The Canada Council The Canada Council was created by an Act of Parliament in 1957. Under the terms of the Canada Council Act, its purpose is “to foster and promote the study and enjoyment of, and the production of works in, the arts.” It offers a wide-ranging program of financial assistance and special services to individuals and organizations.The Council also main- tains the secretariat for the Canadian Com- mission for Unesco and has some responsi- bility for promoting Canadian culture abroad. The Council is headed by a 21 -member board appointed by the Government of Canada. The board usually meets four times a year. Its decisions on policies, programs and other matters are implemented by a staff headed by a Director and an Associate Director, both appointed by the Government of Canada.The Council and its staff rely heavily on the advice and cooperation of an Advisory Arts Pane1 and of artists and arts- related professionals from all parts of Canada, who are consulted both individually and in juries and selection committees. The Council also works in close cooperation with federal and provincial cultural agencies and with the Bureau of International Cultural Relations of the Department of External Affairs. The Council reports to Parliament through the Secretary of State, and is called from time to time to appear before parlia- mentary committees, particularly the House of Commons Standing Committee on Broad- casting, Films and Assistance to the Arts. 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 hasalso received substantial amounts in private donations and bequests, usually forspecific purposes. The Canada Council Members William Kilbourn Marcel Sormany Gertrude Laing (from February 15, (Chairman until 7979) H. Arnold Steinberg December 22, 1978) (from February 15, Eva Kushner 7979) Mavor Moore (Chairman from Sandra Lynne Thomas Symons February 15, 1979: LeBlanc (until February 14, previously a (from February 15, 7979 I member) 7979) Rita Ubriaco Michel Bélanger Sean B. Murphy (from February 75, (Vice-Chairman until (until February 74, 79791 June 5. 7978) 1979) Norman Ward Germain Perreault Elise Paré- (Vice-Chairman from Tousignant Executive Staff February 15, 1979) Charles Lussier, Pascal Parent Director Nini Baird (from February 15, 7979) Timothy Porteous, David Owen Carrigan Associate Director Roland Parenteau Solange Chaput- (until June 2, 1978) Claude Gauthier, Rolland Assistant Director (resigned April 10, Paul B. Park and Treasurer 1978) (until August 7 7, 1978) David Bartlett, Dorothy Corrigan Assistant Director John C. Parkin and Secretary of Gordon Dowsley the Council (from February 75, Christopher Pratt 7979) David Peacock, Robert Rivard Assistant Director of Peter R . Duff iel d the Arts Division (from February 15, Ruth Schiller 79791 (from February 75, Claude Lussier, 7979) Secretary-General Colin M. Jackson for the Canadian Commission for Unesco Contents 1 The Canada Council The Canada Council’s annual report to 4 Chairman’s Foreword Parliament has in the past included a volumi- nous list of grants and services rendered 9 Arts Programs and Services during the year. Compiling this list has often 10 Dance delayed presentation of the report. This 13 Music and Opera year’s annual report therefore excludes the 15 Theatre list of grants and services, which Will be 17 Touring Office available on request from the Council’s In- formation Service by the fall of 1979. It is 19 Writing, Publishing and Translation our hope that this annual report, which in- cludes audited financial statements and a 22 Visual Arts and Art Bank review of the year’s activities in all Council programs, Will contribute to a timely discus- 27 Arts Awards Service sion of the arts and of the work of the 29 Explorations Council. 31 Prizes and Awards 33 Killam Program 37 The Canadian Commission for Unesco 41 Common Services 45 Finances 46 Introduction 47 Financial Statement 63 Appendices 64 Advisory Bodies, Juries and Selection Committees 70 Canada Council Publications Chairman’s Foreword If the Canada Council could prepare its of contemporary Canadian culture and the message to Parliament in an artistic medium sheer size of the cultural industry both argue instead of thegrey prose of an annual report, for its endurance. it might choose film as the best way of depicting the rapid pull-and-tug of this The Council and the Artists year’s events in Canada’s artistic community. Canada now has an estimated 65,000 artists. A newsreel of the year’s activities The arts are a labor-intensive industry gener- would open with a remarkable image: a cast ating up to 300,000 jobs, with spin-off effects of thousands of Canadians debating the which increase tourism and benefit everyone future of their country’s culture. The story from innkeepers to babysitters. For some begins in the late summer of 1978, with the years now, Statistics Canada has been telling federal government’s announcement that it us that more Canadians attend performing Will make substantial cuts in the budgets of arts events than sports events. According to the federal cultural agencies, including the the Association of Cultural Executives, the Council. Quickly, artists across the country overall economic value of the visual, perform- organize committees to contact politicians ing and Iiterary arts in 1976 was $5.6 billion and the media about their concern. On (or2.9%oftheGNP). October 19 a delegation of artists arrives Such statistics cari measure the size of on Parliament Hill to bring their objections the industry. What they can’t measure is more directly to the legislators. significant: the importance to our civilization The newsreel flashes back to the first of a vital culture through which we define and and last nation-wide demonstration by artists discover ourselves. over 25 years ago, when a delegation called In the course of this dramatic year, the upon the government to organize what later Canada Council was gratified by the warm became the Massey Commission. But this support it received from Canada’s artists, year’s demonstrations are far larger, and they belying the hoary but oft-repeated slur that it are repeated in city after city across the is a frivolous spendthrift. Over and over country. again the cultural community not only asked In the weeks that follow,all three major for more adequate government funding but political parties intensify their activities in also advocated that increased funds be chan- the field of culture. By the time an election is nelled through the Council. As artists called in the spring of 1979, all three have insisted to visiting politicians and the media, established lines of contact with the artistic funding allocations have to be made by community and prepared extensive state- boards independent of partisan pressure. ments on cultural policy. For the first time in This does not mean, of course, that all Canadian history it appears that politicians artists support every Council decision. On Will regularly consult artists about their many issues the artistic community is di- future well-being as they do farmers, steel- vided, as is the general public.Two recent workers, and businessmen. 1978 may be recorded in history as the year in which Canada’s artistic community became a political constituency.This con- stituency is unlikely to disappear: the vitality policy initiatives are cases in point. When the Council released new guidelines for theatres this year, some artistic directors hailed them as proof that Canada had finally corne of age: others thought an emphasis on the production of Canadian plays would drive theatregoers away. The Council’s 1978 citizenship re- quirements provoked enthusiastic support and outraged protest. One commentator thought they were “the most significant com- mitment to Canada’s creative community” since the passage of the Canada Council Act, while another said they represented a “mean- spirited” decision that would do nothing but harm to Canada’s artists. Still, when the chips were down this year, artists and many journalists rallied to the Council’s defense. 71-72 72-73 73-74 74-75 75-76 76-77 77-78 78-79 Financial Restraint After the government modified its initial - funding plans, the Council learned that it had Curent Dollars (5’000) suffered less than some other agencies but F::stant Do,,ars (s,ooo, still more than it could sustain if it were to See notes, page 72. fulfill its crucial responsibilities. The most dramatic impact of the budgetary restrictions Will be felt in 1979-80, when for the first time the Council’s budget Will decrease. If, however, we examine the Council’s support to the arts in constant dollars, it is clear that the situation has been acute for some time. There has been no real increase in our support of the arts since 1975-76, though during those same years the GNP increased 9.7% and persona1 disposable income 14.6% in real terms. The graph which follows depicts Council expenditures in the arts, in both current and constant dollars, from 1971-72 to 1978-79. The Effects of Budget Cuts Other Challenges Even in 1978-79, artists and organizations in During the course of the year, two other every field felt the impact of the Council’s dangers confronted the Council. The more restrained budget. The specific effects dif- direct challenge appeared in the Lambert fered from discipline to discipline. In the Commission’s report on government financ- case of awards to individual artists, the ing, which recommended changes that would Council has been unable to raise the maxi- affect the Council’s independence.