Living Arts Centre
Summer Camp Instructor: Film Program (6 week contract)
The Living Arts Centre is seeking a creative, dynamic, and talented individual to instruct our “Movie Makers” program as part of the Centre’s Summer Camp offerings. This popular 2 week program for ages 11-14 introduces them to the fundamentals of film making, including script development, story boards, lighting and sound while creating a short film. The successful candidate will follow guidelines developed by the Arts Program department to create safe, encouraging, and creative learning environments for children and youth participants. For more information regarding our Camps programs, please visit our website at www.livingartscentre.ca.
- Post secondary diploma, degree or equivalent in film education, arts education, or related discipline
- Knowledge of film making
- Teaching/program delivery experience
- Minimum of 2 years instructing experience
- Experience teaching in an educational setting
- Experience working in a camp setting with children
- Excellent communication/interpersonal skills
- Demonstrated group management techniques
- Proven customer service skills and problem solving
- Strong leadership skills
- First Aid / CPR training an asset
- Worked with youth volunteers an asset
- Digital photography and darkroom experience an asset *candidate with these qualifications may be considered for an additional two week photography camp contract
- Develop, create and execute lesson plans
- Present lessons and activities in a manner appropriate to the audience
- Assist in the training, skills development, leadership and motivation of teen volunteers
- Participate in the implementation of studio health and safety practices, including studio set- up and clean up
- Material set up and clean up as required
- Work with groups up to 20 participants
- Represent the Living Arts Centre with adept customer service
- Work within the policies and procedures set out by the Centre
Employment offer is conditional upon receipt of a Criminal Record Search and Vulnerable Sector Screening that is acceptable to the Living Arts Centre.
Qualified applicants should send a cover letter and resume by January 31st, 2011 to:
Studio Arts Department, Living Arts Centre, 4141 Living Arts Drive, Mississauga, ON, L5B 4B8
Fax:905-306-6101, Email: email@example.com
Please note that only those candidates selected for an interview will be contacted.
Who is eligible?
If you have proof of age through valid ID such as your Drivers License, Health Card or Passport you can become a member.
How much does membership cost?
What can I expect to pay for tickets?
You will never pay more than $20.00 plus service fee and applicable taxes.
How many tickets can I purchase through the program?
You can purchase two tickets per qualifying shows.
How do I find our about which shows are being offered?
- The Living Arts Centre will notify all members via e-mail 72 hours prior to performance.
- Check out our homepage.
- Follow us on our social networks such as facebook and twitter.
- Join our monthly e-newsletter
Sounds great, how do I sign up?
Click the sign-up sheet below and provide all required information. You will be given a customer pin #, but you must have signed up at least two days prior to the event. Do that and you’re in!
How do I pay for my tickets?
You can order online or by calling 905.306.6000 (toll free 1.888.805.8888) using a credit card. If you wish to use cash or debit, please visit our box office in person. Tickets can be purchased up to show time but is always subject to availability.
How do I pick up my tickets?
Present your ID at the box office on the evening of the performance. If you paid via credit card you will be required to show that to Box Office CSR.
Centre Stage Terms & Conditions
Seating locations are subject to availability. There is no limit to the amount of individual performances member and guest can attend through the Centre Stage program as long as they are being offered. Limit of two tickets per show applies – these tickets are NOT transferable.
The Living Arts Centre
Customer Service Representatives (Seasonal Part-Time)
- Ensure the timely and accurate processing of all tickets/registrations using a computerized ticketing system.
- Maintain in depth knowledge of all shows and services in order to provide accurate information to patrons and staff.
- Assess customers’ needs and offer recommendations – cross-sell, up-sell.
- Answer in-bound calls, service ticket window and initiate outbound calls.
- Sell show tickets, subscriptions and/or course registrations.
- Respond to and resolve customer complaints or inquiries.
- Prepare tickets for mailing.
- File tickets and order forms.
- Other related duties as assigned.
- Attend monthly training sessions/meetings.
- A minimum of two years’ customer service and sales experience, preferably in the Arts & Entertainment Industry.
- Previous ticketing experience is an asset.
- Excellent written and oral communication skills along with the ability to work both independently and as an effective team member.
- The ability to work well under pressure and to meet deadlines.
- Bilingualism in English and another language is beneficial.
- Availability to work weeknights, weekends all day and occasional holiday shifts. Must be able to commit to three shifts a week.
This is a seasonal part-time position. Hours are based on event schedule. This is an hourly wage position, starting at $10.25 per hour.
Qualified candidates should submit their resume by Tuesday, January 4, 2011 at 10am to The Living Arts Centre, 4141 Living Arts Drive, Mississauga, ON L5B 4B8; Fax 905-306-6069 or via email at firstname.lastname@example.org. No phone calls will be accepted. Only candidates selected for an interview will be contacted.
HAPPY BIRTHDAY VALERIE!
Valerie celebrated her 6th birthday with friends and family at the Living Arts Centre on December 5th. The birthday girl and her very excited friends participated in a ceramics workshop hand-building personalized cookie plates.
The girls were given a slab of clay and using a paper plate template outlined their cookie plate. Using the paper plate as a mould the girls pressed their clay into it to give shape to their creation.
Once the cookie plates were shaped the participants started decorating. Using a variety of cookie cutters participants began placing their cut out shapes on their plates to create unique designs.
When the girls finished placing their shapes onto the plates they painted their creations using coloured slip glazes.
After the pieces are painted they must dry for a couple days before they can be fired in our on site kilns.
The plates are bisque fired first. Bisque firing causes permanent chemical and physical changes to occur in the clay pieces making them much harder and more resilient.
Once the plates have been bisque fired the instructor uses a clear glaze to coat the pieces. The glaze makes the pieces strong and waterproof. If the plates were not glazed the ceramics would remain porous and would be unsuitable for holding liquids. The ceramics then go through a second firing which gives them an attractive and durable glossy finish.
In just a few days these beautiful cookie plates will be ready to go home and used to serve tasty holiday cookies!
Pictures of the final pieces will be posted shortly!
The LAC is committed to reducing energy consumption and being green. Earlier in the year we started leaving most of the lights off in Hammerson Hall, our main theatre space. Consequently, there was a need for a safety light for our technical staff when they entered the stage area. Our “ghost light” is made from a broken floor lamp left behind by a client. It sits on a dolly with steel wheels (which would damage the stage surface if they carried any significant weight). When shows are on the stage, the light lives in a wing backstage. Spoooooky… you can read more about ghost lights at: http://en.wikipedia.org/wiki/Ghost_light_%28theatre%29
Cole Swanson, Exhibitions & Residency Program Coordinator
The LAC Gallery is currently playing host to an eclectic mix of artworks by the Uprising Collective. This emerging group of artists and designers have been fascinated by the histories of the objects around us, from furniture that has outlived a century, to designer jeans only fit to be worn for one season. The temporal nature of modern day objects has inspired these artists to create works that give outdated materials a second life.
In the popular webisodes of the same name, The Story of Stuff Project with host Annie Leonard gives viewers an interactive tour through the production, consumption and eventual disposal of the “stuff” that surrounds us. As an extension of this idea, our current exhibition proposes that while new products might have a short-lived utilitarian value, they may also possess aesthetic and formalist properties worth further consideration.
The interactive nature of both the online and in-gallery projects is an engaging way to connect with the material world. To find out more about the online Story of Stuff Project, see www.storyofstuff.com. For information on the Uprising Collective and our current gallery exhibition, visit www.livingartscentre.ca/gallery_residency/exhibitions/current.php.
We are wrapping up the fall session of our Community Courses programs. Over the last few months, our children, youth and family programs were filled with full of fun and creative projects and activities.
We snapped some photos of our young artists at work during our Saturday classes. Artist-Educator Caitlin Harben leads students in Art Studio, Art Explorers, and Art Zone through visual art projects that explore a variety of art techniques and materials.
On this particular Saturday students were inspired by pop art artists like Andy Warhol and Greg Curnoe. The young artists created colorful multi-panel paintings and chalk pastel drawings.
Students created their drawing, which was than placed over graphite transfer paper. This allowed them to prefectly transfer the image onto all six panels of their paper.
Students ages 4 and 5 (in Art Studio) used chalk pastels to add colour to their work!
Watercolour paint was the medium of choice for the artists in Art Explorers (ages 6-9).
Voila ~ the finished work!
Students were able to develop new skills while having fun and using their creativity and imaginations. Our visual and performing art programs allow children and to explore the arts, with courses to suit a variety of interests including musical theatre, clay and pottery, drawing, jewellery making. To learn more about courses that will be offered in the new year, visit www.livingartscentre.ca
One of the most captivating elements of our upcoming performance of Mermaid Theatre’s Swimmy, Frederick & Inch by Inch is the addition of an original musical score.
Each of Leo Lionni’s Caldecott Honor award winning books unfolds a rich and imaginative world and trying to create an equally unique musical composition to complement the story and characters is no easy task!
Check out this fascinating article from the production team on crafting an underscore (musical support for dramatic action), a feature (music that is part of the dramatic action), and all of the gradations in between.
The inspiration for the overall flavour of the music for Swimmy comes very much from the visuals of the book. The director, Jim Morrow, and I both felt that there was a resonance of Asian visual culture to the images, though not necessarily specific to one culture.
Taking this as a starting point, I tried to create a sound world that made reference to multiple Asian styles of music, but was still a unique sonic environment of its own for the story. Among the instruments in the score are several wooden flutes (with the Japanese shakuhachi being the most identifiable), and Burmese gongs.
Each of the creatures that Swimmy encounters has a particular sonic signature, created sometimes by a specific instrument, sometimes by a particular musical motif – and at times by a combination of the two.
I also created a particular kind of water ambience that is used in this story to simulate the feeling of being underwater, hearing the surf and waves moving overhead. The combination of this ambience and the unusual instruments helps to place the story in its own special world.
For the character music, I chose mostly plucked string sounds. Pizzicato strings produce short, high energy sounds – a good match for a group of energetic little mice. The musical style itself draws some of its inspiration from the flavour of Eastern European folk dance, by using repeated rhythmic patterns and modal scales.
During winter, the plucked string palette begins to include harp; this keeps some consistency of sound for our mice, but places them in a gentler sonic space, reflecting the more introspective time of year.
There are two wind instruments featured in the score for this story; flute is used mostly during the happier times, while the more melancholy sound of the English horn helps create a change of mood as winter evolves and the supplies run out. I used an active birdsong ambience to help set the story in a pastoral location; the ambience fades out as the mice enter their winter quarters, but it returns again, symbolically, as Frederick warms their spirits with thoughts of sun and flowers.
Like Frederick, Inch by Inch called for the presence of natural ambience to help give the story some overall unification of place, but in this case I chose one that was much less active. This eliminated any potential sonic competition between the story birds’ music and the ambient birdsong.
The music for this story presented an interesting challenge. needed to create a theme that had strong rhythm, I particularly for the measuring sequences, and a strong and unique sense of character for the Inchworm – but also one which would lend itself to being merged in some way with the eclectic motifs and styles of the many birds he encounters on.
My solution was to use a quirky blend of pizzicato strings, muted electric guitar, and another style of guitar picking sometimes called ‘chicken picking’ (a combination of muting and sharply accenting) for the Inchworm’s music. Whenever he is doing his measuring, this odd little ensemble is also supported by bits of eccentric percussion.
Each of the birds he measures has its own musical style and motif. Often, there is an obvious connection between the visual mood of the scene and the music I created for it. In other cases, though, I confess that the creative decisions were considerably more intuitive – how else to explain steel drums for a toucan’s beak and a tango accordion for a pheasant’s tail?!
Taylor, Stephen. ‘Notes on Music for Mermaid Theatre’s Swimmy, Frederick and
Inch by Inch’. May 2008, p. 33-34. Leo Lionni: A Resource Guide for Teachers.
Mermaid Theatre of Nova Scotia drops in this month for not one, but two performances featuring unique adaptations of classic children’s books.
Tomorrow, we’re excited to see them on stage again, this time with the adventures of Swimmy, Frederick, and Inch by Inch by beloved children’s author, Leo Lionni.
Interestingly enough, Eric Carle cites Leo Lionni as an inspiration in creating his work. It will be intriguing to see how this influence is interpreted in the puppetry and production styles of Mermaid Theatre’s second show this month!
Founded in 1972, Mermaid Theatre has performed for over 4 million spectators on 4 continents, including performances in English, Spanish, Korean, Dutch, Japanese, Mandarin, and French. Talk about a global sensation! We’re delighted to be hosting this internationally respected theatre company and even happier to be supporting Canadian talent.