Canadian Heritage Committee on May 1st, 2018

[Martin Théberge, President, Fédération culturelle canadienne-française]

Good morning, everyone.

My name is Martin Théberge. I am the President of the Fédération culturelle canadienne-française, or the FCCF. I am joined by Marie-Christine Morin, the federation's Acting Executive Director.

The FCCF is the national voice of arts and culture in Canada's francophonie. Its vision is to inspire, mobilize and transform Canada through arts and culture.

Its network brings together seven national arts service groups, 13 organizations dedicated to cultural and artistic development in 11 Canadian provinces and territories, as well as a group of performing arts presentation networks and a network of community radio stations. With its network of 22 members in Canada, the FCCF oversees 3,125 artists and more than 150 organizations, from over 180 French-speaking communities. For 40 years, it has been promoting artistic and cultural expression in francophone and Acadian communities.

I want to begin by thanking you for the opportunity to appear before you today. We will focus our comments on the concept of creative centres, their relevance and their potential with respect to our common objectives to support the development and enhance the vitality of francophone and Acadian communities across Canada.

I have come to talk to you about a dream, a vision related to the development of our sector and our minority communities.

I cannot talk to you today about what has been accomplished because the concept of creative centres in Canadian francophonie is not yet a reality, but rather an idea that can lead to many opportunities.

At the FCCF, we are developing ideas, and we want to share with you the fruit of our consideration, which is ongoing and is increasingly destined to translate into action.

I will start at the beginning. After the government announced its “Creative Canada” vision, the FCCF established itself as part of the solution, as a champion of new ideas to modernize its sector, to achieve “real” reconciliation between the government and its community partners.

It is in this spirit that we have put forward concepts like the creation of solution design teams, and innovation centres such as living laboratories and creative centres.

We took the concept of “by and for” further. These are creative centres by and for the Canadian francophonie, but we have added a “with” to the concept. I will focus on that element over the next few minutes.

The FCCF champions innovative ideas. We have demonstrated all the creativity for which we are renowned in coming up with our best contribution to innovation—a network of creative centres across the francophonie.

We dared to push the concept of creative centres further by adding a social innovation centre to those creative centres. We have created a kind of a conceptual marriage between creative centres and the development of francophone and Acadian communities. We have added a social innovation centre animated by a mobile design team, which helps stimulate those spaces and rally not only stakeholders from our sector, but also users and the community, in order to find solutions that resonate and bring people together.

Here is a concrete example. Let's imagine a creative centre where community stakeholders come together and share resources. Let's imagine a mobile solution design team that is active in that collaboration space that could, for example, be located at the Aberdeen Cultural Centre, in Moncton. Let's imagine a brainstorming session on the development of young audiences aimed at early childhood for all of Acadia.

All of a sudden, the entire user community is coming together to find solutions: child care workers, our distribution network in Acadia RADARTS, our artists, the Department of Education, the Atlantic Canada Opportunities Agency, or the ACOA, the Faculty of Education at the Université de Moncton or the Université Sainte-Anne, and the Department of Canadian Heritage.

Everyone is there to find solutions that will ensure the community's development and vitality. We could test those solutions on a small scale before making major investments in order to assess them and then scale them up.

Our network is ready to activate those cultural centres and social innovation centres, which will help modernize the sector.

That will have a major impact on all issues related to communities, in addition to encouraging intersectoral exchanges. The interest and expertise are there.

If investments were planned not only for infrastructure, as is currently the case with the Canada Cultural Spaces Fund, and funding was added to have those centres animated by mobile teams, we would have a real space and means to create and think differently, in a more global way. That is what we mean when we say “by, for and with”.

Through the design concept, we are already connected to stakeholders in our communities. Measures that can be used as levers are necessary to activate expertise on the ground, animate spaces and make them alive, so that they would have the desired effect on our communities' development.

Our cultural, arts and community centres are prime locations and spaces best suited to accommodate those centres. The technology we are looking at to deploy such creative platforms would be installed and available to as many people in our communities as possible.

Creative centres are a new and different way to promote creation, and to encourage partnerships and interdisciplinarity. They engage us in innovation and represent a potential that has so far been underdeveloped in terms of unique possibilities provided by our small size and small numbers.

Creative centres represent an openness toward structuring initiatives likely to open up new possibilities for us. Ideally, we want to establish a network of creative centres and innovation centres in well-defined cultural hubs of the Canadian francophonie.

We are looking beyond the spaces; we are looking beyond the concrete. For us, this is an opportunity to give ourselves a prime workspace to meet challenges and the specific needs of the Canadian francophonie. For that space to be vibrant, it must be animated.

The expertise in social innovation required to animate those locations must be thought out and funded through that social development project Canada wants to give itself. The development of the arts sector also goes through innovation. This is the way forward, and the possibilities are there. The Canadian francophonie wants to spread.

For creative centres to work, people have to animate them and get locals to think differently. That requires drivers of change, people who think outside the box and engage various stakeholders in the search for solutions. That is the missing element in the current project. That element is vital if we want our infrastructure to be meaningful.

Our entire network is enthusiastic about the idea of positive outcomes and advantages that our communities could potentially see thanks to the contribution of a network of creative centres in the Canadian francophonie.

Thank you for listening.

I am now ready to answer your questions.

[The Chair, Liberal, Julie Dabrusin]

Thank you.

We will now move on to questions and comments.

Mr. Hébert, go ahead.

[Richard Hébert, Liberal, Lac-Saint-Jean, QC]

Thank you, Madam Chair.

I want to congratulate the witnesses on their presentations.

Mr. Théberge, your presentation was very clear. I see that you have taken some steps and have understood the concept. Over the next months and years, you will take action to protect your culture, which is dear to everyone, from coast to coast to coast.

Ms. Morin, you did not talk a lot, but I know that you are well supported.

However, I was quite surprised by what Ms. Franc and the people from the Rosebud School of the Arts said. My first questions will be for the people from the Rosebud School of the Arts, north of Calgary.

It is pretty surprising to see that you have been around for a long time with a “religious” program.

What are the benefits and challenges of operating in a small community? How do you see the expansion of your theatre over the next few years?

[Jack Hayden]

The coming expansion is quite dependent on some of the strangest things that you wouldn't really think about first, and they are core services, things like potable water and waste water. At the moment, there is a moratorium on new building in the area we're in, so we're working to have the physical ability to expand our area.

Many of the professional artists who perform on our stage have to travel 100 kilometres each day to come to do their performance, because we quite literally don't have a place for them to stay. That's been a bit of a challenge, and of course, Canada, as it continues to develop our area.... We've seen it over the past 100 years. As an example, 90% of Albertans lived on farms and in a rural setting, and 10% in the urban centres, and now all that's swapped. The urban centres are 90%, and the rural are 10%.

Some of those challenges are the distances, but I think our longevity shows that the need for arts and culture for Canadians to enjoy, no matter what their setting, is extremely important.

[Richard Hébert, Liberal, Lac-Saint-Jean, QC]

Thank you.

My next question is for Ms. Franc.

The word “agriculture” includes the word “culture”, but it is difficult to establish a link between an exhibit and an agricultural fair. For example, in my region, in Saint-Félicien, there was an agricultural fair for many years. Unfortunately, it had to cease operations. In the Saguenay region, the Exposition agricole de Chicoutimi is very important. It attracts a huge number of locals and visitors.

That said, how are you managing to establish a link between culture and agriculture?

[Christina Franc]

I think the big point is that a lot of our fairs are more than just agricultural ones now. Unfortunately, the ones that have shut down have done so because they haven't diversified, whereas, if you look at other fairs they have other components. They have local artists whom they're showcasing. They bring education to the table. They bring communities together. We are so much more than the agricultural fair we were 100 years ago, and there's so much to do. There are the midways, there are competitions for local artists and artisans, and all sorts of stuff. We're stuck with the stigma of being agricultural fairs, but we're so much more than that. We are fairs.

[Richard Hébert, Liberal, Lac-Saint-Jean, QC]

That's very interesting. So I suppose your exhibits involve an artisanal component. For example, the Lachute region has a quilt exhibit. Quebec has Cercles de Fermières. That association, which has existed for a long time, preserves crafts that are dear to us.

How do you think you can maintain your activities and form an association?

How could you receive more help from the government?

[Christina Franc]

Just recognize that we are more than just the agricultural fairs. Pardon me if I don't answer this fully, but I can look into it more.

We have so much opportunity and no one thinks of us, and that's why I'm here today. You say you were surprised to hear from the Canadian Association of Fairs and Exhibitions. Well, we know that we're not thought about a lot, so if you could bring awareness of us to Canadian Heritage, to the government, it would help. We could use their support, support in terms of the resources I mentioned, including for training our volunteers and our staff, bringing it out to the rural communities like our colleagues in Alberta were saying and, of course, operational funding. Furthermore, there could be better, more flexible language in the grants and applications so that they're more open to our organization.

[Richard Hébert, Liberal, Lac-Saint-Jean, QC]

I definitely believe in what you are saying. I put questions to you twice specifically to give you an opportunity to explain a bit better the reconciliation you are engaging in.

My next question is for Mr. Théberge, from the Fédération culturelle canadienne-française.

You told us that your federation brings together many organizations. You talked about 22 members.

Have cultural centres and cultural districts been created or will they be created soon in the communities you represent?

[Martin Théberge]

In various regions of the country, recently renovated infrastructure has what is needed, in terms of physical spaces, to become creative centres. During our presentation, we highlighted the necessity or need to animate those spaces. We do have 22 member organizations. We are a federation, as are a number of our members. That is why I was saying earlier that we represent over 3,000 artists and more than 150 organizations, across Canada. They all have a very specific mandate, but we in no case have the mandate or the funding necessary to animate those creative centres.

By definition, a creative centre brings people together. Those buildings are designed to provide a physical location where a certain potential exists in terms of the population. What we provide is the social element. Our communities are small and rural, located in remote regions. The social element does not exist in the current concept of a creative centre. That is in great part the point we wanted to emphasize today.

[Richard Hébert, Liberal, Lac-Saint-Jean, QC]

Thank you very much.

[The Chair, Liberal, Julie Dabrusin]

We are going to Mr. Shields please. I believe you're sharing your time with Mr. Eglinski.

[Martin Shields, Conservative, Bow River, AB]

Right, I'll share it with Mr. Eglinski.

Thank you to the witnesses for being here today and talking about arts and culture in rural Canada. I really appreciate it.

If I could go to Rosebud first, Jack, how are you doing? I'm surprised at where you show up. It's good to see you there. Are you drying out in Rosebud?

[Jack Hayden]

Yes, we are, but unfortunately we have a bad affect on the people downstream from us. The old very historically rich community of Wayne is flooded because the Rosebud creek goes through it, but we're at the headwaters so we're fine, but thank you for your concern.

[Martin Shields, Conservative, Bow River, AB]

You mentioned water. There is a pilot project in Rosebud that may have far wider implications, and that's the wastewater treatment plant, which is unique and could be used in other parts of the world. It's an interesting project, and I hope it develops further. You mentioned that limitation, and there's a wastewater treatment plant being developed there, in a unique situation, in a hamlet of 100, that will have far-reaching effects.

On Rosebud itself, you talked about 30,000 people for a hamlet of 100.

For Calgary Commons, you said 600,000 for a million people. I enjoy Calgary Commons. When you changed the name, it threw me, because when you're an old guy, you know, that's all downtown Calgary.

Going back to Rosebud, you talked about the number of people who come and how you attract people for schools. Can you talk just a little more about those folks?

[Jack Hayden]

We have everything from the elementary school crowd that comes in—quite often, it's their very first exposure to professional arts—to the other end of the spectrum, which is that we have busloads of seniors who come from Calgary and Edmonton, for example. The service we offer, obviously because of our distance, needs to be a combination, so we feed these people and we expose them to some of the very best that professional theatre across the country has to offer, for the price of $80.

We have everyone in [Technical difficulty—Editor] and we even involve our students in the theatre, which gives them exposure to the people in the profession. It shows them that there can be a future in the arts in this country. They get to see people actually taking that option and bringing that art to the folks in the community.

[Martin Shields, Conservative, Bow River, AB]

It's good that you mention that, because one of Canada's artistic directors came from a school in the area. He came from Brooks. He saw this and is now one of the leading Canadian artistic directors. He is working in Calgary at the moment, but has worked in Niagara Falls. That experience is where he got his initiation into this and the possibility of doing it. I appreciate that.

For Calgary Commons, you have something there that Ottawa could sure use: the Plus 15 system that helps people get around in the wintertime. Can you talk about your walkability? The Olympic Plaza is in the middle of that. I think the 1988 Olympics got that going as a meeting place right in the middle of the cultural hub.

[Johann Zietsman]

On behalf of many people, I apologize that our name threw you. That's a common reaction we heard at the beginning. If I may, I'll just say that the name change was very intentional. It was to indicate that we are no longer just a centre for performing arts, as those terms indicated, and that we are much more open and much more a gathering place. Over time, I think the name is getting a lot of traction, and a lot of people are following our example and changing their name for the same reasons.

In terms of walkability, it certainly is the heart of Calgary. It's the cultural heart of Calgary. It's the communication and transit hub of Calgary and right next to city hall as well. Yes, the Plus 15 is a unique thing, and not just in Canada but worldwide. There is literally no other example that I can think of where a public walkway through the downtown goes right through an arts facility like ours. Many more hundreds of thousands of people just simply pass through the building and are exposed to the many visual arts, sound arts, and media arts installations that we have on that route to animate the experience, which is another way of creating a hub-like experience for artists and for folks who just walk through the building. It truly is unique. I agree with you.

[The Chair, Liberal, Julie Dabrusin]

Mr. Eglinski.

[Jim Eglinski, Conservative, Yellowhead, AB]

To Christina Franc, thank you for appearing today. When I first got a note from you talking about fairs, I had to wrap my head around it, but as rural Canadian MP, I'll say that they are our culture hubs. I have probably attended 25 to 30 during the summer. They range from one day to four and five days. They bring together families and communities, and they bring together art. Whether it's painted art, photographs, or a grandma cooking a pie competing against the grandma down the road who is cooking a pie, it is art.

It is art in the fact that maybe that farmer has brought his beautifully restored John Deere tractor out there and is competing with seven or eight other people who have brought out their Massey Harris tractors, their Fords, and whatever. It is art, and it opens up the culture of the community. Because we're small communities and everybody is living on little acreages or farms, we don't have that urban centre, but to them, for their four days during the summer, that's their culture. I wonder if you would like to explain that a little more.

[Christina Franc]

Absolutely. I'm not going to miss that opportunity.

Communities absolutely shift when the local fair comes to town. It's the high school reunion. It's the event everyone's going to go to. The population of my small town of Ormstown, of 3,000, goes up to 25,000, which is bigger than the whole MRC. It really brings the community together. Local businesses are supported because they are coming in to showcase what they're doing as well. It really is such a vibrant situation. It's one of the few places where there is something for absolutely everyone. You have the little kids who are going to go on the midway rides, but you're also going to have the adults checking out the tractors or seeing the animals, or whatever it may be. Our range of demographics is steady across the board, up to about 65 years old. You talk about bringing the community together, especially in rural communities where there's a lot of isolation. In the winter months everyone hibernates, and the spring and the summer are when people come out. They come out to the fair and they get to see everyone and they socialize. In the same way the strawberry social used to be the big thing, the fair now is, and it has always been where people gather.

[The Chair, Liberal, Julie Dabrusin]

Thank you very much.

You're out of time now.

You have the floor, Mr. Nantel.

[Pierre Nantel, NDP, Longueuil—Saint-Hubert, QC]

Thank you, Madam Chair.

Thank you all for your presentations.

Arts Commons is a perfect example of the kind of cultural centre that could be part of the program we have been tasked with studying.

I want to commend you for your passion, Ms. Franc, because it is not easy to come and give a presentation here. It reminds me of my colleague's enthusiasm when he spoke to us about an antique car show at the beginning of our study. It is true that all of that is also part of culture.

There is no doubt about the importance of the social gathering. At Thanksgiving every year, when I go to the village of Ayer's Cliff, there is a farmers' market on Sunday. It brings the whole community out, and it is a gathering that enhances the quality of life. This is similar to the objectives of the cultural hubs program.

I encourage you to be very creative, however, and to make a significant contribution to our study if you want to be part of this program. That will give us hope that you are committed to the development of culture, the arts or a community.

Of course, if we are talking about a fair where everyone is trading pumpkin pie recipes, that can be very local, but it is of course a cultural activity. But is that also true of an event with rides, a Ferris wheel, and so forth?

If we want to invest in a francophone community, we have to adapt and not just steamroll along with all the equipment from one place to another. Thinking outside the box is important. That is what helps us make progress.

Thank you, Mr. Théberge, for your very charismatic and vibrant presentation. It reminds me of the first times that groups representing cultural interests—ceramic artists or musicians, such as those represented by Music Canada—appeared before the committee.

We have a large francophone community that is spread out across the country and that often struggles a great deal because it is isolated in remote regions. Do you think the cultural hubs program would give Canada's francophone community an additional criterion in order to promote exchanges in French?

For example, would you like the program to have a more mobile dimension or do you see it more from the traveller's point of view? I am thinking of Charlottetown, which has an outstanding cultural centre that has not yet been designated as such, although it certainly is one. There are buds all over the place and sometimes more than buds—in the case of the Arts Commons, which is clearly working well.

In my opinion, the FCCF needs to address one of the fundamental issues for francophone culture to survive and flourish. What are your thoughts?

[Martin Théberge]

I think there are two parts to that question.

As to the first part, there can indeed be partnerships in the case of agricultural fairs and cultural activities held in the community. For example, before I began my current duties, I took part in the Hants County Exhibition, which is in its 252nd year. In short, there are partnerships with cultural organizations.

That said, in terms of a creative centre in downtown Calgary, you have to realize that the anglophone community will automatically take over, for demographic reasons. Let there be no mistake. The Action Plan for Official Languages reported certain statistics. In particular, it indicated that our population has declined from 6% to 3.4% of the total population. If nothing is done, I expect it will be just 3% by 2036. Something has to be done. To be blunt, I would say that by failing to use a francophone lens in your study today, you are in a way contributing to the assimilation we are undergoing.

The other aspect is as follows. If you use that francophone lens, we would ask you to understand our reality, our geography, and our demographics. You can go beyond the first phase, which focuses on physical spaces, including the district and buildings. That is fine. We cannot object to that in any way. Moreover, I don't think anyone has been opposed to that during the discussions so far.

What we are asking you is to go a step further in your thinking and address the social and technological aspects right away. That means asking what the second phase of the project will be and what activities will take place at these buildings. If the question is how the activities will be conducted, I encourage you to consider the next question immediately, which is what approach can be taken for Canada's francophone community, since we are a very small community that is very spread out and remote. In my opinion, a mobile team is needed, with a social dimension, along with a solutions development team that will not only consider the situation, but that will put the users at the centre of that solution, that is, the creators, artists, and community organizations.

[Pierre Nantel, NDP, Longueuil—Saint-Hubert, QC]

Thank you. What you say is very exciting. You talked a lot about buildings. The focus on physical spaces scares me a bit. On the whole, I think we should be as flexible as possible.

Ms. Marcuse, from the International Centre of Art for Social Change, highlighted all the health-related and other benefits for citizens who are involved in arts processes. We heard testimony from a representative of Wapikoni Mobile, an organization that serves as a creative laboratory and travels from one community to another.

We cannot do everything and nothing at the same time, but would that mobility be a way of reaching the francophones in small communities in Saskatchewan and Manitoba?