• Some Canadian Consumer Profiles
• Reading
• Television Viewing
• Radio Listening
• Attending Performing Arts
• Visiting Museums, Archives, and Heritage Sites
• Changing Demographics
• The Marketing Challenge
• The Importance of Timely Information
• Volunteers
• Children and Youth
• Additional Funding Sources
• A Final Comment

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CHAPTER SIX: CONSUMERS AND CITIZENS

Canadians have become accustomed to a high level of access to a remarkable array of cultural expression, much of which is produced elsewhere. As Terry Cheney observed:

People tend to think of culture as being elite, but in fact when you think that culture is public libraries, the museums you take your kids to, reading a book or a magazine, let alone watching TV or going to a movie, in a sense it's in every community across the country and it touches everybody's life. Large percentages of Canadians do these things. For example, 50% of people go to a museum at some point over a year.1

Before discussing the role of the federal government in supporting culture, it is worthwhile to examine briefly the kinds of cultural choices Canadians now make.

Some Canadian Consumer Profiles

The number of Canadians involved in cultural activities is much larger than is generally imagined. The Committee does not share the view that culture is an elitist pursuit, but rather that culture encompasses the daily activities of almost every Canadian. These include reading, listening to music, listening to radio, watching television, and attending live performances. Tables 6.1 through 6.5 show the extent to which Canadians participate in such activities.2

Reading

Statistics on Canadian reading habits show that, in 1992 (the latest year for which statistics are available), over 80% of Canadians read a newspaper in the past week; over 60% read a magazine in the past week; and more than 40% read a book in the past week. Table 6.1 breaks down these reading habits in greater detail.3

Table 6.1
Canadian Reading Habits (1992)

Statistics on television viewing habits show that, on average, Canadians watch 22.7 hours of television every week (1997)4; and that 69% of Canadian households subscribe to cable television (1996).5 How those television viewing hours break out by source of television signal and language of the viewer are set out in Table 6.2.6

Table 6.2
Canadian Television Viewing Habits (1996-1997)

Canadians listen to the radio for an average 19.9 hours per week.7 The table below illustrates the percentage of time Canadians spend listening to different types of radio stations.8

Table 6.3
Canadian Radio Listening Habits (1997)

Canadians attend a variety of different types of performing arts events. Table 6.4 illustrates the number of admissions to performing arts events in Canada for the period 1993-1997, and show admissions to performing theatre, music, dance, opera and movies.9

Table 6.4
Performing Arts Attendance (1993-1997)

The number of Canadians who visited museums, archives, historic sites, and nature parks, 1992-1996 is outlined in Table 6.5 below.10

Table 6.5
Visits to Canadian Museums, Archives, and Heritage Sites (1992-1996)

The participation rates set out in the tables above will undoubtedly change as demographic factors reshape the nature, composition and growth of audiences. Indeed, demographic changes will create opportunities and challenges for cultural enterprises.

Changing Demographics

While the number of Canadians under 15 years of age is a smaller percentage of the total population than it once was, the overall number of children continues to increase. To date, their voices and their concerns have remained relatively absent from policy and program discussions of culture in Canada. This oversight will need to be addressed as access to technology by younger Canadians fosters more sophisticated cultural consumers.

Canada's population is aging. The baby boom had a notable impact on the age distribution and structure of the general population. In the 1950s, the median age - the age at which the total population is equally divided - hovered between 25 and 27. Since 1970, the median age has climbed steadily, reaching 38 in 1991. Various projections show that the median age is likely to reach 50 by the year 2036. In the early 1960s, close to 35% of Canada's population were children under 15 years of age; only 8% were seniors 65 years of age and older.11 This compares sharply with the trend of current projections indicating that in 2036 nearly 25% of the population will be seniors, 65 years of age and older. If the same trend continues the result would be approximately 8.7 million seniors, 500,000 of whom will be over 90 years of age.12

Immigration also has an important impact. Whereas earlier immigrants were encouraged or required to settle in rural areas, today's immigrants settle primarily in the largest census metropolitan areas (CMAs) of Toronto, Montreal and Vancouver, with Toronto attracting the largest share (39%) of immigrants between 1981 and 1991. Since the early 1960s, the proportion of immigrants of European origin has declined steadily. Today's immigrants are also more likely to be of Asian and Middle Eastern origin than in the past, representing 48% of the immigrants that arrived in Canada between 1981 and 1991.

These demographic changes will have three important consequences. First, as the population ages the audience for cultural activities will likely increase. While a series of projections prepared by Statistics Canada provide differing perspectives on the total population and on the age and gender distribution of the population to 2036, there is no question that the number of seniors living in Canada will increase notably over the next 20 years. Accordingly, they will likely become an increasing percentage of those "consuming" cultural products.

Second, the number and composition of Canada's immigrant population may have an influence on the cultural choices available, for example, the growth of world music. Third, the marketing effort required to reach people will necessarily be more intense than it has been in the past. While the numbers of Canadians with leisure time will grow as the population ages, the choices available to them will increase.

The growth of the cultural sector over the past 50 years has been truly remarkable and Statistics Canada projections indicate that this rapid rate of growth is likely to continue. The financial and other resources needed to support that growth must be found. Public funding will continue to play an important part, but the bulk of the financial resources will have to come from individual Canadians, either as members of an audience, as volunteers or as patrons.

The Marketing Challenge

Demographic shifts hold implications for the way cultural products are marketed in Canada. As Michèle Martin of Carleton University noted:

We must develop and offer Canadian content products to Canadians. . . . [A m]arketing strategy in this kind of global cultural policy is very important. . . . We live in an . . . consumer society where everyone advertises their products and claims they are the best in the world. Why would we not do the same thing as part of a cultural strategy?13

At present, consumer practices are the object of a great deal of scrutiny in Canada and in other developed countries. The choices consumers make in the pursuit of their interests, in the use of their free time and in disposing of their income is carefully monitored and scrutinized by both the public and private sectors in order to tailor policies, programs, products and services to meet changing consumer expectations. It is therefore sensible and to be expected that producers of cultural and artistic products and services would be mindful of these expectations when planning and developing their offerings.

Every purchase is, in one way or another, an act of consumption. However, the transaction does not explain motivation. For example, some aspects of a consumer's interest in Leonard Cohen can be described as consumption. The consumer purchases a compact disc or a book - typical consumer activity. However, the person buying may also be caught up in intellectual curiosity about the poetry, about the music, or about the artist's career. Artistic expression resonates with us as individuals because, as was eloquently put by Sandra Macdonald, the Chairperson of the NFB, cultural expression is "rooted in our geography, our politics, our distinctive fashion of relating to the world around us." 14

The more choices consumers are offered, the more they have the capacity to influence the marketplace. For example, in the 1950s, many Canadians, particularly in border regions, could watch the major U.S. television networks as well as the CBC. Today, however, Canadian consumers have more television services available to them than at any time in the history of broadcasting. The consequences of this increase in choice are:

• the fragmentation of audiences will likely continue; and
• audiences for these niche markets will become more sophisticated and demanding

The Committee notes the power of consumers to shape the market and recognizes that factors surrounding audience development should be considered in determining appropriate levels of support to Canada's cultural industries and institutions. In 1996, Richard Baumgartel, an independent video producer in Vancouver, set up his own experiment to track what happens when Canadian films are promoted as such, or merely mixed up with everything else. "The Canada Rack Project" as it was called, lasted for six months. During the term of the experiment, the Canadian films did surprisingly well. "The beauty of this study is that it shows significant increase in the reach of Canadian film is possible at a local level for a small promotional effort," 15 observed Robert Everett-Green in the Globe and Mail. Because so many people in video stores are just browsing, the challenge is to catch their attention. "It's about getting on the menu, a term customary in restaurants," continues Everett-Green, "but one that we're going to be hearing much more about as the convergence of digital media draws near." 16

Micheline L'Espérance-Labelle told the Committee what happened when her company focused attention on the source of its products.

In 1996, 2% of Quebecor DIL Multimédia's sales were Quebec sales, Quebec software. How is it then, that in 1997, 25% of our business was made up of Quebec software sales? We simply put a Qualité Québec logo at our points of sale to give it exposure, right in front of the CD-ROM box with Quebec content. That gave us a 23% increase.17

There is increasing competition among a wide array of services and activities for both the time and the disposable income of Canadians. These activities are often referred to as recreation and in the view of the Committee the term is, indeed, apt. Whether we participate in sports, read a book or magazine, visit a museum, spend time in our garden or workshop, go to the cinema or take a trip at home or abroad, we are in fact re-creating ourselves. We are replenishing our energies, delighting our senses, giving ourselves a break from the day-to-day demands of life. The poet William Blake captured the essence of recreation in his observation that it is the "gratification of the heart's desire."

The Importance of Timely Information

Recent Statistics Canada reports show how well the not-for-profit arts sector has performed over the past decade in controlling and reducing its deficits on a year-by-year basis. The data show how many performances were given by how many groups in a given year and how much was taken in at the box-office. The data also reveal how many books were published, how much money was spent at concession stands in Canadian movie theatres, how many times the turnstiles clicked at Canada's heritage institutions, and how many paid staff and how many volunteers worked there. The numbers also show the shift in the pattern of funding among the various orders of government.

Statistics are useful because the figures provide a numerical snapshot at a moment in time. They show how Canadians spent their money on entertainment in 1986 and again in 1996. What the numbers cannot explain is why. The Committee believes that investigations into cultural policy tend to pay insufficient attention to the "whys" of the consumer, audience, or the participant in cultural events.

Although its findings are now dated, one such investigation into Canadian audiences was carried out in 1991-1992 by the (then) Department of Communications in partnership with the provincial and territorial governments, and the municipal governments of Montreal, Vancouver, Edmonton and Toronto. This research offers insights into the tastes and preferences of Canadians, which the report describes as "meetings between people and art in Canadian society."18 Although Canada has continued to change in the intervening years, the broad analysis contained in this report has influenced the Committee's thinking about these "meetings."

In brief, the 1991 survey concluded that:

• Canadians exhibit much good will and many good intentions with respect to the performing and visual arts.
• While there is good access to the cultural materials, the customer services surrounding their delivery need to be improved.
• Marketing of the arts pays insufficient attention to different audience needs.

It further notes:

Custom designed methods can be created that will allow the performing and the visual arts to better compete with other at-home and out-of-home leisure activities, and to ensure improved market share and visibility for Canadian artists.19

Given the scale and importance of Canada's cultural community, the Committee looks to Statistics Canada for improvement in the timeliness and comprehensiveness of its cultural statistics. The Committee notes that better statistical data are available on other sectors of the Canadian economy in comparison to what is available for the cultural sector.

Recommendation 37

The Committee recommends that the Department of Canadian Heritage ensure the collection of statistics on cultural activity be of the same quality and timeliness as those now available for other sectors of the Canadian economy.

Recommendation 38

The Committee recommends that the Canadian Arts Consumer Profile of the arts and heritage sector (conducted in 1991-92) be updated and expanded.

In making these recommendations, it is the Committee's belief that timely information is critical to the success of the marketing efforts required for the survival and the growth of Canada's cultural sector.

Volunteers

When not participating in a cultural event as a member of an audience, many Canadians are actively involved in forms of cultural expression as non-professional (i.e., unpaid) participants, working for the love of the art. There are literally thousands of community choirs, orchestras, theatre groups, dance ensembles, visual art workshops, writer's groups, and film and video collectives, where Canadians express their love of the arts in an active way. For some, these opportunities are an invaluable preparation for a professional career in the arts. But for most, such creative outlets represent a kind of cultural "participaction," an opportunity to do something they truly enjoy.

Before World War II, community endeavours were, to a large extent, the mainstay of the Canadian cultural scene. There were non-professional community theatre companies in Canada long before there were local professional companies. In Edmonton, there was Walterdale Theatre, in Ottawa there was the Ottawa Little Theatre, in St. Boniface there was Le Cercle Molière.20 All of these, and dozens more, still provide a dual service to Canadians: they allow audiences to see inexpensive, live theatre while, at the same time, they also provide other Canadians with an opportunity to express themselves artistically. Across Canada, these theatre companies continue to flourish alongside their professional counterparts, often selling out their seasons well in advance.

Community, non-professional theatre offers creative opportunities for Canadians who want to do more than just watch a live stage performance. They serve as a training ground for emerging artists and technicians. The late George Ryga, author of The Ecstasy of Rita Joe, had his first production at Walterdale Theatre in Edmonton in 1966. In 1980 Brad Fraser, a young Alberta writer who is now one of Canada's most commercially successful playwrights also had his first play produced there.21

As the Gabrielle Roy vignette illustrates, non-professional companies continue to be an important part of Canada's cultural heritage. These companies and many professional arts organizations rely on a small army of volunteers.

Community Roots

Manitoba's Le Cercle Molière was a non-professional theatre company when the late Gabrielle Roy performed there in the 1930s. The experience that she had in her youth shows how non-professional theatre can provide Canadians with formative, career-enhancing cultural experiences and, as her experience illustrates, it can do this in both official languages. "I had some success on the stage with our amateur theatre groups, Le Cercle Molière, where I played in French . . . and then with the Winnipeg Little Theatre in English."22

Roy's creative journey took her to Europe and then to Montreal, where she worked as a freelance journalist while writing her first novel, Bonheur d'occasion, which was published in Québec in 1945. Two years later her novel appeared in English as The Tin Flute and, as the writers of the Massey-Lévesque Report observed in 1951, "We were reminded that it was an American publisher who undertook to translate and publish in English Bonheur d'Occasion by Gabrielle Roy."23 Roy's illustrious literary career in both French and English was launched.

Over the years Le Cercle Molière evolved into a highly respected, and eventually professional, French language theatre company that presents contemporary plays, some classics, and also commissions new work.

The Committee supports the idea brought forward by many witnesses that Canadian arts and heritage organizations should have strong roots in their communities. Community support was necessary when they were formed and it is equally important today. It is an ongoing challenge for these organizations to continue to nurture and sustain the communities that support them. Without that support, it would be difficult - if not impossible - for these groups to survive.

Artists, like audiences, need to feel that they are part of a community. As Carol Shields told the Committee, artists "need to feel that they are part of their own community, that there are people around them doing what they are doing . . . It's important to me to feel that sense of my working community around me."24

Canada's cultural infrastructure relies to a great extent on the input of thousands of volunteers. These are the people who dedicate countless hours of their time to cultural organizations of all types and sizes in communities large and small all over Canada. Many Canadians also contribute money in the form of donations to the performing arts and heritage activities in Canada. In Newfoundland, New Brunswick, Manitoba, Saskatchewan, Alberta and Yukon, volunteers outnumber paid staff.25 And it is not just in culture. The 1997 National Survey of Giving, Volunteering and Participating paints a portrait of Canadian generosity. In that year eight out of ten Canadians over the age of 15 made financial contributions to at least one charitable organization. In the same year, Canadians donated an estimated $4.5 billion in direct support of charities and not-for-profit organizations. They spent an additional $1.3 billion in indirect support through other activities such as charity raffles.

Countless thousands of Canadians have contributed to the development of our arts and heritage institutions over the past 40 years. Volunteer and benefactor support is a fundamental feature of arts and heritage institutions in Canada. The effective and productive partnerships forged between these grassroots organizations and the federal government are critical to these organizations' growth.

The men and women of all ages who volunteer their time and energy to the support of community cultural organizations do so as ordinary citizens. In 1997, three out of ten Canadians over the age of 15 volunteered their time and their skills. On average, each volunteer contributed 149 hours in 1997.26 In addition, 11.8 million Canadians said they were involved in some way with a local association or community organization. This represents an astonishing 49.5% of the Canadian population, 15 years of age and older.

The Committee acknowledges this high level of individual support and citizens' participation and applauds their spirit of generosity. However, there was a notable drop between 1987 and 1997 - from 191 to 149 - in the average number of volunteer hours. This decline speaks to the growing complexity of life today. Robert Janes from Calgary's Glenbow Museum proposed an incentive program.

Tax relief for volunteer hours, and if not volunteer hours at least their expenses. At our organization we have a minimum of $300,000 worth of volunteer work done per year, and we simply couldn't be where we are without volunteers. We would suggest that they be given tax relief either for the time they've contributed or minimally, their expenses.27

Recommendation 39

The Committee recommends that the Department of Canadian Heritage, in consultation with appropriate federal departments, investigate the feasibility of developing incentives that provide volunteers with tax relief for legitimate expenses associated with their volunteer activities in the cultural sector.

Children and Youth

A number of witnesses discussed the importance of encountering the arts early in life. Early exposure to the arts and culture can be a life-changing experience for many young people. From an audience-building perspective, early childhood experience is also an essential building block. The Committee agrees with the observation made in the submission from the Canadian Conference of the Arts, which stated:

The importance of cultivating the next generation of arts supporters, audiences and patrons is integral to the long term survival and prosperity of the arts and cultural industries. The fragile infrastructure currently in place merits an infusion of creativity, imagination and public support if we are to attain this goal.28

In its submission to the Committee, the Alliance for Children and Television, reinforced the cultural as well as the economic significance of reaching young Canadians.

We note, with respect, that if our telecasters fail to develop in young viewers an appreciation of television programming that reflects the uniqueness of their experience of being Canadian, it is unlikely those children when grown will be an eager part of the adult audience for Canadian television. . . . Canadian children's television is often the earliest and most frequent point at which our children intersect with their culture. It is of enormous importance to them, and to the creators of children's product, whether in the form of music, stories, songs or drama.29

Today, Canadian children's books, magazines, television and new media materials are highly respected both at home and abroad. Indeed, foreign demand now provides Canadian producers of children's cultural products with opportunities in the international marketplace. Over the past 30 years, the federal government has contributed to the development of cultural materials for children through programs such as the Canada Council for the Arts' Public Literary Readings Program and the Governor-General's Literary Awards. However, the Committee was told repeatedly that more must be done and that federal support programs should place even more emphasis on children's authors and illustrators.

The Committee suggests that existing federal programs, such as those mentioned above, widen their focus to include more cultural materials for young Canadians. One suggestion made to the Committee was that illustrators of children's books, in addition to the authors, should be eligible for support under the Canada Council for the Arts' Literary Readings Program. The basis for their eligibility should be the importance of their illustrations in the books themselves.

Some provincial governments have well-established Artists in the Schools programs that send artists into schools as performers or as workshop leaders. These initiatives are important because they build the audiences of the future and they can inspire the artists of tomorrow. The Committee views Artists in the Schools initiatives, whether they are the work of provincial governments, arts organizations or individual artists, or a combination of all three, as highly desirable investments with important long-term benefits to cultural participation.

Recommendation 40

The Committee recommends that federal government programs and services ensure access to cultural materials and activities for children.

Recommendation 41

The Committee recommends that the Minister of Canadian Heritage request the Canada Council for the Arts review its policies and programs to ensure that they recognize, support and encourage cultural activity in the lives of children.

Additional Funding Sources

The Government of Canada cannot be the sole source of funding for cultural initiatives. As such, the Committee recognizes the need to develop and strengthen additional funding sources. These include private and public sector giving, partnerships, consortia, endowments and the creation of "friends" organizations specifically dedicated to furthering the objectives of cultural institutions. The creation of an environment that facilitates donations by individuals is equally important.

Much of what cannot be done by institutions working alone can be achieved by working together. The idea of linking cultural organizations was raised by several witnesses. Robert Janes from the Glenbow Museum in Calgary argues that this is "a critically important point." He notes that "Glenbow is actually a four-part institution, and . . . operate(s) the largest non-government archives in Canada."30

The Committee learned that Canadians from the smallest towns to the largest cities are proud of their culture and heritage. Moreover, many are willing to support it in a variety of ways. The Committee would like to see new initiatives to further encourage them to do so. Since the present period of restraint is likely to continue, new ways of developing support for cultural organizations must be developed.

The Committee also proposes that the concept of linkages between institutions be taken a step further. Linkages, for example, could be developed between public institutions and the business community. An interesting approach that might prove useful in broadening the funding base of heritage institutions, was provided to the Committee by The Council for Business in the Arts in Canada:

One of the examples . . . is one that has worked extremely well in Britain. Our counterpart there, the Association for Business Sponsorships of the Arts, works with the Department of National Heritage in Britain, and together they manage a . . . pairing scheme, by which the federal government in Britain matches new donors and sponsors of the arts. It's a great way to bring people in, it's a great way to increase the level of private sector support, and it's a great way also to put a federal face on support of the arts. It has worked extremely well, and it has brought something like £110 million worth of new money to the table for the arts in the United Kingdom.31

The Committee recognizes that many Canadian cultural organizations already work in partnership with the private sector. For example, Bell Canada, the Stentor Alliance, and the Friends of the National Library of Canada have collaborated on a fund to support digitization projects at the National Library. There are also several digitization projects at the National Library funded by a mix of private donations, the SchoolNet Digital Collections Fund and the National Library. Other projects have produced web sites as varied as "The Glenn Gould Archive" and the site for the Royal Commission on National Development in the Arts, Letters and Sciences, 1949-1951 (Massey-Lévesque). All of these represent solid beginnings and the Committee would like to see more of them.

Overall, the Committee received a very clear message from the witnesses that the federal government can be more creative, and "must work together to define innovative policies in terms of our tax system and in terms of a larger system for public donations."32

Recommendation 42

The Committee recommends that the Department of Canadian Heritage, in consultation with the Department of Finance and the Department of Revenue, develop amendments to legislation to further encourage donations to the cultural sector.

Recommendation 43

The Committee recommends that within two years of presenting this report, the Department of Canadian Heritage:

43.1 Sponsor an information sharing initiative on fund-raising, partnership development and public awareness; and

43.2 Develop workshops to share that information with Canada's cultural institutions, taking full advantage of the latest technology.

A Final Comment

Canadian artists know what it means to depend on the general public. Every book, every show, every solo performance or every canvas is incomplete without a response from some form of audience. One of the most poignant descriptions of an artist's vulnerability before his or her audience is described in the song "Pacing the Cage" from Bruce Cockburn's 1996 album, The Charity of Night:

The imagery of Cockburn's lyrics offers insights into the link between creators and their audiences. The Committee is persuaded that a cultural policy can be created that is forward looking and links artists, communities and audiences. An important element in such a policy is stable multi-year funding, which the Committee believes can be partly achieved by facilitating stronger links among individual citizens, the private sector and arts organizations.

2 These excerpts are taken from tables in the Canada Year Book 1999 Edition, Statistics Canada, Ottawa, 1998. Further details can be found in Canada's Culture, Heritage and Identity: A Statistical Survey, 1997 Edition, Statistics Canada.

3 Statistics Canada, General Social Survey, 1992.

4 Statistics Canada, "Television Viewing, Fall 1997," The Daily, Ottawa, January 29, 1999.

5 Statistics Canada, "Entertainment Services 1986-1996," The Daily, Ottawa, January 15, 1999.

6 Statistics Canada, "Television Viewing, Fall 1997," The Daily, Ottawa, January 29, 1999.

7 Statistics Canada, "Radio Listening, Fall 1997," The Daily, Ottawa, September 8, 1998.

8 Ibid.

9 Statistics Canada, Canada's Culture, Heritage and Identity: A Statistical Perspective, 1997, p. 100-108. The 1996-1997 figures are taken from Statistics Canada "Performing Arts, 1996-1997," The Daily, Ottawa, Tuesday March 4, 1999. Except for movies, these figures refer to the not-for-profit sector, that is, arts organizations that are eligible to receive public funding. For example, the number of tickets purchased for music would not include most rock concerts.

10 Statistics Canada, Canada's Culture, Heritage and Identity: A Statistical Perspective, 1997.

11 Terry Cheney, Consultant, February 10, 1998.

12 Ibid.

13 Michèle Martin, School of Journalism & Communications, Carleton University, expert witness, Tuesday, February 10, 1998.

14 Sandra Macdonald, Chair, National Film Board, submission, October 27, 1998.

15 Robert Everett-Green, "The Great Canadian hunt for home-grown videos," The Globe and Mail, Thursday, June 13, 1996, C1.

16 The Globe and Mail, Thursday, June 13, 1996, C1.

17 Micheline L'Espérance Labelle, Quebecor DIL Multimédia, Ottawa Round Table on Publishing, March 10, 1998.

18 Decima Research/Les Consultants Cultur'inc, Canadian Arts Consumer Profile, 1990-1991, May 1992, p. 486.

19 Ibid.

20 Oxford Companion to Canadian Theatre, Oxford University Press, Toronto, 1986, p. 86-87.

21 Oxford Companion to Canadian Theatre, Oxford University Press, Toronto, 1986, p. 480.

22 Gabrielle Roy, Enchantment and Sorrow, Lester, Orpen and Dennys, Toronto, 1987, p. 46.

23 Massey-Lévesque, Ottawa, 1951, p. 229.

24 Carol Shields, Author, Ottawa Round Table on the Arts, March 10, 1998.

25 Statistics Canada, Canada's Culture, Heritage and Identity: A Statistical Perspective, 1997, Table 4.4.d., p. 103.

26 Statistics Canada, The Daily, Ottawa, August 24, 1998.

27 Robert Janes, President, Glenbow Museum, Ottawa Round Table on Heritage, March 10, 1998.

28 Canadian Conference of the Arts, Final Report of the Working Group on Cultural Policy for the 21st Century, Ottawa, June 1998,
p. 28.

29 Alliance for Children and Television, Submission, April 1997, p. 10.

30 Robert Janes, President, Glenbow Museum, Ottawa Round Table on Heritage, March 10, 1998.

31 Sarah Iley, President, Business for the Arts, October 27, 1998.

32 Summary by Clifford Lincoln, Chair of the Committee, Ottawa Round Table on Heritage, March 10, 1998.

33 "Pacing the Cage" Words by Bruce Cockburn. { Golden Mountain Music Corp. Used by permission.