Canadian Heritage Committee on Feb. 13th, 2018

[Peter Van Loan, Conservative, York—Simcoe, ON]

Can you give us a hint of what kind of criteria you're looking at? We might even have some feedback for you.

[Ramzi Saad]

We can go back to the slide on creative hubs, the one with the diagram.

For us, in essence, a creative hub will ensure that all of the elements identified as characteristics of hubs are part and parcel of what we will call a creative hub in the future. We will ensure that there is a multi-tenant facility that brings a range of arts or heritage sectors together with the creative disciplines; that we will be able to foster support for diverse business models and different people; and that multiple users will be able to have a space where they can share resources. There should be a collaborative intent within that space for the tenancy, and there will also be an opportunity for the public to access that space.

[Peter Van Loan, Conservative, York—Simcoe, ON]

To what extent will you tolerate—let's call it—non-arts funding? I think of my local hub, which intended to have an art gallery, but may or may not, yet also has a training facility related to the hospitality sector, a chamber of commerce office, and a food bank. There are a whole bunch of these kinds of community-oriented things. To what extent will you tolerate the presence of other uses before something ceases to be what you consider a creative hub?

[Ramzi Saad]

We have not specified criteria, but at this point we do not want to have a program that is limited. We want to have a conversation around ensuring flexibility, the idea being that technology companies may want to be part of this creative hub where they can benefit as well and our creative sector can benefit from having technology enterprises. We will not limit the non-arts, heritage or creative disciplines from being part of this hub if those are what best suit the community.

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

Thank you, Madam Chair.

A big thank you to both of you for this presentation. This is obviously your pet project and you are passionate about it. One cannot oppose a good thing. It is indeed fantastic.

From what I have understood, cultural centres are meeting places for professionals and enthusiasts. For the artists, they are places of cultural mediation where they showcase their disciplines. They could also be places where people are introduced to and participate in these disciplines. This is definitely a great project.

Is there a different business case for each cultural centre with the federal government as the lead? Are there other partners, such as the municipalities or the provinces? It appears that the private sector is also invited to participate in these projects. What does the funding arrangement look like?

[Ramzi Saad]

We believe it is important to have the opportunity to establish partnerships with the municipalities and the provinces. This is of interest to them as well because it really responds to the needs of the creative sector. The creators said that it was important to have spaces where there could be collaboration. All levels of government are currently studying this issue. For us, it is an opportunity not only to work with the provinces and the municipalities, but also to see how our department can support cultural centres. It also depends on the disciplines and the variety of creators at each cultural centre. Therefore, municipalities also have an interest in cultural centres.

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

Do you create or support cultural centres? Are communities responsible for presenting a proposal for a cultural centre in order to obtain funding? How does that work?

[Ramzi Saad]

For the time being, there are two categories of entities that can propose a creative hub: non-profit organizations in the arts and heritage sector, and provincial and territorial governments and municipalities.

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

Then, that is the process. If you were a given community and you wanted to attract all these participants to a creative hub, you would put together a project based on the guidelines already established by the government, submit a proposal, and then hope that it is accepted. Is that right?

[Ramzi Saad]

Exactly. We will soon announce the guidelines and explain all the eligibility criteria. We believe it is important to encourage the development of creative hubs and ensure that we have a national conversation about the needs of creators.

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

With regard to a national conversation, have there been discussions with the Quebec ministry of culture and communications about this? Given that your projects are very community-based, you find yourselves directly involved in areas of provincial jurisdiction. Culture is an especially sensitive and delicate issue in Quebec. To what extent are you working with Ms. Montpetit's ministry in Quebec City?

[Ramzi Saad]

I have personally had conversations with some representatives of the arts councils. When we release the guidelines, the regional office will have conversations with all stakeholders to discuss the strategy, vision, and eligibility criteria.

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

You mentioned conversations with the arts councils. I will talk about what I know about my region, Longueuil—Saint-Hubert. The Longueuil arts council, for example, which is located in the greater Longueuil area, is going to be very excited about this idea. Many creative disciplines have knocked on its door and said how they would like to have more support or some spaces.

You stated that you are having conversations with arts councils. Is that at the federal, provincial, or municipal level?

[Ramzi Saad]

For the time being, I have initiated conversations only with provincial councils. Naturally, we will be working with officers in the regional offices of Canadian Heritage so that they contact all stakeholders, as necessary.

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

Thank you for your answer.

I would like to ask you whether different first nations communities have reached out to you about this. For example, I believe that the Northwest Territories has a centre called the Prince of Wales centre, if I am not mistaken. The one thing we do know is that these communities need to keep their culture alive and maintain the connection to place. Do you have special envelopes for that?

Correct me if I am wrong, but, obviously, if communities are supposed to meet the program criteria first, do they have to present a business case that establishes that they are responsible for most of the costs? I am referring to first nations, but it applies to everyone.

[Ramzi Saad]

Yes, that applies to everyone.

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

What are the extent of the costs? What percentage of the final project cost is funded?

[Ramzi Saad]

That is an interesting question. It depends on the region. It will be higher in the north. It also depends on the proposal. Is it a construction project or a renovation project? Is the sole purpose of the project to upgrade the specialized equipment? It depends on the needs and the project idea.

As of right now, the indigenous community can receive 75% of the funding. Thus, it has access to more funding than that provided for regular projects, and these criteria will be maintained.

The funding depends on the nature of the proposal. The program has three components. For example, a proposal for building a space is very different than a proposal for buying equipment.

[The Chair, Liberal, Julie Dabrusin]

Thank you very much, Mr. Nantel. Your time has expired.

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

Thank you, Madam Chair.

[The Chair, Liberal, Julie Dabrusin]

We will now go to Mr. Hébert from the Liberals.

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

Thank you, Madam Chair.

I want to thank the witnesses for their presentation.

From what I understand, cultural hubs and cultural districts should provide spaces where artists of all disciplines and local residents can work, create, exhibit, and gather. These spaces could be created within cultural institutions, such as museums, libraries, or performing arts centres. However, according to researcher Beatriz Garcia from the University of Glasgow's Centre for Cultural Policy Research, cultural districts and cultural hubs should also promote the representation of what makes a city unique. I am thinking of cities like Dolbeau-Mistassini, which is located in my riding of Lac-Saint-Jean. It is a small rural community.

How can we promote the expression of regional identity in cultural hubs? Furthermore, how can we ensure that the support provided by the department is balanced between urban centres and outlying communities?

I am referring to the relationship between the creative hubs we find in large urban centres, such as Montreal's Quartier des spectacles, which you mentioned earlier, and what we find in Dolbeau-Mistassini, a municipality with a population of 15,000.

[Lise Laneville, Director, Strategic Arts Support, Arts Policy Branch, Department of Canadian Heritage]

Thank you for the question.

The program is administered on a regional basis. The Canada cultural spaces fund is managed through Canadian Heritage's regional offices. The regional officers work closely with municipalities and organizations in small urban centres or remote centres to ensure that they are well represented in the Canada cultural spaces fund. The officers work in close collaboration with organizations applying to the fund.

As you heard during our presentation, 80% of the communities that have received support are rural, remote, and small urban centres. That means these communities are well represented in the program.

We are also very conscientious about ensuring that the projects submitted to the program are representative of the community. We feel it is important that projects come from the community and truly represent it.

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

All right, thank you.

Dr. Garcia, the expert on cultural policy, also says that implementing cultural policies with regard to cultural hubs and cultural districts comes with its share of dilemmas, especially on the economic front. It makes it harder to choose between supporting cultural events, which are more temporary, and supporting permanent infrastructure, some of which may become obsolete.

Do you think there is an aspect of this economic dilemma that benefits one community more than another?

If not, how do you reconcile the two and balance support for events with support for the infrastructure needed for a cultural hub or cultural district?

[Ramzi Saad]

All I can talk about are the objectives of our federal tools for supporting cultural districts. It is really the municipality that is responsible for the spaces and conditions. Our job is to find ways to animate cultural districts. Right now, Canadian Heritage has two key instruments, one for supporting physical spaces and one for supporting arts presentation and dissemination. That is really what we do.

The municipality is responsible for the economic impact and for meeting the communities' diverse needs. It depends on factors like the neighbourhood, the location, meaning whether it is downtown or in a more remote location. It can vary. That is why I do not have a specific answer for you at this time.