Standing Committee on Canadian Heritage
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Standing Committee on Canadian Heritage CHPC Ï NUMBER 048 Ï 2nd SESSION Ï 41st PARLIAMENT EVIDENCE Monday, May 25, 2015 Chair Mr. Gordon Brown 1 Standing Committee on Canadian Heritage Monday, May 25, 2015 Ï (1530) It's exactly the same thing that we are advocating now. Over these [English] 12 years, we have tested this experience. I didn't really think that The Chair (Mr. Gordon Brown (Leeds—Grenville, CPC)): 12 years later, I myself would be able to talk about the success and, Good afternoon, everyone. above all, the results that we have achieved through this program which, fundamentally brings about what I call cultural knowledge We'll call to order meeting number 48 of the Standing Committee transfer, which would not have happened otherwise without the on Canadian Heritage. Today we are continuing our study of dance artistic work to compel them, by testifying and testing them. in Canada. For the first hour we have with us three different groups. That's what we did by addressing this from a philosophic and First we have Zab Maboungou, artistic director of Zab technical perspective, in that we had to put forward a technique for Maboungou/Compagnie Danse Nyata Nyata. movement that could operate these transfers. Today, there are trained [Translation] individuals who are working and who choose, while continuing their We also have with us Anik Bissonnette, artistic director, and artistic career, to seek professional development in the arts of health, Alix Laurent, executive director, of the École supérieure de ballet du reflection, and arts management, and other fields. Québec. In this respect, it's a success. That's obviously what I intend to [English] advocate, this approach of art through diversity, and diversity that is By video conference from Vancouver, we have Emily Molnar truly in action, diversity that mobilizes individuals on site, locally. from Ballet BC. This program aims to highlight the dynamic aspect of the local area to encourage being open to the world. This program encourages a We will start with Zab Maboungou. kind of basic integration of these two aspects. You have eight minutes. Each of our three groups will have up to eight minutes. You have the floor. I provided a document that lists in eight points the importance of Ms. Zab Maboungou (Artistic Director, Zab Maboungou/ dance and its fundamental aspect. I won't go over these points Compagnie Danse Nyata Nyata): Merci. It's pronounced because you can consult the document. “Maboungou”. This year, I went to Senegal and England, where I was invited for The Chair: I stand corrected. almost the same reason. It seems that the same concerns are shared Ms. Zab Maboungou: Thank you. internationally. I was asked to talk about the fundamental importance [Translation] of dance at the heart societies that are changing, transforming. It seems that this committee is on the right path, and I congratulate I will speak in French and a little in English. I don't have a lot of you. You are trying to renew reflection about dance and encourage time, just eight minutes. more than ever its development and sustainability. It's important to I would like to sincerely thank the very honourable members of consolidate what already exists, but also to allow the emergence of the committee. I feel privileged to have been invited to appear. I have anyone to intervene and be used. learned that today is the committee's last meeting, so we will try to mention the things that count. That is about all I have to say. I don't know if you have any questions. For me, being here is a bit of a pilgrimage because this is Canadian Heritage. Twelve years ago, in 2003, we created a training Ï (1535) program at Nyata Nyata. The main purpose was to feature what I call the company's credo: people, arts and know-how. These three basic The Chair: Thank you. aspects are part of an approach that I have used since the company was founded in 1987. It's something that seems absolutely essential, [English] despite all efforts to tell me that I was going to a place that was very, very difficult to defend. This idea of advocating for the training of a We'll now go to École supérieure de ballet du Québec. You have person by defending the art has always been fundamental to me. the floor for eight minutes. 2 CHPC-48 May 25, 2015 [Translation] Our students learn rigour, respect and discipline, which are Ms. Anik Bissonnette (Artistic Director, École supérieure de priceless assets on the labour market and essential in all job sectors. ballet du Québec): Mr. Chair and members of the Standing Furthermore, some of our graduates have become brilliant managers, Committee on Canadian Heritage, we would like to thank you for others have careers in law, medicine and communications. All of inviting the École supérieure de ballet du Québec to participate in them gained a dancer's mentality, which means that they made a your study on the importance of dance. I am joined today by habit of taking care of themselves, their bodies, their minds and their Alix Laurent, executive director of our institution. hearts, not to mention the natural altruism of all dancers, because this talent is hard-learned, and they know about giving back to the The École supérieure de ballet du Québec is proud to be here community. At once they are total artists and athletes, responsible today to talk about dance in Canada, specifically the strategic role of citizens, and educated men and women. In fact, the practice of dance training. In fact, the École supérieure is the only francophone is an asset against dropping out of school, and it encourages the institution in North America to provide world-class ballet training development of a structured way of functioning in society. Dance is a for almost half a century. basic practice for a healthy society, even when it is a leisure activity, as is the case for the children and adults who register for our In 1952, Canada welcomed Ludmilla Chiriaeff, a Berlin-trained recreational program. Russian dancer who founded Les Grands Ballets canadiens de Montréal, which became the École supérieure de ballet du Québec. Ms. Chiriaeff's passion, determination and pioneering perseverance helped dance to flourish in Canada in an unprecedented way. The Ï (1540) École supérieure receives about 130 students who want to become dancers to its professional program. Because our institution has the exclusive mandate in Quebec for advanced training in classical dance, these 130 young people hail not only from Montreal and the This program, which attracts nearly 1,000 individuals, generates various regions of Quebec, but also from other provinces in Canada, nearly 20% of our revenue. The École supérieure has an annual the United States, Europe, Asia and South America. They leave our budget of close to $3.5 million, with less than half coming from institution with a strengthened knowledge of Canada's two official public funding. Our main funder is the Quebec ministry of culture languages, and with a very high level of artistic skill. and communications. Our professional program is spread out over 10 years. Our students do three to five hours of dance a day, five to six days a week, while pursuing rigorous general training. In fact, the École Last year, Canadian Heritage granted us $125,000, about 3% of supérieure works with renowned academic institutions, including the our budget. This year, the amount was reduced to $115,000. No Pensionnat du Saint-Nom-de-Marie, which is a secondary school. It matter what the reason was for these cuts, this amount is still clearly is mentioned in Cambridge University's students' union's The Guide insufficient to support the mission of an institution of our size, which to Excellence, which lists the best schools in the world. is the only one in Quebec. It forces us to make disproportionate efforts to carry out our mission, and it is one of the main obstacles to Our students have the opportunity to grow up in Montreal, which our development, which is needed now more than ever because we is a true cultural metropolis and one of the dance capitals of the have a major renovation project. Our spaces have become too small world, which means that they are at the heart of an extremely and no longer meet international standards. For about 30 years, we stimulating and abundant environment. They live in a world of have been using the Maison de la danse, a building we share with the dance, and they are in constant contact with the most noted creators Grands Ballets canadiens de Montréal, which will be moving to the in the world. They are taught by some twenty outstanding teachers Quartier des spectacles in 2016. We are going to take this who have had great careers in the most prestigious dance companies opportunity to get a construction site going so that we can have in the world. facilities worthy of the largest schools in the world. It isn't enough to Every year, five to 10 students complete their advanced training in give future professional dancers the best instruction; we must also classical dance performance. Our graduates dance for Canadian meet their training needs in adapted fitness and rest areas. We also companies, including Montreal's Grands Ballets canadiens, the need to have equipment that is on the cutting edge of technology. To National Ballet of Canada, Alberta Ballet, Ballet BC, and the do this, financial support from governments is more than necessary.