Spoken Word Poetry #4 by Greg Frankson

Get up! Stand up! It’s time for review
Let’s take a look together at the things that we do
And all the great measures that we need to pursue
So get up! Stand up! It’s time for review

Be it resolved that we solve the Rubic’s cube that blocks
The resolutions we desire so we can walk the talk
Bringing people all together to try to crack stovepipes
Let off the blackening smoke – the time for unity’s ripe
From the general to the need to be specific and clear
Gives us material to conjure policy that needs to appear
We need to communicate together better, open the lanes
That will aid us to accomplish new significant gains
The principles that we broadcast can depend on the Act
That can deliver common purpose consummating the pact
Working in collaboration to speak a message of hope
So artists and cultural workers can flourish, nourish and cope
The CCA can only be the sum of all of its parts
And you can only be ambassadors on aims of the heart
So if you can’t come here today with passion guiding your hands
Across the land they’ll never hear you ‘cause they won’t understand

Get up! Stand up! It’s time for review
Let’s take a look together at the things that we do
And all the great measures that we need to pursue
So get up! Stand up! It’s time for review

Artists create and cultivate a zone conducive to growth
And don’t just entertain, they elevate – they have to do both
But if they live in a community without strong support
Then start to add up all the failures, that’s all they’ll report
Within our plans we have to inculcate the need for access
And deal head-on with diversity – it must be addressed
Remember also that our schools should do their best to include
Artistic disciplines that teach the attitude our kids should exude
When our youth begin the process with proper propriety
Inspiring me and you to introduce a creative society
Into the consciousness of those who hold the reins and guide
The ways we build our communities from out and inside
So finding catchphrases and five words mottos are fine
And finding new tax solutions should never cease to remind
All the people in our sector that the goals that we seek
Should be completely integrated in the words that we speak

Get up! Stand up! It’s time for review
Let’s take a look together at the things that we do
And all the great measures that we need to pursue
So get up! Stand up! It’s time for review

Over the course of the conference the zones of concern
That we focused on provided structure for lessons we learned
With the artists and communities, and money and laws
We hashed out thoughts and speculations so we find common cause
Near the end we started talking about the actions we need
Within the shorter and the longer term of varying speed
But without a doubt we need to spout a policy frame
That will provide the vision needed when we’re seeking to name
A package worthy of agreement from all the sectors involved
Identifying where’s there’s agreement, and things we need to resolve
So we must strike the right notes and write the song that we sing
And if it’s loud enough we’ll see what’s new the singalong brings
The time is limited to do the things you had on your plate
And for all the progress made so far I have to congratulate
All the people in the room – it’s great what you’ve produced
And now I leave you feeling happier, ambitious and juiced

Get up! Stand up! It’s time for review
Let’s take a look together at the things that we do
And all the great measures that we need to pursue
So get up! Stand up! It’s time for review
Get up! Stand up! Review’s at an end
Around the room your allies have come to depend
That this process is beginning – keep it going as I send
This message of review – so unlike you, now I end.

Spoken Word Poetry #3 by Greg Frankson

This morning we heard a summary of the workshops from yesterday
And as I summed up much of that in my last poem, I don’t have much to say
On the aspects I’ve already discussed, but there are a few areas on which to expound
From what I’ve heard and what we’ve learned as ideas and concepts float around

It’s pretty clear that artists must be entrepreneurs in the new environment
Must press their creations and their productions if they hope to make a cent
Or better yet procure some dollars, so for me if I have any amount of luck
I’ll be able to sell you my CDs, I’ve got some, and they only cost ten bucks

But on things that are more serious, financially we must be concerned
About the ways are artists must live in poverty – it’s clear that they must earn
More than what they’ve been making to date so that they can keep the spark alive
We must push for amelioration of the situation so that our cultural workers can thrive

And on the administrative ledger, we add the skills these people bring
But then subtract from their creativity the works they used to paint or sing
Or write or dance or act – this loss is to absolutely nobody’s gain
All people on the spectrum of our sector must join into the same refrain

That lets everyone do everything that they can to give time to those that organize
To do the things that led them into the offices initially – we must reprioritize
Create the nurturing situation conducive to excellence in artistic expression
The full articulation and demonstration of the strengths within Canada’s possession

And should we pursue enshrining culture in policy and laws both home and away
In one overarching document or in several regulations so we can relay
The importance of the artists and the cultural workers who do so very much to promote
Our Canadian identity and the images that phraseology tends to evoke?

There is a broad range of opinion across the silos embedded within the room
And on this question and many more it’s clear that the debate cannot hope to presume
What the final resolution will be – I leave those tough choices to all of you
Mostly because in my role as rapporteur that’s not something I’ve been tasked to do

But being the artist that I am, the answers to your challenges impact on me
For your decisions may set the parameters for the lives of thousands from sea to sea
In terms of the time we get to worry less about bills and more about our creativity
And spread benefits of taxation policy, employment income and our long-term security

So as to the challenge of finding your issue on the agenda new federal leadership?
With a new Conservative government this is an issue with which we must get a grip
Alain Gourd came to share his views from long experience with ministers of state
And to debunk the common assumption that Tories will lack the ability to articulate

Clear visions on what we need to do policy wise within the cultural domain
Because over the history of this nation the Conservatives have many laurels to claim
Bennett founded the CBC, and Dief brought French into our Common House
And Clark brought John Meisel to the CRTC – certainly not something for us to denounce

The Mulroney government made many changes after implementing a set of initial cuts
In areas of film, broadcasting, music, radio, writing, archives – this fact rebuts
Any knee-jerk inclinations to think that now is not the time we can achieve progress
So long as we frame our interests in a way that appeals to the priorities they want to address

It’s clear that there will be ways for the cultural sector to press their issues with Cabinet
With a solid understanding of short and long term goals that show societal benefits
A government concerned with broadening choice must see its ideology in your pitch
Along with the principles and priorities, repeated with force with evidence to enrich

The strength of your argumentation, and with some discussion of how you’ll account
For all your spending and for your results – this is key to gaining much needed clout
Just remember that minority governments must also look to stay alive
So find good ways to frame arts and culture in ways that let both artists and Tories thrive

So many things that we must try to do – work with leaders and maintain your pure ideals
Be cautious in your approach when trying to empower yourself and cut the needed deals
And should you find the needed balance and press your case with forcefulness
Within a framework we all believe in – it’s possible that we all can meet with good success.

Important to end on a positive

This week I’ve had several people approach me and ask, how do you make policy, and the conference, appealing to youth? It’s easy. First, price is a huge issue. Many people were disappointed that few artists (regardless of age) were at the conference. It’s because the conference ticket is hugely expensive. Also, you must stay in a hotel if you aren’t from the Ottawa area. You will inevitably have few artists when only the “arts managers” (or government employees) can afford to go. Therefore, you’re going to draw organizers and not artists. The priorities established at the conference will reflect who was there. If art should be about artistic expression, these people should be there to insert their two cents.

If you would like to attract youth, make sure there are other youth there. They should feel welcome. Make a youth-specific breakout group. However, make sure you also gently integrate them with the adults. And tell them what you expect of them. Inform them of what their roles are going to be. If a group of policy-savvy adults at the end of Day Two aren’t sure if they want a resolution, a list of suggestions, or just general ideas, young people won’t either. Orient them in this world of arts policy, and they will love you.

Also, let them know the conference is happening. Send theatre troops and writers’ collectives a flier, or an email, or something. The only reason the bloggers came was because the Canadian Conference for the Arts sent a message to Carleton U, which they in turn posted on our email message board. It was easy; just continue that route. We can’t come if we don’t know about your event!

Finally, keep working to make the conference colourful, interesting, and dynamic. This year you had bloggers, a slam artist, and a dancer. Dave Hansbury facilitated with pictures. I think everyone was relieved to attend an arts conference that actually looked and felt like one. Continue by incorporating videos, colour, whatever your budget can incorporate. You are Canada’s most creative, after all!

I was disappointed that much of the cross-cultural insight gleaned yesterday was forgotten or ignored. You MUST involve the private sector in the arts. I also don’t think getting corporations involved is any more difficult than landing government funding. It can be done – look at Cisco Systems Bluesfest. (If you don’t know what Bluesfest is, check out the website at www.ottawabluesfest.ca. Basically it’s a MASSIVE and COOL festival that brings blues artists to Ottawa. Other groups come too, which causes controversy – last year the Black Eyed Peas performed, and nobody could justify their “folk” status.) Anyway, back to the point of funding – Cisco pays a lot, the City of Ottawa pays a lot, while the artists and audience pay a little each. The SHEER VOLUME of talent that assembles at Bluesfest is exhilarating. And when a corporation decides your artistic venture is worth something, the government may agree and give you more funding later.

Unfortunately, in Saturday’s panic to make a successful cultural policy/involve other sectors, it wasn’t brought up much. People returned to the idea of soliciting government funding, and ignored other ideas. We must refocus ourselves. As centrist as Stephen Harper wants to appear, I doubt he’ll be interested in the arts. Therefore, you need to see the government as only one venue for funding. Again, returning to the idea of a living wage for artists – a government isn’t going to guarantee it. You must guarantee it for yourselves. Don’t forget about uniting with similar sectors (ie – sport) and teaming up with the private sector.

Thank you all for an insightful weekend!

Awareness or Ignorance?

Just over a month ago, I had the pleasure of taking part in a mock press conference. Its intention was to bring together a group representing both the arts community and arts organizations to discuss the state of arts journalism in Canada. It was in this environment that I initially met Alain Pineau.

Although it was not a main focus of many of the discussions throughout this conference, I believe that it is important to look at how arts and culture connect with the media -- especially in the heavily discussed context of public awareness. If our general public is tapping into the news media for information, then where better for them to discover the abundance of creativity that defines our artistic community? Where better for them to uncover everything from the quirky and experimental to the classic and traditional works, in order to relate to art and stimulate the growth of their love for it?

At this conference we all spoke a great deal about establishing alliances with other sectors in our society. Arts journalism is one of those sectors. I came to this conference as an aspiring arts journalist -- and because I think it's important for me to understand the issues and successes of the industry that enthrall me and motivates my words. Our nation deserves a media that engages audiences through less Hollywood, more homegrown. Our newsprint and glossy pages, our television screens and speakers, should all be overflowing with the voices of artists, as well as the voices of the industry. I also came to this conference knowing little about the issues of policies. Paint me positive, but maybe if the arts community and our media established a strong bond to focus on this great nation's work, the public would be informed about the trials and tribulations of artists. Maybe they seem to not care, because they just don't know.

YOUTH - MIA

I smiled to myself this morning when I was approached by yet another person with the same question: “How do you think we can bring more youth to conferences like this?”

I smile because about 6 years ago when I first moved to Ottawa and volunteered at the National Art Gallery (I volunteered there because I wasn’t aware of any other art organizations in Ottawa at the time) I was asked the very same question. This has been a burning question for me since the first time I was asked it. It is this question that has motivated me to put my energy into community arts (bringing art to the people instead of waiting for people to come to it). More specifically, it is this question that inspired me to found a youth art advisory group: YAM (Youth Arts Movement) under a community art organization (Lakeshore Arts) in Toronto. http://www.lakeshorearts.ca/

If you ask me, as far as content goes, I feel that the CCA has done a great job at including youth and a youth perspective in this particular conference. I think that if the CCA and all of the individuals and groups it represents are serious about having youth representation then they need to welcome and support a youth perspective. The only way any group will ever get youth participation is if they give youth the opportunity to have a voice.

However, this would require that youth be regarded as peers rather than kids with crazy ideas.

I urge any of you who have puzzled and pondered over this burning question to take a trip down to the corner of Bronson and Slater (AKA The Piece Park or Tech Wall) in Ottawa to realize that youth are serious and passionate about art too. http://www.ravensview.ca

I worked with young artists in Ottawa to help make “the Piece Park” into a place that would offer both art and recreation for the public. Our closest link to any sort of advocacy group was the Ottawa Youth Cabinet. Unfortunately, because art is not the central focus of the cabinet our initiative has since been swept under the rug.

To keep the CCA’s heart beating at a healthy rate, young blood must be pumped through the ARTeries of Canada’s cultural sector.

Signing off

I am pleased to walk away from this experience knowing the work done in the past few days will eventually effect change. Like many of those in attendance, I think one of the fundamental steps towards creating a universally satisfying policy is to establish a common "vocabulary" that is understood by all. Clear, concise language that is free of convoluted jargon.

And to touch on the ever-pressing topic of youth... Where are the youth? How do you reach the youth? Everyone already seems to know: talk to them in a language they understand. Let's try to shoehorn that into the framework.

Thank you to everyone for this enjoyable opportunity.

Scratching the Itch of Cultural Policy

There was a startling disconnect in a room full of creative minds. Though we would like to say that we're all here addressing the same issues with the same interests at heart, we're not. We are driven by our own agendas, and though our individual interests are all very important to the whole, it has proven difficult to pool them into a manageable community of ideas. I felt today that we had created an environment of mild discomfort, like a back ache after shovelling snow.

"Take a moment and talk to each other about what this silence is all about," said Dave Hasbury to a roomful of unsure delegates. And he was right, we needed to talk. But more importantly we needed to listen. We needed to connect and collaborate, discuss concrete and realistic plans for the future of cultural policy in Canada. We needed to start chasing a common goal.

When Pat Bradley said, "We're tired, we're cynical and some of us are old," I laughed. I really did. Because sometimes I feel that way too. I'm young, but I am sometimes tired and cynical. Tired of talking about "youth issues" and cynical because nothing ever changes. But it does! When we put our young, feisty heads together we get chatty and excited. And when we get on the same wave length, we come up with really, really good ideas.

And that's what started to happen at the end of the conference today. Some solid ideas started to form around tax credits for extracurricular arts education, funding for the Canada Council and the need to bridge the gaps between the arts and communities, different federal and provincial sectors but mostly importantly between artists themselves.

I think the conference delegates were really on to something by the end of the day today. Although I started off this afternoon a little antsy and uncomfortable, I left feeling assured that something great was on its way.

Feeling the Burn

Dave Hasbury's "Mr.Dressup" approach - facilitating and summarizing using diagrams and calm explanation - is very effective. He has made the weekend's process focused and filled with a (literally) colourful cultural element. We are "tired and cynical and most of us are old". We're beginning to feel burnt-out, but policy suggestions appropriate for our new Conservative Government are on the way. I feel like something real has been accomplished this weekend, even if I was skeptical at times about cyclical discussions taking place again and again.

It has been a blast. I am exhausted, mentally and physically, but I feel like I am going to take with me some very usefull insights into cultural policy. This conference has been an excellent introduction to the real life struggles that all sectors of culture in Canada face. I can definitely take everything I've learned with me in my studies at Carleton.

Thank you

Building Bridges in Canada's Creative Society

We need to find a new way to talk to one another. I find it ironic that the purpose of the arts is to offer a universal form of expression, a way of communicating with one another when clearly there appears to be obstacles in the way that we communicate with one another. I think that before we move forward we need to internally create a common language between all of the art disciplines, varying cultures and geographical regions. We need to learn how to listen to all parts that make up Canada’s cultural puzzle. I believe it was Mark Twain who said: “We have two ears and one mouth so that we can listen twice as much as we speak”. I do believe that the “scattered shot approach” is a reflection of the cultural sector. Perhaps art disciplines need to separately work on their own and have a representative from each to create a common voice. Maybe then this common voice would be able to send a clear message to the government, no matter its political party that it represents. I feel that this is a proactive approach compared to the reactive approach that our cultural policy is currently growing out of.

Dave Hasbury's Graphic Facilitation #2

Heres the Second installment of high -resolution verisons of Dave's work.

Please click on the image to see it full size.

In Focus: Culturescope.ca

I just came back from printing some of the blogs on the business center courtesy of The Canadian Cultural Observatory and Canada.ca., and I thought I should comment on how useful this service has been. I’ve seen people checking their e-mails, reading this wonderful blogs =), and visiting various websites. Everyone seems to be pleased with the setting. At the same time, considering that this is a policy conference, I think that it is important to raise awareness about the Observatory website's: http://www.culturescope.ca/. This Canadian Heritage initiative serves as a portal for cultural policy decision-makers, researchers and other professionals. Among other things, it provides links to valuable resources that pertain to cultural policy, and it lists relevant events that pertain to the cultural sector happening soon across Canada.

For those of you thinking that this sounds too much like a “paid-advertisement,” passed as information, I can assure you that I am not making any financial gains from the post. The truth is that being a student of public policy, with an interest in cultural policy, I think I should had been aware of this website long before I did. If you do click on the link, you may find that their interface is not as user friendly as it could be, but I’ve been told that they are launching a new re-designed website in a couple of weeks. Enjoy!

Blurring the lines Between Artists and Producers

The workshop that I attended began with a statement made by Peter Feldman: “We don’t all make art, but we all make art happen”. This is a statement that is very near and dear to my heart. I am not an artist by definition, but I am an inspiring cultural manager. I, like so many other cultural workers live in breath art everyday without picking up a paintbrush or pirouetting across a stage. Half of this conference is dedicated to people like me who strive to make a difference through the arts by making art happen! There was a lot of conversation in the workshop and in the CCA discussion paper that presented the idea that artists are becoming their own producers. What should be done about this? What is our role? Is this even true?

Can you teach an old dog new tricks?

Alain Gourd said it all when he joked, “It will be more of a marathon than a sprint.” It doesn’t matter what party is before the country, Gourd explained. The same issues still rear their ugly heads with spare hope of retreat. He made sure to clarify that the new minority government, like the Liberals before them, both fail to hold culture at the top of their priority lists.

Artists need to continue to plead their cases to government and demonstrate the importance of arts in Canadian society. Their approach must be very targeted, despite the vastness of the arts sector and the world surrounding it. In the short term, Gourd said government must invest more time in financial issues like funding.

All in all, it just sounds like there needs to be new approaches to old ideas. Will these objectives become clearer this afternoon? Hopefully Gourd’s presentation will help to direct and focus the discussion following lunch. And, speaking of lunch, people seem impressed with today's menu. Apparently yesterday's six different kinds of potatoes left much to be desired.

Tory History - Let us not Forget that we are Dealing with a New Beast

Alain Gourd recounted a history of the Conservative party’s involvement in art and culture. I was brought up in an extremely politically Conservative family. So, this isn’t the first time that I’ve heard these facts. Last year, in my cultural policy class my group was asked to speak of culture from a Conservative Party perspective. I found out from my research that provincially, Bill Davies had strong ties to the OAC’s growth. This is all well and good. However, may I remind you that Bill Davis, along with many other politicians that Alain Gourd had mentioned are “Red Tories”. When the Conservative party merged with the Reform party that changed the party’s platform and has evolved into the beast it is today.

I believe that it is a dangerous misconception to release those facts to the general public. Our current Conservative party does not have a long-standing history, especially when it comes to art and culture. They are unpredictable. We all must keep a careful watch.

"A Legacy of Poetry"

Yesterday, as Salon E was slowly clearing out following an Artist and Creator's workshop I began to speak with Terry Ann Carter, of the League of Canadian Poets. First we spoke of the Japanese-style notebook that I had been scrawling notes in throughout the presentation, but soon it eveolved to our common interest- words.

Speaking to Terry, I realized that many of the challenges I face as an aspiring freelance magazine writer are very similar to those of the poets she represents. We spoke of financial insecurity, but also of public perception when pursuing a craft. She asked me how receptive my family has been about my goals to freelance instead of immediately entering the nine-to-five world, and while I have been fortunate within my own situation, we spoke of the stereotypes surrounding artists and the countless people they face, either peers or family, who don't understand struggling financially to do something you love.

Canada needs to support Canadian voices and stories of all backgrounds, in both official languages and embrace the vibrant culture Canada has to offer. While addressing the workshop group, Terry said that all Canadians must be proud and honour the "great legacy of poetry in this country."

NPC Day Two AM Photos

The Coats Come off and Day 2 begins Workshop Leaders Recapping the Info Gathered During Yesterday's Workshops
René CormierSusan AnnisKelly Hill

ChairsAnne-Marie Des Roches

Greg Frankson Alain Gourd, Keynote Speaker

Comments and Questions about Alain's extremely Informative Talk

Technology integral part of distribution

Technology does not need to be feared. Getting art to the public sometimes has geographical barriers that the internet can bridge, including providing a forum for artists to promote and sell their work in an "ebay" like fashion.

The internet could be "the beginning of a really brilliant idea we hope will have legs," says Susan Annis, regarding conversation that was sparked during one of the two Producer and Cultural Industry workshops yesterday.

As a young, technical savvy user of the Internet I see Annis's optimism as a key to distribution in the very near future. The internet helps to blur geographical barriers, making Canadian art accessible to the world with the click of a mouse, ensuring that Canadians can view and purchase work from across the nation.

"When we think about funding the art, we're not just thinking about the art, but how to get it to the people," says David Hasbury.

What's in a Word?

As I seat hearing the outcome of yesterday’s workshop, one interesting common theme that seemed to have emerged is that there is a problem with the way we currently define certain things. We heard that “artists” are also creators, and that with the help of new technologies they now have become producers and distributors. On the other hand, some people are not comfortable with the use of the word “customers” due to its correlation with the pecuniary objective for cultural production; instead, they believe we should use the word “participants.” Finally, when we attempt to define the “needs of the sector” for policy initiatives, how we define the “sector” is at the root of the possible results.

At this point, we may think that the issues raised by these terminology concerns are not of great consequence, but I believe that they are. Anyone who has applied for funding knows that applications are very specific, and that the funding that is granted is generally directed to one aspect of cultural creation, production or distribution. So, if the lines get blurred, and we are no longer able to make a distinction between artists, producers, etc… does this mean that we need to re-design the funding infrastructure? But, if that is the case, what do we do about those that still hold their traditional roles? How can we be responsive to their needs?

In relation to the idea of replacing the consumer paradigm for a new an updated participant’s approach, what could be gain is a new understanding by those “participants” about their role in the arts and cultural community. If this idea was adopted by all Canadians, maybe we could increase their commitment to support Canadian content and cultural creations, as well as their involvement in their communities. Ok, this may be considered a long shot but I think that understanding your role in the process, and feeling like you a part of it may increase your interest.

Finally, the way we define the sector is very important. Each interest group tends to present a very narrow definition of the sector when outlining what it is that they want. Of course, the narrower you define it the better because it would seem that less compromises must be made. But, what do you do when you are the government and have to consider the position of everyone? Or better yet, what do you do when you are the CCA and you are trying to present a position that would not offend anyone and that would still be beneficial for everyone? Having such a broad and fragmented sector to represent is the biggest challenge faced by the CCA everyday. It may be hard for its members to understand this, and they may be against some of their actions, but what is the solution?

We often hear the expression “what’s in a word?” and having considered these relevant issues, I would say that it is more than what we would like to think.

Exhausted Originality

Katherine Carleton of Orchestras Canada said to me yesterday, "You have to ask, has someone else already done this? And yes well, you might as well just stay in bed."
With the ability to access hundreds of years of cultural products and new information and creations by the second, as artists we've got to wonder, "Am I really still making something unique? Have I exhausted my originality?"
I'm wondering this, and I keep wondering this as eight women report on this year's CCA policy conference. Eight women reporting on one conference, and we've all got to be original. As a blogger it's a task, but as an artist, in a world with hundreds, thousands of other enormously creative people, does the buck ever stop?

"Protect the Cultural Village"

It seems to be the general consensus that culture needs to be developed in all sectors of society. This reminds me very much of Martha Piper's lecture for the 2002 Killam Annual Lecture, "Building a Civil Society". Piper, and most speakers this morning, seem to be of the same mind on this issue; there needs to be public awareness of the existence and importance of culture in Canadian citizens.

I feel like in order to discuss many of the policy issues we've come across at this conference, there needs to be an introductory lecture of policy. Dave Hasbury suggests that we develop models to bridge the gaps between producers, distributors and artists, with education and training, with policy and legislation and with funding. As a policy student, this seems a little redundant actually. The main topic in many of my classes are models just like this. I suppose what Dave was referring to was something greater than a simple policy model, for as artists and creators ourselves, we feel the gap between audience and production constantly, and feel a great disconnect - and sometimes models do not feel like enough.

I feel confident that these issues will be addressed, and the discussion will progress in a positive manner.

Dave Hasbury's Graphic Facilitation

Dave has just handed me a high-res version of the first "group graphic", which he started Thursday and completed Friday.

Please click on the image to see it full size.

"We need to get results, so we need a new approach"

Yesterday, during one of the workshops on “Producers and Cultural Industries,” one thing that was evident was that the participants had a hard time grasping the objective of what we were trying to do. Even though we had a very rich, heated, and interesting discussion, the participants had such a diverse background and so many years of experience in their own fields, that it was hard to avoid the inclusion of issues that were more particular to specific sectors instead of the more overarching ones. The workshop was also affected by the lack of connection between issues, and discussion on the points raised by each participant.

Having work in the cultural policy sector, I must say that what happened during the first part of the workshop did not surprise me. At the root of the problem of our attempt to arrive at an overarching cultural policy is the fact that there is no agreement between the members of the cultural policy community. It is understandable that each group should attempt to ensure the right of its members, but without compromises we will not be able to design the cultural policy that we, as Canadians, need and deserve. Even though this is easier said than done, I think we must take opportunities like this conference, when we all come together in a neutral ground, to attempt to find ways of designing possible solutions that could serve a common interest.

One of the useful lessons that I took from the workshop is that if the sector wants to encourage the new elected government to consult more with them before moving forward in the cultural policy front, they need to start moving in unison. Just like they did with the campaign to increase the funding of the Canada Council, the sector needs to present a united front for the different issues that have been raised today. Success definitely lies in the numbers, and in the repetition of the key messages. This should really be the “new approach.”

Finally, as a recommendation for the greater success of future workshops of this kind, I would suggest letting participants decide the workshop that they would like to attend. This would ensure that the people with first-hand experience with the issues are allowed to voice their valuable opinions in the right forum.

The Friday Roundup

Team Estrogen and other cool fringes!

Our all-female blogger team was thrilled to fill up the first coffee cups this morning. We met our ever-eager conference organizers at 7 am after running into the Sheraton Hotel, and out of a typical Canadian cold – the kind that numbs, then bites, then burns your face and legs. We met Dave Hasbury, a man who has learned to draw how humans think. If you want to see what the brainstorming in conference members’ heads actually looked like, check out a photo of Dave Hasbury’s work in previous posts of this blog. We also met the slam poet Ritallin (Greg Frankson), who did a succinct job summarizing key developments in slam poetry style. After that, keynote speaker Paul Hoffert offered his overview of Canadian cultural policy, followed later by a presentation from the Canadian Council of Chief Executives.

What do we want to see in Canada’s cultural policy?

Our afternoon workshop group seemed to circulate the following ideas….

1) The internet is a good thing – treated the right way, the world wide web can help, not hinder, a creator’s career. As Mr. Hoffert explained, the net opens up a virtually unlimited store (book shops and music stores have four walls, a floor and limited space to sell merchandise… but the internet does not.) Without damaging the good relationships some of us share with our publishers/labels, we need to taste this freedom. Upcoming poets don’t need to wait for a publisher to say, “you work will sell, let’s publish,” or for a record label to approve your CD. The Internet truly lets the public decide what’s popular. The web, therefore, is great news for amateurs. But we still must think creatively to make the Internet profitable for artists. We also must design useful copyright laws. At any rate, our group seemed to agree that we shouldn’t demonize the Internet. It can, and should, be regulated, but it needs to be treated as a positive development and incorporated into the fabric of our cultural policy.

2) Appreciating ALL creators and applauding EVERYONE’S success will help the artistic community… and Canada as a whole. As we discussed during the Canadian Council of Chief Executives’ presentation, all creators are important to Canada’s social fabric: Inventors, scientists, not-for-profit sector workers, artists, entrepreneurs. Our group even suggested running synchronized campaigns or workshops with creative representatives from different sectors. Cooperation amongst these sectors will only strengthen our economy!

3) Put an emphasis on training in the cultural policy. Dance teachers, music teachers, etc. need to be armed with knowledge of Canadian artists’ political reality before they dive into careers. Also, deteriorating arts in public education needs to be pounced on. Standardized tests have squeezed some teachers into a situation where they only drill skills (particularly math). When theatre, for example, is cut from a public program, there’s a long-term loss. The arts teach discipline, focus, time-management, the ability to create ideas, responsibility, and the drive to rise to the occasion…. the list is huge. But most importantly, the arts teach students to think outside the box. This ability to think creatively is a crucial skill in the workforce. It may even be the determining factor between a leadership and lower-level position.

4)Canadian artists should stop seeing ourselves less as victims, and more as citizens. (“It’s not what the country can do for you, but what you can do for your country.”)

5) Multiculturalism – deal with it, love it, and let it transform your nation! As Mr. Hoffart pointed out in the morning, Canada’s multiculturalism policy isn’t so crazy after all. Anyone who claims America has fulfilled its self-proclaimed “melting pot” ideal is delusional – or more likely, has never truly toured the States. Pockets of America, as Mr. Hoffart pointed out, are entirely Spanish – the restaurants, the signs, the people on the street, the newspapers. I feel the Canadian policy is the way of the future, and we’ve adopted an attitude that every country with significant immigration should consider. If nothing else, it makes economic sense. Canada is allowing for a diverse group of artists, creators, entrepreneurs and consumers to transform our country for the better. It’s high time the world realized that culture isn’t so easy to label anymore – it has little to do with skin colour, or a common religion. You shouldn’t drown out a voice that doesn’t fit a norm by taking away important symbolic value (for example, France banning Muslim girls from wearing headscarves to school). Canadian culture is about common values – peace, democracy, respect, free expression, kindness, a priority placed on health and education…. Regardless of race or religion, Canadian culture remains intact because of the common values we hold dear. Our Canadian culture may be hard to define for some, but only from an old-fashioned perspective.

My two cents’ worth…

Our workshop facilitator, Megan Williams, asked the bloggers if they had anything to add, and I did. I said I wanted to see accessibility addressed in the policy. Unless a music, dance, or art program is offered in the classroom, poorer families will miss out. For example, not every Canadian child could learn piano if they all wanted to. Not all families can have access to a piano, nor can they afford the lessons, books, and transportation. Ballet lessons are expensive; never mind the shoes and costumes. A middle-class family may chalk up these expenses to raising a well-rounded and cultured child. However, this isn’t a reality for all families. Arts should be for everyone, not just for people with parents who can afford it.

Spoken Word Poetry #2 by Greg Frankson

Culture, creativity and competitiveness were linked together by the CCCE
Where it was shown that one of our greatest strengths is our tremendous diversity
Those who are creative want to live in situations where their talents tend to thrive
So that those who enrich us through their ideas no longer need to worry about how to survive
And also to increase the tax benefits to those who donate to a charitable cause
To a level that is equal to those who financially support those who create the laws
There are artists in Ireland who earn cash from work who since 1969
Have been tax exempt and create a community strong – their approaches we could refine
And apply to our situation to encourage our creative minds to be loosed upon the land
In a way that corporations support through contributions and so government can understand
That in giving up that revenue they will increase our national treasures of art
Enriching every single Canadian who cares about the society we will inevitably depart
And bequeath to our children – what’s the legacy that we’d like to leave?
So it’s incumbent on us to learn how to trust in a consensus we build with reeves
And with mayors and with senior governments, and at the grassroots of the nation
So we can celebrate creativity in all its forms for cultural and economic elevation

Then we look at our craft as producers, creators, and artists, cultural innovators
And how we go about the job of common purpose as societal elevators
We hash through the many different areas of our overarching concerns
And talk together, and debate, and sift through the resulting returns
That are scribed onto chart paper and will be used to form the core of the course
That we create to form a unified policy articulated with force
The arts bridges so many disciplines, affects populations far and wide
Illuminates our national psyche in ways that fill our country with pride
But we must recognize the ways in which we cross barriers between the creation
And the production and the distribution that relies on effective dissemination
Of our cultural expressions that we work so hard to bring our people together
Policy that’s future directed must directly reflect the passion of our artistic endeavours
It needs to bridge the gaps that were created between Quebec and the rest
And to reflect our diversity – no doubt the glue that binds our best to our best
With a commitment from artists and government, private interests and agencies
We press ahead with confidence to create an cultural community that’s the best it can be

We have to conquer the fact that we have the tower of Babel at every table
Communications across the silos must happen for us to tear away the limiting labels
That separate each other from each other, and lead to semantic arguments that distract
And keep us from fighting for what we all believe in, and get the dignity that we lack
The methods we use to create what we do are shifting in new and novel ways
So we have to take notice and make the changes or be left in the olden days
New technologies demand new skill sets for our artists to pursue their craft
And we must depend on each other more, not always run off to the government to draft
New legislation and new regulation – perhaps now it’s time to dispense
With too much reliance on old funding sources and find new paths to excellence
We may be too consumed by the need to sell ad space and to strictly entertain
Instead of pursuit of art for art’s sake – commercial success while we strive to maintain
The passion and the spark that sits at the heart of the artist’s decision to persevere
Let’s take the necessary steps together to keep our creative talent residing here
Canadian content rules the roost but we have to keep distributing our works anon
And formulate the best approach that saves CANCON for our children once we’re gone

We cannot reduce all art to digital form, for that would destroy the unique aspects
Of many of our best forms of expression meant to be appreciated in many respects
Directly in the public space with the creators on hand to discuss and to show
So that people will understand, they will respect, they will value, and they will know
The greatest we’ve ever produced will be given the stage they so richly deserve
And in this process the needs of the past, present and the future will be served
So while the policy directions must form a strong part of what we have to do next
We should keep our successes in the public eye and our full cultural body of works in context
As our times destroy the model that brought our sector to the point we’ve reached today
It’s imperative we continue the work we’re doing to shift our methods without delay
Our widely divergent points of view all must bring the urgency times demand
To the way they interact to draw the conclusions that will inform our future stand
Lots of progress has been made where we’ve broken down into smaller groups
Now we should work even harder to merge views of constituent crews of our troops
And create the unification of purpose that we must have to gain the policy
That makes the pursuit of artistic endeavours a joy for all Canadians to see.

Maureen Shea's Performance

Maureen Shea dancing during the President's Reception.

Reflection at the CCA President's Reception

Conversations of reflection filled the air as the CCA President's Reception marked the end of a productive day of debate, conversation, networking and an overall passion for artistic creation. As delegates mingled, with glasses of wine and sandwiches in hand, interpretive dance performer Maureen Shea of Grasshoppa Dance Exchange transformed the ordinary conference room into her stage.

Elegantly contorting her body, Shea's props were not only chairs and twine, but also the audience members she engaged, positioning them within her act to hold string that she could jump over, crawl under and wrap herself in.

While Shea danced across her stage, artists and policy makers from across the country spoke to one another about their common dedication to artistic creation. This sense of community instantly reminded me of Paul Hoffert's address earlier in the day where he spoke of small towns and their dedication to art, stating that they did not want to live in a place without theatre, visual art or the orchestra, because these things are crucial in building strong communities. If it wasn't for community members such as the passionate artists and policy makers who gathered at the President's Reception, Canada would lack many of it's authors, filmmakers, visual artists, actors, dancers and countless other essential members of Canadian society.

Building the Infrastructure of the Arts

Of the many, many important points of cultural policy that were discussed today, one of the themes that I noticed, though it generally flew under the radar, was the importance of building and rebuilding the physical infrastructure that supports artists/creators and producers/cultural industries alike. Without theatres, galleries and museums the public would have no space to engage with the arts.
"Infrastructure is more than just roads and sewers," said David Stewart-Patterson of the the Canadian Council of Chief Executive Officers. Though David was one of the more controversial speakers of the day, as a representative of an industry typically not so supportive of the arts, this comment got people thinking.
In Anne-Marie Des Roches' workshop on artists/creators, one of the delegates mentioned the need for improvements to physical structures as an important part of federal cultural policy and funding allocation. When we consider the declining state of many of the country's arts venues - this statement seems particularly poignant. Looking at the Bloor Cinema in Toronto, in which falling debris caused a temporary closure, we can literally envision the state of arts infrastructure in Canada. While some might say that funding for physical structures pales in comparison to real artists who require real money to live, it might be worth reexamining the importance of renovations to ensure long-term housing for the arts.

Money Doesn't Talk... But We Can

As Alain Pineau wrapped up the day, he recapped a few of the issues. Most notably, that "just asking for money isn't enough."

Hours earlier, as I munched away on deli sandwiches and cauliflower soup, I briefly discussed this exact issue with a handful of attendees at my table. It seems as though different sectors are always asking for money, but why? As David Hasbury had mentioned, the dollar figures are seemingly poured into survival, not creation in many cases. Asking for money is one route to take, but may only be a satisfying journey if the recipients of that money are specifically outlined. The what and why behind a monetary request needs to be determined.

Greg Frankson and I also briefly discussed the issue and his sentiment was that the government might not always be the one to help solve the problems. This is why he actively organizes musical and spoken word events. Creative minds are thus creating a way to gain funding. Various arts groups in Ottawa such as UpOn the Wall and World Beats and Eats are concentrating on similar activities. Could this kind of ideal be implemented on a larger scale?

As discussed today, this industry should concentrate on establishing alliances with other areas of society. This way it's no longer about asking for money, but focusing creativity and efforts towards growth.

Short-Term Solutions for Long-Term Effects

There it was, spelt out in dark magic marker on an easel of chart paper -- the individuals in the room were coming together with the ultimate goal of establishing the workings of a CCA Strategic Plan. But as discussions commenced, a focus seemed to be absent. The issues were laid out -- from finances and ownership, to content and legislation/regulation -- but the conversation quickly became diluted with many problems and few openly stated paths towards solutions.

Many of the cultural workers began to voice a struggle to figure out exactly what they were trying to do and whom they were trying to reach through this forum. Ideas of tossing the old paradigms away for new ones was approached, as well as steering away from the studies and looking more at the answers to the issues. However, it came down to short-term or mid-term goals, in order to establish a plan that would not take on weighted expectations, but focus on aspects fit for change.

Although admitting she planned on staying in the background of the event, conference co-ordinator Philippa Borgal came forward with a plan. It outlined the integration of a tax credit towards those who enroll their children in extra-curricular arts programs -- mirroring the sports tax credit already in place. "I think it's a very achievable plan," she said. And as other individuals in the room praised and agreed with Philippa's proposal, this heavily discussed concept of short-term goals began to materialize.

Think Local, Act Global.

Yes this may be the reverse of the old-ish adage, "think global, act local," but it seemed to resonate in Paul Hoffert's talk on "Rethinking Canadian Culture and Arts Policy." Paul talked a lot about the importance of local arts and cutltural communities and how the process of cultural diffusion is rampant in our world. He also stated though, that the popular idea of the global village is a myth. He used the example of Spiderman in India in which the character of Spiderman became a young Indian boy from Mumbai, instead of a young American boy from New York. Paul said that this was a sign of the slow halt of globalization, where local cultures are becoming more important in the arts than the global market. But I wondered, isn't the fact that Spiderman is in India AT ALL an enormous example of globalization? Sure the big American distributor put a local spin on an old American favourite, but it still remains just that - an old American favourite. To me this is a mark of continuing cultural diffusion. And I also have to wonder, if Spiderman became Tom from Yellowknife, sported a lumberjack shirt and worked as a mountie by day, would this satisfy CanCon regulations?

Putting the 'Art' in an Arts Discussion

As I stood examining David Hasbury's dynamic flow chart-esque illustrations today, it brought back memories of doodling during an over-sized lecture in my early university years. The main difference between the method to my madness and his: a message. While I scribbled flowers or misshapen hearts, David's work truly encompasses all of the effort, passion and energy that has gone into this conference so far. Watching him take in each detail of the speeches this morning and translate them into words, images and connections was art, right before our eyes.

Similarly, Greg Frankson's rapportage inspired that same sense of taking all the information and ideas throughout the day and giving them a pulse, a voice. When I spoke with Greg he mentioned that this was his first stab at impromptu poetry of this nature -- not that anyone could tell. His words offered a human approach to a distinctively human subject.

Both of these artistic offerings helped to bring us all back to the abundant amount of discussion flooding the day and get a feel for the most talked about and memorable elements. We were able to re-examine the issues through carefully created, yet spontaneously spun words and images of exactly what we're all fighting for -- art.

Youth, Digital, Revolution... ?

As many of the delegates remarked to me this morning, the first half of the day was very much a recap of the previous day's Chalmers Conference. There was a loud cry for funding for the arts, and along with that the question of, "what else is new?" But an equally loud call was heard for attention to the emerging digital media revolution. As the group of us young blogger gals sat together over breakfast today, delegates flowed past our table and at least half a dozen asked the question, "so what exactly IS a blog anyway?" As I attempted to answer the question it dawned on me that although I'm here working as a blogger myself, the practice of blogging has the potential to destroy my career as a journalist and creative writer! (Well maybe I'm being a bit dramatic, but I'm an actor too so give me a break...) With the ability to publish any thoughts at any given time to an audience of potential millions, the craft of professional writing, that is writing with a trained and authoritative voice, may slowly but surely be swept away in the rapidly surging current of the information age. What I mean to say is that blogging is instant-publishing for anyone, anywhere. Who needs newspapers and foreign correspondents when you can read first-hand accounts of the war in Iraq in a blog?
This idea seemed to resonate through much of the day, as delegates and speakers discussed the implications of digital media on revenues for artists as well as work for intermediaries like record companies.
"It is an increasingly artificial distinction," Alain Pineau said of the traditional artist/creator - producer/cultural industries divide. In the information age, the artist can become her or his own producer, publisher or director, which may mean less work for the cultural industries but could also simply mean a pooling of human resources...
I know this seems a bit scary for the older (though wonderful) generation of artists and producers, but the fact is that more and more people are getting involved in the arts for this very reason. The once incredibly daunting task of finding a record label to produce your first album is nearly abolished in this day and age as you can easily record high quality sound in your own home and make it available for download online. Instant stardom!
Well maybe not instant, but at least you can tell your friends where they can find your latest and greatest.
But how do we bridge the artist/producer gap without putting the middleman out of business or the artist out of precious dollars and real-life exposure?
That was the major focus of the artists/creators workshop I attended today. What we came up with was a mish-mash of "values" that we thought should be included in future federal arts policy, including an economic model for artists who want to create, produce, sell and disseminate their own work. But is it viable? Or is our cultural policy framework too set in its old, dichotomous ways?

Art Education

How old does a person need to be to be considered an artist? I believe that one of our greatest roles is to advocate art in schools. Think back to how you first found your passion for the arts. I know that mine was at a very early age, when my mother enrolled me into an art camp. To my surprise, I actually met someone here (Jessica Pancoe) who had remembered me because we had attended that camp together.

It is essential to insert a sense of art into the people who will be running this show in the future. The National Arts Education public awareness campaign could be used as a model in term of amarketing tool. Please check out: http://www.americansforthearts.org/Public_Awareness/

I hope that the conversation concerning art education continues tomorrow.

Yesterday's Culture is Today's Business

Most of us know Richard Florida and the direct correlation that he has made between economically prosperous cities and the amount of creativity that it fosters. Luckily, for us, this has also woken up those who sit outside our sector. The art sector does contribute to growing economies because of the critical link creativity and culture has to competition. We are all well aware of what art and cultural activities have to offer otherwise we wouldn’t be here. However we need to start using the power that art brings as a tool to sell sell sell!

"Wow. Culture is fun." - Alain Pineau

The workshop began with a round of introductions from the participants. The prevailing sentiment was that there would be few answers by the end of the day.

Frankly, this turned out to be a startlingly accurate premonition. Today’s discussion merely confirmed the slow and arduous nature of policy-making. Volumes of discussion took place before anything would actually happen. This included meticulously outlining direction, potential goals and how to reach the goals.

One of the problems that seemed to hinder progress seemed lie in the basic structure of the workshop. The workshop group was comprised of individuals who did not otherwise maintain ongoing contact with one another. This often resulted in clashes of opinion and mild debate. This kind of environment was not conducive to consensus.

Beyond all the jargon, it was markedly clear that there were many recurring problems and themes inherent in cultural policy today. Some of the more pressing failures include the misguided focus on the supply side of arts, rather than on the creators of art. Secondly, the relationship between education and arts had been degenerating over the years, creating a poor environment to sustain the arts. And finally, the stagnation of audience growth no longer accommodated the needs of a larger community. It was clear that none of these problems had easy solutions.

Meanwhile, after a contemporary policy vision is established, changes will hopefully follow.

Career Planning

Drawing from her own experience, Dian Marie Bridge of the Playwrights Guild of Canada says a lot of administration staff in arts organizations are artists themselves, trying to make ends meet financially with a steady nine-to-five job, granting themselves access to their art, while helping to pay the bills.
As discussed in the second group of the Artists and Creators workshop, increased focus must be put on career planning for artists, as well as "educating the artists in what the issues are," when it comes to cultural policy, she says. A major focus of the workshop was looking at the lack of access to training and development for artists, which are crucial for developing a functioning artistic society. The group agreed that this must include providing access to adequate and affordable facilities for artists to craft their work, while at the same time providing them the required tools of their trade.
Many members of the group feared that emerging artists and those coming out of university are unaware of many issues in cultural policy and are not properly equipped to enter the workplace as an artist. Many of these issues are closely linked, showing a need for training.

Jessica Rose

Workshops

Almost done the workshop now and it seems like we are no further than when we began. Everyone seems to be able to agree on the problems, although some may be more tailored to one area of media/culture/the arts than another.

I feel like our group is too large, or perhaps our seating arangements are not really conducive to the respectful, all-encompassing discussion I had anticipated. I feel like we keep coming back to a change in demographics, an age-gap, a paradigm shift, and yet, no-one seems compelled to involve the very youth they are concerned about - We're sitting among you my friends!

The CCA can be used as an example of a cultural group which has not only engaged youth, but also new technology merely by having University students blogging at this conference.

Anyway, I will end this now as I am being distracted by the conversation taking place around me.

-Laura Hall

NPC Day One Afternoon Photos

Checking out the Blog

Greg Frankson, Delivering his Second Rapportage

Some Photos from the Different Workshops that Were Going On

Keith Kelly Looking In

Alain Pineau Comments

Alain Pineau being interviewed by Sandra Abma of CBC TelevisonCarpet

Age of Change

Internet, P2P and big screen to laptop screens are ways technology is quickly becoming the way of the future. The fact that eight students have been asked to blog throughout the course of this conference goes to show that the way we are communicating is changing.

As I sit in the Rideau Room, taking a breather from the Producers and Cultural Industries workshop, I can't help but notice how many individuals involved in today's conference are in a sort of fear of what these technological advancements mean. There is a great deal of creativity being poured into the web through weblogs, interactive media, networking and alternative publications. Much of this has to do with how our current society is changing the way we consume information and seek enjoyment. Certain areas of arts and culture may now be vying for "cyber shelf space" in this age of a new paradigm.

"We need to find new avenues to reach Canadians," says Mark Jamison, CEO of Magazines Canada. Jamison remarked during our workshop that we need to let our past go and look towards development. Thinking outside the existing boxes has become a theme at this conference -- largely because the past ideas haven't noticeably helped thus far. An examination of where the industry is headed needs to become as much of a part of new policies as the issues of today are.

Technology is not necessarily the ultimate answer, even as a blogger I will admit that. Digital developments are not an answer of substitution, but rather an emerging effective way to approach an Internet-savvy future -- much like how this blogging venture is not necessarily a substitute for the dialogue within the walls of this conference, but another effective way to get the message across. In the circumstances of arts and culture media, it has been voiced in this workshop that technology can work with a supportive framework.

Spoken Word Poetry #1 by Greg Frankson

Today begins a tremendously important process
To reform and refocus, redefine and reveal a new course
A new policy for Canada’s cultural evolution
If the sky is blue, then we should not reflect that in our disposition
For there are many causes for rejoicing, and reason to be excited about the future

The CCA with all of you will engage in a rigorous and constructive defense
Of our Canadian arts and culture and their true significance
In the definition of our nation, where territorially we seek
To outline our true ambitions, therefore it’s in this vein that I speak
About the past of modern industry that accelerated the diffusion
Of our cultural commonalities that have fused social inclusion
Into the way we view our mosaic within the broader global village
Which for many years sought to snuff local views when corporations pillaged
The traditional place of government as the economic drivers
Now we’ve transformed the artist from mere producers to commercial survivors
It’s a double-edged sword to peddle digital derivations
Of works that first may have been meant for mere enjoyment, not for sale across the nations
But the power of globalizing forces to force us to all sing the same hymns
Is now facing a powerful counter-current driven by communities within
The localized environment who understand the importance of seeing themselves
Reflected in the expressions of culture no matter the territory into which they delve
Like when McDonald’s switches Ronald to a comic hero from Europe’s shores
Or Spiderman in India comes from Mumbai so that the people from Lahore
And in Delhi and Calcutta identify with the image being portrayed
The corporate interests that once discounted local populations have paid
Strict and close attention to the shifting sands of the trends
So they can continue to maximize shareholder value upon which they all depend

Tweet tweet, twiddle twiddle
There’s only one trendline with a hole in the middle

Because decentralization and deregulation have made the big bigger still
And injected the tiny individual artist with newly essential entrepreneurial skill
If our institutions cannot thrive because they continue to feel the squeeze
Who will tell our stories abroad in the future so our stories don’t dissipate in the breeze?
Support for our endeavours comes from the joys of legislation
The backing of regulation, the strength of programming and the bliss of taxation
The long tail of consumption also creates opportunities for Canadian expressions
And if we take up the challenge we may be able to learn important economic lessons
For individuals and organizations that can learn to exploit all avenues that we can
So that we all can go forward to share our artforms all across our native land

An agenda of change this broadly constructed must attack all sacred cows
So we must delve deeper into the critical issues, go as deep as innovation allows
The institutions must embrace our goals and come to see where we could be
If we question the arts councils, Telefilm, the NFB and CBC
Plus the government departments that we work with every day
If we can question and learn some answers then perhaps we’ll find a better way

Throughout our proceedings we’re forced to acknowledge we’ll learn only what we already know
When we move from old ideas to new and approach them differently from above and below
How do we go forward to benefit artists and how do we stabilize our funds
And when we connect dots how do these building blocks connect us one to one?
So you’ve been challenged at Chalmers and again today to talk amongst yourselves
And find some strategies the government cannot skim through then leave upon the shelves
The executives of Canada believe we must invest in our arts posthaste
So that our cultural productivity and profitability can both keep pace
With the things we keep directly closest to all Canadians coast to coast
So dive deep within it and subsume yourselves in what you truly desire most.

Link

We have just finished lunch, during which there was a rather contraversial speech. It referred to tax policy and making patents and royalties tax free (or at least, that was my understanding of it...), and sparked lots of interesting debates. Who should and should not be taxed? How much? How do you measure what is creative? The list went on and on.

I am now in Kelly Hill's workshop on producers and cultural industries. We're just introducing ourselves and discussion will begin shortly. I'll write about what went on a bit later so stay tuned.

-Laura Hall

"Artists deserve to live in a dignified manner"

Just before Ottawa spoken-word artist Greg Frankson took the stage to provide his unique rapportage of the conference thus far, one audience member's comment resonated with many members of the crowd.

"Artists deserve to live in a dignified manner," she said, addressing the issue of respect by the government to insure that artists are not living in poverty, as many in Canada do.

This is an issue that was addressed by numerous speakers who have taken the stage so far, including facilitator David Hasbury, who recognized that the income for many artists does not allow them to create, rather their often small income goes toward their survival.

For this reason, Jennifer Cayley of Storytellers of Canada would love to see more youth tell their stories at the conference because they are "who is living and experiencing this stuff." She outlines that young, emerging artists are crucial members of the artistic community, often sacrificing income for creation.

"I'd love to see more concrete imput from the guys who are coming up behind us," she says.

Both Hasbury and Cayley recognize the crucial involvement of young artists in Canada, making it clear that an investment in young artists is an investment in our future.

Rethinking Canadian Culture and Arts Policy

After the opening remarks, Paul Hoffert, introduced his “Framework for Change,” and he concluded with the idea that “the future is not what it used to be.” For those of you who could not be with us today, I have summarized his insightful ideas in the following paragraphs. If you have any further questions about his presentation do not hesitate to contact me.

Trends:
1) Even though we constantly hear the claims that “cultural diffusion is rampant,” that the “global culture is being harmonized,” as a result of globalization, the truth is that we are now experiencing a return to local cultures around the world. A very illustrative example of this trend is the announcement by Marvel of their decision to launch Spider-Man India. This new character, interweaves local customs, culture and mystery to make it more relevant to the readers. If you want to see this character, I would encourage you to visit its website http://www.gothamcomics.com/spiderman_india/.

2)The world in now characterized by “disintermediation.” Mr. Hoffert likes to illustrate this trend by calling it the “Bagel Effect” because it seems to leave a whole in the center. This whole seems to be caused, among other things, by a move towards less power in the middle in both the public and private sector, and more downsizing, deregulation, decentralization, and digitization. In the cultural sector, this effect is characterized by a shift of power away from what it used to be the center, the cultural industries, because big arts organization are getting bigger and more global, while creators are reaching audiences directly.

Canadian Support System:
The problem that we currently have with the Canadian cultural policy framework is that it does not fit the 21st century. To illustrate this, Mr. Hofftert talked about the current components of the policy framework: Legislation (copyright, status of the artists), Regulation (CRTC, internet), Taxation, Programs, Arts Councils, and Government Ministries. He raised the major issues faced by these components, and some of his proposed solutions. The one that really caught my attention was the idea that we need to merge parts of heritage and industry, that we need to go back to the culture and communications framework, and that copyright should become whole.

Finally he devoted the rest of his presentation to overview how do we move forward. Even though his presentation was not as positive as Alain Pineau's remarks that "the sky is blue" (due to all the work that we need to do to get where we need to be), he definelty gaves us something to think about.

NPC Day One Morning Photos

Here are few few photos from the morning of the National Policy Conference .

Bev Oda, Minister of Canadian Heritage

The Crowd

Robert Spickler, CCA President and Conference Host

Paul Hoffert, Keynote Speaker

Dave Hasbury

A detail shot of One of Dave's pieces.

"Tell me so that I can see it” - Dave Hasbury

Artist Dave Hasbury and his vision.

Dave Hasbury is a consultant and facilitator, but above all, a visionary. He uses art to reach out to the general public. Traveling conference to conference, he creates masterpieces to stir the mind. Hasbury says he seeks to create a dialogue by illustrating what people have difficulty discussing. He works to deconstruct the barriers around nebulous issues like “decentralization” and “cultural policy”. Instead, he transforms them into manageable, bite-sized pieces accessible by all. The pleasing visuals are simply icing on the cake. What an innovative response to society’s dwindling attention span.

Discuss.

“The future is not what it used to be” – Yogi Berra

People are retreating to the hallway now to get their caffeine fix. It’s 11 a.m. and we’ve just finished the first segment of the CCA conference.

After a hearty breakfast, bodies began to fill the Rideau Room at the Sheraton Hotel downtown. It was almost 9 a.m. and the room was abuzz with arts proponents from across the country. The conference, “Mapping Canada's Cultural Policy,” was kicked off by keynote speaker and “Renaissance man”, Paul Hoffert. His casual approach and diverse background made it easy for conference-goers to engage.

Hoffert’s presentation, “Rethinking Canadian Culture and Arts Policies”, tried to synthesize a wide array of topics. During his address, he debunked a few cultural myths, one of which I found particularly interesting. He mentioned how Marshall McLuhan’s widely-accepted idea of a global village was misunderstood. Hoffert posed a simple question to the audience: “Who cares about billions of people?” He continued by explaining that we only recognize 1,000 others, keep track of 150 and trust only 20. This seemed bleak, but true. This increasing apathy helped to explain why people need a local thread in order to relate – and more importantly, care.

Another tidbit that Hoffert illuminated: we use digital media 3,000 hours a year, which translates into 8 hours a day. We are a culture tanned green by the glow of our monitors.

He closed by asking, “Where do we go from here?” Provocative, indeed.

Keynote speaker Paul Hoffert

Discuss.

Lunchtime!

Well, we've survived the morning and are stuffing our faces with delicious sandwiches, salads and desserts.

I must say, I am very impressed with the presentations by the artists recapping yesterday's experience and this morning's. The story-telling ability of Dave Hasbury goes far beyond just creating wonderful picture narrations!! He told the story of his mural from yesterday very eloquently. Greg Frankson blew me away with his spoken word, improvised poetry. He wrapped up everything spoken of in the morning with rhymes and rhythm.

Greg mentioned the fact that he was listening too much and hadn't been writing enough about the conference so far, and I must say, I am in the same boat. There is so much information about cultural policy and personal experiences floating around it can get a little overwhelming.

Well, I'm off to get some tea and listen to the lunchtime speaker.

-Laura Hall
ps. Feel free to comment, question or ask me to elaborate anything I post.

Chalmers Conference Photos

Here are a few photographs taken during th first day of the Chalmers conference.

The Crowd

The crowd eagerly listening to Dave Hasbury's discussion determining the most pressing issues to Arts organizations today.

Discussion

Dave in Action

Roundtable debate about which issue is the most important.

The fruits of Dave's Labour.

Alain Pineau

Alain Pineau

The Minister is here

Just before the Conference started, the new minister of Canadian Heritage and the Status of Women, the Honourable Beverley J. Oda, pleasently suprised us with her arrival. The fact that she decided and was able to attend, even though this may be a really busy time for her, is definelty encouraging for the sector. Her presence sends the signal that she understands the need to work together with the members of the arts and cultural sector in the Development of Canada’s Cultural Policy. At the same time, this seem to be the right forum to make her first official apperance after her appointment.

The Beginning

What a great start to an extremely interesting and perhaps transformative weekend.
Sitting in groups of 8, we got a chance to chat with many people. Robin and I were lucky enough to be sitting at a table with a member of the Board of Governors for the CCA, Peter Gardner.
I must say, this room is full of smiles and respect, interesting discussion about change, and definitely an open and supportive atmoshpere. I feel very comfortable and very well accomodated to.

I'm excited for the workshops where I will really have a chance to get to know people's experiences and opinions. Paul Hoffert was an excellent introduction to ideas of reform and questioning the way we currently think and act upon culture, so talking about issues such as globalization (the "global village") and all the wonders it entails in more detail should be interesting.

Signing off for now,
Laura Hall

Delegates to Tackle Challenging Issues at Upcoming Conference

Delegates will address several challenging topics relating to cultural policy, globalization, and advances in new technologies at the CCA's 2006 National Policy Conference March 3 and 4. The conference provides a unique opportunity to map out what currently exists in terms of policy, what more is needed, and how to ensure policy-making keeps pace with changes in technology.

Four concurrent workshops – two focusing on artist/creator issues, and two on producer/cultural industry issues – will take place on Friday, March 3. In preparation for the conference, the CCA has produced background papers to provoke debate and innovative thinking about public policy. In addition to the basic questions, delegates will be challenged to think creatively on several broad-ranging issues such as:

• What opportunities and challenges do new technologies and globalization present to the cultural sector?
• Are established roles and definitions (artist/performer/producer/distributor) disappearing as individuals cross traditional barriers to create and disseminate their works?
• Are Canada's artists (self-employed, highly educated, multi-skilled, creative) at the vanguard of the new knowledge-based economy? Are they, in fact, pioneers of adaptive processes through legislation such as copyright and status of the artist, and advocacy for access to social benefits for the self-employed and fairer taxation treatment?

Debate is sure to be lively and we encourage everyone to make their voice heard. Conference delegates will be sent the background documents in advance of the conference; synopses are available at www.ccarts.ca/en/events/synopsis.htm.

The workshops will be led by four bilingual expert cultural managers: Susan Annis (Executive Director, Cultural Human Resources Council, Ottawa); Anne-Marie Des Roches (Director of Public Affairs, Union des artistes, Montréal); Kelly Hill (President, Hill Strategies Research, Hamilton); and Megan Williams (arts consultant, Halifax).

The mix of delegates representing a wide variety of artistic disciplines, agencies, cultural institutions and industries will undoubtedly make for dynamic discussion, effective networking and strong outcomes to put forward to our new federal government.

The Chalmers Conference is sold out. There are just 20 spaces left for the National Policy Conference. Register today!

CCA conference provides opportunity to influence new government’s cultural priorities

Representatives of Canada’s arts and cultural sector from all disciplines and regions of Canada will gather in Ottawa March 2 to 4, 2006 to discuss key sectoral priorities and establish strategies to influence the cultural policy of the new Government of Canada.

“Mapping Canada’s Cultural Policy: Where do we go from here?” will provide a three-day forum for delegates from across Canada to collectively identify policy issues that must be on the government’s agenda in order to build a thriving Canadian cultural sector. The conference, which will attract arts service organizations, cultural organizations and industries, individual artists, producers, labour groups and government bureaucrats, is presented by the Canadian Conference of the Arts, Canada’s leading voice on cultural policy.

The conference is particularly timely given the recent election of the Conservative government and the uncertainty about exactly where the party stands on issues such as the planned increase to the budget of the Canada Council for the Arts, status of the artist, cultural diversity and foreign ownership.

“This is precisely the time when it is imperative to assess the national policy framework of the cultural sector at large,” said Alain Pineau, the CCA’s recently appointed National Director. “It is important that the sector work closely with the new government to help refocus and frame 21 st-century Canadian cultural policies to face current technological and international trade challenges and opportunities.”

Conference delegates will address key questions such as:

• Could it be that Canada already has a cultural policy without knowing it?
• What will be the cultural environment of tomorrow?
• Do existing policies equip Canada for the future?
• Where do we go from here?

The 2006 conference is a blending of two conferences presented annually by the CCA. The Chalmers Conference, which is designed and intended specifically for representatives of arts service and cultural organizations will begin on March 2 with a discussion of key issues identified by ASO’s prior to the conference. This will pave the way for the National Policy Conference (NPC) on March 3 and 4 with delegates from every part of the sector exploring those and other issues facing the sector. Chalmers Conference delegates re-convene immediately following the final NPC session to discuss strategies for action to ensure the sector’s priorities are heard by the new federal government.

A focal point of the conference will be two concurrent workshops, one examining specific issues relating to artists and creators, and the other exploring issues relevant to producers and cultural industries.

Musician, writer, and hi-tech wizard Paul Hoffert will bring his lively presentation style and incisive thinking to the role of conference keynote speaker. Hoffert will kick off the National Policy Conference with a provocative presentation examining new approaches to production and dissemination of culture and the arts which will provide a backdrop to the delegates’ discussions. The Financial Post has described Hoffert as one of the “New Mandarins” along with Bill Gates, and the Toronto Star says “Paul Hoffert is the ideal visionary for the Digital Age”. Hoffert is currently on Harvard’s Faculty of Law and working on digital media exchange.

To ensure the conference format is not just talking heads, the CCA is injecting some contemporary artistic elements into the conference proceedings. These include:

Graphic Facilitation – David Hasbury, a noted consultant in organizational and community development, will facilitate the conference. Hasbury utilizes “group graphics” to capture the words and moods of the discussions in a visual way. Hasbury draws the themes and outcomes of group discussions on a vast wall chart, enabling participants to literally see what they are saying.

Rapportage – Greg Frankson, aka Ritallin, has exploded on the Canadian scene as a spoken word artist, writer and motivational speaker. He has just completed work on Alexa McDonough’s successful re-election campaign and is emerging as a leader within Canada’s artistic and Black communities. “Ritallin” will perform improvised poems at various points throughout the National Policy Conference that will reflect his interpretations of the discussions.

Interactive Dance – Independent dance artist Maureen Shea will lead an interactive dance component during the President’s Reception on March 3. Shea instigated the Grasshoppa Dance Exchange in 2002, and has led and participated in countless Hops and Dance Farms in Ottawa, Toronto, Montreal, Massachusetts and Italy. A performer and arts educator, Shea will enliven the reception with impromptu performances reflecting the mood of the day’s proceedings and engaging participants in unexpected ways.

For more information on the 2006 Chalmers and National Policy Conferences and to view complete agendas, please visit www.ccarts.ca.

Opportunities are available now for interviews with the CCA National Director and conference speakers.

For more information, contact:
Jessica Pancoe
Communications and Member Relations
Canadian Conference of the Arts
(613) 238-3561, ext. 10
Jessica.pancoe@ccarts.ca

Agenda Reflects Timeliness of CCA Conference

Register today! Be an early-bird and save $100 on conference fees by registering before February 10!

The complete agenda for the CCA’s upcoming conference Mapping Canada’s Cultural Policy: Where do we go from here? is now available on our website.

The CCA’s two day national policy conference brings together the key players and stakeholders in cultural policy in Canada -- individual artists, cultural organizations and industries, labour groups and government bureaucrats.

Conference delegates will tackle key questions such as:

• Could it be that Canada already has a national cultural policy without knowing it?
• What will the cultural environment of tomorrow be?
• Do existing policies equip Canada for the future?
• Where do we go from here?

Among the agenda highlights are two concurrent workshops that will examine specific issues relating to artists/creators’ issues and those relevant to producers/cultural industries. Discussions will focus around three CCA documents that will be sent to delegates in advance of the conference: an overview of Canada’s cultural policy, and two papers relating to specific issues facing each group.

Keynote speaker Paul Hoffert will kick off the conference with a provocative presentation on new approaches to production and dissemination of culture and the arts which will provide a backdrop to the delegates’ discussions. The conference will also have a dynamic edge through “graphic facilitation” provided by facilitator David Hasbury – a process of reflecting back conference discussions through words and images, plus on-the-spot “rapportage” by spoken word artist Greg Frankson summarizing each session in his own way.

This conference is crucial to the sector’s advocacy process as it will lead to the CCA’s Strategic Action Plan for the coming 18 months or so. Make your voice heard – be part of the discussion. Ensure your priorities inform advocacy with our new government!