Thank you, Madam Chair.

I'm here to represent the views and experiences of the Yukon Arts Centre with regard to the new Canada Council funding increases and the administration and delivery of these new resources to create more balance and equity on the distribution of funds to the Canadian arts community. I will also share some thoughts and observations on the different experiences that others have had with the introduction of these models and guidelines in the Yukon.

As way of background, the Yukon Arts Centre is one of Canada's most unique and impactful arts organizations, serving a broad presentation, programming, training and community engagement mandate to promote the health and vitality of the arts sector in Yukon territory. YAC focuses on building bridges and opportunity for diverse northern artists and artisans to produce and present their work in all disciplines for both local and tourist audiences, to help artists disseminate their work and invest in their practice, and to promote and share their stories with the world.

The Yukon Arts Centre Corporation was created by the Arts Centre Act, an act of the Yukon legislative assembly, in 1988. The arts centre itself opened in 1993, and since then, the centre has grown to a multi-venue organization playing a key role in supporting artistic programming in the territory. It is the largest arts centre north of 60. lt has a 420-seat main stage theatre, an industry-standard public gallery, a community gallery, a youth gallery, a downtown multi-use venue called “The Old Fire Hall”, an outdoor amphitheatre called “The Wharf” and a seasonal visual arts house in the outlying community of Carcross.

Yukon Arts Centre programming includes an average of 32 visual arts exhibitions per year, a robust interdisciplinary presentation series averaging 30 to 35 performances, over 70 community events per season, a children's festival, a monthly children's arts workshop, a performing arts touring program that brings visiting artists to the territory's communities, and the management of the N3 network, which encourages and steers the continued development of touring arts networks in northern Canada.

The Yukon Arts Centre has also supported intern programs in visual arts curation and technical theatre since 2007, offering opportunities for the next generation of arts leaders to hone their skills and create career momentum and networks in a dynamic northern artistic environment. The Yukon Arts Centre also offers several artist residency programs where artists can develop and showcase their artistic vision, including the YAC performing arts residency program, Chilkoot Trail residency, Jenni House residency and the Chu Niikwän residency. Embedded in all of our programming—design and planning—is the active cultivation of relationships, synergies, trust and partnerships that serve the needs of all 14 Yukon first nations.

lt goes without saying that the role of the Canada Council for the Arts in the national arts ecology is extremely significant. Without it, our vibrancy and momentum cease. I do applaud the efforts and the courage of the council's administration to tackle reform and seek deeper equity, transparency and access to its programs. Even a doubling of funding only goes so far when you are dealing with a country with so much rich creative output and potential. I also realize that addressing something of this nature will almost undoubtedly be a polarizing exercise for the community it serves. The status quo is disrupted for those who benefited and relied upon it. Others see no increases where increases were anticipated, and some experience unanticipated increases.

This is where we fall in. The Yukon Arts Centre has benefited enormously from the new program restructuring. Previously, we were only eligible under the old guidelines to receive operating money for our gallery, but with the new program we were eligible to apply as an interdisciplinary arts organization. This change in status allowed us to see a very significant increase in our core operating funds, which has allowed us to invest in our community and expand our programming in the north in many exciting ways. lt has been a game-changer for our organization and allowed us to flow new and consistent support back into our community, which has had a ripple effect across the territory.

However, most of the council's northern constituents are in much smaller organizations or are independent artists. I have listened to some of the earlier testimonies from my colleagues and echo some of the points that have been made in terms of application feedback—questions of merit and excellence, and ultimately how these comments intimidate and become a barrier for future applications. I have heard this from artists in the Yukon and how it has negatively affected them personally. More needs to be done with the council's communication style and it should not only be reactive but be part of an ongoing, fulsome plan to engage with the north.

I understand that Simon Brault will be travelling to the north this summer to tour and consult. This is a very positive development. Canada Council for the Arts senior leadership need to be present more consistently to help their programs adapt to the needs of all Canadian northern territories. Our challenges are very real and unique to the rest of Canada.

Here are some further recommendations.

Do not underestimate our geography. Even in the digital age, northern Canada is a long way from Ottawa. You must be physically present. You must engage and listen. You must devise an outreach schedule that goes beyond info sessions.

Your engagement with Yukon first nation communities needs to be personalized, genuine and proactive. Meet and share in their culture. Be present at significant cultural events and look for ways to have your funding respond. Presence and trust are key to encouraging their participation.

Decentralize. Look to Canadian Heritage as a better model of having regional offices. The north requires council representatives on the ground who are building relationships with our artists and advocating for the arts sector in the north on an ongoing basis. I think that this could go a long way to increasing funding equity and participation across the country.

Have a plan for rural artist engagement. Be encouraging and accommodating in all of your communication with these remote communities.

Finally, reconsider thematic funding. I am not a personal fan of the digital strategy fund. I find its criteria far too academic and not practical enough for most arts organizations to participate. It is a big pool of money that could have been more useful to the sector in a different form. ln future, keep all of your criteria practical, inclusive and connected to the real needs of Canadian artists and arts organizations.

In summary, I see the transition of this new funding model as a process—one that we are in the middle of—of which this session is a vital part. I would like to think that we are all here to encourage and make the program stronger as we are all building this for the next generation of Canadians.

My thanks to the committee for giving me the opportunity to speak here today.

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