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Mariposa In The Schools (MITS) introduces Ontario young people to world oral cultural traditions, reaching 50 school communities each year with a repertoire of world music, dance, storytelling, spoken word and puppetry.

We believe that oral traditions and world performing arts, celebrate, critique and share knowledge and lead to cross-cultural understanding and inter-generational continuity, ultimately building more caring and joyful communities.

Our artists connect with children and youth in meaningful creative learning that challenges perceived abilities and racial and cultural stereotypes, as well as inspire us all to reflect, cooperate and build something that’s bigger than ourselves.

Since 1969 MITS has been committed to the principle of equity of access for all children. We invest our fundraising revenues in this cause, bringing affordable programs to under-resourced inner city, rural and First Nations communities across Ontario.
(from MITS website: http://www.mariposaintheschools.ca/)

The Mariposa Folk Festival was conceived and realized by Ruth Jones and her husband Dr. Casey Jones, two folk music enthusiasts. Pete McGarvey a local radio broadcaster and Orillia town councillor suggested the name "Mariposa" in honour of local author Stephen Leacock's fictional name for Orillia in his work Sunshine Sketches of a Little Town.
The first festival was held in August 1961 and featured Jacques Labreque, Bonny Dobson, The Travelers, Alan Mills and Ian Tyson and Sylvia Fricker. Mariposa has hosted many up-and-coming stars in Canadian folk and popular music. From Leonard Cohen, Buffy Sainte-Marie, Joni Mitchell, and Gordon Lightfoot, all have performed in the early stages of their musical careers on the Mariposa stage.
The festival grew in popularity, size and rowdiness until the popularity of the 1963 festival (with over 8000 advance tickets sold), and the lack of sufficient security, led to a backlash from town locals. The city of Orillia secured a court injunction to prevent the festival from continuing in the town limits.
The festival moved to Maple Leaf Stadium in Toronto, Innis Lake near Caledon until settling at the Toronto Islands in the 1970s. In the 1980s, the festival was moved to Harbourfront and Bathurst Quay and later Molson Park in Barrie. The 1990s also saw a shifting roster of venues. Toronto Island, Queen Street West, Parkdale, Ontario Place, as well as Bracebridge and Coburg all played host to Mariposa performers and workshops. In 2000, the Mariposa Folk Festival was invited back to Orillia by city councillors Tim Lauer and Don Evans.
In 2010, the Mariposa Folk Festival will celebrate its' 50th Anniversary.
(Material below from history written by Mariposa Folk Foundation)
Mariposa is Founded
On a cold January afternoon in 1961, radio personality John Fisher gave a short but enthusiastic speech to the Orillia Chamber of Commerce where he suggested that Orillia needed something such as an arts festival to promote the town as a tourist destination. In the audience that day was Dr. 'Casey' Jones and his wife Ruth, folk music enthusiasts, and within days the idea of starting a folk festival in Orillia had taken root. Ruth called upon Pete McGarvey, a local broadcaster and town councillor, who jumped aboard enthusiastically. He suggested the name "Mariposa" in honour of Stephen Leacock's thinly disguised fictional name for Orillia in his novella titled Sunshine Sketches of a Little Town.
On August 18, 1961 the very first Mariposa Folk Festival saw two thousand enthusiastic and generally well-behaved attendees set up their lawn chairs in front of a medieval-themed stage at the Orillia Community Centre. Double that number showed up on Saturday night to hear such artists as The Travellers, Bonnie Dobson, Jacques Labreque, Alan Mills and of course, Ian Tyson and his beautiful partner Sylvia Fricker.
One interesting story from that first festival was the fact that home town boy, Gordon Lightfoot, was deemed to be "not of high enough caliber" to perform. He and then-partner, Terry Whelan, were told that they sounded "too much like the Everly Brothers."
In 1962, virtually the same lineup appeared -- this time including Gordon and Terry, then billed as The Tu-Tones. 1963 was a different story and a turning point in the history of the festival. Over 8000 tickets sold in advance and, by the festival weekend, festival goers nearly outnumbered the townsfolk. Restaurants ran out of food, the roads and highways were jammed, and crowding and confusion reigned. The small police force was overwhelmed as it struggled to cope with the crowds, the drunkenness, and the petty vandalism. The backlash from the townsfolk and their elected officials was quick and unkind. The days of Mariposa Folk Festival in Orillia were, so it seemed, done. The folkies and their rowdy behaviour were no longer welcome.
Mariposa on the Move
In 1964, the Town of Orillia got a court injunction and the festival was forced to go somewhere else. It moved to Maple Leaf stadium in Toronto, later to Innis Lake near Caledon, and finally to Toronto Island where it made its home for the 1970s. While not always a financial success, Mariposa built a reputation as the place to be among both audiences and performers. Artistic director Estelle Klein pioneered the idea of workshop performances and the idea was quickly adopted by nearly every festival in North America. Estelle also had an eye for talent. Among those she hired were Buffy Sainte-Marie, Gordon Lightfoot, Phil Ochs, John Hammond, Joni (Mitchell) Anderson, Tom Paxton, Pete Seeger, Doc Watson, James, Taylor, Tom Rush, Leonard Cohen, Murray McLauchlan, Taj Mahal, John Prine, Richie Havens, Buddy Guy and Bruce Cockburn. Neil Young made a surprise guest appearance in 1972 as did Bob Dylan.
It was during the time at Toronto Island that the festival blossomed with its workshops, its artisans area and its "native people's area." Dance, craft and music were consistently of such high standards that audiences returned year after year despite changes in the popular music mainstream.
By 1980, the festival had moved to Harbourfront in Toronto and then over to Bathurst Quay in 1981. That year the rain made the festival site a quagmire and, despite a good artistic lineup, the festival lost a lot of money. In fact, things were so bad financially that no festival was held at all in 1982.
In 1984, Molson Breweries approached Mariposa organizers about moving the event to Molson Park in Barrie. A few meters off the main highway to Toronto, and with lots of trees and open spaces, it seemed a good fit for a folk music festival. A modest crowd of 2000 people attended that year and established a home for the festival for the next several years. By the time 1989 rolled around, crowds of 25,000 were commonplace. The next year though, unseasonable cold and rain all spoiled the fun, and the festival was in debt once again. To make matters worse, Mariposa and Molsons parted company, and the festival found itself on the road once again.
Ontario Place became the next home for Mariposa and for two years served that purpose. In 1993 it was back to the Toronto Island for daytime workshops and to Queen Street West for evening concerts. James Keelaghan, Colin Linden, the Irish Descendents, Holmes Hooke and Ann Lederman were among the widely recognized performers to appear that year. For the next couple of years, the festival followed that format, but poor weather and weak attendance put the festival into serious debt, yet again.
The Doldrum Years
By 1996, there were threatening noises that the festival would fold, just like in 1987 when last minute heroics by Lynne Hurry and Mariposa founder, Ruth Jones McVeigh, helped save the festival from extinction.
In 1996, there were two Mariposa festivals: one in Bracebridge and one in Cobourg. Mariposa in Bracebridge was a success but the one in Cobourg lost money. By the end of the 1990s, the festival had become a small, one-day festival in the Parkdale neighbourhood of Toronto.
The Rising Phoenix
The City of Orillia had more than doubled in size since the festival was ignominiously given the boot in the early sixties. As was the case forty years earlier, there were individuals with foresight and imagination. City councillors Tim Lauer and Don Evans were like-minded individuals with an interest in folk music. Joined by fellow roots enthusiast Gord Ball, they cooked up a plan to approach Mariposa Folk Foundation about the chances of re-locating the festival to where it all began. It was a case of fortuitous good timing. With Mariposa scouting for a new location, the Foundation's board of directors was receptive to the request from the small party from Orillia.
Within weeks, a loose band of volunteers pulled together to form a not-for-profit organization, Festival Orillia Inc. (FestO), to stage the festival in Orillia, and to complete negotiations with Mariposa Folk Foundation.
Late in 1999, a three-year agreement to stage Mariposa Folk Festival in Orillia was signed and the re-building began. In the ensuing months of intensive meetings, discussions and planning sessions, a strong bond and mutual trust developed between FestO Charter President, Gerry Hawes, and Mariposa Folk Foundation President, Lynne Hurry. By the time of Mariposa's triumphant return to Orillia in July 2000, the two had already cooked up a plan to make Orillia its permanent home. Less than a year into the three-year agreement, a Harmonization Committee was struck, leading to the eventual disbandment of FestO with Mariposa Folk Foundation continuing on, not only as the predecessor organization, but as the successor organization as well. To this day, the Mariposa Folk Foundation board of directors is comprised of people from Toronto, Orillia and elsewhere across Southern Ontario.
At the first festival back in Orillia in 2000 nearly 400 volunteers signed up, and a stellar cast of performers played to the delight of a large appreciative audience. Of course, it helped that hometown boy Gordon Lightfoot headlined the Sunday night finale. Since then, Mariposa Folk Festival has flourished in Orillia.
During past decade, the Mariposa Folk Foundation launched a Hall of Fame to recognize leaders and classic performers from its past. Mariposa has also entered into a Partnership with York University to protect, catalogue and digitize its nationally significant archive of folk music and materials.
In 2010, Mariposa Folk Festival celebrated its 50th anniversary, cementing its place internationally as one of the 'Grande Dames' of folk festivals.

Pollution Probe is an education and advocacy group that began in Canada in 1969. The York University chapter was organized in 1970. It had a research and advocacy agenda pertaining to the local region in addition to the national agenda of the organization.

The Faculty of Education was inaugurated in 1971 and became operational in 1972 with the first courses being offered in 1973. The new faculty absorbed Lakeshore Teachers' College in 1971, accepting most of the faculty there as York teachers. The faculty currently offers programmes, combining theory and practice, in elementary, secondary and special education in both a concurrent programme (with an undergraduate degree in Arts or Science), and a consecutive (post-graduate) degree, as well as a Master of Education programme and a doctoral programme. The faculty also offers programmes in Jewish Teacher Education, Deaf and Hard-of-Hearing, and a number of specialized graduate diplomas. In addition the Faculty has a large in-service degree programme for professional teachers who wish to upgrade their qualifications. The Jean Augustine Chair in Education in the New Urban Environment was established in 2008) to facilitate research and activities related to education in a diverse urban society. The following individuals have served as dean of the faculty: Robert L.R. Overing (1972-1980); Joan E. Bowers, acting(1980); Andrew E. Effrat (1980-1990); Stanley Shapson (1990-1998); Jill S. Bell, acting (1998-1999); Terry Piper (1999-2001); Donald Dippo, acting (2001); Paul Axelrod (2001-2008); Alice Pitt (2008-2012); Ron Owston, interim dean (2012-).

York International began operations in 1969 as the Office of International Services. Until 1972 its role was limited to acting as the internal administrative office for the York-Kenya Project. The expenses of the Office were paid out of the Kenya budget. In 1972 the Office of International Services received a new mandate from the university. A full-time Director was appointed reporting directly to the President. Its new mandate was to administer the York-Kenya Project, to obtain other international contracts, and to investigate the desirability of student and faculty exchanges with overseas institutions. In 1984 the Office of International Services became York International. Its responsibilities include representing the University to government and international agencies (CIDA, Department of External Affairs, the International Division of the Association of Universities and Colleges of Canada, the World Bank, the United Nations) as well as liaison with embassies and consulates of countries in which projects are going on. In addition, it monitors and assesses projects, co-ordinates visits, student and faculty exchanges between York and international institutions, provides central policy advice on international aspects of university life, promotes the use of special skills developed at York for international projects, provides contacts (with the Robarts Centre) with various Centres for Canadian Studies overseas, and encourages the business community to become involved in international educational and skills exchange programmes. In the period covered by these records the following individuals have served as Director of the York-Kenya Project/Office of International Services and York International: Tillo Kuhn (1970), James Gillies (1971-1972), Gordon Lowther (1972-1974), John Saywell (1974-1978), William Found (1978-1982), Rodger Schwass (1982-1984) and Ian Macdonald (1984-1993), Maria Cioni (1994-2001).

Constituted in Toronto in 1979, the Association of Canadian Film Craftspeople was later recognized as a trade union in Ontario and operated as an unincorporated association representing the workplace interests of film technicians in sectors including lighting, hair and makeup, camera work, set decorating and transportation. In addition to negotiating improved pay and working conditions and promoting skills development workshops, the association provided its membership with health insurance and other benefits. The ACFC participated in Canadian industry committees, lobby groups and events and supported many organizations dedicated to the development of Canadian film production personnel. By 1989 the ACFC had opened locals in Winnipeg and Vancouver and including Toronto reached a membership peak of 800. By the early 1990's, a shifting marketplace and an intense rivalry with other unions resulted in a declining membership. The ACFC was dissolved in April of 1998 and many of its locals merged with the rival International Alliance of Theatrical Stage Employees. One division of the former association, ACFC West, continues to operate in British Columbia.

Tessera was founded in 1981 as result of conversations among its founding editors, Barbara Godard, Daphne Marlatt, Kathy Mezei and Gail Scott at a York University conference on feminist literary theory in Canada. Their goal was to foster the development of new modes of writing both creative and critical texts which was being pioneered in Quebec. Tessera

began publishing in 1984 out of Simon Fraser University and Stong College at York University. The first four issues of Tessera appeared as special issues of already established periodicals, "Doubleness in language" (Room of one's own); "Reading as

writing/l'ecruture comme lecture" (La nouvelle barre du jour); "fiction/theorie" (Canadian fiction magazine) and "The state of feminist criticism/la situation de la theorie litteraire feministe"(Contemporary verse II). Between 1988 and 1993, Tessera explored poststructuralist theory in conjunction with feminist poetics in such issues as "Translating women" (1989)

and "Performance/transformance" (1991). In 1993, a new editorial collective was formed by Katherine Binhammer, Jennifer Henderson and Lianne Moyes. Adding "feminist interventions in writing and culture" to the journal's title, the new collective invited contributors to include cultural studies and began to profile feminist visual artists such as Ginette Legare, Joanne Todd and Jamelie

Hassan on its covers and in portfolios included within the journal. Since 1988, Tessera has been an independent publication appearing twice a year in a book-size format, printed at Coach House Printing in Toronto, and supported by

grants from the Canada Council and the Ontario Arts Council.

'Cartographica' is considered to be the foremost journal in its field, publishing articles on latest developments of in cartography. It was formed by the union of 'Canadian cartographer,' and 'Cartographica,' and has long been associated with the Geography Department of York University.

The Memorial Society Association of Canada received its letters patent in 1971 although some of the chapters were established as early as 1957 (Edmonton). The purpose of the society was to promote the formation of non-profit memorial societies in Canada and to promote dignity and simplicity in funeral rites. Individuals joined local chapters which then subscribed to the national association. There were local chapters in most provinces. At its height in 1987 the Association had 200,000 paying members. It was disbanded in 1990, and dissolved in 1992.

The New Play Society, established by Dora Mavor Moore in 1946, was a professional, non-profit theatre company, which produced original and other works (seventy-two productions in total). One of its most enduring efforts was the annual review 'Spring thaw,' which Moore's son, Mavor Moore, took charge of in the 1950s. The society was also responsible for a theatre school in Toronto.

The "Onion", the Toronto paper on the arts, was a twice-monthly tabloid newsprint publication. It published fiction, reviews, essays, and artwork. The paper was edited by Stephen Mezei, an author, scriptwriter and instructor in the arts at several institutions, including York University (1974-1975). The Onion's editorial board included Pauline Carey, John Hebert, and other Canadian and foreign writers.

People or Planes Committee (P.O.P.) was established in the village of Pickering, Ontario in 1972 in response to the Canadian government's plans to build a major airport in the area and Ontario government's plans to develop an adjacent city. The organization was developed along geographic lines. It had a council with an executive and other committees and a volunteer office. The Pickering airport proposal became moot in 1975 when the province refused to build the service infrastructure necessary for the airport.

The Progressive Conservative Party of Canada was established in 1942 when John Bracken, a Progressive party premier of Manitoba, became leader of the national Conservative Party and Leader of the Opposition in the House of Commons. The Party enjoyed electoral success under John Diefenbaker, forming governments in 1957, 1958 and 1962, but losing the elections of 1963 and 1965. Diefenbaker was ousted from the leadership in 1967.

Project Ossington was opened in 1967 on Portland Street, Toronto, as a hostel for distressed children. It soon moved premises to Ossington Avenue, Toronto (1968). The hostel took in all young people including those turned away from other facilities. A strict regimen was followed at the hostel. It was closed in 1971 by its director, Mrs. Patricia Whitehead, because of a drop in attendance. In its four years of existence it was host to 3,000 youths.

Stop Spadina Save Our City Co-ordinating Committee was established in the autumn of 1969 as an advocacy group attempting to halt the extension of the William R. Allen Road (popularly termed the Spadina Expressway) into the core of the City of Toronto. The group organized rallies and marches, petitioned politicians at the local and provincial level, and distributed information materials encouraging citizens to protest the extension of the road. In 1975, the provincial government effectively halted the extension of the Allen by ceding a strip of land in the city's north end to the City of Toronto. Allan Powell was the chair of Stop Spadina.

Warwick Publishing was established by James Williamson in 1990 as a producer of books for other publishers. Its mandate expanded in 1992, when Warwick published its first seven titles. Five years later, the company's annual report announced its intention to expand into other fields, including magazines, music, electronic publishing, and newspapers. Music came first with the creation of Sensation Records in October 1998. The new company focused on producing jazz and blues recordings under the influence of Jeff Healey, its Creative Director, well known blues guitarist, and highly respected collector of classic jazz. Expansion into magazines occurred in February 1999, when Warwick Publishing purchased "Classical Music Magazine" from Derek (Deroy) Copperthwaite and his son, Anthony. The magazine was established in 1978 as "Music Magazine," taking a "plain English" approach to covering classical music in Canada as well as its international influences. Photography was a major component of the magazine, featuring a "candid photojournalistic style, which captures people at their most natural and expressive moments." The magazine was renamed "Classical Music Magazine" in July 1991, and continued to offer articles, interviews and reviews focusing on recent developments, the careers of performing artists and conductors, the release of books and audio recordings, and the history of classical music. Following the purchase of magazine by Warwick Publishing, it was renamed "Opus" and given an expanded editorial focus that included jazz and opera. The company's connection with jazz was strengthened in November 2000, when Warwick Publishing purchased "Coda : the journal of jazz and improvised music." "Coda" was established in May 1958 by John Norris, who served as its editor until 1976. The magazine acquired a significant international readership, with more than 60 percent of its circulation distributed beyond Canada by 2004. It is highly regarded by jazz enthusiasts for its emphasis upon innovative trends in improvised music as well as the genre's traditional roots. The magazine's interviews, articles, reviews of recordings, clubs and concerts, and news columns feature the work of several writers who have had a long association with "Coda," and have resulted in frequent nomination as the best periodical covering jazz in the annual poll of the Jazz Journalist Association. Photography has also been a major component of the magazine's success. Issues have been illustrated not only with the publicity photographs submitted by recording companies and agencies, but also with photography of live performances. A significant percentage of these performance images were taken by Bill Smith, who was appointed art director of "Coda" in 1963, and served as co-editor from 1976 to 1983 and as editor from 1983 until the magazine's purchase in 2000.

"Black Sparrow Books, formerly known as Black Sparrow Press, is a book publisher originally founded in 1966 by John Martin of Santa Rosa, California. He founded this company in order to publish the works of Charles Bukowski and other avant-garde authors. He initially financed this company by selling his large collection of rare first editions. Typography and printing were the work of Graham Mackintosh of San Francisco, Noel Young and Edwards Brothers, Inc. Barbara Martin oversaw all of the title page and cover designs, which are still unique today.

Black Sparrow Press most prominently published the work of authors Charles Bukowski, John Fante, and Paul Bowles. A more complete list is shown below. These artists, now considered part of a contemporary 'alternative tradition,' were first established and nurtured under the auspices of Black Sparrow Press. Many of its titles are now highly collectible.

Black Sparrow Press sold the rights to publish Bukowski, Bowles and Fante to HarperCollins Publishers in 2002. At this point, John Martin retired. Martin then sold the remainder of his inventory for $1.00 to David R. Godine, Publisher who adopted the name Black Sparrow Books. Godine is now the exclusive licensed distributor of Black Sparrow Books while HarperCollins continues to print and reprint the books by Bukowski, Fante and Bowles, replicating the original designs. In 2010, Black Sparrow published Door to the River, a collection of essays by Aram Saroyan; Well Then There Now, a collection of poems by Juliana Spahr; and Cheyenne Madonna, a collection of linked short stories by Eddie Chuculate. Copies of all editions of Charles Bukowski's works published by the Black Sparrow Press are held at Western Michigan University, which purchased the archive of the publishing house after its closure in 2003."
-from Wikipedia entry available at: https://en.wikipedia.org/wiki/Black_Sparrow_Books .

The Southern Conference Educational Fund (SCEF) was established in 1946 as the educational arm of the Southern Conference for Human Welfare (SCHW). SCEF became a completely separate organization the following year and based most of its activities out of its New Orleans, Louisiana, office. James Anderson Dombrowski directed the group and edited its monthly newspaper, the Southern Patriot. Dombrowski and Aubrey Williams became the most visible figures in SCEF during the 1950s, and they helped establish the organization as a leading proponent of integration and civil rights in the South. Veteran journalists and civil rights activists Anne and Carl Braden directed SCEF from the mid 1960s into the 1970s. They forged close ties with regional and local southern civil rights groups, kept civil rights issues in the national media and strengthened SCEF fundraising activities. SCEF worked closely with the Student Nonviolent Coordinating Committee (SNCC) from the early 1960s on. Anti-communists in Congress and state government frequently attacked SCEF as a communist front. In 1963, police raided the New Orleans offices and arrested several officials for violating Louisiana's anti-communist laws. The United States Supreme Court overturned the laws in 1965, after SCEF challenged the arrests in court. The Bradens moved SCEF's offices from New Orleans to Louisville, Kentucky, in 1966. The organization continued to work toward the goal of a southern interracial future. In July of 1973, a group of Black Panthers kidnapped, at gunpoint, two SCEF officials, Helen Greever and Earl Scott. The two eventually escaped, but the incident caused deep divisions within SCEF that were evidenced over the following few months. At a SCEF board meeting in Birmingham, Alabama, in October of 1973, board member Walter Collins denounced several Communist Party members, including Greever, arguing that they had placed the policies of the party over the best interests of SCEF. Collins argued that the Communists had caused the disputes with the Panthers. He and other board members voted to oust the Communists over the opposition of the Bradens. Eventually, SCEF moved to Atlanta, Georgia where internal disputes and financial problems plagued the organization. The Southern Patriot changed its name to the Southern Struggle. Several local chapters, in Florida, West Virginia, and North Carolina, remained particularly active. By 1981, however, financial problems caused the group to consider moving to Dallas, merging with other organizations, or disbanding altogether.

Archival records of the SCEF are held by Georgia State University. Finding aid available at: http://digitalcollections.library.gsu.edu/cdm/ref/collection/findingaids/id/1241.

The Canadian Friends of Finland (CFF) was founded in 1982 by a group of Finnish Canadian volunteers led by Professor Varpu Lindstrom of York University. The mandate of the CFF is to develop and promote friendly relations and cultural and educational connections between Canadians and Finns. Since its founding in Toronto, the CFF has established active branches in Montreal, Ottawa, and Vancouver. In 1990 the CFF established the CFF Education Foundation (CFFEF) to support the Finnish Studies Program at the University of Toronto.

Based on entry in The Canadian Encyclopedia:
"CCMC. 'Free music orchestra' formed in 1974 in Toronto as the Canadian Creative Music Collective. Only the abbreviation was in use by 1978. Defining itself as 'a composing ensemble... united by a desire to play music that is fluid, spontaneous, and self-regulating,' the CCMC, by its instrumentation, by the backgrounds of several of its founders, and by the improvised nature of its music, was initially aligned with the free jazz community.

Its original members were Peter Anson (guitar and later synthesizer); Graham Coughtry (trombone); Larry Dubin (percussion); Greg Gallagher (saxophones); Nobuo Kubota (saxophones); Allan Mattes (bass, bass guitar, electronics); Casey Sokol (piano); Bill Smith (saxophones); and Michael Snow (piano, trumpet, guitar, analogue synthesizer). Gallagher, Coughtry and Smith left 1976-7, Dubin died in 1978 and Anson departed in 1979. The remaining quartet was augmented by the drummer John Kamevaar in 1981. Sokol left in 1988, Kubota in 1991 and Damevaar and Mattes in 1994, and the vocalist Paul Dutton became a member in 1989 and John Oswald (alto sax) as of 1994. The CCMC began moving toward improvised electroacoustic music: instrumentation in 1990 comprised guitar-synthesizer and double bass (Mattes); wind synthesizer (Kubota); tapes and live electronic sampling (Kamevaar); voice (Dutton and Kubota); and piano (Snow).

After early performances in private, the CCMC established the Music Gallery in 1976, performing there on a twice-weekly basis until 1983, and later weekly. CCMC members were responsible for the gallery's operation until 1987 - Anson and Mattes 1976-80, Mattes alone thereafter - and established the Music Gallery Editions record label and Musicworks. After 2000, the CCMC's relationship with the Music Gallery ceased.

The CCMC has travelled widely, making four tours in Canada by 1982 and five in Europe 1978-85. It performed at the FIMAV (Festival international de musique actuelle de Victoriaville) in 1984 and again in 1997, at the 1984 summer Olympics in Los Angeles, at Expo 86, in Japan in 1988 and for New Music America, Montreal, in 1990. It later appeared in France (1998); Texas (1999); New York (2001); and in 2002 in England, the Netherlands, France and Germany. It has also played in various festivals in Canada, eg, Open Ears (Kitchener-Waterloo) and No Music Festival (London, Ont). The ensemble since 1995 has been a trio, consisting of Dutton (voice or soundsinging, harmonica); John Oswald (alto sax); and Snow (piano, analogue synthesizer).

Music Gallery Editions released six LPs recorded by the CCMC 1976-80: CCMC Vol 1 (MGE-1), CCMC Vol 2 (MGE-2), CCMC Vol 3 (MGE-6), Larry Dubin and the CCMC (3-MGE-15), Free Soap (MGE-22) and Without a Song (MGE-31). Two cassettes, CCMC 90, documenting the 1989-90 season at the Gallery, were issued in 1990. These were followed by the CDs Decisive Moments (TLR 02, 1994); Accomplices (VITOcd063, 1998) and CCMC + Christian Marclay (NMRx0003/ART MET CD004, 2002)."

The Greek Community of Toronto (GCT) is a communal institution established in 1909, incorporated in 1965 and is a registered non-profit charitable organization.

Representing over 150,000 Canadians of Hellenic descent in the Greater Toronto Area, the GCT and its members share a common desire to serve and promote the objectives of our organization. They are committed to providing an environment for Greek culture and heritage to flourish, thus enriching the unique social and cultural fabric within a vibrant and diverse Canada.

The Greek Community of Toronto is governed by a hierarchy of decision-making bodies, principal among them the Board of Directors and The General Assembly.

(from Trent University Archives fonds-level description)
The Canadian Association in Support of Native Peoples is an association of natives and non-natives in support of natives. It was originally established in 1957 under the name of the National Commission on the Indian Canadian and was a non-native organization created to study the "Indian problem". The first chairman of the Commission was Mrs. W.H. Clark. By February 1958 it had become apparent that the problems of the native peoples were much more complex than first anticipated, and it was decided to involve aboriginal peoples in the Commission to help find viable solutions. In 1960, the Indian-Eskimo Association (I.E.A.) was incorporated, with Mrs. Clark as the first president. The I.E.A. had several functions which included encouraging native leaders to form organizations, fund-raising, organizing workshops to discuss native housing, community and economic development, and providing advice and support in legal matters. Also, provincial and regional divisions were created to help deal with specific native issues, not just native problems on a general level. By 1968, several national and provincial native organizations had come into being. In September of the same year, leaders of the native organizations met with representatives of the I.E.A. to discuss the future role of the Association. It was agreed that the native organizations still needed the I.E.A.'s support, but that they should begin to deal directly with governments, without the I.E.A. acting as the middleman. It was clear that the future of the I.E.A. was to provide only support and advice to the developing native organizations. In 1972, many of the recommendations made in 1968 had come into effect. The name was changed to the Canadian Association in Support of Native Peoples to reflect the new functions of the Association more accurately. At this time, regional offices of the Association were closed, and the head office moved from Toronto to Ottawa. The Association still continues to function in an advisory capacity.
For more information, see: http://www2.trentu.ca/library/archives/82-014.htm .

(from ANFC website)
The Friendship Centre Movement began in the mid-1950s when groups were formed in most urban areas across Canada to represent the interests of the increasing number of Indigenous peoples migrating from outlying reserves. These early Friendship Centres existed mainly as referral agencies between established social service organizations and urban Indigenous residents. Funding of these early centres was dependent on individual volunteers and their ability to raise operating funds though various fundraising events and private donations.

As the stream of new arrivals continued to grow throughout the 1960s, Friendship Centre staff became increasingly aware of the need to extend their services beyond a referral mandate. For this to be possible, increased organization and adequate funding for each Centre was necessary. To support this transition, in the late 1960s, Friendship Centres began organizing into Provincial/Territorial Associations (PTAs): unifying bodies aimed at providing administrative support to each of the local Friendship Centres within their specified region.

With the increased organization and supportive network that ensued from the creation of the PTAs, local Friendship Centres were able to expand their services beyond their referral mandate to concentrate on proactively encouraging and assisting Indigenous peoples to adjust and thrive more successfully in their new urban environment. With this refocus, both the public at large as well as Provincial and Federal governments began to recognize the viability and importance of the Friendship Centre Indigenous Self-Reliance Movement.

In 1972, the government of Canada’s support of the movement was formally recognized with her implementation of the Migrating Native Peoples Program (MNPP); providing operational funding to each of the then 40 Centres across Canada. The MNPP was renamed the Aboriginal Friendship Centre Program (AFCP) in 1988. The federal government’s commitment to supporting Friendship Centres has been ongoing with the renewal of the Aboriginal Friendship Centres Program. The AFCP program now provides core operational funding to 115 local Friendship Centres across Canada— 20 of which are located in communities throughout Alberta.

SAVAC (South Asian Visual Arts Centre) is the only non-profit, artist-run centre in Canada dedicated to supporting South Asian artists. For over two decades, SAVAC has increased the visibility of culturally diverse artists by curating and exhibiting their work, providing mentorship, and facilitating professional development.

Our mission is to produce programs that explore issues and ideas shaping the identities and experiences of people from the region and its diasporas. We encourage work that is challenging, experimental and engaged in critical discussions that offer new perspectives on the contemporary world.

SAVAC develops and produces a range of contemporary visual art interventions and programs. We work without a gallery space, and typically in collaboration with other artist-run centres, public galleries and visual arts organizations. This unique, collaborative model allows for SAVAC to play a vital role in Canada’s visual arts ecology by expanding the frameworks that support culturally diverse perspectives in art.

1987 Khush: South Asian Gay Men of Toronto is founded. Khush has an active membership of around 100 people, with a mandate to “educate South Asian gay men and the wider gay community about South Asian culture, as well as to forge connections amongst the South Asian community, South Asian cultural producers/artists, and the gay community”.

1988 Khush and Gay Asian Toronto organize “Unity Among Asians,” a conference for Asian lesbians and gay men in North America.

1989 Members of Khush organize SALAAM TORONTO, a one-day celebration at the 519 Community Centre, featuring arts, literature, food, culture, games, and performance, drawing a crowd of around 800 people.

1990 Khush hosts Khalla (later to become Desh Pardesh), a three-evening event of video and film, music and dance, hosted at Euclid Theatre, “intended to provide a forum for South Asian artists” aiming to “incite dialogue […] and to begin an interrogation of what South Asian culture is”. (Clara Thomas Archives)

1990 Festival undergoes name change from Khalla Festival to Des/Pardes or Desh Pardesh.

1992 Desh lengthens and broadens programming, funding and staffing, and includes film/video, poetry/fiction, theatre/performance, dance, live music, DJs, non-fiction/criticism/journalism, visual art/photography.

1993 Desh is established as a permanent organization with a small membership fee and working board.

1993/94 A group of visual artists who had been working together to curate the visual arts component of Desh, come together to form South Asian Visual Arts Collective (later to be named the South Asian Visual Arts Centre, or SAVAC)

1994 Desh and ASAAP (Alliance for South Asian AIDS Prevention) are incorporated as non-profit organizations.

1997 SAVAC is formally established as an artist-run centre, working in close collaboration with Desh.

2001 Desh Pardesh festival and its administrative body are closed, due largely to the financial crisis.

2001 SAVAC is provincially incorporated.

2004 SAVAC celebrates its 10th anniversary.

2008 SAVAC changes its name from South Asian Visual Arts Collective to South Asian Visual Arts Centre to more accurately reflect its organizational purpose and structure as an artist-run centre. In this year, SAVAC also becomes federally incorporated and celebrates its 15th anniversary.

2009 SAVAC is awarded charitable status.

2013 SAVAC is awarded multi-year the Ontario Trillium Foundation funding for a project that will involve the creation of an archive that traces the history of SAVAC as an organization, and the people and groups that preceded it.

2014 SAVAC celebrates 20 years of existence and 10 years of Monitor: South Asian Experimental Film + Video program.

For more information see: https://www.savac.net/about/ .

Khush: South Asian Gay Men of Toronto was founded in 1987. The group organized meetings for queer South Asians, and later broadened their membership to include women, becoming Khush: South Asian Lesbian and Gay Association. Remaining active until 1998 the organization ran a variety of queer South Asian community events, one being the annual Desh Pardesh (until 2001), spotlighting South Asian culture, art, and politics. In 1989 Khush founded the first South Asian gay and lesbian newspaper in Toronto, and Avec Pyar, a quarterly zine.

For more information see: https://en.wikipedia.org/wiki/Khush:_South_Asian_Lesbian_and_Gay_Association .

The Toronto Dance Theatre was founded in 1968 by Patricia Beatty, founder of The New Dance Group of Canada, Peter Randazzo, principal dancer with the Martha Graham Company, and David Earle, former artistic director of London Contemporary Dance Theatre. Beattie, Randazzo and Earle stepped down as artistic directors in the spring of 1983 and were replaced by Kenny Pearl. The present artistic director of the Toronto Dance Theatre is Christopher House. Since their first performance in 1968, the Toronto Dance Theatre has performed in every province across Canada and has toured in the United States, Europe and Asia. The majority of the company's repertoire consists of the choreography of the three founders including "Against Sleep" (Beatty 1968), "Court of Miracles" (Earle 1982), and "A Simple Melody" (Randazzo 1977). House, who choreographed "Glass Houses" (1983), won a Jean A. Chalmers award for his achievements. The School of Toronto Dance Theatre was also founded in 1968, at the same time as the Toronto Dance Theatre. The dance school, the first of its kind in Canada, offers a comprehensive training program in modern dance. Both the Company and the School are administered by the Toronto Dance Foundation.

York Region District School Board is the third largest school district in Ontario.

The 'Toronto telegram' (originally the 'Evening telegram,') was launched in 1876 by John Ross Robertson. The 'Tely' strongly supported the British connection in Canada, appealing to British and Imperial sentiments even after Canadian nationalism became fashionable. The newspaper was locked in a circulation war with its afternoon rival, the 'Toronto star', for much of the twentieth century. The battle involved giveaway contests, scoops, and even hiding personalities (like swimmer Marilyn Bell) from the competition to ensure exclusive stories. Following Robertson's death, the paper was continued by a trust he had established. In 1948 the newspaper was sold to George McCullagh, owner of the Toronto Globe & mail, who invited John Bassett to act as publisher. In 1952 Bassett bought the newspaper and attempted to best the Star with new features in his newspaper, the introduction of colour photography (which meant the demise of the famous 'pink' newsprint on which the "Tely" had been printed), and other modernizations (including a news office building). Falling circulation and lack of advertising led Bassett to close the newspaper in 1971.

The Gurkha Welfare Appeal (Canada) was a government registered charitable organization in operation between 1973 and 2004. GWA(C) was the Canadian branch of Gurkha Welfare Trust, based in the United Kingdom. These organizations, with the Gurkha Welfare Trust (USA) and the Kadoorie Agricultural Aid Association (KAAA), constituted the international Gurkha Welfare Scheme (GWS).

The Gurkha Welfare Trust was established to provide for the welfare of retired Gurkha soldiers and their dependents living in poverty in Nepal. Gurkha soldiers, recruited in the hills of Nepal, have served the British Crown since 1815. The Gurkha brigades participated in both World Wars and countless military conflicts of the past two centuries and have been highly celebrated for their heroism and bravery.

GWA(C), which officially launched in January 1973, reoriented the aims of the international trust by helping not only the ex-servicemen and their families but also the broader communities in which the Gurkhas lived. The charity directed funds to improve the quality of life in the hill communities of Nepal. GWA(C) was funded by the Canadian Educational Development and Relief (CEDAR) programme of the Canadian International Development Administration (CIDA) between 1975 and 1989, and by private donations.

Between June 1975 and August 1989, GWA(C) built the following development projects in Nepal: 131 drinking water supply schemes; six suspension bridges; three irrigation canals; 22 outreach centres (or Area Welfare Centres), where ex-servicemen submitted applications for assistance and received pensions and primary medical care; 22 schools and hostel buildings; an ex-servicemen rest house; and the Dharan school for blind children, completed in 1998. The GWA(C) also contributed to the international relief effort following the 1988 earthquake in Nepal.

The CEDAR programme closed on 1 July 1989 due to lack of funding. Afterwards, only a small project office was retained to perform repair, maintenance, and improvements of the Area Welfare Centres (AWCs) in Nepal. For example, small improvements to the AWCs, such as building covered walkways, office extensions, and pension shelters, were completed during this period. GWA(C) ceased operations in Nepal in March 2003 and officially closed in 2004. Since then, the Ministry of Defence (United Kingdom) assumed responsibility for the maintenance of the AWCs.

Maj. Michael Burke (1925-2004) was the Secretary for the GWA(C) from its inception until his death. Born in Karachi, present-day Pakistan, Maj. Burke studied at the St. Lawrence School in Sanawar, India. He was an officer with the 4th Gurkhas and the Royal Inniskilling Fusiliers. He immigrated to Canada in 1958 and taught in the Metropolitan Separate School Board until his retirement in 1991. In recognition of his efforts for the GWA(C), he received the M.B.E. from the Queen at Buckingham Palace in June 1983. Following his death in 2004, Maj. Burke’s widow, Carol Burke, and Bill Smith were appointed joint Secretaries of GWA(C) and oversaw its closing.

Compañeros, according to Vancouver Folk Festival founder Gary Cristall, was considered the first Canadian world music band. Offering a variety of fused rhythms from the Afro-Latin tradition of the Americas, native sounds from the Andes and the rhythms, vocalizations and instrumentation from the Greek and Mediterranean traditions, Compañeros uses a variety of instruments, including guitar, Greek Bouzouki and Baglama, Colombian tiple, Venezuelan cuatro, quenas, zampoñas, Bass, keyboards, flutes and saxophones.
The original members of Compañeros were: Marcelo Puente, Juan Opitz, Dimitri Apoustolou, Nikos Tsingos, Adam Konstantakis, Ricardo Rivas, Juan Salvatierra, Javier Garcia and Zacharias Polatos. Compañeros performed its 1st concert to a sold out house at the Titania Music Hall, now know as The Music Hall, on April 28th, 1978.
Compañeros and The Trojan Horse Coffee House became an important contributor to the cultural scene of the 70’s and early 80’s. Toronto, and more specifically Danforth Ave. near Broadview was the first place refugees from Latin America would congregate and continue work in solidarity with various human rights organizations, including Amnesty International. The band found itself participating in numerous solidarity and fundraising events.

The Portuguese Interagency Network (PIN) was founded in 1978. PIN was a community-based, non-profit organization which connected agencies and individuals who were concerned with the provision of Portuguese-speaking Canadians in Ontario. Member agencies in the early years included: The Doctors Hospital Social Work Department, The Working Women Community Centre, Parkdale Community Legal Services, St Christopher House, St Stephen’s House, C.R. Sanderson Public Library, and the COSTI-Education Centre. PIN’s membership eventually grew to include over 200 member agencies in addition to many individual members.

PIN’s objectives included: ensuring the provision of services through community development and active cooperation of individuals and agencies; providing on-going professional development and support to its membership; acting as a consulting and resource body for organizations and individuals; providing referrals aimed at linking individuals with services in the community; developing and promote research and planning projects for educational purposes on community needs; encouraging the exchange of information among member agencies and individuals; provide community educational programs; and granting scholarships to support and encourage youth to attend post-secondary institutions.

PIN was managed by an elected twelve-member Board of Directors and an Executive Director. The programs of the P.I.N. were carried out by working committees which focused on the following areas: Adult Education, Child Education, Family and Community Services, Health, Special Needs, and Seniors. Project-based or ad-hoc committees, included: “Ready or Not,” “Youth Committee,” “Lusophone,” and “Employment Equity.” PIN produced several studies and reports on Toronto’s Portuguese-Canadian community. It also conducted a number of public education campaigns in the areas of health, adult education, literacy, sexual assault, and skills training.

PIN helped develop organizations such as Kensington Clinic, Portuguese Mental Health Clinic, Downtown Employment Services, Portuguese Family Crisis Centre, Access Alliance Multicultural Health Centre, and Bradford Immigrant Community Services. PIN played a role in the organization of several conferences for the Portuguese-Canadian community across Canada. In 1993, a conference held in Ottawa, titled “From Coast to Coast: A Community in Transition,” brought together Portuguese-Canadians nation-wide to discuss social, economic, and political issues affecting the community. During the conference, the Portuguese-Canadian National Congress was founded.

Following spending cuts by the Ontario Provincial government in the mid-1990s, PIN discontinued its work in 2009.

The Canadian Law and Society Association/l'Association canadienne droit et société is a group of scholars dedicated to the advancement of interdisciplinarity in legal and socio-legal scholarship in Canada and internationally. The association focuses on training in law, history, sociology, political science, criminology, psychology, anthropology, and economics as well as in other related areas. It awards prizes for socio-legal scholarship; holds a small midwinter meeting and a large annual conference and graduate student workshop; and publishes the "Canadian Journal of Law & Society/La revue canadienne droit et société." The CLSA/ACDS was formed in 1982 to provide a sense of intellectual community for a growing group of Canadian scholars interested in the relationship between law and society. In 1985 the association held a conference at the University of Montreal, where the decision to formally establish the association and journal was made. John McLaren was elected president with Peter Russell as vice-president, and the association obtained formal “learned society” status. The journal’s first issue appeared in 1986 under the editorship of Rainer Knopf. In recent years, the association has participated in independent and co-operative projects and conferences.

The Sussex Area Residents' Association was established in 1966. It attempted to prevent the implementation of a City of Toronto Planning Board proposal to raze the housing and commercial buildings in its area in favour of new apartment buildings. The area is bounded by Spadina Avenue, Bathurst, Bloor and Harbord Streets (Toronto). The plan was ultimately abandoned.

The United Electrical, Radio and Machine Workers of America was established in 1936, with the first Canadian local in Toronto created the following year. The union, long considered on the left-wing of Canadian labour unions, was dismissed from the Canadian Congress of Labour in 1949 for suspected Communist ties and it was not until 1973 that the union was re-admitted to the Canadian Labour Congress. The UE had forty-seven locals in Canada (1993) including locals in Toronto, Guelph, Peterborough and Montreal. In that year decreasing membership lead to an affiliation with the Canadian Auto Workers.

'Waves' was a literary magazine originally produced at York University (1972-1980), that grew out of a poetry workshop conducted by Irving Layton at the university in the 1970-1971 school year. The journal was devoted to prose and poetry, and was issued three times a year. The editor of 'Waves,' Bernice Lever, also served as office and business manager, circulation manager, and eventually became owner of 'Waves,' in 1976. From 1980 until it ceased publication in 1987, 'Waves' was produced in her home.

The British Canadian Trade Association (formerly Canadian Association of British Manufacturers and Agencies) was a British trade lobby group. Organized in 1951, the Association had offices in Montreal, Toronto and Vancouver. The organization was made up of approximately four hundred British firms operating in Canada. It sought to promote trade between the two countries, represent the interests of its members to the federal and provincial governments, to publicize the activities and products of its members and to foster good relations between all receiving or offering goods and services in either country. Forced to close its offices in the 1970s, BCTA was re-named British Canadian Trade Associates by 1980.

The Canadian Theatre Review was Canada's first quarterly theatre journal and was established at York University in 1974 as a publishing project of the Faculty of Fine Arts and the Department of Theatre. It grew out of a Theatre Department publication called the York Theatre Journal which began in about 1970. Both publications were initially edited by faculty members Don Rubin and Ross Stuart.

The first issue of CTR appeared in January 1974 and it set the model for the journal's issues thereafter: themed issues, a full-length playscript, short essays on a variety of subjects and book reviews. Within 24 months, the journal expanded into theatre book publishing and began using the more comprehensive designation CTR Publications. In addition to the journal,

CTR Publications, under Rubin's general editorship, published some two dozen separate volumes including the archival series "Canada on Stage" (1974-1988), the four-volume "Canada's Lost Plays" series and historical volumes such as Toby Gordon Ryan's "Stage Left: Canadian Theatre in the Thirties". In 1982, Rubin turned the editorship over to Robert Wallace of Glendon College and its production to the University of Toronto Press.

When Wallace left as editor, the publication was taken over by the University of Guelph and edited by Alan Filewod, a Guelph Theatre professor and a graduate of the York Theatre Department when the journal first began.

The Committee for an Independent Canada was established in 1970 by Walter Gordon, Peter Newman and Abraham Rotstein to promote Canadian economic and cultural independence. Many of the proposals offered by the Committee were eventually made into government policy including the establishment of the Foreign Investment Review Committee, the Canadian Development Corporation, and Petro Canada. The Committee was disbanded in 1981.

The Ruskin Literary and Debating Society was established in Toronto in 1900 as a voluntary organization devoted to literature and discussion of topics of the day. The second meeting of the Society witnessed debates on government ownership of railways, canals and gas companies. James Simpson, the Toronto labour politician was a member of the Society in its first decade. While it continued to meet annually throughout the century, by the 1960s the membership began to decline, and reforms to the constitution were introduced, the result of which led to a revitalization of the society in the 1970s. In the 1980s' topics of debate at society meetings included, an elected senate for Canada, the banning of nuclear arms, the reinstatement of capital punishment, immigration laws, and the Meech Lake constitutional proposal. The officers of the Society include an honourary president, a secretary, a historian, and a critic whose role is to offer criticism of the members' debating styles, arguments and presentation. The society holds an annual banquet, and bequeaths prizes to members in the areas of best essay, and best debating skills. Each meeting of the society is presented with a programme of discussion topics.

"The International Theatre Institute ITI is the world’s largest performing arts organization founded in 1948 by theatre and dance experts and UNESCO. Dedicated to performing arts, ITI advances UNESCO’s goals of mutual understanding and peace and advocates for the protection and promotion of cultural expressions, regardless of age, gender, creed or ethnicity. It works to these ends internationally and nationally in the areas of arts education, international exchange and collaboration, and youth training.[2] ITI organizes the International Dance Day and World Theatre Day every year at the UNESCO, Paris.[3][4]" (Wikipedia)

The University Women's Club of North York received its charter as the first suburban club and 70th member of the Canadian Federation of University Women in October 1951. The impetus for the establishment of this club came from Grace Morgan in conversation with some of her apartment building neighbours. These initial discussions led to an organizational meeting attended by Morgan and nine others at her home on October 18. The inaugural meeting, attended by 20 graduates, was held on October 31 and officers were elected including Margaret Wright as the first President and Morgan as Honourary President. In a short time, membership was up to 53 and this increased to 400 by 1976. The UWCNY offers a variety of opportunities for the intellectual enrichment of its members through general meetings, lectures, study and interest groups in areas such as money management, current events, art appreciation and book studies. Since 1954, through its scholarship fund, the club provides bursaries and awards to local area female students attending post-secondary institutions.

Planet in Focus, an Environmental Film Festival based in Toronto, Ontario, is an incorporated not-for-profit organization. Mark Haslam, a York University alumnus, founded the festival promote awareness, discussion and engagement on a broad range of environmental issues.

Parkdale Community Legal Services (PCLS) was established in 1971 as a community legal service for the Parkdale community in Toronto. PCLS is affiliated with Osgoode Hall Law School whose students work as interns in the programme as part of their legal education. The clinic is funded by the Clinic Funding Committee of the Law Society of Upper Canada and by Osgoode Hall Law School which provides the services of an academic director who is always a faculty member. PCLS has always defined its primary task as poverty law and students who participate in the clinic attend weekly seminars on poverty law. The clinic focuses on four main areas of poverty law: tenants rights; workers' rights; refugee law; and social assistance law.

The Hepatitis C Society of Canada (HeCSC) is a non-profit, national voluntary health organization. Its mission is to fight hepatitis C through prevention, early detection, support, appropriate treatment and comfort. It does this through 40 chapters across Canada that offer support groups, local peer counseling, publications and seminars. In addition, mainly through its intervenor status at the Krever Commission, the society advocated for just compensation for those who developed hepatitis C through tainted blood transfusions. HeCSC was founded in May of 1994 by Dr. Alan T.R. Powell of Toronto. The first volunteers started working with the organization in June 1994. By October, chapters were established in Victoria, Edmonton, Regina, Hamilton, Toronto and Ottawa. With the national office open in Toronto and the 1-800 number up and running, HeCSC was providing support and resources for hepatitis C carriers all across Canada and became registered as a charitable organization in January of 1995 and incorporated by Industry Canada as a non-profit group in April of the same year. HeCSC is funded by Health Canada’s National Voluntary Health Organizations and Hepatitis C Division, Ontario Ministry of Health’s Healthy Communities, and donors.

The Department of Campus Planning, the forerunner of the Department of Facilities Planning and Management, was responsible for the planning and implementation of the physical environment of York University. The department had three major responsibilities. The first was the development of the Master Plan, which involved the selection of architects, liaison with municipal authorities for the provision of services to the campus, and co-operation with various building and planning committees on campus, including the Board of Governors Property and Building Committee and the Campus Planning Advisory Committee. The second was to provide background information to planners, architects and consultants with regard to space allocation, design, and services for the several campus buildings and facilities, both on the Glendon and main campuses. Finally, the department had to oversee the implementation of the Master Plan, and this work involved control over costs and schedules; work with outside consultants and project committees within the university; and liaison with the Department of Physical Plant. The department was renamed Facilities Planning and Management in 1980.

The Department of Facilities Planning and Management is the successor to the Department of Campus Planning, acquiring its current name in 1980. In that year, the new department assumed the responsibilities of the Department of Ancillary Services. The department was responsible for all planning of space allocation on the campus and the maintenance of a computerized database of space use.

The Canadian Association of Professional Dance Organizations (CAPDO) is the only national service organization for dance in Canada. Established in 1978 and incorporated in 1981, CAPDO helps to serve the interests of dancers and dance organizations across Canada regardless of their stage of development and experience. It represents the collective interests of its members in seeking out public support for its initiative to expand opportunities for professional development and creativity within the discipline. Its members are the major professional dance companies and institutions in Canada with proven records of professional achievement and artistic merit. In 1990, CAPDO undertook a formal review of its structure, objectives and administration with the primary purpose of expanding its membership and better representing the needs of a broader spectrum of the dance community. The membership today consists of dance companies, training and re-training institutions and other agencies serving the professional dance community.

Goldfarb Consultants was established in 1965. Its primary activities focus on marketing, polling and advertising. Its customers have included a diverse group of private-sector companies, as well as the federal and provincial Liberal parties of Canada. Goldfarb Consultants provides both corporate and political clients with a reading of the public mood and a prescription for how best to optimize it. Martin Goldfarb, the founder of Goldfarb Consultants, was the first Canadian pollster to expand on traditional research methods by de-emphasizing the use of quantitative research (the gathering and compilation of numbers), and emphasizing qualitative research analysis. The qualitative research approach involves intensive questioning of specific focus groups about specific issues. By interpreting the focus groups' answers, a set of assumptions is made about the probable behaviour of the people, either as voters or consumers.

The Canadian Association for Irish Studies was established in 1956 to encourage study and research in all fields of Irish culture. In March 1974 the Association held its seventh annual seminar at York University.

The Mountain Fund to Help Save the Boat People was founded in 1979 by John Smith, a Christian politician in Hamilton, Ontario in response to the plight of the Vietnamese refugees who fled communist rule in their country in boats to neighbouring countries. Supported by local Hamilton-Wentworth citizens, the Mountain Fund sponsored hundreds of Vietnamese refugees in the 1980s and assisted them in integrating into Canadian society quickly. The Mountain Fund aid extended beyond the crisis and continued to help the Vietnamese in refugee camps into the 1990s.

The Canadian Association for Women in Science (CAWIS) was formed in 1981. It started as a chapter of the U.S. based Association for Women in Science (AWIS), but a decision was made at the chapter meeting in May, 1981 to from a wholly Canadian organization in order to better serve the needs of Canadians. CAWIS initiatives and activities include publishing a CAWIS newsletter; co-ordinating public seminars and lectures; promoting science education in high schools for girls; supporting, lobbying, informing organizations, ministries, associations on issues relevant to women and science; participating in conferences on women and science; establishing a CAWIS award to Canadian women in science; establishing a Canadian registry of women in science; and marketing the organization CAWIS to the general public and women involved/interested in scientific professions.

Founded in February 2000, Obsidian Theatre Company is a leading black theatre companies in Canada. As a producer of black theatre and community advocate, the company has endeavoured to produce plays, develop playwrights and train emerging theatre professionals. Their mission statement focuses on the exploration, development, and production of the black voice. The founding board included Awaovieyi Agie, Ardon Bess, David Collins, Roy Lewis, Yanna McIntosh, Diane Roberts, Kim Roberts, Sandi Ross, Djanet Sears, Satori Shakoor, Tricia Williams, Alison Sealy-Smith, and Philip Akin. Obsidian has encouraged Canada's local black playwrights and actors, mounting local works such as "The Adventures of a Black Girl in Search of God", "Consecrated Ground", "Born Ready" and "The Monument", as well as the first international collaboration (Canada and Barbados) of Austin Clarke's Giller Award winning novel "The Polished Hoe". They have also produced international plays such as "Intimate Apparel", "Late" and "Black Medea". Obsidian has established partnerships both locally and provincially working with companies such as The Stratford Festival of Canada, Mirvish Productions, The Harbourfront Centre, The Canadian Stage Company, Nightwood Theatre, The Harold Green Jewish Theatre, Factory Theatre, Theatre Passe Muraille, fu-GEN Theatre, Aluna Theatre, Roseneath Theatre, bcurrent, and the Frank Collymore Hall in Barbados. Obsidian produces plays from a world-wide canon focusing primarily, but not exclusively, on the works of highly acclaimed black playwrights.

The Joseph E. Atkinson College was established in 1961 as the result of a donation from the Atkinson Foundation. The purpose of the college is to provide evening classes for adult learners. Originally located at Glendon Hall, the college offered its first programme of courses in the 1962-63 academic year and began offering courses year-round in 1964-65. The college building on the Keele Street campus opening in 1966. At this time the college offered courses leading to the ordinary (three year) Bachelor of Arts degree in a restricted number of fields for both evening and part-time students. Atkinson College courses were generally taught by a full-time faculty appointed to the college. Thus the college, in effect, mirrored the academic development and structure of the larger university, with Divisions of Humanities, Natural Science and Social Science, as well as the several arts programme departments (English, History, Geography, Sociology, etc.). The college had an enrollment of 300 in 1962-63, and this had increased to over 6000 by 1970. In addition to the Arts programme, a degree programme in Administrative Studies was instituted in the 1970s, an Honours degree was offered by 1970-71 and degree programmes leading to a Bachelor of Science and a Bachelor of Social Welfare were first offered in 1973-74. By this date there was a Canadian Studies Programme and an Urban Studies Programme and students were permitted to define a course of study leading to the Bachelor of Fine Arts degree. The physical extent of the college was enhanced in the early 1970s by the addition of a west wing to the main building, the construction of Elm in a Elliott Atkinson Hall (both 1971), and a nine story residence building in 1973. By 1991 the college had a student population of 8,800, and departments or programmes of study in the following areas: Administrative Studies, Canadian Studies, Classical Studies, Computer Science and Mathematics, Economics, English, Fine Arts, Francaises et Langues modernes, Geography, History, Humanities, Philosophy, Political Science, Psychology, Science Studies, Social Science, Social Work, Sociology and Urban Studies. The college is led by a Dean assisted by two Associate Deans, and there is a Master of Atkinson College. The College Council serves as the senior deliberative body, and the Atkinson College Students' Association oversees the interests of students. The college has its own Counselling Service, Outreach Services, an Office of Student Programmes, an Alumni Association and a librarian within the York University Libraries.

'Northern journey' was a Canadian literary magazine published in Montreal from 1971-1976. Its original publisher was Terrance MacCormack, who was also a founding co-editor with Fraser Sutherland. The magazine published many of Canada's best poets and writers, including Earle Birney, Gwendolyn MacEwen, Norman Levine, George Woodcock, Margaret Atwood and others. It was also a forum for literary and cultural debate, particularly in the area of Canadian nationalism.

The Faculty of Arts was inaugurated in 1969 when it was separated from the Faculty of Arts and Science, and first offered courses under the current name in 1971. At that time it contained the Departments of Computer Science, Economics, English, Foreign Literature, French Literature, Geography, History, Mathematics, Philosophy, Physical Education, Political Science, Psychology, and Sociology and Anthropology. The Faculty also offered instruction through the Divisions of Humanities, Language Studies, Natural Science, and Social Science, where students could combine traditional liberal arts course work with an interdisciplinary approach to study leading to the Bachelor of Arts Ordinary and Honours degrees. In their first year students in the Faculty are required to take courses in the Divisions of Humanities, Social and Natural Sciences and a College Tutorial. The Faculty expanded its course selection rapidly in the 1970s, with new joint studies programmes in African Studies, Anthropology (which was separated from Sociology), Canadian Studies, Classical Studies, East Asian Studies, Individualized Studies, Latin American and Caribbean Studies, Law and Society, Linguistics, Religious Studies, Social and Political Thought and Urban Studies. Many of these programmes were developed within the Divisions of Humanities and Social Sciences. By 1991 the Faculty had approximately 16,800 enrolled students and had added to its calendar joint degree programmes in Business-Oriented Programmes (with the Faculty of Administrative Studies), Communication Arts (with community college diploma standing), Creative Writing (with the Faculty of Fine Arts), and new degree programmes in Economics and Business, Labour Studies, Mass Communications, Public and Policy Administration, Science, Technology Culture and Society, and Women's Studies. Many of these areas of study were developed within the Divisions of Humanities and Social Science. The Faculty is headed by a Dean who is assisted by three Associate Deans. There is a Faculty Council made up of all faculty members with representation from the students in the faculty and the university administration. In addition, there is a Student Caucus, which addresses the concerns of students in the faculty.

The Canadian Film Development Corporation (Telefilm Canada) was created by Act of Parliament in 1967 to foster and promote the development of a feature film industry in Canada. The plan called for direct investment in low-budget Canadian 'cultural films', but by 1973 the demands for a more commercial fare led the CFDC to promote international co-production, sometimes using foreign stars in the feature films. Many of the films produced under this arrangement were never released. In 1984 the CDFC was renamed Telefilm Canada.

The Federation of Women Teachers' Associations of Ontario was established 3 April 1918, as a result of a meeting called by several local women elementary teachers' associations wishing to form a provincial organization. The FWTAO's original mandate included the promotion of the professional and financial status of women teachers in Ontario through the fostering of local associations and campaigning for a minimum annual salary. In addition to representing the financial and everyday workplace concerns of its membership, the FWTAO's mandate was extended to include curriculum reform, employment equity, and other issues related to sexual discrimination. As a consequence of a long series of legal challenges that began in 1985, based on the gender-exclusive nature of the Association, the FWTAO amalgamated with the Ontario Public School Men Teachers' Federation (OPSMTF) in 1998 to form the new Elementary Teachers' Federation of Ontario (ETFO).

Based in Ottawa and Toronto, the Canada Dance Festival was first produced in 1987 as an initiative of the Dance in Canada Association, the National Arts Centre and Dance!, An Ottawa Summer Festival. Following the first festival, the Canada Dance Festival Society was formed with a separate administration and an official co-production arrangement with the National Arts Centre. Held biennially since 1988, the Canada Dance Festival aims to promote and produce a week long celebration of contemporary dance, featuring the newest artistic creations from a selection of the country's choreographers. It also attempts to support the creation, development and dissemination of these artists' work to a national and international audience. Another important goal of the festival is to foster the professional growth and development of participating artists. The festival has partnered with the National Gallery of Canada, Le Groupe Dance Lab, Arts Court, the University of Ottawa, and the National Capital Commission. The administrative structure of the festival consists of a 10 member Board of Directors made up of representatives from the artistic and business communities of Ottawa.

The Alliance of Canadian Television and Radio Artists (ACTRA) negotiates and administers collective agreements and sets minimum rates and basic conditions governing the English-language radio, television and film industry. ACTRA is composed of three guilds, and had its genesis in the Association of Radio Artists (1943), assuming the name Association of Canadian Television and Radio Artists in 1961. In 1984 ACTRA was reorganized and the first word in the title altered to 'Alliance'. The ACTRA Awards were first given in 1970 honouring Canadian writers, broadcast journalists and performers.

Rhombus Media Inc. was formed in 1978 at the York University Film Department, when Barbara Willis Sweete and Niv Fichman created, Opus One, Number One, a documentary short that established the company's musical direction. Larry Weinstein joined soon after, and the trio have since produced and directed numerous television programs, and they are known as one of Canada's leading independent producer of television programs on the performing arts. Rhombus Media has received nominations for many international awards and has won two International Emmys, for 'Le Dortoir' in 1991, and for 'Pictures on the Edge' in 1992, and several Canadian Genie Awards, including Best Motion Picture in 1993 for 'Thirty-Two Short Films about Glenn Gould' and for 'The Red Violin' in 1999. 'The Red VIolin' also garnered an Oscar for best musical score in 2000. Rhombus also produced the award-winning television series 'Slings & Arrows'. In recent years Rhombus projects have been internationally co-produced with many of the major European television networks.

Founded in 1975 by Danny Grossman, the Danny Grossman Dance Company (DGDC) is a modern dance company that was legally incorporated as the Danny Williams Grossman Dance Company in 1977. Considered as one of Canada’s most popular modern-dance troupes, the company toured extensively in Canada and performed globally across Europe, Israel, South America, and the United States. It toured in more than seventeen countries and has appeared at major dance festivals including Jacob’s Pillow. Its mission is to provide the environment, opportunity and support for the creation, performance and preservation of works by Danny Grossman. The company’s artistic statement is to present dance that is about humanity: clear, concise, daring, and universal – not afraid of subject matter. The company’s repertoire of 30 original works reflects Danny Grossman’s personal values of equality, pacificism, honesty courage, social responsibility, sympathy for the underdog and a willingness to reveal demons.

During the first two years, four company dancers (Danny Grossman, Judy Hendon, Erik Bobrow, Greg Parks,) were also members of the Toronto Dance Theatre as dancers, apprentices, and students. Working under the umbrella of TDT, DGDC practised after hours and undertook extended residencies and performances at the University of Michigan in Ann Arbor and at Simon Fraser University in British Columbia. Follow the success of Higher on tour to Miami and New York in 1976, the company was invited to perform at the New York Dance Festival, the Dance in Canada Conference in Halifax, and in the cultural festivities of the 21st Olympiad in Montreal in 1976.

By 1978 the company was established on a fulltime basis and would rehearse in the evenings at the National Ballet School studios. The six members DGDC (with Randy Glynn and Judith Miller joining the founding dancers) embarked on its first tour of Western Canada with Peter Sever as manager and Germain Pierce as wardrobe supervisor. Afterwards, the company moved to its own studio space on King Street, Hendon left and Pamela Grundy (who would later become Co-Artistic Director) and Trish Armstrong joined by audition.

In the 1980s, the company entered into an extended period of creative work to build a new repertoire in preparation for upcoming tours in North America and Europe. In 1988, the company expanded its repertoire to remount 15 revivals from Canadian artists (Patricia Beatty, Paula Ross, Lawrence Gradus, Judy Jarvis, Anna Blewchamp) and some American choreographers (Charles Weidman and Paul Taylor). Throughout the 1990s and early 2000s, the company would performance and tour primarily in Canada.

The company has also collaborated and co-produced with artists of different techniques, cultures, and disciplines including Judy Jarvis, Lawrence Gradus, Rina Singha, and Brainerd Blyden-Taylor. Collaborations also assisted the company to maximise resources through initiatives such as For Dance and Opera (a joint booking project to meet tour management needs) and 509 Parliament St (joint studio space for Canadian Children’s Dance Theatre and independent artists). The company also belonged to Dance 2020 (workgroup of members of Toronto dance community to set priorities and visions for the future), Arts 4 Change (a program designed to create positive change for and by arts professionals in Toronto), and Artsvote (a campaign to educate local voters and politicians about issues in the cultural sector). The company also engaged in educational initiatives with local school groups, community groups, and undertook residency programs on tour.

With shrinking grants to fund operations, the company stopped performing in 2008 and shifted its focus on teaching and preserving Grossman’s choreography. The company travels to schools and teaches works to students at institutions such as Adelphi University.

The Centre for Experimental Art and Communication (CEAC) was created in Toronto in 1975 by the Kensington Arts Association, an avant-garde artists collective. The Centre acted as a studio, resource centre, museum, gallery and performance space for the collective. It also acted as the host for visiting acts and artists in the areas of performance art, behaviour workshops, contextualism, visual arts (especially video art) and other post-modern art forms. The CEAC collective also produced events which were showcased in Europe, the United States, South America and, to a lesser extent, Canada. The Centre was the sight of 'Crash and burn,' a punk-rock musical venue in the mid-1970s. The Centre alienated funding bodies in the late 1970s when a copy of 'Strike', a journal associated with CEAC, was charged with promoting violent overthrow of authority, and CEAC was forced to close in 1980.