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1979-80-Annual-Report.Pdf The Canada Council was created by an Act of Parliament in 1957. Under the terms of the Canada Council Act, its purpose is “to foster and promote the study and enjoyment of, and the production of works in, the arts.” It offers a wide-ranging program of financial assistance and special services to individuals and organizations. The Council also main- tains the secretariat for the Canadian Com- mission for Unesco and has some responsi- bility for promoting Canadian culture abroad. The Council is headed by a 21 -member board appointed by the Government of Canada.The board usually meets four times a year. Its decisions on policies, programs and other matters are implemented by a staff headed by a Director and an Associate Direc- tor, both appointed by the Government of Canada. The Council and its staff rely heavily on the advice and cooperation of an Advisory Arts Pane1 and of artists and arts-related professionals from all parts of Canada, who are consulted both individually and in juries and selection committees.The Council also works in close cooperation with federal and provincial cultural agencies and with the Bureau of International Cultural Relations of the Department of External Affairs. The Council reports to Parliament through the Secretary of State, and is called from time to time to appear before parliamen- tary committees, particularly the House of Commons Standing Committee on Communi- cations and Culture. Its accounts are audited by the Auditor General of Canada and re- ported to Parliament. Annual grants from Parliament are the Council’s main source of funds.These grants are supplemented by income from a $50 mil- lion Endowment Fund established by Parliament in 1957. The Council has also received substantiai amounts in private dona- tions and bequests, usually for specific purposes. i >A iu ,.,-_L..-‘.e ..-il-.asti-- The Canada Council Members Elise Paré-Tousignant Claude Gauthier, Mavor Moore Assistant Director (Chairman) Pascal Parent and Treasurer Germain Perreault John Parkin David Bartlett, ( Vice-Chairman) (until June 29, 1979) Assistant Director and Secretary of the Nini Baird Christopher Pratt Council (until Jone 20, 1979) Robert Rivard David Peacock, David Owen Carrigan Assistant Director of Ruth Schiller the Arts Division Dorothy Corrigan (until May 26, 1979) Marcel Sormany Claude Lussier, Secretary-General Gordon Dowsley H. Arnold Steinberg for the Canadian Commission for Peter R. Duff ield Rita Ubriaco Unesco Colin M. Jackson Norman Ward William Kilbourn Executive Staff Charles Lussier, Eva Kushner Director Sandra Lynne LeBlanc Timothy Porteous, Associate Director and Director of the Arts Division 1 The Canada Council The Canada Council’s Annual Report to 4 Chairman’s Foreword Parliament includes audited financial state- ments and a review of the year’s activities in 9 Arts Programs and Services all Council programs. 10 Dance A Supplement to this Annual Report, 13 Music including a complete list of grants and serv- 15 Theatre ices rendered during the year, names of recipients and brief descriptions of each type 17 Touring Office of grant and service Will be published separately. It Will be available later in the 19 Writing and Publishing year from the Canada Council’s Information Service. 22 Visual Arts and Art Bank Canada Council 27 Arts Awards Service 255 Albert Street 29 Explorations P.O. Box 1047 31 Prizes and Special Awards Ottawa, Ontario Kl P 5VB 33 Killam Program 37 The Canadian Commission for Unesco 41 Administration 45 Finances 46 Introduction 47 Financial Statements 63 Appendices 64Advisory Bodies, Juries and Selection Committees 71 Canada Council Publications Chairman’s Foreword The Canada Council is made up of 21 Would anyone honestly suggest that an members appointed by the Governor in economic solution, for example, is the appro- Council and drawn from every region of the priate one for Northern Ireland? For Iran? country and many walks of life. During my Would a new constitution for Israel or first full year as its Chairman, I have had Lebanon bring peace to the Middle East? It occasion to revisit many parts of Canada and would be foolish to oversimplify complex talk to artists, politicians, board members of situations that have their political, military, arts organizations, journalists, and the public. economic and many other aspects. But the I have also visited a few other nations with sooner we realize that such problems are challenges and problems similar to ours- deeply rooted in cultural differences and dis- comparing notes, giving and taking ideas. parities, the sooner we may start applying The main conviction I have arrived at as appropriate remedies. a result of these travels - and I believe it is I believe that an appropriate emphasis shared by an increasing number of observers for Canada right now is cultural development - is that the present crisis in Canada’s life and exchange. During the past quarter cen- has far more to do with its cultural affairs tury there has been a creative explosion in than with the state of the economy or the this country perhaps unmatched, in SO short constitution. a period, in any other place or era. But just as If we do not now arrange to get to know our arts and letters are reaching their greatest each other better, to understand the rich potential, just as we are beginning to recog- variety of our differences and to rejoice in nize each other, and the world beginning to each other’s triumphs instead of belittling recognize us, we have to call a halt. them, we may haggle about oil or rewrite the In constant dollar terms, the resources constitution until we’re blue in the face - but available to the arts through the Canada we Will never have a country. Council in 1979-80 are about the same as Mutual understanding of this kit-rd has they were in 1975. (See p. 5.) In other words, always been best carried on through the cre- there has been no real increase in our support ative arts and letters, whether “live” or as the of the arts for five straight years. “software” of modern communications. A The Canada Council is, of course, only nation which does tiot read or hear or watch one of the sources of financial help to the its own artists is bent on severing its own arts; we should be greatly encouraged by the lifeline. fact that most provinces and some munici- It may be easier to see the importance and urgency of cultural affairs in the life of the nation if we look at other countries. palities are increasing their investment, as are some private donors and investors. The fact remains that the Council is still the major sponsor, and that it has a country-wide man- date. The implications of its situation are extremely grave for all of us. Our grants cannot even keep pace with inflation, while the operating costs of our arts organizations exceed it. Companies cari afford to pay fewer and fewer artists and technicians, and to purchase less and less in materials from suppliers; these tut-backs have serious side-effects on employment, local business and tourism. We cannot escape the brutal fact that even our best established orchestras, publishing houses, theatres and other basic institutions are at this moment in mortal danger. 0 Perhaps even more serious is the fact ? R T ? ? & ? F ? that in order to preserve them at all, we have c 2 2 : K 2 E E ? had to mortgage our future. The Council’s - support to new companies, to younger artists, Curent Dollars (S’OOO,OOO) to those on the frontiers of art and communi- I.. Constant Dollars (S’OOO.000) - IPI (1971:lOO) cation, has been seriously curtailed. It is our firm belief that we must support bath those ‘Includes the Explorations Program. artists and organizations who have already beginning in F Y 1973-74, and Multidisciplinary, beginning in achieved stature and those who are develop- FY 1977-78. ing the fresh ideas and forms without which civilization withers. At the moment, clearly, both present and future are endangered. In 1980-81, the Canada Council finds itself unable to offer operating grants to pre- viously unfunded theatre companies and orchestras, and must continue its policy of restricting the number of dance companies it supports. Beginning in June 1981, it Will withdraw operating grants from any orchestra whose accumulated deficit exceeds 30 per cent of its annual budget. ‘Art Bank support includes 5 10 1,000 for the Special Purchase Assistance Program for Galleries and Commissioning of Prints. 6 The budgets for the Touring Office-our main paintings and sculptures. Abroad, our writers instrument of cultural exchange - and the now have an astonishing following in ltaly, vital Explorations Program Will be frozen at Australia, Norway, and France. Our dancers their 1979-80 levels. are much admired in Britain and Europe. Our These decisions, which we have taken visual artists are in demand for international with the utmost reluctance, acknowledge a exhibitions. And at long last we are some- hard reality: Unless the Council’s appropri- times seen as leaders, not followers: in ation is substantially enlarged, those regions Vienna the hottest new art form is video, and of the country, and those arts organizations Canadian video artists are considered the and art forms that have not already estab- world’s leaders. In 1980, Canadian attrac- lished a claim on Council support, Will con- tions at the famed Edinburgh Festival Will be tinue to be underfunded or not funded at all. second in number only to the British. At the The consequences are painfully apparent: it Paris Biennale this year our visual artists Will Will be those regions of the country which are be second in number only to the French.
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