In the latest SHuSH newsletter, Kenneth Whyte looks at the origins of the Canada Council for the Arts and compares its original mission to the new direction the crown corporation plans to take:
The Massey Commission (1951), from which all public funding of arts, culture, and scholarly research in Canada derives, and out of which our flagship granting body, the Canada Council for the Arts, was born, knew that it was pushing the nation into perilous terrain. “The dangers inherent” in any system of grants from the central government to arts, letters, and culture was that “the government or its agents would attempt not merely to encourage but to direct” artistic and cultural expression.
The Massey Commission was not the first entity to confront this issue. Much like the Great Canadian Baking Show is a re-staging of the Great British Baking Show, the Massey Commission itself was a knockoff of a UK original (a sad commentary on an initiative intended to define and promote Canada’s unique national identity). The UK effort resulted in the establishment of the British Arts Council, initially chaired by Lord Keynes. Massey quoted him at length on the potential pitfalls of arts funding:
At last the public exchequer has recognized the support and encouragement of the civilizing arts of life as part of their duty. But we do not intend to socialize this side of social endeavour. Whatever views may be held by the lately warring parties, whom you have been hearing every evening at this hour, about socializing industry, everyone, I fancy, recognizes that the work of the artist in all its aspects is, of its nature, individual and free, undisciplined, unregimented, uncontrolled. The artist walks where the breath of the spirit blows him. He cannot be told his direction; he does not know it himself. But he leads the rest of us into fresh pastures and teaches us to love and to enjoy what we often begin by rejecting, enlarging our sensibility and purifying our instincts. The task of an official body is not to teach or to censor, but to give courage, confidence and opportunity.
The founders of the Canada Council felt so strongly about the dangers of political interests imposing themselves on the arts, using federal money to force artistic and cultural activities in one direction or another, that they built checks and balances into its founding legislation. The Canada Council was made a crown corporation, at arm’s length from political types, and its board members were required to “avoid the promotion of any personal interests” or any other specific interests, whether on behalf of regions or “stakeholder groups”.
I can’t speak to the whole of the Canada Council’s activities, but from what I’ve seen of its annual reports, public statements, and funding practices, the Canada Council has jumped the tracks and is now fully dedicated to teaching, censoring, and directing artistic endeavour.
Here’s Simon Brault, chief executive of the Canada Council, giving an enthusiastic endorsement of the core Trudeau government priorities of Indigenous rights and environmental activism:
We need to reimagine an arts sector determined to eliminate racism and discrimination in every form, and the legacy of colonialism. We need to reimagine the arts’ rightful place in the conversations that shape our future. And we need to reimagine, through the arts, a greener and more just and equitable world.
Even if you agree with Brault’s priorities, you have to admit that he is not straightforwardly supporting artistic endeavor but pushing the arts-and-culture sector toward the achievement of a socio-political program.
This mission is also explicit in the Canada Council’s new five-year plan, which has surprisingly little to say about lifting artists and arts organizations out of penury, which some might consider a laudable goal after years of financial crisis and pandemic:
Those are the council’s highlights, not mine.
This past week, the politicization of the Canada Council reached new heights when Brault announced that in solidarity with the Ukrainian people he would cease to fund any “activity involving the participation of Russian or Belarusian artists or arts organizations … This includes partnerships, direct and indirect financing of tours, co-productions, participation in festivals or other events held in Russia.”
