Good morning, everyone.
I want to begin my address by expressing my gratitude to the Algonquin people. It is an honour to speak here on their spectacular unceded territory today.
I am the Co-Chair of the Canadian Arts Coalition. Many of you know that the coalition is a non-partisan, volunteer movement spearheaded by a group of national arts service organizations, including my organization, the Canadian Dance Assembly. Collectively we represent thousands of artists and hundreds of arts organizations across the country.
I also want to acknowledge the incredible leaders I spoke to in preparing this brief, at arts organizations and at the funders. I especially want to recognize the co-presidents of my board at the Canadian Dance Assembly: Consultant Soraya Peerbaye, and Gitxsan and Cree Artistic Director Margaret Grenier. Canada has a truly extraordinary group of leaders paying attention to the issue of gender parity.
I have been an arts manager since 1996 and have lived the statistics that I'm going to share with you today. There are so many women working in the arts, but the jobs for women are precarious, and they are rarely stable leadership positions. Since August 2017, after the publication of Bob Ramsay's second article in the Toronto Star about the predominantly white and male boards of directors at the large legacy institutions in Toronto, I have been talking about this problem.
Ramsay's article is corroborated in many different studies, notably by the annual report card by the Canadian Board Diversity Council, which indicates that of the arts organizations surveyed, 74.5% of board members were male and 25.5% were female.
Today, I have four recommendations to present to you, about research and about regulatory action.
Here are some current statistics from several artistic disciplines. I am sure that as members of Parliament you have heard data from many different sectors. I present this data about the arts today with a sense of urgency, because although the arts sector's leadership may not be predominantly female, our audiences are predominantly female and progressive. Audiences in the arts are consistently in decline, perhaps because they don't see themselves reflected in the artwork presented. For this economic reason, the arts sector must change now.
Here come the statistics. In Canadian music, the annual salary of women was 20% lower than the industry average, and only 10% of women held executive positions.
In visual arts we see different leadership depending upon the size of gallery. On the surface, the stats look great: 70% women curators to 30% men, 92% being Caucasian. The bigger the gallery, however, the less likely it is for a woman to be the curator.
Next, we have the sector that I work in. Women form the vast majority of dancers, at 84%. Perhaps it's not surprising that dance is one of the poorest paid of the arts occupations, but men are still prioritized as artistic directors and as choreographers.
We also see women disadvantaged in the world of Canadian literature. Studies show “an undeniable gender bias, one that overwhelming favour[s] male authors”, as is evidenced by the reviewing practices: only 30% of books reviewed by male critics were written by women, which means that women's books are less likely to sell well and less likely to be considered for major awards.
Moving on to Canadian theatre, women occupy less than 35% of the major leadership roles, such as artistic director, director, and playwright.
Then in the deaf, mad, and disability arts domain, 100% of the contributors who produce deaf art, mad art, or disability-identified art are female-led organizations, yet—or perhaps as a result—these arts organizations are significantly underfunded.
Of course, this data is not surprising to any woman who works in the arts.
Although there is a clear wealth of data in the field, we need a comprehensive picture of the role of women in the arts. I want to add my voice to the other witnesses who've already appeared before the standing committee to ask the Department of Canadian Heritage to compile the existing research and paint a picture of the sector so that we know exactly where the bias exists and where we need to change.
My first recommendation is to instruct the Department of Canadian Heritage to conduct a literature review on gender parity in the arts, with attention to artistic directors and boards of directors. I want to encourage Canadian Heritage to work with the Ontario Arts Council because they are currently undertaking a study, an Ontario-focused a literature review, on this exact subject.
Why do we need to change who sits on boards of directors? For me, if we change who sits on the boards, it will impact who is hired as artistic director, who is hired as executive director, and then it goes on down to the staff level. There's a wealth of data from the organization DiverseCity onBoard and the Conference Board of Canada that demonstrate that female and diverse leaders enhance innovation, and strengthen cohesion and social capital.
In March, the president of FedEx Express Canada, Lisa Lisson, wrote on the CBC news site that “We know [that] boards with women on them outperform their rivals, deliver higher returns, and are more aggressive about taking initiative”. Lisson argues that it is just good business practice to have diverse boards.
The House of Commons and the Senate agreed with Lisson last week by passing Bill C-25. I want to thank Mr. Virani for pointing me in the direction of Bill C-25. The bill includes a provision that reads, “directors of a prescribed corporation shall place before the shareholders, at every annual meeting, the prescribed information respecting diversity among the directors and among the members of senior management”.
Unfortunately, this provision does not apply to not-for-profit organizations included in the legislation. They are not part of this specific provision. I called Corporations Canada yesterday to check. So, here comes recommendation 2, which is to instruct Corporations Canada to find a regulatory mechanism to require registered not-for-profit organizations to comply with the expectation of diversity in Bill C-25.
The Canada Council for the Arts has been quietly working on gender parity for two years. Recently, the council put out an RFP that stated, “The Council wishes to develop and pilot an online survey to track the demographic makeup of the workforce and boards of organizations that receive core funding.” The quantitative data will include “gender, age, cultural diversity, Indigenous, Official Languages, Official Languages Minority Communities, disability, age etc. The survey will be completed by the employees and Board of the organizations, not by the organizations themselves.”
Very clearly, they're not asking the executive directors to guess on the status of their board members or their staff.
It goes on to say that the “RFP is for a pilot survey with a small cohort of organizations that will inform future decisions about grant conditions.” The results of this pilot survey will be critical to move the issue of gender parity forward, because, of course, arts organizations are going to pay attention to what the major federal funders are doing.
Recommendation 3 is to require the Canada Council for the Arts to report back to the Standing Committee on Canadian Heritage on the results of the pilot survey and encourage the Canada Council to look at additional equity policies, especially in the program called Engage and Sustain, which is for the large arts organizations.
Of course, board composition is an incredibly complex issue. Boards are made up of volunteers, who can be difficult to find, especially in less populated areas. However, publicly funded organizations have a responsibility to reflect Canadian society. One problem I heard repeatedly was volunteer fatigue, particularly among indigenous, disabled, and racialized communities. Volunteering for a board of directors takes time and labour. Often, women turn down the opportunity to participate on boards because it is financially unfeasible to volunteer. Therefore, this last recommendation is pivotal.
For recommendation 4, I'm recommending that the Canada Revenue Agency permit charities—because most of the arts organizations I work with are registered charities—to change their bylaws in order to offer an honorarium to marginalized board members for their volunteer work. I think this would be a really important move to reduce volunteer fatigue so that we're not going to the same indigenous leaders over and over again to sit on all these boards, so that we could have more women and marginalized people represented on the boards. It would be a recognition of the labour that they're undertaking in taking these positions on our arts organizations' boards of directors.
Lastly, I want to point out that I have not recommended the creation of a mentorship program today. There are numerous well-established mentorship programs in the arts open to women. This is not the problem. Bias and discrimination in hiring practices in search firms and on boards of directors are the problem.
To conclude, I really want to thank the members of the Standing Committee on Canadian Heritage for your boldness to address this sensitive topic of leadership in the arts. Together I hope we can build a better, more respectful arts sector for our daughters.
Thank you.