“I feel I was robbed of the experience of completing the Innovators program and an opportunity to work towards a better future for everyone.”
– Taija Shoneé Chung, 23/24 Nightwood Innovator (full statement below)
Labour in the Arts stands in solidarity with artists and workers who experienced anti-Palestinian censorship at Nightwood Theatre during their 2023/24 Innovators Program.
Today, we make this public call-out to honour truth, and to remind the broader theatre community that artists and arts workers will not be silenced.
What happened?
The Nightwood Innovators program was an annual, paid training program for emerging women, trans, non-binary, and gender expansive producers. The program culminated in a fundraiser for a charity of the cohort’s democratic choosing, and in past years, has supported causes including but not limited to well-being in Indigenous communities and domestic violence against women via charities such as Water First, Anduhyuan, and Assaulted Women’s Helpline.
In 2024, the Innovators cohort voted to support Anera, a charity “which has no political or religious affiliation” (Direct quote from Anera’s website) that supports refugees in Gaza, Lebanon, and Jordan.
Nightwood leadership would not allow the Innovators to support Anera as part of the Nightwood Innovators program.
Leadership wrote in an email: “We cannot support the Innovators choosing a charity and programming activities that explicitly center the current crisis in Palestine. As a public entity that is restricted by specific rules regarding non-partisanship, sadly, we jeopardize our funding by being drawn into controversy despite our personal values.”
Nightwood would only allow Fempocalypse to continue on if the Innovators chose another cause. If the cohort wanted to continue with their support of Palestine, they were told they would have to do so independently, without the resources and support of Nightwood.
“I remember crying out of frustration in the meeting, how can giving humanitarian relief to a group of people be partisan??”
— Jill Goranson, 23/24 Nightwood Innovator (full statement below)
“…If we had been told it was okay to support a Canadian charity giving proceeds to Palestine, that is what we would have done. The issue was the cause we wanted to donate to, not the locality of the charity, which we were told in no uncertain terms. The overwhelming feeling was, as a group of largely under-resourced early-career artists, we can’t even rely on the organizations that say they stand for justice and give us access to resources to use to those ends.”
— Eli Holliday, 23/24 Nightwood Innovator (full statement below)
Artists respond to Nightwood
In May 2024, Amanda Lin, who had worked with Nightwood Theatre as the facilitator for the Innovators Program for 3 years, sent a closed letter addressed to the company’s leadership, staff, and board.
“It is clear that Nightwood leadership feels it cannot make a decision that would harm the company. To Naz and Andrea and the board, I ask you to question how you define ‘harm.’ Are you more worried about harm that comes from a funder pulling out? Or are you worried about the harm that comes when 14 emerging artists are censored and caused emotional duress by a decision you have made?“
— Amanda Lin, in a letter addressed to Nightwood Theatre (full letter below)
In response to Amanda’s letter, Nightwood leadership wrote via email that they would not be proceeding with any of her requests, including making a private apology to the cohort.
Since then, several community members have turned down opportunities at Nightwood Theatre in solidarity.
“At this juncture, I have very little faith or trust in most theatre institutions in general. They have all been harmful in some capacity and many, who attempt to claim to be political, distance themselves from politics when it starts to inconvenience them or interrupt their funding. It’s easy to understand how yes, we are all crabs in the bucket that is capitalism, but if we want revolution, it has to begin with us.
Since becoming aware of what occurred with the young innovators and the response, I no longer felt like Nightwood’s values aligned with mine and I turned down a spot at Groundswell as well as any future support for The Eighth Fire series.”
— Yolanda Bonnell, Artist (full statement below)
In conclusion
On November 15, 2024, Nightwood Theatre quietly posted a blog to their website that tries to shift the accountability away from the company. This is the exact kind of harm that Labour in the Arts had demanded from the industry, including PACT and PACT member organizations, to address back in May 2024.
We are sharing this instance of censorship because we know it does not exist in a vacuum. We also believe that artists and workers’ voices should be centered and amplified. This is why below, we have added full, unedited testimonials of people affected.
The Grind Magazine conducted an investigation into the 2024 Nightwood Innovators and you can read their findings here.
Before sharing the full testimonials, we’d like to end our statement with the following points.
- All institutions have the obligation to uphold international law. In July, the International Court of Justice found Israel responsible for racial segregation and apartheid against the Palestinians. The ICJ found that Israel’s occupation is illegal, and set out clear standards for Israel to provide reparations to Palestinians.
- Feminism is directly related to all anti-colonial movements. Labour in the Arts believes that in the time that Nightwood Theatre had to try and control a narrative, this “feminist theatre company” could have extended an apology to the Innovators cohort, and then condemned the colonial violence being bombarded onto Palestinian people a thousand times and more.
- Supporting Palestinians is not a partisan action. The CRA clearly defines prohibited activities such as supporting or opposing a political party or candidate. The Government of Canada1 also clearly states that charities are able to advocate and mobilize, including calling on the general public to contact elected officials and political parties, and candidates of all parties to express their support for or opposition to, a particular law, policy, or decision of any level of government in Canada or a foreign country.
Here are our calls to action to the theatre community.
- Start a conversation with your workplace. You can use this statement to spark conversations with the organizations you work with about Anti-Palestinian censorship. Here is a helpful article on talking to your workplace about Palestine.
- Learn how artists and arts workers can use our power, with movements like PACBI. 18 Theatre companies across Canada has recently endorsed PACBI. Add your voice and support for these organizations. If your performing arts organization is interested in learning more about PACBI, please reach out to TAPV.
- Share your story with us. Have you experienced Anti-Palestinian racism, censorship, or discrimination in your workplace? Send us an email. Your story will remain confidential unless you give your explicit permission for us to share it.
- Make a donation to Anera. A number of Innovators opted to donate some of their honorarium for participating in the program to Anera. Join them in supporting Anera at the link above.
- Witness and share testimonials of workers. You can read full statements from the artists and workers affected by this act of censorship below.
1(https://www.canada.ca/en/revenue-agency/services/charities-giving/charities/policies-guidance/public-policy-dialogue-development-activities.html) Under: Public policy dialogue and development activities
Full unedited statements
Sarah Yuen’s statement
January 13th, 2025
Last year, I was one of 14 members in Nightwood Theatre’s 2023/2024 Nightwood Innovators Program. As part of the program, we were tasked with selecting a charity to produce the Fempocalypse fundraiser for. We, by anonymous vote, selected Anera, a charity that sends aid to Palestine, Lebanon, and Jordan.
We were told by Nightwood’s executive team that, for Fempocalypse, we could not choose a charity that specifically, vocally, focuses on aiding Palestinians, Anera included.
We were also told that because Anera is an American charity, Nightwood Theatre, as a Canadian charity, could not donate to an American charity. In my opinion, this is not an issue; I would have been very happy with pivoting to support a Canadian charity that focused on sending aid to Palestinians, and I am certain my fellow cohort members would have agreed, but we were told that this option would not be possible as we could not choose a charity that focused on sending aid to Palestinians at all. It was heavily implied by Nightwood leadership that Nightwood would get into some kind of trouble with the government as consequence if they supported the Palestinian people via Fempocalypse.
The reason that UNICEF was offered to us as an alternative charity to support is because, due to the charity’s wide, international reach, sending aid to Palestinians through them would be more covert.
If the cohort had accepted this alternative, the cohort would have been tasked with engaging artists and curating works and finding donors and marketing to a public audience for a fundraiser that was centred on sending aid to Palestinians without being able to explicitly mention it was sending aid to Palestinians. This would have been an incredibly difficult, disingenuous endeavour for the cohort that would have sat firmly outside our collective vision and what we stood for as artists.
It is the specific decision of Nightwood Theatre to censor the cohort’s effort in fundraising for a charity that vocally focuses on aiding the Palestinian people, in the midst of Israel’s genocide of the Palestinian people, that caused widespread distress, distrust, and disillusionment with Nightwood Theatre amongst the cohort. Because of this, the cohort voted not to continue work with Nightwood to produce the Fempocalypse fundraiser, and instead took one of the options Nightwood offered to us, which is to have the budget of the fundraiser distributed among us.1
On November 15th, 2024, Nightwood released an article titled “A Community Update” on their website, detailing Nightwood leadership’s explanation as to why the 2024 Fempocalypse fundraiser did not occur. In it, they cited this Government of Canada link as an explanation for why they could not “drift beyond our charitable purpose” in fundraising for Anera. The cohort was never sent this link or this article; I remain unsure as to whom exactly it was intended to be distributed to, or if it was distributed at all. After being sent this article from a friend who happened across it in late November, I read the link from top to bottom and could find no justification in it as to why Nightwood could not support a Canadian charity that does the work Anera does.
Ultimately, I think the largest impact this situation has had on me is a significant amount of distrust in Nightwood, which saddens me. I do not think that an organization that builds its mandate upon inclusivity and feminism will be able to adequately care for the artists and community it states it represents if it chooses to censor what the community values upon entering controversy in favour of some semblance of safety with those in power- especially if what is controversial is sending humanitarian aid to those experiencing genocide. To be feminist, to be intersectional, to ally oneself with those most marginalized, is to consistently work in controversy, and of course, in opposition to those in power, understanding the friction that comes with working in opposition to those in power.
I don’t believe that any of this is something that Nightwood’s leadership does not understand. I truly believe that Nightwood’s leadership made their decision in an attempt to protect the artists the organization financially supports from having that support pulled from them by the government that funds them, even though it was not legally necessary. But I also believe that is a decision that prioritizes the fear of consequence over the courage of those living with and fighting against oppression, and if Nightwood Theatre says they are an organization that stands with the marginalized, then these kinds of decisions cannot stand. Should Nightwood continue to make decisions in this manner, they will see the people and ideas they are able to support inevitably narrow in favour of those with more privilege and more power, regardless of the good intent they may have, and if Nightwood’s charitable mission is “liberating futures”, is “re-examining hierarchy and relationships and power”, is “prioritizing equity-deserving communities”, then neither Nightwood Theatre nor the community that it supports can allow this to happen. We simply cannot afford to.
Sarah Yuen, Cohort member of the 2023/2024 Nightwood Innovators Program
Myself and a number of my fellow cohort members committed to donating our portions of the budget to aid the Palestinian people. I have since donated my portion of the budget to Gaza Soup Kitchen. You can join me in donating to Gaza Soup Kitchen here, donate to Anera here, or donate to Islamic Relief Canada here.
Jill Goranson’s statement
I, Jill Goranson, am one of the Nightwood Innovators from this latest 2023/2024 cohort and am writing to you to express my disappointment in my experience. As part of our learning with Innovators we were assigned to find an organization we all believed in and wanted to support through our version of a Fempocolypse. Not a small task, but we worked hard and worked together researching, conversing, and debating and we eventually landed on ANERA, a charity that supports refugees in Lebanon, Jordan, and Palestine. After choosing the charity, we were told we had to have a meeting. We were left in the dark leading up to the meeting with who or what the meeting was about. Then we had a meeting with Naz and Andrea, where we learnt that we could not continue with our plan for Fempocolypse because of the charity we chose. We were told that this was because they feared that they would lose funding. We were told that Nightwood has to be non-partisan as an arts organization therefore choosing to support Palestinians was partisan, it was choosing a side. I remember crying out of frustration in the meeting, how can giving humanitarian relief to a group of people be partisan?? And the most painful part was watching how hard it was for Naz and Andrea, you could see it was wearing on their hearts too, yet all they could do was encourage us to move on as a cohort. They kept assuring us that if there was something they could do, they would do it, but based on the structures that exist now, we cannot continue with our plan.
So while this genocide continues, our collective efforts could have gone towards something healing for all involved and supported people who really needed our help. Instead I left the 23/24 Innovators feeling scared to make noise, disempowered, tired, unsupported, and sad. Nightwood used to be the place where I had wished and dreamed that my work could live and breathe at. I’ve attended tons of Nightwood’s workshops in person or online. I’ve been part of every Creatryx, I’ve attended many Nightwood conversations or town halls, seen so many of Nightwood’s shows and finally I got to be part of the Innovators! But I have to say, this year I became disillusioned by Nightwood. I’m usually itching to get my application into any of their development programs: Write from the hip, innovators, the new shadow residencies, Creatryx 3.0, but this year I do not feel inspired to engage with the organization. I want to say that I still believe in the organization and its values but I haven’t seen much action to back up those said values.
Instead I’m sad. Sad to see how excited I saw my fellow artists enter the program and how deflated they left. Sad that I’ve been more quiet than I should. Sad that I’ve had to witness Amanda Lin do SO much unpaid labour and watch her become deflated after all her efforts were like hitting a brick wall. Sad that we fear the structures above us and have to contemplate speaking up because we don’t know the effects it will have on our career. Sad that this industry is not the supportive warm place I once thought it was years ago. I’m sad.
Although I’m sad, I hope Nightwood can get back to empowering individuals again. I look forward to that day. Until then, I’ll be sad and grieve the company I thought they were…
Jill
Taija Shonée Chung’s statement
The censorship that I experienced as part of the 2024 innovators program was devastating. To be told that the opinions of shareholders and board members was more important than our cohorts collective effort to enact what little change we could, than our effort to help others, was beyond disappointing. As theatre artists, as “innovators”, it is our duty to reflect the times we are living in, which made me question what exactly we were innovating at all if we were being barred from using our skills as artists to address the ongoing genocide in Palestine. To be told that we could not support Anera because Nightwood is not allowed to take a partisan stance, as though the genocide in Palestine isn’t a feminist issue, the very foundation of Nightwood’s mandate, was confusing and frustrating. To be told that if we wanted to support Anera, Nightwood would not support us in ANY way in our effort, felt like they valued their position within the theatre community over the welfare and safety of their artists. I’m incredibly saddened by the way that Nightwood has refused to apologize for the harm caused to myself and my cohort and their lack of accountability and transparency on the issue. I feel I was robbed of the experience of completing the Innovators program and an opportunity to work towards a better future for everyone.
Eli Holiday’s statement
Having my time with the Innovators end the way it did was incredibly demoralizing. In a time of overwhelming fear and grief over what we were seeing from Gaza, it had meant so much to feel like we would be able to have some kind of impact there, and to be supported in this goal by an organization in which we all had trust. If we had been told it was okay to support a Canadian charity giving proceeds to Palestine, that is what we would have done. The issue was the cause we wanted to donate to, not the locality of the charity, which we were told in no uncertain terms. The overwhelming feeling was, as a group of largely under-resourced early-career artists, we can’t even rely on the organizations that say they stand for justice and give us access to resources to use to those ends.
The clear desire on the part of Nightwood to avoid transparency about this decision was the reason I didn’t feel comfortable proceeding with Fempocalypse, and the experience has left me disillusioned, disheartened, and disappointed.
Melissa Avalos’ statement
As an Innovator chosen to be a part of the 23/24 cohort for Nightwood, I’ve been disheartened to learn that Nightwood has not only chosen to suppress our support of Palestine, but also to actively lie to the community about the reasons for their actions. The leadership at Nightwood was happy to support Palestine verbally, behind closed doors, and actively gave the cohort resources and information about the situation happening in Gaza before our workshops began. The fact that the Innovators decided to choose a charity in aid to Palestine should not have been a surprise. We were not told that an American charity was unsuitable until we were told that a charity that actively supports Palestine was not allowed. They said clearly, to our faces, that Nightwood could not support the Innovators if we chose a charity that gave money to the civilians in Palestine. We were told to either choose a charity with no active support to Palestine, or do it ourselves and cut any ties relating to Nightwood so that they were at no risk of losing funding.
Nightwood’s leadership insisted that they were not interested in getting involved in politics, even though they claim to be a “feminist organization” (an inherently political stance) who recently put up a show directly calling out the government regarding other matters. And though the charity we chose, Anera, “has no political or religious affiliation” (their website) and supports civilians in Jordan and Lebanon as well, NW leadership was afraid of any connection towards Palestine whatsoever. Leadership doubled-down in their request to be bi-partisan and not engage in any politics. Because we had done our research regarding Palestine in mind when creating the event, most of our cohort became demoralized and decided to take a portion of our funds for “professional development”. They did not care to mention in their statement that many of the cohort chose to take their share of the funds to donate to Anera.
I saw many of my peers actively choose to not say anything, citing they were afraid of losing connections and potential networking resources if they were to speak about this incident. I can’t blame them, as the highest positions of a notable theatre company in Toronto had just, with a word, destroyed an entire project that we were in the middle of building. Some people were already actively engaged with Nightwood projects, and others interested in reaping some benefit from the wreck that was this year’s Innovators project.
Once again, this has changed my perception of theatre companies that have mandates towards marginalized communities. Nightwood has shown themselves to be hypocritical and just as reputation-driven as any other company. Their decision to shut down Fempocalypse has taught me one thing: the main mandate of their theatre company is not to center the most marginalized women, but the women who have enough money to give them a new building on Yonge Street.
I know some people may try to understand the actions of this company, since they were under a difficult decision. (Should we squash these emerging artists or should we own land?) To those of you under that condition, I can not convince you. I’ll just say this: Nightwood is not a person. Nightwood is a company. A company does not need your defense. People, individuals, are the ones who need you to speak up and give your support. Please remember that the company’s support of you, your career, or your identity, begins and ends with the donors’ money. Once your identity can’t be squeezed for any more grants, I hope there is someone there to speak up for you.
Elizabeth Staples’ statement
Since seeing Nightwood’s production of The Penelopiad in theatre school, I have been inspired by the artistry and leadership of Nightwood Theatre (NW). I found a lighthouse for my career in this theatre company. I was a part of the inaugural Young Innovators Program (YI) in 2017. We were tasked to reignite FemCab, the iconic feminist cabaret previously hosted at the Horseshoe Tavern that later became a successful annual fundraiser for NW. We were influenced by the punk rock and political nature of this cabaret. We coined the name Fempocalyse to relay how powerful femininity is, and what lies beyond it. We raised money for the Native Women’s Association of Canada, had a petition signing table, and featured performances from emerging Actors from CIT, local burlesque acts, and drag. It was a very impactful night in my professional career.
In 2024, I was proud to receive an RGTC from Nightwood for my solo show Chez Moi. I feel very involved with the Nightwood community and I always followed the Young Innovators because it’s one of the best opportunities for young theatre creators to develop their producing skills, learn about the industry, and connect to other peers. I still keep in contact with some artists from my YI cohort.
I was surprised to see that Fempocalyse didn’t happen last season and I asked those in the cohort and others in the NW community. I received information that was extremely disappointing. I learned the cohort had chosen a charity that would provide relief to Palestine and leadership interfered with that request. Upon hearing this situation also brought up at PACTcon, it prompted me to be more curious.
I was offered a spot in the 2024 Groundswell Festival to read an excerpt from Chez Moi. I declined that offer with a letter similar to this one. I had a meeting with Andrea Donaldson on November 15 2024 to discuss what happened to the YI. I shared that I must stand in solidarity with my fellow artists, especially as a former Young Innovator. I expressed that a company who cannot stand behind its artists or the programs it facilitates, should re-evaluate its intentions. I also shared how influential the Young Innovators were in my career, how unique of an opportunity it offers, the importance of the legacy of FemCab and Fempocalyse, and how disappointed I was that the program was not offered this season.
I was surprised to hear that Leadership did not take any accountability in the conflict with the YI. Their issue wasn’t about fundraising for Palestinian aid, it was the American charity that the cohort chose. They cited issues with indecision in the group and lack of intention for why Fempocalyse didn’t happen. NW offered the cohort a few options to move forward but it was entirely the YI’s decision that Fempoclayse did not happen. This information directly contradicts the previous information I had about the situation. While I dont think Nightwood shared this information to intentionally mislead or gaslight, I was still shocked by the lack of accountability and transparency. I have full compassion for the difficulties of leading a theatre company during these trying times, but I have more compassion for the artists who lost opportunities or felt silenced.
I am writing this testimony in response to Nightwood’s Community Update from November 15th 2024. The newsletter is consistent with the information that was shared with me during my meeting, but it does not offer any other perspective. I am in support of Amanda Lin and the 2024 Young Innovators Cohort. They deserve to have their side of the story heard.
When I think about the theatre community as a community, I feel it deeply in moments like these. Moments where artists are able to stand behind each other and remind the institutions that they are not bigger than us. The conversations I have had with my peers over the last couple of months have been productive and thoughtful even through a disappointing situation. My feminism doesn’t come with conditions; art and politics cannot be separated for me.
– Elizabeth Staples (she/they)
Yolanda Bonnell’s statement
At this juncture, I have very little faith or trust in most theatre institutions in general. They have all been harmful in some capacity and many, who attempt to claim to be political distance themselves from politics when it starts to inconvenience them or interrupt their funding. It’s easy to understand how yes, we are all crabs in the bucket that is capitalism, but if we want revolution, it has to begin with us.
Since becoming aware of what occurred with the young innovators and the response, I no longer felt like Nightwood’s values aligned with mine and I turned down a spot at Groundswell as well as any future support for The Eighth Fire series. A meeting was offered to me, but I did not respond as I did not have the capacity for more labour. As much support as my work requires, I have to evaluate each relationship/agreement I foster and ensure it holds up to my traditional values and political beliefs, especially when it comes down to standing up against Imperialism.
isi bhakhomen’s statement
On Tuesday, March 5, 2024 I sent this email to Nightwood:
Hi Amanda, Naz and Andrea,
I just got back home from my walk.
And I’ve made the decision to walk away from Innovators. I totally understand Nightwood’s stance.
I’m not angry or upset with anyone.
I’m leaving to protect my health.
This is not me walking away due to values
or because I’m trying to take on some kind of stance.
It’s simply because I just can’t take another set back at this time.
My life is very fragile at the moment.
I’ve been thinking about leaving for some time now.
Today just made that decision easier.
I’m burnt out.
Thank you for this opportunity. I’ve learned so much, and I’m grateful for the community that we’ve built.
I just have too much on my plate at the moment, in connection to both my personal and professional life.
Best,
Isi
Since graduating from theatre school I’ve wanted to quit theatre. This industry is weird. Everyone who speaks up gets blacklisted. So when I look back at this email I know that I lied. I did it to protect myself from further repercussions and that’s an embarrassing thing to admit.
I am liar
I confess
I lied
and
I’m sorry
Whenever I feel uncomfortable with a situation I use mental health as a way out
It tends to not get disputed
Yikes!
That is a messed up thing that I did
That’s not okay
Again, I’m sorry
I’m sorry to Nightwood
I’m sorry to Amanda
And I’m sorry to my fellow cohort
I chickened out when things got hard
Folks really will shut you down if you have a politic
So what do you do?
How does one overcome this predicament?
You become a producer!
LOLLLLLLLL
An innovator of sorts…
LOLLLLLLLL
And I’ve been doing my thing
I’m proud of my work
I hope to continue being a producer
Despite graduating from the “Juilliard” of Canada’s acting program
Acting isn’t going too well for me
I must admit
Womp womp woooooomp
LOLLLLLLLL
I really do be cracking myself up sometimes
Hahahahaha
I’m so funny
Why won’t anyone hire me?
Anyways…
I’m officially done with lying
Sike
That’s another lie
I make art
I am a thespian
An innovator of sorts…
A professional liar
A buffoon
I will lie
Again
To save my ass
I need your money so that I can pay my bills.
I will work
To support my family
But there does come a time where money just isn’t enough
So I might lie a little bit
From time to time
When I can’t take your antics and unpleasantness anymore
I’ll just say that it’s a mental health issue
And we will part ways
Amicably
Also, if your theatre company isn’t part of PACBI I’m not coming to see your shows
You won’t be getting my money
I’ll be taking comps
Thank you very much
Palestine will be free
Duh
THE END.
Ashley Naomi’s statement
Hello! Some might be hearing about and processing the NWI censorship posted by The Grind and Labour in the Arts yesterday. The incident happened a little around a year ago and is now officially public, beyond hushed murmurs in certain circles.
As I mentioned, several of my friends and colleagues were, and are, affected by this directly. I’ll never forget hearing a voice memo from one of them at 9pm relaying the meeting they had just had with the cohort+leadership and clearly choked up/shaken by it, as it was happening fresh. When it originally came up, I wasn’t sure if I should provide anything written beyond my full support and solidarity with Amanda and the cohort, since I wasn’t directly involved in the situation. I don’t want to speak for or over anyone who was directly involved in it.
But now that the genie is out of the bottle it got me thinking and I do feel I do have thoughts I want to offer strictly from my own perspective.
I think to be honest, my feelings come not from a place of anger or “tch, I expected nothing less”.
I feel sad, shocked, and honestly moreso disappointed.
What it comes back to for me is that – it didn’t have to be this way.
Strictly speaking, I do not believe on a personal level that the leadership are bad people and from what I know their personal values are not anti-Palestinian values. (This is a key reminder of why institutions =/= individuals and why institutions inherently cannot save us.)
I do think that this is a moment where there has been increased financial and political pressure to “regress to the mean”* and in a crucial moment of inflection they choked under the pressure. The wrong choice being made was one thing, but the process leading to that choice, as well as the fallout that resulted from it, compounds matters.
I personally feel the wider community should have been more considered in what happened. As you can see through the support on social media, the arts community, numerous of whom directly associated with the company, are overwhelmingly in full support and solidarity. I think the community could have helped guide through a gravitious decision and helped to weather it.**
I was saddened because I felt that this was not the NW that I knew when I entered this scene.
When I joined Innovators, mind, as a bipoc trans woman who wasn’t yet on HRT, I felt SUPER welcome and encouraged into the space. I STILL sometimes feel like Homer at the SheShe Lounge in some women’s spaces. I didn’t for a second there.
I’ve encountered white feminism in the arts and my experience at that time was not remotely like that. I very much respected, looked up to, and held so much admiration for the organization, its staff, and practices because of that. This was an experience led with empathy and care that shaped me and was a guiding balm for me which I really needed, especially at that time in my life. I also credit this to some of the other members of the cohort as well as some of Nightwood’s staff and associate artists during that year, many of whom were BIPOC, genderqueer/trans, genuinely RADICAL artists that still to this day are people I still look up to, am friends with, and/or have been encouraging and supportive figures in my life at varying times. I do understand of course that due to the state of the arts as an industry and lifestyle, there has been turnover since then.
I do wonder if some of these artists still had direct voices or representation within the organization, would the same choices have been made?***
I really don’t want to speak for or over her or anything so I try to keep this strictly to my own perspective and how I viewed it. For me part of the pain is bluntly I think it’s a massive tragedy that Amanda’s time with the organization had to end this way. The organization took a chance on and believed in her from very early on in her artistic career which is something I have always admired and respected. To me, as a person and in practice I always felt like she added an important voice advocating for herself, the emerging artists and for the community at large, with a clear drive and keen vision on how to do so, and as evidenced through her continued work with Paprika and with LIA this is a consistent part of her values and principles as a person and arts worker.
When I look back I also specifically, especially recognize the ways that she in particular was the one who championed me and some of the various other artists Nightwood has engaged with during her
time, and that is something that to this day I never leave unnoticed and always remain forever thankful for.
I also know that she is taking a huge risk with the increased attention that this all is taking. It’s hard to navigate and there is a lot of pain, scariness, and rawness that comes from going public with anything personal or professional, let alone something on the scale of this.
I do also feel strictly from a worker’s perspective, the decision resulted in her years of work and labour being undervalued and I think that unbearable pain it brings has a huge chilling effect on all of us.
The entire point of solidarity is in providing strength in numbers. If that were the case from day 1, I feel that Amanda and the Innovators cohort would have felt safer and a lot more protected. The letter in November reopened the wound and let it truly fester, leading to where we are now.
I think there’s healing they need and deserve that they never got. I think that is the basest possible thing that this comes down to.
At the end of the day, I think the reason why anti-Palestinian censorship hits us so hard is because it’s a stark reflection of the make-or-break choice that needs to be made right now. Is the arts industry going to choose to side WITH its artists and with its community, or at their expense?
Decisions like this and others made by other organizations have sadly too often been trending toward the latter. We need to stop for a second and sea change that. Funding and donors are transient, fickle, and as we can see right now, can vanish in an instant if you so much as look at them funny.
You’re not going to be able to “put bums in seats” if you don’t have artists.
I wasn’t expecting this to be one of the several “theatre industry reflection” blog posts that have been making the rounds lately but I guess that’s what it ended up as. I feel on one hand there’s so much I could say, but also I should probably stop before it gets too long…
I’m in solidarity with the 23-24 cohort, with Amanda, and with Anera.
I hope they can get the healing they deserve.
I don’t know how to end this so here’s Chuu and Kendrick Lamar.
(If you print this please include that image.) *This is widespread across the industry and frankly is apparent when you look at trends in seasonal programming and artistic engagement choices alone. An Indigenous play in 2022 was a formbending, no-punches-pulled reclaimation piece and dissection of reclaiming communities and senses of self amid the inevitable realities of surviving under white hegemony. An Indigenous play in 2024 is a comedy about humanizing residential school staff.
**I co-hosted a Black Out Night a few years ago amid the climate of racist political pressure to smear Black Out Nights as being racist and oppress the artists associated with them. (To paraphrase Talib Kweli, “Anti-white racism isn’t a fucking thing, and if you believe it is, you’re a fucking loser.”) There was initial nervousness and concern about how to proceed. We were checked in on asking how we’d like to move forward or if we’d be emotionally okay doing so. We went ahead with it. I did my preshow intro doubling down and reaffirming the significance of Black Out Nights.
Not one complaint or issue. Unanimous audience support. Life went on.
Because fascists are not like us. They’re not coming to these spaces or participating in this community anyway. You’re not going to win them over into a space they do not belong or are welcome in.
***I had an issue with a show in Nightwood’s 23-24 season from a trans/casting perspective. I felt the show ran the risk of having audiences interpret “men dressed as women” as inherently comedic and I felt very uncomfortable with that amid the current climate. I debated at first, but I decided to speak strictly because I felt providing that perspective was important from a community angle – to ensure
that at least someone checked in to look out for anyone else who might potentially feel hurt by this. I truly felt in my heart the issue was not necessarily one of active malice, but that the problematic implications behind this came from an absence of trans people/femmes’ voices in the team. I spoke with the AD/director and I do feel it was a conversation where I was listened to. It was of course too late to change anything but I did feel that at the very least healing was possible and came from our convo. I am thankful for that. I just lament that the same healing never got afforded to Amanda and the innovators.
Amanda Lin’s statement
The following is from my letter sent privately to Nightwood Theatre staff and board on Monday, May 27, 2024. In response, Nightwood leadership told me they would not be moving forward with any of my specific requests.
Dear Andrea Donaldson, Naz Afsahi, and the Nightwood Theatre Board,
I am writing to you as an artist and arts administrator that has invested nearly four years of work in your organization — first as a participant in the Young Innovators program (now Nightwood Innovators), then as an employee for three years, and finally as a contracted artist leading the Nightwood Innovators and Rising Moon programs. I have had many moments of growth and community through my time with Nightwood and am greatly disappointed to be leaving the organization due to the actions made by company leadership.
I, like many other emerging artists, have seen Nightwood as a leader in political and equity-minded art and community. In a theatre industry that marginalizes and harms women/gender-marginalized artists, IBPOC artists, queer/trans artists, and disabled artists, Nightwood has been known to be a company making space for people from all intersections to create great work.
My recent experiences leading the Nightwood Innovators have changed my opinion on this. The participants of the Nightwood Innovators, and I as their facilitator, experienced censorship and marginalization due to the decision to prioritize funders’ needs over the needs of artists—the same patriarchal system that harms women and gender-marginalized artists.
I am writing this letter with the goal of (1) repairing my relationship with Nightwood and with the leadership team, and (2) taking steps to properly address what occurred so that it will be less likely to happen again.
I was brought on contract as the Program Director for the Nightwood Innovators after 2 years of leading the program as an employee. The program promises to provide mentorship, support, and community for 12-14 emerging women, trans men, and non-binary or gender non-conforming artists, culminating in the cohort self-producing a fundraiser cabaret benefiting “a charity chosen by the cohort” (directly quoted from Nightwood’s website). In line with the company’s stated values, artists with diverse intersectional backgrounds and experiences were prioritized in the creation of this cohort, including folks from IBPOC, trans & queer, disabled, and low income communities.
This year, the Nightwood Innovators voted to support Anera, a charity that supports refugees in Lebanon, Jordan, and Palestine, in response to the ongoing genocide being committed by the Israeli government in Palestine. The emerging artists expressed that they felt excited about the opportunity to make change in this way, as many arts organizations in Toronto are unwilling to publicly voice their support for Palestine. I did not anticipate that this would be a problem, as Nightwood has historically made their voice clear about issues of genocide, police brutality, refugees, and gender-based violence.
In February 2024, I was told that the Innovators would not be allowed to proceed with their choice of charity, and that they could not choose any charity that outright supports people in Palestine.
I wrote a draft email to notify the Innovators, which included a personal apology and detailed information about ways forward, as I felt it was important to provide clear information in writing due to access needs outlined by some participants at the start of the program. I offered to run this email by Naz and Andrea before sending it, in an effort to work together to communicate with the Innovators. Nightwood leadership then edited my email to remove my apology and specific details (including the information that they would not be allowed to proceed with any charity that explicitly supports Palestinians, despite this being made clear to me over the phone and Zoom). After I expressed my discomfort with sending this new edited email, I was told outright via email, “please do not disclose any matters related to this conversation via any means in advance of the meeting”. By doing so, they deprioritized the Innovators cohort, and prioritized the institution’s control of the narrative. I was deeply disappointed in both the decision to censor the Innovators’ program activities, and also in the decision to censor me in my facilitation of the Innovators’ experience.
Throughout this, I have been clear with Nightwood leadership about my main issue with their response: That Nightwood has chosen to prioritize funders over its own employees and artists.
It is hypocritical that Nightwood benefits from the political movement of feminism while quietly making decisions that marginalize women and gender-marginalized people behind the scenes. It is hypocritical that Nightwood produces theatre about refugees, genocide, and censorship, but does not speak up about these issues as they unfold in real-time in the world. Not only has Nightwood failed to show solidarity to Palestinians in the way that the organization has to other marginalized groups in the past, the organization has silenced artists who wished to show solidarity.
Over 440 artists and arts workers have now signed the open letter to PACT asking them to (among other things) call for a ceasefire and Arms Embargo, and many of the names on the list are familiar as folks who have worked with Nightwood or participated in Nightwood programming. I know I am not the only person in the Nightwood community that wants to see Nightwood stand up for its values and condemn the genocide taking place.
It is clear that Nightwood leadership feels it cannot make a decision that would harm the company. To Naz and Andrea and the board, I ask you to question how you define “harm.” Are you more worried about harm that comes from a funder pulling out? Or are you worried about the harm that comes when 14 emerging artists are censored and caused emotional duress by a decision you have made? I was told explicitly by some of the Innovators that they are now questioning whether the theatre industry is the right place for them because of the censorship that they experienced. To me, that is the real harm that is being done here. To me, that is the harm that you should be most concerned with.
I have put a lot of thought into how to move forward from this. I know that this incident does not exist in a vacuum, but that many other organizations and artists are struggling with similar issues of censorship regarding Palestine. I believe we need to talk about the issue of artist censorship as an industry, not try and make it disappear quietly in board meetings and unrecorded zoom calls. I have a lot of respect for you as leaders and I want to give you the opportunity to rectify your relationship with the artists whose trust you have broken, and repair the relationship with me as an artist and former staff member.
My requests are as follows:
- Read and discuss this letter in your board meeting and reflect upon the harm that has been caused by your decision.
- Make an apology (private or public) to the 2023-24 Innovators cohort that acknowledges the harm that you have caused to them.
- Hire an external, qualified contractor to conduct an audit of the company’s Anti-Racism/Anti-Oppression plan, specifically focusing on creating transparent processes that must be followed when the company leadership wishes to veto a decision that has already been placed into the hands of the artists.
- Make a public statement about what has occurred and why Fempocalypse 2024 is not going forward, and share your plan for how to address this so a similar situation will not happen again.
Please respond to me via email by May 31, 2024 notifying receipt of this message. I would also like to receive an update regarding your planning and progress towards completing the above requests by June 30, 2024.
I would be open to working with you to address the concerns outlined in my letter, but not before the leadership team takes accountability for the harm they have caused. Until then, I am not interested in engaging further with Nightwood Theatre. This situation has been extremely emotionally draining for me for over the last four months, and I have not received any support from the Nightwood leadership beyond the initial conversations in February. It has been left solely to me to pick up the pieces of the program, and to provide care for the Innovators that remain in the program. I do not find this acceptable or befitting of an organization that claims to value “upholding a culture of care.”
Thank you for taking the time to read, and I sincerely wish you all the best going forward.
Amanda Lin