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INsIDe:2011 - 2012 saskCulture Year In review

VOLUME 2, ISSUE 4

suMMer 2012

Grants makea differencefor First Nationsand Métisgroups

Communitypartnershipleads to culturalgrowth

Culture Days:two years andgrowing

2 suMMer 2012 Engage

Engage, publishedby SaskCulture Inc., isdesigned to highlightthe work of culturalleaders, volunteers andthe diversity ofactivities supported bythe Culture Section ofSaskatchewanLotteries Trust Fundfor Sport, Culture andRecreation.

Print copies of this publication are circulated for free to SaskCulture members, partners and through communityoutreach activities as determined by SaskCulture Inc. Engage is also available in PDF version on the SaskCulture website at www.saskculture.sk.ca. Engage is published thanks to financial support from Saskatchewan Lotteries Trust Fundfor Sport, Culture and Recreation. The publication does not currently accept paid advertising. Article ideas for futurepublications can be submitted to [email protected] or by calling (306) 780.9289.

Published June 2012. Articles may be reprinted with permission.

Cover Photo:Courtesy of Pierette Settee, from Cumberland Houses'sNiso Awasisak Memorial School Community Media ArtsProject: Yesterday, Today and Tomorrow - Preserving ourtraditions through Media Arts, Traditional Storytellingand Traditional Arts

Direct Inquires to:

Diane Ell, [email protected]

Michelle Brownridge, Publishing [email protected]

404, 2125 12th Avenue, Regina SK S4P 3X3Tel: (306) 780.9453www.saskculture.sk.ca

Graphic Design: J. Lauder Publishing & [email protected]

Contributing Writers: Damon Badger Heit, Michelle Brownridge, DianeEll, Rose Gilks, Shaunna Grandish, Mei Shan Wanand Reggie Newkirk

Table of Contents suMMer 2012 VOLUME 2, ISSUE 4

Message from SaskCulture’s President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Greeting from the General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Year of Fransaskois community celebrating‘joie de vivre’ in 2012 . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Grants make a difference for First Nations and Métis groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

New partnership sparks Métis interest. . . . . . . . . . . . 9

Community partnership leads to cultural growth . . 10

Culture Days: two years and growing . . . . . . . . . . . . 12

Creative Kids and the PotashCorp Challenge . . . . . 14

Prince Albert Historical Society and Treaty Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Artists part of celebrating 100-year-old LegislativeBuilding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Sport, Culture and Recreation Districts . . . . . . . . . . . 19

Luseland wild about whooping cranes . . . . . . . . . . . 20

Summer employment at the Filmpool beneficial for all . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2011-2012 Boards and Committees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SaskCulture Inc. Summarized Financial Statements. . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Saskatchewan Lotteries Trust Fund for Sport, Culture and Recreation . . . . . . . . . . 26

7

12

20

The Board of Directors has handledsome challenging and exciting issuesthis year in its stewardship role of

SaskCulture and Saskatchewan LotteriesTrust Fund for Sport, Culture andRecreation. While it has been exciting tomove forward with the proceeds fromhigher than average lottery sales, therewere still challenges and we continue tokeep government informed and helpsupport the cultural community in meetingthe needs of Saskatchewan in 2012 andbeyond. Through the course of the year,we had ample opportunity to demonstrateour good governance practices.

The most distinguishing characteristic ofthe Board this year has been how well allof the Directors work together. ThoughDirectors come from different segments ofthe cultural community, our unity ofthought and action this past year has beenstellar. This success is due to our:

• Collegiality and understanding that power and authority are vested equally among Directors;

• Unity of thought: Directors may give a voice to different opinions, views and ideas yet we are able, through a frank, respectful consultation process, to achieve unanimity or a majority when voting; and ultimately a,

• Single voice as a Board.

How did we achieve this? The answer issimple. First, all Board members arecommitted to ascertaining the facts of asituation. Remember facts are notnecessarily ‘statements of truth’, though afact may contain a truth. The trick is forDirectors to determine the facts during thecourse of discussion at the Board table andfor directors to agree upon these facts forthe given situation. Next, we look forrelevant principles and board policies thatpertain.

The Directors’ discussions on these pointsthen lead to an affirmation of theirrelevance to the topic at hand. Thisdiscussion will include examination ofSaskCulture’s Ends in relation to the topicon the table. Often consideration is given

to innovative and creative discussions whilebalancing both social realities andpracticalities. Is the issue part of the Board’smandate? Is it relevant to SaskCulture as awhole, or in part? If so, what positive actioncan, or ought, the Board take?

Such open, diverse, creative, positive andrespectful discourse results in thearticulation of a clear motion that everyDirector understands; however, if aDirector has a substantive question aboutthe motion, then it is reviewed to clear upany misunderstanding, misgiving orapprehension.

The work of the Directors does not stop orend at making a decision. In addition,Directors have an obligation to supportand uphold decisions made by a majorityvote (even if a specific Director votesagainst it). In my view, once the Boarddecides a matter, it functionally becomes adecision of each member. Directors,consequently, are ethically bound to avoidexpressing or commenting on a “minority”view point. This can undermine the Boardand confidence in its decisions.

I am pleased to report to you that yourSaskCulture Board of Directors hasoperated at the highest level of theseprinciples. I think you sense this as well.The culture community’s support of theBoard’s decisions is evidence that its modeof operation is both effective and unifying.

As my term as your president draws to aclose, I would like to express my verypersonal sense of gratitude for the trustyou placed in me to serve as yourpresident for the last 20 months.

In your service, with best wishes and warmregards,

Reginald Newkirk

Message from

SaskCulture’s President

Practicing Good Governance

saskCulture Board of Directors, back row: Joseph otitoju, James Ingold, harvey Knight, Pat Grayston and Jameshawn. Front row: Peter england, reggie Newkirk, Gwen King, Laurel reimche, Bula Ghosh, Cheryl Avery. Missing: David Cormican, Jennifer holmes and Brenda M. shenher.

Engage suMMer 2012 3


In 2010/11, SaskCulture underwent amove and numerous staff changes, sowe were looking forward to 2011/12 as a

year in which we would implement ournew strategic plan and get morecomfortable working as a team in our newsurroundings – a year with less change.However, change is the greatest constant,so we just could not leave well enoughalone.

At the October 2011 AGM, the Boarddecided to ask the membership to changethe fiscal year-end from July 31st to March31st in order to run SaskCulture in thesame fiscal year as the SaskatchewanLotteries Trust Fund for Sport, Culture andRecreation. The members endorsed thechange.

Although this change was a welcome onefor staff, it came with a number ofadjustments to our annual planning cycle.First off, it was necessary to condense ourfiscal reporting period to eight months forthe 2011-2012 year to reflect August 1, 2011to March 31, 2012. This meant we werepreparing for year-end, the audit process,board elections and an AGM before theend of June rather than at the end of thesummer. Fortunately, we decided to keepthe annual Gathering in late Octoberbecause we knew members would notwant to commit to such an event in lateJune.

This change also impacted the strategicplanning cycle. With only eight months,we had barely laid out our strategies andthe first year was near completion. So, itwas determined that the new SaskCultureStrategic Plan would be based on eight-months plus three years, and will nowcarry us to March 31, 2015.

After only eight months, SaskCulture isalready hard at work implementing the

three strategic priorities in the plan:

1. Supporting and Leveraging the Network;

2. Elevating Awareness and Maximizing Understanding; and

3. Investing in Online Technologies

Placing our focus upon these three areaswasn’t difficult because the work witheach strategy had, to some extent, beeninitiated in the 2009-11 three-year plan.

The first strategic priority in the plan isaround “Supporting and Leveraging theNetwork”. Work done in this area includesour current work with the final phase ofthe eligibility review, planning the 2012Gathering at the end of October aroundthe theme of ‘the Changing Faces ofSaskatchewan’, along with increasing ourwork with the Districts, municipalities,newcomers, and First Nations and Métisindividuals and organizations. A big pieceof our work within this strategic priority isto finalize a specific multicultural strategywith input from members and non-members alike. That strategy will defineSaskCulture’s role and help inform itsprogramming decisions. The 2012Gathering sessions should increaseawareness of SaskCulture’s focus in thisarea, as well as stimulate some interestingdiscussion.

This area also includes enhancing ourrelationships with those we fund. Overthe past eight months, we consulted witheligible organizations and revised theAnnul Global Funding Application processand materials for eligible organizations.We also updated components of many ofour other grant programs includingchanges to application deadlines. Thelisting of the total amount granted in eachfunding program can be found in theCulture Section of the SaskatchewanLotteries Trust Fund for Sport, Culture and

Recreation section of this issue, page 29.The individual grants under each grantprogram are available on our website.

Within the strategic priority of“Supporting and Leveraging theNetwork”, SaskCulture has also continuedto support its Communities of InterestMechanisms and build upon its ongoingpartnerships with the Saskatchewan ArtsBoard, Sask Sport Inc., SaskatchewanParks and Recreation, and members. Aswell as the work we do with memberorganizations, we have also invested in acloser working relationship with theSaskatchewan Urban MunicipalitiesAssociation (SUMA) and we aresupporting the ArtsVest initiative inSaskatchewan by providing office space tothe provincial coordinator.

The second priority for SaskCulture is“Elevating Awareness and MaximizingUnderstanding.” This particular priority isalways one of keen relevance and necessityfor the cultural community, but given thecurrent decision trends we are seeing fromall levels of government, it is one that willrequire even greater dedication and clarityover the next few years. On top ofensuring that Saskatchewan citizensrecognize the value of cultural activities incommunities throughout the province, theSaskCulture Board also wanted to increasetheir recognition of SaskCulture and thesupport it provides through the CultureSection of Saskatchewan Lotteries TrustFund for Sport, Culture and Recreation.Many funding recipients have already beeninformed of their new obligations toprovide recognition to SaskCulture, as wellas Saskatchewan Lotteries in theirpromotions. SaskCulture will be exploringmore opportunities to raise its profileincluding increasing its presence at fundedevents, maximizing exposure in its newsmagazine and website, as well as throughthe use of social media.

Culture Days continues to be anopportunity for SaskCulture to increaseawareness of cultural activity, as well as itsown efforts in supporting the sector. In2011-12, we added a new grant program tosupport participation in Culture Days, hiredfour Saskatchewan artists as Culture DaysAnimateurs, and worked very hard toensure that Culture Days 2011 was ‘biggerand better’ than the inaugural 2010 event.In 2011, there were 180 cultural activitiesregistered by 36 Saskatchewancommunities; an increase from the 130activities registered from 23 communitieslast year. I had the good fortune to spendthe Culture Days weekend in Swift Current

Greetings from the

General Manager

As with all non-profit organizations, every year is busyand for SaskCulture, the 2011/12 year was no exception.


where over 30 cultural events took place. Ihad a wonderful time and my hat goes offto the local organizing folks of SwiftCurrent and the many other participatingcommunities and organizationsthroughout the province.

Supporting the Creative Kids program isanother way SaskCulture is creatingawareness and increasing accessibility toculture. Although the program has beenrunning since 2010, we took theopportunity this year to celebrate andofficially launch it to the province. To date,893 applications have been approved, over$223,000 has been granted, reachingchildren and youth in 66 communitiesacross Saskatchewan. SaskCulture is verythankful to the individuals andorganizations that have contributed to thefund. Of particular note is thecommitment from the Potash Corporationof Saskatchewan for $100,000 in matchingfunds to be shared between the cities ofRegina and Saskatoon.

Finally, the most difficult of the threestrategic priorities to address has been the“Investing in Online Technology”, or morespecifically how we will “lead in the use ofonline technologies to benefit our networkand achieve our Ends”. This priority ischallenging because technology ischanging so rapidly – what we do in year

one of our plan may be outdated by yearthree. SaskCulture’s challenge, andpossibly yours too, when addressingtechnology, is to be strategic – to find theright technology to use as a tool to bestaccomplish our work.

At this point, we see SaskCulture’s focuswith technology as two-fold: setting up auser-friendly, online funding applicationand follow-up reporting system, that iseffective and efficient for the applicantand SaskCulture. Secondly, we areworking toward making better use ofsocial media tools, including our website,in order to strengthen ourcommunications and advocacy. This willinclude new ways to access SaskCultureinformation and other topics of interest tothe community. Right now, we are in theprocess of finalizing the technologystrategy by having staff work with atechnology consultant to finalize a veryfluid strategy.

As we were digging deeper into these newstrategies over the past year, we realizedthat our human resource capacity was stillnot at the level necessary to deliver on thetasks in the strategic plan, as well as theongoing work of SaskCulture. As a result,two additional staff members werebrought onto the team and these positionshave increased our confidence in movingforward.

As SaskCulture continues its work over thenext three years, it will work to strike abalance between providing services to themembers and the cultural community,exercising good stewardship of lotterydollars and promoting the value of culturalactivities as a main ingredient of healthy,happy and prosperous communities. Thatwork will require a balance between workwithin, as well as outside the culturalcommunity. The Board and staff ofSaskCulture are excited to take on thatchallenge and we look forward to workingon it with you.

Sincerely,

Rose Gilks

saskCulture staff: Back row, left to right: shawn Bauche, Paul Gingras, Christie Nenson, Gloria Walsh, Damon Badgerheit, Nichole Williams, Dean Kush, Diane ell, Angie sawatsky, Dennis Garreck, shaunna Grandish. Front row: JaniceKyle, Michelle Brownridge, Mei shan Wan, rose Gilks.

As SaskCulture continuesits work over the nextthree years, it will work tostrike a balance betweenproviding services to themembers and the culturalcommunity, exercisinggood stewardship oflottery dollars andpromoting the value ofcultural activities as amain ingredient ofhealthy, happy andprosperous communities.

Back in December, theprovincial governmentdeclared 2012 as the Yearof the Fransaskois inSaskatchewan and events

marking this year-long celebration havebeen taking place across the province.

The Conseil Culturel Fransaskois (CCF) havehad a busy past several months planningand showcasing the culture of theFransaskois, according to CCF ExecutiveDirector Suzanne Campagne. The term“Fransaskois” refers to the Francophonepopulation in Saskatchewan.

The CCF is currently producing multimedia,retrospective shows, one for the annualFête Fransaskoise and one for a Metis-French Christmas show that will have adistinctive 100 year anniversary flavoursince 2012 will mark the centennial of theAssemblée communautaire fransaskoise(ACF), the governing body of thefrancophone community in Saskatchewan.

Saskatchewan-based Francophonemusicians Alexis Normand and ShawnJobin will also be hosting a special tourthroughout Québec and the Maritimes.The duo co-wrote a song that became theofficial Fransaskois Theme Song in honourof Year of the Fransaskois.

“We (CCF) will have a national broadcastfor the Christmas show to celebratel’Année des Fransaskois and to thank theprovince for the honour with a fabulouspresentation of ‘MERCI, MA PROVINCE!’[the theme song] on December 15th,” saysCampagne. “Stay tuned!”

The Fransaskois have made manycontributions to the cultural fabric ofSaskatchewan and these events will helpexpose the public to the accomplishmentsand the dynamic culture of thiscommunity.

“As a society, the people of Saskatchewanknow very little of the contribution of itspeople to the development of theprovince,” says Campagne.

For over a century, the French communityhave been involved in all sectors of thedevelopment of Saskatchewan life,everything from the economy to cultureand politics.

During the first half of the 20th Century,French-speaking religious orders like theGrey Nuns of Montreal and the Sisters ofNotre-Dame de Chambriac establishedhospitals in Saskatchewan while hundredsof Quebec-trained family doctors set up

Year of Fransaskois community celebrating

‘joie de vivre’ in 2012 B Y S H A U N N A G R A N D I S Hpractices in rural Saskatchewan. Mostlyfarmers, Franco-Canadians, as they werecalled before the advent of the wordFransaskois in the mid-seventies, wereinvolved in the creation of cooperativesand credit unions across the province. Thefirst credit union in Saskatchewan was inthe French community of Albertville northof Prince Albert. It was established in 1916,20 years before the province adopted a lawfor the creation of credit unions. Franco-Canadian farmers were also strongsupporters of the Saskatchewan WheatPool and other co-operative endeavours.

Fransaskois inventors and businessmenhave helped in building the province’seconomy. Bourgault Industries in Saint-Brieux is one example of the Frenchcontribution to the economy. For 50 years,from 1918 until 1968, the teaching ofFrench was limited to one hour per day inthe province and the Fransaskoiscommunity had to develop its ownteaching material and exams in order toguarantee that the one hour a day wouldinsure the survival of the language. It wasthese efforts by the ACF and the Franco-Canadian community that has led to a solidFransaskois and French immersion programin Saskatchewan today.

“It is a cultural community that is open toall who appreciate and like French. It isexpressed in many ways through its music,theatre, dance, the visual arts, its writing,but mostly through the ‘joie de vivre’ thata Fransaskois family gathering, or aFransaskois community get-together, willcreate,” adds Campagne.

Saskatchewan has a rich, multiculturalheritage and it is important for thisprovince’s residents to celebrate theirheritage.

“By celebrating multiculturalism, we arerecognizing the enormous contributionsmade to the development of this countryand province by immigrants from diverseethnic origin,” explained Campaign. “Thecultural and artistic expressions of each ofthese groups remind us that we are uniquein our relation to rest of the world in theexpressions of how we learn, how we loveand how we live.”

The CCF receives annual operating dollarsfrom the Culture section of theSaskatchewan Lotteries Trust Fund. Formore information about the CCF, pleasevisit: www.culturel.sk.ca.

Above: In 2005, the Government of saskatchewan adopted the Fransaskois Flag as a provincial emblem, recognizing the status of French as one of Canada's official languages.Below: Fransaskois musicians shawn Jobin and Alexis Normand are set to tour Quebec and the Maritimes!


The interest in theAboriginal Arts andCulture Leadershipgrant, as seen by therising amount ofapplications, continuesto grow. In fact, thispast year, the programsaw unprecedentedgrowth in the numberof applications itreceived. The Aboriginal Arts and Culture

Leadership Grant (AACL) waslaunched by SaskCulture in 2007

following a funding model developed bythe Saskatchewan Arts Board. The AACLgrant is aimed at increasing the capacity inAboriginal communities through thedevelopment of arts and culturalleadership and mentorship opportunities.

“We heard from many First Nations andMétis communities of the need for projectfunding to help increase opportunities forcultural mentorship of their young people,as well as support to enhance the cultural

awareness and engagement of thebroader public,” says Reggie Newkirk,president, SaskCulture. “The AboriginalArts and Culture Leadership Grant hasbeen successful in meeting these needs.”

Activities range from youth powwow andMétis jigging programs, to culture campsand elder/youth mentorships, to projectsin bridging technology and culture throughphotography, film and video, as well asprojects in music and arts.

Recent recipients show the diversity ofthose funded and the range of innovativeprogramming. In 2011, the Lestock MétisLocal and the town collaborated inpreparation for their centennial yearcelebrations by bringing in expertise tobuild their own Red River cart on site. Thecart will be unveiled this year in thecentennial parade to celebrate Métisheritage in the region. Last year, theOskayak School in Saskatoon and theNewo Yotina Friendship Centre in Reginaprovided powwow programs to teachdance, regalia-making and singing to thoseentering into the annual powwow trail.Muskoday First Nations began a process ofElder interviews and research for atravelling display designed to educate thebroader public to the rich history of the

Grants make a difference for First Nationsand Métis groups B Y D A M O N B A D G E R H E I T


Youth participate in Media Arts andtraditional storytelling workshops throughthe Yesterday, today and tomorrow Projectin Cumberland house.

Eagle Staff and Lance Run. The display willbe part of the 2013 First Nations SummerGames, hosted by Muskoday First Nations,and continue on as a legacy for futuregames. As well, the Living Sky SchoolDivision used the grant to bring in culturalexpertise, for its project “Living History,Telling our Stories, Treaty Education for

“We are pleased to seethe enthusiasm andincreased access ofFirst Nations and Métiscommunities, as wellas being able torespond with fundingincreases to match thisdemand”

All”, to provide middle years students withinformation about historical and traditionalAboriginal knowledge and ways of knowingthrough the larger contest of the arts.

“We are pleased to see the enthusiasmand increased access of First Nations andMétis communities, as well as being ableto respond with funding increases tomatch this demand,” says Newkirk.

The number of programs supportedthrough the AACL in 2011-12 is equivalentto the entire first three years of theprogram, from 2007-2009. Nearly$490,000 was provided to support 27 FirstNations and Métis initiatives in rural andurban settings across the province.

The increase in access and demand for thisprogram can be attributed to enhance-ments in the cultural network with effortsin promotion through magazines such asEngage and Eagle Feather News, as well asoutreach by staff through Tribal Councilsand Sport, Culture and RecreationDistricts, various community consultations,partnership work with Sask Sport andSaskatchewan Parks and RecreationAssociation and a partnership agreementwith Gabriel Dumont Institute.


A young Pow Wow dancerperforms for a crowd with adrumming circle in thebackground. Photo courtesy ofthe Maple Creek old timersMuseum.

In its first year, the partnership betweenSaskCulture and Gabriel DumontInstitute (GDI), intended to increase

interest and awareness of funding availableto preserve Métis cultural heritage, hasresulted in an overwhelming responsefrom the Métis community to SaskCulture’svolunteer adjudication program.

In a recent call out for volunteer jurymembers to help adjudicate a variety offunding programs, nearly half of the entireresponse came from the Métis communityalone. At the end of selection process,nearly 35% of SaskCulture’s jury pool is ofMétis ancestry.

“Along with this increased interest inSaskCulture, thanks to the endorsementand promotion by Gabriel DumontInstitute, it is hoped that applications tothe MCDF will also increase,” says DeanKush, Program Manager, SaskCulture. In2011, a partnership agreement was signedbetween Gabriel Dumont Institute andSaskCulture, to work more closely onincreasing the success of the MétisCultural Development Fund (MCDF),funded by Saskatchewan Lotteries TrustFund for Sport, Culture and Recreation, aswell as increasing Métis involvement withSaskCulture.

Over the past few years, the MCDF granthas been under-utilized. “We heard thecriteria were too narrow and that itsrequirements were too vague,” explainsKush. “In our efforts to increaseparticipation of Métis peoples andcommunities in cultural activity, we askedGDI for their input.”

According to Kush, “the partnershipagreement outlines how the organizationswill work together to increase awarenessof the current MCDF grant program, aswell as engage the Métis community in thevolunteer adjudication process. Throughthe partnership, GDI can also help ensure

the grant is in line with the cultural needsof Métis peoples in Saskatchewan.”

Amy Briley, the MCDF liaison for GDI adds,“The MCDF grant program helps ourcommunity maintain and preserve ourtreasured cultural identity. The GabrielDumont Institute is delighted to partnerwith SaskCulture to ensure the grantbecomes well-known and frequentlyaccessed.”

Thanks to this new partnership and the

New partnership sparks Métis interestB Y D A M O N B A D G E R H E I T

Participants take part in voyageur games. Photo courtesy of Friends of Batoche historic site Inc.


assistance of GDI, the most recent intakeof MCDF grant applications has alreadyincreased by 300 per cent.

For more information on the Métis CulturalDevelop Fund (MCDF) grant, contactDamon Badger Heit at

(306) 780-9251,

email: [email protected] or visitwww.saskculture.sk.ca.

“The MCDF grant program helps our community maintain andpreserve our treasured cultural identity. The Gabriel DumontInstitute is delighted to partner with SaskCulture to ensure the grantbecomes well-known and frequently accessed.” - Amy Briley, GDI

Community partnershipleads to cultural growth


An interest in cultural planning byfive Saskatchewan communitieshas blossomed into an innovative

regional partnership, which includesinvolvement in the Main Street pilotprojects and increased communitymomentum.

The Cultural Resource Use Partnership(CRUP), made up of the towns of IndianHead, Wolseley, Fort Qu’Appelle, Town ofQu’Appelle and the District of Katepwa,began as a means to work collaborativelyon cultural planning. In 2011, the CRUPgroup first received a Municipal CulturalEngagement and Planning (MCEP) Grantfrom SaskCulture that enabled them towork together on planning for culturalgrowth in the area.

Two of the communities, Indian Head andWolseley, have since been selected asMain Street Saskatchewan Pilots, aprogram supported by the Ministry ofParks, Culture and Sport and the HeritageCanada Foundation. The Main StreetSaskatchewan initiative was designed tosupport communities in revitalizing theirhistoric commercial areas.

According to Tara-Leigh Heslip, programcoordinator, Indian Head Main StreetRevitalization, “Going in the process thecommunity as a whole was somewhatskeptical, but after involvement in thefocus groups and other information-sharing sessions, we felt a renewed senseof community and are inspired by thewealth of human resources, varied skills,interests and insights we have.”

B Y D I A N E E L L

“Downtown provides asense of community andplace. It is a powerfulsymbol of sharedexperiences, of commonmemory, of the challengeand struggle of building acivilization. Main Streetwas always familiar,always recognizable asthe heart and soul of thevillage, town or city.”

Carol Rifkind, author, Main Street: The Face ofUrban America, 1977.


Ed Attridge, coordinator, Wolseley MainStreet Revitalization, says “Thecommunity reaction in Wolseley to theMain Street and CRUP programs has beenenthusiastic and wide-spread. Main StreetWolseley has received positive feedbackregarding the two programs from schools,the business community, the artcommunity and the community ingeneral.”

The process has been very inclusive and hasled to lots of re-envisioning of what thesecommunities hope to become. Accordingto Ben Friesen, local businessman fromIndian Head, “the experience of theengagement process and planning focusgroups were a spiritual awakening for thecommunity.” Youth of Indian Head werealso part of the process. Heslip says many,“were inspirational, genuinely engaged angave valuable insight to their perspective ofcommunity and what we had existing in thetown to interest them.”

“We are very excitedabout the integration ofthe Cultural Resource UsePartnership into the MainStreet program, as itallows for a morecomplete communityviewpoint than wouldperhaps occur with solelythe Main Street program.”

Dennis Fjestad, Mayor of Wolseley and MainStreet program Chairman

Above: Citizens of Indian head engage in culturalplanning sessions. Below: Grand Avenue in Indianhead which is the focus of main street revitalization.

Inspired by this success, SaskCulture, along with many community organizers,is eager to keep Culture Days as a focal point for cultural celebration eachyear. An interest in cultural planning by five Saskatchewan communities has

blossomed into an innovative regional partnership, which includes involvementin the Main Street pilot projects and increased community momentum.Culture Days in Saskatchewan, held the last weekend in September each year,continues to be part of the collaborative, pan-Canadian, annual movement that aimsto raise awareness, accessibility, participation and engagement by all people inthe cultural life of their local communities. It encourages community organizers tooffer interactive cultural activities at no charge to the public during the CultureDays weekend. Getting people to express their creativity and “try somethingnew” is seen as an opportunity to develop their interest and connections to thecultural community.

This past year, Culture Days in Saskat-chewan, which took place September 26-30,increased in popularity, with 180 cultural activities, from 36 different Saskatchewancommunities, registered in the national database, compared to the 130 activitiesregistered in its first year. It is estimated that well over 7,000 people participated inCulture Days this past year. There was a total of 6,000 events registered acrossCanada, and well over one million people participating nation-wide.

A key component of Culture Days in Saskatchewan, and enduring highlight, is theCulture Days Animateur program. Last year, SaskCulture built on its Animateurmodel, hiring four Saskatchewan artists to use their talents and creativity to“breathe life and meaning” into the Culture Days promotions and activities.

Over a five month period, the Culture Days Animateurs met with close to 850potential activity organizers, lead over 4,000 participants and in the end, helped to

Culture Daystwo years and growingB Y D I A N E E L L

It only took two years for Culture Days to capture theimagination of people in cities and towns throughoutSaskatchewan.


Paul Wilson, an award-winning author, editor, publisher and culturalworker from Regina, who has written four books and published nearly30 others, who travelled around southeast and southwest Saskatchewansharing the concept of “the Invisible Library”.

Culture Days 2011 in Numbers:

180CULTURAL ACTIVITIES

114ACTIVITY ORGANIZERS

65%OF ACTIVITIES FEATUREDINTERACTIVE ELEMENTS

7,000+PARTICIPANTS

23RURAL COMMUNITIES

36SASKATCHEWANCOMMUNITIES

56%OF ORGANIZERS HELD

MORE THAN ONE ACTIVITY

86%INTERESTED IN

PARTICIPATING AGAIN

Above: Culture Days participants makebannock as a part of the 2011 celebrations atWanuskewin. Previous page: Performer Andyshauf at the Creative City Centre in regina.

Darlene Williams, a choreographer, director, repetiteur, educator andfounding director of White Birch Ballet Company out of Saskatoon,focused on the north central and eastern side, providing advice tocommunity cultural leaders and presenting a dance project that invitedprogressive development from those involved.

The 2011 Culture Days Animateurs were:

Johanna Bundon, an independent artist whose practice includeschoreography and a physical approach to theatre creation, spent time inRegina and southern Saskatchewan, creating a Sound Walk, that wouldengage people in the culture embedded in the world around them.

Mindy Yan Miller, a mixed media artist and teacher living in NorthBattleford, visited classrooms and artists in the western part of theprovince, including a few local First Nations reserves, holding severalworkshops that engaged participants in making collages and sculptingclay heads.

register 107 different CultureDays activities. Many of theAnimateurs felt that thepersonal contact was integralto building relationships.

In 2011, SaskCulture alsooffered an additional fundingto groups to help them holdtheir activities. These fundsresulted in over 60 paidopportunities forSaskatchewan artists toengage others in culturalactivity during Culture Days.

In 2012, Culture Days plansare already underway.Culture Days will take placeSeptember 28-30, 2012 inSaskatchewan and acrossCanada. Join the movementat www.skculture.sk.ca.


“I would count my term as Artist Animateur for SaskCulture to beone of the most gratifying experiences I have had as a professionalartist.” Paul Wilson

180

114

65%

7,000+

23

36

56%

86%

Regina and Saskatoon have officiallybeen challenged. PotashCorp hasissued a city-wide challenge to both

communities to raise $50,000 each forCreative Kids. If these communities canrise to the challenge, PotashCorp willmatch the donations, dollar for dollar, byup to an amazing $100,000.

Creative Kids relies on the support of thecommunity,” explains Christie Nenson,fund development coordinator, CreativeKids. “We wouldn’t be able to give kids thechance to participate in cultural activitieswithout the generosity of individuals andorganizations. We want to give those whomay not normally have the chance to takethe same classes as their friends toparticipate with them, and give them thesame opportunities and experiences in artsand culture.”

Regina and Saskatoon Creative KidsCommittees have already been workinghard to secure donations, and thecommunity support has started to show.“We recently heard of an impromptusinging duet in Saskatoon with CarrieCatherine and the CEO of the SaskatchewanChamber of Commerce – they ended upraising $940.00, which is really $1880.00

Creative Kids and the

PotashCorp Challenge

“We want to give those who may not normally have thechance to take the same classes as their friends to

participate with them, and give them the sameopportunities and experiences in arts and culture.”

- Christie Nenson, Creative Kids Fundraising Coordinator

B Y M E I S H A N W A N


“The addition of staff forCreative Kids is a testamentto how this wonderfulprogram is addressing theneeds of children inSaskatchewan and thefuture of this program isbright and the potential ofwhat it can accomplish isvery real.”

- Dean Kush, Program Manager, SaskCulture

Above left and bottom right: Jerome Wang and samone Karner-Ashong are two of theparticipants who have already benefitted from the Creative Kids Program. top right:Creative Kids Provincial Committee: Peter sametz, reggie Newkirk, rick Korowich, Janseibel, tracey Knutson, David Millar and Christie Nenson.


with the PotashCorp challenge going onright now,” says Nenson.

Now that the program is gainingrecognition in Saskatchewan, the programhas begun to receive donations fromindividuals and different organizationsaround the province. “It has been great tosee the different ways that peoplecontribute to the program,” said Nenson.“Some people stop by the office and giveus cash, some people make a donation inhonour of a loved one or in honour of abirthday – we even received a donation inhonour of Julie Andrew’s 76th birthday!”

Donations have also been received byseveral cultural organizations, such asthe Organization of Saskatchewan ArtsCouncil (OSAC), the SaskatchewanChoral Federation, and DanceSaskatchewan. These organizationshave donated money raised from theirown events.

“Organizations like these understandthe importance of arts and culture to achild’s life and they have found creativeways to contribute” says Nenson. “Thebest thing about the program is that,

since all the administrative costs aresupported by SaskCulture, we are ableto tell our donors and sponsors that 100per cent of their donation goes directlyto the applicant, and that every pennydonated is a penny available to begranted.”

Besides Nenson, who will focus solelyon fund development, the Creative Kidsteam now includes Shawn Bauche asthe new Creative Kids ProgramCoordinator and Mei Shan Wan asProgram Support. Dean Kush, programmanager, responsible for Creative Kidsat SaskCulture, says, “The addition ofstaff for Creative Kids is a testament tohow this wonderful program isaddressing the needs of children inSaskatchewan and the future of thisprogram is bright and the potential ofwhat it can accomplish is very real.”

For information on Creative KidsVolunteer Opportunities, contactShawn Bauche, Creative KidsCoordinator at 306.780.9469 or email: [email protected] or visit www.creativekidssk.ca.

Prince Albert Historical Societyand Treaty Education B Y M E I S H A N W A N

teachers participate in training to learn how to betterutilize museums and artifacts in conjunction with thecurriculum to engage students.

creating an Aboriginal education resourcethat will be available to educators andtheir students when visiting the PrinceAlbert Historical Museum.

“The Society recognized that classroomteachers were mandated to provide aTreaty and Aboriginal component in theirinstruction,” says Harris May, secretary/treasurer, Prince Albert Historical Society.Lesson plans have been organized into amulti-grade and subject resource binderavailable to educators to support museumvisits.

“We had the opportunity to assist theseteachers in making better use of ourartifacts and informing the students thatour organization exists to assist them.”Lesson plans have been organized into amulti-grade and subject resource binderavailable to educators to support museumvisits.

“In preparing for the program, we realizedthat there is limited original artifact andarchival material available for the classroomteacher to use,” says May. “Schools areproviding the best Treaty and Aboriginalinstruction that is currently possible. Whatschools are lacking is the resources for themto use during their instruction,” sheexplains. “This program provided localinstructors with knowledge of ourcollection, information on how to find itemsin the collections, and how these itemsrelate to the education modules beingpresented to the students.”

Teachers from local school divisions fromacross the curriculum and grade levelsparticipated in the two- day workshop tocollaboratively create three lessons plans ina given subject and grade level thatsupported Treaty and Aboriginal education.Two project leaders were brought intoassist with the program. Michelle Taylor, anEducation Program Coordinator with adegree in Anthropology and a partial B.Ed.degree, and Kurtis Hamel, a board memberat the Society who graduated from SUNTEPand has extensive experience in teaching,as well as project management involvingproducing Métis-specific resources tosupport the Saskatchewan EducationCurriculum. Both project leaders workedwith teachers to ensure that the plans werealigned with Saskatchewan curriculum andthe Office of the Treaty CommissionerTreaty Education Curriculum.

The first lesson is a pre-museum visit plan to

The Prince Albert Historical Societyunderstands that passing on acomplete history and current

reflections about Treaty education inSaskatchewan is important.

Early this year, the Society began planningthe Treaty and Aboriginal EducationProject - a cross-curricular projectorganized in partnership with local schooldivisions, and the Saskatchewan UrbanNative Teacher Education Program(SUNTEP). The partnership worked on


Teachers from local schooldivisions from across thecurriculum and grade levelsparticipated in the two- dayworkshop to collaborativelycreate three lessons plans ina given subject and gradelevel that supported Treatyand Aboriginal education.

The project’s vision is toprovide Aboriginaleducational opportunitiesto educators and theirstudents, provide hands-on learning opportunitiesat the Museum, andprovide meaningfulAboriginal educationresources that supportSaskatchewan curriculumand inquiry-basedlearning.

prepare students for the visit. The secondand third lessons incorporate tangibleactivities that allow students to handleartifacts and to participate in hands-onactivities that are to be implemented whilevisiting the museum.

“Instructions on how to use an artifact, orarchival information posted on the Internet,and the opportunity to read the archivalrecords and identify with older generationsare but a few of the hands-on learningopportunities that are available at themuseum,” says May.

The project’s vision is to provide Aboriginaleducational opportunities to educators andtheir students, provide hands-on learningopportunities at the Museum, and providemeaningful Aboriginal education resourcesthat support Saskatchewan curriculum andinquiry-based learning. “By providing accessto the collection with the assistance ofeducators, we hope to assist in providingknowledge and pride in our multiculturalheritage. We hope to see increased social

teachers work collaboratively with workshop facilitators to create three lesson plans focusing on treaty education.

interaction and understanding betweencultures. We hope this project will nurture anappreciation for the work done in museumsand archives that shape and expand theknowledge of our heritage,” she says.

The Society received funding for thisproject through SaskCulture’s MulticulturalInitiatives Fund. The Society is governed bya board of directors and 16 volunteers.

It currently has 86 members, 36 of whomvolunteer in various capacities. The archivenow contains over 325,000 images anddocuments and 12,000 artifacts. The Societyprovides tours of its museums and city,outreach to senior homes and service clubs,and research for visitors and historians. Ithas a long history with artifacts dating backto 1886. This year marks the centennial ofthe first aircraft to land in the city. TheSociety will be partneringwith Prince Albert Tourismto host a centennialcelebration of built heritageand aircraft this summer.


Nations reserves other institutions such asthe Synchotron in Saskatoon or theEsterhazy Potash mine.

“What really happens in a residency istransformation,” explains Greyeyes. “Theprofessional artist who has the training inany discipline works collaboratively toengage the community in innovativeartistic activity, creating opportunities thatmight not normally exist. It should workon multiple levels. It should introducepeople who have no experience to the artform. It should also help advance thepractice of those in the community whoalready have some basic skills andknowledge. And finally, it should be acollaboration and mentorship betweenindividuals and the senior artist.”

The writer-in-residence writing therapyproject that involved Saskatchewan writerTed Dyck and the Canadian Mental HealthAssociation (Saskatchewan Division) isanother great example. “Since theinception of the pilot project in 2009, theproject has continued to find great successin using writing to provide therapeuticsupport for mental health clients,” saysGreyeyes. “The successful ExplorationsWriting for TherapyProject and Writing forYour Life Project haveproduced an impressiveshowcase of talentedwriters in Saskatchewan.”

This year, Saskatchewan artist LauraHale has been hired to creativelyengage others in celebrating the

100th anniversary of the SaskatchewanLegislature Building.

Through this new artist-in-residenceopportunity, people will have theopportunity to learn more aboutSaskatchewan’s historic Legislativebuilding, as well as more about the artistsand artistic legacy that marks the occasion.Hale, who has held other residencies in theprovince, as well as being the first CultureDays Animateur in 2010, will serve as artistcoordinator, overseeing the work of eightother residences with different guestartists that will ultimately result in onelegacy artwork for display.

This new artist-in-residence programdelivered in partnership by theSaskatchewan Ministry of Parks, Cultureand Sport, the Provincial CapitalCommission and the Saskatchewan ArtsBoard, as part of the Creative PartnershipsProgram, which receives fundingassistance from SaskCulture andSaskatchewan Lotteries Trust Fund forSport, Culture and Recreation.

The artist in residence program at theSaskatchewan Legislature is one of nearly20 artist residencies currently underway inthe province, and one of hundreds heldover the years thanks to the innovativeCreative Partnerships Innovations andExplorations programs, supportedcollaboratively by the Saskatchewan ArtsBoard and SaskCulture.

“The success of partnerships like thiscome from the fact that in Saskatchewanwe have always accomplished great thingsby working together and sharing

resources and expertise,” says CarolGreyeyes, arts consultant, SaskatchewanArts Board.

“In the past, the artist-in-residenceprogram was a way to get artists into ruralcommunities where access to the arts wasalmost non-existent, but it began tostimulate a real curiosity about what theseartists were doing,” she says. Since thoseearly days, the program, now known aspart of the Creative Partnerships Program,has grown to include residencies inschools, businesses, municipalities, First

Artists part of SaskatchewanLegislative Building celebrations B Y M E I S H A N W A N


New artists announced for the saskatchewan Legislature Anniversary project appear with hon. Kevin Doherty,Minister of Parks, Culture and sport. Artists (left to right) Laura hale, terri Fidelak, Allan Dotson, Minister Doherty,Miranda Jones, heather Cline, Anita smith and sandra Ledingham. Missing: robert Assie.


Sport, Culture and Recreation Districtssport, Culture and recreation Districts have been established in saskatchewan to assist community sport, culture and recreation leadersand those who are seeking information on participation or program opportunities. the mandate of the Districts is to focus on facilitatingcommunity development and coordinating networks within their district, with the aim of enhancing access to sport, culture and recreationprograms and services in the province. Contact your district to find more information:

Southeast Connection Sport, Culture and Recreation District Inc.Joni Hagen, Executive Director157 - 3rd Street NE, P.O. Box 370, Weyburn, SK S4H 2K6Ph: (306) 842-2188 Fax: (306) 842-2186Email: [email protected]

Regina Sport DistrictDan Frank, General Manager #201 - 1860 Lorne Street, Regina, SK S4P 2L7 Ph: (306) 780-9274 Fax: (306) 781-6021 [email protected] www.reginasport.ca

South West District for Culture, Recreation and Sport Inc.Christie Saas, Executive Director #415 – 310 Main Street North, Moose Jaw, SK S6H 3K1Ph: 306-694-7934 Fax: 306-694-7907Email: [email protected] www.swdcrs.ca

Parkland Valley Sport, Culture and Recreation District Inc.Sheila Hryniuk, Executive DirectorP.O. Box 263, Yorkton, SK S3N 2V7 Ph: (306) 782-3353 Fax: (306) 782-3354 Email: [email protected] www.parklandvalley.ca

Prairie Central District for Sport, Culture & Recreation Inc.Stephanie Cuddington, Executive Director Box 818, Wynyard, SK S0A 4T0 Ph: (306) 554-2414 Fax: (306) 554-2412 Email: [email protected] www.pcdscr.ca

Saskatoon Sport DistrictShane Carter, Executive Director 510 Cynthia Street, Saskatoon, SK S7L 7K7 Ph: (306) 975-0830 Fax: (306) 242-8007 Email: [email protected]

Rivers West District for Sport, Culture and Recreation Inc.Donna Johnston-Genest, Executive Director P.O. Box 1480, Rosetown, SK S0L 2V0 Ph: (306) 882-3030 Fax: (306) 882-2744 Email: [email protected]

Lakeland District for Sport, Culture and Recreation Inc.Lyle Campbell, Executive Director Box 280, Prince Albert, SK S6V 5R5 Ph: (306) 953-1623 Res: (306) 763-4873 Fax: (306) 952-1624 Email: [email protected] www.lakelanddistrict.ca

Northern Sport, Culture and Recreation District Inc.Michelle Hewison, General Manager Box 1097, La Ronge, SK S0J 1L0 Ph: (306) 425-3127 Fax: (306) 425-4036 Email: [email protected] www.nscrd.com

Northern Sport, Culture and Recreation District Judy MacLeod Campbell, Program Manager of Culture andCommunity Development#301 1008 – 1st Ave. West, Prince Albert, SK S6V 4Y4 Ph: (306) 922-2008 Fax: (306) 922-2021Email: [email protected]

the Whooping Crane Centre, onto thepresent building.” The museum receives aSaskCulture Museum Grant that will assistin preparing the new exhibit.

“People like to visit places featuring naturalhistory,” says Finley. “This part of theprovince is a long way from Regina and theRoyal Saskatchewan Museum. The proposedWhooping Crane Centre will be a greatfacility for locals, visitors and particularly forthe students in the schools of the area. Itwill be a very interesting tourist drawingcard for the west-central part of theprovince.”

Creation of interactive displays of theLuseland area and featuring the WhoopingCrane is planned for the museum’s newwing. The Royal Saskatchewan Museumhas donated a man-made Whooping Craneegg that was previously on display in theirWhooping Crane diorama.

Other items for display include a copy of a1922 government notice concerning thedanger of extinction of these marvellousbirds, and a large painted mock-up ofWhooping Crane parents and their chickmade out of ply-wood.

Luseland wild about whooping cranesB Y S H A U N N A G R A N D I S H


Whooping Cranes oncepopulated the Luselandarea, which is locatedabout a two-hour drivewest of Saskatoon, andthe Luseland andDistrict Museum isspearheading aninitiative to revive thepresence of thismagnificent bird.

The Town of Luseland is preparing towelcome back a former resident. TheLuseland and District Museum is

planning to add a new wing to their centrethat will focus on educating the publicabout Whooping Cranes. According to ValFinley, volunteer at the Luseland andDistrict Museum, “The museum received alegacy this past December, which willenable it to build a much needed addition,


Finley believes it is very important for childrento learn about Whooping Cranes, which is thetallest bird in North America, because theLuseland area was the flight path for theseunique migratory birds. “We have hadenthusiastic meeting with the school. At thispoint we see this as an ongoing educationalproject, which is very exciting,” said Finley.

The Whooping Crane was declared anendangered species in 1967 after decades ofpopulation decline due to over hunting andhabitat loss, which pushed the species to thebrink of extinction with just 21 birds in the wildin 1941. Since 1941, conservation efforts haveslowly brought the Whooping Crane numbersto around 400 in the wild today. WhoopingCranes are protected in Canada and the USunder the Migratory Bird Convention Act.

Finley said she feels optimistic about WhoopingCranes coming back to the area since theInternational Crane Foundation hasexperimented with various ways ofreintroducing the birds and they seem to behaving success.

Having students involved with opportunities tolearn about the bird through school will help tocreate an awareness of wildlife and theresponsibilities of conservation that will ensurethe Whooping Cranes’ future, said Finley.

Above: Nature experts Dr. George Archibald, Bill Cholin andLorne scott at shallow Lake. Previous Page: Lorne scottand Bill Cholin helping with the Whooping Crane centre.Photos courtesy of val Finely, Luseland museum.

Throughout the summer of 2011, Graham, afilm production student, had the once in alifetime opportunity to work at theSaskatchewan Filmpool Cooperative (theFilmpool). “I was hired on as a ProductionTeaching Assistant. The primary role of theposition was to help develop and instructthe SaskFilm Summer Film Camp.However, the camp is only one week in thesummer and there was plenty of work tobe done in the office before and after,”says Graham.

The Filmpool is a non-profit artist runcentre which supports, encourages andassists independent, visionary filmmakingin Saskatchewan. The Filmpool hiredGraham as a summer student with asubsidy from the Student Summer Worksprogram, which is administered bySaskCulture on behalf of the provincialgovernment.

One of the main projects Graham workedon over the summer was the organization,administration and instruction of theSaskFilm Summer Film Camp. According toGordon Pepper, executive director of theFilmpool, “Designing, organizing andpresenting the camp is an ambitious andtime consuming endeavour, whichrequires the services and resources of

both Filmpool staff and summer employ-ment assistance. So having the ability tohire a summer student to assist in thedelivery of the summer camp is essentialto its success.”

The annual summer camp, now in itsseventh year, helps young filmmakerslearn how to create stories visually, usingall kinds of film and video equipment.Participants shoot and edit all week long;trying out different film crew positions andworking together to create severalamazing short films. Graham’s roots infilmmaking go back to his teens when hewas a participant in the summer camp. Hesays “Film camp was crucial in mydevelopment and while working with theFilmpool, I had the wonderful opportunityto give back to the community andhelp encourage a new generationof young filmmakers.”

Graham also played a keyrole in anotherFilmpool project overthe summer as well.The 48 Hour FilmmakingFrenzy involved teamscoming up with an idea,shooting it, and processing,then editing a 16mm film for a

Summer employment at the Filmpoolbeneficial for all B Y M I C H E L L E B R O W N R I D G E

screening to be held at the Filmpool, allwithin 48 hours.

According to Berny Hi, productioncoordinator, it’s a pretty exciting and franticcouple of days. “It’s really a crash course infilmmaking,” he says. “Participants havethe opportunity to shoot two rolls of 16mmfilm, develop it themselves in a darkroom,then edit it all together and develop asoundscape.” Pepper adds that it is anopportunity for young filmmakers toexperiment with traditional filmmakingtechniques, such as working with celluloidfilm and learning where words like“cutting” and “splicing”, which are nowreadily used in the digital film world,originated.

As a summer student, Graham also did anumber of other duties around theFilmpool including cataloguing andarchiving the Filmpool archive, designing aprofessional DVD for the film camp andmaintaining and preparing equipment forthe membership. Pepper says, “It’s oftenthese skills, that some might considertrivial, such as learning how to checkequipment for damage after it is returned,that are really valued in the real world.They garner a lot of respect in the industry.Just by being at the Filmpool, Mattias wasable to pick up this knowledge.”

Aside from the responsibilities of the campand the Frenzy, Graham worked togetherclosely with Filmpool staff and educatorsand the experience served as an excellentopportunity to meet professional videoproduction personnel within the industry.Graham attests to this, “Working at theFilmpool opened a whole new realm ofpossibilities. Working with a small team in

culture prepares you to work in anyartist-run centre. Already this year, I

have a similar opportunity lined up inMontreal, directly due to my

experience at the Filmpool.Overall, the Filmpool gave me

the confidence and tools tocontinue in what is a harsh

industry no matterwhere I am.”

It’s not often that a budding filmmaker finds a summer job thatwill complement his or her future career and passion perfectly,but that was just the case for Mattias Graham.


Youth participate in instructional sessions at the saskFilm summer Film Camp last year.

Board of Directors

Reggie Newkirk, PresidentPeter England, Past PresidentJames Ingold, Vice PresidentCheryl AveryDavid CormicanBula GhoshPat GraystonJames HawnJennifer HolmesGwen KingHarvey KnightJoseph OtitijuLaurel ReimcheBrenda ShenherStaff – Rose GilksStaff – Nichole Williams

Board CommitteesEligibility CommitteeJames Ingold – ChairCheryl AveryPeter EnglandBula GhoshJames HawnJennifer HolmesGwen KingJan SeibelStaff – Dean Kush

Audit CommitteeDavid Cormican – Chair Kelly Antill, CCACheryl AveryLaurel ReimcheStaff – Gloria WalshStaff – Rose GilksStaff – Janice Kyle

Nomination CommitteePeter England – Chair Amy BrileyIngrid CazakoffBula GhoshMarnie GladwellBrenda ShenherKara StonechildStaff – Nichole Williams

Spending Plan CommitteeReggie Newkirk – Chair David CormicanPeter EnglandBula GhoshPat GraystonJames IngoldHarvey KnightJan SeibelStaff – Gloria Walsh

General Manager Review and Succession Planning CommitteeReggie NewkirkPeter EnglandJames IngoldCheryl Avery

Saskatchewan Lotteries CommunityGrant Program and CommunityDevelopment FundHarvey KnightReggie Newkirk

Saskatchewan Lotteries Trust Fundfor Sport, Culture and RecreationPeter England

Strategic Committee for Sport,Culture and Recreation DistrictsJoseph OtitojuStaff – Dennis Garreck

First Nations and Métis Advisory CircleBernice AramenkoApril Buffalo - RobeNorma Jean ByrdLeevon DelormeRay FoxHarvey KnightSandra LachanceMarie T. LedouxLarry OakesLouise OelkeDarren OkemaysimMarian OtterLinda YoungStaff – Damon Badger Heit

2011-12 AdjudicatorsAboriginal Arts and Cultural Leadership Grant Bernice AramenkoHeather DillonAdam MartinWilliam MintramLeonard MontgrandStaff – Damon Badger Heit

Capacity Building Grant Cheryl Bauer HydeTerry BoyerFlo FrankGary GullicksonJan SeibelStaff – Dennis Garreck

Métis Cultural Development FundJennifer AltenbergPatricia BigstoneTerry BoyerModeste McKenzieSheila PochaStaff – Damon Badger Heit

Multicultural Initiatives FundJolee BlackbearVickie ClarkeJyotsna CusteadRenu KapoorGerry RueckerStaff – Paul Gingras

Municipal Cultural Engagement and Planning GrantCorey BowersBruno KossmannJudy MacLeod CampbellMarvin SandersonStaff – Dennis Garreck

Museums Grant ProgramGailmarie AndersonDavid KlattAnnette LabelleKristine MontgomeryValerie MulhollandDolores NeilDonald SteinWendy ThienesTerrie TopolaHeather Wilson-GerbrandtKristi YarshenkoStaff – Paul Gingras

Student Summer Works ProgramDavid DahlgrenModeste McKenzieJan SeibelStaff – Shawn Bauche

Creative Kids Provincial CommitteesProvincial Steering CommitteeDr. David Millar, S.O.M. – Chair Tracey KnutsonJanette SeibelPeter SametzReggie NewkirkStaff – Christie NensonStaff – Mei Shan Wan

BattlefordsJane Zielke – ChairCynthia Tymoruski, TreasurerAmanda FisherElaine PoirierSiobahn GormelyPearl FisherMaria Jones

Town of Big RiverPaulette Atchison – ChairCarla ChadwickCharlene PuddicombeMila PiszYvonne Netlson-Olsen

LakelandCheryl Bauer-Hyde – ChairCrystal ClarkeErica CochraneBryce MichaelMelissa SissonErin Standish

ReginaTracy Knutson – ChairJo-Jo AmichandMichelle CarrSarah HoneysettKendra NixonDouglas StroudJason SylvestreKeely Tyler

ShaunavonCathy Smith – ChairFaye Anderson, Past-ChairAnne Bennett, SecretaryWendy Thienes, TreasurerTammy WillmanVivienne MacNeilLinda PomeroyDianne Greenlay

SaskatoonJami Young – ChairJill PeltonVinesh KohliCandice KloebleDanielle DutkaLasha HachéJody Hobday-KuschAngela KempfTracy Schiele

SaskCulture StaffRose Gilks, General Manager

Damon Badger Heit, First Nations and Métis Coordinator

Shawn Bauche, Creative Kids ProgramCoordinator (as of Feb. 15, 2012)

Peter Brass, Culture Days Project Coordinator (ended Feb. 29, 2012)

Michelle Brownridge, CommunicationsCoordinator (as of Feb. 1, 2012)

Diane Ell, Communications Manager

Dennis Garreck, Community Outreachand Development Coordinator

Paul Gingras, Organizational Outreachand Development Coordinator

Shaunna Grandish, Organizational Support

Dean Kush, Program Manager

Janice Kyle, Business Administrator

Christie Nenson, Creative Kids Fundraising Coordinator (as of Feb. 1, 2012)

Angie Sawatzky, Grants Administrator(as of Feb. 1, 2012)

Gloria Walsh, Administration Manager

Mei Shan Wan, Program SupportCreative Kids/General

Nichole Williams, Executive Assistant

23

2011-2012 Boards and Committees

24

Summarized Financial Statements May 31, 2012

Management’s Responsibility

to the Members of saskCulture Inc.:

Management is responsible for the preparation and presentationof the accompanying financial statements, including responsibilityfor significant accounting judgments and estimates in accordancewith Canadian generally accepted accounting principles andensuring that all information in the annual report is consistentwith the statements. This responsibility includes selectingappropriate accounting principles and methods, and makingdecisions affecting the measurement of transactions in whichobjective judgment is required.

In discharging its responsibilities for the integrity and fairness ofthe financial statements, management designs and maintains thenecessary accounting systems and related internal controls toprovide reasonable assurance that transactions are authorized,assets are safeguarded and financial records are properlymaintained to provide reliable information for the preparation offinancial statements.

The Board of Directors is composed of Directors who are neithermanagement nor employees of the Corporation. The AuditCommittee, which is appointed by the Board, is comprised ofdirectors and other community volunteers who review thefinancial statements in detail with management and report to theBoard prior to their approval of the financial statements forpublication.

MNP LLP, an independent firm of Chartered Accountants, isappointed by the members to audit the financial statements andreport directly to them; their summarized report follows. Theexternal auditors have full and free access to, and meetperiodically and separately with, both the Audit Committee andmanagement to discuss their audit findings.

May 15, 2012

Rose GilksGeneral Manager

Independent Auditors’ Report

to the Members of saskCulture Inc.:

The accompanying summarized financial statements, whichcomprise the balance sheet as at March 31, 2012 and thestatement of operations for the 8-months then ended are derivedfrom the complete financial statements of SaskCulture Inc. as atMarch 31, 2012 and for the 8 months then ended, on which weexpressed an opinion without reservation in our report datedMay 15, 2012.

These summarized financial statements do not contain all thedisclosures required by Canadian generally accepted accountingprinciples. Readers are cautioned that these statements may notbe appropriate for their purposes. For more information onSaskCulture’s financial position, results of operations and cashflows, reference should be made to the related complete financialstatements.

Management’s responsibility for the summarized Financialstatements

Management is responsible for the preparation and fairpresentation of a summary of the audited financial statements inaccordance with Canadian generally accepted accountingprinciples.

opinion

In our opinion, the summarized financial statements derived fromthe audited financial statements of SaskCulture Inc. for the8 months ended March 31, 2012 are a fair summary of thosefinancial statements, in accordance with Canadian generallyaccepted accounting principles.

Regina, SaskatchewanMay 15, 2012

Chartered Accountants

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2011/2012 Fiscal Year PLEASE NOTE: The fiscal year of the Saskatchewan LotteriesTrust Fund for Sport, Culture and Recreation represents the12-month period of April 1, 2011 to March 31, 2012.

OverviewSaskatchewan’s lottery system is built on a complementaryrelationship that exists between the Government ofSaskatchewan and the volunteer-driven, non-profit sport, cultureand recreation communities. Saskatchewan Lotteries Trust Fundfor Sport, Culture and Recreation, established in 1974, is a uniquepartnership of SaskCulture Inc., Sask Sport Inc. andSaskatchewan Parks and Recreation Association Inc. (S.P.R.A.).Through a license agreement with the provincial government,these partners administer all funds generated from the sale oflottery tickets in Saskatchewan to support volunteer-drivensport, culture and recreation organizations and activities forpeople of all ages and abilities throughout the province.

The partners share responsibility in the overall governance andpolicy direction of their respective Sections of the Trust. As well,partners jointly deliver programs that support all three areas ofsport, culture and recreation.

The Trust Fund provides funding to over 12,000 sport, cultureand recreation groups in more than 1,000 communities, ruralmunicipalities, First Nations, and non-profit organizations.

Culture Section of the Trust As Trustee for the Culture Section of the Trust (CST),SaskCulture supports cultural activities offered by a variety ofdifferent cultural organizations and groups throughout theprovince, as well as SaskCulture itself.

Funding levels of the Trust surpassed expectations in the 2011/12fiscal year, with lottery ticket sales totaling $184.4 million. Thisprovided the CST with over $18 million for distribution, whichincluded a total contribution exceeding $3 million to theCommunity Grant and Community Development Funds.

The stable revenues in the 2011/12 fiscal year enabledSaskCulture to continue pre-funding the CST to allow allbeneficiaries of lottery funding the confidence that funding is inplace as they mobilize their strategies and plan for the future.

The maintenance of lottery funding levels depends oncontinued efforts by beneficiary groups to promoteSaskatchewan Lotteries and encourage lottery ticket sales.Beneficiary groups also play an important role as advocates insupport of the benefits of sport, culture and recreation toSaskatchewan communities. The continued support ofvolunteer organizations in Saskatchewan through the lotterylicense agreement is based on recognition of the importance ofsport, culture and recreation to community life.

Guiding PrinciplesSaskCulture ensures that arms-length adjudication processes areused to support all funding decisions assigned to the Trustee forthe CST. Funding committee members are guided in this workby the Saskatchewan Lotteries Trust Fund Agreement andSaskCulture's Cultural Policy.

The Trust Fund Agreement emphasizes support for accessiblesport, culture and recreation opportunities through activitiesthat provide for:

• enhanced quality of life of Saskatchewan people through the provision of quality sport, culture and recreation programs;

• services that improve the economic and social viability of communities and the province;

• equitable program opportunities for all Saskatchewan residents, regardless of age, gender, geographic location, or economic or social circumstances;

• engaging Saskatchewan people through sport, culture and recreation so that they are proud of and informed about the province;

• facilitating involvement of volunteers in sport, culture and recreation through effective volunteer management practices;

• improving physical activity and health outcomes for Saskatchewan people; and

• ensuring openness and accountability for the use of public funds.

The funding provided by the Culture Section of SaskatchewanLotteries Trust Fund is guided by SaskCulture in its role asTrustee for the CST. SaskCulture's own Cultural Policy is the toolthat it uses to set the policy framework for funding decisions.The Cultural Policy places emphasis on:• cultural impact; • participation and access;• organizational effectiveness; and• high standards of accountability.

SaskCulture’s Cultural Policy supports cultural activity that is inline with SaskCulture’s Ends and the Government ofSaskatchewan’s Cultural Policy – Pride of Saskatchewan: A PolicyWhere Culture, Community and Commerce Meet. Both of thesedocuments speak to greater accessibility and inclusiveness.

SaskCulture’s 14-person volunteer Board of Directors has overallresponsibility for the development of policy, as well as thespending plan for the CST. The Board also determines theamount of funding to be allocated to each funding blockannually. This work is done by the Board between January andMarch of each year in accordance with the fiscal year of theTrust.

SASKATCHEWAN LOTTERIES TRUST FUND FOR

Sport, Culture and Recreation

27

For the fiscal period ending March 31, 2012, funds allocated from the Culture section of the trust:

FuNDING BLoCK CAteGorY ALLoCAtIoN Net oF returNs (IN $)2011/12 2010/11

Eligible Organizations Annual Global Funding 6,979,123 6,342,620

Special Funding (eligibility related) 50,000 270,000

suBtotAL 7,029,123 6,612,620

Grant Programs Delivered by SaskCulture:

Aboriginal Arts and Culture Leadership Grant 375,000 299,582

Capacity Building Grant 195,836 399,462

Métis Cultural Development Fund 75,904 239,446

Multicultural Initiatives Fund 224,377 510,000

Museum Grant Program 759,686 968,194

Municipal Cultural Engagement and Planning Grant 225,000 390,000

Culture Days Grant (New) 100,000 0

suBtotAL 1,955,803 2,806,684

Delivered through SAB partnership:

Creative Partnerships 473,750 597,350

ArtsSmarts/Treaty Smarts 150,000 231,650

Festivals Grant Program 476,700 454,890

Gallery Grant Program 307,500 230,000

Media Arts Grant 250,000 250,000

SAB Program Delivery 139,050 135,000

suBtotAL 1,797,000 1,898,890

SaskCulture Block SaskCulture Operations 1,611,652 2,187,000

Other Strategic Initiatives -405,500 405,500

Global Functions 253,494 663,534

Communities of Interest 739,109 988,060

suBtotAL 2,198,755 4,244,094

Tri-Partite Block (Culture's share) Administration Centre 150,638 146,260

Federation of Saskatchewan Indian Nations 56,805 55,160

suBtotAL 207,443 201,420

totAL 13,188,124 15,763,708

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For the fiscal period ending March 31, 2012, the Culture section of the trust (Grants Allocated):

FuNDING BLoCK Per CeNt % 2011/12 ($)

Eligible Organizations AGF 53% 7,029,123

Program Funds (SC Delivered) 15% 1,955,803

Program Funds (SAB Delivered) 14% 1,797,000

SaskCulture Block 16% 2,198,755

Tri-Partite Block (Culture's Share) 2% 207,443

totAL 100% 13,188,124

Lottery funding is an important part of the public resourcesused to support volunteer, non-profit organizations involved indelivering sport, culture and recreation programs and servicesto the citizens of Saskatchewan. The majority of the CultureSection funds (over 53%) are distributed to EligibleOrganizations through the Annual Global Funding (AGF)program, which has been in place since 1984. The AGF programsupports the annual operations of cultural organizations,identified on the Minister’s Eligibility List, recognized for theirrole in this delivery system.

AGF is a multi-year, operational grant that providesorganizations with a broad base of financial assistance, whileallowing a high degree of freedom as to how funding is spent.

The flexibility of this grant program has been instrumental infostering the growth of many diverse cultural activitiesthroughout the province.

AGF supports a tremendous infrastructure that empowersSaskatchewan’s volunteer-driven, cultural community to delivera wide selection of activities throughout the province. Over1,500 eligible member organizations are active in communitiesthroughout the province. AGF finances the base of operations,that has enabled many of these organizations to leverageadditional grants and corporate funds. AGF also supports thecontinued stability of Eligible Organizations’ operations, whichenables successful long-term programs and partnerships.

the various programs and services supported by the Cst include:

Annual Global Funding for Eligible Organizations

Funding Block as of March 31, 2012

Eligible Organizations AGF

Program Funds (SC Delivered)

Program Funds (SAB Delivered)

SaskCulture

Tripartitie Block

53%

15%

14%

16%

2%

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GrANt ProGrAM Per CeNt % 2011/12 ($)

Aboriginal Arts and Culture Leadership 10% 375,000

Capacity Building Grant 5% 195,836

Métis Cultural Development Fund 2% 75,904

Multicultural Initiatives Fund 6% 224,377

Museum Grant Program 20% 759,686

Municipal Cultural Engagement and Planning 6% 225,000

Culture Days Grant 3% 100,000

Creative Partnerships 12% 473,750

ArtsSmarts/TreatySmarts 4% 150,000

Festivals Grant Program 13% 476,700

Gallery Grant Program 8% 307,500

Media Arts Grant 7% 250,000

SAB Program Delivery 4% 139,050

totAL 100% 3,752,803

Grant Programs as of March 31, 2012

Aboriginal Arts and Culture Leadership Grant

Capacity Building Grant

Métis Cultural Development Fund

Multicultural Initiatives Fund

Museum Grant Program

Municipal Cultural Engagement and Planning

Culture Days Grant

Creative Partnerships

ArtsSmarts/TreatySmarts

Festivals Grant Program

Gallery Grant Program

Media Arts Grant

SAB Program Delivery

13%

4%

8%7% 4% 10%

5%

12%3% 6%

20%

6%

2%

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Aboriginal Arts and Cultural Leadership Grant The Aboriginal Arts and Culture Leadership (AACL) Grant aims tosupport Aboriginal arts and culture leadership at the individual,group and community levels. The program builds capacity inAboriginal communities through the development of arts andculture leaders. This creates cultural opportunities aimed atenhancing skill development, personal growth and positivelifestyles. It will also increase the number of Aboriginal peoplewith the skills and training to work with and support culturalprogramming. Finally, it will develop the organizations andcultural leadership needed to assess community needs, to buildcommunity linkages and to effectively plan and implementcultural programs. The two deadlines for funding submissionsare April 15th and October 15th. In 2011, 27 initiatives wereapproved through this program.

Capacity Building GrantEstablished in April 2008, the Capacity Building Grant (CBG)supports the building of capacity within cultural organizationsto respond to emerging needs in the cultural community, and tosupport new initiatives/opportunities outside of the currentoperations of the applicant. Its intent is to complement, ratherthan replace, or duplicate, existing support to culture. Fundingis offered twice per year – May 7th and October 15th. In 2011,48 applications were approved.

Métis Cultural Development FundEstablished in February 2001, in recognition of the need forsupport to be directed to the Métis community, the MétisCultural Development Fund (MCDF) supports community-basedcultural activities and initiatives that preserve and pass on Métisculture and traditions. This fund is administered in partnershipwith members of the Métis community and promotion byGabriel Dumont Institute. Applications are accepted for twodeadlines annually, April 30th and October 31st. In 2011, 20Métis cultural groups were supported through this program.

Multicultural Initiatives FundEstablished in 1999, the Multicultural Initiative Fund (MIF)supports ethno-cultural, multicultural, First Nations and Métisinitiatives, projects and activities aimed at the advancement ofmulticulturalism in Saskatchewan. Multicultural activities aresupported in the areas of cultural identity, interculturalunderstanding and issues related to social justice and harmony.The Multicultural Initiatives Fund supports programs thatincrease access to cultural activities for Saskatchewan people,particularly in areas not already supported through conven-tional funding systems. This program offers funding three timesper year – January 31st, March 15th and September 30th. In2011/12, 14 organizations applied for operational support and44 MIF projects were approved through this program.

Museum Grant Program The Museum Grant Program (MGP), which transferred into thelottery delivery system from government in 1991, providesoperational support to museums throughout the province. Theprogram supports and promotes the advancement towards

operational excellence in Saskatchewan museums and supportsthe work of over 100 community museums throughoutSaskatchewan each year. The Museum Grant Programcomplements the training programs and standards developedby the Museums Association of Saskatchewan. The annualdeadline for applications is November 30th. This past year,117 museums received operational funding under this program.

Municipal Cultural Engagement and Planning GrantIntroduced in April 2011, the Municipal Cultural Engagement andPlanning Grant is intended to encourage both urban and ruralmunicipalities, and First Nations bands, to invest in culturalengagement and cultural planning. The matching grant aims tosupport Saskatchewan municipalities to explore and plan for thecreative and cultural potential of their community, and supportspartnerships that promote cultural vitality, creativity andeconomic sustainability. The annual deadline date for appli-cations has been changed to October 31st. In 2011, 18 differentcommunities throughout the province – La Loche to Val Marie,Yorkton to Maple Creek - were approved for this grant.

Funding programs delivered by the saskatchewanArts Board (sAB), on behalf of saskCulture. Forinformation on these grants, visitwww.artsboard.sk.ca

ArtsSmarts/TreatySmarts SaskCulture, Saskatchewan Arts Board (SAB) and the Ministry ofEducation work together on this program to offer arts andeducation grants to schools, artists and community partnershipsfor innovative projects in any art form that bring K-12 studentsand professional artists together. TreatySmarts encouragesteachers to employ the ArtsSmarts model to inquiry-basedprojects related to treaty knowledge and concepts.

Creative Partnerships - Innovations and Explorations GrantThese funding programs provide opportunities for public accessto the arts and responds to community needs for developmentin the arts by engaging Saskatchewan artists to work and residein communities for a period anywhere from six months to twoyears. Formerly known as the Artist in Residence Program, theCreative Partnerships program places an artist in a particularresidency in a community, school, health or justice institution,business, municipality, or First Nations reserve. The program isdivided into two separate grants: the Partnerships ExplorationsGrant provides the applicant with the opportunity to complete acommunity assessment to determine its needs; while thePartnership Innovations Grant covers different artist/applicantcollaborations.

Gallery Grant Program Resources are pooled with the SAB’s Professional ArtsOrganization fund, to provide gallery funding to 11 not-for-profitart galleries and two artist-run collectives annually to supporttheir operational costs.

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Funding Programs delivered by saskCulture visit www.saskculture.sk.ca for program details and a list ofgrant recipients

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Festivals Grant Program (SaskFestivals) This program provides funding towards administrative and artisticcosts for Saskatchewan cultural festivals. Over 30 Saskatchewanfestivals, celebrating the arts, multiculturalism and youth, aresupported each year.

Media Arts GrantTransferred from a member funding program of the SaskatchewanMotion Picture Association in 2008, the Media Arts Grant providesoperational support to non-profit, community-based film, video andnew media organizations throughout the province.

SAB Program DeliveryThe Saskatchewan Arts Board delivers these five programs througha partnership agreement with SaskCulture. This operational grant isprovided to the SAB to assist with the costs associated with theadjudication, administration and overall program delivery of thesefunding programs.

SaskCulture BlockSaskCulture OperationsThis funding includes an annual operating grant to SaskCulture itself,as well as support to some ongoing, or new, initiatives that benefitthe entire system. SaskCulture has 15 full-time staff positions.

Global FunctionsThis fund gives SaskCulture the capacity to respond to significantopportunities and build partnerships that will benefit the culturalcommunity as a whole. This past year, Global Functions supportedCreative Kids, Culture Days, Youth Heritage Fairs, “Spirit of ourNations” Pow Wow, Tourism Saskatchewan, bonding and liabilityinsurance for Eligible Organizations, and the Saskatchewan NativeTheatre Company.

Communities of Interest (COIs)In order to contribute to an effective SaskCulture, which is fullyrepresentative of, and informed by the cultural community as awhole, SaskCulture contracts services or provides support throughthe appropriate mechanisms to engage its COIs. These funds includesupport for the Saskatchewan Arts Alliance as the mechanism for theArts COI, support for Heritage Saskatchewan, Saskatchewan CulturalIndustries Development Council, and the First Nations and MétisAdvisory Circle.

Other Shared Funding Initiativeswith Sask Sport and S.P.R.A.Community Grant Program (CGP)The CGP provides funding to community, non-profit, volunteerorganizations in support of sport, culture, and recreation programs.The Culture Section of the Trust contributes $1,639,138 (35%)towards the $4,683,252 amount allocated for the Community GrantProgram.

CGP funding is available to all communities in Saskatchewanincluding First Nations band councils, northern settlements andmunicipalities (cities, towns, villages, organized hamlets, and RMs).In total, 310 rural municipalities, 148 towns, 312 villages, 13 cities, 34northern communities, and 79 First Nations are eligible for thisfunding. These communities allocate funding to their own localsport, culture and recreation priorities. A portion of the grant mustbe used to increase participation of under-represented populations.The CGP funding also includes an allocation of $195,000 to the citiesof Regina, Saskatoon, Prince Albert, Yorkton, North Battleford, andLloydminster for the Urban Aboriginal Community Grant Program(UACGP) which focuses on funding support for Aboriginalprogramming in those urban centers.

Community Development Fund (CDF)The CDF provides funding to Sport, Culture, and Recreation Districtsto facilitate community development through enhanced access tosport, culture, and recreation programming throughout theprovince. The Culture Section of the Trust contributes $1,409,812(30%) towards the total of $4,699,375 allocated to the CommunityDevelopment Fund. The CDF supports annual funding to the sevenrural Sport, Culture and Recreation Districts, as well as $1,247,100 insupport of the Northern Community & School RecreationCoordinator Program (NC&SRCP) in Northern Saskatchewan. TheNC&SRCP employs over 20 people in the North to coordinate sport,culture and recreation programming. New in 2011, the CDF alsosupports the Dream Brokers programs in Regina and Saskatoon, andprovided over $900,000 in financial support this past year. TheDream Brokers program employs three people in each of Regina andSaskatoon to remove barriers to the participation of inner-citychildren to sport, culture and recreation programming.

Administration CentreOperated by Sask Sport Inc., the Administration Centres for Sport,Culture, and Recreation (located in Regina and Saskatoon) providesa professional business support system to over 250 non-profit sport,culture, and recreation organizations in Saskatchewan. Its servicesinclude payroll for 400 employees, group pension and benefits,accounting, office space for 60 organizations, a full-service printshop and postal service. The Centre generates over $1.9 million inself-help revenue annually with its Trust grant being less than 25% ofits total operating budget. The level of support for each Section ofthe Trust is determined by the percentage that their memberorganizations use the centre. The current usage for culture is 25%.

Federation of Saskatchewan Indian Nations (FSIN)The FSIN receives an annual funding grant to enable direct supportfor sport, culture and recreation initiatives. Each year, 70% of thecombined annual contribution from SaskCulture, Sask Sport andS.P.R.A. must be used to directly support sport, culture andrecreation programs.

In 2011, Lestock Métis Local and the town of Lestock celebrated theircentennial by building their own red river cart.

Photo courtesy of Bonnie Wohlberg, coordinator - Aboriginal Services,Prairie Central District for Sport, Culture and Recreation.

404, 2125 11th Avenue, Regina Saskatchewan S4P 3X3Tel: 306.780.9284 Fax: 306.780.9252 Email: [email protected] www.saskculture.sk.ca

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