[et_pb_section fb_built=”1″ _builder_version=”3.21″][et_pb_row _builder_version=”3.21″][et_pb_column type=”4_4″ _builder_version=”3.21″][et_pb_post_title author=”off” date=”off” _builder_version=”3.21″][\/et_pb_post_title][\/et_pb_column][\/et_pb_row][et_pb_row custom_margin=”||-114px” _builder_version=”3.21″][et_pb_column type=”3_5″ _builder_version=”3.21″][et_pb_text _builder_version=”3.21″]<\/p>\n
<\/strong><\/p>\n <\/strong><\/p>\n \u2018Creating, Knowing and Sharing: The Arts and Cultures of First Nations, Inuit and M\u00e9tis Peoples\u2019 was launched in April 2017. The initiative is the Canada Council\u2019s contribution to ongoing efforts toward reconciliation involving Indigenous and Canadian cultures.<\/p>\n Since its inception in 1957, the Canada Council\u2019s attention to inclusivity has been precedent-setting for other countries. Before then, however, Indigenous culture was suppressed by settlers since Jacques Cartier: among his priorities was converting Indigenous Peoples to Catholicism through musical indoctrination. Art was an important import to the New World from France, a system that successive settlers propagated. In the mid-’40s and late-’50s, it was the British Canadians who cultivated the values of European high society, as \u2018Canadian art\u2019 was deeply-rooted in antiquated streams like music, dance and theatre.<\/p>\n As Canada approached its 100th birthday, the need to assume a distinct national identity grew, especially as Canadians refused to act as cultural imitators to Britain or America. The Massey Report was commissioned to collect data on the state of the arts across Canada, heralding a new chapter in self-sufficient artistic creation in 1951: \u201cwhat was lacking in Canada was not talent but the infrastructure to create a viable, cohesive artistic and literary community, such as existed in European countries.\u201d The report proposed the establishment of a national arts funding body, hence the creation of the Canada Council for the Arts in 1957.<\/p>\n In 1968, newly-elected prime minister Pierre Elliott Trudeau enacted a national Arts and Cultural Policy, further advancing the Indigenous arts agenda: one of its mandates was to \u201cstimulate the two founding cultures and to integrate the original contribution of the native peoples [sic] and New Canadians.\u201d<\/p>\n In 1994, the Aboriginal Arts Secretariat was established at the Canada Council. By 1998, enough funds were raised to begin supporting Indigenous artists, setting the stage for the launch of \u2018Creating, Knowing and Sharing\u2019 in April 2017. The program is aimed specifically at Indigenous artists in support of their communities\u2019 artistic and cultural activities: for the fiscal year 2017 to 2018, the program distributed $9.4 million to Indigenous artists out of the Council\u2019s total $202.7 million in distributed grants; by 2021, the amount is projected to increase to $15 million, according to the Council\u2019s Director of Indigenous Arts, Steven Loft.\u00a0He says the Council has been gradually increasing funding to Indigenous arts over the years; prior to Creating, Knowing and Sharing the total amount that went to indigenous artists and organizations came to a little over $5 million.<\/p>\n In a promotional video for the program, CEO Simon Brault emphasizes that the Council\u2019s mentality for Indigenous arts heritage has always been grounded in social obligation and awareness, as opposed to that of financial need \u2013 he did not, however, back up this statement with an example. Brault also affirmed that reconciliation had been a key motivator for \u2018Creating, Knowing and Sharing\u2019 well before the Truth and Reconciliation Commission report put forward a recommendation for Canada\u2019s national arts funding body to lead by example in Indigenous artistic reconciliation.<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”3.21″]<\/p>\n In January of this year, the director of Indigenous arts at the Canada Council for the Arts thought back on the impact of ‘Creating, Knowing and Sharing’ as it neared the end of its second year of operation.<\/p>\n Next steps include stepping directly into northern communities to explain their funding offerings. In early February, the Council visited Whitehorse and Dawson City for their artist outreach, meeting with interested artists one-on-one to explain their funding programs. Loft says that program officers try to target underrepresented communities.<\/p>\n \u201cIn the north, certainly when we talk about regions where we do have that geographic disparity, many issues are true in the Arctic as in the Atlantic \u2013 just travelling in this land poses challenges,\u201d Loft says. The Council\u2019s goal is to identify communities that are not aware of assistance. \u201cWhere are the artists that are NOT applying to us? That takes more strategic work \u2013 that\u2019s why we like it when people invite us, \u2018We have a thriving arts community here you might not know about.\u2019\u201d<\/p>\n In response to concerns about accessibility of the application process, as raised by grant recipient Teresa Vander Meer-Chass\u00e9, Loft says that the Creating, Knowing and Sharing team has done \u201ca lot\u201d of focus group work to write at the appropriate language level as well as to make it \u201crelatable to their everyday craft\u201d based on applicant feedback. \u201cI\u2019d argue very much that the language in the old funding model was really, very difficult, and we went through a plain language exercise in developing the new model,\u201d Loft says. \u201cThe difference is quite profound.\u201d<\/p>\n Loft has a message for people who cast doubts on the program\u2019s effectiveness. \u201cI\u2019ve heard them all, they generally fall down,\u201d he says. \u201cThis is not about being a special interest group; this is about respecting the nation-to-nation relationship, respecting treaty rights, respecting inherent Indigenous Peoples\u2019 rights,\u201d citing the United Nations Declaration on the Rights of Indigenous Peoples, the Royal Commission on Aboriginal Peoples and the recommendations of the Truth and Reconciliation Commission.<\/p>\n He brings his Mohawk identity into the conversation: \u201cAs the First Peoples of this land, we\u2019re also in a treaty relationship with the nation-states. These are rights-based \u2013 this has nothing to do with giving one group something to make them happy or because they\u2019re loud; this is a rights issue. Our cultures are distinct to us, our arts and cultures are distinct to that relationship. By creating this program [Creating, Knowing and Sharing], we honour that relationship.\u201d<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”3.21″]<\/p>\n \u201cAre we on a path of decolonization? I would argue very much yes,\u201d Loft says. \u201cWe are a small federal agency, but my hope is that that becomes more of the journey.\u201d<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”3.21″][et_pb_code _builder_version=”3.21″] Indigenous arts funding allocations across Canada by the Canada Council for the Arts in 2016-17, the final year before the implementation of \u2018Creating, Knowing and Sharing.\u2019 Funds were administered through the former Aboriginal Arts Office. [Graphic by Jennifer Liu using Piktochart]<\/p>\n [\/et_pb_text][et_pb_code _builder_version=”3.21″] Steven Loft and Simon Brault are important executives at the Canada Council for the Arts involved in implementing the ‘Creating, Knowing and Sharing Indigenous’ funding stream. [Photo courtesy of Canada Council for the Arts]<\/p>\n [\/et_pb_text][et_pb_code _builder_version=”3.21″] “We can acknowledge the self-determination and sovereignty of Indigenous Peoples and by doing that, we can say we\u2019re going to create a program that\u2019s based on that, because it can\u2019t be based on the same things that the other programs are based on, because that\u2019s the colonial experience.”<\/p>\n<\/blockquote>\n [\/et_pb_testimonial][et_pb_code _builder_version=”3.21″] [\/et_pb_text][et_pb_text _builder_version=”3.21″]<\/p>\n In his Yukon Government office, Doug Bishop helps make important funding decisions for First Nations arts initiatives. The crux of his role involves assuring funding for First Nations cultural centres in the territory, as well as for projects earmarked for Yukon First Nations.<\/p>\n Being of Cree-M\u00e9tis background, Bishop strives to uphold fair funding decisions. Previously, his Cree-M\u00e9tis background helped him in his executive role on the Yukon M\u00e9tis First Nation executive. Since 2012, Bishop has been the First Nations Heritage Advisor in the Department of Tourism and Culture.<\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/soundcloud.com\/user-583677638-671847306\/upholding-self-government” _builder_version=”3.21″][\/et_pb_video][et_pb_text _builder_version=”3.21″]<\/p>\n Yukon Government Arts Section funds up to 10 per cent of some cultural institutions\u2019 annual budgets. Bishop says they give out about $450,000 in project money each year, plus a few million dollars in operations and maintenance. For the other 90 per cent, Bishop cites the Community Development Fund as being a significant source of supplementary income.<\/p>\n Bishop and his boss are part of a three-person panel that reviews and scores applications. Ultimately, the trio don\u2019t decide on who gets the funding \u2013 they only write transfer payment agreements. That said, panel participates in discussions with representatives from museums and cultural organizations on funding allocations. Funding is distributed from the top score down until all the money is assigned. There are pools for Travelling artist, Special projects, Museums contribution program, and Canadian Heritage. It is an annual procedure.<\/p>\n And yet, Bishop says that in the late ’80s or early ’90s, it was this very department that opposed government funding for cultural centres.<\/p>\n \u201cAt one time, there was a real sense of purity with museums programs, and art was not considered to be museums-related,\u201d Bishop says, explaining funding propositions would have been \u201cthrown right back\u201d at him.<\/p>\n He recalls one Museums Unit meeting where the discussion was on acquiring an artifact bequeathed by First Nations elders via their families.<\/p>\n \u201c \u2018We\u2019d like this to be in care at the cultural centre, so it lasts a long time or forever,\u2019 \u201d Bishop recalls the family\u2019s words.<\/p>\n The delegates were against accepting the family heirloom, saying that the object was \u201cnot good enough, or you just can\u2019t take stuff from everybody,\u201d to which Bishop replied, \u201c\u2018Well it doesn\u2019t work like that culturally \u2013 you can\u2019t be employed at a First Nation and start turning away people\u2019s favourite ancestors at the counter because there\u2019s something that you don\u2019t feel that you need.\u2019\u201d\u00a0<\/strong><\/p>\n But the funding model has changed with time: in the last few years, his team has secured funding for more projects and exhibits that represent First Nations art.<\/p>\n Bishop thinks of his role as a middleman between government and First Nations communities, raising cultural sensitivity and bridging distinct cultures. Bishop admits that when relaying a message on behalf of First Nations to the government, \u201csometimes it\u2019s a really rough ride\u201d to carry out the communities\u2019 wishes. \u201cThat\u2019s not always an easy sell in government \u2013 in government there\u2019s a lot of rhetoric about inclusion and valuing, for some people that\u2019s all it is; it\u2019s all rhetoric \u2013 it\u2019s not something they practice or believe in.\u201d He adds, \u201cSo it makes it hard sometimes to get things done.\u201d<\/p>\n Tokenism is something Bishop has seen the Yukon government resort to. \u201cThey want to put their Indigenous people up front when they go to a trade fair or an event, so they\u2019re seen to participate,\u201d he says.<\/p>\n That makes it difficult for government to be seen as genuine to First Nations clients. \u201cCause you\u2019re working against this reputation a lot of the times, there\u2019s this idea that you\u2019re just here to put out the official line,” he says. “That\u2019s not healthy.\u201d<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”3.21″]<\/p>\n Ultimately, Bishop hopes the funding will bear fruit in restoring and validating Indigenous cultural identity.<\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/soundcloud.com\/user-583677638-671847306\/rising-first-nations-momentum-in-the-arts” _builder_version=”3.21″][\/et_pb_video][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”3.21″][et_pb_code _builder_version=”3.21″] “The funding that we issue, you\u2019re not going to THRIVE on that much money, but you can keep the doors open and you can offer something [to First Nations groups]\u2026how you go about that is more their choice than ours.”<\/p>\n<\/blockquote>\n [\/et_pb_testimonial][et_pb_code _builder_version=”3.21″] The Yukon Government Department of Tourism and Culture is housed inside the Yukon Visitors Information Centre in downtown Whitehorse. [Image courtesy of Google Maps]<\/p>\n [\/et_pb_text][et_pb_code _builder_version=”3.21″] “Culture is all together; in government we tend to put everything into its silo and have it neatly organized, and that\u2019s not how other people see things.”<\/p>\n<\/blockquote>\n [\/et_pb_testimonial][et_pb_code _builder_version=”3.21″] Creating, Knowing and Sharing: A national funding model for First Nations artists \u2018Creating, Knowing and Sharing: The Arts and Cultures of First Nations, Inuit and M\u00e9tis Peoples\u2019 was launched in April 2017. The initiative is the Canada Council\u2019s contribution to ongoing efforts toward reconciliation involving Indigenous and Canadian cultures. Since its inception in 1957, the […]<\/p>\n","protected":false},"author":23,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-182","page","type-page","status-publish","hentry"],"yoast_head":"\n\n
Yukon Government: The territorial arts funding body<\/strong><\/h2>\n
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