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. mum rate of its grants for more than two In our view, appropriations from the years, though inflation steadily erodes their government should be based on the Council’s buying power. Certain outreach activities proven competence and the current needs of have been curtailed or suspended. Ceilings the artistic community; the Council should were placed on the popular program of public then decide how these funds are to be dis- readings, for instance, and the Council could bursed and it should thereafter be account- not proceed with its plan to open more re- able to Parliament and the public for its deci- gional officesacross the country. Many de- sions. This type of accountability has in fact serving new dance and theatre companies always been required of the Council, and the cannot expect funding from the Council, and Council has always accepted its responsibi- programs supporting community musicians, lity to answer to Parliament and the public amateur chairs, and the promotion of Cana- for its decisions. dian music- to name only a few -are in- The Lambert Report suggests a different adequate to meet public demand. Allocations view of accountability: it proposes the use of of funds spent in 1978-79 are itemized in the government directives as to how and where table opposite. the appropriation Will be spent. In our opin- One field in which constraints are espe- ion, this is not accountability but dirigisme. cially severe is ballet. This year the Council Its implications for a grant-giving agency are issued a lengthy public statement about the potentially dangerous, since they violate a financial crisis faced by the leading ballet basic principle: a commitment to judgments companies. Members of the corps de ballet based on artistic criteria, arrived at by pro- at the three major companies earn between fessionals in the field, independent of politi- $7,500 and Si 1,500 for a season’s hard cal or other pressures. work. At smaller companies they exist on It is possible, however, that one positive wages far below the poverty line - some on result of the Lambert Report Will be improve- as little as $3,000 a year. (For purposes of ments in the procedures through which the comparison, elementary school teachers in Council reports to Parliament.The Council Ottawa earn an average of nearly $21,000 a appears each year before the House of Com- year.) Even the major ballet companies, mons Standing Committee on Broadcasting, whose artistic brilliance is a matter of record, Films and Assistance to the Arts.This com- cannot afford to raise salaries to anything mittee, which examines the estimates of a like a proper level. large number of departments and cultural Financial restrictions tut two ways - agencies, is insufficiently staffed. It does not they mean insufficient support for established have the time or research support to seriously companies and inadequate encouragement examine a complex operation like the Coun- for new organizations and new forms of ex- pression. The blight has hit both perennials and annuals. cils. As Chairman of the Council, I Will All regions of Canada Will benefit from actively support suggestions from members close cooperation between the Council and of Parliament about ways to improve this its provincial counterparts. There is plenty process. for all of us to do, and we must continue to The second danger to the Council is work together. less direct. It is the notion that the Canada Council is an instrument of centralization at Inside the Council the very time when our regions are feeling In 1978-79, the Council took on a stronger, their oats. When politicians have suggested more public role as an advocate for the arts. decentralizing the Council or distributing lt issued two background papers which re- some of its funds through the provincial gov- ceivedwide attention; others Will follow. It ernments, many artists have registered strong also began to hold press briefings following opposition. This is certainly not because each Council meeting, to inform the public of artists are indifferent to the current vitality Council activities and concerns. of the arts in each and every region of Canada. This annual report itself is a product of It is because experience with the Council tells the Council’s attempts to open its doors them that a federal institution, aware of and wider. Each section of the Council was asked responsive to regional needs and abilities, is to prepare a text on its activities during the essential if consistent support is to be made year. Though these chapters have common available, if companies of national impor- themes - inevitably the subject of money tance are to be developed and maintained, dominates - their tone and style reflect the and if artistic standards are to be respected. diversity of temperament and taste found The Council has in fact had a decentralizing, among our officers, as among our clients. nota centralizing, impact on our culture, In this annual report, I would like to precisely because its funds allow artists and acknowledge a generous private supporter of companies to remain in their region and to the Council, Kathleen Coburn, Professor find audiences there, while expanding their Emeritus of Victoria Cojlege, Toronto, who horizons by travel. The exciting spread of has established the Coburn Fellowship Trust, book publishing, and the extraordinary pro- which Will ultimately support a program of liferation of professional theatres from B.C. exchange fellowships. May her generous through the Prairies to the Atlantic region, example be widely followed! are examples of what has been accomplished Finally, I would like to pay my respects by cooperation between local, regional and to Gertrude Laing, who served with great federal initiatives. ability, verve and distinction as a member of Council from 1974 and as its chairman from 1975 until my appointment in February 1979. Perhaps only her successor cari fully appre- ciate her contribution.

Mavor Moore, O.C.. B.A., D.Litt. Chairman April 1979

Dance

4% $ 199 Individual Awards Crocuses bloom brightly in the freeze, but dance is a garden of roses: it needs tare in 46% 2,162 Operating Grants over $150.000 nurturing, warmth in which to bloom and frequent infusions of private and public money. In 1978-79 the bloom was off the rose. Despite the heroic efforts of dancers, choreographers and administrators alike, Canadian dance faced the most severe finan- cial crisis of its crisis-ridden life. Such an occurrence is no less painful for having been anticipated.To a great extent, it is a predictable upshot of realities as stub- born as Canadian geography and the econom- ics of dance itself. For more than 15 years the Canada Council has insisted on the need to keep within reasonable limits the growth of professional dance in Canada. Yet during those years, the ebullient Canadian commu- nity gave birth to a wide variety of smaller companies in both traditional and new dance 11% 535 Operating Grants UD to fields.The Council made strenuous efforts to $150,000 maintain its commitment to established com- panies at the same time as it attempted to support the younger companies which met its criterion of artistic quality. 4% 200 Project Grants In February 1978, when the chilling 18% 844 Schools winds of budgetary restraint were blowing hard, the Council announced that SO long as financial restrictions continued, it would offer support only to classical and modern dance and experimental expressions of both forms. These were considered an absolute priority because it is these dance forms which the

16% 721 Tourina Office Grants Council has sponsored and nurtured over the years and, in spite of excellent box-office returns, they cost the most and fare the worst as profit-making enterprises. This meant that even the small grants previously offeredfor jazz dance would have to be curtailed, and

1% 67 Other $4,728 Total (~“000) Seenotes,page 72.

10 any possible extensions into such forms as ice-, folk- and tap-dancing were ruled out. Thus in 1978-79, of eight dance companies I receiving operating grants from the Council, the three major ballet companies (Les Grands Ballets Canadiens, the National Ballet and I the Royal Winnipeg) received the lion’s share. A dozen more dance groups received project grants. I This, however, was not enough to exor- cise the financial woes of the dance compa- nies. Despite the apparent splendor of their I productions, the three major ballet compa- nies were particularly hard pressed.Their dancers have lived with austerity throughout I the 197Os, playing all the while to increas- ingly wide and sophisticated audiences, im- l proving their skills and winning national and ,. __ __._ .- .- - international acclaim. But with budgets now pared to the bone, the companies found them- selves unable to meet rapidly increasing pro- rsnt111 Dollars (SO001 duction costs. Constant Dollars (8’000) In January 1979, the Council felt com- See notes, page 72. pelled to alert the public, the private sector and all levels of government to the very real danger that within three years one or more of these companies would fold. “Unless infla- tion stops or subsidies grow,” the Council warned, the leading ballet companies “Will be forced to reduce their seasons to the point at which their survival is threatened.” As the fiscal year ended, nothing had happened to alter this bleak prophecy. It was evident that Council support for dance could not be sub- stantially increased in 1979-80. More funds Will therefore have to corne from other levels of government and the private sector. Canadians and their governments have much to learn from the experiences of other countries in this area. In several European countries, it has long been recognized that dance companies cari recover only 20% of

11 their expenses through box-office receipts; festivals - Montreal’s Octobre en danse and ticket prices would otherwise be prohibitively the Toronto Dance Festival - were organized, expensive for most people. In the United with the Council helping to caver publicity States, dance companies are urged to pursue costs. A welcome sign of corporate interest corporate and foundation dollars and do SO in dance was a commission from Metropoli- with some success. The Canadian compro- tan Life Insurance for the Groupe de la Place mise has been unsuccessful: our dance com- Royale. panies are expected to recover 50% of their At the same time, Canadian dance main- costs at the box-office, to find substantial tained its traditional commitment to Cana- support from our relatively few corporations, dian choreographers. Out of 95 works and to tour this vast, sparsely populated performed on our stages last year by Council- country. Under those conditions, the fact that supported companies, 75 were original Cana- our dance companies have held on SO long, dian choreographies. Since 1972, when the and have achieved such brilliant success, is Council began analyzing the Canadian con- nothing short of miraculous. The truth of the tent in dance, between 75% and 92% of matter is that our artists have subsidized their works performed here have been Canadian in art by accepting salaries which in most cases origin.This degree of commitment to Cana- are still below the officia1 poverty level. dian works, unique in the performing arts, is Despite this gloomy financial picture, one further reason for applauding our dance Canadian dancers had some reasons to cheer companies. in 1978-79. The Royal Winnipeg Ballet cele- brated its 40th anniversary and the National Ballet School its 20th year. Montreal’s Entre- Six became the first modern ballet company to visit the Northwest Territories. The Con- temporary Dancers of Winnipeg had to turn people away at the door during its choreo- graphie workshop. The Toronto Dance Theatre opened an exquisite new studio in a beautifully restored church. A new group rep- resenting dance companies -The Canadian Association of Professional Dance Organi- zations- was born, as was the Danny Gross- man Dance Company in Toronto. Seven dancers from the National Ballet organized the Ballet Revue and began practising for their 1979 opening. Two highly successful

12 MUS~C and Opera

No honest observer could claim that 1978-79 Individual Awards 12% $ 1,238 was a happyyear for Canadian music.SeveraI of our symphony orchestras reported finan- cial problems ranging from the chronic to the acute. Because of restrictions on the Coun- cil’s budget, its grants do not meet the in- Orchestras 40% 4,180 creasing costs faced by the orchestras. These organizations therefore have to find other sources of money, tut back on their program- ing, or increase their deficits. Evidence of all three results cari be found across the country, but increased deficits are the most frequent. In 1976-77,15 of Canada’s 16 major symphony orchestras collectively showed a net credit balance of $157,000 on the season. Eight ended up in the black, and seven in the red. At the end of the 1978-79 season, how- ever, the same 15 orchestras showed a net loss of over $1 1/2 million. Every single or- chestra in the group had an accumulated deficit. Orchestras inevitably incur forward Opera 19% 2,009 commitments over two or three years through union agreements, soloists’ contracts, leases on concert halls and SO forth. It is extremely difficult for them to reduce commitments when grants do not match their reasonable expectations. Some companies only belatedly learned to deal with financial constraints on Council Choral Music 4% 386 grants. Since most musical seasons are con- Chamber Music 5% 490 tracted before grants are made known, com- panies may be tempted to plan seasons which Youth-oriented 5% 564 are too ambitious. Still others may offer Programs programs which are “sure” box-office but Support Organizations considerably safer and blander than in pre- vious years. Touring Office Grants 7% 718 However, many companies, recognizing that major deficits are a sure road to disaster, have developed ingenious ways of raising Other 3% 365 money. The Toronto Symphony Orchestra, Total (SO001 $10,444 for example, holds annual auctions and has Seenotes, page72.

13 staged one of the largest rummage sales in Irigmar Korjus won first prize in the Inter- North America. In the Prairies opera compa- national Singing Competition in the Nether- nies and orchestras have organized success- lands, as well as top prize in the 27th Inter- ful casinos. Some large organizations have national Music Competition in West asked popular artists like Harry Belafonte and Germany. Danny Kaye to appear in benefit perfor- Another event of the year was the publi- mances. Besides seeking donations from cation in October 1978 of Professor Helmut individuals and corporations, many groups Blume’s report on the feasibility of a national encourage direct sponsorships of particular music school. As part of its continuing anal- musical events. These sponsorships are a ysis of music in this country, the Council had very valuable contribution from the private asked Professor Blume in 1975 to study this sector. question. His important document raised Nevertheless, the problems facing our many issues about pre-university, university. orchestras Will not disappear. The Council is post-university and conservatory training for convinced that Canada cannot continue to musicians in Canada. It was and continues to maintain its orchestras without healthy gov- be an excellent catalyst for discussion, most ernment and private sector support. In Europe notably among orchestral musicians now some orchestras receive up to 85% of their fortnulating recommendations in response to revenues from government subsidies. Ade- the needs of the industry. quate funding is all the more important because orchestras are the cultural centres of many Canadian communities, assisting opera companies, churches, schools and choral groups to enrich the musical experi- ence of the whole region. Internationally, Canadian music con- tinued to be well-represented in 1978-79. The Toronto Symphony toured the Peoples’ Republic of China with Maureen Forrester and Louis Lortie. Maureen Forrester also ap- peared on the World Wide Broadcast on World Music Day along with the National Arts Centre Orchestra, which performed a work by Canadian composer Murray Schafer. André Laplante won the silver medal at the Tchaikovsky Competition in Moscow, and

14 Theatre

The 1978-79 season was a transitional one Individual Awards 4% $ 377 for Canadian theatre in general and the Theatre Section of the Canada Council in Operating Grants over 31% 3,020 $200,000 particular. John Neville moved to Halifax, Bernard Havard went to the States. Guillermo ~ de Andrea replaced Paul Hébert at Le Trident in Quebec City, Peter Coe came to Edmonton, Malcolm Black went to Theatre New Bruns- wick, Christopher Newton announced that he would be going to the Shaw Festival, and the Council’s Theatre Section welcomed several new staff members, including Walter Learn- ing as its new Head and Claude Des Landes as its Associate Head responsible for franco- phone companies. Operating Grants, 36% 3,459 One commentator on the arts scene $25,000 to $200,000 interpreted all this “movement” as a sign of something seriously wrong with theatre in Canada. The Council’s Theatre Section chose to take a more positive view. A Platonist might argue that there is an ideal time to be spent working a particular vineyard, but most people Will agree that change is not unwel- corne and its presence does not necessarily imply that things are coming apart at the centre. The Canada Council adopted a number of new theatre policies in 1978-79. At its December meeting it agreed that an anglo- phone and a francophone panel, each com- Operating Grants up to 11% 1,022 $25,000 posed of working professionals in the field of theatre, would assess all project and operat- ing grant applications for $25,000 and under submitted by theatre companies. This proce- Schools 11% 1 ,015 dure is a response to the ever-increasing number of new companies who are now, or soon Will be, eligible to apply for assistance. In March the Council endorsed a set of Touring Office Grants 7% 712 theatre policies which assign priority to Canadian plays, Canadian artists, and the n employment of Canadians for senior artistic Tntal r S’OOO I $9.606 and administrative positions with publicly See notes. page 72. funded theatres. It also agreed that summer theatres Will be eligible for project assistance when presenting Canadian plays. These poli- cies evolved over time, through consultation

15 between the Council and the theatrical com- many provincial borders with others yet to munity, and do not apply to companies whose corne. Also in the wind are various excursions mandate specifically excludes Canadian into international air space plays. Yet another miracle was the Theatre The newly clarified policies have met Passe Muraille’s production of Les Maudits with strong support across the country. There Anglais. For the first time an English com- has, of course, been some negative reaction, pany produced an original work, in French, based for the most part on the fear that the in Quebec. The production met with an over- Council is interfering in artistic decisions and whelmingly positive response and later had a is, in a sense, acting as a censor. In a time of very successful run in Toronto, using English severe financial constraints, however, the sub-titles. Council agreed that its priority must be the The success of David French’s Jitters, development of Canadian plays, artists and premiered at Tarragon Theatre towards the theatre personnel. In the Council’s view the end of the season, almost guarantees that it guidelines represent a policy of inclusion, not Will be one of the most frequently produced exclusion; they recognize that the encourage- plays across the country in the 1979-80 ment of Canadian talent is the Council’s first season. responsibility. In Montreal, the Théâtre du Nouveau This past year Will also be remembered Monde’s production of Les Fées ont soif by as the year in which financial restraints forced Denise Boucher had an explosive effect. The the Council to make some very difficult deci- play attracted record crowds and simulta- sions regarding organizations served by the neously indignant protests in the streets. Theatre Section. Given a finite amount of What better way for a play to attract capacity money, long-recognized historical dispari- audiences! The play will be staged again next ties, and real threats to the existence of some season. organizations, unpopular decisions had to be Among young theatre companies, Les made. In every case these were made in the Pichous of Quebec introduced the work of a hope that the Council cari maintain part of new playwright, Elizabeth Bourget, whose what has been accomplished and still en play Bernadette et Juliette played to a packed courage new theatrical activity. hall for a month.Two well-known Quebec Ail was not gloom. An overwhelming companies quickly bought the rights to the number of theatres reported substantially in- play for the 1979-80 season; the Théâtre creased attendance, and fund-raising in the d’Aujourd’hui Will present it in Montreal and private and corporate sectors was on the the Théâtre Populaire du Québec Will tour upswing. the province with the play. Ultimately, the success of a company Theatre people are both cursed and rests with its productions and there were blessed with an almost super-human ability many to cheer about in 1978-79. The run- to survive and grow under the worst possible way at the Vancouver East Cultural Centre conditions. This has often been used to theit launched Billy Bishop Goes to War. This air- disadvantage. One cari only hope that this borne miracle has flown successfully over Will be less true in 1979-80. The Council is proud of the accomplishments of the Cana- dian theatre community and hopes to be given a more than adequate chance of parti cipating in its future growth.

16 Touring Office

In 1978-79 the Touring Office of the Canada Dance 23% $ 552 Council supported 83 projects including 33 tours by theatre companies to 524 commu- nities, 12 ballet and modern dance tours to 171 communities, and 38 tours of musicians and music ensembles to some 185 places. An estimated 1 million Canadians watched per- formances funded by the Touring Office during the year. Created in 1973, the Touring Office Theatre 21% 515 aims to ensure access by the widest possible audience to artists’ performances and to promote the interests of the artists and com- panies in theatre, dance, music and mime. It not only helps defray the costs of touring in this spacious country; it also encourages the development of the infrastructure of the touring world, by increasing expertise in tour management and promotion and community Music (including 19% 468 Concerts Canada) ability in organizing, financing and publi- cizing tours. A number of lively, innovative projects were funded in 1978-79. The Touring Office collaborated with four theatres- the Van- couver East Cultural Centre, Tarragon Theatre of Toronto, the National Arts Centre Cultural Exchanges 4% 105 of Ottawa, and Montreal’s Centaur Theatre- in developing and touring a production of Commonwealth Games 10% 235 Strindberg’s Dream Play with three directors, four teams of actors (who performed in French and English), and the puppet en- semble of Felix Mirbt. Greatest Little Travelling 9% 230 Thanks to Touring Office help, commu- Supershow for Young nities in the Yukon and the Northwest Terri- People tories were visited for the first time by a mod- Apprenticeship Program 2% 46 ern ballet company, Montreal’s Entre-Six. Workshops and 6% 143 Theatre Passe Muraille, an English-language Showcases company in Toronto, had Touring Office support to develop Les Maudits Anglais, a Publications and 6% 152 Other Services

Total (S’OOO) $2.446 Seenotes,page 72.

17 play presented in French, in a Montreal ver- An important complementary program nacular, which was a rousing success in financed by the Touring Office is Concerts Quebec and Toronto. Canada, which helps develop artists’man- Other activities included a tour of agers and agents. This year all Concerts British Columbia and Alberta by the Victoria Canada grants were made on an incentive Symphony, the highly acclaimed tour of the basis: the Touring Office awards up to 10% Hank Williams show in Ontario and Western of the total gross contracted fees on bookings Canada, and the participation of 19 dance of Canadian artists. During the 1978 season, companies and dancers in two major national grants totalling $90,000 generated over festivals, Octobre en Danse in Montreal and $1 .2 million in artists’ fees and contracts. the Toronto Dance Festival. Plans were also The Touring Office also continued its support under way during the 1978-79 season for one of the Apprenticeship Program, which allows of the Touring Office’s most exciting ven- applicants to study with experienced artists’ tures, “The Greatest Little Travelling Super- managers and tour organizers. A measure of show for Young People”. the success of the Apprenticeship Program In collaboration with provincial govern- is that people experienced in these fields are ment cultural departments and agencies, the in constant demand and the graduates of the Touring Office organized six Contact program immediately find employment. sessions, or “Regional Booking Confer- Busy as it was with these activities. the ences”. Contacts provide an opportunity for Touring Office also managed to coordinate artists, their managers, booking agents, a variety of international cultural exchanges, sponsors and funding organizations to L-:ork closely with emerging organizations discuss touring markets, attend workshops which sponsor artists in various regions, and on budgeting, marketing and programming, publish its widely used Touring Directory, and negotiate bookings.As an integral part Sponsors’ L)A, Tour Organizers’ Handbook, of each conference, touring artists present nnd Sponscrs’ IHandbook, which provide re- their best talents in nightly “Showcase” per- iia’ble up-to-date information for those in- formances. This year Contacts were held in volved in performing arts tours. Moncton, Quebec City, Toronto, Regina, Edmonton and Vancouver. Two hundred and fifty artists performed at those events. One journalist, noting the enthusiasm of the 900 participants in Quebec City, concluded, “For performing artists and their agents to be that unanimous is extraordinary.The Canada Council is doing something right. It is cer- tainly helping to bring Canadian culture to Canadians.”

18 Writing, Publishing and Translation

The highlight of the year for the Writing and Individual Awards 9% $ 827 Publication Section was the week of National Book Festival. During that week, the Council had the unprecedented experience of spon- soring a kite-flying contest in Ucluelet, on Book Publishing, 34% 2,980 Purchase the west toast of Vancouver Island - kites and Translation were decorated with jacket designs from Canadian books and characters from Cana- dian novels. At the same time, at the other end of the country, the Council was sponsor- ing a writing competition for Prince Edward Island students in grades 4-6 - the winner was nine-year-old Debbie White, whose story was then professionally published with color illustrations in an edition of 1,000 copies. In Ottawa, passengers on city buses who were “caught” reading were rewarded with a

Canadian book, bookmarks and a map of Periodical Publishing 20% 1,731 local bookstores. Those were only three of the literally hundreds of promotional events during the festival. A week-long, toast-to-toast cele- bration of our Iiterature, the festival was a grass-roots affair, with Canadians in their own communities supplying the ideas and energy and the Council providing financial Promotion and 29% 2,545 help. In a real sense the festival brought the Distribution Council’s Iiterary programs full circle: from the original and continuing purpose of helping writers to Write, through supporting the publication and translation of their books, to bringing those books - and sometimes the writers themselves- into direct contact with their audience. In the Council’s programs of assistance to literature, the past 22 years have been a period of continuous evolution, SO that today the Council finds itself aiding Public Readinns - Proaram- 3% 271 and encouraging the writer-publisher-reader relationship in more ways than ever. Associations and 3% 316 At the tore of these programs, as Conferences Other 2% 150 always, are the grants to individuals, ad- Total (SOOO) $8,820 ministered by the Arts Awards Service, which See notes, page 72. buy our creative writers time in which to concentrate on their work. But helping to

19 bring polished manuscripts into existence cari be fruitless unless there are publishers able to turn those manuscripts into books and distribute them in the marketplace. Last year through the block grant program the Council provided publication support to a total of 90 publishing houses. A further 69 presses qualified for individual title assist- ance. That community of 159 publishers represented every province of Canada, and is evidence of the truly remarkable spread of tivity throughout the land in

The Council assisted the publishers in other culturally important aspects of their uses wishing to publish trans- nadian books from one officia1 lanauaae to the other received 63 arants last 71-72 72-73 73-74 74-75 75-76 76-77 77.78 78.79 yea;, binging the number of CounCil-assisted translations to 317 since the inception of the zent Dollars (~“000) program in 1973-74. Publishers of new books 1.1 were helped to make them better Iknown Constant Dollars (5’000) See notes, page 72. through Council support for promotion tours, which sent authors across the country for media appearances. Nor was publishing assistance confined to books: a total of 64 periodicals participated in a million-dollar program of annual grants to Canadian maga- zines providing quality coverage of the arts and creative writing. The first Council activity to recognize the importance of improved public access to Canadian writing was the book donation program, which since 1972 has provided substantial Ikits of Canadian books to com- munity organizations, senior citizens’ clubs, hospitals, prisons and school libraries in

20 remote areas.A new program this year is the TO return to writers, the Council recog- book exchange program, under which li- nized last year that its program of public braries and similar institutions apply for readings by poets, novelists and playwrights collections of outstanding books in the other had grown SO popular that the available funds officia1 language.The Council’s resources could no longer handle the demand. A mere permitted the purchase of sufficient titles scattering of readings was supported at the from Canadian book publishers to assemble program’s inception, but last year nearly 900 807 kits, for a success rate of two out of such events were funded in community every three institutions applying. centres, libraries, universities and colleges Also operating in the realm of public from Whitehorse to Corner Brook. New pro- information and access is the promotion and cedures were drawn up which limited the distribution program for books and maga- number of readings an organization could zines. Outstanding among new initiatives in host as well as the number a writer could this program last year was the travelling give. French-Canadian book fair, which offered The year also saw the creation of a new more than 3,000 titles for display and for post of writer-in-residence at the Regina sale in communities outside Quebecfrom St. public Iibrary, and the inauguration of the John’s to Vancouver. In the Atlantic region Scottish-Canadian writer-in-residence a project, modelled on an existing one in exchange, whereby a Canadian university Quebec, began to provide book reviews free receives a Scottish writer for the academic of charge to weekly newspapers, and a year, and a Scottish university plays host to branch of the Toronto-based Canadian Book a Canadian writer. In addition, professionai Information Centre was opened in Halifax, writers’ organizations and publishers’ paralleling the Vancouver branch opened a associations continued to receive financial year earlier. Continuing support was provided support from the Council. for two Canadian children’s book organiza- In 1979 the final event of the National tions, Communication Jeunesse in Montreal Book Festival was the voyage of the schooner and the Children’s Book Centre in Toronto. Norma and Gladys up the St. Lawrence River, carrying books and authors from port to port in Newfoundland, Prince Edward Island, Nova Scotia, New Brunswick, Quebec and Ontario. The voyage was a reminder that in theyear ahead,as in everyotheryear recently. new directions may be anticipated in the Council’s support of the burgeoning field of Canadian literature - budgets and imagina- tions willing.

21 Visual Arts and Art Bank

28% $ 1,932 Individual Awards In times of restraint, the Miesian dictum that less is more takes on a new meaning: less has to be more. The budget available for visual arts activities at the Council has in recent years had trouble keeping up with the rate of inflation, which steadily erodes the purchasing power of grants though institu- tional needs grow relentlessly. The Council tries to maintain some flexibility in its funding, SO as to be open to new initiatives and forms of expression 33% 2,274 Galleries while still respecting the needs of its older, more established clients. The initiatives in Film, Video and Audio (described below) are among the Council’s attempts to support new developments in the arts. The new pro- grams have received enthusiastic support frorn the artistic community. The diff iculty is that the room for manoeuvre grows steadily smaller as the budget is constrained. Some of the Council’s continuing pro- gratns in the visual arts, especially its aid to art galleries, museums and parallel galleries, are under enormous pressure. In 1978-79 the program of assistance for art galleries helped 13% 927 Film fund 38 galleries from toast to toast. Of these, 20 received ongoing support for their annual exhibition programs, in amounts rang- ing from SI 5,000 to the maximum of $200,000. This ceiling has been imposed for Video, Audio and five years -and it is one on which at least Performance Art three of our largest galleries (the Art Gallery of Ontario, the Vancouver Art Gallery and the Montreal Museum of Fine Arts) may be 758 Art Bank said to be bumping their heads. Among parallel galleries, 18 artist-run centres received ongoing support, and the Council reserved two non-residential work- spaces for Canadian artists at PS. 1, a con- Other verted public school in Queen’s, New York, which has become an important centre of $6,979 Total (S’OOO) See notes, page 72. experimental activity. Several areas of the country, however, are still unserved by the Council’s program of support to parallel galleries.

22 Traditionally, the Council organizes and supports exhibitions of Canadian art abroad only occasionally, when other sources of aid are insufficient and the occasion is parti- cularly compelling. Last year, a grant was awarded for the transportation of an exhibi- tion of the work of nine visual artists and seven video artists from Canada organized by the Kunsthalle in Basel, Switzerland. The exhibition, which took up the entire gallery, coincided with the Base1 International Art Fair and was very well-received by the Swiss. Earlier in the year, the Council provided transportation money for 13 Canadian artists attending the New Artspace conference in Los Angeles, the first North American con- ference of artist-run alternate or parallel galleries. The conference served to under- score how cohesive is the system of alter- nate, experimental spaces in Canada com- pared with that of the United States, an Carrent Dollars (S’OOO) 1.1 advantage gained from smallness of scale Constant Dollars (S’OOO) and the existence of the six-year-old program See notes, page 72. at the Council. In photography, the Visual Arts Section was able last year to provide support for Canadian Perspectives, the first national conference of photography ever organized by photographers, as well as to help fund a series of Master Classes by Canadian photographers at the Banff Centre for the Arts. In 1978-79 the Council also initiated a pilot program in Performance Art, designed to meet the growing needs of artists whose work crosses disciplinary Iines. This pro- gram helped finance performances at two festivals of experimental art in Toronto and Montreal, as well asthe production of 12 performances in parallel galleries across Canada. The program has been highly acclaimed by artists, and the past year saw a new surge of interest in Performance Art on the part of museums and galleries as well as parallel centres and universities.

23 Film, Video and Audio The Council’s program of Film Grants to Film, Video and Audio are three young and Organizations is directed to film production energetic programs administered by the cooperatives. The grants allow these non- Visual Arts Section. The first Council grants profit organizations to rent space, set up in film, the oldest of these programs, were viable administrative structures, establish awarded less than a decade ago. Yet during cquipment “pools” as well as production and that decade Canada, like other industrial exhibition facilities, and develop profes- nations, has witnessed revolutionary tech- sional training programs.The single most nological advances in communications important development in Canadian film in equipment and design. 1978-79 was undoubtedly the new-found In these rapidly changing fields, the maturity and stability of the film production Council devotes its funds chiefly to inde- cooperative system -a development that pendents - to filmmakers who are outside Will finally permit independent filmmakers in the mandate of the National Film Board and Halifax, St. John’s. Quebec, Montreal. not involved in corporate production of com- Toronto, Winnipeg, Regina and Calgary to mercial feature films, to video artists working practise their craft without having to migrate outside the mass-audience TV structure, elsewhere. The Council is now earmarking and to radio artists involved in independent some funds in this program for exhibition and community radio stations. distribution activities by the cooperatives, The past iew years have seen a resur- hoping to resolve the abiding problem of how gence in the independent film movement in independent works cari be made accessible Canada. The Council has played a vital if to the public. little known function in that movement by When the Video program of the Council ensuring opportunities for independents was instituted five years ago, it was under across the country to develop their craft. the shelter of the Film program and was an produce films, and distribute and exhibit art form still in its infancy. Now, a decade them. after the commercial introduction of small- In support of filmmakers, the Council format equipment, video is approaching offers two types of aid. Its Aid to Film Pro- maturity. Our video artists have been duction is designed for filmmakers who have accorded national and international recogni- already directed at least one film or who have tion; specialized distribution outlets have established a professional reputation in the I:een developed: and independent TV visual arts. Although most of the films funded in 1978-79 have not yet reached completion, 40 independent filmmakers received produc- tion grants in that year.

24 producers are increasing their efforts to Art Bank expand marketing systems. The Fifth Net- One of the fundamental beauties of the work Video Conference, held in Toronto in Canada Council’s Art Bank is that the amount September 1978, provided a solid indication of money available for art purchases is partly of how far the concerns of videomakers have regulated by the success of the rental pro- evolved since the Matrix conference in gram. Clients who rent pieces from the col- Vancouver five years earlier. lection not only enjoy a first-rate work of The main problem in video, as in film, is contemporary Canadian art in their offices distribution. Until this year, Art Metropole in and halls; they also know that their rental Toronto was the sole artists’ distribution payment helps buy more prints, drawings, outlet. Recently, the Council provided graphies, watercolors and sculptures in the special project funds for two other organiza- following year. Revenues from rent and other tions - Women in Focus and the Develop- sources were healthier in 1978-79 than in ment Education Centre - to deveiop other any other year in the Art Bank’s short history. areas of specialized distribution. When the Council reported on the Art The quality of work developed over the Bank in its Annual Report of 1973-74, the past decade suggests that video artists may collection contained 4,453 works by more yet play a more visible role in this country’s than 500 artists, chosen by some 100 jury rapidly developing communications system. members. Five years later all those figures TO a great extent, the achievement of that have nearly doubled: the Art Bank now con- promise Will depend on the adequacy of tains 8,593 works by more than a thousand funding which encourages wider distribution artists, chosen by over 200 jurors. One-third of the excellent video material Canadians of the collection was out on rental five years are producing. ago; today more than half the collection is In June 1977 the Council initiated a being rented. The incremental market value one-year pilot program of aid to community of the collection itself increases each year at radio stations, with a budget of $50,000. an estimated 15 per cent. Juries divided this budget equally between The Art Bank, of course, is a multiple production and special projects aimed at function institution. It assists artists through aiding the development of the stations. the purchase of their works; it aims to The results of the pilot program indi- strengthen the commercial art market, and it cated a diversity of approaches. Vancouver brings art to the public by exhibiting its col- CO-OP Radio, with its wide range of original lection as widely as possible. in pursuing programming and intense community these aims the Art Bank has created what involvement, was the outstanding presence may well be the most comprehensive collec- in the field. A portion of the budget was also tion of contemporary Canadian art in the allocated toward training and program de- country . velopment in several Quebec communities.

25 In recent years the Art Bank’s non- Ironically, the success of the Art Bank revenue generating services have grown has not sheltered it from the effects of gov- dramatically. In 1978-79,827 works were ernment cutbacks. In September 1978, as loaned for use in various exhibitions in part of overall spending reductions, the Canada and abroad, and a slide set of sculp- federal government announced that it was tures was produced for educational institu- cutting $800,000 from the Art Bank budget. tions.The Art Bank also makes slides of the At its September meeting the Council de- collection available to the public and to plored this decision and decided to make libraries, schools and universities, at cost. available $300,000 from general funds for As well as maintaining its standard the purchase of works of art through the Bank purchasing activities, the Art Bank com- in 1979-80. An additional $100,000 was missioned nine print editions from seven later added to this sum. In reaffirming its printshops in 1978-79. Through a Special belief in the concept of the Art Bank, Council Purchase Assistance Program it supple members drew attention to the Art Bank’s mented the acquisition activities of 17 public role as a source of income for artists and its galleries with $96,177 in matching funds. importance in strengthening the entire art Despite these non-money making ex- tnarket. penditures, the healthy trend in the rental program has enabled the Art Bank to pur- chase more works. Rentals of works are keeping pace with new acquisitions, and the inventory in the warehouse has been virtually constant over the past two years. In addition to revenues raised through rentals, a number of artists elected to repurchase works. These funds were used to buy more works in the marketplace.

26 Arts Awards Service

“Artists need more of everything - particu- Architecture 2% $ 87 larly money.” (Claude Tousignant) Dance 4% 199 I The Canada Council -as this report Film 4% 202 amply testifies - has many ways of aiding and I encouraging artists in this country, but no Milsic 27% 1.238 I other program does this SO directly as the Arts Awards Service, the section responsible for administering support to individual artists in all disciplines. Under various titles, a program of support for individual artists has been part of the Council since Year One. As early as 1958 the Council began providing grants-although not many- to individual artists. No one ever lived a life of unseemly luxury on these awards; even today the largest grant avail- MultidisciDlinarv 2% 69 able to senior artists is $17,000 a year - a Performance Art 2% 108 sum they might earn driving a bus or repairing cars. But these grants allow artists free time to carry on their creative activity, to improve their craft, and to undertake short or long- term projects which Will benefit them in their careers. Video 1% 57 Money, of course, neither replaces nor Visual Arts 26% 1,194 buys artistic energy, but when awarded to an accomplished creative person it may perform small miracles.The Council cannot take credit for fomenting the current efferves- cence of the arts in Canada, but it is proud to have given many of Canada’s remarkable artists, at least for a short while, the oppor- tunity to devote uninterrupted time to their art. Administering a program of support to Writing 18% 827 individuals is notoriously difficult. In 1978-79, over 3,725 requests for individual grants were received, and only 1,097 grants awarded. Of these awards, 46 went to senior

Total (S’OOO) $4.642 See notes. page 72.

27 artists in the Arts Grants “A” category; 250 primary mandate is to promote the arts in were awarded for Arts Grants “B”, and 801 Canada; the bulk of its support therefore goes for short-term, project cost and travel grants. to Canadians. Prior to April 1978, landed The success rate was under 30%. and with immigrants normally became eligible for limited funds available many serious and Council grants after 12 months residence competent artists were inevitably denied here. In April the Council adopted a new support. regulation on a tria1 basis: a landed immigrant Since 1958, the task of sorting out who who had not applied for Canadian citizenship should receive grants has been entrusted to was eligible for only one grant, and then only the artists’ peers, usually meeting in juries. during his or her first three years in Canada. The Awards Service convened 84 different The restriction could be waived for excep- juries in 1978-79. Despite the difficult logis- tional artists or those who had made an ex- tical problems involved in assembling juries. ceptional contribution to the arts in this and their administrative costs, the Council is country. convinced, after two decades of experience During the course of the year, many with the jury system, that it is far superior to practical difficulties appeared in the adminis- any other assessment mechanism. Not only tration of the waiver provision. Juries, ad- does it permit peer judgment (writers judging visors and the Council itself found it difficult writers, musicians judging musicians): it has to define “exceptional” quality equitably and the added advantage of providing Council uniformly across disciplines. A new regula- staff with a rich source of advice on improve- tien has therefore been adopted, which Will ments which should be made in the program. take effect in April 1980, allowing all landed Because the Awards program is de- imigrants five years resident here to compete signed to meet the needs of artists in many for grants to artists. disciplines, the program must frequently be Further modifications in the program cari adapted and modified. In recognition of the be expected in years to corne, as the Council changes required in the program, the Aid tu attempts to meet changing needs. The Artisfs brochure, describing available grants prirnary responsibility of the section Will, in detail, is revised annually. In 1978-79 for however, continue to be the visual artists, the first time the Awards Service made grants composers, writers and performers who are for work in the field of performance art. A the tore of Canada’s artistic activity. pilot program for training arts administrators was also initiated. One of the most controversial changes in the program related to the question of whether non-citizens should be eligible for awards, an issue with which the Council has wrestled for many years. The Council’s

28 Explorations

Like a fine wine, culture-as Northrop Frye Atlantic Provinces 16% $ 228 has said - is grown locally but is eminently suited for export. Throughout its six year history, the Explorations program has been based on the conviction that Canada is a community of many richly varied cultures, each with a unique sensibility and interests. Quebec 26% 385 Explorations is one of the Council’s attempts to respond to the increasing “sense of place” in Canada, by supporting projects rooted in a particular region which cari, when completed, contribute to Canadians’ increased under- standing of one another. Both in concept and in administration, Explorations is regionally oriented. Applica- tions for support corne from countless com- munities in Canada. They are assessed by five regional committees composed of resi- Ontario 32% 469 dents of those regions who are chosen notas representatives of any particular discipline (though many committee members are accomplished professionals) but for their knowledge of the region and their ability to put aside professional preferences and judge the quality of a project and its potential con- tribution to our social and cultural life. Com- mittees meet three times a year in different cities within the respective areas. Explo- rations committees have convened in Lunenburg, Hull, Prince George, Flin-Flon, Goose Bay, Rouyn-Noranda, and Nigadoo, as Prairies/Northwest 12% 178 well as in larger cities in all provinces. Territories Between one-third and one-half of the membership of these committees changes annually, SO that fresh insights from the region become available while continuity Sritish Columbia/Yukon 14% 201 and experience are maintained. Excellence- in conception, design and execution - is the criterion by which Explo- rations committees assess the potential value of each project submitted. In insisting on this Total (8’000) $1,461 criterion, Explorations committees are no different from adjudicators in any other

29 Council program. But the range of their clien- In British Columbia, Leland Windreich tèle is wider. Explorations is based on the no was awarded an Explorations grant to study doubt subversive idea that any Canadian the careers of a phenomenal group of eight with an imaginative project and the ability Canadian dancers who trained at the B .C. to carry it through may make a worthwhile School of Dancing from 1935 to 1942 and contribution to this country’s knowledge and later became professional members of the understanding of itself. Ballet Russe.This little-known chapter in The many activities funded by Explo- Canadian cultural history reveals a process rations have extended the Council’s reach of artistic cross-fertilization in which inter- geographically and professionally. A sub- national ba I let received some of Vancouver’s stantial percentage (40%) of its grants go most promising Young dancers and years to people living outside large urban centres. later returned them to Canada as some of its Through Explorations the Council has moved most experienced ballet teachers. into rural Canada and the North - an inter- Two Quebec textile designers joined action which works to the mutual benefit of forces to create what they called an Atelier- the Council and outlying regions. Profes- Mode, a workshop in which clothes were sionally, Explorations has explored such designed and created for physically handi- areas as improvisational music, jazz, craft capped people. Participants in the workshop workshops, popular writing, experimental included the handicapped, as well as their media work, community radio and commu- parents, sewing and textile students and nity artists’ programs. Indeed, the range of therapists. Clothes were tested by the handi- Explorations “subjects” is nearly Iimitiess. capped themselves. The results of this project A few of the projects funded in 1978-79 should be of great importance to all those Will suggest the scope and excitement of the working with the physically handicapped. program. In Newfoundland, Susan Shiner and The tremendous interest Canadians take Isabelle St. John organized the second New- in the Explorations program is evident every foundland and Labrador Folklife Festival on year in our application figures. Many call, but the west toast of the island in an area access- our budget each year allows few to be ible to a large rural audience. It brought chosen. On average only one out of every together a host of community story-tellers, five applicants cari receive funding. In dollar fiddlers, accordionists, other musicians and terms the difference is even more dramatic. dancers during the Labour Day weekend. Requests for support totalled s9,503,733 in Well on its way to becoming an annual event, 1978-79, but Explorations could commit only the 1978 Festival was attended by over $1 ,461 ,000 to the applicants. This interest 2,500 people including mainland tourists as in the program is all the more surprising when well as individuals and families from across one knows the size of individual grants. the island and from Labrador. Rarely is more than $10,000 allotted to a project. Grants average between $4,000 and $5,000, and most grants directly employ the services of three to four people. For a rela- tively small expenditure of money, Explo- rations continues to make important contri- butions to the cultural heritage of Canada.

30 Prizes and Awards

Each year the Canada Councii offers a number Sans parachute (Parti-Pris), a French version of prizes and awards to distinguished of David Fennario’s Without a Parachute. members of Canada’s artistic and scholarly Prizes in children’s literature are also communities. awarded each year. In 1978 these prizes The Molson Prizes are awarded annu- went to: Ann Blades for the illustration of ally to three Canadians for exceptionai A Salmon for Simon (Douglas and Mclntyre), achievement in the arts, humanities and Kevin Major for the text of Hold fast (Clarke, social sciences. The winners in 1978 were Irwin), and Ginette Anfousse for La varicelle Jean Duceppe, man of the theatre; Betty and La chicane (La Courte-Echelle). Oliphant,founder of the National Ballet The Canada-Belgium Literary Prize, co- School; and Michael Snow,visual artist. sponsored by the governments of Canada The Governor General’s Literary Awards and Belgium, is awarded in alternate years are presented each year to the writers of to a French-language Canadian or Belgian three English-language and three French- writer. Canadian participation is financed by language works in the fields of poetry, fiction the Department of External Affairs, and the and non-fiction. The 1978 winners were: prize is administered by the Canada Council. Roger Caron for Go Boy (McGraw-Hill At press time the 1979 Belgian winner had Ryerson), Patrick Lane for Poems New and not yet been announced. (The previous win- Selected (Oxford University Press), Alice ner was Quebec writer Jacques Godbout.) Munro for Who Do You Think You Are? The Canada-Australia Literary Prize, (Macmillan), Francois-Marc Gagnon for available to English-language Canadian and Paul-Emile Borduas (Fides), Gilbert Langevin Australian writers, isfinanced and adminis- for Mon refuge est un volcan (Hexagone), tered like the Canada-Belgium Prize. The and Jacques Poulin for Les grandes marées winner in 1979 was Thomas Shapcott of (Léméac) . Australia. (The previous recipent was Cana- Two prizes are awarded each year for dian writer Alice Munro.) the best translations of Canadian books, one The Peter Dwyer Scholarships are given from English to French and one from French annually to the most promising students at to English. In 1978 the winners of these the National Ballet School and the National prizes were: Michael Bullock for Stories for Theatre School. The 1978 winners at the Late Nighr Drinkers (Intermedia), an English National Ballet School were: Joy Bain, translation of Michel Tremblay’s Contes Lorraine Blouin, Paul Chalmer, Judy Fielman, pour buveurs attardés, and Gilles Hénault for and Valerie Madonia. Winners at the National Theatre School were: Serge Dupire, Ivan Habel, Guy Lalande, Ronald Lea,Véronique Pinette, and Joseph Ziegler.

31 Each year the Council designates a small number of senior artists who have been awarded Arts Grants “A” as holders of Victor M. Lynch-Staunton Awards. The 1979 reci- pients were: lain Baxter, painter, Vancouver; Jacques Hétu, composer, Montreal; and Claude Jutra, filmmaker, Montreal. The Council also provides financial support for the Jules Léger Prizefor New Chamber Music, administered by the Cana- dian Music Council, and with the CBC co- sponsors national competitions for Young composers and amateur chairs.

32

13% s 160 I.W. Killam Memorial The Killam program of the Canada Council, Scholarships funded by the late Mrs. Dorothy J. Killam, is intended “to increase the scientific and scholastic attainments of Canadians, to develop and expand the work of Canadian

39% 471 Research Fellowships universities, and to promote sympathetic understanding between Canadians and peoples of other countries.” The Killam awards support scholars of exceptional ability engaged in research projects of broad significance and wide interest. The program is financed by funds donated by Mrs. Killam and is supervised by the Killam Trustees. A committee composed of 13 members representing disciplines in the humanities, social sciences, natural sciences, medicine and engineering is re- sponsible for choosing award winners. Members serve for a period of three years, and approximately one-third of the committee changes each year. 26% 317 Senior Research Because the Killam program was out of Scholarships (renewalsi phase with other Council programs in its early years, there has been a one-year lag in reporting Killam awards.This year two com- petitions (1977-78 and 1978-79) are re- ported in the list of grants and other forms of assistance, the supplement to this annual report, in order to rectify the discrepancy. Important changes made in the program in the last two years are described below. In the 1977-78 competition, the three 12% 142 Research Associateships types of awards offered by the program were the Izaak Walton Killam Memorial Scholar- ships in Science, Engineering and Medicine. Senior Research Scholarships, and Post-

10% 117 Post-Doctoral Research Doctoral Research Scholarships. 1 Scholarships (renewdsi

$1.207 Total /$‘0001

34 Senior Research Scholarships had been from the post-doctoral award. Research offered since 1967 in support of advanced Associateships are intended to encourage research in the humanities, social sciences, Young scholars to combine the gradua1 and interdisciplinary studies. The main pur- development of a research project with some pose of the scholarship was to provide teaching duties. Like the Fellowships, they released time to established scholars en- are awarded in support of research in any gaged in independent research. As Mrs. discipline. Offered for an initial period of two Killam’s Will stipulated, this award was years, they may be renewed for one or two granted for an initial period of up to two more years. They are tenable only at Cana- years, subject to review at the end of the first dian institutions. Although award holders year. Canadians were allowed to hold the must do some teaching, they are expected scholarship in Canada or elsewhere, while to make research their primary activity. landed immigrants could hold the award only As they are presently constituted, the in Canada. Killam awards are intended to complement Post-Doctoral Research Scholarships research support already available. One aim were intended to encourage the interdisci- of the program is to encourge the continuing plinary work of Young scholars. These awards entry of new and able Young scholars and were available to Young scholars who had scientists into Canadian universities- in- completed their doctoral studies within three directly, by providing salary replacement of years prior to the time of application. established scholars to release them from At its meeting in February 1978, the teaching and administrative duties, and more Killam Selection Committee, having reviewed directly, by offering longer term research the first decade of the Killam program, associateships for younger scholars of decided to replace the Senior and Post- promise. Doctoral Research Scholarships with Re- The Izaak Walton Killam Memorial search Fellowships and Research Associate- Scho:arships are intended as awards of high ships. prestige to honor and assist distinguished The major difference between the new Canadian scholars actively engaged in Research Fellowship and its predecessor research, whether in industry, government is that the new award includes salary replace- agencies, universities or elsewhere. These ment only; applicants must seek support for awards are funded out of Mrs. Killam’s Anon- research costs elsewhere. The new Research ymous Donor’s Fund, the terms of which Associateship, however, differs significantly prohibit support of research in the humanities and social sciences. Only one change has been made in the Memorial Scholarship

35 program: begining in 1978-79 candidates for This response is not the only indication this award must be nominated by experts in that the Killam program is aimed at serious their respective fields, rather than apply on current needs in Canada’s academic com- their own behalf. munity. In the manyyears of its existence, In the 1977-78 competition, the Killam the program has funded an impressive Selection Committee considered 22 candi- number of projects which have had a major dates for the Memorial Scholarships. In order impact on scholarly research. Over 100 to maintain the high standards of this presti- books, in addition to countless articles and gious award, the Committee decided to make monographs, have been published as a result only two new grants, to Dr. Myer Bloom of of research funded by the Killam program. the University of British Columbia and Dr. The superb collection of the works of Camille Sandoriy of the Université de Mont- Erasmus, now supported by other sources, réal. In the next year’s competition, the Com- was initially funded by the Killam program. mittee considered 15 nominees for the The Akhenaten Temple Project, headed by scholarship. Again it made only two awards, Donald Redford of the University of Toronto to Dr. Henry Friesen of the University of and Ray Winfield Smith, is a painstaking Manitoba and Dr. Karel Wiesner of the archaeological work of the first order. Profes- University of New Brunswick. sor Redford had Killam support.This year The response to the two new awards Michael Millgate of the University of Toronto introduced in 1978-79 far exceeded expec- and R. L. Purdy produced the first volume of tations. A total of 135 scholars applied for their definitive edition of Thomas Hardy’s Research Fellowships, of whom 12 were letters; they too had Killam help. Harold given awards. Competition for the new Williams of Memorial University is working Research Associateships was equally in- on a lithic-structural map of the Appalachian tense. The committee considered 113 appli- Mountain system from Newfoundland to cations for this award; eight awards were Alabama; it has been exceptionally well- granted, five in the sciences and three in the received by geologists, and has had the humanities and social sciences. The commit- secondary effect of revealing important tee members were greatly impressed with minera1 deposits in the belt. the overall quaiity of the applications for In 1978 Bernard Belleau of McGill Uni- both awards and would have recommended versity, an Izaak Walton Killam Memorial support of many more had sufficient funds Scholarship winner, was awarded the presti- been available. gious Marie-Victorin Prize of the Institut des sciences naturelles du Québec for his revolutionary work in creating an analgesic without harmful side effects. Perhaps other Canadian scholars among this year’s Killam winners Will make equally impressive con- tributions to scholarly research and human well-being.

36

Perhaps inevitably, few Canadians are aware foundations, and other interested associ- of Canada’s participation in organizations as ations. TO describe all of the Commission’s large and diverse as Unesco. But this year activities during the year would strain the three unprecedented events shed new light on Iimits of this annual report. Readers who the importance of Canada’s role in Unesco: desire a more complete picture of the Com- the election of a Canadian, Napoléon LeBlanc mission’s work may request a copy of the of the Université Laval, to the presidency of Secretary-General’s Report for 1978-79. the General Conference, the highest post in Here a few notable examples of the year’s the Unesco organization; the award of the events rnust suffice. prestigious Kalinga Prize to another Cana- dian, Fernand Seguin, for his remarkable The Unesco General Conference contribution to the dissemination of scientific In preparation for Canada’s participation in knowledge, particularly through television the 20th session of the Unesco General and radio; and the inauguration of the Unesco Conference, the Department of External Pavillion atthe Man and His World exhibition Affairs aslted the Commission to convene 10 in Montreal. Dedicated to international consultative seminars on subjects related to understanding, the pavillion welcomed Unesco’s program for the next two years: 300,000 visitors in the summer of 1978 and cultureand heritage, natural sciences, social was scheduled to continue its work of popu- studies, human rights, the status of women, lar education the following summer. In education, sports and physical education, different ways, the Canadian Commission for communication, the general information Unesco was closely associated with each of program, and the mass-media. More than these three events. 200 specialists participated in these The Commission’s secretariat, a division meetings, including representatives of of the Canada Council, had a budget of federal and provincial ministries. profes- $568,000 in 1978-79. These funds are used sional associations, universities and non- to fulfill the central role of the Commission, governmental organizations. that of coordinating all relations between As is customary, several members of Canada and Unesco, particularly promoting. the Commission and its executive staff were organizing and arranging for Canadian parti- included in the Canadian delegation at the cipation in international activities undertaken General Conference held in Paris in the fall. by Unesco in the fields of education, the Three off icers of the Commission were also natural sciences, social sciences, culture and brought in at various times to advise the communication. The Commission thus acts delegation on questions specifically related as a link between the international organi- to their programs. zation and concerned Canadian citizens, groups and institutions, including federal and Activities outside Canada provincial ministries, research and teaching As part of a series of studies on cultural polrcres, jointly undertaken by European national commissions (including Canada), the Canadian Commission coordinated a study entitled Artistic Creation and Con- temporary Technology: A Case Study in

38 Musical Composition. Also participating in Following consultation with the Council this work were the commissions of France, of Ministers of Education (CME), the Cana- the Netherlands, Italy, Denmarkand Hungary. dian Commission sent J. D. Harder and Jean A seminar on the subject was held at Stanley L’Hérault, from the Alberta and Quebec House on the Gaspé peninsula in 1977, and a ministries of education respectively, to a concluding symposium took place in the sma I I meeting of experts convened by summer of 1978 at the Institute of Music- Unesco in Paris. Their purpose was to study ology in Aarhus, Denmark. The contributions means of providing continuity between of William Buxton (University of Toronto), secondary and university educational content BarryTruax (Simon Fraser University) and and life-long education, with particular Peter J. Clements (University of Western regard to preparation for the working world Ontario) were particularly well-received. and continuous self-instruction. With the Commission’s support, Cana- Again after consulting the CME, the dian specialists participated in international Commission sent Louise Bigras, of Quebec’s meetings relating to the Decade for Women, ministry of education, to a meeting dealing proclaimed by the United Nations. Ruth Bell, with recent research on equality of educa- president of the sub-committee on the Condi- tional opportunity; the meeting was held in tion of Women, took part in a symposium Hamburg in September 1978, and was convened by the Consortium on Peace Re- organized by Unesco’s Institute for Education search, Education and Development and the Council of Europe. (Copred) in San Francisco. The theme of the meeting was “the participation of women International Activities in Canada in political life”. The Canadian Commission In its natural sciences program the Canadian also helped the Association féminine d’édu- Commission, in conjunction with the Chemi- cation et d’action sociale (AFEAS) send a cal Institute of Canada and the University of group of its officers to a meeting on “the Toronto, welcomed some 160 specialists to importance of women in rural life” held at an international symposium on ways of im- Fontevraud, France, under the auspices of proving the cooperation between universities the Groupe de Recherche et d’Education and industries in the field of chemistry. The pour la Promotion (GREP). meeting took place in the fall of 1978. Parti- At the invitation of the Finnish Commis- cipants addressed themselves particularly sion, 19 national commissions from the to ways of forging links between university European Region sent representatives to chemistry programs and industrial training Helsinki in June 1978 for a meeting on the needs in developing countries. application to educational curricula of the For the first time, a piece of Canadian Unesco recommendation on education for territory, the Gault estate at Mont Saint- international understanding. The Canadian Hilaire, Quebec, owned by McGill University, delegates were Stacey Churchill of the has been designated a “biosphere reserve”. Ontario Institute for Studies in Education and At a public ceremony on August 17,1978, Claudette Rodrigue of Montreal. university authorities received the biosphere reserve certificate from representatives of Unesco and the International Coordinating Council of the Man and Biosphere Program

39 (MAB). The Gault estate thus joins the ranks Nominations of 140 ecological reserves already estab- Vianney Décarie, professor of philosophy at lished in 34 countries. the Université de Montréal, this year suc- With the help of the Canadian Com- ceeded Laurie A. Cragg as president of the mission, the Director General of Unesco Canadian Commission, and James M. sponsored a meeting of experts to study the Harrison became vice-president. Mr. Harri- origins of racist attitudes and practices. The son, formerly a senior officia1 with the Depart- meeting took place at the Man and His World ment of Energy, Mines and Resources, has site in July 1978. Part of the Unesco program been Assistant Director General of Unesco, of interdisciplinary research, the meeting responsible for natural sciences. After 14 brought together 12 experts from 10 coun- years of service as Secretary-General of the tries in Africa, North America and Europe. Canadian Commission for Unesco. David W. Canada was represented by Naïm Kattan of Bartlett was named Secretary of the Canada the Canada Council and René Hurtubise, Council. His successor is Claude Lussier, a president of the Quebec human rights graduate of McGill University. Mr. Lussier commission. worked abroad for 30 years. He served as a In its program of participation in the legal officer with the International Labour activities of member states, the Commission Office at Geneva. In 1954 he joined Unesco obtained a grant to allow Inuit people from in Paris, where he directed the Office of Greenland to participate in community International Standards and Legal Affairs. development workshops set up in March 1979 by the ATAI Foundation at Fort Chimo and Eskimo Point, Northwest Territories.

Publications TO improve the climate of international understanding and make known the work of member states, Unesco finds the dissemina- tion of information essential. Besides dis- tributing free publications from the Paris Secretariat (brochures, posters and other materials), the Canadian Commission publishes and distributes its own commu- niques, a news bulletin, press clippings, and “Occasional Papers”on specific topics. It also publishes the Report of the Secretary- General mentioned above.

40

Administration, Information Systems reducing the amount of money available to and Financial Services support the arts. This is an unfortunate but The Canada Council began the fiscal year by inevitable result of the narrowing of the turning over a portion of its mandate to the Council’s mandate. new Social Sciences and Humanities In the wake of budgetary restraints im- Research Council. Such a change was bound posed by the Government in August 1978, to have a substantial impact on the Canada the Council eliminated 13 staff positions it Council’s administration, if only because of had approved earlier. The Administration the large number of employees directly or Division, which includes most of the common indirectly affected. The Humanities and services - personnel, finance, research and Social Sciences Division of the Council analysis, information, central registry, and passed en bloc to the new Council, and a computer services - lost eight positions, and number of employees in the common services a newly-opened regional office in the Prairies followed. In all, a hundred ernployees out of had to be closed.The Council also postponed approximately 325 moved to the new the planned opening of a third regional office, Council. II: British Columbia. These decislons were Thanks to the painstaking planning I:articularly painful in light of the success that preceded the move, the amount of dis- of ihe regional office for the Atlantic prov- ruption was kept to a minimum. The separa Inces, which opened five years ago. The tion was undoubtedly difficult for some Council did, however, honor its commitment people, but in the organization as a whole, the to add a francophone officer to the Atlantic year was one of adjustment, experimentation office to meet the needs of that region and continuity.To give the new Council time Another development during the year to complete its organizational arrangernents, was the introduction of a new computer- the Canada Council continued to provide based financial administration system. After certain services at cost: computer processing the breaking-in period, this system should of data on grant programs, printing and Lring about improvements in program photocopying, Iibrary services, and the use planning and tighter control of accounting of meeting rooms. Despite this collaboration, procedures. The Information Systems Section the experience proved once again that two of the Council played an important part in its cannot live as cheaply as one, even under the development, and the Council also sought same roof. Hereafter the Canada Council’s the help of P. S. Ross and Associates. a overhead Will be proportionately higher, thus rnanagement consulting firm which presented i ts Financial Policies and Procedures Manual on March 26,1979. Unavoidably, the im- plementation of these changes created some disturbances and there was occasional shedding of tears and gnashing of teeth among the staff. Yet who cari afford not to go

42 along with computer technology, at a time section also prepares studies for public dis- when even musical composers and poets semination, collaborating closely in the have found it a useful ally? process with Statistics Canada. Under an More than any other section of the agreement reached this year, financial and Council, Financial Services had to adjust to other data received by the Council from these numerous changes, while diligently certain performing arts organizations may, carrying out its day to day work. That work with their consent, be given to Statistics includes, among other responsibilities, Canada. This arrangement Will lighten the issuing some 50,000 cheques each year administrative burden of the companies, who (most of them for grant recipients) and ad- would otherwise have to assemble duplicate ministering the Council’s investment port- statistics. folios, currently worth a total of $84 million. The Research and Analysis Section also plays an important role in evaluating the Research and Analysis interna1 operations of the Council. This year Tables and graphs, feasibility studies, pro- it completed a general study of the machinery gram evaluations and statistical projections and criteria used to measure the efficiency are among the normal paraphernalia of any and effectiveness of certain programs; it modern organization of some size. In the devoted special attention to the Art Bank and Canada Council, they are provided by the Concerts Canada, a program administered by Research and Analysis Section. the Touring Office. Small in size but strong in delivery, this The section frequently contributes to section gives priority to the compilation of studies of problems in the art world and statistics on Council grant programs; where studies of Council policies. When it lacks the time allows and need requires, the section resources to undertake a particular study. it also documents various aspects of artistic acts as an intermediary between the Council activity in Canada. The figures it assembles and outside experts commissioned to carry give members and officers of the Council the it out, and provides assistance and advice quantitative information necessary for proper where needed. Thus the section recently planning and management. Occasionally the collaborated in two important inquiries, the study of theatre training in Canada directed by Malcolm Black and Helmut Blume’s in- vestigation of professional music training.

43 Information and Public Relations In the past the Council has sometimes The reports by Malcolm Black and Helmut been accused of keeping too low a profile in Blume illustrate the role of catalyst occasion- public discussions, giving inadequate atten- ally played by the Council when it calls upon tion to the promotion and explanation of its specialists to unravel particularly knotty and work and policies. Whether or not such com- complex problems. plaints are justified, the Council is sensitive Editing, translation, publication and to them, recognizing that it must respond to distribution of such texts are among the re- the needs and expectations of its clients and sponsibilities of the Council’s Information the public. Many of the publications already Service. Its daily work includes preparation mentioned serve precisely that purpose. Re- of many kinds of documents: program bro- cently the Council has greatly intensified chures and folders, press releases, reports, its relations with the media, for example by speeches, forms and other printed materials. holding press conferences on suitable occa- The Service also provides help within the sions: the launching of the Blume and Black Council in writing, translating and revising Ireports, the announcement of federal govern- the innumerable forms and letters required ment budget cuts, and the appointment of a by modern administrations. Many of these new chairman, Mavor Moore. A group of texts are reproduced at low cost in the Council members and senior staff members Council’s own printing and reproduction also participated in an information tour of the workshop. Atlantic provinces. This year the Information Service began In all such matters of course, Informa- to publish, at irregular intervals, background tion Service staff members play a crucial - papers on current topics pertinent to the though often invisible - role. Among other Council’s work. The first two reports in the activities, officers of the Service assisted the series were warmly received by the arts Art Bank during exhibitions in Toronto, community and were widely covered by the Mirabel and Quebec City, and took part in a media. They dealt with the bleak financial number of regional seminars on cultural in- future of Canadian ballet companies, and formation. Finally, a large part of the Serv- with recent Council guidelines aimed at pro- ice’s staff time was devoted to helping the moting Canadian theatre productions. organizers of the National Book Festival dur- Despite the birth of the new Social ing the last two months of the year. Sciences and Humanities Research Council, for a good part of the year the Information Service continued to work in those fields, completing its long labor on the Report of rhe Commission on Graduate Studies in the Humanities and Social Sciences (about 900 pages in each of the two officia1 languages).

44

Introduction

Income and Expenditure Chairman of the Board, President and Chief Programs administered by the Council are Executive Officer, Banque Canadienne financed from several sources of income as Nationale, designated by the Council; follows: Raymond Primeau, professor at the a) The Arts programs, Canadian Commission Université de Montréal: and Allan Hockin, for Unesco and costs of administration are Vice-President of Investments, Toronto- financed by the combined receipts of the un- Dominion Bank. Bolton, Tremblay and conditional government grant, incotne from Cotnpany, investment consultants of Mont- the Endowment Fund and bequests and gifts real, manage the funds within guidelines b) The Killam Awards and the Molson Prizes established by the Investtnent Committee. are financed from funds donated or made The Act imposes no restrictions on the available to the Council for specific tmanner in which the money of the Endow- purposes. ment Fund may be invested. However, the Investment Committee follows rules similar Investments to those established under the Canadian and Under Section 18 of the Canada Council Act, British Insurance Companies Act. the Council’s investments are made, man- For investment purposes separate port- aged and disposed of by an Investment iolios are maintained as follows: 1 ) Endow- Committee, which consists of three ment Fund, 2) Killam Fund, 3) other Special members appointed by the Governor-in- Funds. Details of these funds will be found Council, plus the Chairman of the Canada in the financial statements and the notes Council or his nominee and another member thereto. of the Council, designated by the Council. The Endowment Fund is invested in five The composition of the Investment main categories: Short-term Securities; Committee at March 31,1979, was as Canada, Provincial and Municipal Bonds; follows: Frank Case, Chairman of the Invest- Corporate Bonds; Mortgages; and Equities. ment Committee; John Parkin, architect, of A summary of these holdings at March 31, Parkin Partnership; and Germain Perrault, 1979 and March 31, 1978 follows:

Endowment Account

(in thousands of dollars1 Book Vnlue March 31 Market Value March 31 1979 1978 1979 1978 Short-term investments 1,500 9.990 1,500 9,990

Canada, provincial, municipal bonds 19,340 15,685 18,660 15,036

Corporate bonds 20.467 24,694 19.984 24.187 Mortgages (principally NHAI 8,261 9,826 6,941 8,085

Equities 15,773 27,594 20,765 25,653 Total 65,341 87,789 67,850 82,951

46 Financial Statement

The estimated market value was $2.5 Auditor General’s Report million above cost, compared with $4.8 Ottawa, July 27,1979 million below cost the previous year. This reflects a marked improvement of the invest- The Honourable David S. H. MacDonald, ment markets in 1978 and 1979. Net realized P.C., M.P., profits of $ .2 million were experienced Secretary of State, during theyear, the result of trading securi- Ottawa, Ontario ties at prices above cost.This compares with and a net realized profit of s .26 million last year. Chairman, The profit reserve against future securities The Canada Council, trading was $2.5 million at March 31,1979. Ottawa, Ontario The yield on the Endowment Fund was in- creased to 8.6% from 7.6% in 1978. The I have examined the balance sheets of the Fund increased its income by $1.8 million Endowment Account and Special Funds of over 1978 because of generally increased the Canada Council as at March 31,1979, interest rates. and the statements of operations and The Killam Fund portfolio was $13.1 unappropriated surplus of the Endowment million at March 31, 1979, and the yield Account and changes in equity of Special increased to 8.6% from 8.1% a year earlier. Funds for the year then ended. My examina- This increase was the result of improved tion was made in accordance with generally interest rates during the year and changes accepted auditing standards. and accordingly within the portfolio.The market value was included such tests and other procedures as s.1 million belowcost,changedfrom s.7 I considered necessary in the circumstances. million the previous year. In my opinion, these financial state- The other Special Funds, invested in ments present fairly the financial position the same way as the Endowment and Killam of the Council as at March 31,1979, and the Funds, had a market value at March 31, results of its operations and the changes in 1979, of $.l million below cost, improved its Special Funds for the year then ended in from 1978. The yield increased to 8.0% from accordance with the accounting policies set 7.3% the previous year. out in Note 1 , applied, after giving retroactive Details of changes in the equity effect to the change in accounting policy as elements of the Killam and other Special described in Note 1 1 to the financial state- Funds are shown on page 54. ments, on a basis consistent with that of the The Council received the following preceding year. donations during the year: $1,000 from Reed Shaw Stenhouse Ltd., Toronto, and $5 from (Signed) Rhéal Chatelain Daniel Henry Williams, Montreal. Senior Deputy Auditor General for the Auditor General of Canada

47 Endowment Account (Statutory Endowment Fund and Parliamentary Grant)

Balance Sheet as at March 3 1.1979

Assets 1979 1978

Cash $ 1.480.599 s 2,054,162 Accounts receivable 414,057 229,273 Interest accrued on investments 1.204.860 1 .426,263

Investments (Note 2) 65,341,327 87.788,605 Property, including furnishings and effects donated to the Council, at nominal value 1 1

868.440.844 $91.498,304

48 The Canada Council (Established by the Canada Council Act)

Liabilities 1979 1978 Accounts payable and accrued liabilities $ 763,692 8 644,957 Approved grants payable 11.087.355 9.433.459 Queen’s Fellowship Fund (Note 10) - 254.121 Due to the Social Sciences and Humanities Research Council - 20,000.000 $ 11.851.047 $ 30.332.537

Equity Principal of fund established pursuant to Section 14 of the Act $ 50,000,000 $ 50.000.000 Surplus: Accumulated net gains on disposa1 of investments 2.512.111 2.307,800 Reserve for general contingencies 1 .100,000 - Reserve for program commitments 900,000 - Reserve for losses on disposa1 of investments - 2,000,000 Unappropriated 2.077.686 6.857,967 Ç 6.589.797 $ 11.165.767 $ 56.589.797 $ 61 ,165,767 $68.440.844 $91.498.304

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

Approved: (Signed) Claude Gauthier, Treasurer

Approved: (Signed) Charles A. Lussier, Director

49 Endowment Account The Canada Council

Statement of Operations for the Year ended March 3 1,1979

Revenue 1979 1978

Grant from Canada $ 39,152,ooo s 38.303.200 Interest and dividends 7.621,842 5.824.272 Cancelled grants authorized in previous year and refunds 538.99 1 482,284 Art Bank rental fees 272.040 244,920 Income relating to the social sciences and humanities program - 31.759.398 s 47.584.873 $ 76.614.074

Expenditure A rfs Grants and services $ 41.730,375 s 35.284.900 Purchases of works of art (Notes 1 and 7) 757,564 692.840 Administration (Schedule 1 ) 3,781 .a88 3.028.521 $ 46.269327 $ 39.OCr6.261

-Canadian Commission for Unesco Grants $ 187.505 Ç 176,479 Administration (Schedule 1) 399.117 358.406 S 586.622 $ 534.885

General Administration (Schedule 1 ) Ç 3.526.705 $ 3.417,344 Less: Administrative fees received from specific programs - 293,564 $ 3.526.705 $ 3,123,780

Expenditure relating to the social sciences and humanities program $ - Ç 32,361,148

Total Expenditure $ 50,383,154 S 75,026,074 Excess of expenditure over revenue before extraordinary item $ 2,798,2al $ (1.588.000) Extraordinary item (Note 3) i ,982,ooo (3.105.988) Excess of Expenditura Over Revenue $ 4,780,281 $ (4.693,988) -~ The accompanying notes and schedule are an integral part of the financial statements.

50 Endowment Account The Canada Council

Statement of Unappropriated Surplus for the Year ended March 3 1,1979

1979 1978 Surplus unappropriated at beginning of the year, as previously stated $ 4.533.728 $ 2.983.795 Prior period adjustment (Note 11) 2.324.239 1,180,184 As restated S 6.857.967 $ 4,163,979 Results of operations for the year (4.780.281) 4.693.988 S 2,077,686 S 8s857.967 - -~~~-.. Reserve for losses on disposa1 of investments at March 31, 1978 and no longer required ~~ ~-.-~ 2.000.000 (2.000.000) S 4.077.686 S 6,857,967 ~-- Surplus transferred to reserve for program commitments 900,000 - Surplus transferred to reserve for general contingencies 1 .100,000 - Surplus unappropriated at end of the year $2.077.686 $6.857.967 The accompanying notes and schedule are an integral part of the financial statements.

51 Special Funds

Balance Sheet as at March 31, 1979

Assets

1979 1978 Cash $ 280,464 $ 216,503

Interest accrued on investments 366,281 317,491 Investments (Note 5) 17.752.243 17.350.249 Securities held for redemption in accordance with the terms of the gift (par value $2.372.368) at nominal value (Note 6)

Rights to, or interest in, estates at nominal value (Note 61 3

$18,398,992 $17.884.247

52 The Canada Council (Established by the Canada Council Act)

Liabilities 1979 1978 Accounts payable $ 133,193 $ 96,296 Approved grants payable 1.389.000 429,590

Equity of Funds Principal of funds 16,621,389 15,795,064 -~ -~.~- Surplus: Accumulated net gains on disposa1 of investments 55,530 82,701 199,880 1,480,596 Unappropriated .~~ 16,876,799 17,358,361 -~ --~- $18.398.992 $17.884.247

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

Approved: (Signed) Claude Gauthier, Treasurer

Approved: (Signed) Charles A. Lussier, Director

53 Statement of Changes in Equity of Special Funds for the year ended March 31,1979 (Note 6)

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

Balance at beginning of the year S 12.339.615 S 1 Ai56.380 s 900,000 S 699,066 Cash received during year 124,861 - Net income capitalized (Note 9) 96.014 17.003

Balance at end of the year S 12,435,629 S 1,998,244 $900.000 $699,066 Accumulated Net Gains on Disposa1 of Investments

Balance at beginning of the year s .- s 24,010 S 2,115 S 56,576 Net loss on disposa1 of investments 24,010 1,616 1.545 Balance at end of the year S - s - s 499 s 55,031

Accumulated Earnings

Balance at beginning of the year $ 716.532 s 570,219 S 5,368 S 171.508 Income earned on investments 1.117.017 190,311 68.407 69.818

1.833.549 760,530 73,775 241.326 Less: Net loss on disposa1 of investments 26.683 20.279 1.806,866 740,251 73.775 241,326

Grants authorized 1.573.489 694,540 60,000 17 4,040 Income capitalized 96.014 17,003 - Administration costs 130.192 - 3,000

1.799.695 711,543 63,000 114,040 Balance at end of the year S 7,171 $ 28,708 s 10.775 S 127,286

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

54 The Canada Council

John 6.C. J.P. Barwick Edith Davis Vida Kathleen Totals Tota Is Watkins Estate Webb Peene Coburn 1979 1978 Estate Estate Estate Fund

ç 1 s 1 ÇlÇ - .s - Ç 15.795.064 Ç 15.615.064 - - 588,347 100 713.308 180.000 - - 113.017 $ 1 $1 ç 1 $588,347 $100 $16.621.389 $16.796.064

ç - s - ç-ç - ç- ç 82,701 .S 106,670 - - 27,171 23,969 s - Ç- ç-s - 8- 6 55.530 8 82.701

Ç 16,969 ç- ç-ç - ç - Ç 1.480.596 S 2.000.007 8,971 - 21,669 - 1.476.193 1.355.234 25.940 - 21,669 - 2,956,789 3.355.241 46,962 124,515 25,940 21,669 - 2.909.827 3.230.726 - 21,669 - 2,463,738 1.650.834 - 113,017 133,192 99,296 - - 21,669 - 2.709.947 1.750.130 $25,940 8- S-6 - s- s 199,860 8 1.460.596

55 Endowment Account

Schedule of Administration Expenditure for the Year ended March 31,1979 (Schedule 1)

Arts

Salaries and wages $ 2433,804 Employee benefits 235,040

Assessor’s fees, committees’ meetings and members’ honoraria 654,520

Rent and maintenance 42,249 Communications Staff travel 298,535 Printing and publications 27,549 Professional services 42,610

Data processing Council meetings, including members’ honoraria -

Office supplies and expenses Furniture and equipment 9,957

Duplicating Safekeeping charges -

Sundry 22,770 Freight and storage 14,854 3,781,888

Administration expenditure relating to the social sciences and humanities program: Direct expenditure Indirect general expenditure -

$3.781.888

56 The Canada Council

Canadian Commission General Total~ Totals forUnesc0 1979 1978 $ 294,239 $ 1,388,035 $ 4,116,078 $ 3.607.090

29,536 174.357 438,933 346,375

13,925 33,464 701,909 569,424

577,279 619,528 603,212 508,580 508,580 355,102

20,151 30,035 348,721 344,89 1 - 170.972 198,521 196,829

- 135,264 177,874 223,174 - 121,293 121,293 67,381 31,123 86,576 117,699 81,881

8,533 95,464 103,997 99,434

- 91 a-n 101.859 60,599

- 59,140 59,140 124,139 - 39,871 39,871 38,622 1.610 14.473 38,853 71,877

- 14,854 14,241 399,117 3.526,705 7.707.710 6,804.271

- - - 1.722.981 - - - 1,464,576

- - - 3,187.557

$ 399.117 $3‘526.705 $7.707.710 $9.991.626

57 Notes to the Financial Statements The Canada Council March 31, 1979

1. Accounting policies Capital assets Accounting basis Capital expenditures are charged to administration The Council’s accounts are maintained on the expenditure in the year of purchase and consequently accrual basis. there are no charges for depreciation.

Insured mortgages (Note 2) Termination benefits Insured mortgages are carried at cost plus the earned The Council does not record in its accounts the portion of the related discount, if any. liabiiity for termination benefits, estimated at March 31, 1979 to be $162,689. Losses on disposa/ of invesrments Net losses on disposa1 of investments are charged Other against the respective “Accumulated net gains on Except for the Parliamentary Grant and the Queen’s disposa1 of investments” to the extent of the balance Fellowship Fund (Note 10). ail monies or properties available in this account. The remaining loss, if any, received by the Council pursuant to Section 20 of the is charged to current year’s operations. Canada Council Act are accounted for in the Special Funds statement. Grants Grants are charged to expenditure in the year for which they are approved. Cancelled grants approved in previous years and refunds are shown as income in the Endowment Account. For the Special Funds such items are deducted from the grants approved during the year.

Works of art (Note 7) Purchases of works of art are not capitalized, but are charged to program expenditure in the year of purchase.

58 2. Endowment Account Investments (in thousands of dollars) 1979 1978 Cost Market Value Cost Market Value Bonds, debentures and notes $ 41,307 $ 40,144 $ 50.369 $ 49.213

Shares 15,773 20,765 27,594 25,653

Insured mortgages (Note 1) (market value estimated) 8,261 6,941 9,826 8,085 $65.341 $67,850 $87,789 $82,951

Net profit on disposa1 of investments during the year 4. Reserves amounted to $204,311 ($252.707 in 1977-78). During the year the Council decided to establish two These profits are credited to “Accumulated net gains reserves for the following purposes: on disposa1 of investments” (Note 3). (a) Reserve for program commitments of $900,000 to provide for the funding of those grants programs for 3. Extraordinary item which a commitment had been made by the Council Grants which would have been payable at March 31, but for which a recipient could not specifically be 1978, with respect to social sciences and humanities identified. were deleted from the accounts and replaced by a (b) Reserve for general contingencies of $1 ,100,OOO. liability for $20 million to the Social Sciences and The reserve for losses on disposa1 of invest- Humanities Research Council (as reflected in Main ments of $2.000.000, which was established in Estimates 1978-79). The effect was to reduce the 1977-78, was no longer required and has been liabilities and increase the surplus of the Canada restored to surplus. The actual losses were deter- Council in 1977-78 by $3,105,988. This amount was mined during the current year and charged in the reflected in the 1977-78 statement of operations as statement of operations as an extraordinary item. an extraordinary item. During the current year losses were incurred totalling $1.982.000 on the sale of investments to make the $20 million payment to the new Council. These losses are charged in the statement of operations as an extraordinary item.

59 5. Special Funds Investments

(in thousands of dollars) 1979 1978 cost Market Value Cost Market Value

Bonds, debentures and notes $ 13,491 $ 12,593 S 12,371 ç 11,703

Shares 3,334 4,225 3,914 3,688 Insured mortgages (Note 1) (market value estimated) 927 762 1,065 898 $17,752 $17,580 $17,350 $16,289

Net losses on disposa1 of investments during the year existence terminated or its powers and authority amounted to $74,133 ($148,484 in 1977-78). Of changed SO that it is no longer able to administer any this amount, $27.171 was charged against Killam Trust, the assets forming the Killam Trust “Accumulated net gains on disposa1 of investments” must be paid over to certain universities which have and the remaining $46,962 was charged to i~lso benefited under the ~III. operations. The cash and securities received and the pro- ceeds have been invested in a separate portfolio. 6. Bequests and gifts The Council received bequests and gifts as follows: ‘61 Special Scholarship Fund A gift of what may be approximately $4.350.000 was (a) lzaak Walton Killam Memorial Fund for Advanced received from the late Mrs. Dorothy J. Killam for the Studies establishment of a Special Scholarship Fund. The A bequest of $12,339,615 in cash and securities was gift consists of securities registered in the name of received from the estate of the late Mrs. Dorothy J. the Canada Council, redeemable over a period of Killam for the establishment of the “lzaak Walton years. TO March 31, 1979, the Council has received Killam Memorial Fund for Advanced Studies” to proceeds from the redemption of these securities provide scholarships “for advanced study or research amounting to $1,981,241. These proceeds have been at universities, hospitals, research or scientific insti~ invested in a separate portfolio and the income there- tutes, or other equivalent or similar institutions both from is available to provide fellowship grants to in Canada and in other countries in any field of study Canadians for advanced study or research in the or research other than the ‘arts’ as presently defined fields of medicine, science and engineering at in the Canada Council Act and not limited to the universities, hospitals, research or scientific institu- ‘humanities and social sciences’ referred to in SU~/I tions or other equivalent or similar institutions in Act:’ Canada. The bequest contains the following provisions: that the Killam Trust shall not form part of the Endowment Fund or otherwise be merged with any assets of the Council, and that, in the event the Canada Council should ever be liquidated or its

60 (cl Molson Prize Fund (9) Edith Davis Webb Estate Gifts of $900,000 from the Molson Foundation estab- A bequest of what may amount to $400,000 was lished a capital fund referred to as the Molson Prize made by the late Mrs. Edith Davis Webb. The pay- Fund. The income of the fund is used for awarding ment of the bequest is to be postponed during the cash prizes to Canadians for outstanding achieve- lifetime of the surviving beneficiary of the residue of ment in the fields of the arts, the humanities or the the estate. The bequest to the Canada Council is “to social sciences that enriches the cultural or intel- be used for the purpose of making grants or estab- lectual heritage of Canada or contributes to national lishing scholarships for musical study in such unity. The value of each prize is $20,000 or as manner as the Council shall determine.” The bequest determined by the Council. without restriction on its is reflected in the balance sheet at a nominal value use by the recipient. of $1.

(dl Lynch-Staunton Fund (h) Vida Peene Estate An unconditional bequest of $699,066 from the During the year a bequest of $588,347 was made by estate of the late V.M. Lynch-Staunton established a the late Vida Peene, a past member of the Council. capital fund, the income from which is available for The earnings from this bequest are to be paid the regular programs of the Council. annually to several organizations as listed in her Will. In the year under review, the earnings from this fund le) John B.C. Watkins Estate were $21,669, and this amount was paid out as A bequest was received (carried on the balance sheet directed. at a nominal value of $1) of the net income from the residue of the estate of the late John B.C. Watkins, Ci) Kathleen Coburn which assets are held in perpetuity by a trust com- During the year, a gift of $100 was received from pany. The net income is to be used “for the establish- Miss Kathleen Coburn, and is part of a promise of a ment of scholarships to be awarded to graduates of larger bequest, the amount of which cannot be deter- any Canadian university who may apply therefor for mined at this time. When this bequest is in hand, it the purpose of engaging in post-graduate studies in Will provide for exchanges of scholars between Israel Denmark, Norway. Sweden or Iceland and who shall and Canada. There were no earnings in 1978-79. be selected for their outstanding worth or promise by a committee appointed by the Canada Council.” 7. Art Bank (Note 1) In 1972 the Canada Council Art Bank was established If) J.P. Barwick Estate to develop a collection of works of art for use in A bequest of what may amount to $31,500 was made federal offices and public buildings on a rental basis. by the late J.P. Barwick. The payment of the bequest Works of art acquired to March 31, 1979 totalled is to be postponed during the lifetime of the surviving s5,533,000, including $758,000 purchased in beneficiary of the residue of the estate. The bequest 1978-79 ($693,000 in 1977-78). 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.

61 8. Long-term lease agreement As a result, the balance of unappropriated On October 8, 1976 the Council entered into a ten- surplus at March 31, 1978, previously reported as year agreement for office space for the period Novem- $4,533,728, has been restated to show a retroactive ber 1976 to October 1986. The agreement calls for credit of $2.324.239 representing the cumulative an annual rental of $606,450 for the first five years amount by which grant expenditures have been and an annual rental of $657.975 for the remaining decreased. Of the $2.324.239, $1.144.055 is five years. applicable to 1977-78 and has been credited to income for that fiscal year. The remaining $1 ,180.184 9. Capitalization of income of Special Funds is applicable to 1976-77 and has been credited to During the year the Council adopted the policy of unappropriated surplus at March 31, 1977, previ- capitalizing 10% of the net income of the Izaak ously reported as $2.983.795. Walton Killam Memorial Fund for Advanced Studies and the Special Scholarship Fund in accordance with 12. Comparative figures advice received from the Trustees of these Funds in Certain figures for 1978, presented for comparative order to preserve the equity of these Funds for future purposes, have been restated to con form to the 1979 beneficiaries. The Council reserves the right, how- rpresentation. ever, to draw at any time on the accumulated income SO capitalized for the purposes of the Funds. A list of Council securiiies as ar March 37, 1979. is available on request from lhe Council’s Information 10. Queen’s Fellowship Fund Service. In December 1973, the Council received a grant of $250,000 from Canada for the establishment of a Queen’s Fellowship Fund to be administered by the Council. The income from the Fund is to be used for the payment of fellowships to graduate students in certain fields of Canadian studies. During the year. this fund was transferred to the new Social Sciences and Humanities Research Council together with earnings during the year of $24,093.

11. Change in accounting policy During the year the Council changed its policy of determining grants payable by excluding certain pro- gram commitments. Previously, the Council deter- mined grants payable at the end of the fiscal year by including an element of program commitments as well as the amount determined by Council to be payable to specific recipients. This change in policy has been applied retroactively and the previous year’s financial statements have been restated accordingly

62

Advisory Bodies Juries and Selection Committees’

Advisory Arts Panel” Music Ex-officio Members Juries for Aid to Timothy Porteous Periodicals Roch Carrier Jury for Community (Chairman) English-Language $CJTagi;man until February Musicians Program Colin Jackson Jury Allison Bishop !Member of the William French Michelle Tisseyre Joy Cohnstaedt Council) Urjo Kareda ( Vice-Chairman) Peter Eilis Mabel Laine Robert Kroetsch Jarret Amos Harry Freedman (Canadian Association Dennis Young Malcolm Black Pierre Rolland of Arrists Managers) John Boyle Cheryl M. Thomas Donald MacSween French-Language Jacques Brault Jacques Montpetit Jury (untilfebruary 1979) Theatre Jacques Allard Fernand Dansereau Writing, Publishing Alain Desvergnes Yvan Dufresne Pane1 for English- and Translation Lise Gauvin Bruce Ferguson language Theatre Gilles Potvin Sylvia Fraser Companies Selection Committees Pierre Savard John Hall Paul Bettis for Book Purchases Harold Horwood Howard Dallin for Free Distribution Juries for Promotion Allan King Ted Follows English-Language of Books and Jacqueline Lemieux Ray Michal Jury Periodicals Roland Lepage Irene Watts Charles Burchell English-Language Phyllis Mailing Sheila Fischman Jury France Morin Pane1 for French- Le0 Simpson George Gilmour David Moroni language Theatre Ron Yeo Eleanor Harman P. K. Page Companies Irma McDonough Sharon Pollock Odette Gagnon French-Language Bill Roberts Cameron Porteous Jean-Marie Lemieux Jury Basil Stuart-Stubbs Peter Randazzo Christiane Raymond Marcel Bélanger Pierre Rolland Jean-Léon Rondeau Marielle Durand French-Language Michèle Rossignol Jean-Pierre Ronfard Pierre Nepveu Jury Harry Somers Michèle Rossignol Louise Roy-Fortier Jacques Francoeur Paul Wong Gérard Leméac Sean 6. Murphy Touring Office Selection Committees Jacques Martin (Member of the Council) for French-English Jean Paré Robert Rivard Touring Office Book Kit Exchange Danielle Ros (Member of the Council) Advisory Board Program Members English-Language English Public ‘These lists do net include John Holmes Jury Readings Review the “ames of hundreds of (Newfoundland) Sheila Egoff individual professionals Committee across the country whose Sandra Hodge Robert Fulford Douglas Barbour assessments are sought. as (Prince Edward Island) Urjo Kareda George Bowering need arises. during the year. “From September 1978. Erik Perth Margaret Laurence George Johnston (Nova Scotia) Dennis Lee Irving Layton Jeannine Côte John Porter Joseph Sherman (New Brunswick) Audrey Thomas Jean-Claude Picard French-Language (Quebec) Jury National Book Walter Homburger Guy Boulizon Festival (Ontario) Jean-Claude Dusseault National Committee Rosalie G. Goldstein Jean-Clé0 Godin William Kilbourn (Manitoba) Clément Moisan (Co-chairman) René Charrier Réjean Robidoux Laurent Picard (Saskatchewan) George André Vachon (Co-chairman) Ken Graham Louis Comeau (Alberta) (Atlantic Provinces) Michael Dobbin Al Cummings (Briiish Columbia) (Ontario) Phil Hazelton’ Yves Dubé /Yukon) (Quebec) Gordon Fairweather ‘Resigned January 1979 (Atlantic Provinces)

64 Lloyd Hodgkinson Prairies Fernand Dansereau David Bolduc (Ontario) John H. Archer Bruce Elder (Halifax) Wilfrid Lemoine (Saskatchewan) Robert Frank Robert Bourdeau (Quebec) Gilbert Louis Comeault Roger Frappier (Ottawa) Eric MacEwen (Manitoba) Gilles Groulx Eric Cameron (Atlantic Provinces) James H. Gray Peter Harcourt (Ottawa) Don F. Meadows (Alberta) Cam Hubert Jean-Serge Champagne (Prairies) Rob Sanders Jean-Claude Labrecque (Montreal) Christina Newman (Saskatchewan) Ryan Larkin Lynn Cohen (Ontario) Patricia L. Smith Martin Lavut (Ottawa) Jacques Panneton (Saskatchewan) Jean-Pierre Lefebvre Alvin Comiter (Qoebec) David Williamson Richard Leiterman (Ottawa) Suzanne Paradis (Manitoba) Clarke Mackey Ulysse Comtois (Quebec) Diane Woodman (Ottawa, Toronto) Clyde Rose (Alberta) Video Production Wanda Condon (A tlantic Provinces) Grants Jury (Winnipeg) Evelyn Samuel British Columbia / Yukon Andrée Duchaine Garry Conway (British Columbia) Jack Bryant Diane Edmunson (Halifax) Mary Scorer Ed Gould Peggy Gale Penni Cousineau (Prairies) Scott Mclntyre Nicole Giguère (Ottawa) Mark Stanton Andreas Schroeder Ralph HO~ David Craven (British Columbia) W. Titheridge Terry McGlade (Toronto) Rudy Wiebe Ian Murray Pierre Desjardins (Prairies) Coordinators Simon Riley (Ottawa) Randall Ware Jean-Pierre St-Louis Pat Ewen Regional Committees (National Coordinator) Simone Trudeau (Montreal, Toronto) A tlantic Provinces Catherine Keachie Paul Wong Lorne Falk Sheila Cotton (Ontario Coordinator) Lyn Wright (Ottawa) (New Brunswick) Judy E. Kelly André Fauteux Elizabeth Eve (British Columbia/ Members of Advisory (Toronto. London, (Nova Scotia) Yukon Coordinator) Selection Committees Welland, Havelock, James de Finney Kerry Longpré for the Art Bank’ Tamworth) (New Brunswick) (Prairies Coordinator) Kim Andrews Harold Feist Marc Gallant Francois Patenaude (Toronto, Ottawa) (Halifax, Tor.onto (Prince Edward Island) (Quebec Coordinator) Barbara Astman Sunderland) Pearce J. Penny Paul Robinson (Ottawa) John Fox (Newfoundland) (Atlantic Coordinator) lain Baxter (Toronto, London, AI Pittman (Vancouver, Victoria, Welland, Havelock, (Newfoundland) Visual Arts and Calgary, Lethbridge) Tarn worth) Paul Robinson Art Bank Doug Bentham Tom Gibson (Nova Scotia) (Saskatoon, Regina, (Ottawa) Jury for Grants to Edmonton, Red Deer, Ted Godwin Quebec Print Workshops Toronto, Sunderland) (Vancouver, Victoria) Raymond Beaudoin Jennifer Dickson Jorge Guerra Greta Chambers John Esler ‘These committees. usually (Ottawa) Bernard Dagenais Yves Gaucher composed of three Lawren Harris members, met for one or Huguette Deschênes Gordon Smith several days in the com- (Ottawa) Jacques Fortin munities indicated in David Heath André Major parenthesis. Artists on (Ottawa) Jury for Special these committees may not Project Assistance submit their own works for Hubert Hohn Ontario (Visual Arts) purchase to the same (Ottawa) committee. Judy Cuthbertson Ronald Bloore Jacques Hurtubise Martin Myers Pierre Desjardins (Moncton, St. John’s) Judy Sarick François Gagnon Frank Lapointe Pierre Savard Richard Simmins (St. John’s) Peter Taylor Dennis Young

Film Production Grants Jury Denyse Benoit Françoise Berd Marcel Carrière Zale Dalen

65 Ken Cochhead Arts Awards Service Film Arts Grants “6” (Ottawa) Claude Daigneault Juries Jane Martin Juries for Long-Term Gilles Groulx (Grants awarded at rhe (Ortawa) Grants for Writers John Hirsch June 1978 meeting of Robin Mayor English-Language Francis Mankiewicz Canada Council) (Halifax) Jury Robin Spry Jean McEwen Robertson Davies MUS~C Performance (Montreal) Alice Munro Multimedia and Pre-selection jury John McEwen P. K. Page Performance Art James Campbell (Toronto) Bruce Barber Otto Joachim Claude Mongrain French-Language Raymond Gervais Maryvonne Kendergi (0&3W‘?) Jury Michael Morris Mary Morrison Ron Moppett Gérard Bessette Claude Savard (Ottawa, Calgary, Jacques Brault Mosic Lethbridge, Saskatoon. Rina Lasnier Francoys Bernier Auditions Europe Regina, Red Deer, Neil Chotem James Campbell Edmonton, Winnipeg) Arts Grants “A” Mary Morrison Kenneth Gilbert Deug Morton Juries John Weinzweig Otto Joachim (Toronto) (Grants awarded at thc Phyllis Mailing Roald Nasgaard September 1978 meerinq Photography Claude Savard (MontreaI) of the Canada Council) _ Alain Desvergnes Katie Ohe Philip Pocock Auditions - {Ottawa) Visual Arts Katherine Tweedie Norfh America Roland Poulin Takao Tanabe James Campbell (MontreaI. Toronto) Pierre Théberge Theatre Raymond Daveluy Mark Prent Dennis Young Pamela Hawthorn Otto Joachim (Toronio) John Hirsch Phyllis Mailing Henry Purdy Writing (English) Maurice Podbrey Claude Savard (Moncton) Marian Engei André Ricard Leslie Reid Sheila Watson Michèle Rossignol Arts Grants “6” (Toronto) Robert Weaver Jean-Louis Roux Juries Sandy Spencer (Grants awarded at the (Halifax) Writing (French) Visual Arts September 1978 meeting Sam Tata Marie-Claire Blais Edmund Alleyn of the Canada Council) IOtfawal Roch Carrier Paterson Ewen Catherine Gaston Miron Luke Rombout Architecture Tweety-Holmes Joyce Weiland Henry Elder (Ottawa) Arts Grants “A” JeanClaude Marsan Colette Whitten Juries Writing (English) Rom Thom (Ottawa) IGrants awarded at fhe Robertson Davies Shirley Wiitasalo March 1979 meeting of Alice Munro Dance (Ballet) (Toronto, Sunderland) the Canada Council) P. K. Page Celia Franca Don Wright David Moroni (Ottawa) Architecture Writing (French) Linda Stearns Robert Young Dimitri Dimakopoulos Gérard Bessette (Ottawa) Blanche van Ginkel Jacques Brault Dance (Modem) Clifford Weins Rina Lasnier Gerre Cimino Helen McGehee Dance Sandra Neels Erik Bruhn Jean-Pierre Perrault Danny Grossman Rina Reddy David Moroni Betty Oliphant Film Peter Randazro Marcia Couelle Rina Singha Claude Daigneault Anna Wyman Doug Eliuk Grant Munro

66 Multimedia and Arts Grants “B” Music (Other Form Juries for Short- Performance Ari Juries Francois Dompierre Term, Project Cost Miriam Adams IGrants awarded at the Yvan Dufresne and Travei Grants Peter Froehlich karch 1979 meeting of Kevin Gillis (Grants awarded at the Glen Lewis the Canada Council) Phil Nimmons September 1978 meeting of the Canada Council) Photography Architecture Photography Robert Bourdeau Dimitri Dimakopoulos Alain Desvergnes Dance (Ballet) Pennie Cousineau Blanche van Ginkel Philip Pocock Jacqueline Lemieux Lorne Falk Clifford Weins Katherine Tweedie Hilary Cartwright Jorge Guerra Elizabeth Yeigh Dance Theatre (English) Daniel Seillier Theatre (English) Erik Bruhn Janet Amos Peter Randazzo Carol Bplt Danny Grossman Rex Deverell David Moroni Donald Davis David Moroni Ken Gass Celia Franca Ray Michal Betty Oliphant Alden Nowlan Linda Stearns Susan Rubes Peter Randazzo Booth Savage Max Wyman Rina Singha Dance (lndian) Anna Wyman Theatre (French) Rina Reddy Theatre (French) Marc Doré Louisette Dussault Film Odette Gagnon Dance (Modem) Marc Favreau Claude Daigneault Roland Laroche Sandra Neels Roland Lepage Gilles Groulx Michèle Rossignol Peter Randazzo Gilles Renaud John Hirsch Peter Boneham Francis Mankiewicz Video Jean-Pierre Perreault Video Robin Spry Peggy Gale Helen McGehee Colin Campbell Simon Riley Michael Goldberg Mulfimedia and Jean-Pierre St-Louis Film Noel Harding Performance Arf Marcia Couelle Bruce Barber Visual Arts Claude Daigneault Visual Arts Raymond Gervais June Leaf Doug Eliuk Yvon Cozic Michael Morris Allan MacKay Grant Munro David Craven Toni Onley John Esler Music (Choral Serge Tousignant Phofography Bruce Ferguson Conducting) Colette Whiten Alain Desvergnes Liz Magor Elmer Iseler Philip Pocock Wayne Riddell Writing (English) Katherine Tweedie Writing (English) Sylvia Fraser Marian Engel Music (Composition) Ralph Gustafson Theatre (English) Sheila Watson Rudolf Komorous Robert Harlow June Faulkner Robert Weaver Roger Matton Richard Ouzounian Jean Papineau-Couture Writing (French) Connie Brissenden Writing (French) Murray Schafer Jacques Brault Eric Peterson Marie-Claire Blais Michèle Mailhot Ray Michal Roch Carrier Music (Instrument Jean-Marie Poupard Carl Hare Gaston Miron Making) Urjo Kareda Otto Joachim Ted Fellows Walter Prystawski Keith Turnbull Booth Savage Music (Orchestral Conducting) Raffi Armenian Franz-Paul Decker Pierre Roland

67 Theatre Ifrench) Photography Music (Composition) Explorations Program Louisette‘Dussaulf Alvin Comiter Rudolf Komorous Gilles Renaud David Heath Roger Matton Regional Selection Lorraine Richard Katherine Tweedie Jean Papineau-Couture Committees Jean-Guy Sabourin Murray Schafer Atlantic Provinces Theatre (English) Robert Morgan Video Urjo Kareda Music (Orchestral (Chairman) Michael Goldberg Michael Eagan Conducting) Georges Arsenault Colin Campbell Miles Potter Raffi Armenian René Jean Noel Harding Franr-Paul Decker Nan McLellan Robert Laplante Theatre (French) Pierre Rolland Al Pittman Julien Poulin Jean-Luc Bastien Sheila Stevenson Simone Trudeau Robert Gurik Music (Performance) Lorraine Richard Mauricio Fuks Quebec Visual A rts Stuart Hamilton Martine Corrivault Kenneth Lochhead Video Aimé Lainesse (Chairman! John Ivor Smith Terry McGlade Renée Morisset Suzanne Lemerise Don Wright Nicole Giguère Benoit Lévesque Ivan Evre Ralph Holt Music (Other Forms) Mariette Rousseau- SherryGrauer Francois Dompierre Vermette Serge Tousignant Visual Arts Yvan Dufresne Jean-Guy Sabourin Ian Carr-Harris Kevin Gillis Raymond Tremblay Juries for Short- Betty Goodwin Phil Nimmons Term. Proiect_ Cost Doug Haynes Ontario and Travel Grants Photography Jim Garrard (Grants awarded at the Juries for Short- Alain Desvergnes (Chairman) December 197% meeting Term, Project Cost Philip Pocock Susan Crean of the Canada Council) and Travel Grants Katherine Tweedie Nancy Helwig (Grants awarded at the Tom Henighan Dance (Ballet) March 1979 meeting of Theatre (English) Al Mattes Glenn Gilmour the Canada Council) Jarret Amos Ron Sweetman Betty Oliphant Patricia Hamilton Marie Young Susan Macpherson Dance (Ballet) Carl t-lare Yves Cousineau Erik Bruhn Urio Kareda Prairies and Northwest Elizabeth Yeigh David Moroni John Palmer Territories Betty Oliphant Paul Thompson Wayne Morgan Dance (Modern) Rina Singha (observer) (Chairman) Peter Boneham Theatre (French) David Barnet Paula Ross Dance (Modem) Gilbert David Hugh A. Dempsey David Earle Danny Grossman Odette Gagnon Marilyn Foubert Judy Jarvis Peter Randazzo Robert Gurik Caroline Heath Peter Randazzo Anna Wyman Marie-Francine Hébert Sue Lindberg Rina Reddy Connie Pedersen (Indian Dance) Film Video John Boundy Peggy Gaie British Columbia and Film Roger Frappier Simon Riley Yukon Martin Lavut Harold Tichenor Jean-Pierre St-Louis Ruth Schiller Zale Dalen (Chairman) Roger Frappier Visual Arts Martin Bartlett Denyse Benoit Pierre Desjardins Gloria George Marcia Couelle Katie Ohe Ted Harrison John Boundy Colette Whiten Brendan Kennedy Doug Eliuk Dorothy Metcalfe Robert D. Watt

68 Prires and Awards Selection Committees Killam Program Other Programs for the Children’s Selection Commit- Literature Prires Selection Committee Advisory Committee tees for the English-Language Robert E. Bell for Grants for Governor-General’s Ken Roberts A. John Coleman International Literary Awards Judy Sarick Vianney Décarie Representation John Porter John Robert Sorfleet Jean des Gagniers Paul Chavy (Chairman, English Richard Goldbloom Jean des Gagniers Section) French-ianguage Richard G. Lipsey John Hobday Michel Brunet Irène Aubrey Margaret E. Prang John Stedmond (Chairman, French Claude Lafortune Stanley Rowlands Janice Stein Section) Odette Legendre Clara Thomas Endel Tulving Ex-off’icio Member: Poetry and Drama Selection Committee Walter D. Young David W. Bartlett (English) for the Canada- Elizabeth Brewster Australia Literary Ex-officio Members Selection Committee John Newlove Prize Eva Kushner (Chairman) for Visiting Alden Nowlan Jack Hodgins Albert W. Trueman Foreign Artists Naïm Kattan Alvin Balkind Poetry and Drama Eli Mandel Canadian Commission Gabriel Charpentier (French) Alice Munro for Unesco Yves Cousineau Paul-Marie Lapointe Robert Weaver Gilles Marsolais Laurent Mailhot Executive Committee France Morin Alphonse Piché Selection Committees for the Canadian John Weinzweig for the Canada- Commission for Fiction (English) p;il$um Literary Unesco Finances Margaret Laurence Vianney Décarie Patrick O’Flaherty Canadian Committee (Chairman) Investment Sheila Watson Marie-Claire Blais James M. Harrison Committee Naïm Kattan (Vice-Chairman) Frank Elliott Case Fiction (French) Louise Maheux-Forcier Paul Bélanger (Chairman) André Major Gilles Marcotte Ruth M. Bell Michel Bélanger Réginald Martel Jean-Guy Pilon John Cairns (until June 5, 1978) François Ricard L. H. Cragg Allan Hockin Belgian Committee Bert E. Curtis John C. Parkin Non-Fiction (English) Charles Bertin George D. Garland Raymond Primeau Carl Berger Pierre Mertens William Kilbourn Sean B. Murohv Peter Buitenhuis Léo Moulin Elizabeth A. Lane (from Decekb& 11. John Porter Jean Tordeur Jacques Montpetit 1978) Lucien Perras Non-Fiction (French) John Roberts Michel Brunet Céline Saint-Pierre Denis Monière Charles Lussier Jean-Marcel Paquette (Ex-oftkio) Claude Lussier Selaction Committees (Secretary-General) for Translation Prires Jacques-Victor Morin English-Lang#age (Associate Secretary- John Glassco General) Joyce Marshall Larry Shouldice Margaret Stanley

French-Language Jean-Pierre Fournier Louis Rémillard Antoine Sirois

69 Canada Council Publications

Brochures and Folders on Current Canada The Arfs in Canada: A Betler Way? Remarks to the Council Programs American Symphony Orchestra League. Boston. The Canada Council and Its Programs June 9. 1976, by Timothy Porteous, Associate Aid to Artists Director, Canada Council. Aid to Wriring and Publication Art Bank MUS~C Development in a Resirained Econon>y. Notes Community Musicians Program for nn address to the Annual Conference of the Explorations Program Canadian Music Council, Guelph. Ont., May 8, 1976. Killam Program by Charles A. Lussier, Director, Canada Council. Touring Office Grants to Canadian Cultural Organizations for Public-Privare Parrnership in fhe Arts. Notes for an Visiting Foreign Artists address to the Institute of Donations and Public Affairs Research. Toronto, May 7. 1976, by Charles Statements and Speeches A. Lussier, Director. Canada Council Guidelines on the Support of Theaire Compar~~es. Prepared by the Canada Council Information Service Tl~e Canada Council and rhe Arts in Saskatchewan March 1979. NO~::S ior a speech to the SaskARTchewan Con- forcnce. Saskatoon, May 1, 1976. by Timothy Economie Outlook for Ballet. Prepared by the Canada Portcous. Associate Director, Canada Council. Council Information Service. January 1979. Careers and Markers in the Arrs. Notes for an address Culture and Confederation: The Spirit of Charlotte to ttte annual meeting of the International Council of iown. Notes for a speech to the Committee of Fine Arts Deans, Vancouver, October 2. 1975. by Confederation Centre, Charlottetown, February 22. A~~drt; Fortier, Director, Canada Council. 1978, by Timothy Porteous, Associate Director, Canada Council. Tiie Canada Councii and the Francophone Community IR rhe North American Contexr. English adaptation of The Canada Council: The Princip/e of Excellence and a speech prepared for a symposium on”Cultural Its Implications in a Democratic Sociery. Notes for idcntity and the Francophone community in the an address to the Annual Management Development Americas”, Flalifax, Aprit 4, 1975, by André Fortier, Program, Harvard University Institute in Arts Director, Canada Council. Administration, Cambridge, Massachusetts, July 6. 1977, by Charles A. Lussier. Director. Canada is There a Future for the Symphony Orchestra in Council. Canada? Notes for a talk at the Joint Conference of the Association of Canadian Orchestras and the The Arrs in the Canadian Con~muniry. Notes for a Ontario Federation of Symphony Orchestras, speech to the Annual Conference of the Canadian Hamilton, Ont., April 28, 1974, by André Fortier, Music Council, Community Music Centre, Vancouver, Di:cctor, Canada Council. April 30, 1977, by Timothy Porteous, Associate Director, Canada Council.

The Canada Council and Dance. Notes for remarks to the Dance in Canada National Conference, Dalhousie Arts Centre, Halifax, August 9, 1976, by Charles A. Lussier, Director, Canada Council.

70 Studies. Briefs and Other Texts Touring Office Publications A National Music School for Canada. An inquiry by Sponsors’ Handbook for Touring Attractions. $5.00. Helmut Blume. March 1978. Sponsors’ List. $5.00. Tour Organizers’ Handbook. $5.00. Twentv D/US Five. A discussion oaoer on the role of Touring Directory of the Performing Arts in Canada the Canada Council in the arts, after the first twenty (annual publication). years (1957-77) and over the next five. Based on a Touring Office Bulletin (quarterly publication). report by a committee of the Council. November 1977. Art Bank Slides Contemporary Canadian Painting, a set of 100 slides Report of the Committee of Inquiry into Theatre from the Art Bank collection. $75. (Checklist avail- Training in Canada. A study prepared by an inde- able on request.) pendent Committee of Inquiry under the chairman- ship of Malcolm Black. June 1977. Contemporary Canadian Sculpture, a set of 100 slides from the Art Bank collection. $100. (Checklist avail- The Arts in Canada 1975: Viewpoint. A document able on request. prepared by Duncan Cameron for the Canada Council on the occasion of the Arts and Media Conference, National Arts Centre, Ottawa, May 15-I 6, 1975.

An Assessment of the Impact of Selected Large Per- forming Companies upon the Canadian Economy. A study conducted by Urwick. Currie and Partners. Ltd., Management Consultants, September 1974.

An Analysis of Selected Performing Arts Occupa- tions. A statistical study conducted by the Department of Manpower and Immigration, 1972. July 1974.

The Group of Twenty-Nine. Financial and Operational Statistics of Twenty-Nine Performing Arts Organi- zations from 1966 to 1972, by Mary C. Sullivan, Research and Analysis Section, Canada Council. October 1973.

Directions for the Dance in Canada. A study con- ducted by McKinsey and Company, Inc., Management Consultants. April 1973.

Subsidv Patterns for the Performina Arts in Canada. Reportprepared by Frank T. Pasqujll, York University. February 1973.

Readings on the Governing Boards of Arts Organiza- tions. Prepared by the Canada Council Information Service. March 197 1.

The above publications are bilingual or available in both languages. They are available free of charge from the Canada Council Information Service.

71 Notes

Graphs of support in current and constant dollars, FY 1971-72 to 1978-79. pages 5. 11, 20 and 23

Constant dollars are calculated using the Implicit Price Index of Government Current Expenditures on Goodsand Services (1971:lOO).

Total support to the arts includes the Explorations Program. beginning in FY 1973-74, and Multidiscipli- nary and Performance Art, beginning in FY 1977.78.

Support to the performing arts inciudes the Touring Office, beginning in FY 1973-74.

Support to the visual arts includes the Art Bank, beginning in FY 1972-73.

Table of grants and services to the arts, FY 1978-79, page 6

Total support to writing, publishing and translation includes an accounting adjustment of $1.279.000 related to previous years. Grants actually awardcd in 1978-79 total $7.541.000, including $71 5,000 for the 1979 National Book Festival.

Total Touring Office grants include $235,000 for artists’ participation in the cultural program of the 1978 Cornmonwealth Games in Edmonton.

Bar graphs of support by discipline and pro gram. pages 10, 13, 15, 17, 19. 22 and 27

Individuat awards in each discipline are shown as a percentage of bath total support to the discipline and total Arts Awards Service grants (page 271.

Touring Office grants in dance, music and opera. and theatre are shown as a percentage of bath total SUP- port to the discipline and total Touring Office grants and services (page 171.

72