Search or browse below to see past Field of Interest grants. You may search by recipient organization name, project name, or city. Additionally, in the sidebar you may filter the grants displayed by year, interest or grant amount.

Arnica Artist Run Centre Society

Keep and support emerging artists in our regional community

Exhibition of artwork completed after primary training is of utmost importance for an artist’s career advancement. A systemic problem for recent BFA graduates is finding a community outside of school that supports their artistic practice including the tools, space and funding to make art at the same caliber as in school and to continue to get fresh influence and critical feedback on their work from senior artists from elsewhere in order to grow their ideas and expertise. To prevent emerging artists from moving away from our remote region, we are proposing to pair a senior BC artist with similar art concerns with a local emerging artist to create artwork to be exhibited in Arnica's gallery.

Art Starts in Schools Society

Art is essential - not extra

There is tremendous opportunity for artists and teachers to collaborate as partners in education and explore arts integration in classrooms. Our project seeks to increase the employability of artists in schools. Infusion offers training for artists to develop a complementary teaching practice, woven into their robust artistry. Teaching artists have greater opportunities to work in schools as they can speak the language of education. Infusion provides educators with professional development to expand their understanding of art in education. Our project seeks to change: - Basic routines: Artists interested in working in schools need support as navigating school culture can be intimidating and even prohibitive. Teachers teach the way they teach and need a compelling reason to explore new approaches like arts integration. - Resources: The role of artists in schools needs to be expanded in order to re-establish the flow of resources. - Beliefs: Young people are taught that art is separate from the rigor of ‘academic’ subjects. Since 2012, we have supported 97 artists to become teaching artists. This grant will help us launch the next phase, which is to deploy resources to the following: mentorship, marketing systems, advocacy and evaluation. This next phase will help us examine whether the role of art is actually expanding in the education system, and inevitably our community, and if the perception of how young people are taught to perceive art is actually changing.

Bard on the Beach Theatre Society

Bard on the Beach - Community Diversity

Our proposed project is an overall Community Diversity Strategy that is aligned with three categories: 1. Training/Employment: We will expand our Artistic Associates by adding two new positions to include more gender and culturally diverse voices. Bard’s Associates are involved in aspects of artistic planning including programming, casting and development activities. These new Associates will identify new projects, build new relationships, and work on increasing diversity in our audience. In addition, we will hire cultural consultants for specific productions to protect cultural sensitivities. We will increase the Bard Studio workshops and train more diverse performers, increasing the number of qualified artists to be employed on our stage and across Canada. Bard’s artistic team will travel throughout Canada to identify and collaborate with more diverse artists. 2. Education: We will add additional Bard in the Classroom and Neighbourhood workshops (provided for free); develop a Distance Education Streaming Education component; and train more Teaching Artists to establish a more diverse roster of teachers for all our programs. We will host and engage in community wide forums to discuss diversity issues, share our findings and encourage others to be more inclusive of many perspectives and voices. 3. Development of New Work: We will develop diverse plays from different cultures through the Bard Lab Program and focus on engaging more gender diverse playwrights and creators.

BC Living Arts

Acis and Galatea: A Gender Liberation Opera

This project will present a re-conceptualized performance of G. F. Handel’s 18th c. opera, Acis & Galatea at The Orpheum Annex, Sept. 15-17, 2017. In this re-telling, both lead characters will be portrayed by and depicted as women. The story follows their romantic relationship and the persecution they and their LGBTQ community face as a result of their sexual orientations. This project will generate a social dialogue about the struggles and underrepresentation of the LGBTQ community as it has existed throughout the centuries and it will serve as a platform for producers and artistic directors from four unique Vancouver cultural institutions (re:Naissance Opera, BC Living Arts, Early Music Vancouver, Cor Flammae) to collaboratively address these issues in their respective creative programming. With this project, we will promote systemic change by: -Testing a collaborative production model and developing a prototype for future artistic collaborations amongst Vancouver and BC cultural institutions. -Demonstrating how artistic productions and programming - in this case - opera, can be adapted and presented in a way that promotes positive representations of the LGBTQ community and other underrepresented people in the classical music world. -Using the outcomes of this collaborative production to encourage other Vancouver cultural institutions to consider how their artistic programming might better address and elevate the role of the LGBTQ community in our cultural history.

Bill Reid Gallery of Northwest Coast Art

Indigenous Communities Consultation Project

Through this project, we are seeking to change the status quo of the ways in which arts institutions create and deliver programming. We are addressing the colonial history of arts institutions and exploring ways to break down the barriers between institutions and the Indigenous community. We will address this issue by creating a community consultation process that will seek to build strong, long-lasting, and reciprocal relationships with community organizations and members. Our goal is to create a space that builds bridges between people. We want to create a space that is shaped by and for the community to support them in participating in safe and accessible educational opportunities.

Boca del Lupo


Expedition is a suite of performance works and installations set in 2167 that explore how climate change might affect our future and how our future selves might look back upon the present. Placing the audience as complicit participants in this collective future, the key creators include scientists, journalists and academics working together with artists to disrupt the inertia of now, drive away despair and engender hope. If one imagines back to 1867 and considers how people lived their lives, the place of women in society, notions of race and ethnicity, the treatment of the LGBTQ community, it quickly becomes clear that there has been progress. In the study of ethics there is a theory, supported by research, that tells us when two cultures intersect and are not ethically aligned, it is the more progressive ethical position that most often prevails. This is not a linear path, of course, but whether it be the subjugation of women or slavery or colonization, ethicists tell us that liberty, emancipation and independence eventually take the day. It is in this notion of progressive ethics that we found hope for the future and inspiration for this project. As an iterative and participatory live performance movement, the ongoing nature of presenting a suite of works that share a common frame serves to deepen impact, expand reach and points of access, lengthen engagement and increase the chances of authentic transformation with participants.

Carving on the Edge Festival Society

The Nuu-chah-nulth Living Archive Project

We propose to increase the number of people who participate in artistic and cultural offerings by creating a local cultural archive created by Nuu-chah-nulth people. We will gather a Working Group of community members already actively involved in Nuu-chah-nulth cultural knowledge, renewal, history, or art. This group will provide consultation to ensure we network with all of our existing resources and to ensure that the archive is accessible to the larger Nuu-chah-nulth community and is beneficial to wide range of community projects. They will guide the work of the Project Coordinator, Project Archivist and the team of Youth Archivists. Through the Carving on the Edge Festival we will feature guest speakers involved in community archival, museum or repatriation projects in order to stimulate a larger discussion in the west coast carving community. The end outcome will be a Nuu-chah-nulth Living Archive with information on the Nuu-chah-nulth collections held in many worldwide museums. This may include photographs, audio recordings, documents, and displays. Some resources may be flagged as culturally sensitive and will only be available within the Nuu-chah-nulth community and will be protected according to the protocols set out by the Living Archive Working Group. A permanent installation of the components of the Nuu-chah-nulth Living Archive that can be shared publicly and we will hosted yearly at the Carving on the Edge Festival.

Community Arts Council of Prince George

Supporting Northern Indigenous Artists

Indigenous artists in the Northern Interior of BC do not have access to professional development, marketing services, exhibition and performance spaces, and funding and arts-related employment opportunities, that are available to their non-Indigenous counterparts. The Community Arts Council of Prince George & District has begun the work to understand how we can forge an authentic and autonomous entity that will accomplish this. To date we have helped to support a group of Indigenous artists form the "Northern Indigenous Artists' Collective" who are continuing to advise us with the end goal of creating an Indigenous Arts Support Office, staffed with a full-time Indigenous Arts Administrator.

Company Erasga Dance Society

MigARTion: Art and Migrants towards a Critical and Creative Empathy in Collaborative Art Making

This project aspires to contribute to the contemporary Philippine global diasporic artistry, activism and community through an intergenerational, interdisciplinary, intercultural, cross-aestehtics and transcultural engagement. Filipino and Filipino-Canadian artists, migrant group, independent artists and professional arts companies will collaborate to build a new practice and discourse on migration in Canada through art. Issues like family separation, cultural trauma, and settler colonialism are explored through this process. Migrant stories and perspectives are foregrounded through arts-based methodology grounded from a decolonizing creation process.


Access to Media Arts - PILOT PROGRAM

This project's main aim is long-term sustainability of a program that offers low-barrier access to equipment, studios, training, education, and workshops. This sustainability is being sought through a "Fee for Service" program, which will use revenue obtained to be put back into the program. We have noticed a gap in services provided for artists, film-makers, media artists, radio producers, and documentary producers to have an affordable place to do audio work, or have audio work done for them by our technicians, with affordable but professional audio equipment. The program will offer a pay scale: one for professionals/regular clients; one for artist-members; and for artist-members who require low barrier access (by application). The cost of rentals and services will reduce for each category. The program will offer services such as: -rental of a professional audio studio -use and rental of professional equipment (following training) -hiring out MAC technicians/artists for work -technical services (dubbing audio, transferring files, audio editing/mixing/mastering) -more to be assessed during pilot phase As VIVO Media Arts Centre members and previous employees, we witnessed the success of their equipment, studio, and service booking system. With this program, we will offer a service we are not able to offer at all right now: access to studios and equipment; and further, with the revenue we receive, we can offer scholarships and lower rates to reduce barriers

Full Circle: First Nations Performance

Moccasin Trek: Arts on the Move!

For 3 years, we will focus on communities we have not reached plus return to those where we were unable to deliver the services due to lack of resources and high demand. We will offer a wider variety of cultural artistic workshops and take more artists out on tour more frequently. We will increase our marketing and outreach plus invest considerable time consulting with the communities that we visit. The workshops will be educational as well as inspirational. The artists who teach them will serve as role models. For remote communities requiring more extensive travel, we will restructure to program to suit the needs of the community. We believe growing this project will have a clear and lasting outcome for those who participate because it is intended to foster understanding of cultural differences alongside pride in their own heritage plus encourage dialogue with their friends and their families. This will have a direct effect on social issues such as cultural understanding, marginalization and prejudice. MT! will open the door to many, who for a variety of reasons, have never had the opportunity to participate in live performance and witness the incredible power it can have. By sharing our cultural art practices, protocols and traditions with as wide a populace as possible, both the artists and the participants from the community will be inspired, develop insight and deeper understanding. Knowledge is the key to understanding, tolerance and acceptance.

Heiltsuk Tribal Council

Sacred Journeys -The resurgence of Indigenous Canoes -Travelling Exhibit

Social innovation and change intertwine in the main goals of Sacred Journeys. Sacred Journeys an engaging travelling exhibit about Indigenous canoe culture. At a fundamental level, it is about cultural revival,cultural health and cross cultural understanding. By touring15-20 major BC museums and Indigenous cultural centres over 4-5 years, it will engage and educate 10,000s of visitors from children to leaders. Appropriately, the exhibit will become a permanent display in Bella Bella, where it will continue to inspire both visitors and community members alike. Through its many teachings, metaphors, and values, the ocean going canoe was and is central to the daily life, culture, and spirituality of First Peoples of the Pacific Coast. Almost lost through the effects of colonization and technology, the Heiltsuk were instrumental in reviving this canoe culture and for the first time will share their story. Against the norm of museums, this story will be produced an told from Indigenous peoples prospective. By walking through a stylized ocean going canoe one will be able to touch a screen embedded in the symbolic supernatural paddles ; each screen will share the Indigenous people’s history, culture and stories, leading to the present, with an option to comment and ask questions. It will inspire visitors to engage in the revival of the Indigenous culture, thus leading to better health and wellness in our local communities and educating the general public.

Judith Marcuse Projects Society

JMP: Futures Forward

Community-engaged arts for social change (ASC) are increasingly acknowledged around the world as potent and effective ways for communities to engage with diverse, often complex and challenging issues. The field of ASC has developed unique goals, methods, pedagogy and scholarship; Canada (and, particularly, Vancouver) are acknowledged leaders in this burgeoning arts practice.This project aims to advance the field by providing new resources, job opportunities, networking, research, and knowledge exchange opportunities for artists, community members, scholars and diverse changemakers working in agendas for positive social change through the arts.

Lookout Society

Downtown Residential Art Collective

Lookout proposes to create a peer-led art collective, supported by Lookout’s Life Skills workers and Tenant Support Workers. Through this art collective tenants and staff will work together to facilitate art groups, programs and workshops aiming to develop and empower artists living in the DTES through creative expression and education with the goal of hosting an Art Exhibit. This project will collaborate with a local non-profit art gallery. Group facilitation will educate residents in the DTES and surrounding communities about inclusion and reduce the stereotypes related to poverty. We will collaborate with various cultural groups to encourage artists to embrace their culture.

Lytton First Nation

?'q'?mcín [Two Rivers] Remix

BC First Nations youth on reserve and many BC contemporary Indigenous musical artists face extreme economic, cultural and social exclusion. ?'q'?mcín [Two Rivers] Remix is a free outdoor feast of contemporary Indigenous music on Nlha'7kapmx territory that features BC Aboriginal musicians creating a critical new grassroots sound that empowers Indigenous youth and women. Regenerating the Lytton Block Party through a series of exploratory, creative and collaborative workshops with Indigenous youth, artists, educators and elders - the festival will engage new audiences for this rowdy musical remix of urban/rez, visual/aural, hip-hop/pow-wow, and personal/political.

Massey Theatre Society

Indigenous Arts Series (Skookum Arts Series)

The Skookum Indigenous Arts Series will celebrate some of the most dynamic Aboriginal Theatre artists, musicians, dance artists, visual and media artists from across the country. This arts celebration will help to raise awareness of First Nations talent, artistic practices, and foster cultural exchange and dialogue. With this, Massey Theatre Society is creating a new program to create a focus in its physical and cultural renewal. This celebration project will priorities inclusion of indigenous artists at the forefront as the theatre enters its 70th anniversary year and beyond. Innovation is furthered by the accompanying goals of identifying a presenting network for the series moving it beyond its host community and developing Savage Society's capacity to promote the program on an ever widening network creating opportunities to showcase Savage Society's productions along with other Aboriginal Performance works. Savage Society, an aboriginal theatre company and partner in this project has a curatorial goal is to create an arts series that brings participants into a shared experience of indigenous arts and culture in a way that is inviting, inspiring and illuminating. Performances will include dance, theatre, and music. We will also showcase Indigenous films, animation, literary and media artists and visual artists. We intend to promote socio-political dialogue as well in partnership with community organizers and institutions.


The Next Generation

The Next Generation is an innovative professional training program for MP alumnae and young artists/ professionals struggling with various mental, physical and developmental disabilities as well other issues of marginalization; as well as a socially innovative public education campaign directed at artistic leaders, and arts-based funders. The vision is to develop un- and under-employed young arts professional within a unique career skill development environment, working alongside professional artists and arts administrators; and pushing forward a message about their vision of the future. Through an artistic educational campaign (a series of short films for social media developed by the youth interns and staff and distributed internationally) which will begin with an analysis of intersectionality and tokenism in the hiring practices in the next generation of artistic leaders, conduct outreach to arts organizations and relevant funders and promote a message of inclusion of diverse artists in their hiring practices and educate powerful leaders about community-engaged artistic practice. Our history working with marginalized youth makes us uniquely positioned to meet their needs by providing them with tailored opportunities to gain the necessary professional artistic and business skills to promote these innovative ideas in the arts sector, to advocate for pro-active systemic change in the arts and create possible models to address the imbalance of artistic leadership in BC.

Powell Street Festival Society

Advocacy and Outreach Through Arts-based Community Development at WePress

This project will build on the ongoing work of PSFS to have a year-round presence in the DTES, to link the history of Japanese Canadian (JC) expulsion from the DTES during WWII with challenges of displacement faced by current residents, and to be a committed partner with residents and groups working in the neighbourhood. This partnership combines PSFS’ historical perspective and activity with the goals and operational infrastructure of WePress Community Arts Space, which houses a variety of art-making platforms, and welcomes people marginalized by class, sexuality, gender, race, culture, disability, mental health, and addictions. The social innovation lies in the ability to run paid workshops and sell merchandise to those who can afford them in order to generate revenue that allows PSFS and WePress to provide job and economic opportunities for low-income and marginalized people, teach new skills through free and low-cost workshops, provide a welcoming space and access to unique equipment for art-making and community-building, support DTES social justice groups, and promote JC art, culture, and history and the work of PSFS. In this way, PSFS and WePress can bring together people from diverse income levels to interact, make art together, and learn a little about each others’ lives. Furthermore, PSFS will continue to contribute to the development of a new independent social justice arts organization in the DTES and its long-term survival.

Pride in Art Society

UnSettling: A Vision from the Margins

This 3­-year commitment redirects established flows of money & power with strategic hires at key levels—intentional & visible placements of Queer People Of Colour (QPOC) in positions of cultural authority & focused initiatives to nurture promising emerging QPOC cultural workers into future arts leaders. QAF engages Adrian Stimson (Siksika), T’uy’tanat-­Cease Wyss (Skwxwu7mesh/Sto:Lo) & Valérie d. Walker to curate our 2017­-19 visual art exhibitions respectively, with engagements in public discourse, outreach & collaborations with diverse partners. Guest lectures at grunt, ECUAD, UBC, & SFU increase QPOC visibility in public & academic contemporary visual art discourse. Exhibition tours for queer, Indigenous & street-­involved youth, artist panels & public fora provide entry points to the often exclusive visual art milieu through direct contact with QPOC role models. The project also engages emerging QPOC arts administrator Kimberly Sayson in full­-time, multi­-year paid mentorship & an emerging exhibition preparator, cultivating well-­rounded competencies & leadership skills. By interrupting the cyclical narrative of exclusion, we increase individual experience, income & influence for QPOC curators, artists & administrators that they can leverage toward future opportunities; improve organizational resilience by expanding perspectives & networks; & shift cultural beliefs to re­vision QPOC identity as a site for expertise & creative self­-authorship rather than a mark of disenfranchisement.

Puente Theatre Society

Development workshop for a show about Mexican Immigration

There’s a great deal of political rhetoric right now in the US that casts Mexican immigrants as job-thieves and criminals – but they’re actually refugees from a country ruined by violence and corruption. Puente Theatre would like to give voice to actual Mexicans, so that a more complex picture might emerge of the issues that face our continent: gathering a team of Mexican artists from across the country, Puente will host an initial creative workshop, with the aim of creating a full stage production the following season: a show about the roots of the Mexican diaspora, a tremendously personal testament by a group of veteran artists, bound by common heritage, far from the land of their birth.

Realwheels Society

Act of Faith

We believe that theatre has the power and capacity to bring about social change, through the empathic understanding that results from audiences’ experience of and exposure to the ‘other’. Despite comprising approximately 14% of the Canadian population, one of the challenges of living with a disability is simply being seen. This project will challenge the stereotypical experience of people who use wheelchairs as invisible to society and culture. We propose that the Vancouver Foundation support the development and production of a new play. We have commissioned award-winning playwright Janet Munsil to write ACT OF FAITH, a play inspired by the true story of the inexplicable recovery from paraplegia by a Vancouver teacher/dancer, after 13 years of life in a wheelchair. We will contract a cast comprised of a combination of performers with disabilities and able-bodied performers. Foundation funding will support laboratory exploration of a new, hybrid art form and its realization in production. By employing mixed-ability (or ‘integrated’) wheelchair dance as a means of storytelling, we will find alternatives to the usual pattern of storytelling, a departure from habitual forms. Our process will test the capacity for integrated dance to challenge stereotypes of disability as a negative experience. This is a compelling and innovative way to push the boundaries of theatre, and has the correlated benefit of shifting audience perceptions of disability in a completely new way.

Richmond Art Gallery Association

East/West Connections through Culture

Addressing systemic social separation in Richmond through inter-generational, multicultural and multilingual programs including workshops, social events and exhibitions. We will encourage cross-cultural exchange, creating a platform to interrogate the systemic barriers to increased respect and relationship building across cultural lines. We seek to position the gallery as a welcoming institution for newcomers as a site to engage with art. Visual art offers an alternative communication that goes beyond language, connecting with groups of many cultural backgrounds. Richmond is a prime site to develop a multicultural, intergenerational dialogue, considering art and urgent local/global issues.

The Only Animal Theatre Society


SLIME is a world premiere of a play by Bryony Lavery about the impact of climate change on ‘the great animal orchestra' from which we have become disconnected by our infatuation with the sound of our own voices. The play is set in a fictional conference on marine extinction. Audience are welcomed as conference delegates and seated among animals. You hear a dolphin at your elbow or a sea bird on your shoulder: animals too have something to say. We come together to face an absolute threat to life on earth—an insatiable creature taking over seas called SLIME. Like other forces in our 21st century lives, facebookslime or googleslime, SLIME moves with viral force, gobbling up all available resources. We must learn a new way to survive. This conference is the last hope for salvation. SLIME is an immersive event, where audiences are decision-makers with the world at stake. It requires us to tune into our animal sensibility and operate within natural systems instead of as super-predators. SLIME requires of its audience a new kind of listening - listening to our indivisible relationship with the biosphere. As we return from the world of the play to our lives, SLIME asks that we confront our connection to all inhabitants of the earth. The Only Animal's process of creation extends each show into a year of curated programming to more deeply affect audiences and issues. This year of SLIME also engages the ensemble in seeding future work creating legacy and impact in the community.

Theatre Conspiracy

Victim Impact

Victim Impact examines the Samji Ponzi scheme involving $110 million & over 200 victims – mainly the elderly in Surrey’s South Asian community.  Over two years, the project will fuse investigative journalism, community engagement, media and inter-disciplinary theatre. With direct community engagement in the creation, the project is a catalyst for education and outreach.. Engagement consist of: Research: Ongoing process attending court trials/hearings; interviewing victims & key players including lawyers, regulators, psychologists and victim support groups; sourcing/ analyzing of documents (transcripts; judgments; media, legal & accounting reports); research into financial law and practices.   Creation: October 2017 workshop - two weeks with artists of diverse practices, staged reading with community feedback session.   Podcasts: Five 35-45 min. episodes of interviews and dramatizations: Through the Samji case examine the causes of fraud; educate & provide context to recognize fraud; destigmatize victims; facilitate support networks; encourage participation in future episodes, workshops and theatre attendance.   Performance/ Events: Workshop Production Performance (PTC, 2017) and The Cultch Premiere Performance (Spring, 2018) will include community activities such as: Open rehearsals, post-show talks, a facilitated public forum by experts on financial law; facilitating dialogues with victim services; address the social stigma & its effects on families/ communities.

UBC - Morris and Helen Belkin Art Gallery

Beginning with the Seventies: Activism, Art & Archives

Our project will consist of three consecutive exhibitions, public programs and events, an online resource and book publication. Recognizing the resurgence of interest in social movements of the 70s: we will present Alexandra Bischoff’s reconstruction of the Vancouver Women’s Bookstore (1973-1996), including its inaugural inventory. Connecting with activist organizations and their archives as a resource: we will present a new collaboration by Marianne Nicolson and Althea Thauberger, supported by Union of BC Indian Chiefs researcher Robyn Laba. Recognizing that our collections do not reflect the diversity of art practices in the region: we will work with other institutions to explore our collections as a porous public resource in order to develop alternative narratives. Generating study and exchange between and among multiple generations of artists and activists: we will present new work by Dana Claxton, Ethel Gardner, Jeneen Frei Njootli and the ReMatriate Collective based on research into the Service, Office and Retail Workers’ Union of Canada (SORWUC). Embracing the idea of intergenerational citation in feminist, Indigenous and other cultural traditions: we will hire emerging artists and archivists and create opportunities to bring diverse communities together in dialogue. Together, the project destabilizes established narratives of contemporary art; opens up conversations about collections, and creates new research to leave as a legacy in the public record.