The Future of Kingston Theatre
A Conversation with Kirsi Hunnakko, Executive Director of Kingston Arts Council
This is the first of a three part series on Kingston Theatre during the COVID-19 pandemic. Follow the Kingston Theatre Alliance on Facebook to receive updates as we continue the series.
As the reality of the Second Wave of COVID-19 looms, another reality persists. What is the current state of our arts and creative industries? Specifically, how will mediums like theatre, that rely on live performance survive, or attempt to survive in the precariousness of these times?
I recently had the privilege to chat with Kirsi Hunnakko, Executive Director of Kingston Arts Council to discuss how the organization is aiding theatre companies and artists during this heightened time of uncertainty.
Before I delve into the interview, some background on Kingston Arts Council should be provided. The Council is essentially the go-to-centre for all creatives in Kingston: it promotes different grant opportunities, showcases local artists and has continuous programming initiatives. As well, the council itself has a multitude of grants that they administer each year. I noticed immediately on the KAC website that under the “COVID-19 and The Arts Sector”, a massive database of resources were listed. These included grants, emergency funding, arts resources, remote working resources, as well as YGK roundtables where Kingston creatives converged to discuss the future of arts in Kingston during COVID-19.
However, beyond the impressive database of resources and online programming, I asked Kirsi what were some other ways the Council was able to support arts workers during this time. Hunnakko explained that almost immediately, “I spearheaded the development of the Alliance of Arts Councils of Ontario along with Su Ditta, ED for the Electric City Culture Council in Peterborough. The group is now 28 members strong and we are working together on provincial advocacy efforts. … In July, we submitted a joint letter to the Standing Committee on Finance and Economic Affairs addressing the impact of COVID-19 on our arts sector, which can be viewed here.” This unified approach seemed like an incredible way for the provincial government to realize the impact that arts can have on the economy.
As well, Hunnakko discussed the creation of “our Essential Arts Thinking Group, who have been tasked with creating a new vision for the arts in Kingston. Their work continues this fall and we’ll be hosting a public event in early December where they will present their ideas and invite the community to participate in growing and activating this vision.” Again, imagining and envisioning a future for the arts in Kingston is a difficult, but necessary task and I eagerly anticipate this crucial event.
While the essence of the roundtables in itself was quite simplistic, some of the insights and recommendations were quite significant. While I started working on this piece after the roundtables, the recommendations from the roundtables were published in multiple reports online. While reading them, there were some fascinating observations that I was keen to expand on with Kirsi. The May 2020 report from the Roundtables mentioned that many arts workers in Kingston were looking outside the arts sector for income as a way to stay afloat. However, I was curious how theatre companies themselves were able to stay afloat as the strong majority cancelled all of their productions. Hunnakko believed that “some organizations are relying on government funding support (CEWS, CECRA) …Others are working to increase their private sector revenue through individual donations and sponsorships. Some are using the cost-savings from cancelled events (e.g. not having to pay for venue rentals, catering, etc.) to cover operational expenses at least in part. Some have had to lay off staff.” It was interesting to get a more concrete sense of the grim reality that many of these theatre companies are being forced to reckon with.
While it is widely apparent that in-person theatre productions are very minimal, a secondary issue has also emerged. The May 2020 report stated that “There is a collective concern around ensuring artists get paid”. While it is likely that many artists are looking outside of the arts for employment, I was curious if there were approaches that artists could take to earn revenue from within the arts sector. Hunnakko’s answer was incredibly fascinating as she explained that “I think there are potential ways to connect with other sectors…We need artists to get through this. As part of our advocacy work, we are encouraging local businesses and industry leaders to consider how they can create employment for artists, and set an example for the public by buying local art”.
This idea of seeking innovating approaches for artists to monetize their skillset immediately led me to my next question. I asked Kirsi on her thoughts on monetizing online programming and whether she sees it as appropriate and/or necessary. Hunnakko responded by stating it largely has to do with context: “I think for some organizations, monetizing online programming may be an appropriate way forward … One thing that has been challenging for artists and arts groups is that in the early days of the pandemic, there was a move by many to provide free arts experiences and programming and I think the public have to some degree become used to receiving this art for free. We may collectively have to do some work to re-emphasize that artists deserve to be paid fairly for their work.”
While the April 2020 report identified early issues for the arts in Kingston as a result of COVID, the May 2020 report delved into more of the specifics. One area that struck me was the line that stated “Theatre owners are closing up shop; their audiences are only interested in consuming art in that particular way”. While this made sense, I imagine that as the pandemic progresses, audiences will be eager to consume theatre in new and innovative ways. When asked about this, Hunnakko agreed by suggesting “I think many are adapting to the new situation in innovative ways…. Many artists are also processing the impact of the pandemic and the grief over losing our ways of working and connecting; it is challenging to innovate and “pivot” at the same time as experiencing what is an incredible toll on our emotional, mental and in some cases physical health.”
Having the opportunity to speak with Kirsi was an absolute privilege and allowed me to understand how theatre might continue to be created throughout the pandemic and afterwards. It was also refreshing to realize that while theatre is obviously currently in a very difficult situation, organizations like the Kingston Arts Council are regularly able to guide and assist theatres in their longevity and survival in Kingston.
