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 assist- ance and special services to individuals and organizations. The Council also maintains the secretariat for the Canadian Commission for Unesco and has some responsibility 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 professonals 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 Minister of Communications and is called from time to time to appear before parliamentary committees, particularly the House of Commons Standing Committee on Communications and Culture. Its accounts are audited by the Auditor General of Canada and reported to Parliament. Annual grants from Parliament are the Council’s main source of funds. These grants are supplemented by income from a $50 million Endowment Fund established by Parliament in 1957.The Council has also received substantial amounts in private dona- tions and bequests, usually for specific purposes. Members Eva Kushner Executive Staff J. Mavor Moore Charles A. Lussier Chairman Sandra Lynne LeBlanc Director

Germain Perreault Elizabeth McGowan Timothy Porteous Vice-Chairman (from August 1, 1980) Associate Director and (until December 7, Director of the Arts 1980) Elise Paré-Tousignant Division

David Owen Carrigan Pascal Parent Claude Gauthier Assistant Director Gordon Dowsley Christopher Pratt and Treasurer

Peter R. Duffield Robert Rivard David Bartlett (until July 24, 1980) Assistant Director Nicholas Goldschmidt and Secretary of the (from July 10, 1980) Ruth Schiller Council

Julien Hébert Marcel Sormany David Peacock (from March 12, 1981) Assistant Director of H. Arnold Steinberg the Arts Division Colin M. Jackson (until September 28, Rita Ubriaco Claude Lussier 1980) Secretary-General Norman Ward for the Canadian William Kilbourn (until May 26, 1980) Commission for Unesco 3

1 The Canada Council The Canada Council’s Annual Report to Parliament includes audited financial state- 4 Chairman’s Report ments and a review of the year’s activities in Council programs. 18 Summary of Grants and Services A Supplement to this Annual Report, including a complete Iist of grants provided 23 Finances during the year, names of recipients and brief 23 introduction descriptions of each type of grant, Will be 25 Financial Statements published separately. It Will be available later in the year from the Canada Council’s Com- 40 Advisory Bodies, Juries and munications Service. Selection Committees The Canada Council 47 Canada Council Publications 255 Albert Street P.O. Box 1047 Ottawa, Ontario Kl P 5V8 4

On the last day of our recent visit to Peking, follow. Unhappily, however, while the world the Councii’s Director Charles Lussier and I wants to get to know us-and it is obviously were summoned to meet with the Vice- important for us that they do- we are severely Premier of the Peoples’ Republic of China, limited by our inability to match opportunity BO Yibo. Did Canadians not understand, the with the necessary financial resources. Vice-Premier asked, how important their Indeed one of the convictions most culture was to other countries? It was not an widely shared by Canada’s artistic commu- easy question to answer, for one who has nity is that our current arrangements for the doubts that Canadians fully appreciate the exposition of our art abroad are inadequate. importance of their own culture to them- The Canada Council is one of the federal selves. But the two things go together. players in this field and, crucially, one of the Many Canadians travelling outside the agencies at “arm’s length” from the govern- country in the last two or three years have ment. The Act of Parliament which estab- been pleased and proud to discover the lished the Council assigned it, among other greatly increased visibility of Canadian responsibilities, the duty to “arrange for artists abroad. The number of Canadians in- representation and interpretation of Canadian vited to participate in major international arts arts in other countries.” But though the Coun- events like the Edinburgh Festival and the cil has launched various individual programs Paris Biennale has grown enormously in in this field, it has been unable to undertake recent years: SO too have tours abroad by large-scale, systematic initiatives because its Canadian performers, musicians and writers. limited budget has had to be spent on the A New York Times critic recently wrote: domestic front. The first priority, we have “Even though Canada is next door, to many felt, was to help Canadians to get to know of us its cultural life is as remote as that of each other. Timbuktu.” He was writing about an exhibi- Manyprofessionalartistsandartsorgani- tion of works from the Council’s Art Bank zations, in briefs submitted this spring to the sponsored by Nabisco Incorporated at its Federal Cultural Policy Review Committee, World Headquarters in New Jersey. Held in stressed the imperative need to improve and May and June 1980, the show included 43 expand Canada’s efforts in the international works from the Art Bank, representing the field. In our own brief to this committee we eclectic and lively talents of Canadian artists, said that of all federal roles in culture, the and was designed to introduce United States exposition of Canadian art abroad “is the one audiences to Canada’s present-day art scene. that most urgently requires re-thinking”. The exhibition, which attracted thousands of For Canadian artists, no event of this visitors, was welcomed by the Times critic as year is likely to prove as important as the a superb forum for acquainting Americans work begun by the same Federal Cultural with Canadian art. Policy Review Committee, chaired by Louis Happily, the Nabisco event is not the only recent manifestation of Canadian art abroad: others-both completed and up- coming-are described in the pages that 5

Applebaum and Jacques Hébert. At the time Support to the Arts of writing the committee is touring the country in Current and Constant Dollars listening to concerned groups and indivi- 1971-72 to 1980-81 l duals, and it Will not complete its work until 1982. Its report will provide the first com- prehensive review of cultural policy since the historic Massey Commission 30 years ago. 50 In the submissions presented to this committee SO far, two main themes about the 40 Canada Council have emerged.The first is that the Council does not do many things that ought to be done. The second is that the Council should be better financed, in the expectation that it might do better what it does now, and in future do more. In our own appearance at the commit- tee’s hearings, we dealt with these two 10 themes and indicated what the Council might do if its financial resources were large enough to meet the most pressing demands. We pointed to our currently inadequate support for Canadian art activities abroad. We also pointed out that Canada has not yet elimi- C;ent Dollars ($‘OOO,OOOl 1.1 nated one of -the great scandais of the arts in Constant Dollars (S’OOO,OOO) -/PI /1977:100) this country, the financial penalties society imposes on those who choose to devote their ‘lncludes the Explorations Program. beginning in F Y 1973-74. life to their art. We spoke too of the currently Multidisciplinary, beginning in inadequate assistance to developing artists FY 1977-78, and Arts Administration and culturally developing regions of the in FY 1980-81. country and pointed out that a developing artist in a developing region is caught in a “double bind”-a crippling restriction for the country’s future. TO find ways in which Cana- dian artists cari make use of new technolog- ical developments is, we said, another issue the Council should face, as is the possibility of assistance for more traditional forms of art which the Council has SO far been able to support only marginally. Grants and Services to ths Arts, FY 1980-81

fs’ooo/ Arts Awards Arts Art Touring Other Total to Individuals Sections Bank Office

Dance 238 4,775 453 153 5,819

Explorations - - 1,425 1,425

Film, Video and 275 1,781 - 9 2,065 Performance Art

Multidisciplinary and 188 83 97 368 Arts Administration

Music 1,123 9,218 586 45 10,972

Services - 33 377 410

Theatre 466 9,627 462 14 10 569

Visual Arts and 1.744 2.786 611’ 97 5,238 Photography

Writing and 878 6,091 58 7,027 Publication’ l

Total 4,912 34,278 644 1,961 1,898 43,693

‘Art Bank support includes l l Total support to writing, Figures may not add due to $134,000 for the Speciel publishing and translation rounding. Purchase Assistance includes an accounting Program for Ga/leries. adjustment of $398,000 relafed to previous years. Grants actually awarded in FY 1980-81 total $7,425,000. A second major development came in Essentially the policy paper recom- March with the announcement by the Honour- mended a quantum leap in Council’s funding able Francis Fox, Minister of Communica- of dance in order to meet the basic needs of tions, that Parliament had approved an the discipline. It presented a three-year plan additional $3 million for the Council’s 1981- to tope with those needs. The Council ap- 82 budget. At a press conference the Council, proved this paper in principle and provided while expressing its gratitude to the Minister, sufficient funds for dance in 1981-82 to allow pointed out that this increase merely halts the implementation of most of the first-year downward trend in the Council’s budget-it recommendations. Particularly important is does not get us back up hi I 1. the provision of extra funds to enable the In terms of the real buying power of the smaller of the senior dance companies to im- dollar our budget has declined steadily since prove dancers’ salaries and lengthen the 1978-79. The full picture of this decline is season of employment, thereby allowing recorded on page 5 in a graph depicting our more time for the creation and rehearsal of support to the arts from 1971 to the present new works. in current and constant dollars. The Council’s In another development, the Council Grants and Services to the Arts during offered tribute to Jacqueline Lemieux, who 1980-81 are presented in the table opposite. died tragically in 1979. This otherwise in- domitable woman, co-founder of Entre Six, Now let us turn to reports from the various guiding spirit behind Québec Eté Danse, and sections of the Council about outstanding member of the Council’s Advisory Arts Panel, events and activities of the year. Will be honored by a prize in her name to be given annually to the most deserving candi- “The Art of Partnering Dance” date in each of the Council’s two annual With those words the Dance Section intro- competitions for grants to individuals in duced a major policy review, three volumes dance.The first Jacqueline Lemieux prize was long, which it presented in December to the presented in February to Toronto dancer/ Canada Council.The paper examined the choreographer Robert Desrosiers. history of dance funding in Canada, analyzed In the dance world itself, this was a the inadequacy of current Council programs phenomenally active and successful year. to meet the pressing needs of the discipline, Royal Winnipeg dancer Evelyn Hart won the and recommended a specific course of action gold medal at the prestigious International to remedy the situation. Ballet Festival in Varna, Bulgaria; her fellow dancer David Peregrine took the bronze and their accompanist Earl Stafford collected another go1d.A third gold went to Canadian choreographer Norbert Vesak, whose work the two dancers performed. The Danny Grossman Dance Company successfully 8

toured Israel, and the National Ballet of and for all of them it was a unique chance to Canada played to enthusiastic audiences in share the same stage. Earlier the Canada Europe. The Anna Wyman Dance Theatre Council and the National Film Board had became the first modern dance company in joined hands in financing a film, “For the the world to perform in China. The marriage Love of Dance”, which depicts the backstage of Entre Six and Ballet Ys produced Theatre life of dancers in these companies. The film, Ballet of Canada, which presented its pre- completed in the spring, has been shown miere in February in Ottawa. extensively throughout the country and pre- A fitting climax for these multifarious sented on CBC television. events was the collaboration of eight ballet The final part of this trio of activities and modern dance companies and four nearly failed to materialize. The CBC had federal cultural agencies in three events planned a live television broadcast of the final designed to display the amazing range and performance of the Canadian Dance Specta- versatility of Canadian dance and to bring it, cular, to be directed by veteran producer and by means of film and television, to a wide director Norman Campbell. When a techni- audience. Responsible for the concept, cians’ strike made that impossible, the organization and financing was the Canadian National Film Board stepped in with last Association of Professional Dance Organi- minute financial assistance from the Minister zations representing the companies involved: of Communications to produce a one-hour the Anna Wyman Dance Theatre, the Con- documentary of the event, using the crew and temporary Dancers of Winnipeg, the Royal filmmakers of the first film. A valuable by- Winnipeg Ballet, the National Ballet, Toronto product was a permanent record of the entire Dance Theatre, Danny Grossman Dance two-hour performance made by the NFB. Company, Le Groupe de la Place Royale and The visibility dance achieved this year Les Grands Ballets Canadiens.The four agen- is a very welcome development, as is the cies who cooperated with the association to unprecedented cooperation of four cultural bring these plans to fruition were the agencies in a common cultural event. The National Film Board, the CBC, the National public in Ottawa and, through film and tele- Arts Centre and the Canada Council. vision, across Canada discovered with pride The central event of course was the the wide-ranging diversity and talent of Canadian Dance Spectacular, three evenings Canadian dancers and their companies. of performances by the eight companies on For the Canada Council, it was a chance the stage of the National Arts Centre in to celebrate its long-standing involvement Ottawa. For many of the companies, this was with these companies, to rejoice in their first- the first opportunity to see one another’s work ever collaboration and to measure, with no small sense of satisfaction, their impact on the public. Equally gratifying was the response of the dancers themselves who, by virtue of spending one week together in rehearsal and performance at the NAC, were inspired with a sense of community and pride in their collective achievement that Will sur- vive well into the future. 9

Managing Music orchestra staff in departments like fundrais- Within the limited means available, the Coun- ing, marketing, public relations, and produc- cil attempted this year to address the dire tion management. Candidates who success- financial problems facing Canadian orches- fully complete the 12-month training period tras. The Music Section provided matching Will be placed as assistant managers in grants to 29 orchestras to complement what another Canadian orchestra for the second they raised from the public and private year, thus spreading the benefit of their train- sectors. A total of $300,000 was disbursed ing to other organizations. In setting up this for this purpose. It helped in at least a small program, the Music Section has worked way to encourage fundraising efforts and to closely with and had the advice of the resolve the immediate cash-flow problems of orchestras and the Association of Canadian the orchestras. However, despite this limited Orchestras. aid (and money provided to the orchestras Another development in the Music from other sources), the long-term prognosis Section this year was the reinstatement of a remains grim, underlining once again the reshaped program supporting recordings. need for increased funding for the Council’s Aimed at furthering the careers of Canadian budget since the Council remains the only performers and encouraging independent source of year-by-year sustained funding for Canadian producers to make records, the Canadian orchestras. program has a budget of s100.000.Those Among the many severe problems which eligible to apply are Canadian performers have plagued Canadian orchestras in recent (soloists and resident chamber groups) years is the lack of a competent “pool” of making their first or second record and Cana- candidates for managerial positions. Not only dian producers who intend to put on disc do managers corne and go with distressing previously unrecorded Canadian music. frequency - when they go the organizations The Council and Imperial Oil, which have great difficulty finding suitably trained both contributed financial aid, helped to people to replace them. establish a permanent opera ensemble for the For this reason the Music Section began Canadian Opera Company this year. The a two-year pilot program for orchestra man- Council also supported the new Opéra de ager apprentices in 1980-81, to encourage Montréal, which had a highly successful people to enter the field of orchestral manage- season under Artistic Director Jean-Paul ment and to provide on-the-job training for Jeannotte. Among other major events in them. This year two candidates were chosen. music was the first performance of Murray They Will work for 12 months at respectively Schafer’s Apocalypse by the University of the Toronto Symphony and the Vancouver Western Ontario and the London Symphony, Symphony under direct supervision of joined by some 500 artists, singers, dancers, poets and actors. The Council also honored the memory of composer Healey Willan by creating an annual prize in his name for the most promis- ing group in its yearlycompetitionfor amateur chairs. The first Healey Willan prize was awarded this year to the Choir of the Church of St. Andrew and St. Paul of Montreal. 10

The Tempest and Other Plays May 1981 , an exhausting and exhilarating For Canadian theatre watchers the riveting three weeks of non-stop theatre. Among the event of theyear was the crisis-anticipated, Canadian plays in the festival, mention must then experienced, and (we hope) survived- be made of Maggie & Pierre, which became of the Stratford Shakespearean Festival. the first Canadian play to move from an alter- Front-page news in Canada’s English- nate theatre (Passe Muraille) to the Royal language papers, the crisis sent headline Alex in Toronto. writers back to their Shakespeare for a series There was no dearth of festivals and of bad theatrical jokes ranging from “The international conferences this year. Among fault, dear Brutus” to “Comedy of Errors- others, the Théâtre expérimental des femmes 1980 Version”. At the time of writing, prepa- hosted a festival for women artists; the rations for the new season are under way at seventh Quebec festival of children’s theatre Stratford and Canadians with an interest in drew record crowds in Montreal’s Parc the future of this proud festival Will wish it Lafontaine, and an international conference well. on new theatre for Young people boasted The dizzying daily, almost hourly devel- participants from the United States, Belgium, opments in this story need not be retold here. Portugal, Germany and Canada. But the Canada Council had its part to play in Canadian plays continued to rocket the unfolding events. In December, in re- abroad-with Centaur’s Balconville going to sponse to numerous inquiries about Stratford, Belfast, Bath and London’s Old Vic; John the Council discussed this matter and at a Gray’s Billy Bishop Goes to War landing in press conference reiterated the guidelines New York and London: and Sheldon Rosen’s for theatre companies it had first published Ned and Jack and John Murrell’s Waiting for in March 1979. Regarding the relevant guide- the Parade also appearing in New York, where line (that “Canadian talent should be given Erika Ritter’s Automatic Pilot plans to land first and due consideration for appropriate shortly. openings within publicly funded theatres”), Several plays from Quebec were suc- the Council said it “cannot accept that in the cessfully staged in France. The Théâtre de la appointments of their executive director and Bordée presented Marc Doré’s J.B.B. in La artistic director designate, the Board of Rochelle; Un jeu d’enfants, an original crea- Directors of the Stratford Festival Foundation tion of Théâtre de Quartier, was produced by complied with either the letter or the spirit of a Paris company; and the Ligue nationale the poIicy.“Subsequently of course, Stratford d’improvisation was enthusiastically received replaced these appointees with qualified throughout France. Closer to home, the Canadians and the Council’s grant to Strat- puppet theatre, Théâtre sans Fil, made a foray ford for the current season was duly into Washington with productions of Marielle approved. Bernard’s B/ue Sky Takes a Wife in both But Stratford’s spellbinding story should English and French. not obscure a great many other important In Quebec itself, Broue, coproduced by activities in theatre during the year. Prepara- the Troupe les Voyagements and the Compa- tions were under way for Onstage ‘81, the gnie Jean Duceppe, continued to draw record Toronto international theatre festival held in audiences everywhere for the second straight year, and Marie Laberge’s C’était avant la guerre à I’Anse-a-Gilles, a resounding suc- cess, was produced by three different compa- nies, with two more productions to corne. 11

In March 1981 the Canada Council tour of Icare by Les Pissenlits/Théâtre voted to end the year-long moratorium under national pour enfants through New Bruns- which no previously unfunded theatre com- wick and northern and southern Ontario, pany could receive support from the Theatre funded a workshop series by the Manitoba Section. Though funds continue to remain Puppet Theatre in the Northwest Territories, tight, beginning in April 1981 the section and saw to it that John Gray’s new work, began to consider applications from new Rock ‘n Roll, arrived at the National Arts theatre companies which meet its eligibility Centre in Ottawa. criteria. Touring grants were also provided this year for organizations participating in three On Tour large collective experiences-Onstage ‘81 in Where were Maureen Forrester and Angèle Toronto, the Canadian Dance Spectacular in Arsenault in the spring of 1981? Thanks to Ottawa, and the Vancouver Children’s the Council’s Touring Office, Ms. Forrester Festival. could be found in Deep River, Pembroke, Port During the course of theyear the Council Sydney, Georgetown and several other small examined the Touring Office’s Concerts communities in southern and eastern Ontario. Canada program and agreed to certain Ms. Arsenault, meanwhile, was headlining a changes in it. The program was launched in performing arts series for French-speaking 1974 to provide management and booking audiences in the West, playing Gravelbourg, services to a limited number of Young Cana- Rivière-de-la-Paix, Edmonton and several dian musical artists in the early stages of their other locations.The tours these singers careers and to prepare them for commercial undertook are an example of the ongoing management. But it quickly became apparent work of the Touring Office in building audi- that too few artists could be assisted and ences across the country for Canadian per- Canada had very few commercial managers forming artists. ready to take on these artists. There were many others, of course. The The program was thus revised in 1976 Touring Office this year helped the folk music to provide start-up and incentive assistance group Stringband make its first trip to the to artists’ managers. By 1978 the program Maritimes, supported the Tudor Singers of provided a 10% incentive grant based on the Montreal on a tour of Ontario and Van- volume of booking activity undertaken by the couver’s Opera Piccola on a tour of Alberta manager and was extended to bookings of and British Columbia, took the Compagnie theatre and dance artists as well as Jean Duceppe’s Un Sur Six through cities and musicians. towns in Quebec and New Brunswick, made The success of this program cari be sure Centaur’s Balconville played Vancouver, measured by the development of artists’ Winnipeg and Quebec City, helped the Com- management groups since then. But the group pagnie Albert Millaire take La Céleste Bicy- which was originally to benefit from Concerts clette to the Atlantic region, supported the Canada-classical artists in music-continue to have difficulty launching careers, need career direction as well as bookings and do not represent significant revenue for the manager. 12

Thus this year the Council revised the This enormous interest in Canadian program again to emphasize the needs of writing is not restricted to Italy. It is shared classical soloists, instrumentalists and by, among others, the Scandinavians, the singers as well as chamber groups, because Germans and increasingly the Americans. In they are the artists in greatest need of man- Russia 15 Canadian books in translation agement support. were published in 1980 alone, and 50 works The Touring Office also provided 14 Ap- of Canadian fiction have been published in prenticeship Grants during the year to aspir- the last five years. ing tour managers and artists’ managers to TO tap this interest and take advantage afford them the opportunity to gain experi- of it on behalf of Canadian writers, the Coun- ence in these fiel ds. cil’s Writing and Publication Section initiated an international translation grants program The Council as Investor this year. It provides money for the costs of In a novel undertaking this year, the Council translating books by Canadian authors into established a Performing Arts Venture Capital languages other than French or English. Fund, which allows the Council to invest in Works of poetry, fiction, drama, serious non- performing arts properties. The program is a fiction, and books for children and Young mutual project of the Touring Office, the people are eligible. Theatre Section and the Music Section. The This new initiative complements a intent is to prolong the life of Canadian program supported by the section since 1973 properties by encouraging their commercial for translation of Canadian books from one success. A hoped-for byproduct of the fund- officia1 language to the other-a program which would certainly not displease us-is to which, we believe, cari claim some credit for make money for the Council which it cari then the greatly increased number of books now reinvest or use in other ways to support the available in translation. arts. This year the fund provided investment Another international development this money to three properties: Circus Tivoli, the year was the creation of an annual Canada- musical group the Clichettes, and the play Switzerland literary prize by agreement Bent. between the Canada Council and the Swiss Fondation Pro Helvetia. Worth $2,500, the Canadian Writing At Home and Abroad prize Will be awarded each year alternately to Few Canadians are aware of an astonishing a Canadian writer or a Swiss writer for a work story about one of their most eminent literary published in French during the preceding critics, Northrop Frye. When Professor Frye, eight years. Swiss novelist Alice Rivaz whose work has been translated into Italian, became the first winner this year. made a lecture tour of Italy in 1979 his speeches on Canadian Iiterature were exten- sively covered in the Italian press, and an interview with him in Rome was broadcast during prime time on the national television network. 13

Nearing completion during the year was These changes took into account the the work of the Canada Council’s Study Com- arriva1 of “a new boy on the block”: the mittee on Compensation for Authors. This Department of Communications’ Book Pub- committee, composed of writers, librarians lishing Development Program. Because that and publishers, has been investigating the program is based largely on publishers’ sales possibility of a scheme to compensate writers volumes and hence chiefly benefits the larger for the library use of their books and studying publishing houses, the Council “freed up” a the possible design and costs of such a portion of its own book money to reward system. publishers particularly devoted to cultural At present 19 countries around the works.This year 136 publishers in all 10 world-including Great Britain, Germany, provinces benefitted from the Council’s Australia, New Zealand and the Scandinavian publishing programs. countries- have instituted a system of com- pensation for Iibrary use of books. Studies Visual Arts have indicated the need for a system in In cooperation with the Department of Exter- Canada, where, according to recent statistics, nal Affairs, the Canada Council is funding the writers working full-time average $6,082 per most elaborate exhibition of Canadian art year from writing andfully 80% of all authors ever staged outside this country, and staff of earn $3,000 or less annually from books. the Visual Arts Section were busy this year in The Study Committee, after analyzing preparing for and coordinating the exhibition. the schemes in other countries and the parti- It Will be held at Berlin’s prestigious Akade- cular situation of Canadian writers and libra- mie der Künst for eight weeks beginning in ries, has attempted to reach all writers in early December 1982, Canada and register them by means of ques- This major exhibition of Canadian art tionnaires. A last call for registration was Will include contemporary visual art, 19th issued this January. At the time of writing and 20th Century paintings, video works, over 5,000 writers with more than 15,000 performance art, architecture, film, dance, individual titles have submitted question- theatre and Iiterature. The scope of the exhi- naires. The committee, currently engaged bition is unparalleled, and its presence at a with complex questions about how an equit- major cultural centre in Europe is a remark- able system cari be introduced in Canada, able manifestation of the wealth and diversity plans to complete its report and present its of Canadian artistic talent. Costs are being recommendations this fall. shared by the Akademie, External Affairs and Finally, 1980-81 saw continued em- the Canada Council. phasis on cultural and literary values in the An important activity of the section this Council’s program of support for book pub- year was organizing, with the Ontario Arts lishing. In the previous fiscal year, the Coun- Council, a meeting of representatives of the cil revised its block grant and project grant independent film community to discuss train- programs to provide increased assistance to ing and professional development in film.The those publishers whose work is of particular cultural value to Canada, and this year, in recognition of the severe economic problems of cultural publishers, the Council again in- creased its assistance to those publishing houses. 14

meeting, held in August in Toronto, brought of whom have achieved international stature together for the first time delegates from film in this art form. In response to the crisis, associations, cooperatives, guilds and unions Council Will allocate $200,000 in 1981-82 in Canada, as well as representatives of for video equipment purchase. federal and provincial agencies. Discussion covered such subjects as the structure and Arts Awards Service framework of a professional development One program of the Council which came in program, regional and national development for extensive attention this year, as it always priorities, criteria for evaluation of the does, is the program of grants to individual program, and necessary levels of funding. artists, administered by the Council’s Arts Though firm decisions have notas yet been Awards Service. Artists presenting briefs to taken, the meeting laid the groundwork for the Applebaum/Hébert Committee had both further discussions and underlined the great favorable and unfavorable things to say about need for increased professional development the awards program: favorable because most activity artists recognize that, among arts councils in In March 1981 , the attention of the Canada and abroad, the Council is uniquely Council was drawn to critical equipment devoted to a comprehensive program of sup- problems in video production centres in port to individuals and uses professional Canada. artists to make decisions on grant applica- At a time when Canadian video artists tions; unfavorable because of the belief of are enjoying unprecedented opportunities for some artists that the Council’s grants are distribution of their work in Canada and adjudicated by “cliques” of artists who favor abroad, production centres are slowly grind- certain styles of art or artists from certain ing to a hait for lack of essential equipment. regions of the country. The problem is two-fold: first, a number of As one of the Council’s officers told the centres still operate with 1/2” tape equipment, Applebaum/Hébert Committee, it may seem a standard that has been obsolete for four to be “institutional masochism” for any years and prevents video artists from making agency to have a competitive program of a breakthrough from thegallery circuit to the grants for individuals. Such a program is wider audiences available through table and inevitably a lightning rod for an agency, broadcasting services; and second, equip- especially when out of 100 applicants in a ment initially purchased with Council funds given competition, approximately 80 Will not has gradually worn down and in many cases receive a grant. Nevertheless, the Council become more expensive to repair than to has always treasured this program because it replace. believes that assistance to the primary crea- SO vital is equipment to this technologi- tor is of utmost importance to the arts. cally-based art form that equipment problems Currently some 1,700 artists, curators, threaten the very survival of video centres- arts teachers and administrators have been and thus the work of Canadian artists, many named by the Council’s Advisory Arts Pane1 as potentiai grant assessors. Staff of the Awards Service use these names in selecting assessors and jury members for grant adjudi- cations. Staff make every possible attempt to choose different jurors and assessors for dif- 15

ferent competitions, and to set up juries A Iittle-known, but highly valuable pro- which reflect the nature of the applications gram administered by the Awards Service received (the language of the applicant, his and funded by both the Department of Exter- or her artistic style and interest, and the nal Affairs and the Council provides grants to various regions of the country). Canadian cultural organizations to bring The grant program has essentially three eminent foreign artists to Canada for short functions: it responds to the needs and periods of time to teach creative or perform- interests of professional artists, allowing ing arts in advanced level workshops, master each to make his or her ‘case’ and receive a classes, seminars, etc. Artists from any just hearing before peers; it responds to the country may participate. Over the years different situations of different disciplines; artists of outstanding achievement have and it provides artists themselves with direct brought their knowledge and inspiration to access to the Council’s decision-making Canadians through this program. Among the process. 50 eminent visitors this year were American Within the awards program, new ideas recording artist Janos Starker, American and programs are frequently introduced and dance artist Sandra Neels, and Norwegian given a tria1 run, usually as a pilot program. artist Per Gien. Two pilots failed to survive the course this year-a program to fund artists’ memoirs was Explorations discontinued in April 1980 because of inade- The Council’s Explorations program is de- quate demand, and long-term grants for signed to fund innovative projects which help writers (which provided three years of sup- to identify new needs and directions in the port to major Canadian writers) were also arts, studies of things past which hold special discontinued because the Council anticipated meaning for the cultural development of that their costs would soon deplete the funds Canada, and projects which increase public available to writers and hence limit the enjoyment and understanding of Canadian number who could be assisted. A provision to culture. allow senior artists receiving Arts Grants “A” During the year the Explorations staff to reapply for a second “A” grant in the next and the Council carefully examined the past annual competition was, however, accepted record and achievements of this program. this year. Though no changes in the direction of the This year too the Council agreed to program were recommended, the analysis of launch a new two-year pilot project beginning the record enabled the Council to assess the in 1981-82, which Will allow groups of pro- contribution Explorations has made to Cana- fessional theatre artists to apply for grants in dian culture over the years. In June 1980 staff the competition for individuals in theatre. compiled a list of 146 books published since After two years the Council Will assess this 1975 which were researched and written with project and decide whether to continue it, the aid of Explorations grants. Though incom- plete, the list includes such important works as Adele Wiseman’s Old Woman af Play, Heather Robertson’s Salt of rhe Earth, Alphonse Deveau’s Histoire de la Baie Ste- Marie, Garth Drabinsky’s Motion Picture and 16

the Arts in Canada, Andrew Allentuck’s The Killam Program Cost of Age, Rick Butler’s Vanishing Canada, The Killam program, the Council’s only and two volumes of Colin S. MacDonald’s program of assistance in the field of scholar- Dictionary of Canadian Artîsts. ship, underwent more dramatic changes this But Explorations is not designed only year than in any other year of its history. In for writers. Three theatre companies appear- July 1980, the Council announced the crea- ing with highly successful productions in tion of the Izaak Walton Killam Memorial Onstage ‘81 in May were funded by the Ex- Prize in Science, Engineering and Medicine. plorations program: the Necessary Angel It launched the prize by choosing three Theatre Company of Toronto performing winners for 1980: Dr. Feroze Ghadially, Head Tamara, Newfoundland’s Resource Centre of the Department of Pathology at the Uni- for the Arts performing Terras de Bacalhau, versity of Saskatchewan; Dr. Raymond and Salon Theatre performing a series of Lemieux, Professor of Organic Chemistry at plays by Jim Garrard. the University of Alberta; and Dr. Louis Explorations grants serve as “seed Siminovitch, Geneticist-in-Chief at the Hos- money” and are always awarded for specific pital for Sick Children and Professor of projects and seldom renewed. It is a tribute Medical Genetics at the University of to the hard work and energy of Explorations Toronto. grantees that SO many of these initial projects The prizes, which replace the former continue to flourish long after the grant is Izaak Walton Killam Memorial Scholarships finished. in Science, Engineering and Medicine, are A project carried out by Gilles Savoie worth $40,000 and are awarded to Canadian and Jacques Paulin, Acadians originally from citizens nominated by others and chosen by New Brunswick, is an example. They photo- the Killam Selection Committee. The prizes graphed the colored houses of Acadia for a are intended to honor eminent Canadian local exhibition. This year the exhibition scholars, not for a particular achievement but toured the entire Atlantic region through a in recognition of a distinguished career and grant from the National Museums Corpora- general contribution to one of the fields of tion and was then given a national tour. the natural sciences, medicine or engineer- Projects funded in 1980-81 Will, we ing. In future years, only one Izaak Walton hope, enjoy the same success. Among this Killam Memorial Prize worth $50,000 Will be year’s 240 projects are a theatrical produc- given annually. tion for children by La Coopérative de théâtre In March, the Council agreed to a further I’Escaouette in Moncton, a critical biography change in the Killam Program, which Will be of Alice Munro by Calgary writer Beverly implemented in 1981-82. The Research Jean Rasporich, a collector’s guide to original Associateship program for Young post- prints by Toronto writer Glen Warner, a two- doctoral scholars Will be suspended for a year day festival of French-speaking Newfound- and the suspension reconsidered after that land musicians, dancers, singers, artists and time.The suspension is prompted in part by story-tellers, and a project by the Atai Arctic Creative Development Foundation toorganize cultural Inuktitut games at Eskimo Point in the Northwest Territories and relay video- tapes of the games by the Anik B satellite to communities throughout the North. 17

budgetary constraints but also takes into World Media Institute under contract with consideration the availability of similar post- Unesco. Participants visited eight spectacular doctoral awards from three national research- natural sites from Newfoundland to Alaska funding agencies. By suspending this as well as many cultural and historic sites program, the Council cari increase its funding listed under the Unesco Convention on the of Killam Research Fellowships, aimed at Protection of the World Cultural and Natural established scholars, and help strengthen the Heritage. financial base of the Killam Program, which is Another significant Unesco activity in funded through a bequest and donation to the Canada this year was an international meet- Council from Mrs. Dorothy J. Killam.Also in ing of experts on the Role of Cultural Indus- 1981-82, a ceiling of $50,000 Will be estab- tries in the Cultural Development of Socie- lished on the salary portion of the Killam ties, which took place in June 1980 in Research Fellowships, which provide full or MontreaI. Aimed at examining the cultural partial salary replacement plus fringe benefits industries as a whole (books, films, records, to scholars actively engaged in research etc.), the meeting involved 19 specialists projects. from 18 countries and many observers. In addition to these events, the Canadian Canadian Commission for Unesco Commission was actively involved during the On the international scene, a Canadian dele- year in a variety of other studies and semi- gation on which the Canadian Commission nars. It sent a representative to a European for Unesco was represented participated in seminar on implementation of the Unesco the 21 st session of the Unesco General Con- 1979 recommendation on education for inter- ference in Belgrade, September 24-October national understanding, cooperation and 28,198O. In preparing for the conference, the peace and education, and another participant Canadian Commission convened six consul- to a workshop in Hamburg on human rights. tative seminars to examine the 1981-83 Canadians also attended a World Congress Unesco Draft Programme and Budget in on Disarmament Education in Paris, a con- terms particularly of the following topics: ference on Environmental Education in Education, Natural Sciences, Social Sciences, Tbilisi, U.S.S.R., a meeting in Lisbon on Drug Status of Women, Culture and Communica- Education and meetings on the status of tion, and General information Program. In women, the revitalization of the languages these seminars 150 specialists including of Arctic peoples, and the development of representatives of federal and provincial cultural policies. departments and agencies, members of the Commission, and other non-governmental J. Mavor Moore, o.c., B.A., D.Litt. organizations and universities participated. Chairman Within Canada, for the third consecutive summer the Unesco Pavilion at the Man and May 1981 His World site in Montreal drew large and enthusiastic crowds and helped make Unesco visible to Canadians. The exhibition at the Unesco Pavilion was devoted this year to the theme of “Man and the Biosphere”. A second notable Canadian event was a travelling seminar for journalists and broad- casters from 20 countries staged in the summer of 1980 by the Winnipeg-based 18

Dance Music

Total (S’OOO) Total (8’000) $5,619 $10,972 B-I--II =-œIlBB11 Other Other 4% $212 5% $581

Touring Office Touring Office Grants Grants 8% $453 5% $586

Schools support 19% Ç 1,062 Organizations 5% $546 Project Grants 9% $504 Youth-oriented Programs Operating Grants up to 5% $494 $200,000 10% $561 Chamber Music 2% $195 Operating Grants over s200.000 Choral Music 46% $2.589 3% $352

Individual Awards Opera 4% $238 21% $2,254 Orchestras 44% $4,841

Individual Awards 10% $1,123

Support to the Performing Arts in Current and Constant Dollars, 1971-72 to 1980-81 ’

25

- Current Dollars (S’OOO,OOO) 1.1 Constant Dollars (S’OOO.000) - IPI (797 1: 100) 19

Theatre Touring Office

Total (S’OOO) Total (SOOO) $10,569 $1,961

Other Publications and - $14 Other Services 11% $215 Touring Office Grants Workshops and 4% $462 Showcases 8% $162 Schools 10% $1,020 Apprenticeship Program Operating Grants up to 4% $83 $25,000 12% $1.243 Cultural Exchanges Operating Grants 7% $130 $25,000 to $200,000 39% $4,115 Concerts Canada 10% $191 Operating Grants over $200,000 Music 31% $3,249 15% $280

Individual Awards Theatre 4% $466 22% $437

Dance 23% $453

Notes to Bar Graphs - denotes amount too small to be expressed. Figures may not add due to rounding. Individua awards in each discipline are shown as a percent- age of bath total support to the discipline and total Arts Awards Service grants /page 20). Touring Office grants in dance, music and theatre are show as a percentage of both total support to the disci,uline and total Touring Office grants (above). 20

Writing and Publication Arts Awards Service

Total (S’OOO) Total (S’OOO) $7.027 $4,912

Other Writing 3% $237 18% $878

Associations Visual Arts and 28% $1,375 Conferences 5% $356 Video - $18 Public Readings Program Theatre 6% $396 9% $466

Promotion and Photography Distribution 6% $317 23% $1,591 Performance Art T;r)odical Publishing 2% $73 Oo $1,133 Music Book Publishing, 23% $1,123 Purchase and Translation Multidisciplinary 35% $2,436 2% $108

l,n;;idual Awards Film 0 $878 4% $184

Dance 5% $238

Arts Administration 2% $80 Support to Writing and Publishing in Current and Constant Dollars, Architecture 1971-72 to 1980-81 1 % $52

10

6

6

zrent Dollars (S’OOO,OOOl 21

Visual Arts and Art Bank Explorations

Total ($‘OOOl S 1,425 œ---II Other British Columbia/ 8% $560 Yukon 16% $227 Art Bank 9% $644 Prairies/Northwest Territories Video and 12% $166 Performance Art 9% $677 Ontario 31% $449 Film 16% $1,104 Quebec 26% $369 Galleries and Artist-ry2S;ges Atlantic Provinces 32% , 15% $214

lndividual Awards 27% $2,019

Support to the Visual Arts and Art Bank in Current and Constant Dollars, 1971-72 to 1980-SI*

zrent Dollars ($‘OOO,OOO~ PII Constant Dollars ($‘OOO,OOO) -IPI(1971:100) 22

Multidisciplinary and Arts Administration

Total (SOOO) $368

Other 26% $97

Touring Office Grants 23% $83

&d&vidual Awards 0 $188

Killam Program ’

Total (YOOO) $818

Fiesearch Associateships 43% $352

Research Fellowships 47% $386

Izaak Walton Killam Memorial Prizes 10% $80

* The dollar amounts show are the awards given in FY 1980.81. less the cancelled grants approved in revious pars and re Punds. 23

Introduction The Act imposes no restrictions on the manner in which the money of the Endow- Income and Expenditure ment Fund may be invested. However, the Programs administered by the Council are Investment Committee follows rules similar financed from several sources of income as to those established under the Canadian and follows: British Insurance Companies Act. (a) The Arts programs, Canadian Commission For investment purposes separate port- for Unesco and costs of administration are folios are maintained as follows: 1) Endow- financed by the combined receipts of the ment Fund, 2) Killam Fund. In October of government grant, income from the Endow- 1980 the portfolios of the three Special Funds ment Fund and bequests and gifts. (Special Scholarship Fund, Molson Prize (b) The Killam Awards and the Molson Prizes Fund, Lynch-Staunton Fund) were merged are financed from funds donated or made with the portfolio of the Endowment Fund. available to the Council for specific purposes. This was done to create a larger portfolio, to enhance theyield and to generally upgrade Investments the quality of the portfolios. Details of the Under Section 18 of the Canada Council Act, funds Will be found in the financial state- the Council’s investments are made, man- ments and the notes thereto. aged and disposed of on the advice of an The Endowment Fund is invested in five Investment Committee, which consists of the main categories: short-term securities; Chairman of the Canada Council or his Canada, provincial and municipal bonds; nominee and a member of the Council desig- corporate bonds; mortgages; equities. A nated by the Council and three other persons summary of these holdings at March 31, appointed by the Governor-in-Council. 1981 and March 31,198O follows: The composition of the Investment Committee at March 31,198l was as follows: Frank Case, Chairman; Raymond Primeau, professorat the Université de Montréal; Alan Hockin, Vice President of Investments, Toronto Dominion Bank; and Gordon Dowsley, member of the Council and Financial Planning Officer of the Crown Life Insurance Company. Bolton, Tremblay and Company, investment consultants of Mont- real, manage the funds within guidelines established by the Investment Committee. 24

Endowment Account

(in thousands of dollars) Book Value Market Value 1981 1980 1981 1980

Short-term investments 1,419 10,532 1,419 10,389

Canada, provincial and municipal bonds 18,930 19,696 17,581 16,081

Corporate bonds 25,485 20,810 21,471 16,781 Mortgages (principally NHA) 6,069 7,221 4,175 4,905

Equities 17,982 12,246 28,417 17,136 Total 69,885 70.505 73.063 65,292

Endowment Account Details of changes in the equity The estimated market value was $3.2 million elements of the Endowment Account are above cost, compared with $5.2 million shownonpages30and31. below cost the previous year. This reflects an The Killam Fund portfolio was $12.9 improvement of the equity market in 1980 mllion at March 31, 1981 and the yield in- and 1981. Net realized losses of $1 .5 million creased to 9.6% from 9.2% a year earlier. were experienced during the year, the result This increase was the result of improved of trading securities at prices below cost. interest rates during the year and changes This compares with a net realized profit of within the portfolio. The market value was $3.3 million last year. The profit reserve $ .13 million above cost, changed from against future securities trading was $4.3 $1 .5 million below cost the previous year. million at March 31, 1981 .The yield on the Details of changes in theequity elements Endowment Fund was maintained at 1 O.OO%, of the Killam and other Special Funds are the same as in 1980. shown on pages 32 and 33. The Council received a donation during the year of $5,000 from the Sylva Gelber Foundation. 25

Financial Statements

Auditor General’s Report The Honourable Francis Fox, P.C., M.P. Minister of Communications Ottawa, Ontario and Chairman Canada Council Ottawa, Ontario

l have examined the balance sheets of the Endowment Account and Special Funds of the Canada Council as at March 31,198l and the statements of operations and changes in equity of the Endowment Account and Special Funds for the year then ended. My examination was made in accordance with generally accepted auditing standards, and accordingly included such tests and other procedures as I considered necessary in the circumstances. In my opinion, these financial state- ments present fairly the financial position of the Council as at March 31,198l and the results of its operations for the year then ended in accordance with the accounting policies set out in Note 2 applied on a basis consistent with that of the preceding year.

(Signed) Kenneth M. Dye Auditor General of Canada

Ottawa, Ontario June 26,1981 26 Endowment Account (Statutory Endowment Fund and Parliamentary Grant)

Balance Sheet as at March 31, 1981

Assets

1981 1980

Accounts receivable ç 333,582 Ç 233,036

Interest accrued on investments 1,274.303 1,192,352 Due from Special Funds 141,623

Investments (Note 3) 69.885.245 70,505,216

$71.493.130 $72,072,227 27 The Canada Council (Established by the Canada Council Act)

Liabilities

1981 1980

Bank indebtedness $ 733 $ 103,084 Accounts payable and accrued liabilities 984,518 913,727

Due to Special Funds 137,168 -

Deferred revenue 269,457 202,796

Approved grants payable 12,360,882 12.190.129

13,752,758 13.409.736

Equity

Fund capital: Principal of fund established pur-suant to Section 14 of the Act 50,000,000 50,000,000 Accumulated net gains on disposa1 of investments 4.295.520 5,805,932 54,295,520 55.805.932

Surplus: Reserve (Note 4) 2,100,000 1 ,100,000 Unappropriated 1.344.852 1.756.559 3.444.852 2.856.559 57,740,372 58,662,49 1 $71.493.130 $72,072,227

The accompanying notes and schedule are an integral part of the financial statements.

Approved: (Signed) Claude Gauthier, Treasurer

(Signed) Charles A. Lussier, Director 28 Special Funds

Balance Sheet as at March 31, 1981

Assets

1981 1980

Cash $ 627,709 $ 155,060 Interest accrued on investments 340,579 376,980

Due from Endowment Account 137,168 - Investments (Note 5) 17.474.555 18.181.325

Preferred shares at nominal value (Note 6) 1 1 Rights to or interest in estates, at nominal value (Note 6) 3 3

$18.580.015 $18.713.369 29 The Canada Council (Established by the Canada Council Act)

Liabilities 1981 1980 Due to Endowment Account $ $ 141,623

Approved grants payable 1,024,023 1,162,444 1,024,023 1.304.067

Equity

Fund capital: Principal 17t146.792 16,871,736 Accumulated net gains on disposa1 of investments 46,801 224,444 17.193.593 17.096.180

Surplus: Unappropriated 362.399 313,122 17,555.992 17.409,302

$18.580,015 $18.713.369

The accompanying notes and schedule are an integral part of the financial statements.

Approved: (Signed) Claude Gauthier, Treasurer

(Signed) Charles A. Lussier, Director 30 Endowment Account

Statement of Changes in Equity for the year ended March 3 1, 198 1

Fund Capital

Principal Accumulated Tota I Total net gains on 1981 1980 disposa1 of investments Balance at beginning $ 50.000.000 $ 5.805.932 $ 55,805,932 $ 52,512,111 of the year

Net gains (losses) on - (1,510,412) (1,510,412) 3,293,821 disposa1 of investments Excess of revenue over - - - - expenditure (expenditure over revenue)

Appropriation of Surplus - - - Balance at end of the year ~50,000.000 $ 4.295.520 $54.295.520 $55,805,932 31 The Canada Council

Surplus Reserve Unappropriated Total Total 1981 1980

$ 1.100.000 $ 1.756.559 $ 2,856,559 $ 4,077,686

-

- 588,293 588,293 (1,221,127)

1 ,ooo,ooo (1,000,000) - $2,100,000 $ 1.344.852 $3.444.852 8 2.856.559

The accompanying notes and schedule are an integral part of the financial statements. 32 Special Funds

Statement of Operations and Changes in Equity for the year ended March 31, 1981

Izaak Walton Killam Special Molson Lynch- Memorial Fund for Scholarship Prize Staunton Advanced Studies Fund Fund Fund Fund Capital

Principal

Balance at beginning of the year $ 12.543.058 $ 2,134,948 $ 900,000 $ 699,066 Cash received during the year - 135,225 - -

Net income capitalized 114,205 20,395 -

Batance at end of the year $12.657.263 $2.2904568 $900,000 $699,066

Accumulated net gains on disposa1 of investments

Balance at beginning of the year $ 101,739 $ 44,324 $ 9.795 $ 68,586

Net gains (losses) on disposai of investments (101,739) (42.9111 (9,795) (23,198) Balance at end of the year $ - s 1,413 9 - s 45,388

Statement of Operations and Unappropriated Surplus

Revenue: Income earned on investments $ 1.274.716 $ 218,345 $ 77,664 $ 90,062 Expenditure: Grants 738,106 80,000 60,000 71,142 Administration 132,662 14,400 3.000 870,768 94,400 63,000 71,142 Excess of revenue over expenditure 403,948 123,945 14,664 18,920 from operations

Net losses on disposa1 of investments 380,505 - 10,030

Excess of revenue over expenditure 23,443 123,945 4,634 18,920

Unappropriated Surplus at beginning 92,359 17,697 18,939 148,217 of year

Net income capitalized (114,205) (20.395) - -

Unappropriated Surplus at end 1,597 8 121,247 $ 23,573 $167.137 of the year 33 The Canada Council

John 6. C. J. P. Barwick Edith Davis Vida Kathleen Tota I Total Watkins Estate Webb Peene Coburn 1981 1980 Estate Estate Estate

$1 $1 $ 594,551 $ 110 $ 16,871,736 $ 16,621,389 - 5,210 21 140,456 124,832 - 134,600 125,516 81 $1 $599,761 $131 $17.146.792 516.671.736

$ - $- $- $ - $ - $ 224,444 55.530 - - (177,643) 168,914 8 S- s- s - s - $ 46.601 8 224,444

s 12.935 s- .Ç- S 85.018 $ - $ 1.758.740 $ 1.622.380

- 85,018 1,034,266 1,239.001 - - 150.062 144,622 85.018 - 1.184.328 1.383.623 12,935 - 574.412 238,757

- - 390,535 12,935 - 163,677 238,757 35,910 313,122 199.880

- - - - (134,600) (125,515) 848,845 S- $- 8 - $- $ 362,399 8 313,122

The accompanying notes and schedule are an integral part of the fïnancial statements. 34 Endowment Account The Canada Council

Statement of Operations for the year ended March 31, 1981

Revenue

1981 1980

Parliamentary grant $ 44,647,OOO $ 41.116.000

Interest and dividends 8.458.093 6.958.508

Cancelled grants authorized in previous years and refunds 432,438 729,572 Art Bank rental fees 349,577 318,218 53,887.108 49,122,298

Expenditure

Arts Grants and services 43,183,659 41,285,842 Administration (Schedule) 4,814.087 4.287.179 Purchases of works of art (Note 7) 509,820 509,408 48.507,566 46,082.429

Canadian Commission for Unesco tfa;f;istration (Schedule) 529,919 448,355 123,665 133,712

653,584 582,067

General administration (Schedule) 4,137,665 3.678.929 53.298.815 50.343,425

Excess of revenue over expenditure 5 588,293 S(1.221.127) (expenditure over revenue)

The accompanying notes and schedule are an integral part of the financial statements. 35 Notes to Financial Statements The Canada Council March 31, 1981

1. Objectives ad operations of the Councif into consideration any capital withdrawals and addi- The Canada Council was established by the Canada tional investments. Interest and dividends received Council Act in 1957. It is not an agent of Her Majesty. and realized gains or losses on disposa1 of invest- The objectives of the Council are to foster and pro- ments are allocated to each Fund based on the mote the study and enjoyment of, and the production percentages established at the beginning of each of works in the arts and, in particular, but without quarter. The accrued interest allocation is made only limiting the generality of the foregoing, the Council at year-end. may, in furtherance of its objectives: (a) assist, co-operate with and enlist the aid of organiza- (e) Capitalizatiion of income of Special Funds tions, the objectives of which are similar to any of the The Council capitalizes 10% of the gross revenue net objectives of the Council; of administration expenses of the Izaak Walton Killam (b) provide, through appropriate organizations or other- Memorial Fund for Advanced Studies and the Special wise, for grants, scholarships or loans to persons in Scholarship Fund in accordance with advice received Canada for study or research in the arts in Canada or from the trustees of thëse Funds in order to preserve elsewhere or to persons in other countries for study the equity of these Funds for future beneficiaries. The or research in the arts in Canada: Council reserves the right, however, to draw at any (c) make awards to persons in Canada for outstanding time on the accumulated income SO capitalized for accomplishment in the arts; the purposes of the Funds. (d) arrange for and sponsor exhibitions, performances and oublications of works in the arts: (f) Grants te) exchange with other countries or organizations or Grants approved by Council are charged to expendi- persons therein knowledge and information respect- ture in the year as determined by the Treasurer in ing the arts: and consultation with the Arts Division. Cancelled grants if) arrange for representation and interpretation of approved in previous years and refunds are shown as Canadian arts in other countries. income in the Endowment Account. For the Special Funds, such items are deducted from the grants Significant accounting policies approved during the year. Accounting basis The Council’s accounts are maintained on an accrual (g) Works of art basis except for dividends which are recorded on a Purchases of works of art are not capitalized, but are cash basis. charged to programme expenditure in the year of purchase. fb) Investments Short-term notes, bonds, debentures and shares are (h) Capital assets valued at cost. Insured mortgages are valued at Capital expenditures are charged to administration amortized cost. The difference between the cost and expenditure in the year of purchase and consequently the face value is amortized on a straight-line basis there are no charges for depreciation. over the remaining life of the insured mortgages. (i) Termination benefits (cl Gains and fosses on disposa1 of investments The Council does not record in its accounts the Net gains on disposa1 of investments are credited to a liability for termination benefits. Fund capital account entitled “Accumulated net gains on disposa1 of investments”. Net losses on disposa1 (j) Other of investments are charged against the above- Except for the Parliamentary Grant, all monies or mentioned account to the extent of the balance avail- properties received by the Council pursuant to Section able in this account. In the event that losses exceed 20 of the Canada Council Act are accounted for in the balance available in the account, the excess would the Special Funds statements. be charged to operations in the year of realization.

Participation in Endowment Account’s investment transactions The portfolios of three Special Funds (Special Scholarship Fund, Molson Prize Fund, Lynch-Staunton Fund) were merged on October 1,198O with the port- folio of the Endowment Fund. The participation of each Fund was originally calculated on the basis of market value. Quarterly adjustments are made to take 36

3. Endowment Account Investments (in thousands of dollars) 1981 1980 Cost Market Value Cos1 Market Value Short-term notes $ 1,419 $ 1,419 $ 10,532 $ 10,389 Bonds and debentures 44,415 39,052 40,506 32,862 Shares 17,982 28,417 12,246 17,136 Insured mortgages 6,069 4,175 7,221 4,905 669,885 $73.063 $70,505 666,292

4. R0SWV0 The Council has established a reserve of $2.100.000 to reduce the erosion of value of the original endow- ment due to inflation. This amount includes $1 ,OOO.OOO approved by the Council in June 1981.

5. Special Funds Investments (in thousands of dollars) 1981 1980 Cost Market Value Cost Market Value Short-term notes $ 681 $ 681 $ 840 $ 840 Bonds and debentures 11,794 9,949 13,171 10,243 Shares 4,l Il 6,578 3,415 4,587 Insured mortgages 888 582 755 495 s 17,474 6 17.790 $18,181 $16,165

6. Bequests and gifts The bequest contains the following provisions: that The Council has received the following bequests the Killam Trust shall not form part of the Endowment and gifts: Fund or otherwise be merged with any assets of the (a) Izaak Walton Killam Memorial Fund Council; and that, in the event the Canada Council for Advanced Studies should ever be liquidated or its existence terminated A bequest of $12.339.615 in cash and securities was or its powers and authority changed SO that it is no received from the estate of the late Mrs. Dorothy J. longer able to administer anv Killam Trust. the assets Killam for the establishment of the “lzaak Walton forming the Killam Trust must be paid ove; to certain Killam Memorial Fund for Advanced Studies” to universities which have also benefited under the Will. provide scholarships “for advanced study or research at universities, hospitals, research or scientific The cash and securities received and the proceeds institutes, or other equivalent or similar institutions have been invested in a separate portfolio. both in Canada and in other countries in any field of study or research other than the ‘arts’ as presently defined in the Canada Council Act and not limited to the ‘humanities and social sciences’ referred to in such Act”. 37

(b) Special Scholarship Fund (g) Edith Davis Webb Estate A aift of what mav be aooroximatelv $4.350.000 was A beauest of what mav amount to $400,000 was received from the’late Mis. Dorothy J. Killam for the made by the late Mrs.‘Edith Davis Webb. The payment establishment of a Special Scholarship Fund. The gift of the bequest is to be postponed during the lifetime consisted of preferred shares in a Canadian company of the surviving beneficiary of the residue of the registered in the name of the Canada Council redeem- estate. The bequest to the Canada Council is “to be able over a period of years. TO March 31, 1981, the used for the purpose of making grants or establishing Council has received proceeds from the redemption scholarships for musical study in such manner as the of these preferred shares amounting to $2,235,084. Council shall determine”. The bequest is reflected in The unredeemed portion of $2.1 18,525 is carried on the balance sheet at a nominal value of $1. the balance sheet at a nominal value of $1. These proceeds have been invested and the income there- (h) Vida Peene Estate from is available to provide fellowship grants to A bequest of $599,761 was made by the late Vida Canadians for advanced study or research in the fields Peene, a past member of the Council. The earnings of medicine, science and engineering at universities, from this bequest are to be paid annually to several hospitals, research or scientific institutions or other organizations as listed in her Will. In the year under equivalent or similar institutions in Canada. review, the earnings from this fund were $85,018 and this amount was paid out as directed. (c) Molson Prize Fund Gifts of $900,000 from the Molson Foundation (i) Kathleen Coburn established a caoital fund referred to as the Molson A aift of $100 was received from Miss Kathleen Prize Fund. The’income of the fund is used for award- Coburn, and is part of a promise of a larger bequest, ing cash prizes to Canadians for outstanding the amount of which cannot be determined at this achievement in the fields of the Arts, the Humanities time. When this bequest is in hand, it Will provide for or the Social Sciences that enriches the cultural or exchanges of scholars between Israel and Canada. intellectual heritage of Canada or contributes to The earnings in 1980-81 were $21. national unity. The value of each prize is $20,000 or as determined by the Council. without restriction as 7. Art Bank to its use by the recipient. In 1972 the Canada Council Art Bank was established to develop a collection of works of art for use in Id) Lynch-Staunton Fund federal offices and public buildings on a rental basis. An unconditional bequest of $699,066 from the estate Works of art acquired to March 31, 1981 total of the late V. M. Lynch-Staunton established a capital approximately $6.552.000 including $509,820 pur- fund. the income from which is available for the chased in 1980-81 ($509,408 in 1979-80). regular programmes of the Council. 8. Long-term base agreement (e) John B. C. Watkins Estate On October 8, 1976 the Council entered into a ten- A bequest was received (carried on the balance sheet year agreement for office space for the period Novem- at a nominal value of $1 ) of the net income from the ber 1976 to October 1986. The agreement calls for residue of the estate of the late John B. C. Watkins, an annual rental of $606,450 for the first five years which assets are held in perpetuity by a trust company. and an annual rental of $657,975 for the remaining The net income is to be used “for the establishment of five vears. scholarships to be awarded to graduates of any Canadian University who may apply therefor for the 9. Transactions with Canada purpose of engaging in post graduate studies in Upon the establishment of the Canada Council in Denmark. Norwav. Sweden or Iceland and who shall 1957, the Parliament of Canada authorized the be selected for their outstanding worth or promise by creation of an Endowment Fund of $50.000,000. The a committee appointed by the Canada Council”. activities of the Endowment Account of the Canada Council are dependent on annual parliamentary appro- If) J. P. Barwick Estate priations and on revenue from the Endowment Fund. A beauest of what mav amount to $31.500 was made by the late J. P. Barwick. The payment of the bequest is to be postponed during the lifetime of the surviving beneficiary of the residue of the estate. The bequest to the Council is “on condition that such bequest shall be applied for the benefit of the musical division of the arts and for the encouragement of the musical arts to increase the Council’s normal budget in the musical division or field of the arts”. The bequest is reflected in the balance sheet at a nominal value of $1. 38 Endowment Account

Schedule of Administration Expenditure for the year ended March 31, 1981

Arts

Salaries and wages $ 2,931,460 Employee benefits 273.664

Assessors’ fees. committee meetings and members’ honoraria 827,382

Rent and maintenance 157,777

Staff travel 382.941 Communications Professiona I services 81,352

Printing and publications 120,778

Council meetings, including members’ honoraria - Data processing

Duplicating

Furniture and equipment Office supplies and expenses

Safekeeping charges -

Freight and storage 20,204 Sundry 18,529 $4,814,087 39 The Canada Council

Canadian General Total Total Commission 1981 1980 for Unesco $ 402,310 $ 1,782,005 $ 5,115,775 $ 4,451,682 39,224 192,074 504,962 462,399 827.382 718,646 625,614 783,391 695,002 44,296 94,846 522,083 434,329 510.911 510,911 468,579 315,595 396,947 302,ai 1 84,846 205,624 278.499 147,990 191,587 194,299 167,054 167.054 141,264 65.819 65,819 60,679 55,i a5 55,185 32,132 52,235 52,235 92,017 - 38,927 38,927 39,450 - 20,204 21,714 492 4,564 23,585 20,961 $529.919 $4.137.665 $9.481.671 $8.414.463 40

Pane1 for French- Maurice Léger Advisory Arts Pane1 Music Language Theatre (New Brunswick) Companies Jean-Claude Lespérance Robert Spickler Jury on Commis- Hélène Beauchamp (Quebec) (Chairman) sioning of Canadian Robert Dion Neil Murray Malcolm Ross Composers Marie-Hélène Gagnon (Newfoundland) ( Vice-Chairman) Peter Boneham Gilbert Lepage Bernice Parent Janet Amos Patrick Cardy Roland Lepage (Manitoba) Raffi Armenian Gabriel Charpentier Pierre MacDuff Jean-Claude Picard”” Marcel Bélanger Gustav Ciamaga Olivier Reichenbach (Quebec) Malcolm Black Robert Daigneault Michelle Rossignol Eddie Rice Peter Boneham José Evangelista Robert Spickler (Prince Edward Island) Micheline Coulombe- Clifford Ford Audrey St-Onge”” Harry Freedman (New Brunswick) Saint-Marcoux Touring Office Paterson Ewen Rudolf Komorous Lorraine Thorsrud Sylvia Fraser Phyllis Mailing (Saskatchewan) Touring Office Marie-Hélène Gagnon John Weinzweig Joan Waterfield Adwisory Board John Wyre (Alberta) John Greer Members Michael Jones Richard Brownsey Jury on Assistance Ex-oHicio Members Roger Jones (British Columbia) Gatien Lapointe to Amateur Choirs David Peacock Geoff rey Butler (Onrario) Wilfrid Lemoine Elmer Iseler (Chairman) Michael Dobbin’ l Marcel Laurencelle Sandra Lynne LeBlanc Gilbert Lepage (British Columbia) André Major Wayne Riddell / Member of the Council) Nicholas Goldschmidt”’ Ron Moppett Jon Washburn Donald MacSween (Ontario) (National Arts Centre) Michel Moreau Rosalie G. Goldstein” Jury for Recording Jacques Montpetit France Morin (Manitoba) David Moroni Program (fxternal Affairs) Sandra Hodge” ’ Arlene Nimmons-Pach Norma Beecroft Edward P. Oscapella (Prince Edward Island) Sharon Pollock John Damant (Canadian Association Adrian Hoffman Cameron Porteous Walter Grealis of Artists’ Managers) Mary Morrison (Nova Scotia) Gilles Potvin John Holmes”’ Jury for Concerts Gwen Thompson (Newfoundland) Canada Program Lucille Wagner Theatre Henry Klassen Sheila Watson Andis Celms (Yukon and Jorgen Hoigersen Pane1 for English- Northwest Territories) Members of tbe Language Theatre David Y. H. Lui Council A ttending Companies Betty Webster Peter R. Duffield Janet Amos Jury for Colin M. Jackson Malcolm Black Apprenticeship Sandra Lynne LeBlanc Robert Enright Grants Robert Rivard Gay Hauser Edith Binnie H. Arnold Steinberg Larry Lille Thomas Bohdanetzky Harry Maskow Cameron Porteous Gerry Eldred June Faulkner Lucille Wagner Adrian Hoffman Bob White Yvan Saintonge Max Tapper

* These lists do “or include ** Term complered the names of hundreds of December 1980 individua/ professionals - - * Resigned July 1980 aôross rhe counrry whose ““Resigned February 1981 assessments are soughi, as need arises, during ihe year. 41

French-Language National Book British Columbia Performing Arts Jury Festival and Yukon Venture Capital Lise Gauvin Regional Committees Leona Gom Fund Gilles Potvin Atlantic Provinces (British Columbia) Pierre Savard Noreen Heighton Janice Pavey Venture Capital Antoine Sirois (Labrador) (British Columbia) Committee Jean Trudel Dyane Léger Margaret Reynolds Marcel Couture (New Brunswick) (British Columbia) Edgar Cowan Juries for Promotion Eric Norman Alice Simpson Peter R. Duffield and Distribution (Newfoundland) (British Columbia) Norman Jewison of Canadian Books Michael 0. Nowlan Lucy Stewart Franz Kraemer and Periodicals (New Brunswick) (British Columbia) Walter Learning English-Language Libby Oughton Kate Walker David Peacock Jury (Prince Edward Island) (British Columbia) Harald Bohne Barbara Schemelefske Writing and Michael de Pencier (Nova Scotia) Coordinators Publishing Ken Haycock Don Scott Ruth Clarke William Roberts (Prince Edward Island) (British Columbia/ Selection Paul Robinson Yukon) Committees for Dianne Woodman Quebec Catherine Keachie Book Purchases Louis Dubé (Ontario) for Free Distribution French-Language Diana McNeil Elin Logan Englisb-Language Jury Angèle Pinta1 (Prairies/Northwest Committee André Belleau Yvon Rivard Territories) Matt Cohen Jacaues Francoeur Philippe Sauvageau Louise Myette Elizabeth Eve Jean-Marc Gagnon Marie-José Thériault (Quebec) Kevin Major Gérard Leméac Paul Robinson Duncan Rand Jean Paré Ontario (Atlantic Provinces) E. Lindsay Rogin Lynn Cunningham Jane Rule Juries on Book Hugh Kane Visual Arts and Publishing Grants Rolande Landriault Art Bank French-Language English-Language Peter McGarvey Committee Jury Wayne Oakley Jury for Public Art Joseph Bonenfant Fred Cogswel l Sean O’huiain Barry Cook Gene Rossetto Galleries and Guy Boulizon Artist-Run Spaces Hélène Charbonneau Eli Mandel Catherine Wilson (Project Assistance Louis Dubé Barney Sandwell David Stimpson Prairies and Program) Francois Hébert Rose-Marie Arbour Suzanne Paradis Northwest Territories Michael Greenwood French-Language Nick Burton Doris Shadbolt Juries for Aid to Jury (Saskatchewan) Gilles Archambault Jeannette Fish Periodicals Jury for Grants to English-Language René Caron (Northwest Territories) Print Workshops Paul-Aimé Martin Bertha Hanson Jury William Laing Madeleine Ouellette- (Alberta) Harry Bruce Gordon Smith William French Michalska Doris Lemoine Serge Tousignant Terrence Heath Philippe Sauvageau (Manitoba) Urjo Kareda Barb Munro Robert Kroetsch Jury for Scottish- (Alberta) Canadian Writer-in- Residence Exchange Program Joyce Marshall Malcolm Ross Robin Skelton 42

Video Production David Craven (New York) Dance (Modem) Grants Jury Christine Currlin Arts Awards Service Peter Boneham Robin Collyer (Toronto) Phyllis Lamhut Lorraine Dufour Nancy Edell (Ottawa, Arts Grants “A” Susan Macpherson Vera Frenkel Kingston, Tamworth) Juries Nora Hutchinson André Fauteux (Grants awarded in the Multidisciplinary and Gilbert Lachapelle (Montreai) Fa// of 1980) Performance Art Ardele Lister Bruce Ferguson (Toronto, Raymonde April Robert Morin Locus? Hi//, Parry Sound. Film Alvin Balkind Catherine Richards Base/, Vence, Girolles, Barbara Anne Cameron Claude Gosselin Clive Robertson Paris, Montreal, Quebec, Jean Chabot Wendy Knox-Leet Michel Sénécal Liverpool, Pleasantville, Martin Duckworth Tom Sherman Tom Sherman Halifax, St. John’s, Robert Favreau John Watt Hampton) Peter Harcourt Music Yves Gaucher (Montreal) Murray Adaskin Film Production Susan Gibson (Ottawa, Visual Arts John Beckwith Grants Jury Fournier, Liverpool, Betty Goodwin Gabriel Charpentier Ted Lindberg Françoise Berd Halifax, St. John’s. Paul Mills David Billington Hampton) Henry Saxe Gilles Potvin Yolande Cadrin- Peter Gnass (Paris, Rossignol Vence, Girolles) Writing (Engïish) Photography Bruce Eider. John Greer (Parry Sound, Henry Beissel Jim Borcoman Michael Jones Toronto, LOCUS~ Hi//) Harold Horwood Lynne Cohen Jerry Krepakewich Alexandra Haeseker Jane Rule Hubert Hohn Bill Kuhns (Otrawa) Martin Lavut John Hall (New York) Writing (French) Theatre (English) Jean-Pierre Lefebvre Hubert Hohn (Ottawa) Michèle Lalonde Janet Amos Richard Leitermann Thaddeus Holownia Wilfrid Lemoine David Gardner André Melancon (Ottawa) Robert Marteau Bill Glassco Roy Moore Jacques Hurtubise (Paris) Arts Grants “A” Theatre (French) Members of Advisory Suzy Lake (Otfawa, Juries Monique Mercure Selection Committees Kingston. Tamworth) (Grants awarded in the Marcel Sabourin for the Art Bank’ Bill Lobchuk (Montrea/, Spring of 198 1) Robert Spickler Alvin Balkind (Base/) Quebec) Sally Barbier John McEwen (Toronto) Architecture Visual Arts (Ottawa, Fournier) Guido Molinari Joe Baker Yves Gaucher David Bierk (Montreal, Quebec) Jacques Dalibard Tony Urquhart (0 tta wa, Fournier) Ann Morrison (Ottawa) Jack Diamond Dennis Young Jim Borcoman (Ottawa) Roland Poulin (Ottawa) Dance (Ballet) Alex Cameron John Reeves (Ottawa) Visual Arts Robert Joffrey (Parry Sound. Toronto, Milly Ristvedt (Ottawa) (Curators and Arnold Spohr Locust Hi//, Ottawa) Vincent Sharpe (Ottawa1 Art Critics) Sergiu Stefanschi Serge Clément (Oftawa) Ann Thomas (Ottawa) George Bogardi Lynne Cohen (Ottawa) Serge Tousignant Eric Cameron Robin Collyer (LiverpooI, (Ottawa) Willard Holmes Pleasantville, Halifax, Catherine Tweedie St. John’s, Hampton) (Ottawa) Writing (English) Robert Walker (Ortawai Joyce Marshall Irene Whittome (Ottawa, Malcolm Ross Kingston, Tamworth) Robin Skelton Peter Wolhein (Ottawa) Alex Wyse (New York) Writing (French) Tim Zuck (Toronto) André Major Gaston Miron France ThBoret

* These commirtees, usuaily composed of three members. met for one or severaf days in rhe communities indicared in parenrheses. Arrists on rhese commitrees may net submit iheir own works for purchase Lo rhe same commiltee. 43

Arts Grants “B” Film Writing (English) Multidisciplinary and Juries Barbara Anne Cameron Henry Beissel Performance Art (Grants awarded in the Jean Chabot Harold Horwood Raymonde April Summer of 1980) Martin Duckworth Jane Rule Alvin Balkind Robert Favreau Claude Gosselin Music (Classical Peter Harcourt Writina Ifrenchl Wendy Knox-Leet Performance) Michèléialonde Tom Sherman Marek Jablonski Multidisciplinary and Wilfrid Lemoine René Masino Performance Art Robert Marteau Music (Choral Mary Morrison-Freedman Jocelyne Alloucherie Conducting) Marc Samson Peter Froehlich Arts Grants “B” Charles Duouv David Zafer Barbara Shapiro Juries Elmer lsele; (Grants awarded in the Wayne Riddell Special A dvisers Music (Classical) Spring of 198 II Ian Bernard Rudolf Komorous Music (Orchestral Otto Joachim Gregory Levin Architecture Conducting) Guy Lachapelle Paul Pedersen Joe Baker Dwight Bennett Bernard Lagacé Gilles Potvin Jacques Dalibard Francoys Bernier John Weinzweig Jack Diamond James De Preist Arts Grants “6” Juries Music (Oiher Forms) Arts Administration Music (Instrument (Grants awarded in the Neil Chotem Andis Celms Making) Fall of 7980) Don Clark Willard Holmes Otto Joachim Victor Davies Roger Jones Peter Mach Architecture Harvey Glatt Hamilton McClymont Peggie Sampson George Baird Stéphane Venne Jean-Claude Picard Robert Sigmund Humphrey Carver Robert Spickler Mark London Photography Photography John Reeves Dance (Ballet) Jim Borcoman Arts Administration Ann Thomas Robert Joffrey Lynne Cohen Andis Celms Robert Walker Arnold Spohr Hubert Hohn Roger Jones Sergiu Stefanschi Hamilton McClymont Theatre (English) Theatre (EngllshJ Jean-Claude Picard Michael Cook Dance (Modem) Charmion King Robert Spickler Chapelle Jaffe Peter Boneham Alden Nowlan George Luscombe Phyllis Lamhut John Wood Dance (Ballet) Susan Macpherson Celia Franca Thealre (French) Theatre (Frenchl Glenn Gilmour Rémy Girard Film Marie-Hélène Gagnon Arnold Spohr Gilbert Lepage Guy Dufaux Roland Laroche Monique Miller Robert Forsythe Renée Noiseux-Gurick Dance (Modem) Claude Godbout Peter Boneham Video Martin Lavut Video Linda Rabin Henry Bull Jesse Nishihata Nora Hutchinson Anna Wyman Marsha Chuk Gilbert Lachapelle (Marshalore) Clive Robertson Ian Murray Visual Arts Visual Arts Jocelyne Alloucherie Claude Breeze Paterson Ewen Joe Fafard Edythe Goodridge Susan Gibson Roy Kiyooka Claude Mongrain Nancy Tousley Ann Pollock 44

Visual Arts Special Adviser Otto Joachim Music (Other Forms) /Curators and (Classical Indian) André Laberge Tommy Banks Art Critics) Rina Reddy Singha René Masino Neil Chotem George Bogardi Eric McLean Don Clark Eric Cameron Film Mary Morrison-Freedman Victor Davies Willard Holmes David Billington Jean-Guy Plante Harvey Glatt Lucile Bishop Walter Prystawski Tom Kines Writing (English) Jacqueline Brodie Peggie Sampson Phil Nimmons Sylvia Fraser Yolande Cadrin- Marc Samson Luc Plamondon George Jonas Rossignol Claude Savard Mitch Podolak George Ryga Barbara Anne Cameron Ezra Schabas Tony Tobias Jean Chabot Robert Silverman Stéphane Venne Writing [Frencb) Martin Duckworth Christopher Weait Andre Major Guy Dufaux Robert Weisz Photography Gaston M;ron Robert Favreau David Zafer Burt Beaver France Théoret Robert Forsvthe Jim Borcoman Marc Gervais Music (Composition) Serge Clément Juries for Short- Claude Godbout Murray Adaskin Lynne Cohen Term, Project Cost Luce Guilbeault John Beckwith Pennv Cousineau and Trawel Grants Robert Gurik Gabriel Charpentier David Heath Piers Handling Neil Chotem Hubert Hohn Architecture Peter Harcourt John Fodi Marion Penner Bancroft George Baird Martin Lavut Clifford Ford John Reeves Humphrey Carver Jean-Pierre Lefebvre Jacques Hétu Vincent Sharp Mark London Jesse Nishihata Gregory Levin Ann Thomas Phyllis Mailing Robert Walker Arts Administration Multidiscinlinarv and John Weinzweig Andis Celms Performance Art’ Theatre (English) Willard Holmes Jocelyne Alloucherie Music (Instrument Janet Amos Roger Jones Raymonde April Making) Carol Bolt Hamilton McClvmont Alvin Balkind Otto Joachim Peter Colley Jean-Claude Picard Bruce Barber Peter Mach Jim Garrard Robert Spickler Elizabeth Chitty Peggie Sampson Patricia Hamilton Patrick Darby Robert Sigmund Paul Hanna Dance (Ballet) Peter Froehlich Janet Heyman Yves Cousineau Claude Gosselin Music (Orchestral Charmion King Celia Franca Wendy Knox-Leet Conducting) Rick McNair Glenn Gilmour Richard Nigro Dwight Bennett Tom Miller Robert Joffrey Robert Racine Mario Bernardi Maurice Podbrey Arnold Spohr Barbara Shapiro Françoys Bernier Erika Ritter Sergiu Stefanschi Tom Sherman James De Preist Sheldon Rosen Bonnie Wyckoff Paul Wong Victor Feldbrill Elizabeth Yeigh Pierre Rolland Theatre (French) Music (Classical) Simon Streatfeild Elizabeth Bourget Dance (Modern) Rudolf Komorous Robert Dion Peter Boneham Gregory Levin Robert Grave1 Danny Grossman Paul Pedersen Robert Gurick Kazuko Hirabayashi Gilles Potvin Mirielle Lachance Phyllis Lamhut John Weinzweig Gilbert Lepage Susan Macpherson Olivier Reichenbach Judith Marcuse Music (Classical Michèle Rossignol Linda Rabin Performance) Daniel Simard Peter Randazzo Donald Bell Kim Yoroshevskaya Anna Wyman Napoléon Bisson Robert Cram Marie Daveluy Paul-André Gagnon Paul Helmer Guy Huot Marek Jablonski 45

Video Selection Committees Bruce Barber Explorations Program Prizes and Awards for Translation Prizes Henry Bull English-Language Elizabeth Chitty Regional Selection Selection Commit- Betty Bednarski Marsha Chuk Committees tees for the Davidson Dunton (Marshalore) Atlantic Provinces Governor General’s John O’Connor Andrée Duchaine Margaret Conrad Literary Awards Louise Gendron Jeannine Despres Peter Buitenhuis French-Language Ian Murrav Adrian Fowler (Chairman, English Michel Beaulieu Robert Racine Michael Hennessey Section) Derrick de Kerckhove Barbara Steinman Marilyn Noble Denis Moniére Antoine Sirois Walter Ostrom (Chairman, French Visuel Arts Doris Saunders Section) Selection Committees Douglas Bentham for the Children’s Claude Breeze Quebec Poetry or Drama Literature Prizes Nicole Dubreuil-Blondin Françoys Bernier (English) English-Language Paterson Ewen André Brassard D. G. Jones Sue Ann Alderson Joe Fafard Christiane Charette Patrick Lane Laszlo Gal Susan Gibson Héléne de Carufel Jay MacPherson Janet Lunn Dennis Gill Suzanne Lemerise Frank Newfeld Carl Heywood Sheila McLeod Poetry or Drama Ken Roberts Walter Jule Arnopoulos (French) Chris Knudsen Mariette Rousseau Marcel Belanger French-Language Claude Monarain Vermette Robert Mélancon Claude Aubry Wayne Mo&n René Viau Jean Rayer Frédéric Back Ann Pollock Louisette Bergeron- Don Proch Ontario Fiction (English) Choquette Leslie Reid David Bierk Constance Beresford- Denise Houle Denis Rousseau Don Bouzek H owe Roger Paré John Ivor Smith Rick Butler Timothy Findley Gilles Toupin Nancy Helwig Sheila Watson Selection Committee Ann Witlock Maureen Labonté for the Canada- Al Mattes Fiction (French) E$ralia Literary Selection Committee Car01 Priamo Gilles Archambault for Visiting Douglas Ward Madeleine Ouellette- Jack Hodgins Foreïgn Artists Michalska Eli Mandel Robert Aitken (Music) Prairies and François Ricard Alice Munro Alvin Balkind Northwest Territories Michael Ondaatje (Visual Arts) David Barnet Non-Fiction (English) John R. Colombo Hugh Dempsey Peter Buitenhuis Selection Committees (Literature) Mayo Graham J. L. Granatstein for the Canada- Larry Gradus (Dance) Caroline Heath Alistair MacLeod Belgium Literary Albert Grenier (Music) Anne Mulders Prize Carl Hare (Theatre) Michael Snook Non-Fiction (French) Canadian Committee Stan Taniwa Joseph Bonenfant Marie-Claire Blais Marie-Claude Thordarson Benoit Lacroix Louise Maheux-Forcier Denis Monière Gilles Marcotte British Columbia Jean-Guy Pilon snd Yukon James Barber Belgian Committee Diana Caldwell Charles Bertin Dennis Foon Pierre Mertens Gloria George Léo Moulin Ken Harris Jean Tordeur Heilwig van Konigsltiw Charles Maier Robert 0. Watt 46

Selection Committees for the Canada- Killam Program Canadian Commission Finances Switrerland Literary for Unesco Prire Killam Committee Investment Canadian Committee Paul Chavy Executive Committee Committee Gilles Archambault John C. Courtney for the Canadian Frank Elliott Case Monique Bosco Louise Dechêne Commission for (Chairman I Henri Dominique- Pierre Fortin Unesco Gordon Dowsley Paratte Richard Goldbloom Vianney Décarie Alan B. Hockin Jean-Marie Poupart T. M. Penelhum (Chairman) Germain Perreault Stanley Rowlands James M. Harrison (uniil December 1, 1980) Swiss Committee John Shewchun I Vice-Chairman) Raymond Primeau Luc Boissonnas R. G. Stanton Mary Elizabeth Bayer Jeanlouis Cornuz Clara Thomas Paul Bélanger N. Hutter-Terrier Endel Tulving Ian Burton Lise Juradin John Cairns J. P. Monnier Ex-officia Members Laurie H. Cragg Roland Ruffieux Eva Kushner Marcelle Dumoulin (Chairman) William Kilbourn Selection Committee Albert W. Trueman Elizabeth Lane for the Lucie Marchessault- Jacqueline Lemieux Killam Sub- Lussier Prize Committees Lucien Perras Peter Boneham Sciences, Medicine Muriel Roy Robert Joffrey and Engineering Gordon Selman Phyllis Lamhut Richard Goldbloom Charles A. Lussier Susan Macpherson Stanley Rowlands (Ex-oftÏcio) Arnold Spohr John Shewchun Claude Lussier Sergiu Stefanschi R. G. Stanton (SecretarpGeneral) Jacques-Victor Morin Jury for the Humanities (Associate Secretary- Healey Willan Prize Paul Chavy General) Elmer Iseler Eva Kushner Marcel Laurencelle T. M. Penelhum Clara Thomas

Social Sciences John C. Courtney Louise Dechêne Peter Dodwell Endel Tulving 47

Brochures and Folders on Current Canada Studies, Briefs and Other Texts Council Programs (since 1977) Aid tu Artists A Submission tu the Federal Cultural Policy Aid to Writing and Publication Review Committee by the Canada Council. Annual Reoort and Suoolement March 9, 1981. The Canada Council an’d Its Programs The Canada Council Art Bank The Art of Partnering Dance - A Federal Pas de Explorations Program Deux. A summary of a paper presented to the Killam Program Canada Council by the Dance Section of the Touring Office Council. December 1980. Visiting Foreign Artists and Opportunities Abroad for Canadian Artists Submission on exrension of service to northern Visual Arts, Film and Video and remote communities, the satellite distribution of programming and pay television. A submission Speeches (since 1978) to the CRTC by the Canada Council. March 3, Supporting Culture-A Shared Responsibility. 1980. Notes for a presentation to the Institute of Donations and Public Affairs Research, Montreal, The State of Canadian Orchestras. A paper February 3, 1981, by David Bartlett, Secretary to presented to the Canada Council by Franz Kraemer, the Canada Council. Head of the Music Section of the Council. December 10. 1979. Government and the Arts. Notes for an address to the Empire Club of Toronto, February 7, 1980, by The Canada Council Art Bank. A report commis- J. Mavor Moore, Chairman, the Canada Council. sioned from Davidson Dunton. June 1979.

Transcript of a speech given at the Confederation Guidelines on the Support of Theatre Companies. Centre, Charlottetown. May 25, 1979, by J. Mavor Prepared by the Canada Council Communications Moore, Chairman, the Canada Council. Service. March 1979.

The Canada Council: Fundino the Arts in Canada. Notes for a speech to the Arts and Government Seminar of the Institute of Politics, John F. Kennedy School of Government, Harvard Univer- sity, Cambridge, Massachusetts, March 21, 1979, by Charles Lussier, Director, the Canada Council.

Culture and Confederation: The Spirit of Charlotte- town. Notes for a speech to the Committee of Confederation Centre, Charlottetown, February 22. 1978, by Timothy Porteous, Associate Director, the Canada Council. 48

Economie Outlook for Ballet. Prepared by the Art Bank Slides Canada Council Communications Service. Contemporary Canadian Painting, a set of 100 January 1979. slides from the Art Bank collection. $75.00. (Checklist available on request.) The Future of the Canada Council. A report to the Canada Council from the Advisorv Arts Pane1 Contemporary Canadian Sculpture, a set of 100 under the chairmanship of Roger jones. slides from the Art Bank collection. $100.00. December 1978. (Checklist available on request.)

A National Music School for Canada. An inquiry Touring Office Publications by Helmut Blume. March 1978. Facilities Directory. 4 volume set. $100 pre-paid. (Annual updates, additional $10.00.) Twenty plus Five. A discussion paper on the role of the Canada Council in the arts, after the first Sponsors’ Handbook for Touring Attractions. twenty years (1957-77) and over the next five. Separate English and French versions. $5.00 each. Based on a report by a committee of the Council. November 1977. Touring Artists’ Directory of the Performing Arts in Canada. Report of the Committee of Inquiry into Theatre Training in Canada. A study prepared by an inde Touring Office Bulletin. pendent Committee of Inquiry under the chairman- ship of Malcolm Black. June 1977. Tour Organizer’s Handbook. Revised, bilingual version. $5.00.

Unless otherwise noted, the publications listed above are available free of charge.