the arts 23
8-10 October 2019

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From 8 – 10 October 2019, Montreal will host the 23rd edition of the Communicating the Arts conference (formerly Communicating the Museum). Communicating the Arts Montreal will gather 250 communication and engagement experts working in museums and heritage, the visual and performing arts.

Download the conference presentation

Theme: Inclusivity, Empathy and Well-Being

Recognising the plurality of their publics, cultural organisations are increasingly focusing on inclusion, diversity and the well-being of their audiences. In this age of global uncertainty and social division, it is critical for our institutions to take action.
From accessibility schemes to community partnerships, gender-neutral services to representative boards, institutions must commit to more inclusive modes of operation. These initiatives, and the empathy they are built upon, develop stronger bonds and mindful engagements with audiences.

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At a time of global uncertainty and social division, how can the arts play a positive role in our society? How can they challenge their organisation to be more people-centred? How can they encourage empathy and improve well-being?
During 3 days, participants will be challenged to rethink their organisation, public engagement models and communication strategies in order to maximize their positive and powerful impact.

  • Located in downtown Montreal, the Quartier des spectacles is the city’s cultural heart. Within its boundaries, you will find the highest concentration and the greatest diversity of cultural venues in North America.
    The Quartier des spectacles covers an area of 1 km2, encompassing eight public spaces with activities throughout the year, some 40 performance halls and bar venues with a collective seating capacity of more than 28,000, approximately 40 exhibition spaces and several cinemas. A plethora of locations where both young and old come to discover the work of emerging and established artists.
    Guided tours will be organized over the summer, pre-registration is mandatory. Coming soon

  • The Museum’s rich collections are divided into six major sections distributed among the five pavilions of the Museum complex, each of which focusses on a particularly strong aspect of the holdings.
    More info on

  • The MMFA is recognized in Canada and across the world as a pioneer and a leading player in the fields of education and well-being through art. Of the million visitors who enter its galleries every year, over 300,000 people participate in its educational, cultural, and community-based and art therapy programs: an attendance record among Canadian museums.
    Under the leadership of its Director General and Chief Curator Nathalie Bondil, the MMFA stands out as a humanist and socially committed institution with projects promoting education, inclusion, accessibility and well-being. It collaborates with more than 450 schools, community and health organizations to counter school drop-out rates and combat stigmatization, violence, discrimination, poverty, illiteracy, radicalization, racism, homophobia, homelessness, the obsession with the one-size-fits-all model, social isolation, disabilities and suicide. The Museum aims to be a vector for social cohesion and individual well-being by favouring a holistic approach based on co-creation and establishing new partnerships, particularly in the field of clinical research.
    In her master-class Communicating the Arts, Nathalie Bondil will tell us about her Manifesto for a Humanist Museum and will introduce us to invaluable collaborators from the field of public health who study the health benefits of art. Dr. Remi Quirion, Chief Scientist of Quebec, chairs the Museum’s Art and Well-being Committee, Dr. Olivier Beauchet directs a major research project on the impact of art on the health of seniors and Dr. Hélène Boyer collaborated on the launch of Museum Prescriptions, a world first. Lucie Morisset represented Canada on the joint study by the ICOM and the OECD on Culture for local development: Maximising the impact in which the citizens’ initiatives of the MMFA were presented as best practices.
    Thomas Bastien and Stephen Legari will conclude the master class by presenting the full scope of projects developed at the Museum with over 450 community organizations.

  • 1.1 Creating environment: A decade of Art and Dementia Programming

    This presentation will explore health and the environment through initiatives which have created social bonds with specific communities. In 2007 the NGA established an Art and Dementia program which supports the value of open-ended engagement with works of art in an inclusive environment. The program has developed a network of galleries across Australia delivering site specific programs for people with dementia; engagement strategies which model inclusion and empathy; as well as informing a new programme for people recovering their mental health. The presentation will touch on the relationship of the environment to health and examine whether works of art can refine our experience of well-being.

    1.2 STROKESTRA®: Holistic Stroke Rehabilitation through Creative Music-making

    This presentation will explore the ways in which orchestral outreach programmes can partner with health providers to design meaningful interventions that maximise health and wellbeing outcomes in communities.
    As part of the Royal Philharmonic Orchestra’s Community & Education programme, RPO Resound, the Orchestra run a number of projects aimed at improving health and wellbeing outcomes in its residency communities. This case study will focus on STROKESTRA®, the Orchestra’s pioneering stroke rehabilitation programme developed with Hull & East Riding Community Stroke Services (part of City Health Care Partnership CIC) in Hull, UK, to harness the power of group creative music-making to drive patient-led recovery in stroke patients and their caregivers. The programme employs a range of specially-adapted musical techniques supporting participants to work holistically towards rehabilitation – tackling issues relating to physical, emotional, social, cognitive and communicative recovery – whilst composing and performing original pieces of music.
    The session will look at the development, techniques and outcomes of STROKESTRA®, focusing on how the programme emerged out of a particular approach to cross-disciplinary design and delivery, and presenting a ‘blueprint’ for arts-based interventions with stroke survivors.

  • 2.1 A(n)esthetics and the Analgesic Museum

    Join us as at the intersection of pain research and the philosophy of aesthetics as Ian Koebner, PhD explores the potential role of museums as public health partners. Koebner will focus on his latest research examining the potential of museum engagement to reduce pain and social isolation among individuals with chronic pain.

    2.2  Combining clinical research, training and therapy

    The National Centre for Dance Therapy (NCDT), a division of Les Grands Ballets Canadiens de Montréal, is dedicated to the promotion of dance/movement therapy (DMT). The NCDT, which combines clinical research, training and therapy, aims to improve the well-being of individuals through the benefits of dance, thereby reinforcing the utility of this art form for the community while promoting and developing Les Grands Ballets’ focus on health. More than traditional forms of exercise, dance therapy helps people who have become isolated due to illnesses or social conditions. It enables them to socialize and better express themselves than with regular physical activities.

  • 3.1 The Museum Will See You Now: Group Therapy at the Frye Art Museum

    This presentation highlights current and recent programs at the Frye Art Museum of Seattle, Washington, which advance an expansive notion of museum-as-community-hub, culminating with the presentation of Group Therapy (September 15, 2018–January 6, 2019), an exhibition centered on interactive projects by twelve international contemporary artists that transformed the Museum into a unique kind of free “clinic” in which visitors engaged in therapeutic processes in the experimental context afforded by art.

    3.2 To be announced soon

  • 4.1 Changing our future: mental health in the performing arts

    In 2016, Victoria University released a report into the mental health of entertainment industry workers that put numbers to what many of us anecdotally knew to be true – our industry was in distress. In response, Claire Spencer, CEO of Arts Centre Melbourne, reached out to mental health professionals, arts and cultural organisations, and peak bodies to trial the Arts Wellbeing Collective, a consortium of arts and cultural organisations whose shared vision is to effect better mental health and wellbeing for performing arts workers. Now in its third year, the Arts Wellbeing Collective is exploring what meaningful systemic and cultural change might look like for the mental health of performing arts workers now and into the future.

    4.2 What has Van Gogh taught Tate about Mental Health?

    2019 has seen Tate Britain host a major exhibition that brought together over 50 works by Vincent van Gogh to reveal how he was inspired by Britain and how he inspired British artists. ‘Van Gogh and Britain’ offered a unique opportunity to discuss mental health across Tate, with audiences, sponsors and most importantly with the workforce. Van Gogh’s own words were the catalyst for a two year initiative that created a step change in how Tate considers and thinks about mental health, with surprising consequences.

  • 5.1 Museums as medicine? Exploring the healing potential of cultural spaces.

    Can cultural spaces contribute to people’s health and well-being? Are we overreaching to think so? Are they already doing it..?
    Join us as we grapple with these questions (and more) by exploring the findings of a social prescribing initiative helmed by the Royal Ontario Museum, and delivered in partnership with the Alliance for Healthier Communities.

    5.2 The Art Hive, for participants to meet, discuss, perform and exhibit

    The MMFA Art Hive serves as a place where all of the Museum’s clienteles — school and community groups, families and the general public — can come together to share ideas. It is a creative community studio supervised by an art therapist, with art materials provided free of charge.

    A wide range of activities can be expected at the Art Hive, from unravelling old wool sweaters in order to knit something new, building a sculpture from recycled materials, drawing, sewing and painting. This welcoming, intergenerational space is also a place where participants can meet to discuss, perform or exhibit. The Art Hive is a user-friendly place that participants can re-organize to meet their needs.

  • The CTA MTL Welcome Reception will take place in the MMFA Hall of Bronzes. With its majestic Norton staircase and elegant light fixtures, this gallery reflects the Beaux-Arts style of the Museum’s first pavilion on Sherbrooke Street. It features striking bronze sculptures from the Museum’s collection.

    Participants will have the opportunity to visit the Temporary Exhibition « EGYPTIAN MUMMIES, EXPLORING ANCIENT LIVES »
    A North-American premiere, this exhibition of the British Museum reconstructs the lives of six individuals who lived along the Nile from about 900 BC to AD 180. Non-invasive techniques have enabled researchers to build a profile of each individual, painting a picture of who they were. Age, beliefs and the diseases they suffered from – each mummy has a story to tell.
    Digital visualizations will present new discoveries that, when viewed alongside over 200 objects from the British Museum’s renowned Egyptian collection, provide unique insights into how people lived and died in ancient Egypt. The exhibition will explore a number of themes such as mummification, health, food and diet, priesthood, music, adornment and childhood in ancient Egypt.

  • Elder Kawennotas Sedalia Fazio will open the second day of the conference with a traditional acknowledgment. She will then share her thoughts on how cultural institutions could better preserve, present and celebrate First Nations heritage and involve young Aboriginal audiences.

  • 1.1 Building trust

    Ivy Theatre Company is dedicated to dynamic storytelling that explores the human condition in a visceral way in order to provoke thought and challenge both the artist and the audience. Audrey Alford, founder, will explain how transparency was key in engaging the LGTB+ community.

    1.2 Celebrating the powerful role of LGBTQ+ arts and culture

    James Brandon, Diversity and Inclusion Manager, will share with us the legacy of the Queer British Art exhibition on Tate‘s programming, engagement strategy and human resources.

  • 2.1 Furthering Accessibility: Lessons Learned Through a Curatorial Process

    In December of 2017, Cooper Hewitt, Smithsonian Design Museum organized an exhibition featuring contemporary products designed for individuals with disabilities. The curation and mounting of Access + Ability centralized messages of disability experience to general audiences and aimed to amplify dialogues on the role of design in creating a more inclusive world. Leveraging the curatorial process and communication efforts of the exhibition, Cooper Hewitt has integrated cross-departmental lessons learned to inform resulting policy changes, more developed initiatives and change to internal practices.

    2.2 How the emotional and multi-sensory approach can enrich the experience of all visitors and contribute to the evolution of the institution.

    This presentation will show how universal design can help institutions make their exhibition more accessible to all visitors.
    To provide visitors with a new experience, we developed a multisensory approach allowing everyone, including those with special needs, to participate. Through examples of projects carried out in the Royal Ontario Museum in Toronto and the Musée de l’Homme in Paris, the presentation will detail the singularity of the sensory and emotional approach as a means of developing a more inclusive exhibition.

  • 3.1 A place of relevance and belonging

    As the Art Gallery of New South Wales embarks upon its major transformation project called ‘Sydney Modern’, we asked communities how such an expansion could be relevant and meaningful for the people of Greater Sydney and the wider state of New South Wales. From the most remote edge-of-the-desert communities to those living locally, isolated through inequality, ill health, disability or social barriers to participation; communities questioned how the new museum would provide a place of relevance and belonging. In order to truly be a unique place where all people experience our shared humanity to art and ideas; the Gallery needed to centralise and amplify its community engagement agenda and take a leadership role in delivering experimental social impact programs building upon its existing programming successes across Aboriginal & Torres Strait Islander engagement; arts and health and asylum seeker and refugee programs.

    3.2 Celebrating Inuit storytelling

    Visual artist Stephen Agluvak Puskas and Jennifer Dorner, Director of the FOFA Gallery at Concordia will present their collaboration around Tillitarniit, a festival celebrating Inuit art, film and culture.

  • 4.1 Three Year Olds Are Humans Too! Making a Mobile Tour for Preschoolers

    The National Museum of American History and Antenna International partnered to produce a mobile tour for families with preschoolers (aged 3-5), which launched in 2018. Over eight months, we ideated, engaged families for brainstorming, tested a prototype, iterated, marketed, and launched the tour.
    In a series of firsts, we honed a process for making an authentic, engaging experience for this young audience as they first encountered a museum. Our case study will identify the various challenges we confronted in the production process as well as post-launch best practices. We will explore several topics for cultural institutions interested in appealing to this audience.

    4.2 Valuing the Voices of Teens

    The Summer Teen Intensive fully immerses high school students in the RISD Museum, art and the creative experience. Participants spend two weeks surrounded by artists, designers and fellow creative thinkers as they examine works of art and design from across time and cultures and respond through art-making, writing and discussion.

    Teens explore the museum’s collection and reflect on what matters most to them. The 2017 intensive demonstrated how their values of inclusivity and representation are present in the museum, but not always visible to the public. For their culminating project, the teens explored polychromy and its relationship to colonial legacies and racial erasure.

  • 5.1 Riding the Beyonce wave: attracting new demographics

    How can we make the old palace of the french Kings, the world’s largest museum, a cool brand? Over the past few years, the Louvre
    Museum has developed a real strategy towards millenials. The challenge was both to address this new public directly, but also to give it a
    different image of the museum and to invite it to participate more in the museum’s life.  Through bold partnerships, the creation of the
    Saturday Nocturnes (Saturday night openings), the performance of the artist JR, or the video of Beyoncé and Jay-Z, the Louvre created the
    event: the museum teams reached out the young adults public to propose another Louvre, another way to visit it, another way to engage. A new
    tone; a new image; a new Louvre.

    5.2 Young audiences are signalling a way forward

    In 2015, the New York Philharmonic embarked on a multi-year audience development program targeted to Millennials. The purpose was to grow this segment from 17% to 25% of total audiences in 4 years. During the program, we tested new presentation formats, new marketing strategies, and a collaborative approach to developing the offerings. While the organization ultimately engaged with more Millennials, one important takeaway was the positive response to the program across all age groups.

  • 1.1 Shaping a Corporate Sponsorship to impact well-being: Raising public awareness of how engaging with art delivers healthy outcomes

    At Yerba Buena Center for the Arts (YBCA), we are driven by the belief that art and creativity are essential to healthy lives and communities. We have announced a new multi-year partnership with Blue Shield of California, a not-for-profit health plan and champion of lifestyle medicine. In seeking a naming rights partnership for our namesake theater, we chose a partner that would further our ability to communicate the healthy outcomes seen from engaging with art. At a time when the arts community faces decreases in funding, we look forward to sharing how we will reimagine a naming rights sponsorship to raise public awareness of the relationship between art in delivering healthy outcomes.

    1.2 FRESHbark: A fresh perspective on collaboration.

    Broken Hill Regional Art Galleries’ FRESHbark is a mentorship program for emerging Indigenous artists. It developed in the absence of a functioning Indigenous art-centre and questioned what the gallery as an institutional ‘centre’, could offer.
    A new, people centred methodology insisted on non-outcome based engagement to funding sources that allowed the Indigenous community to run a self-directed program.The forming of a collective saw the gallery open its centre to assist the forming of a new centre, or more accurately centres- as the self- agency of each participant developed.Relationships between centres and groups seen to be peripheral will be contemplated in my conference discussion.

  • 2.1 From Awareness to Action: #5WomenArtists Campaign for Gender Equity

    In 2016, the National Museum of Women in the Arts (NMWA) launched a social media campaign asking, “Can you name five women artists?” This seemingly simple question proved difficult to answer, even for those who consider themselves well versed in the arts. By encouraging cultural organizations to share the contributions of women artists on social media with #5WomenArtists, NMWA provided a challenge and sparked conversations around gender equity in the arts. This award-winning initiative has galvanized more than 1,000 cultural institutions from seven continents and 48 countries. We’ll discuss campaign planning and implementation, including lessons learned.

    2.2 To be announced soon

  • The Mini-Workshop on Inclusivity in Storytelling will help spark innovative and creative thinking about how to attract and inclusively engage audiences with cultural institutions. Attendees will learn and practice proven techniques for inclusive storytelling, high-level audience engagement, and agency-granting activities in cultural spaces.

    We’ll model and practice inclusive narratives that capitalize on non-traditional—and truly human—elements of spaces and programming. Participants will leave with new, passion-based stories and methodologies that create stronger connections between their audiences and their institution.

  • 4.1 Achieving Inclusive Philanthropy in Museums

    The Abbe Museum is recognized as a world leader in decolonizing museum practices. As the education and collection teams work tirelessly to introduce inclusive voice into Museum’s spaces and programs, the Abbe has begun a dialogue around what a decolonized lens means for both marketing and philanthropy. Stefanie Joy Muscat, Abbe’s Director of Advancement, will lead a conversation and hands-on workshop on how identity, exclusion, and privilege have shaped museum giving, and what work is being done to engage new audiences and decolonize traditional beliefs around wealth and philanthropy. How do we adjust marketing and giving language to reflect this, while still meeting our goals?

    4.2 Beyoncé the Arts- Building Authentic and Sustainable DEI Strategies in the Arts

    An immense chasm exists between the visible and invisible diversities in terms of the configuration of Dancers, Choreographers, Artistic Directors, Leadership, Students, Staff, Patrons, Donors and Board Members in the Arts, and more specifically, in the classical ballet artform. There is a stark contrast between the homogenous stories that are told in fancy opera houses, museums, theaters and other prominent venues throughout the world, and the true reality of who in fact makes up our societies; our communities; our neighbors; all those whose stories just may be more compelling to share. Diversity, Equity and Inclusion (DEI) are key success factors for the Arts to survive, to thrive and to inspire. While DEI is clearly not only the right thing for companies to live, it also has proven success factors for economic growth for businesses. However, how exactly an arts organization fully embraces diversity and makes it a core pillar, an imperative and an organizational trait that is deeply engrained in the fabric of the organization is the true troublesome issue.
    From a classical ballet company to contemporary times, SF Ballet has become one of the world’s most well-known and celebrated ballet companies. This case study will explore SF Ballet’s DEI journey, the good, the bad and the incredibly complex. It will answer the four main questions:

    WHAT is DEI?

    • SO, WHAT is it about DEI that is so important for the Arts?
    • NOW, WHAT do we do as arts leaders to sustain authentic DEI strategies in our organizations?
    • How the hell can BEYONCÉ help better inform our organizational DEI journey?
  • 5.1 Building Community-Based Decisions to Generate Civic Dialogue

    Opera Theatre of Saint Louis realized that grounding its local community impact primarily in its annual six-week festival was neither as feasible as it once had been (as a result of growing festival season activity) nor generating sustainable engagement. With changes in executive leadership, it sought to address this challenge – committing to commissioning new main stage operas that were resonant with contemporary concerns while building its civic practice in its off-season. Through the creation of a new Engagement + Inclusion Task Force, a group of volunteer community leaders, OTSL began to program events year-round to connect its community with its key artists. Leading to sold-out, social media buzz-worthy events, these community tours began to shape not only the company’s perception in the community but also its perception of itself. Plus, audiences of color grew by 46% and Gen X and Millennial audience grew by 57%. None of this would have been possible without OTSL taking the leap to include its community at the table to make decisions about how it would proceed. This case study examines the process through which that happened and what was learned along the way.

    5.2 Our Stories – Our Voices: Indigenous Curators working with a unique Indigenous Collection and their communities.

    The Australian National Maritime Museum is a keeping place for one of the nation’s most significant Aboriginal and Torres Strait Islander Freshwater and Saltwater cultural collections. The unique cultural diversity of Australia’s First Peoples brings a dynamic and ongoing landscape of Indigenous Knowledge systems that have been present since time in memorial.
    The Indigenous Curator will share some insight into best practice frameworks when working with the Indigenous Collections in particular one of the country’s largest collections of historic and legal Aboriginal bark paintings known as the ‘Saltwater Collection’. The study will highlight areas of opportunity for dialogue situated around guiding cultural principles, which in turn open up pathways for change, interpretation, understanding, authenticity and engagement for this particular Aboriginal community, their works and, also for museum’s visitors and staff. This case study will develop through a series of three areas, pre-development, exhibition display and post-development.
    The 2019 Museums and Heritage Awards in London awarded ‘Gapu-Monuk Saltwater’ as wining Project of the Year (less that £1m). The Curator will share the honour in the process and importance of putting the Aboriginal voices first when telling their stories and in doing so, the benefit it has for all Australians in creating spaces for meaningful dialogue.

  • For over 30 years, Mural Arts has united artists and communities through a collaborative process, rooted in the traditions of mural-making, to create art that transforms public spaces and individual lives. Mural Arts engages communities in 60–100 public art projects each year, and maintains its growing collection through a restoration initiative.

    • Art Therapy by the Montreal Museum of Fine Arts
    • Dance Therapy by the Grands Ballets Canadiens
    • Listening With Mind and Heart: Cultivating Communication for Collaboration and Community Well-Being by Maureen McGuigan, Lackawanna County
  • 1.1 – Leveraging Collaboration

    In this Case Study, James will explore an area of high tension but high potential: the relationship between the curatorial and marketing & communications teams.

    James will give you the tools to enable more meaningful collaboration and provide some easy-to-implement strategies for deeper interdepartmental collaboration.

    1.2 Changing the way we work to enhance inclusion

    The essence of a museum is offering relevance to its audiences through its collections. If you can’t offer relevance, nobody will participate. But, the world around us is changing rapidly. How to stay relevant? At the Van Gogh Museum we asked ourselves: how adaptive is our internal organization to keep up speed with this changing world?

    Like most museums the Van Gogh Museum has a departmental organization and a hierarchal structure. This works well in participation of people who are already curious and who we know well. The Van Gogh Museum has a growing attendance (over 2 million visitors in 2017) and worldwide reputation. But insight grew that we needed another way of working to enhance participation for those audiences who have inclusion barriers. Audiences that are small in participation percentage of museums, but big in societies.

    In 2017 the Van Gogh Museum changed its way of working to improve participation and become more inclusive. Marthe de Vet, Head of Education & Interpretation of the Van Gogh Museum will share the lessons learned.

  • 3.1 The Museum as a space for ceremony, reflection and dialogue

    In December of 2018, Indigenous leader Derek Nepinak undertook a ceremonial fast in the eight-foot by seven-foot replica of Nelson Mandela’s jail cell in the CMHR’s Mandela: Struggle for Freedom exhibition. Nepinak spent 27 hours in the cell – one hour for every year Mandela spent in prison.
    For Nepinak, fasting is an opportunity for introspection in the pursuit of personal guidance and greater clarity of purpose; he wanted to reflect on parallels between the experience of Indigenous peoples in Canada and of non-white South Africans during apartheid. For the Museum, the action was a welcome opportunity to foster dialogue about essential human rights issues from different perspectives.

    3.2 How to foster participation and inclusivity within and beyond a museum’s walls

    In keeping with its newly developed educational policy, the McCord Stewart Museum is committed to its role as a participatory and community-oriented institution. Working from this perspective, the Museum recently created the program Welcome! Want to Play?, linked to its annual kids’ exhibition. Montrealers were encouraged to donate beloved toys and include written memories about their gifts, which were then offered to newcomer families. By using objects to tell stories and share experiences, the Museum believes it can help residents of all backgrounds to better understand their city and the world around them. What are the rules of the game of participation and engagement?

  • .1 ‘To Be Changed By Community’: The Power of Listening & Building Community-Centered Practices in Museums

    Cultivating relationships among museums and local communities opens up the potential to make change happen within museums in ways that build empathy and a long-term sense of belonging and shared ownership. This has been a core strategic intent for the Department of Learning & Community Partnerships at the Portland Art Museum, and staff across the institution are actively making a stronger commitment to building community-centered practices of listening, valuing community participation, and co-creating with communities.  In this session, Murawski will focus on their “Building Community-Centered Practices” project that is part of the Institute of Museum & Library Services (IMLS) Community Catalyst initiative.  Begun during the past year, this project has aimed to bring community participation into the museum in new and meaningful ways. Connecting with the words of social activist and author bell hooks, this project deeply explores what would it mean for museums and cultural organizations “to be in community, to work in community, and to be changed by community.”

    4.2 Les Jardins Gamelin, a living space for all

    In just five years, Les Jardins Gamelin have emerged as a model for the revitalization and animation of public space. The human-scaled design, its inclusive values and programming have made an exceptional shared space out of a previously abandoned one. The Quartier des Spectacles Partnership works closely with local stakeholders running social outreach, public health and urban agriculture projects involving members of marginalized groups who frequent the square. The cultural and citizen-focused programming plays an essential role in the rehabilitation, encouraging use of the space by a broad social mix and making it a lively gathering place.

  • Global warming, radical politics, shifting gender norms , the internet, the global economy… we live in an increasingly  complex world, in ever closer contact with forces beyond our control, too big to fully comprehend.  We need new tools to allow us to navigate these issues and place ourselves within the enormity of the global forces affecting our lives.  Without those tools, our social fabric is in danger as we turn inwards, protecting ourselves rather than the common good.

    The performing arts equip us to understand complexity, to use our most human qualities – thinking abstractly and feeling something for someone else – to find solutions, solace, community and inspiration.  In this speech, I talk about the empathy deficit we are facing today and how the arts, and the National Theatre School in particular, have a responsibility to help equip our world with the tools we need to deal with our most complicated problems.

  • We are delighted to announce that our partner and host venue Les Grands Ballets Canadiens is offering you a 30% discount on Carmina Burana & Stabat MATER  by Edward Clug.

    The opening show of the 2019-2020 season will be performed from October 3 to 19.
    More than 150 artists will be on stage to offer you an exceptional performance: 40 dancers, 70 musicians of Les Grands Ballets Orchestra, 40 chorists and 3 renowned vocal soloists with soprano Aline Kutan, tenor Spencer Britten and bass-baritone Alexandre Sylvestre.

    Book your ticket today and enter the code CTAMTL to benefit from the preferred rate.


Conference Ticket

What is included in your ticket?

2.5-day working conference, access to all Keynotes, Panel Discussions, Workshops, Masterclasses and Round Table Sessions.
Access to all social events and networking opportunities.
Free entrance to all Partner Institutions.

Register in EUR
Register in USD

Early Bird Rate

Valid between 18 December 2018 and 31 March 2019
900€ – 1030$ * For Non Profit
1300€ – 1485$ * For Business

Regular Rate

Valid between 1 April and 31 July 2019
1,100€ – 1250$ * For Non Profit
1,500€ – 1715$ * For Business

Last Minute Rate

Valid between 1 August and 8 October 2019
1,200€ – 1370$ * For Non Profit
1,700€ – 1945$ * For Business

Day Tickets

Day Tickets are available for Tuesday 8, Wednesday 9 and Thursday 10 October 2019
600€ – 685$ * For Non Profit
900€ – 1030$ * For Business

Special offers

Multiple tickets purchase

Discounts are available for multiple tickets purchased at the same time :
10% discount on each ticket for 2 tickets from the same organisation – Enter the following code : CTAMTL_DUO
20% discount on each ticket for 3 tickets from the same organisation – Enter the following code : CTAMTL_TRIO
30% discount on each ticket for 4 tickets from the same organisation – Enter the following code : CTAMTL_QUATUOR

Discounts cannot be accumulated.

Student Rate on request

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Meet the 50+ communication experts, leaders, educators, artists and activists that will share their expertise at Communicating the Arts Montreal


250 international culture professionals will gather to network, engage in stimulating conversations and rethink their institution’s model and communications.
Delegates come from international arts organisations alongside businesses and public organisations.

    • Job title

    • Organisation

    • Country

    • Director of Advancement
    • Abbe Museum
    • USA
    • Audience Developement Manager
    • Agence France Muséums
    • France
    • Project Manager, Exhibitions
    • Annenberg Space for Photography
    • USA
    • Writer/Editor – Marketing and Communications
    • Annenberg Foundation
    • USA
    • Global Director of Creative Strategy
    • Antenna International
    • USA
    • Head of Learning and Participation
    • Art Gallery of NSW
    • Australia
    • Senior Director of Youth and Family Programs
    • Art Institute of Chicago
    • USA
    • Director of Adult Learning and Associate Curator of Interpretation
    • Art Institute of Chicago
    • USA
    • CEO
    • Arts Centre Melbourne
    • Australia
    • Physician and vice president
    • Association des médecins francophones du Québec
    • Canada
    • Curator, First Peoples
    • Australian National Maritime Museum
    • Australia
    • Gallery and Museum Programs Officer
    • Broken Hill Regional Art Gallery
    • Australia
    • Head of Marketing
    • Bullock Texas State History Museum
    • USA
    • Canadian Museum Association
    • Canada
    • Vice president, public affairs and programs
    • Canadian Museum for Human Rights
    • Canada
    • Manager, Marketing and communication
    • Canadian Museum for Human Rights
    • Canada
    • Vice President Communications and Partnerships
    • Canadian Museum of Immigration at Pier 21
    • Canada
    • Director of Education and Community Engagement
    • Canadian National Arts Centre
    • Canada
    • Head of Cultural Affairs
    • Canton de Vaud
    • Switzerland
    • Marketing Supervisor, Economic, Development and Culture
    • City of Toronto
    • Canada
    • Executive Vice President, Corporate Services and Chief Legal Officer
    • CN
    • Canada
    • FAFO Gallery Director
    • Concordia Faculty of Fine Arts
    • Canada
    • Accessibility Manager
    • Cooper Hewitt
    • USA
    • Head of Public Program
    • Crystal Bridges Museum of American Art
    • USA
    • Founder and Principal
    • Facilitate Movement
    • USA
    • Head of Communications and Content Strategy
    • Frye Art Museum
    • USA
    • Steering Committee Member
    • GEMM
    • USA
    • Communications Manager
    • GRAMMY Museum
    • USA
    • Arts Management
    • Harris Institute
    • Canada
    • Artistic Director and CoFounder
    • Ivy Theatre
    • USA
    • Grad Student
    • Johns Hopkins University
    • USA
    • Director of Arts and Culture
    • Lackawanna Arts and Culture Department
    • USA
    • Head of Dance Therapy
    • Les Grands Ballets Canadiens de Montréal
    • Canada
    • Director
    • Mackenzie Art Gallery
    • Canada
    • CEO
    • MacKenzie Art Gallery
    • Canada
    • California Partnerships
    • MathHappens Foundation
    • USA
    • Director
    • MathHappens Foundation
    • USA
    • Director of Education and Wellness
    • MBAM
    • Canada
    • Director
    • MBAM
    • Canada
    • Head of Educational Programs
    • MBAM
    • Canada
    • Educational Programs Officer World Cultures and Togetherness
    • MBAM
    • Canada
    • Head of Education, Community Engagement and Cultural Programs
    • McCord Stewart Museum
    • Canada
    • Business Development North America
    • Meyvaert
    • USA
    • Chief Scientist of Quebec
    • Ministère de l'Economie, de la Science et de l'Innovation
    • Canada
    • Head of Communication
    • Moderna Museet
    • Sweden
    • Custom Editions Key Account Manager Canada
    • Moleskine
    • Canada
    • Communication Manager
    • MUDAC
    • Switzerland
    • Director
    • Mural Arts Institute
    • USA
    • Head of Communications
    • Musée d'art contemporain de Lyon
    • France
    • COO
    • Musée du Louvre
    • France
    • Director, Marketing, Communications and Visitor Experience
    • Musée McCord Stewart
    • Canada
    • Head of Communications
    • Musée McCord Stewart
    • Canada
    • Specialist, Digital Content and Social Media
    • Musée McCord Stewart
    • Canada
    • coordinator public programme
    • Museum De Lakenhal
    • Netherlands
    • Senior creative consultant
    • Museum Hack
    • USA
    • Marketing and Communications Coordinator
    • Museum of Anthropology at UBC
    • Canada
    • Director of Communications and Marketing
    • Museum of Women in the Arts
    • USA
    • Communications and Marketing Manager
    • Museum of Women in the Arts
    • USA
    • Communication Officer (French Theatre)
    • National Arts Centre, Ottawa
    • Canada
    • Senior Director, Visitor Experience
    • National Arts Centre
    • Canada
    • Executive Director, Communications and Public Affairs
    • National Arts Centre
    • Canada
    • Senior Director, Digital Engagement
    • National Arts Centre
    • Canada
    • Program Producer
    • National Gallery of Australia
    • Australia
    • CEO
    • National Theatre School of Canada
    • Canada
    • Vice President, Audiences and Innovation
    • New York Philharmonic
    • USA
    • Senior Manager, Public Programs and External Affairs
    • Norton Simon Museum
    • USA
    • Communications and Membership Services Coordinator
    • Ontario Presents
    • Canada
    • Ontario Presents
    • Canada
    • Former Director of Marketing and PR
    • Opera Theater of Saint Louis
    • Canada
    • Director of Learning and Community Partnerships
    • Portland Art Museum
    • USA
    • Professional Association of Canadian Theatres
    • Canada
    • Head of Public Relations and Marketing
    • Qatar National Library
    • Qatar
    • Programming Director
    • Quartier des Spectacles
    • Canada
    • Director, Business Development
    • Ralph Appelbaum Associates
    • USA
    • Marketing and PR Specialist, Creative Services
    • Rhode Island School of Design Museum
    • USA
    • Assistant Director Family and Teen Programs
    • Rhode Island School of Design Museum
    • USA
    • Deputy Director of Development and External Affairs
    • Rhode Island School of Design Museum
    • USA
    • Director of Communications and Marketing
    • Royal Academy of Dramatic Art
    • UK
    • Inclusion Manager
    • Royal Ontario Museum
    • Canada
    • Community and Education Project Manager
    • Royal Philharmonic Orchestra
    • UK
    • Physician, Full Professor of Geriatric Medicine and Director
    • RUIS McGill Centre of Excellence on Longevity and the Jewish General Hospital
    • Canada
    • Director of Communications
    • San Francisco Arts Commission
    • USA
    • HR Director and Head of Diversity, Equity and Inclusion
    • San Francisco Ballet
    • USA
    • Director, Arts Marketing
    • San Francisco Travel
    • USA
    • Director of Communication
    • SF MOMA
    • USA
    • President and Head of Global Operations, Senior Partner
    • SID LEE
    • Canada
    • Senior creative developper
    • Smithsonian National Museum of American History
    • USA
    • Deputy Director, Global Communications
    • Solomon R. Guggenheim Museum
    • USA
    • Director, Marketing
    • Solomon R. Guggenheim Museum
    • USA
    • Director
    • Tactile Studio
    • Canada
    • Diversity and Inclusion Manager
    • Tate
    • UK
    • Vice President Enterprise Consulting
    • Tessitura Network
    • USA
    • Education and Engagement Manager
    • TO Live
    • Canada
    • President
    • USA
    • Director of Integrative Pain Management
    • University of California
    • USA
    • Professor
    • Urban Heritage
    • Canada
    • Head of Interpretation and Education
    • Van Gogh Museum
    • Netherlands
    • Engament and Discovery Coordinator
    • Western Australian Museum
    • Australia
    • Marketing and Communications Manager
    • WorkInCulture
    • Canada
    • Chief Marketing Officer
    • Yerba Buena Center for the Arts
    • USA
    • Theatre maker
    • Australia


Become a partner

Communicating the Arts is the leading international forum for communications professionals working in culture. Our network includes more than 16500 culture and art professionals from over 40 countries.

Partner with us to

  • Gain exclusive access to key decision makers in your market
  • Access a global network of museums, heritage, visual and performing arts organisations
  • Associate your brand with the leading international event for senior communicators working in culture
Download our Partnership Offer

Travel tips

More details

The conference will take place in the city’s best cultural venues. With more than 120 Museums, Heritage Sites and Performing Art venues to choose from, Montreal makes an excellent host for Communicating the Arts. The Montreal Museum of Fine Arts is the main partner institution of the conference with events, workshops and tours taking place in many institutions across the city.

Montreal Museum of Fine Arts – Musée des Beaux Arts de Montreal
1380 Rue Sherbrooke Ouest, Montréal, QC H3G 1J5, Canada

Les Grands Ballets Canadiens
1435 Rue de Bleury Suite 400, Montreal, QC H3A 2H7, Canada

Concordia University, Faculty of Fine Arts
1515 Rue Sainte-Catherine O, Montréal, QC H3G 2W1, Canada

Le Meridien Versailles Hotel
1808 Rue Sherbrooke Ouest, Montréal, QC H3H 1E5, Canada


Le Méridien Versailles is a leading boutique hotel in downtown Montreal. Situated in the heart of the city’s dazzling Golden Square Mile, the hotel is moments away from the Montreal Museum of Fine Arts, many shops and restaurants and close to premier cultural attractions like Place des Arts and Quartier des Spectacles.

CTA has negotiated preferred rates for its delegates:

Classic, Guest room, 1 Queen – 179$ CAD (approx 120€ – 125$ USD)
Deluxe, Guest room, 1 King or 2 Double – 199$ CAD (approx 130€ – 150$ USD)
Junior Suite – 219$ CAD ( approx 145€ – 167$ USD)

Rates available until 7 September 2019
Room availability is limited, please reserve asap.


You can also book your room by calling +1 888 933 8111 or by email – please mention the following code to benefit from the preferred rate ACJ07S or the name « Agenda – Communicating the Arts »


CTA is proud to announce Air France-KLM as the official carriers of CTAMTL
Attractive discounts on a wide range of fares on all Air France and KLM flights worldwide are available to CTAMTL delegates.

Event: Communicating the Arts Montreal
ID Code: 34829AF
Travel Valid Period: 01/10/2019 to 17/10/2019
Event location: MONTREAL

Access the offer directly through

Frequent flyer/loyalty programs of Air France and KLM partner airlines are credited with “miles” when Air France or KLM flights are used.

Visit and enter the event ID code 34829AF in order to get access to the discounted AIR FRANCE-KLM Global Meetings & Events fares.


Janine Kersten
Senior Project Manager
Tel +49 30 26 03 03 81