In the latest SHuSH newsletter, Kenneth Whyte follows up on an earlier report on the mission of the Canada Council for the Arts, as outlined by Simon Brault:
… the founders of the Canada Council felt so strongly about the dangers of bureaucratic and political impositions on the arts — officials 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 checks and balances haven’t checked or balanced. The Canada Council is now fully dedicated to teaching, censoring, and directing artistic endeavour.
The occasion for last year’s piece was a decision by Simon Brault, chief executive of the Canada Council, to halt funding for 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.”
The outcome of Brault’s edict was that Canadians last summer weren’t able to enjoy a variety of planned tours by performers who had the misfortune to be born in Moscow, even if they loathed Putin like the rest of us.
It wasn’t the extremity of Brault’s position that set me off — he reserved to himself the right to ban artistic interaction with artists from any country whose government was involved in a conflict he considered unjust — so much as his implication that the arts community was too stupid to have noticed what was happening in Ukraine or to have known how to respond without his guidance.
A few months ago, Brault upped the ante, speaking at the council’s annual general meeting of his “vision for a decolonized future of the arts”.
To actualize this vision, we must also decolonize the Council itself by questioning our own assumptions and convictions.
It is important to acknowledge that decolonization is a complex, evolving, and open concept and journey.
There’s no definitive guide on how to undertake this work.
And it has different implications for different organizations and sectors in our society.
So far, our understanding is that to decolonize the Council, we must agree to reframe our understanding of what constitutes art, which is a big thing for an arts council.
We need also to question the notion of professionalism and artistic disciplines, which are deeply rooted in a very specific time in history, mostly Eurocentric, and often from a very colonialist perspective.
So, we need to challenge the notion of “artistic excellence”, again a concept that upholds hierarchies of good taste and values that confirm and perpetuate the status of the dominant culture.
We also need to move beyond limited notions of artistic expertise because those notions are often the direct product of an education system built to reproduce power relations and safeguard the privilege of a dominant colonial discourse on arts and culture.
There you have it. Brault committed the leading funding agency for the arts in Canada to “challenging” the prevailing understandings of art, artistic professionalism, artistic disciplines, artistic excellence, good taste, artistic values, and artistic expertise.
He’s not quite clear on what he’s going to replace it all with — he’s just sure that the way you think about art is wrong and that Keynes statement that the work of the artist is by nature individual and free, undisciplined, unregimented, uncontrolled, etc., is colonialist claptrap.
Let the regimentation and control begin.
