Canadian Heritage Committee on Oct. 20th, 2009

[Bill Garrett]

No, not at all, and I was frankly sort of surprised that neither I nor anybody I knew had been consulted. When I saw some of the list of consultations, which I finally figured out, a lot of the outside consultations were with large media companies. Yes, it was quite a surprise, and given that I've been on the juries—I've been on the jury at Canada Council twice, and I received a grant once a long time ago—it was surprising that we weren't consulted.

[Andrea Menard]

No. Absolutely, I had no idea, and the only reason why I found out in the way I did was because one artist at the Western Canadian Music Awards, who was receiving an award, took the time to actually say, “Thank you for the award, and this album, which was actually funded by the specialized music grant, was just cut today.” A collective shock went through the room. So we found out because that person took the stage and told us.

[Pablo Rodriguez, Liberal, Honoré-Mercier, QC]

Thank you.

[Ruby Dhalla, Liberal, Brampton—Springdale, ON]

I just want to build upon what my colleague was saying.

First of all, thank you to all of you for coming today, and especially to Andrea for your great story. I think you're definitely an inspiration to a lot of young aspiring artists, especially women, across the country. So keep up the great work.

The Department of Canadian Heritage in 2007 conducted an independent evaluation of individuals, both of various components and individuals who were former recipients. Were any of you consulted at all in this particular independent evaluation?

It states that 86.7% of CMD recipients believe that the program actually enhanced their career. I believe that's what Andrea has stated. They also stated that 98.9% of CMF recipients stated that the federal government should continue to fund the CMF. Were you consulted at any point in time in terms of this particular evaluation?

[Andrea Menard]

I'm not sure. Not in the last while. I feel like I participated in something, but I have no idea if it was the Canada Council.

[Ruby Dhalla, Liberal, Brampton—Springdale, ON]

It is ironic, because the percentage of people appreciating.... As you were echoing today that it was actually a launch pad for your career, 86.7% also agreed with you, and then the program was cut. So there seems to be a discrepancy between what people are telling members and what actually happened.

Was there any consultation that took place at all?

[Erick Dorion]

I was indeed consulted in 2007.

[Ruby Dhalla, Liberal, Brampton—Springdale, ON]

In 2007. So you were very surprised, given the response that 86.7% of people....

Andrea, can you tell me what the impact has been? I know you heard of it being cut on stage at the music awards. What else have you heard from artists within the community at the grassroots level?

[Andrea Menard]

Shock, grumbling, and fear. Where else can we go? Where can people like me go? As I said, I'm from a community of traditional music. You know, someone with a hand drum is not going to make it on CHUM radio. So, fear.

[Ruby Dhalla, Liberal, Brampton—Springdale, ON]

Have they been given any other alternatives?

[Andrea Menard]

Even within Saskatchewan, which had very—

[The Chair, Conservative, Gary Schellenberger]

Can you make it very short, please? Five minutes is up, so be very short.

[Andrea Menard]

Funding has changed even within the province. I know they still have aboriginal categories, but for a jazz aboriginal category, there are not many.

[The Chair, Conservative, Gary Schellenberger]

Madame Lavallée.

[Carole Lavallée, Bloc, Saint-Bruno—Saint-Hubert, QC]

I would like to begin by making a brief comment for the benefit of Ms. Menard.

You will perhaps be happy to hear that in Quebec there is a group called La Bottine Souriante that performs traditional quebecois music. These last few years, it has gone a little bit “jazzier“. It is very popular and the music does get played on commercial radio, even though it is not a daily occurrence. Over the past 30 years, the group has sold a lot of records, perhaps 20, at least 10 in any event. I am certain it is no longer eligible for this program. That might encourage you for things to come.

You have all of course answered the question as to whether or not you have ever received grants — especially Mr. Dorion and you, Mr. Garrett. If I understood correctly, you explained that these grants had launched your careers and opened the door to the success you experienced later on.

What would have happened if you had not received the grant? What solutions should the government adopt right away?

[Erick Dorion]

In my case, it is obvious that without these grants, there would never have been good quality records or recordings. It will perhaps take me another ten years before I am really well known is my field.

We are talking about the minuscule amount of $1.4 million. Why could this amount not be given to the Canada Council for the Arts, why could the funding provided to the Canada Council for the Arts not be increased by a measly $2 million? These $2 million could be directly injected into music. Music agents could then develop a specialized sound recording program that would fall under the control of the Canada Council for the Arts. In this way, there would no longer be cuts coming magically from the outside.

[Carole Lavallée, Bloc, Saint-Bruno—Saint-Hubert, QC]

Thank you.

Mr. Garrett.

[Bill Garrett]

Well, I'm old enough to remember the days before the Canada Council, and if it were eliminated now, I suspect a lot of our artists would be looking for benefactors of some sort or other. They would have to go looking for Molson's, some private corporation, or perhaps to some endowment of some sort or other. Certainly they could apply to FACTOR or MUSICACTION, but as we pointed out before, those programs are a little more commercially pointed.

So it's a very good question. They would probably be very hard pressed, as Erick just said, to be able to buy a good studio. They would be doing it on their Mac laptop at home with their own gear, which may or may not work.

[Carole Lavallée, Bloc, Saint-Bruno—Saint-Hubert, QC]

Do you really believe that private enterprise would involve itself in financially supporting artists who make non commercial music?

[Erick Dorion]

For my part, no.

[Bill Garrett]

Well, not many. Not many, no.

[Carole Lavallée, Bloc, Saint-Bruno—Saint-Hubert, QC]

Not many, but there would be some players. Do you really believe that?

[Bill Garrett]

Well, McAuslin's Brewery in Montreal supports artists. There are some. I don't want to say there are none. There are some.

[Carole Lavallée, Bloc, Saint-Bruno—Saint-Hubert, QC]

Ms. Menard.

[Andrea Menard]

If I had not been given that grant, I would not have a CD that fell into the hands of John Kim Bell, who worked at the National Aboriginal Achievement Foundation, who put me on his awards show. It would not have been somehow slipped to the Premier of Saskatchewan, who got me in front of the Queen and Prince Charles and more royalty than you could imagine. That particular CD made me become the Métis pin-up girl of Saskatchewan, you know, and our government, the government, when they needed to look good, they called Andrea. And because of that CD, they could find me.

I am not represented by a label. I am not distributed by a label. I am self-generated and I'm still struggling on my own, and because of something physical.... That's changing, but back in 2000 that CD was essential and it still is. The music itself is essential. If the music wasn't viable, they wouldn't have called. But it was absolutely essential in getting me to the places that put me in the public eye, because radio sure didn't do it.