Arts Marketing, Management and communications;

-(November 30, 1998) from Ms. Joan Bosworth, General Manager, Opera Atelier;

-(November 30, 1998) from Ms. Margaret Atwood,

-(December 1, 1998) from Mr. Don Moffat, Moffat Kinoshita Architects Inc.;

-(December 1, 1998) from Ms. Jean Yoon, Seoul Babe, Artistic Director;

-(Undated) from Jacquie P. A. Thomas, Artistic Director, Theatre Gargantua;

-(December 1, 1998) from Ms. Karl Beveridge, Spokesperson, CARFAC Ontario;

-(Undated) from Ms. Carol Anderson, Administrative Co-ordinator, The Aldeburgh Connection;

-(December 1, 1998) from Ms. Mandy Macrae, President, Women's Musical Club of Toronto;

-(December 1, 1998) from Ms. Melony Ward and Milinda Sato, Co-Directors, YYZ Artists' Outlet;

-(December 1, 1998) from Mr. Nicholas Goldschmidt, Music Canada Musique 2000;

-(December 1, 1998) from Ms. Diane Quinn;

-(December 1, 1998) from Ms. June Callwood;

-(December 1, 1998) from Mr. William Morris, President, National Shevchenko Musical Ensemble Guild of Canada;

-(December 1, 1998) from Ms. Susan V. Corrigan, Administrative Director, The Canadian Bookbinders and Book Artists Guild;

-(December 1, 1998) from Mr. Michael deConinck Smith, Managing Director, Canadian Children's Dance Theatre;

-(December 1, 1998) from Mr. Patricia S. Rubin;

-(Undated) from Ms. Rebecca Todd;

-(December 2, 1998) from Mr. Andrew Pyper;

-(December 2, 1998) from Ms. Rosslyn Jacob Edwards, General Manager, DanceWorks;

-(December 2, 1998) from Mr. Alan McNairn, Director, Canadian Filmmakers Distribution Centre;

-(December 2, 1998) from Mr. David Zapparoli;

-(December 2, 1998) from Mr. Hussain Amarshi and Claudine Domingue, Mongrel Media;

-(December 2, 1998) from Mr. Chuck McEwen, Producer, The Fringe: Toronto's Theatre Festival;

-(December 2, 1998) from Ms. Sonja Mills;

-(December 2, 1998) from Ms. Pat Bradley, Executive Director, Professional Association of Canadian Theatres (PACT);

-(December 2, 1998) from Ms. Jane Howard Baker, Inner City Angels;

-(December 2, 1998) from Mr. Adrian Di Castri, Chairperson, Public Art Commission;

-(December 2, 1998) from Ms. Christine Foster, Administrative Director, and Ms.Alice Walter, Artistic Director, Cliffhanger Productions;

-(December 2, 1998) from Mr. Jim Montgomery, Artistic Director, The Music Gallery;

-(December 2, 1998) from Ms. Carol Auld;

-(December 2, 1998) from Mr. Mark Czarnecki;

-(December 2, 1998) from Mr. Richard Fung, Visiting Professor, Dept. Of Media Study, SUNY-Buffalo;

-(December 2, 1998) from Mr. Atom Egoyan, Ego Film Arts;

-(December 3, 1998) from Ms. Sara Angelucci, Gallery 44;

-(December 2, 1998) from Selvam Sridas, Vice President, Tamil Eelam Society of Canada;

-(Undated) from Ananthy Sridas;

-(December 2, 1998) from Sam Sridas, Sri Lalitha Kala Khenthram;

-(December 2, 1998) from Roger Gibbs, Artistic Director, Worlds of Music Toronto;

-(December 1, 1998) from Marilyn Jung, Zen Mix 2000;

-(December 2, 1998) from Terry Watada;

-(December 2, 1998) from Mark Brownell, Artistic Director, Pea Green Theatre Group Inc.;

-(December 2, 1998) from Deanna Bowen, Membership Coordinator, The Liaison of Independent Filmmakers of Toronto;

-(December 2, 1998) from Claire Hopkinson, General Manager and Producer, Tapestry Music Theatre;

-(December 3, 1998) from Ms. Elena Quah, Director, Projects for the Arts;

-(December 3, 1998) from Ms. Nancy Coy, General Manager, Young Peoples Theatre;

-(December 3, 1998) from Mr. Michael J. Thomas, Visual Artist;

-(December 3, 1998) from Ms. Ottie Lockey, Managing Director, Tafelmusik;

-(December 3, 1998) from Mr. Ross Turnbull, General Manager, Charles Street Video;

-(December 2, 1998) from Mr. Robert Achtemichuk, Director, Open Studio;

-(December 2, 1998) from Ms. Edita Petrauskate, Executive Director, The League of Canadian Poets;

-(December 3, 1998) from Ms. Lorraine Johnson, General Manager, New Music Concerts;

-(December 3, 1998) from Mr. Joey Meyer, Choreographer;

-(December 3, 1998) from Mr. John Beckwith;

-(December 2, 1998) from Mr. Jim Millan, Artistic Director, Crow's Theatre;

-(December 3, 1998) from Ms. Molly Thorn;

-(December 3, 1998) from Ms. Elizabeth Cinello, Artist and Community Arts Worker;

-(December 3, 1998) from Lee Pui Ming;

-(December 3, 1998) from Ms. Jennifer Watkins;

-(December 3, 1998) from Ms. Jennifer Ginder, Director of Government Relations, Canadian Opera Company;

-(December 3, 1998) from Mr. Michael Malone, Executive Director, Trinity Square Video;

-(Undated) from Ms. Jessica Fraser, Executive Director, Toronto Theatre Alliance;

-(December 4, 1998) from Ms. Allison Melville, Chair, Baroque Music Beside the Grange;

-(Undated) from Mr. Matthew Hansen;

-(December 3, 1998) from Mr. Shawn Kerwin;

-(Undated) from Ms. Harriet Wichin;

-(December 3, 1998) from the Artistic Director, Menaka Thakkar Dance Company;

-(December 2, 1998) from Mr. David Fallis, General Manager, Toronto Consort;

-(December 3, 1998) from Ms. Angela Lee, Program Director, Arts Starts Neighbourhood Cultural Centre; and

-(December 3, 1998) from Mr. Martin Bragg, Canadian Stage.

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Mr. Steve Lough, ARA Consulting Ltd., gave a presentation to the Special Committee to Review the Final Report of the Toronto Transition Team, respecting the governance structure for Arts and Culture Grants.

Ms. Anne Collins, President, Toronto Arts Council, also gave a presentation to the Special Committee to Review the Final Report of the Toronto Transition Team, entitled "Governance Structure for Arts and Culture Grants", and filed a copy of her presentation material.

The following persons appeared before the Special Committee to Review the Final Report of the Toronto Transition Team in connection with the foregoing matter:

-Ms. Alison Bain, Director, Public Affairs, Toronto International Film Festival;

-Mr. Layne Coleman, Artistic Director, Theatre Passe Muraille;

-Ms. Lillian Allen, Artist;

-Mr. Matt Cohen, Writer;

-Ms. Marion Law;

-Councillor John Adams, Midtown; and

-Councillor Pam McConnell, Don River.

(A copy of :

(a)the report entitled "Governance Model for Arts and Culture Grants", prepared by ARA Consulting Ltd., was forwarded to all Members of Council with the December 4, 1998, agenda of the Special Committee and a copy thereof is also on file in the Office of the City Clerk; and

(b)Appendix 5, entitled TAC's Board and Committee List, attached to the foregoing report (December 3, 1998) from the President, Toronto Arts Council, is on file in the Office of the City Clerk.)