Save the Foundry: Arts Activism in Toronto needs its Space to Shine
An interview with IRCPA founder and artistic director Ann Summers Dossena
If you are a member of the arts community in Toronto or across Canada for that matter, the name Ann Summers Dossena should be a common one for you; if it is not, understand that it needs to be. Ann has been and continues to be one of the biggest champions for not only opera but art across our continent, doing the thankless work behind the scenes to ensure that the world around the “art” continues to support those that create it. Working as an agent internationally, touring orchestras and chamber ensembles around the world, and returning to Toronto to inspire and embolden the sector's most vulnerable assets, are only a few things to Mrs. Summers’ credit. To highlight them all would be impossible but today, we centre our discussion around the future of the Corktown Foundry and Ann’s, in collaboration with her organization the International Resource Centre for Performing Arts’ (IRCPA), vision for a preserved impact on the community it belongs to. I had the great pleasure of conversing with Ann about her life, her organization, and the future of art in our community. It has led to the beginnings of a partnership we hope will inspire our community to see her vision and ours intertwined in their direction towards a better arts world.
Tell me a little about the inspiration for the IRCPA and the work that you do.
“When I returned to Canada in 1977, I found that the mentoring services I had been hired to do in Italy, US, Israel and Mexico were not available to artists in Toronto. The IRCPA was started as a non-profit in 1983 and received the charitable status in 1985. It was supported privately by me and my colleagues who were also working in Europe and the US. We were all working professionals and offered sessions when we had time. It was disappointing to see that old divisions of professionals were still prevalent and levels were quite low compared to other countries. [I saw that] emerging artists had no resources except the universities [and that] they were still waiting for teachers to tell them what to do. In the IRCPA, we eliminated all academic phrases; no more masterclasses–instead the “Encounters” that dealt with industry information and where artists must decide what they would work on. Instead of students, we have participants who are directed to think for themselves to be proactive, and become savvy professionals.”
What was it like in the beginnings of creating an arts service organization in Canada?
Ann Summers Dossena, founder and artistic director of the IRCPA
“In 2013, I retired from my management to work full time as a volunteer [and] I saw the urgent needs of young graduates. Since my income dropped significantly (I was still able to donate around $25,000 of my savings each year) I approached the arts councils for help. Rather than recognizing the value in what was already successful for 30 years, they considered us as beginners and offered minimal [support]. [We understood that] the mixed juries didn't approve or understand our work. During the Pandemic, the need for the resources has finally been recognized by teachers and I'm really happy for the new programs involving young artists getting experience in and learning about the industry. The arts councils, in my opinion, are out of sync with today's needs and sometimes do more harm than good with inflexible rules. One thing I learned as secretary to the Equity Council in New York, [is that] there are always opportunities that might require an exception to the rules.”
When did the Foundry project begin for you? What is the impact that it could have?
“As a resident of Corktown since 1981, I've admired the Foundry heritage buildings and in 2015, I inquired at the Ontario Ministry of Infrastructure about them; in 2016, the city manager wrote to say the city was not interested. We, [as the IRCPA] found venues closing, artists leaving Toronto because of the lack and cost of space, [and recognized that] taking turns to practice in living quarters, and warding off the neighbours is not conducive of a good work environment. As a member of Corktown Residents and Business Association (CRBA) I asked [the city] if anyone was thinking of the Foundry and...in fulfilling the IRCPA mandate...found great interest in regenerating [the space]. From 2015 to now, the population of Corktown has doubled. and is still growing. Many diverse groups are without infrastructure and have no place to meet to know or understand each other. Condo dwellers tend to think of their buildings as the neighbourhood, and stay in their homes. The idea to approach the Province who owns the property circulated from the 2017 Board, and when in 2019 I was requested to join the Board again, I was assigned to examine the possibilities. In a meet and greet, we met a resident who is a professional urban planner, a project manager for buildings, another resident came out of retirement to help and introduced architect Jonathan Kearns, known for his work with heritage buildings.
The IRCPA vision for the Musicians Centre and Community Centre is to bring urgently needed infrastructure to the area for the economic, cultural and social needs of everyone. Some of the benefits include bringing producers, bookers or artistic directors to the Centre for auditions, saving artists the $1500 of auditioning in New York [and] giving musicians from all of Ontario, who need to be heard and seen in Toronto, an appropriate place to showcase or perform. The large number of diverse residents and businesses need a way to become inclusive. Although we were able to make other Corktown groups aware of our Foundry Project...they have other ideas but haven't shared them with us. We hope they will sit down with us and decide the best solution for a regeneration and create a team to work together. However, the Province may have already sold the property and are using tax dollars to destroy the heritage site.”
What, in your mind, is “art” in Toronto?
“Regarding 'art' in Toronto, the city is well recognized as the 'New York' of Canada, some speak of Toronto as a city of music. The City's music office is a great benefit, and better equity in all genres of music could improve it. The city, record companies, and venue operators are rightfully very concerned about losing venues, and, in my opinion, more attention to the wellbeing of emerging artists would be an improvement. If the ballet and opera communities can work in their own buildings, why deprive the musicians of the same opportunity?”
We at Opera InReach will continue to collaborate with the IRCPA to find solutions to the issues artists face in Toronto.
Andrew Adridge (he/him)
Co-founder, Opera InReach