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.