Debates of May 30th, 2006

Opposition Motion—Cultural Diversity

[Peggy Nash, NDP, Parkdale—High Park, ON]

Mr. Speaker, it is a pleasure to speak today on the important motion put forward by the member for Ottawa—Vanier. My riding of Parkdale—High Park in Toronto is home to many artists and others who make their living in the cultural sector. They are our friends and neighbours and they make our community a unique and indeed better place for us to live.

Former NDP critic Wendy Lill once said that “art is the soul of any great nation”. She was right, and for the city of Toronto, it is also more than that. Culture and the arts represent jobs for Canadians. In Toronto, 25,000 jobs are tied to film and television production alone. Hundreds more are in the broader cultural sector.

Toronto recently commissioned a cultural plan for the city which clearly outlines that much of Toronto's wealth is “generated by people who work with ideas, and studies have shown that such people prefer to live and work where they find a vibrant cultural scene”. It goes on to say, “In fact, Toronto's cultural sector is the dynamo that turns the biggest economic motor in the country”.

However, unlike commodities that rely on non-renewable resources, the creative sector is in fact an infinite resource, and I submit that it is the key to a thriving 21st century economy. Our mayor, David Miller, recently said that Toronto's cultural sector is a $1 billion industry but that we need to do much better in this sector. For example, he said, there are federal tax incentives that are “so out of whack that it actually makes more sense for producers to shoot a show about Toronto in Regina or Winnipeg”. He said:

When you undermine the viability of the industry in Toronto, you undermine the industry in the whole country...you drive hard-working men and women...out of their chosen profession...[and] you reduce the talent and diversity of that talent throughout the country....

The cultural sector is also one of those unique economic engines that leaves a very small ecological footprint. Investment in the arts creates jobs, strengthens our national identity and gives us all our voice in an environmentally sustainable way. It is a win-win if ever I could think of one.

Despite this, the arts and cultural sector has been under attack after years of cutbacks, deregulation, unfair trade rules and partisan patronage appointments to our public broadcaster. That is why in this caucus we not only support the motion today but have proposed an amendment to strengthen it. That is also why our caucus has proposed substantial amendments to the federal accountability act, to stem the tide of partisan patronage appointments that tarnished the reputation of the CBC under the previous government.

The decision of the CBC to cancel programs like This is Wonderland is having a profound effect on employment, but also on our collective identity. Now there is no hour-long, Toronto-made drama on the air. As well, the decision of the CBC to cut its design department, which will axe almost 100 jobs and inevitably affect the quality of our public broadcaster, is also profoundly short-sighted.

I was pleased to join with CBC employees last Friday to oppose these cuts, but it is appalling to think that if these cuts are allowed to go through, the CBC will no longer be able to design sets or make costumes, props or special effects in the Canadian epicentre of English public broadcasting. They will no longer be able to produce complete shows inside the CBC. This is yet another CBC sellout and we are losing our public broadcaster cut by cut. We need to have our Minister of Canadian Heritage step forward and stop this sellout.

We need a strong cultural sector in order to tell our stories as Canadians and to protect our sovereignty. The spirit of this motion, as amended, needs to be respected by the government and the minister needs to take this seriously. If so, we will have gone a long way to protecting and enhancing our cultural rights and our cultural sector.

I am calling on the minister to seize the opportunity today to signal to the CRTC that TV drama content requirements be imposed on Canada's private broadcasters and that we strengthen our public broadcaster. As a former CRTC commissioner and a television executive, the minister, we know, understands the industry well. In 2004 she recognized the need for stable funding, saying that “they have to have confidence and stability that those dollars of support are going to be there year after year”.

It is also my hope that the minister will push for increased long term investment in the CBC. It is the only way that we can tell our own stories and protect our own jobs in the cultural sector.

[Dean Del Mastro, Conservative, Peterborough, ON]

Mr. Speaker, I listened quite intently to what the hon. member had to say. I have a couple of questions. Being that the member is from the Toronto area, she will know that for decades the U.S. media has been able to reach into her area over radio and certainly over television. I would contend that Toronto is culturally significantly different from Buffalo and Rochester, despite the fact that there are probably more radio and television choices from those areas than there are in Toronto. Despite this, Toronto has maintained a significantly different cultural stature, and I think that speaks to the choice of the people who live in Toronto.

Furthermore, in some regards I think this motion reflects days gone by. Centuries ago, the regimes that ruled over China built a wall that was aimed at protecting China from those who would invade. We know that such a wall does not work any more because new technologies exist. We have to be prepared to look forward, work through committee and come up with ideas on how to maintain and strengthen our culture.

I would like to hear the member's comments on why she believes Toronto has maintained a different identity from that of the cities close to it despite the fact that U.S. media has had a very prevalent role in Toronto.

[Peggy Nash, NDP, Parkdale—High Park, ON]

Mr. Speaker, I would argue that the strength of the cultural sector in Toronto reflects decisions made by previous generations to establish a separate identity by investing in our cultural sector and by insisting that we intervene in the economy and create organizations like the CBC, the Canada Council for the Arts and Heritage Canada in terms of investing in our community.

Unless we are prepared to invest in our culture and to create rules that strengthen opportunities for our cultural expression, then we are opening the door for all of our cultural access to come from south of the border and we will not be able to reflect the stories that we need to tell each other.

[Olivia Chow, NDP, Trinity—Spadina, ON]

Mr. Speaker, public broadcasting in this country has been under assault after years of neglect by the Liberals and now by the Conservatives, and it is getting worse. The CBC has just announced plans to shut down the television design department, which is located in my riding of Trinity--Spadina. This will be a big loss for the film and theatre community in Toronto and it will take CBC out of the production business.

What does the hon. member think about the jobs that will be lost, this move by the CBC, and this risk to cultural expression in Canada?

[Peggy Nash, NDP, Parkdale—High Park, ON]

Mr. Speaker, as I said in my comments, this is a devastating blow for not only the dozens of people who work in this department but for CBC production overall. The skills that people develop in makeup, in set design and in costume design are skills that benefit not only the CBC and CBC programming but the entire cultural sector. Many people have been trained in these skills at the CBC and then have moved on to private production or to other cultural outlets. This is a very short-sighted move by the CBC. It is in our interests as a country to see this decision reversed.

[Jim Abbott, Conservative, Parliamentary Secretary to the Minister of Canadian Heritage]

Mr. Speaker, I wonder how much interference the NDP wants to put into CBC management if those members feel that the House of Commons should take responsibility for the management decisions of an independent crown corporation.

We recognize that people's lives and livelihoods are impacted by this decision, and that is unfortunate, but this decision was made by an independent crown corporation. Is it the NDP position that the House of Commons should take over the management of all aspects of the CBC as a crown corporation?

[Peggy Nash, NDP, Parkdale—High Park, ON]

Mr. Speaker, certainly what we do not want to see is a continuation of the patronage appointments that have undermined the credibility of our public broadcaster. Hopefully the hon. member will agree with me on that.

In terms of management decisions, it is clear that the previous government underfunded our national broadcaster so that there have been cuts and sell-offs that are undermining its continued efficacity. That is what we need to see changed.

[Tina Keeper, Liberal, Churchill, MB]

Mr. Speaker, I will be splitting my time with the member for Bonavista—Gander—Grand Falls—Windsor.

I am honoured to speak before the House today on this very important issue of the support for and maintenance by the government of Canada's artistic sector and cultural industries.

Before I begin, I would like to take this opportunity to thank the people of the Churchill riding for electing me as their representative here in Canada's Parliament. I also recognize that the riding of Churchill is the ancestral home of my family at the Norway House Cree Nation at the top of Lake Winnipeg.

I mention this as it is pertinent to what we are discussing here today. I am a Cree woman and I have had an opportunity to participate in the arts and cultural sector of Canada in an extraordinary way. I have worked as an actor and producer in the arts sector and I have participated in the cultural industry of this country.

As an actor, I was lucky enough to be part of one of Canada's most successful television series. North of 60 was a CBC series that ran for six seasons and focused, for the first time in Canada, a dramatic series on an aboriginal community. This program became part of the cultural fabric of this country.

It is significant in its success not only as a Canadian television show, but also in the story it reveals in its inception, development, production and impact. It was the creation of independent writers and producers, and a leap of faith by a production company and a broadcaster led this project through development.

Questions were asked in 1992 about whether a project of this magnitude could possibly be suitably written, cast and directed. The many trained and skilled aboriginal individuals who were eventually employed in these creative capacities were available, as many of us had been extensively trained through the arts sector. Aboriginal people were involved from the development phase in writing and casting and as creative consultants, as the production reflected a specific cultural group.

The awareness by the production team that the South Slavey Dene were to be represented in a culture-specific manner was groundbreaking in mainstream arts. It reflected, I believe, the consciousness of a country that puts an emphasis on the cultural industry.

For many individuals throughout our great country, it is this consciousness that defines us as Canadians. It is the consciousness of diversity that takes root and provides each of us the opportunity speak to one another and to hear each other. It is what made this country great.

Without a doubt I would not be here today if it were not for the arts and the cultural industry, not only because it has provided me with the opportunity to see this great dynamic at work, but also because this sector provided me with the opportunity to participate and to be employed as a youth through theatre and art. It was the economic sector that had a place for me as a young Cree woman when so many industries throughout the 1970s did not.

As a woman who has worked in and dedicated my life to the cultural industries I have been able to identify the importance of an emphasis on strengthening and protecting this industry in Canada. Last October, the United Nations Educational, Scientific and Cultural Organization, UNESCO, adopted the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. I was personally touched when, on November 23, 2005, the previous Liberal government, under the leadership of the former prime minister, approved this convention.

The convention recognizes both the economic and the social value of cultural goods and services and the right of the state to take measures in support of diverse cultural expressions. At that time, the Liberal government initiated a lead to build international support.

This convention recognizes the impact of globalization through the rapidly changing technology of our day and the challenges it presents to ensure that cultural diversity is respected, valued and maintained as a right. UNESCO says:

In spite of its moral force as a milestone for international cooperation, the Declaration was regarded by Member States as an inadequate response to specific threats to cultural diversity in the era of globalization. For this reason, a binding standard-setting instrument on the Protection of the Diversity of Cultural Contents and Artistic Expressions is being currently considered.

It has reflected on the 1972 convention concerning the protection of the world cultural and natural heritage and also the 2003 convention concerning the safeguarding of the intangible cultural heritage.

At the international level, the effort is consistent regarding culture, and the preservation and promotion of diversity. They are pillars of our societies. Together, these instruments reinforce the notion enshrined in the UNESCO universal declaration on cultural diversity, namely, that cultural diversity must be recognized as the common heritage of humanity and that its defence is an ethical imperative, inseparable from respect for human dignity.

There are cultural goods and services, diverse cultural expressions, and an intangible cultural heritage. We are speaking here today about the imperative of the preservation of creative diversity. It has never been more timely than now that we seek to participate in and lead this effort. As I have mentioned, I had an opportunity to participate in the production of what would be considered cultural goods and services in Canada. This was to become part of the cultural landscape and it is a testament to the cultural expression and heritage of this country.

There are two elements I would like to address at this time which are pertinent to this convention. First, it was as a result of the position which Canada took in its commitment to multiculturalism and the protection of a culture through arts and the cultural industry that this production was even possible; and second, it was a time when the Canadian television industry was not so threatened by globalization.

The impact of globalization makes it difficult to conceive that this project could be done today. This is why we need to adhere to the tenets of this convention more than ever. As an individual raised in a culture of a nation of people who have had a difficult and inequitable history in Canada, where even today people in this House have had the audacity to say that my nation is not real, this is the very reason that we must remain committed to this convention.

In order to strengthen our cultural industries at home, we must ensure compliance of the convention abroad. We see no effort from the Conservative government to convince other countries to ratify the convention. Canada has had the opportunity and capacity to lead by example in this regard, yet is failing to do so.

The reality of foreign ownership challenges is quite real. To this end, the Liberal Party places a strong emphasis on maintaining the current level of foreign ownership to preserve our cultural identity. Let us not underestimate the consequences of neglecting our responsibilities to this sector and to the country.

[Jim Abbott, Conservative, Parliamentary Secretary to the Minister of Canadian Heritage]

Mr. Speaker, I want to be as scrupulously fair as I possibly can be when I ask this question.

When I asked the member for Ottawa--Vanier the question about UNESCO and the convention on the protection and promotion of the diversity of cultural expression, and the fact that it has been proposed by our current Prime Minister that Quebec will have a role to play at UNESCO, I believe I heard him say that this was a continuation of the policy by the former Prime Minister. I want to be scrupulously fair because to the best of my knowledge, that is what I heard.

I would like to get this buttoned down in terms of where the Liberals may be coming from. Would the member agree that in fact there is a place, as described by the member for Ottawa--Vanier, that had been set forward by the former Prime Minister and by our current Prime Minister, carved out now officially by the Conservative government, and is a valuable function for the province of Quebec and for UNESCO, particularly in moving forward on these issues that have a particular significance within the province of Quebec in Confederation.

[Tina Keeper, Liberal, Churchill, MB]

Mr. Speaker, I would like to recognize that one of the important facets of the Liberal government's position is to participate in an international arena in which it recognizes the diversity within its country.

As an aboriginal person, a Cree woman from a Cree nation, I value that intrinsically. Within my own life, it has had an impact which is immeasurable because of the protection by Canada, through the previous government and its commitment through multiculturalism to protect and promote the arts and the diversity of the country. It has had an impact on the lives of people which is immeasurable.

As far as the specific question regarding Quebec and its seat at UNESCO, I fail to understand what the member is asking here, so what I am responding with is that I believe that Canada's position, or the position of the then Liberal government, was absolutely critical in terms of our lead at the international stage.

[Rob Anders, Conservative, Calgary West, AB]

Mr. Speaker, I have heard some members stand up and say that they want to see more Canadian content. They do not think Canadians watch enough Canadian television or enough Canadian programming, or listen to enough Canadian music or this, that and the other thing.

The question I have is kind of a philosophical one. What is the right amount? How many Canadian movies do the Liberals or other parties in the House think Canadians must watch every year? Is there a certain percentage? In other words, if Canadians watch television, must they watch 20% Canadian content? Must they watch 10% Canadian content? Must they watch 50% Canadian content? How much do the opposition parties want to regulate the lives of Canadians? When it comes to music, how much must they listen to? Should they be forced to listen to Canadian music?

I would take the perspective that people should be allowed their free choice and their free will on these matters. If they choose to watch programming from other countries or listen to music from other countries, so be it. Let that be their choice.

It is an intriguing question that I posed to the other participants in this debate. What is the magic percentage? What is the right amount? Would they want 20%, 50%, 30%, or 100%? What do they ask of Canadians? What do they demand of Canadians that they must participate in that is strictly of a Canadian nature?

[Tina Keeper, Liberal, Churchill, MB]

Mr. Speaker, I would like to address that question in the sense that, once again, I find the question a little odd in that the member speaks to demands and stringent guidelines in terms of how individuals perceive the arts and what is available to them.

We are not saying that we are trying to enforce and regulate how individuals watch TV. We are talking about providing opportunity. We are talking about participating in diversity and creation. That opportunity is vital to our country without regulating the production, policies and available funding. Government programs and policies have to support this sector and provide opportunities for Canadians to tune into radio, watch television and go to the theatre.

[Scott Simms, Liberal, Bonavista—Gander—Grand Falls—Windsor, NL]

Mr. Speaker, I appreciate the honour to stand here today to talk about culture and Canadian content.

I want to pick up on the question that was asked earlier by the hon. member for Calgary West on Canadian content rules and regulations. As a former broadcaster myself, I remember filling out many forms and going through the motions of doing the 30% Canadian content when it came to radio broadcasting.

It is a very good question because we have to ask ourselves whether it is a question of instilling this in order to put upon the public restrictions as to what they can listen to. The point is to promote our culture. The point is to expose the talent that we have to all three coasts. That is not an easy task to do when we are in the second largest country in the world.

For example, Great Big Sea, a band from my home province of Newfoundland and Labrador, is a very popular band all over North America, but would it have succeeded in the absence of Canadian content rules? That question will probably remain unanswered, but it certainly did give it a start to go across the country. Recently, it has had great concerts in British Columbia and south of the border. Part of its success is due to the Canadian content rules that we have.

I do not think the purpose of it is to put restrictions on citizens, particularly our youth. The point is to promote what it is we have, to promote Irish, Newfoundland and Labrador folk music across the country. It is something that is now being seen in CD sales across North America.

To me, Canadian content rules and regulations are less about the rules and regulations and more about the promotion of the culture that we have, and in particular in this case the culture being Newfoundland and Labrador which I always say is over brimming with culture, one that Canadians certainly do appreciate and enjoy.

I have been on the Standing Committee on Canadian Heritage for quite some time. Right now the bulk of broadcasting and the bulk of film production is done in the major centres, whether it be Toronto, Montreal, Calgary or Vancouver. However, there are other regions in the country that have a story to tell. We have to achieve the widest audience possible for them to tell that story. It is a good story and it is successful.

My hon. colleague from Churchill is a fine example of a show that she was on called North of 60 which I enjoyed very much. It was a good insight as to the culture of that region of our country, a part of the country with a small part of the population that probably would not have been recognized because the capital was not there to do this in the private markets. So as a government we helped. We helped them tell their story to the world.

Recently, there was a documentary about the seal hunt. It was based at Twillingate which is in my home riding. With the fuss going on and of course the arguments back and forth between the activists in the United States and Europe and we as seal hunters, and I fully support the seal hunt, our story had to be told. It was told from the viewpoint of an area that is rich in culture, rich in heritage, and dependent upon a way of life that we continue today. That story was told and thanks to the investment by the Government of Canada, we have done it.

When it comes to Canadian content, I have a few points to make. The Canadian Radio-television and Telecommunications Commission, or the CRTC as we know it, is the central body for regulating and overseeing the Canadian broadcasting industry. The Liberal Party remains confident that the CRTC has successfully helped the broadcasting system to achieve its objectives. When I talk about regions, I remember seeing a documentary some time ago about the architecture of churches in the small towns of northern Quebec. I watched it in Newfoundland and Labrador and what a good story it was.

Even though some people may think our Canadian content rules are restrictive, they are not. They are a promotion, a promotion of the French culture in Quebec where churches were the focal points of smaller communities. The architecture of these churches in small communities is unbelievable and a great story it is, and that is the key.

Canadians are best served by a broadcasting system that offers an ample supply of high quality, distinctively Canadian content that enlightens, entertains and informs citizens. I just gave the example of the interviews of sealers in Twillingate, Newfoundland and Labrador. This is programming that brings us together from coast to coast to coast. It is investments that we make to bring Canadians from places such as northern British Columbia, to the oil fields in northern Alberta, to the salmon rivers of New Brunswick.

We find that in a country this large with a population of only 30 million people, we need a crossroads of communication, one that is essential for a country this size and the culture that we have. That is our responsibility to the people of this country and, to me, that responsibility has to be emboldened within our Canadian content rules.

It is not so much a restriction upon content but it is the promotion of expression from all areas of this country, whether it be a terrible situation on the east side of Vancouver when it comes to homelessness, or whether it is the plight of a small village in Newfoundland and Labrador dependent upon the fishery, which has recently seen a downturn.

Some of the goals that we stress in Canadian strategy are: to put more emphasis on high quality Canadian content that reaches wide audiences and reflects Canada in its diversity, diversity of people and diversity of region; to put emphasis on funding Canadian drama, children's programming, cultural programming and documentaries that reach wide audiences; to provide the CBC, the Canadian Broadcasting Corporation, with specific funding for the provision of high impact programming consistent with its public service mandate; and to consider a number of measures to simplify funding in order to provide greater economic efficiencies and improved priority setting.

To ensure efficient and effective practices for monitoring Canadian content, the Liberal Party would focus the mandate on the Canadian Audio-Visual Certification Office and task it to conduct Canadian content certification on behalf of the federal agencies and programs.

In a letter dated September 30, 2005, Guy Mayson, President and Chief Executive Officer of the Canadian Film and Television Production Association, or the CFTPA, proposed a new policy framework for Canadian television content. Among other things, the CFTPA requested that structural amendments be made to the Broadcasting Act and that the CRTC's 1999 television policy be revised to reintroduce compulsory expenditure thresholds on programming by conventional broadcasters.

One of the issues we need to get back to is Canadian drama when it comes to the content we have. We contribute a lot to Canadian drama and over the years we have been extremely successful. Many Canadian shows, such as the one my hon. colleague from Churchill was on, North of 60, are prime examples of stories that are seen around the world and have touched many people around the world. Even though they started out as distinctively Canadian stories, the themes were attractive to everyone because of their human content and the perseverance of the human spirit.

If there were any message from my home town that I would like to bring to this House it would be that I believe in the promotion of our regions across the country. I also believe that our Canadian content rules help to promote the expression of our cultures from coast to coast to coast.

[Rob Anders, Conservative, Calgary West, AB]

Mr. Speaker, I posed a question earlier asking by what percentage the member and the other members in this place wanted to regulate what Canadians do. The member mentioned that under the content rules that he dealt with as a broadcaster, 30% of what was put on the air had to be of Canadian content. It is about regulation.

We have the number of 30%, for example, in the act. Maybe some of the people in this place would like to force people to watch, listen or perform more Canadian content.

If it is about regulation, which costs money, that poses a second question. Is $1 million enough? We spend more than that on it in this country and that would probably be a single episode of a single program. Is $10 million enough? We spend more than that in this country and that amount is probably good enough for an entire program. Is $100 million enough? That is probably enough to fund an entire station. Is $1 billion enough? That is what we spend for one channel in this country with the Canadian Broadcasting Corporation. Is $10 billion enough? When we take into account all the various programs and the department that is associated with this, we spend probably about that.

Would they want $100 billion? It comes down to a cost as well in terms of this regulation. A money value is attached to it. It also has real repercussions. Artists, such as Bryan Adams, have left this country because Canadian content rules have forced their music to be overplayed, such that they will move to the United States just to avoid some of those overplay issues.

A money value is attached to this and there are consequences where we lose some artists due to these practices.

[Scott Simms, Liberal, Bonavista—Gander—Grand Falls—Windsor, NL]

Mr. Speaker, I would like to go back to what I said earlier about the price people have to pay to express their culture across this country. This is merely a small price to bring to the world what it is we have.

When Bryan Adams was a struggling artist I am sure he would have said that he was completely in favour of all the Canadian content rules. He is a recipient of the Canadian content rules.

We have more than Bryan Adams. We should look beneath what is not as famous. We should look at the groups and the acts that struggle day to day but are able to tour the country because of the rules we have.

The dollar figures that the member mentioned are a small price to pay given the culture we have, the expression we want to bring across the country and the fact that he may be singling out one channel. This channel is one that I support. Over the past 50 or 60 years this channel has become the crossroads of communication that allowed us to be Canadian. It not only brought our message to this country but to the entire world. Bravo CBC, and for what it has done, not merely one channel but a channel that brings us all together.

[Jim Abbott, Conservative, Parliamentary Secretary to the Minister of Canadian Heritage]

Mr. Speaker, does the member not recognize that there is a serious deficiency with the motion that is before the House? It reads:

--by maintaining or enhancing: (a) existing Canadian cultural content requirements;--

On January 23, the people of Canada voted for political change in Canada and they got change. They got the Conservative government and the heritage minister. We are working as a party. The minister is working hard in conjunction with the Prime Minister to bring forward new ideas to enhance the whole issue of culture in Canada.

Why would the member be inclined to vote for something that says that it will maintain or enhance only existing Canadian cultural content requirements? That puts handcuffs on our government and on our heritage minister, rather than giving us the freedom to do the kind of things that we need to do to enhance Canadian content, which is the objective that the member claims he wants to achieve.

[Scott Simms, Liberal, Bonavista—Gander—Grand Falls—Windsor, NL]

Mr. Speaker, I can only assume that is probably the sixth commitment that the Conservative Party would like to bring, and that is to move toward some greater goal of cultural enhancement, which we have yet to see from the government as to the vision which it wants to put out there. I think the motion goes a long way in doing that.

It is not about the handcuffs. If the government does not want any regulations and it wants to throw this open to the free market, it could open this up to American broadcasters to come into this country and set up shop. They do not do that.

I ask the members opposite to believe in this country, to believe in the culture that we have, to make the right investments and not to worry about their own private interests across the globe and the proliferation of media. We need to be the protectors and the stalwarts of Canadian culture. We can do that through the policies by which we have made.

[Bev Oda, Conservative, Minister of Canadian Heritage and Status of Women]

Mr. Speaker, I want to thank you for this opportunity to address the issue in the motion before this House today.

Mr. Speaker, I wish to inform you that I will be splitting my time with the hon. member for Perth—Wellington.

The member for Ottawa—Vanier is, of course, well known in this House for his continuing interest in cultural matters.

His motion raises a number of important points, and I will give them due consideration.

The members on this side of the House do support UNESCO and the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. In fact, the government and the Prime Minister turned a new leaf and dealt directly and effectively with the question of Quebec's presence at UNESCO.

The Bloc and the Liberals continue to take positions which undermine the recognition of a more important and cooperative role for Quebec within an organization that addresses linguistic and cultural issues.

Open federalism means inviting Quebec to take its place and express its voice at UNESCO and complement Canada's efforts within the UN family of nations. I am proud to be part of a government that believes in a new era of progress within a strong, united Canada and a confident and proud Quebec.

On this side of the House we support our artistic communities and cultural industries. In fact, we believe in strengthening the opportunities for these sectors, both at home and internationally. As such, we cannot support the motion as it is written.

In many cases the existing programs and policies do not reflect the new realities, the new technologies and the new world. Rather than agreeing to maintain the status quo and just talking about solutions, we believe in implementing effective meaningful solutions that can improve things. In order to support the artistic and cultural sector in Canada, we need to move forward, recognizing the realities of the new world.

As we all know, an artist's dream is always for a bigger stage, a bigger canvas and a bigger audience. The members on this side of the House will continue to work with the cultural communities so they can see their dreams realized.

Regarding the specifics of the motion, we have always supported and continue to support Canadian content on our airwaves, in our broadcasts and across our cultural and artistic sector.

What I cannot support is the suggestion that by maintaining the Canadian content regulations as is, it is the best way to advance the need for this important segment of our population. Existing Canadian cultural content requirements, as written in the motion, would limit the ability to ensure that cultural content requirements can be adjusted to meet the changing realities in many sectors. We are talking not only about broadcasting, but the arts, publishing and new media, as well as many new technologies and techniques not yet even conceived of.

Regulations regarding broadcasting are in the purview of the CRTC which, as all members know, is an independent body. We cannot commit to maintaining existing regulations when they are not in fact made by us. In fact, the CRTC is currently doing a review of radio regulations to reflect the new technology and the realities of the radio industry. We think this is good. We need to strive to advance these industries to ensure they remain relevant and competitive here in Canada.

Regulation is only part of the story. We also need to address the programs that support Canadian culture and artists.

Our party is committed to working with artists and creators to ensure that the money we have spent to support them goes to the people who need it and to ensure that the money is spent accountably. I am proud that in the recent budget our government made a commitment to exempt donations of publicly listed securities to public charities from capital gains tax and also committed $50 million to the Canada Council for the Arts. The publicly traded shares' new measure has generated, according to my unofficial account, over $60 million within a matter of days. This is projected to have the potential of adding some $300 million to $500 million annually toward non-profit organizations.

Again, our government is implementing real solutions, not just talking about them and not simply maintaining the status quo.

The question we must all ask ourselves is: How we can maintain or improve the market share of Canadian cultural products in the new reality of the 21st century?

If Canadians are drifting away from traditional radio listening patterns, acquiring music and audiovisual works off the Internet, what effects will this have on Canadian content rules? If audiences are going directly to the websites and downloading episodes of their favourite shows, what does this mean for the traditional television networks?

As the reality of these industries change, we must allow, indeed we must drive, our policy responses to reflect these advances or risk being left behind. For these reasons, the status quo is not good enough.

At present the CRTC is in the midst of a commercial radio review. The Department of Canadian Heritage has put in place a culture and technology task force to identify and assess the potential impacts of technology on our policies and programs. At some point in the coming months we will be responding to many questions being raised by Canadians regarding the role of our public broadcaster, CBC and Société Radio-Canada, in our Canadian broadcasting system.

All of these exercises have something in common: they are essential for the continued production and access of Canadian cultural products. We will build on the old and enter into a new dialogue with these communities. Our vision is one of dreams, growth and stability. Just as important, we must also identify if other new mechanisms are needed to foster long term growth.

The second point raised in the motion has to do with the restrictions on foreign ownership. Maintaining current restrictions on foreign ownership is important to the cultural sector. Currently there are no plans to change anything in this regard. We believe that our cultural industries, artistic communities and broadcasting system must continue to support Canadian content in all its aspects. We should also make sure that each one of these sectors is valued and maintains relevance to all Canadians in every region of this country.

Finally, I would like to ensure that we support a strong public broadcaster for our country. We know that it faces many challenges. Consequently, we will be undertaking a response to those concerns.

We have to ensure that our broadcasters can meet the new technologies and demands for digital broadcasting and respond to the high definition technology that is being introduced in the United States and Europe.

I want to assure the House that we are committed to a clear vision for our artistic and cultural communities and to our Canadian broadcasting system. We will play our role. We will perform our due diligence. We will also make sure they remain strong and can grow as we move forward in this century.

In conclusion, I once again thank the member for Ottawa—Vanier for presenting the motion. It has allowed me to address some of the concerns that I have with the motion as it is written.

Mr. Speaker, let me assure you that the Conservative Party and the government believe that the artists and creators in this country deserve more than status quo. We believe they deserve a strong voice, strong activity and strong presence in the 21st century. I look forward to working with all of the members in the House as we move forward on these important issues.

[Marc Lemay, Bloc, Abitibi—Témiscamingue, QC]

Mr. Speaker, I listened carefully to the minister's comments and I thank her for her intervention.

I recall that no more than a year ago we sat together on the Standing Committee on Canadian Heritage. It seems to me that she did not say then what she is saying today in this House. We travelled across Canada as part of a study on Canadian cinema in order to understand how the film industry worked generally and, specifically, why Quebec cinema had much more success than so-called Canadian cinema. Many responded regarding Quebec cinema, “Because we are the best”. I remind the minister that this answer struck us both.

We are solid in cultural terms throughout Canada. Without blowing our own horn, we are already doing quite well in Quebec. I have therefore the following questions for the minister.

How does Canada go about keeping the Camerons? How does Canada go about keeping actors and actresses, who, heeding the call of Los Angeles, London, New Zealand or Australia, leave Canada rarely returning except to receive the Order of Canada? What cultural policy does the minister intend to propose to make us the best, if that is still one of her objectives?

[Bev Oda, Conservative, Durham, ON]

Mr. Speaker, I enjoyed working with the member on the committee in the last session and look forward to working with him as we move forward.

He is correct that the committee studied the feature film industry in Canada. The difference in the success of the Quebec film industry and the English language film industry was quite noticeable. The realities are very different. The market conditions are very different for each of those sectors. That is why one of the first initiatives that was taken by this government was to set up a separate francophone secretariat within the Department of Canadian Heritage. In that way we can ensure that the different realities are recognized, and that appropriate program support will continue to be put forward for the Quebec industry.

The member is correct that the realities within the anglophone market are very different. There are major studios just across the border and we share a common language. The marketing and promotion of large American films comes across the border through various publications and broadcasting vehicles. These are the realities of the English language market. It is not because we do not have the talent here in Canada. In fact, the talent is in Canada.

Many of the successful American films are due to Canadian talent that is now present in the United States. We do not want to inhibit those who choose to move into a larger stage from being able to fulfill their professional ambitions, wherever they are. I am proud to say that many of them maintain their pride in their country of origin and that they are Canadians.

However, we have to ensure that we build up the industry here for those who would like to stay in Canada and to maintain their profession here. With the clear separation and identity of the market realities we can start formulating specific programs that will address the different reality that is being faced in the English language market.

As the member knows, it is also a matter of distribution. It is a matter of screen time. It is a matter of marketing and promotion. A lot of that has to do with our support with the magazine industry here in Canada, as well as the print industry. All of these things will have to come together. We are working very hard to respond to the report of the committee.

[Gary Schellenberger, Conservative, Perth—Wellington, ON]

Mr. Speaker, I am pleased to have the opportunity to speak today about the extraordinary quality of Canadian artistic achievement and how this plays such an important cultural and economic role. Before I get to the point of my speech, I want to say what a privilege it is to speak after the hon. Minister of Canadian Heritage.

Unfortunately, this motion is seriously flawed. As such, this government will not be voting in favour of it. What strikes me as odd is why the party opposite, with such an abysmal record, would bring forward this motion in the first place. After 13 years of instability in arts funding, the official opposition has the audacity to try to champion Canada's artistic sector and cultural industries.

This government recognizes the arts' fundamental contribution to the lives of all Canadians, to individual Canadians, whether they are in small northern remote settlements or in large metropolitan centres, or in places like Stratford, Drayton and Mitchell in my riding of Perth--Wellington. In fact, one could argue that the defeatist sentiment expressed in this motion is typical of the approach taken by the previous administration. It says nothing about the vibrant artistic and cultural community that makes up this great nation we call Canada. This is the typical government can do it better attitude that Canadians have flatly rejected.

Essentially this motion tells Canadians that Canadian artists cannot compete globally. It says that Canadian talent is not as viable as American or European talent and that without government assistance, arts and culture in Canada could not survive. I simply do not believe that government does everything best and I definitely do not believe that Canadian artists cannot compete globally.

The arts do so much to transmit our stories, project our cultural heritage and showcase our distinct identity on the world stage. Arguably, some of the most famous Canadians internationally are our actors, singers and writers. One needs only to look at Shania Twain, Céline Dion, Keifer Sutherland, Jim Carrey or Margaret Atwood, to name but a few.

The arts not only captivate and enrich us, but they also make it possible to survive and thrive in what is fast becoming an increasingly technology driven world. Through the arts we see the reflection of our past, present and future. We not only gain a better understanding of who we are, but how others see us. The idea that increasing Canadian content somehow protects and cultivates homegrown talent is dubious and shows how out of touch the Liberals are when it comes to the very community they profess to defend.

This type of artistic protectionism would have us believe that Canadians are not up to the task. This is simply not true. The arts are a driving force that helps to fuel our economy. The undeniable contribution of the arts is reflected in our achievements attained through creativity and innovation.

The Canadian arts sector can be viewed as the research and development wing of Canada's thriving cultural industries. It contributes an estimated $39 billion annually, or 3.4% of the country's gross national product. This translates into more than half a million workers, or 3.9% of total employment.

In fact, economic indicators tell us that the arts sector is increasing at a greater pace than overall growth in the total labour force, but more importantly, arts and culture draws tourists. I am not sure if members have seen the recent series of ads on television where citizens of different parts of the world are standing in front of identifiable foreign locations, such as the pyramids or the Eiffel Tower. Those ads challenge Canadians to investigate their own heritage before they travel abroad.

The message is clear. Canada has a great deal to offer, and not just landmarks like the CN Tower. Our arts and cultural communities are among the most vibrant in the world. We can build on what drives the creative force behind them without taking the typical Liberal patronizing approach.

The government recognizes both the quantitative and the qualitative value of the arts. We need to provide long term stable support that will lead to clear results. The federal government seeks to stimulate the conditions that allow our arts and culture sector to produce uniquely Canadian artistic works and to flourish regionally, nationally and internationally. We understand that the arts make a positive difference in our lives.

Artists are crucial contributors to the quality of life that Canadians enjoy and the depth and clarity of our experience and understanding of the world. Artists are creators, visionaries, critics and teachers. They link us to our past and to our future. They challenge prejudices, break down barriers and prompt us to do the same and to make the world a better place. In so doing, the arts provide a safe place for citizens to engage in a democratic dialogue and contribute to cultural and socio-economic changes. They are the hallmark of this country's diversity and the expression of its distinctive identity, vast geography and landscape.

The arts are at the core of the mandate of the Department of Canadian Heritage. They are also central to many organizations within the Canadian Heritage portfolio, engaging other federal institutions and departments. Together with the private sector, all levels of government play a significant role. The government intends to develop these relationships to the maximum of their potential. Our goal will be to ensure that funding to the arts and cultural community flow directly into the hands of those who create the art. The government does not believe in the Liberal mantra, which seems to have been to dictate that half the money needs to be spent on administration.

The momentum of the work of the not for profit arts and cultural organizations requires significant and ongoing support to meet ever changing needs and challenges of the future. We need to determine what this practically means, working in collaboration with other funders, both public and private, to accomplish real results. Our approach of providing tax incentives to encourage Canadians to make donations is an important first step.

Investment in the arts generates direct and indirect economic growth. This is why the government included specific announcements for the arts in its recent budget. A total of $50 million in additional support was provided for the Canada Council, thus reinforcing the government's commitment to arts and culture. In addition, the budget will exempt from capital gains tax of charitable donations of publicly listed securities to public charities. These are first steps toward developing new relationships and to securing support from private donors. In fact, this tax break should lead to new donations of roughly $300 million annually to the not for profit sector. A good portion of this will go directly to arts funding.

The government believes that adequate support for the arts and artists requires strategic collaboration between government funding and private sector support. Our tax assistance program for both cash donations and donations of listed securities to registered charities is the highest in North America and an example for other nations.

I want to be very clear that the government is committed to a shared approach to the arts involving artists, all governments, the private sector, volunteers and cultural workers. This will ensure that all Canadians in every community will benefit from the arts to Canadian society.

[Maka Kotto, Bloc, Saint-Lambert, QC]

Mr. Speaker, I respectfully wish to congratulate the member for his speech.

John Kenneth Galbraith, an eminent economist and visionary humanist of his time, who passed away recently, said:

The State has numerous functions, one of which is to prevent private economic powers from interfering in the public sphere. That is one of its clearest and most crucial missions.

In light of his vision for cultural policy, will the member say whether he agrees with this statement?

[Gary Schellenberger, Conservative, Perth—Wellington, ON]

Mr. Speaker, I have always looked at government when it has helped with funding. Over the years I have been in this place I have seen projects go on and support from government that was just about enough to maybe fix a situation, or just about enough to remedy the problem. We have given the public an opportunity.

It was a tremendous moment for me last evening to attend the 2006 opening of the Stratford Festival in my riding. I sat at a table with a gentleman who said that he could donate, without having to pay capital gains on his securities, to the arts to support the Stratford Festival. This was very important to him. He and his wife had just donated somewhere in the neighbourhood of $1 million. I thought that was tremendous. He told me he was fortunate to have bought some relatively inexpensive stocks. He was lucky and made money on them. Rather than give it to the government, he wanted the arts to get it so he helped to fund that.

[Rodger Cuzner, Liberal, Cape Breton—Canso, NS]

Mr. Speaker, we hold in high regard our performers. The performers in the Cape Breton—Canso area have made a significant contribution to the whole mosaic of Canadian culture, certainly the Celtic culture all the way down to the town of Canso, where again this year it will celebrate the Stan Rogers folk festival. I know people from across the country and beyond look forward each year to celebrating the life of one of our great Canadian artists.

What troubles me is if we are not committed to allowing these entertainers to perform for a broader audience. John Allan Cameron was a great ambassador for Celtic music. There was a great fear that this music would not be passed on and not make a resurgence. We have had the Rankin Family, Natalie MacMaster and some of the great new Celtic performers. I am very concerned that those performers will not be given the opportunity to show their skills on the broader national scale through support of the public broadcaster.

[Gary Schellenberger, Conservative, Perth—Wellington, ON]

Mr. Speaker, when it comes to public broadcasting and theatre in our great country, my little town of Stratford is renowned for not only Shakespeare. It initiates new writings and plays. That is the way it performs.

People from across the country come to Stratford to participate in the Stratford Festival. My neighbour, who has since passed away, was a stage manager. He travelled all over the country. He had been in Charlottetown and Winnipeg as a stage manager. Yes, we do have a great culture in our arts and theatre, and it does bring us together.