Canadian Heritage Committee on June 4th, 2019

[Hunter Cardinal]

Yes, the Sterling Awards.

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

That's really nice, and it concerns your participation in what you wrote for the fringe festival.

[Hunter Cardinal]

Yes.

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

How is the fringe festival supported? Is it supported by the Alberta Foundation for the Arts? Is it supported by the Canada Council for the Arts? You didn't get direct support for your production. Did the festival receive some support from the Canada Council for the Arts?

[Hunter Cardinal]

I can't speak to the funding sources for the fringe as an organization, but what I can say is that the fringe had, through their funding sources, the ability and capacity to develop a unique relationship with me and my organization to be able to afford us to use their space, to bring our show, hire our people and tell our story.

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

Yes, I can say that it's a very beautiful story, what you just told us today, knowing of the privilege you had to be surrounded by so many caring people around you, and now you want to bring it back to your community, which is outstanding. I think the work that you are doing is truly outstanding.

[Hunter Cardinal]

Thank you.

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

My other question will be for CASC.

Mr. Growe, first of all, clearly you have a super talent, because I know how serious you try to be. But there is something that makes us smile, even though you described that your mom is sick—

[Adam Growe]

I was going to start with a joke, but Madam Chair used my favourite joke when she petitioned on our behalf to get it recognized as an art form. It's one of my favourite knock-knock jokes, so I had to—

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

You mentioned that comedy, be it in French or English, is not a sector that is recognized by the arts council. As a matter of fact, Canadian comedians have very little recognition.

I mean, we all love to laugh with you. We all enjoy a good time. We all enjoy a good Tuesday night on CBC with the comedy shows that we have. However, there is a lack of recognition of the.... Clearly, in Quebec there is more recognition, because of the school, École nationale de l'humour.

We've heard many of your arguments, but what would make things easier for you to be recognized by all money funders and the arts council?

[Adam Growe]

Well, it would be an insistence by the private and public sectors and this committee to the Department of Canadian Heritage and to the Canada Council for the Arts of more comedy creation in this country.

Right now, whether it be live or produced—and obviously, as I mentioned, the distribution channels are changing dramatically—we are still recognized as a comedy nation. We are missing the boat in terms of the volume of content that's been created for all of the streams.

Comedy, either stand-up, sketch or improv, is one of the most immediate forms of theatre and storytelling in the world, and it's not even recognized as an art form and funded directly to comedy artists in this country. If there's no insistence on comedy creation in terms of content, whether it be streaming, programming or directly in live environments....

I stated that I did a scan of the 2017-18 prime-time schedule. On English Canada television, aside from CBC, less than 7% of the prime-time television programming originated in Canada.

The Massey commission started its study in 1951 because of a bleak cultural landscape in this country. It stated that only 14 English novels were created in an entire year.

CASC believes that we're in a similar crisis right now. We need to embrace and insist on the creation of content here, and fuel it—as you heard from Hunter Cardinal—in respect to all communities, to make sure we continue to thrive in terms of the volume of comedy content.

[The Chair, Liberal, Julie Dabrusin]

Mr. Nantel, your five minutes are up.

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

I'm sorry about that.

Thank you.

[The Chair, Liberal, Julie Dabrusin]

Thank you very much to all of our witnesses.

We're going to be suspending briefly so that we can transition to the next panel.

Thank you.

[The Chair, Liberal, Julie Dabrusin]

We're going to start.

We're still waiting for someone on video conference. However, to make sure we have enough time for a round of questions for everyone, I'd like to begin with the witnesses who are present.

We are hearing from Joëlle Préfontaine, Artistic Director and Co-General Manager of UniThéâtre.

From Theatre Calgary, we have Jon Jackson, Executive Director.

We will soon establish a video conference connection with Annemarie Petrov, President and Chief Executive Officer of the Winspear Centre.

Let's start with Joëlle Préfontaine, from UniThéâtre.

[Joëlle Préfontaine, Artistic Director and Co-General Manager, L’UniThéâtre]

Thank you, Madam Chair.

Distinguished members of the Standing Committee on Canadian Heritage, good afternoon.

I am Joëlle Préfontaine, Artistic Director and Co-General Manager of the only professional francophone theatre company in Edmonton, UniThéâtre. I have held this position for 16 months, but I am very familiar with the company, since I worked there for 10 years as an actress, instructor and stage director.

UniThéâtre was created in 1992. It resulted from a merger of two theatre companies: Théâtre français d'Edmonton, founded in 1967, and Boîte à Popicos, created in 1978.

I am from the Franco-Albertan community of Legal, located in north Edmonton. I lived below the poverty line as a bilingual artist for 15 years, while I worked full time, putting in over 40 hours a week. I had to get into debt to survive. I am sharing that information with you because I know that many artists will see themselves in my story.

Despite everything, arts are doing well in Alberta. A growing number of artists are choosing to set up in Edmonton to practice their art. I could attend two shows a week without managing to see everything that is happening in my sector.

So it is a privilege for me to be joining you today. I thank you for giving me this opportunity to meet with you.

I will more specifically focus on four themes: increasing the budget of Canada Council for the Arts, or CCA; communications with the CCA; representation of the Canadian francophonie on CCA juries; and the future of the CCA's funding.

After the funding of the Canada Council for the Arts stagnated for a few years, the Government of Canada announced in 2016-2017 that it was committing to double the CCA's budget by 2021. I need not to tell you that we liked that news.

The capping of the CCA budget before the 2016-2017 announcement hindered the development of the arts community. The CCA did not have means to support the proposals of new artists or established artists for new projects. During that time, the development of Alberta's artistic organizations such as UniThéâtre was limited by the lack of resources available to them. Despite those conditions, my company has remained in touch with its community.

However, even with the planned increase of the CCA's budget, the organization will still not be able to meet the real needs of the arts community. The announcement of new investments in the Canada Council for the Arts came with another piece of news, which was the restructuring of its programs. So the CCA has reduced the number of its programs. Previously, there were some 150 of them, and then the organization ended up with six so-called flexible and more open programs. It is true that it is easier to navigate in CCA's new operating model. However, some aspects of the implementation are lacking.

Before the new model was implemented, UniThéâtre would contact a specific CCA officer capable of directing it toward programs that would be likely to support its projects. As he was our main interlocutor at the CCA, the officer had a view of all facets of our activities. He understood what was involved in managing a francophone theatre company in a minority setting.

A company like UniThéâtre has a double mandate, which is both artistic and community-based. We exist to support and present the work of French speaking artists, but we are also promoters of French language and culture. I add that I relearned French through my experiences in the theatre. We are helping shape the Franco-Albertan identity.

So our officer understood the roles we play. Now, if UniThéâtre wants to use more than one CCA program, it must contact more than one officer. That is a considerable change. It means that every officer has only a partial vision of who we are and what we do. We have to repeatedly introduce ourselves to every one of them, in the hope that they will learn not only to know us, but to understand us. That lack of familiarity harms the fluidity of our relationship with the CCA.

In addition to the relationship UniThéâtre has with the CCA as a client, the organization sometimes invites me to be part of its peer juries to assess certain funding requests submitted to it. That other point of contact with the CCA is important to me and to UniThéâtre. Every one of those experiences is learning in itself. Finding out what my peers are doing and how they are doing it is essential to my artistic development. That said, I know that, when I accept those invitations, I will be the only Franco-Canadian to participate in the assessments. So I will have to represent nine provinces and three territories.

Despite the context sheets proposed by the CCA, the other members of the jury, mainly from Quebec, knew relatively little about artists from the Canadian francophonie, the challenges associated with creating in a minority language context and the gaps between the provinces and territories in terms of public funding for the arts. They don't know that there is only one vocational theatre program in French at the post-secondary level in western Canada. This is a large task I am proud to carry out, but I think it would be important to include at least one other artist from the Canadian francophonie on francophone juries, in order to lighten the burden of the person who must represent the entire country instead of one province in particular.

As the general co-director of UniThéâtre, I pay special attention to current events that could affect my company. For example, the federal election next October is on the horizon. Funding for arts and culture is rarely mentioned during an election campaign, but, since I have your attention, I am putting the following request to the political parties represented on this committee: make the commitment to maintain the announced increase to the Canada Council for the Arts budget, to consolidate it and even to enhance it after 2021. That money will not be wasted. The funding provided to a theatre company like mine is used to cover the cost of hiring companies and artists we use in our projects. It allows us to sell our tickets at affordable prices, so that as many people as possible can attend our productions. That way, we generate economic benefits for our city, our province and our country. In addition, we contribute to the quality of life of our fellow citizens. Those are accomplishments UniThéâtre is proud of.

I want you to know that I am forever grateful to the Canada Council for the Arts for its support to my personal and artistic journey, as well as to that of UniThéâtre. The funding we receive helps us live our dreams, create opportunities to share stories with our audience, and grow. The arts bring us together, help us learn and be heard.

Thank you for your attention.

[The Chair, Liberal, Julie Dabrusin]

Thank you very much.

I am happy now to be able to welcome Annemarie Petrov from Winspear Centre.

Because you are joining us by video conference, we will go to you now, to make sure we don't run into any technical difficulties.

[Annemarie Petrov, President and Chief Executive Officer, Winspear Centre]

Sure.

Thank you for the introduction.

Today I'm bringing a perspective to this hearing, which I suppose is what you're calling it, as a Canadian, not as an Albertan.

My position right now is President and CEO of the Winspear Centre and of the Edmonton Symphony Orchestra.

I was born in Montreal, and that is where I studied music at university. I then lived in Europe for a few years, after which I returned to Montreal.

My first job in Canada as an administrator was in New Brunswick.

I worked at the Saint John Symphony Orchestra, which is now called Symphony New Brunswick. I spent about four years there as the chief executive officer. I then moved to Ottawa, where I worked at the National Arts Centre for four years. After that, I worked in Winnipeg, Manitoba, where I stayed for about 10 years. I then moved to Edmonton, where I still work.

It is from this vantage point that I speak to you today, because as a Canadian—and I'm a staunchly fierce, proud Canadian—I think there is a real palpable difference from one region of this country to another. I think you have a real challenge in any funding body to be able to develop a method where the various solitudes of this country are truly considered.

I was very lucky. When I was going to McGill University, one of my professors was Hugh MacLennan. You do remember, I hope, one of his many great books and the one that stuck with me, Two Solitudes. Really, I've contemplated this so much since those days. I would say that there are five or six solitudes in Canada. You have the Maritimes. You have Quebec. You have Ontario. You have the midwest, Alberta, and then B.C., and then, of course, in fact you have northern Canada, as well.

For me, the beauty of this country is exactly all those very different cultures that we embrace as Canadians. I think it's this part that has been lost as a result of the funding model within the Canada Council. I don't believe it was ever done intentionally, but it is one of the outcomes of the way that funding is evaluated through artistic merit. Having also sat on juries for the Canada Council, I myself have witnessed the challenges that jury members faced in evaluating the different context within which each application was being evaluated.

This is really what I wanted to share with you today, that there are some very distinct differences within this country, and I think that the very best way to consider applications and consider funding is through a much more proportionate representation of population.

I do remember a distinct circumstance. When I was already working in Alberta, I sat on a jury where there were some applications from the Maritimes, a lot of applications from Ontario and from Quebec, a few from Manitoba, almost none from Alberta and a few from B.C. It was a very interesting conversation. Despite people's best efforts, it was very hard for them to understand the context within which these applications were being submitted.

Really, that's the extent of what I would like to present today. I'm happy to take questions later.

[The Chair, Liberal, Julie Dabrusin]

Thank you very much.

We will now move to a presentation from Jon Jackson from Theatre Calgary, please.

[Jon Jackson, Executive Director, Theatre Calgary]

Thank you, Madam Chair.

Let me read something for you:

By 2021, Canadian artists and arts organizations will share their work with a larger and more diverse public, including youth — in person, in print, and online.

Artists and arts organizations will have more resources to experiment and take artistic risks to create excellent work that is shared across the country and around the world.

Further on it is stated:

Canada’s major arts organizations will be models of diversity and innovation. They will contribute to the quest for excellence and renewal in their artistic practices, and to the vitality of their cities and communities. Their programming and institutional decisions will reflect Canada’s diversity – including its cultural diversity, Deaf and disability communities, and official language minority communities. They will flourish and reach more Canadians than ever.

Madam Chair, members of the standing committee, my name is Jon Jackson, and I am the executive director for Theatre Calgary. Thank you for the opportunity to address you today on the Canada Council for the Arts and how they are managing their increased budget.

What I've just read to you is an excerpt from Canada Council's vision for 2021. Theatre Calgary and arts organizations across the country embrace this vision and applaud the council's incredible ambition. We fully support the Canada Council's commitment to creating more opportunities for artists across our country, as well as expanding and diversifying the number of artists and arts organizations receiving funding.

Unfortunately, I am here today to discuss with you that these efforts are not being provided equitably across our country, particularly in Alberta. With the federal government providing the Canada Council with increased funding to invest in the arts, it is also the time to change the system and make it fair and equitable for all Canadians to not only create art but engage in it as well.

In 2017-18, artists in Alberta received $11.2 million in funding from the Canada Council for the Arts, for artists, arts organizations and projects. Alberta received $991.30 per artist. This is the second lowest in the country, despite being home to the fourth highest number of artists of any province.

In spite of that, Alberta is creating some of the best art in Canada and showcasing it for international audiences. For instance, Theatre Calgary has made a point of partnering globally over the years, from the development of the world premiere of The Little Prince with Lamplighter Drama in London to our ongoing co-producing relationship with the American Conservatory Theater in San Francisco, which most recently resulted in the theatrical adaptation of A Thousand Splendid Suns; and our most recent collaboration with New York artists Bobby Cronin and Crystal Skillman on the world premiere of Mary and Max—A New Musical, which will make its European premiere this fall at Austria's Landestheater Linz.

Alberta Ballet is the only ballet company in the world to which Elton John, Joni Mitchell, k.d. lang, Sarah McLachlan, Gordon Lightfoot and The Tragically Hip have entrusted their music to create ballets.

Alberta is also home to Indefinite Arts Centre, Canada's oldest and largest disability arts organization. They currently have an exhibition in Dubai and enjoyed great success in Hong Kong last year.

Every artist and arts organization in Alberta is producing incredible work like this while receiving inequitable funding from the council. We are helping them fulfill their commitment to raising the international profile of Canadian art and artists without the support that Alberta artists and arts organizations deserve.

The Canada Council has indicated that they have decreased the proportion of funding to arts organizations from 67% to 50%, with more funding being allocated to projects and individual artists. While we applaud and support an increased investment in artists, giving them more flexibility on where and how they create the art, we would like to take this time to remind the council that arts organizations employ those artists and provide them with stable income and the opportunity to take risks and showcase their work to broader audiences.

Over the last five years alone, Calgary Opera, Theatre Calgary, Alberta Ballet, and the Calgary Philharmonic Orchestra have employed 5,135 artists. Without our companies, many of these artists may have to leave Alberta to find work. On top of that, each of us is supporting and encouraging new artists. Over the last three years, our organizations have invested over $2.6 million in our emerging artist and mentorship programs.

These initiatives provide new and developing artists paid opportunities to work, furthering the development of their art and their knowledge of the professional world. Without equitable funding from the council putting Albertans on a par with our peers across the country, we will not be able to continue these programs, which will have a lasting negative effect on the Alberta art sector.

While we are excited that the Canada Council utilizes a peer system for their investments—after all, who better to judge artistic work than artists?—this is another example of inequity. In 2017-18, the council utilized 624 assessors from across Canada. The Atlantic provinces had 62, and despite having twice the population and almost twice the number of artists, Alberta had only 34. How are Alberta artists and arts organizations from this province able to be equitably evaluated when Albertans do not have a voice at the table?

Mr. Brault has said that the Canada Council is not receiving enough applications from Alberta to provide the council the opportunity to increase funding to Alberta artists and arts organizations. I would ask him what he has done to connect with Albertans to make them aware of the opportunities available and to educate them on the application process.

I would challenge him to ensure that both he and the program officers spend more time in Alberta, meet with our organizations, meet with our artists, especially our indigenous artists, and help them apply. I know for a fact that Calgary Arts Development, our municipal arts funding organization, would be very happy to work with Mr. Brault to facilitate and coordinate this.

My challenge extends beyond simply making Albertans aware of opportunities. I'm also talking about relationship building. While the Canada Council has a mandate for the equitable distribution of information, we in Alberta are continuously challenged in receiving information and connecting with the council.

In the past year, I have spoken with my project officer once; this is despite numerous attempts on my part to connect. Another organization, Wordfest, has had five changes in their project officers in the last two years. Not only do organizations struggle to speak directly with their officers, but they are also consistently advised that feedback calls on recent applications will take weeks and months to be completed. How are we supposed to build a relationship with the council if we don't know who we are supposed to build it with?

We are in the middle of a transformative period. The doubling of the Canada Council's budget is a thrilling and unprecedented opportunity to provide Canadian artists with the chance to ascend the world stage. As a proud Canadian, a proud Albertan and a proud arts worker, I would ask that this opportunity be provided equally to all provinces.

Thank you.

[The Chair, Liberal, Julie Dabrusin]

Thank you.

We will begin the question and answer period.

Mr. Breton, go ahead for five minutes please.

[Pierre Breton, Liberal, Shefford, QC]

Thank you, Madam Chair.

I thank all the witnesses for being here today.

Ms. Préfontaine, we can see the passion in your eyes and your words. Thank you for your testimony.

I think that you received $63,000 from the Canada Council for the Arts two years ago.

[Joëlle Préfontaine]

Yes, that's right.

[Pierre Breton, Liberal, Shefford, QC]

Is that the only funding you have received recently? Did you receive any money before the government doubled the funding of the Canada Council for the Arts? What did you think of the Canada Council for the Arts' funding request process?

[Joëlle Préfontaine]

The last amount UniThéâtre received goes back to the fall of 2017, before I took over this role. Since 2015, we have been receiving $63,000. Before the new model was implemented, we were told that this was because there was a change in the artistic direction.