Quadrennial Periodic Report
Canadá 2020

Quadrennial Periodic Report - - 07/31/2020 - 17:49

General Information

Technical Information

Name of Party: 
Canadá
Date of Ratification: 
2005
Officially Designated Point of Contact of the Convention: 

Point of Contact

Country: 
Canadá
Title: 
Ms.
Address: 
Madona Radi
Canadian Heritage
25, Eddy Street
Gatineau, QC K1A 0M5
Canada
Phone Number: 
011 613 219 6057
Email: 
madona.radi@canada.ca
Describe the multi-stakeholder consultation process established for the preparation of this report, including consultations with relevant ministries, public institutions, local governments and civil society organizations.: 

This report was prepared following consultation across the federal government, as well as with portfolio agencies within the Department of Canadian Heritage. We also sought input from our provincial and territorial government colleagues, as well as a group of civil society organizations. More specifically, an electronic form was designed and used to gather information and data related to best practices in the themes prescribed by the operational directives.

Note that the Québec report, which focuses on the province’s specific experiences, can be found in Appendix 2. This report is the result of close cooperation between the Department of Canadian Heritage and the Ministère de la Culture et des Communications du Québec [Québec Ministry of Culture and Communications] under the Canada-Québec Agreement on UNESCO. This agreement, ratified in 2006, entitles the Government of Québec to be represented as a full member within all Canadian delegations to UNESCO proceedings, meetings and conferences whenever it so wishes.

A consultation with civil society was also carried out through the Coalition for the Diversity of Cultural Expressions (CDCE), a Canadian association that serves as the voice of the country’s main cultural sector unions and professional associations in debates on issues related to the Convention. In total, the Coalition’s 40 members represent more than 200,000 creators as well as 2000 companies and non-profit organizations in all cultural fields (books, cinema, television, new media, music, performing arts and visual arts) in all regions of the country. The Coalition prepared the text in the section focusing on civil society-led activities. For more information on the Coalition and its activities, please visit https://cdec-cdce.org/.

Executive summary: 

Since the release of its last quadrennial report in 2016, Canada has continued to advance policies and measures that support the implementation of the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Over the past four years, Canada has consolidated and strengthened its commitment to an international strategy to promote the diversity of cultural expressions in the digital age. This has been done, among other ways, through the Digital Citizen Initiative, a new multi-component strategy that aims to support democracy and social cohesion in Canada by building citizen resilience against online disinformation and building partnerships to support a healthy information ecosystem.

The measures taken by Canada’s provinces and territories are also at the heart of Canada’s cultural policy framework, and the programs implemented, such as Nova Scotia’s Culture Action Plan, the Creative Saskatchewan Investment Fund or the Partout, la culture cultural policy, reflect the country’s regional needs and specificities, while ensuring ongoing and sustainable support for the arts and culture sector.

From a regulatory perspective, the publication in January 2020 of the final report on the Broadcasting and Telecommunications Legislative Review is of critical importance, since it paves the way for the use of new tools and new regulatory approaches to support the production and promotion of audiovisual content in the digital age.

In line with the Convention’s third objective, the June 2018 launch of the Creative Export Strategy, funded with $125 million over five years, also reinforces the Government of Canada’s belief that creative industries are at the heart of Canada’s competitive advantage on the international scene. This initiative, which has supported more than 1,000 Canadian businesses since 2018, will help accelerate the country’s economic growth.

The role of civil society is also vital, particularly CDCE’s representation and advocacy work. In 2019, Canada reiterated its financial commitment to CDCE by allocating 375,000 over five years to the Coalition, as well as $375,000 over five years to UNESCO’s International Fund for Cultural Diversity. This monetary support will help, among other things, to facilitate the adoption of cultural policies that protect and promote the diversity of cultural expressions, and to support the implementation of the Convention by encouraging the emergence of a dynamic cultural sector in developing countries.

In considering the future of the Canadian cultural sector, we project that the economic effects of the COVID-19 crisis will have a significant impact on creative industries in the coming years. The Canadian government has taken major steps to better support artists affected by the current crisis. These include the announcement of $500 million to help alleviate the financial pressures on cultural, heritage and sports organizations as they manage the challenges and impacts of this pandemic.

As this report illustrates, the past four years have been marked by fundamental changes in Canada’s cultural sector, and the complex issues that have emerged demonstrate how crucial the 2005 Convention is in guiding the strategy for the presence, enrichment and outreach of the national cultural offerings in the digital environment for the purposes of promoting a diversity of cultural expressions.

Contact details of the stakeholders involved in the preparation of the quadrennial periodic report (QPR). Please also include the contact details of the civil society organizations (CSOs) if they have contributed to the QPR drafting, including through the CSO form.: 
Organization typeOrganizationEmailWebsite
Public Sector
Canadian Heritage
Julie.Boyer@canada.ca
Public Sector
Québec Ministry of Culture and Communications
Marie-France.Savard@mcc.gouv.qc.ca
Public Sector
Ontario Ministry of Heritage, Sport, Tourism and Culture Industries
Dawn.Landry@ontario.ca
Public Sector
New Brunswick Department of Tourism, Heritage and Culture
Gilles.Bourque@gnb.ca
Public Sector
Alberta Ministry of Culture, Multiculturalism and Status of Women
Justin.gagnon@gov.ab.ca
Public Sector
Saskatchewan Ministry of Parks, Culture and Sport
tracy.morey@gov.sk.ca
Public Sector
Nova Scotia Department of Communities, Culture and Heritage
Judith.ShiersMilne@novascotia.ca
Public Sector
Department of Tourism, Culture, Industry and Innovation of Newfoundland and Labrador
gerryosmond@gov.nl.ca
Public Sector
Culture and Heritage Division of the Northwest Territories
sarah_carr-locke@gov.nt.ca
Public Sector
Department of Culture and Tourism of Yukon
rick.lemaire@gov.yk.ca
Public Sector
Department of Economic Growth, Tourism and Culture of Prince Edward Island
mamaccallum@gov.pe.ca
Civil Society Organization (CSO)
Coalition for the Diversity of Cultural Expressions (CDCE)
nguay@cdc-ccd.org
Public Sector
CBC/Radio-Canada
Liliane.Le@cbc.ca
Public Sector
Canada Council for the Arts
sarah.dingle@canadacouncil.ca
Public Sector
Canadian Radio-television and Telecommunications Commission (CRTC)
wendy.trahan@crtc.gc.ca
Public Sector
National Arts Centre
carl.martin@nac-cna.ca
Public Sector
National Film Board of Canada
a.saint-germain@onf.ca
Public Sector
Telefilm Canada
Francesca.Accinelli@telefilm.ca

Goal 1 - Support Sustainable Systems of Governance for Culture

Cultural and Creative Sectors

A Ministry (or agency with ministerial status) is responsible for cultural and creative sectors: 
YES
Regional, provincial or local governments or administrations have decentralised responsibilities for policies and measures promoting the cultural and creative sectors:: 
YES
Regulatory frameworks and sector specific laws, policies and/or strategies supporting the cultural and creative industries have been revised or adopted during the last 4 years: 
YES
If YES, has at least one of them been designed through interministerial cooperation (involving different government departments responsible for policy areas, such as communication, education, ICT, trade, foreign affairs, labor, finance): 
YES
Specific education and training programmes in the arts and the cultural and creative sectors are established, including: 
Digital literacy programmes for creation and experimentation
Technical and vocational education and training programmes in
Cinema/Audiovisual arts
Cultural management
Design
Digital cultural and creative sectors
Media arts
Music
Performing arts
Publishing
Visual arts
Tertiary and university education degrees in
Cinema/audiovisual arts
Cultural management
Design
Digital cultural and creative sectors
Media arts
Music
Performing arts
Publishing
Visual arts
Specific measures and programmes have been implemented over the last 4 years to: 
Support job creation in the cultural and creative sectors
Encourage the formalization and growth of micro/small and medium-sized cultural enterprises
Statistical offices or research bodies have produced data during the last 4 years: 
related to cultural and creative sectors
evaluating cultural policies
Share of cultural and creative sectors in Gross Domestic Product (GDP): 
2.70%
2017
Please provide whenever possible disaggregated data by sector: 

 

Sector

Amounts for 2017 (in millions of Canadian dollars)

Audio-visual and interactive

media

12,723

Visual and applied arts

7,903

Written and published works

7,521

Live performance

2,241

Heritage and libraries

608

Sound recording

543

Education and training

3,826

Governance, funding, and professional support

8,191

Multidomain

723

Others  

14,570

Total cultural industries

58,849

Share of employment in the cultural and creative sectors: 
3.60%
2017
Please provide whenever possible disaggregated data by sector, age, sex and type of employment: 

Figure 1.1.Disaggregated data by sector and sex, 2015

Sector

2015

Male %

Female %

Creative and artistic production

426,650

48.7%

51.3%

Heritage collection and preservation

19,510

37.0%

63.0%

Cultural management

28,240

48.0%

52.0%

Technical and operational

323,905

51.4%

48.6%

Total cultural occupations

798,305

49.5%

50.5%

 

Figure 1.2. Disaggregated data by age group, 2015

Age Group

Percentage

15-24 years

9.2%

25-34 years

26.1%

35-44 years

23.5%

45-54 years

21.1%

55-64 years

15.7%

65 years and over

4.4%

 

Figure 1.3. Disaggregated data by employment status, 2015

Cultural occupations

Part-time (<30 hrs/wk)

Full time (>30 hrs/wk)

 

Creative and artistic production

14.8%

78.8%

Heritage collection and preservation

12.7%

84.9%

Cultural management

5.5%

90.2%

Technical and operational

11.4%

84.1%

Total cultural sector

12.9%

81.6%

Total Canadian economy

12%

82.8%

 

Total public budget for culture (in USD): 
2,133,000,000USD
2018
Please provide whenever possible the share allocated by cultural sectors/domains (in %): 

 

Sector/domain

Amounts in millions of dollars, 2018

Recreation, culture and religion

CAD 19 283

Cultural Services

CAD 6 157

Broadcasting and publishing services

CAD 3 976

Relevant Policies and Measures: 

Canada Cultural Spaces Fund (CCSF) – Support to Creative Hubs

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Medios de comunicación
Las artes escénicas
Artes visuales
Describe the main features of the policy/measure: 
The Canada Cultural Spaces Fund (CCSF) supports the improvement of physical conditions for arts, heritage, culture and creative innovation. The Fund supports renovation and construction projects, the acquisition of specialized equipment and feasibility studies related to cultural spaces. In Budget 2017, the Government of Canada announced an additional USD 230 million (CAD 300 million) over a ten year period, starting in 2018-2019, to further support creative hubs and other cultural spaces. This additional investment is a part of the social infrastructure component of the Investing in Canada Plan. A Creative Hub is a multi-tenant facility which: - brings together professionals from a range of arts or heritage sectors and creative disciplines; - features diverse business models, such as not-for-profit and for-profit organizations and self-employed creative workers; and - provides multiple users with shared space, equipment and amenities; opportunities for idea exchange, collaboration and/or professional development; and offer space and programming that is accessible to the public.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Since 2018, CCSF has provided funding for 13 creative hub initiatives. Through this investment, Canadian creative talent will have access to spaces where they can build their entrepreneurial skills, create, collaborate and innovate, and help generate new markets for Canadian creativity in all its forms.
Financial resources allocated to the policy/measure in USD: 

Budget 2017 invested $230 million (CAD 300 million) over 10 years starting in 2018-19 $23 million/year (CAD 30 million /year), to continue support to cultural spaces with a focus on creative hubs.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Type of entity: 
Public Sector

Canada Council Arts Granting Programs

Name of agency responsible for the implementation of the policy/measure: 
Canada Council for the Arts
Describe the main features of the policy/measure: 
The Canada Council helps individual artists, groups and arts organizations engage in projects and activities. Grants are available for Canadian citizens or permanent residents who have specialized training — though not necessarily in an academic setting — and are recognized as professionals by other artists and arts practitioners in the field of practice. In April 2017, the Canada Council launched a new structure for its funding programs, which introduced six non-disciplinary, outcomes-based programs: - Explore and Create - Engage and Sustain - Creating, Knowing and Sharing: The Arts and Culture of First Nations, Inuit and Metis Peoples - Supporting Artistic Practice - Arts Across Canada - Arts Abroad This new structure is centered on activities that are common and integral across the arts sector, including but not limited to creation, production and presenting works as well as professional development, residencies, touring, travel and the development of the sector, both in Canada and internationally. In its granting programs, the Canada Council also welcomes those who have been working outside of the boundaries of what has been traditionally funded. This includes: • Groups that have been marginalized – for example young artists and artists from culturally diverse and Deaf and disability arts communities • New and emerging arts practices and disciplines – such as digital arts and contemporary circus arts.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The following results begin in 2017-18, the first year of the Canada Council’s new granting structure. Note: Figures are in Canadian dollars. 2017-18: - $202.7 million awarded in grants in Canada - $2.6 million awarded in grants outside of Canada - 1809 arts organizations were supported ($158.2 million awarded) - 346 arts groups were supported ($8.3 million awarded) - 2280 individual artists supported ($38.9 million awarded) - 600 communities where grants were awarded 2018-19: - $242.7 million awarded in grants in Canada - $3.3 million awarded in grants outside of Canada - 2032 arts organizations were supported ($184.8 million awarded) - 442 arts groups were supported ($12.0 million awarded) - 2851 individual artists supported ($49.2 million awarded) - 711 communities where grants were awarded
Financial resources allocated to the policy/measure in USD: 

2017-18: USD 155.4 million (CAD 202.7 million)
2018-19: USD 186.0 million (CAD 242.7 million)

It should be noted that as part of the 2016 federal budget, the Canadian government announced that the Canada Council for the Arts will see its annual budget of $182 million double over five years to reach $360 million in 2021.

Has the implementation of the policy/measure been evaluated?: 
YES

Creation of the National Arts Centre Indigenous Theatre

Name of agency responsible for the implementation of the policy/measure: 
National Arts Centre (NAC)
Cultural domains covered by the policy/measure: 
Las artes escénicas
Describe the main features of the policy/measure: 
Creation of the first national Indigenous Theatre department of its kind in the world. Goals of the measure are as follows: • Develop, nurture and showcase Indigenous stories at the community, national and international level; • workshop and develop new work, as well as invest in and create opportunities for presentation and production for existing work; • mentor and create internship opportunities for emerging creators, actors, designers, directors and other production personnel; • provide meaningful opportunities for mid-career and established Indigenous artists; • harness the power of digital media to serve remote communities through arts education and cultural engagement coast to coast to coast; and • aid in the retention, resurgence and resilience of Indigenous cultures.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The inaugural season of the NAC Indigenous Theatre was announced in 2019. The first season celebrates Indigenous women’s resilience, strength and beauty, with 9 productions out of 11 written and created by women. In addition to English and French, more than 10 Indigenous languages will be spoken in the works presented during the first season. The initiative was launched with a festival in September showcasing 111 theatre, dance and music events featuring 332 participants, including performers, elders, creators and others. There were 12 concerts – including Buffy St-Marie, Susan Aglukark and Florent Vollant– four theatre productions, two dance performances, as well as artist masterclasses , story-building workshop, culinary arts events, visual arts exhibits, free public noon-hour programming and family-friendly activities, and Indigenous arts programming for national and international artists, producers and presenters. The inaugural festival attracted more than 15 thousand people to various events and resulted in more than 118 million online impressions, including hundreds of media mentions in English, French and Indigenous news outlets across Canada. The Indigenous Theatre’s first season continues to attract strong interest from audiences and partners alike.
Financial resources allocated to the policy/measure in USD: 

N/A

Has the implementation of the policy/measure been evaluated?: 
NO

Indigenous Action Plan

Name of agency responsible for the implementation of the policy/measure: 
National Film Board
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Describe the main features of the policy/measure: 
On June 17, 2017, the NFB announced the launch of its three-year Indigenous Action Plan, in response to the work and recommendations of the Truth and Reconciliation Commission and Indigenous creators’ long-standing concerns about systemic inequities in the existing Canadian production landscape. The plan was developed in collaboration with an Indigenous advisory group and contains 33 commitments grouped under four main areas: institutional transformation, industry leadership, production and distribution. Now in the second year of implementation of this completed action plan, the NFB is well on its way to achieving production goals that make more room for Indigenous creative expression. Indeed, the number of projects carried out by Indigenous filmmakers increased from 30 in 2017–2018 to 40 in 2018–2019. These projects represented 15 percent of the NFB’s overall production expenditures. The NFB has therefore honoured a key commitment in its Indigenous Action Plan a year sooner than anticipated. Creative incubators specifically designed for Indigenous artists were also launched last year: the Labrador Doc Project for Nunatsiavummiut filmmakers, the Déranger creative lab for multidisciplinary artists who work in the French language in Winnipeg and the 12th edition of Hothouse. The NFB’s English and French programs created hands-on mentorship opportunities for four associate producers in different studios to participate in the production of these works. One of the priorities of the Indigenous Action Plan is to achieve 4 percent Indigenous representation across all levels of the NFB’s workforce by 2025. To this end, the NFB partnered with Indigenous Works—a non-profit business recognized for its leadership in workplace inclusion and its ability to promote stronger Indigenous inclusion strategies in Canadian corporations—to review its hiring policies. Based on this report and a review of best practices in other Indigenous organizations, the NFB will enrich its recruitment strategy to increase its ability to reach qualified Indigenous candidates. It will also improve onboarding retention, and professional development practices in its workforce. Many of the commitments outlined in the Indigenous Action Plan aim to connect audiovisual works (both new and classic) by Indigenous artists more broadly with audiences. In an effort to increase the number of community-based screenings, the NFB partnered with several Indigenous and non-Indigenous organizations in every province and territory to present the Aabiziingwashi (Wide Awake) Indigenous Cinema Tour. Launched in 2017 in collaboration with media partners APTN, TIFF Bell Lightbox and the imagineNATIVE Film + Media Arts Festival, the tour had a stellar first year and was extended through to 2019, with recent titles being added as they are launched. Also worth noting is the new Indigenous Cinema Web portal that offers more than 200 NFB titles directed by Métis, Inuit and First Nations filmmakers, providing more access than ever to Indigenous stories and perspectives. Users can search the site by subject, name of filmmaker and name of Indigenous people or nation. The collection was catalogued using the Indigenous Materials Classification Schema, first implemented in 2015 at the National Centre for Truth and Reconciliation’s library. The NFB was also one of several organizations to provide financial support to the imagineNATIVE Film + Media Arts Festival for the creation of On-Screen Protocols & Pathways: A Media Production Guide to Working with First Nations, Métis and Inuit Communities, Cultures, Concepts and Stories, released in March 2019. The NFB’s productions respect the principles set out in this guide: they are based on respect, humility, and meaningful collaboration and consent. The NFB’s progress on implementing its Indigenous Action Plan also includes advances in community engagement, online accessibility, educational resources and hiring, as well as adopting new working protocols for with Indigenous creators and content.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Results: In June 2019, for National Indigenous Peoples Day, the NFB reported on the progress made in the second year of implementation of its Indigenous Action Plan and announced that it had reached its Indigenous production spending commitment of 15 percent one year ahead of target. Results for 2018–2019: • 15 percent of production budgets were allocated to projects by Indigenous artists • Forty works by Indigenous creators were recently completed or are in production across Canada • 10 percent of NFB works have been produced by Indigenous artists • Indigenous employees now represent 1.25 percent of all staff; the NFB has committed to achieving 4 percent Indigenous representation across all sectors and levels of its workforce—a minimum of 16 people—by 2025 Other highlights: • Aabiziingwashi (Wide Awake): Indigenous Cinema on Tour of Indigenous directed titles from the NFB’s collection has surpassed 1,300 screenings to date the provinces and territories. The tour is working with partners to bring Indigenous cinema to and initiate discussions in communities big and small across Canada. New titles for 2019 include nîpawistamâsowin: We Will Stand Up, Freedom Road, Jordan’s Principle and Christopher Auchter’s Now is the Time. • Launched in early 2018, Indigenous Cinema is the NFB’s rich online collection of Indigenous-made films, now featuring more than 300 titles for free. To help mark National Indigenous Peoples Day 2019, new titles include award-winning films like Birth of a Family by Tasha Hubbard, Three Thousand by Asinnajaq and Holy Angels by Jay Cardinal Villeneuve; along with the premiere of the five films from Indigenous Proud: Kristi Lane Sinclair’s Full Circle, Darlene Naponse’s Places to Gather and Learn, Clayton Windatt’s Some Stories..., Jamie Whitecrow’s The Old Game Lacrosse and Tracie Louttit’s Zaagi’idiwin. • A trusted source of quality educational content for schools across Canada, the NFB will soon be launching a new online educational experience that draws from the NFB’s collection, providing Indigenous perspectives on the history and culture of Indigenous peoples in Canada, geared for students in Grades 9 to 12.
Financial resources allocated to the policy/measure in USD: 

Fifteen percent of all NFB production spending is allocated to projects by Indigenous artists. This performance indicator is an integral part of annual reporting at the NFB.

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

There is one year left before the Indigenous Action Plan is completed. However, it is clear that the NFB wants to ensure that these commitments are an integral part of its culture and methods in future years. There will be constant work to ensure the diversity of Canadian society is represented both in front of and behind the camera.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Indigenous Works
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Aboriginal Peoples Television Network
Type of entity: 
Public Sector
Name of partner: 
TIFF Bell Lightbox
Type of entity: 
Private Sector
Name of partner: 
imagineNATIVE Film + Media Arts Festival
Type of entity: 
Civil Society Organization (CSO)

Your Stories, Taken to Heart

Name of agency responsible for the implementation of the policy/measure: 
Canadian Broadcasting Corporation / Société Radio-Canada
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Describe the main features of the policy/measure: 
Goal 1 of convention: To celebrate Canadian culture and support democratic life through a wide range of content that informs, enlightens and entertains. Your Stories, Taken to Heart is a new three-year strategy. It builds on the success of existing services and aims to increase and deepen audience engagement. Given the growing dominance of global digital companies that threaten to drown out the country’s stories, as well as its news and information, this strategy is committed to ensuring that Canadian culture thrives in the future. Each and every decision will be made according to these principles: - Putting audiences, individuals and communities first - Building a lifelong relationship with Canadians - Strengthening the CBC/Radio-Canada’s role as Canada’s most trusted brand The strategy contains five priorities: 1. Customized digital services: The goal is to make sure that all Canadians see themselves reflected in the CBC/Radio-Canada’s digital services. 2. Engaging with young audiences: Enriching the lives of children and youth by bringing the best content possible. 3. Prioritizing the CBC/Radio-Canada’s local connections: The aim is to not only strengthen local and regional content but to also bring those communities to the rest of the country. 4. Reflecting contemporary Canada: Staffing and content choices will reflect the range and richness of this country’s diversity. 5. Taking Canada to the world: To ensure that Canada and Canadian creators are seen and heard in this global market. Goal 4 of the convention: CBC/Radio-Canada is also strengthening its commitment to ensure more leadership roles for women in the Canadian film and television industry with the new Women in Production Action Plan to support gender parity in production. Finally, through the Diversity and Inclusion Plan a wide range of content will continue to be created that informs, enlightens and entertains the nation’s diverse population. There is a clear way forward to achieve the future we envision.
Does it specifically target young people?: 
YES
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Goal 1: The strategy was launched in May 2019 and the 2019/2020 annual report will be available next fall. Goal 4: Results for the Women in Production Action Plan and the Diversity and Inclusion Plan will be available in the fall of 2020.
Financial resources allocated to the policy/measure in USD: 

USD 0.89 billion (CAD 1.2 billion) in 2019

Has the implementation of the policy/measure been evaluated?: 
NO

Talent to Watch Program

Name of agency responsible for the implementation of the policy/measure: 
Telefilm Canada
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
The Talent Fund-supported Talent to Watch Program (formerly Micro-Budget Production Program) finances emerging content creators who are recent alumni of a partner educational institution, active members of partner cooperatives or recent participants of partner film festival incubator initiative, or who have directed a short film that was selected at a recognized film festival. The program also provides automatic funding to projects directed by an emerging director having previously directed a short film that has won a prize at a recognized film festival. The maximum contribution amount through this program is $150,000 for feature films and $125,000 for narrative-based projects of over 75 minutes. Support under this Program is provided through three separate streams: the Selective Stream, the Festival Selection Stream and the Fast Track Stream. In the Selective Stream, financing is structured around three components: Main component, Indigenous component and Official-Language Minority Communities (OLMC) component.
Does it specifically target young people?: 
YES
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
In the last four fiscal years (2015-2016 to 2018-2019), the Talent to Watch Program provided around CAD 10.9 million in order to support the production of 96 projects by emerging creators. The Talent to Watch Program is included in Telefilm’s commitment to reach parity and projects supported by the program offer a greater diversity of voices and stories. The program includes targeted streams for Indigenous and official-language minority communities and has been especially successful in its support of women and other underrepresented voices, including Indigenous communities, visible minority and LGBTQ communities. For 2018 19, results show that the program is at gender parity or in parity zone in terms of the three leading roles of producer (68% of funded projects), director (43% of funded projects) and screenwriter (45% of funded projects). Funding provided to projects with a woman in a key role increased significantly in the program between 2017-18 and 2018-19: it doubled for projects directed or written by a woman and it more than tripled for projects produced by a woman. Projects funded through the Talent Fund have also achieved success on the festival circuit, garnering selections and prizes at such prestigious international events as the Berlin International Film Festival and the Toronto International Film Festival, generating critical success including Canadian Screen Awards and theatrical distribution.
Financial resources allocated to the policy/measure in USD: 

In 2018-2019, the Talent to Watch Program provided USD 4 million (CAD 5.5 million) in production funding for 44 projects.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Telefilm Canada Talent Fund
Type of entity: 
Public Sector
Name of partner: 
Bell Media
Type of entity: 
Private Sector
Name of partner: 
Corus Entertainment
Type of entity: 
Private Sector
Name of partner: 
Partnerships with industry designated partners (schools, festivals, cooperatives, etc.)
Type of entity: 
Civil Society Organization (CSO)

Alberta Media Fund

Name of agency responsible for the implementation of the policy/measure: 
Culture, Multiculturalism and Status of Women, Government of Alberta
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Música
Industria editorial
Describe the main features of the policy/measure: 
The Alberta Media Fund‘s (AMF) provides financial support that contributes to the sustainability, growth and development of Alberta’s cultural industries. AMF program offerings have evolved over time to suit the needs of Alberta’s creative industries (screen-based media production, book publishing, magazine publishing, and sound recording).
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
By updating the Alberta Media Fund’s program offerings, government has been able to respond to the needs of Alberta’s cultural industries. In particular, Alberta has been able to grow its film and television production ecosystem by evolving its primary financial support mechanism to the sector and introducing support for post-production projects.
Financial resources allocated to the policy/measure in USD: 

Between 2015-16 to 2018-19, the Alberta Media Fund's combined annual expenses totalled approximately USD 142,024,159 (CAD 185,507,000).

Has the implementation of the policy/measure been evaluated?: 
NO

Creative Futures – Cultural Policy (2014-2019)

Name of agency responsible for the implementation of the policy/measure: 
Government of New Brunswick
Describe the main features of the policy/measure: 
The government of New Brunswick will ensure our culture is conserved, strengthened and fostered for the common good. We will set in motion a creative, innovative and prosperous New Brunswick where people want to live, work, visit, play, thrive, create and contribute to society.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The policy contains 104 action items of which the majority (98%) have been accomplished or initiated.
Financial resources allocated to the policy/measure in USD: 

At the time of launch, Government provided an increased budget of $5 million annually (for 5 years)

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

Arts and Cultural Institutions require greater financial funding to thrive and to continue to enrich all communities; The policy elements must be achieved by working in collaboration with partners; Using digital resources and technology is required to achieve the actions in the policy; the policy contains many important and relevant actions that will continue to be the basis of decision-making for Gov't for years to come.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
All Government supporting departments and several (Provincial) arts agencies
Type of entity: 
Public Sector

Culture Innovation Fund

Name of agency responsible for the implementation of the policy/measure: 
Province of Nova Scotia, Department of Communities, Culture and Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The Culture Innovation Fund invests in initiatives and projects carried out by organizations, partnerships, and collaborations working to use creativity and our diverse culture to address social issues and opportunities within communities. The fund also supports initiatives intended to strengthen the role of Nova Scotia’s museums and libraries. Culture innovation is about using culture and creative expression in new and better ways to create value. Our broad and diverse culture includes the arts, music, heritage, languages, cultural identities, diversity, recreation, museums, libraries, traditions, food, spirituality and much more. Innovation in the scope of this grant is daring, collaborative, and new. CIF considers proposals from Nova Scotia not-for-profits, museums, libraries, social enterprises and First Nations communities. Registered Nova Scotia businesses and municipalities can also apply in collaboration or partnership with the above organizations. Projects use culture to address social needs in the community, or support an objective of Nova Scotia’s Culture Action Plan or is innovative beyond the organization’s mandate.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The Culture Innovative Fund, launched in January 2018, supports innovative, cultural initiatives that address social priorities and opportunities in our communities. The department had supported 67 projects by the end of 2018. SUCCESS STORIES: Supported initiatives in 2018/19 making a significant impact include: • NSCAD/Phoenix House partnership, Art Factory, provided several previously at-risk youths placement into post-secondary programs. • The Black Business Initiative hosted Experiences in Architecture and Planning to introduce African Nova Scotian youth to the these disciplines as viable career opportunities and modes for expressing their culture. • The Nova Scotia Mental Health Foundation in partnership with Seagram & Associates has created PTSD Hero Comics, a comic book series designed to be an engaging therapeutic tool. Its purpose is to help educate people on what post-traumatic stress is, explain how the condition can manifest itself, and help decrease people's sense of isolation.
Financial resources allocated to the policy/measure in USD: 

(Program launched in 2018) Approx. CAD 3.7 million from in the period covered by this report; est. USD 2.8 million

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Province of Nova Scotia
Type of entity: 
Public Sector

Nova Scotia’s Culture Action Plan

Name of agency responsible for the implementation of the policy/measure: 
Nova Scotia Department of Communities, Culture and Heritage + 16 Nova Scotia Government Departments
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Nova Scotia’s first Culture Action Plan: Creativity and Community (CAP) was launched in February 2017. CAP is a comprehensive strategy that focuses on celebrating, sharing and growing our culture, our creative sector and our diverse communities. Since its implementation, CAP has served as a road map for government decisions related to culture and creativity and diversity. It is built on a collaborative approach with both other government departments and stakeholders. CAP has added to the well-being and prosperity of Nova Scotia’s diverse and creative communities through the promotion, development, preservation and celebration of the province’s culture, heritage, recreation, identity and languages. CAP focuses on six themes: Promote Mi’kmaw Culture; Promote Creativity and Innovation; Strengthen Education, Partnerships, and Understanding; Advance Cultural Diversity; Excellence in Cultural Stewardship; Drive Awareness and Economic Growth of the Culture Sector.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Significant progress has been made in implementing over 60 actions identified in the plan, and new synergies continue to emerge. Work continues to strengthen our cultural offices, collaborate, consult and engage with stakeholders and lead with transformative actions through CAP. It has provided a different view beyond traditional definitions of culture. Through its actions, we continue to find opportunities to align and collaborate to move forward and make meaningful impact for Nova Scotians across the province. CAP has highlighted culture’s ability to address complex social issues and that communities can use culture to discover solutions to their unique challenges. The CAP journey has led to new and unexpected pathways to becoming more culturally inclusive, honouring our diverse population and the Mi’kmaq. All of this helps to build strong and vibrant communities in the Province.
Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

The Culture Action Plan guides the work of the Nova Scotia Department of Communities, Culture and Heritage under six key themes: Promote Mi'kmaw Culture; Promote Creativity and Innovation; Strengthen Education, Partnerships, and Understanding; Advance Cultural Diversity; Excellence in Cultural Stewardship; Drive Awareness and Economic Growth of the Culture Sector.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Seventeen departments, offices and agencies of the Province of Nova Scotia
Type of entity: 
Public Sector
Name of partner: 
The Mi’kmaq, diverse ethnic and other Nova Scotian communities, culture sector businesses and organizations and individuals
Type of entity: 
Civil Society Organization (CSO)

Partout, la culture [Culture Everywhere] cultural policy

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
MCC launched Québec’s cultural policy, Partout, la culture, in June 2018. This is the second cultural policy developed in Québec and the first to refer to the Convention. The new policy builds on the achievements of the 1992 policy, while setting directions tailored to current issues. It is timeless and is operationalized as part of a five-year government action plan (see Section 1.1.2). It is the product of an extensive consultation process: thousands of Quebecers participated in this exercise, either as representatives of organizations or as individuals. This policy is designed to advance Québec society by strengthening the arts and culture ecosystem, adapting interventions to the digital age and opening up to other dimensions. For example, cultural recreation, amateur practice, volunteer work, land-use planning and cultural heritage conservation are given greater prominence, which will help them become more integrated into the cultural system. As its name suggests, the cultural policy is intended to ensure the presence and vitality of Québec culture everywhere: in all regions of Québec, in the lives of the entire population, on the international scene and in the digital universe. Various turning points, including the adoption of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions in 2005, underlie the principles on which this cultural policy is based: the essential role of culture; the affirmation of Québec’s Francophone character; universal access to, participation in and contribution to culture; and the autonomy of creation and freedom of expression and information. The cultural policy is built around four major directions that reflect the government’s vision of the place of culture in society. These directions are based on the three dimensions of sustainable development: the social, environmental and economic dimensions. They are closely interrelated and interdependent in their design and implementation: 1. Contribute to individual and collective development through culture This direction focuses on recognizing the essential character of French culture and the French language in the lives of individuals and communities, in part by acknowledging their inextricable link with education. The Government of Québec aspires to ensure that everyone can access, participate in and contribute significantly to a rich and inclusive Québec cultural life. 2. Shape an environment conducive to the creation and dissemination of arts and culture Under this direction, the government renews its support for professional artists, creators and cultural workers, industries and organizations. The aim is to enable them to better reflect the evolution and diversity of artistic and cultural forms of expression and to be the standard-bearers of Québec creativity in Québec, Canada and abroad. 3. Enhance the relationship between culture and the territory This direction takes into account the diversity of the regions and advocates equity in interventions. The government aims to ensure that the involvement of communities, the presence of cultural institutions and organizations, and heritage conservation contribute to the quality of living environments. The inclusion of cultural concerns in land-use planning is seen as an asset. Lastly, this direction clearly reaffirms the major role of municipal partners, the provincial capital (Québec), the metropolis (Montréal) and Indigenous communities that are actively involved in culture. 4. Increase the contribution of culture and communications to the economy and development of Québec This direction focuses on creating favourable conditions for culture to contribute to the full development of a creative, innovative and prosperous society. Its aim is twofold: (1) continuous adaptation by communities to the transformations brought about by rapid technological change, and (2) the discovery and visibility of Québec culture in a globalized world. To these ends, the Government of Québec intends to support the growth of cultural entrepreneurship, encourage partnerships and foster skills development. Specific commitments with respect to Indigenous peoples To illustrate the importance that the Government of Québec attaches to the cultures of the First Nations and the Inuit nation, the government’s priorities for them are set out in a separate section. Located near the beginning of the document, this section identifies commitments that take into account the history and contemporary lifestyles of Québec’s 11 Indigenous nations. Indigenous people also benefit from the other ideas presented in this policy and its associated action plan.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Financial resources allocated to the policy/measure in USD: 

The cultural policy is operationalized through an action plan covering the 2018-2023 period. The action plan includes 41 measures that address the policy's objectives and directions and provides for investments of USD 435.8 million (CAD 600.9 million) over five years.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Thirty-six Québec government ministries and agencies
Type of entity: 
Public Sector
Name of partner: 
MCC and its network of 11 Crown corporations and agencies
Type of entity: 
Public Sector

Plan d’action gouvernemenal en culture 2018–2023 [2018–2023 Government Action Plan for Culture]

Name of agency responsible for the implementation of the policy/measure: 
The Ministère de la Culture et des Communications du Québec (MCC [Québec Ministry of Culture and Communications]) is responsible for coordinating the plan’s implementation.
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The 2018–2023 government action plan for culture complements Québec’s cultural policy, Partout, la culture. It conveys the government’s vision and establishes its priorities by presenting an initial set of concrete actions to ensure the presence and vitality of Québec culture everywhere and for the benefit of all. The action plan includes 41 measures that will provide more effective support for the people and organizations that are central to Québec’s cultural vibrancy and help develop new networks of partners in the social, economic and territorial spheres. The measures complement the actions already undertaken by the government to stimulate cultural creativity and innovation in Québec. The recommended measures are not aimed at one particular area of intervention; they cut across all areas. Additional measures may be added to modify the plan over the next few years. In a context where the cultural offering is abundant and globalized, the action plan is designed to achieve crucial objectives for Québec culture: to draw attention to it and make it accessible to all, so that everyone can discover and appreciate Québec’s cultural products.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Financial resources allocated to the policy/measure in USD: 

The 2018-2023 government action plan for culture contains 41 measures addressing the objectives and directions of Quebec's cultural policy, Partout, la culture, and provides for investments of USD 435.8 million (CAD 600.9 million) over five years.

Has the implementation of the policy/measure been evaluated?: 
NO

Québec’s International Vision

Name of agency responsible for the implementation of the policy/measure: 
Ministère des Relations internationales et de la Francophonie [Ministry of International Relations and the Francophonie]
Ministère de la Culture et des Communications (cultural sector) [Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
In the fall of 2019, the Government of Québec updated its international policy by releasing Québec’s International Vision. The province’s culture and specificity, which are the foundations of Québec’s international action, are implicit in many of the ideas put forward by this policy, which is intended to enhance its economic diplomacy. In particular, the Vision encourages support for the international exposure of Québec’s culture, artists and cultural industries, recognizing that cultural content is one of the best vehicles for showcasing a nation’s identity and promoting its interests in other areas of its foreign policy, particularly the economic dimension. More specifically, the International Vision reiterates Québec’s commitment to the principle of the diversity of cultural expressions and recognizes the Convention’s importance as a fundamental measure to ensure the dissemination of Francophone cultures abroad. The International Vision devotes a whole chapter to promoting Québec culture and artists internationally. It describes the measures planned to support artists, cultural enterprises and cultural organizations in their efforts to develop international markets (see Section 2.1.1). The Government of Québec intends to stimulate the export, promotion and discovery of Québec’s cultural works and productions through a number of actions, including the following: • Enhance support for touring and the presentation and export of Québec cultural productions; • Increase support for the mobility outside Québec of artists, cultural organizations and cultural enterprises; • Create cultural showcases and put more emphasis on collective events abroad; • Provide a budget for international co-production assistance; • Improve the services offered to the cultural community by Québec’s offices abroad. Funding is also planned to enhance cultural cooperation activities and increase Québec’s presence in international forums. Actions being considered include the following: • Form partnerships, sign new bilateral cooperation agreements and add a cultural component to some existing cooperation agreements; • Promote the diversity of cultural expressions, particularly in collaboration with the developing countries of La Francophonie; • Strengthen Québec’s commitment to its partners in La Francophonie and its role in the field of culture within UNESCO; • Enhance cooperation within La Francophonie with a view to increasing the visibility of Francophone cultural content in the digital universe. To achieve its objectives, the government intends to rely on the tools and mechanisms provided by the support programs for the marketing of Québec cultural goods and services, the network of cultural attachés in Québec’s offices abroad, and the development of business intelligence in the most promising cultural sectors
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ministère de l’Économie et de l’Innovation [Ministry of the Economy and Innovation], cultural agencies and Crown corporations
Type of entity: 
Public Sector

Media Diversity

Public service media has a legal or statutory remit to promote a diversity of cultural expressions: 
YES
Policies and measures promote content diversity in programming by supporting: 
Regional and/or local broadcasters
Linguistic diversity in media programming
Community programming for marginalised groups (e.g. indigenous peoples, migrants and refugees, etc.)
Socio-cultural programming (e.g. children, youth, people with disabilities, etc.)
Domestic content regulations for audio-visual media exist (e.g. quotas for production or distribution requirements for national films, TV series or music on radio): 
YES
Regulatory authority(ies) monitoring media exist: 
YES
If YES, please provide the name and year of establishment of the regulatory authority(ies): 
The Canadian Radio-television and Telecommunications Commission (CRTC)
If YES, these regulatory authority(ies) monitor: 
Public media
Community media
Private sector media
If YES, these regulatory authority(ies) are responsible for: 
Issuing licenses to broadcasters, content providers, platforms
Monitoring cultural (including linguistic) obligations
Monitoring gender equality in the media
Monitoring editorial independence of the media
Monitoring diversity in media ownership (diversity of ownership structures, transparency of ownership rules, limits on ownership concentration, etc.)
Relevant Policies and Measures: 

Local Journalism Initiative

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Industria editorial
Describe the main features of the policy/measure: 
The Local Journalism Initiative (LJI) supports the creation of original civic journalism that meets the diverse needs of underserved communities in Canada through an investment of $ 50 million over 5 years. To preserve the independence of the press, the government mandated administration of the initiative to seven independent non-governmental organizations, representing different segments of the media industry. These governing bodies allocate funds to hire journalists or pay freelance journalists to support the production of civic journalistic content in underserved communities. Canadian media organizations eligible for funding are news agencies, private media organizations, and not-for-profit media organizations in the print media, community radio, community television, and online news services sectors. The Canadian public will thus be better informed since all the content produced is made available free of charge through a Creative Commons license.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Results are not yet available as the program is in its first year of operation (2019-2020)
Financial resources allocated to the policy/measure in USD: 

USD 38.3 million over five years

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
News Media Canada
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Association de la presse francophone
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Québec Community Newspapers Association
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
National Ethnic Press and Media Council of Canada
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Community Radio Fund of Canada
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Canadian Association of Community Television Users and Stations
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Fédération des télévisions communautaires autonomes du Québec
Type of entity: 
Civil Society Organization (CSO)

A better reflection of Indigenous peoples and official language minority communities in Canadian productions

Name of agency responsible for the implementation of the policy/measure: 
The Canadian Radio-television and Telecommunications Commission (CRTC)
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
On May 15, 2017, the CRTC renewed the licences for the television services of large English-language and French-language ownership groups. These large ownership groups share over 90% of English- and French-language tuning and of television revenues. In those decisions, the CRTC implemented a measure to encourage the reflection of Indigenous peoples and official language minority communities (OLMCs). For any productions produced by Indigenous producers or by producers from OLMCs, the large ownership groups were given a credit related to their Canadian programming expenditure (CPE) requirements. CPEs are requirements that the CRTC imposes to ensure that broadcasters broadcast quality television content produced by Canadians. In granting a credit to broadcasters for programming produced by these producers, the CRTC created an incentive to have Indigenous peoples and OLMCs better reflected on-screen. This incentive has since been officially added to the licence conditions of all television licence holders.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
On August 29, 2019, the CRTC published an Information Bulletin requiring that large English-language and French-language ownership groups file a production report. The first report was submitted on February 29, 2020, and all subsequent reports must be submitted before November 30 each year. The large ownership groups must submit information on their programming expenditures and other original, first-run programming, including content produced by OLMC and Indigenous producers.
Financial resources allocated to the policy/measure in USD: 

Each broadcaster must, as a condition of its licence, spend a certain percentage of the previous year's gross revenues on the acquisition or creation of Canadian programming to contribute to the development of programming and support for Canadian creators. These percentages are predetermined by the CRTC at the time of each licence renewal. The incentives are part of a broadcaster's Canadian programming expenditure obligations.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
All broadcasters that hold a broadcasting licence.
Type of entity: 
Private Sector

Granting a licence to a national multilingual and multi-ethnic discretionary service

Name of agency responsible for the implementation of the policy/measure: 
The Canadian Radio-television and Telecommunications Commission (CRTC)
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
The CRTC recognized that there was an exceptional need for a national multilingual and multi-ethnic discretionary television service that could offer Canadians new, affordable and timely shows from a Canadian perspective in several languages. On May 23, 2019, following a competitive process, the CRTC granted a licence to Rogers Media Inc. to allow it to operate a national multilingual and multi-ethnic television service offering programs in 20 languages. Among other things, the service contributes to Canadian expression and reflects Canadian attitudes by ensuring that a significant portion of its programming is produced by independent producers, is diverse and meets the needs of various ethnic and third-language communities across Canada from a Canadian perspective. The service will also help achieve the objectives of the Broadcasting Act. Under the CRTC decision, the OMNI Regional service must therefore now be included in all basic digital television packages in Canada so it can be offered to the widest audience.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
All Canadians, including new residents and citizens whose mother tongue is not English or French, who subscribe to a cable or satellite distribution undertaking can have access to the multilingual and multi-ethnic news and information programming offered by the OMNI Regional service. As this is a conventional television service, it can also be accessed locally by antenna.
Financial resources allocated to the policy/measure in USD: 

The OMNI Regional service must be distributed in the basic packages of all cable or satellite companies and receive a royalty. From September 1, 2020, to August 31, 2023, the rate paid shall be USD 0.14 (CAD 0.19) per month per subscriber.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Rogers Media Inc.
Type of entity: 
Private Sector
Name of partner: 
All cable and satellite companies
Type of entity: 
Private Sector

Diversity Film Fund

Name of agency responsible for the implementation of the policy/measure: 
Ontario Creates (an agency of the Ministry of Heritage, Sport, Tourism and Culture Industries)
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
The Diversity Film Fund was a three-year program, launched in 2017-18, offering enhancements to financial support provided through Ontario Creates’ Film Fund. The purpose of the funding enhancement was to incent the development and production of diverse film content in both drama and documentary, with an additional goal of increasing employment for traditionally underrepresented and diverse creators working in the film sector. The enhancement used the provincial definition of diversity: • Diversity refers to the presence of a wide range of human qualities and attributes within a group, organization, or society. The dimensions of diversity include, but are not limited to, ancestry, culture, ethnicity, gender identity, gender expression, language, physical and intellectual ability, race, religion (Creed), sex, sexual orientation, and socio-economic status. In order to reduce barriers to entry, the diversity enhancement was designed with lower entry thresholds for Film Fund applicants, to allow funding levels above the normal program caps, and with modified evaluation criteria to reflect the diverse elements of projects applying. In 2018-19, Ontario Creates extended the scope of the Diversity Fund to include projects funded through its Industry Development Program, a program that supports activities in the book, magazine, film, television, and interactive digital media sectors that expand skills, business capacity, market share, sales, and innovation.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
2017-18 Film Fund Diversity Enhancement – Number of Successful Applicants: 20 [11 production, 9 development] Industry Development Program Diversity Enhancement – Number of Successful Applicants: N/A 2018-19 Film Fund Diversity Enhancement – Number of Successful Applicants: 27 [18 production,9 development] Industry Development Program Diversity Enhancement – Number of Successful Applicants: 13 2019-20 (Q1&Q2 only) Film Fund Diversity Enhancement – Number of Successful Applicants: 10 [5 production, 5 development] Industry Development Program Diversity Enhancement – Number of Successful Applicants: 23 Example: o In 2019-20, Ontario Creates is supporting the feature film Night Raiders, an international co-production and a recipient of the Film Fund diversity enhancement, to create mentorship opportunities on their set for Indigenous filmmakers across all facets of the production. Four of the 10 Film Fund-supported films shown at TIFF 2019 received diversity enhancement support.
Financial resources allocated to the policy/measure in USD: 

USD 3.3 million (CAD $4.5 million or CAD $1.5 million per year in each of 2017-18, 2018-19 and 2019-20)

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ministry of Heritage, Sport, Tourism and Culture Industries
Type of entity: 
Public Sector

News media assistance plan

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Industria editorial
Describe the main features of the policy/measure: 
MCC’s media assistance plan was introduced in 2017 and enhanced in 2019 to support the print news media sector, which is experiencing an unprecedented crisis, due in particular to the loss of revenue to foreign digital platforms. The plan proposes various measures to ensure the availability of diversified regional news. Those measures are as follows: 1. Support for RecycleMédias to offset the monetary contribution of newspapers for selective collection 2. Programme d’aide à l’adaptation numérique des entreprises de la presse d’information écrite (PAANEPIE [Print news media digitization assistance program]) 3. Enhancement of the community media assistance program to strengthen local and regional news and introduce a one-time assistance measure In addition to these measures, two tax credits were introduced by the Government of Québec to encourage digital innovation in the business models of print news media companies and to support the salaries of newsroom employees. However, those tax credits are the responsibility of Revenu Québec.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The operating assistance program has been supporting community media since 1973. In 2019–2020, 154 community media outlets received operating support. In addition, 24 community media outlets received one-time project assistance. Since the digitization assistance program was introduced in 2017, 38 projects have been supported, including 17 in 2019–2020.
Financial resources allocated to the policy/measure in USD: 

In 2019-2020, more than USD 9.2 million (CAD12.7 million) was disbursed through media assistance programs under the responsibility of MCC.

Has the implementation of the policy/measure been evaluated?: 
NO

Policy framework for local and community television

Name of agency responsible for the implementation of the policy/measure: 
The Canadian Radio-television and Telecommunications Commission (CRTC)
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Describe the main features of the policy/measure: 
To ensure that Canadians continue to have access to quality local and community programming that meets their needs, the CRTC adopted a policy framework for local and community television that was published in June 2016. The policy framework covers two broad areas: community television and local programming. Community television: Policies regulating community television services are designed to ensure that community programing adequately reflects the population, provides Canadians with fair access to the broadcasting system as a whole and is accessible on the most efficient platforms. Community television in Canada is funded, for the most part, by broadcasting distribution undertakings (BDUs). Most community television services are operated by cable companies while others are independently operated over-the-air or digitally. Canadian BDUs are required to contribute 5% of their previous year’s gross revenues to Canadian programming and some of that amount may be spent on community programming. While the new policy recognizes that community television services are important for achieving the overall objectives of the Broadcasting Act, it permits a more flexible approach to the funding of local content that allows BDUs to re-allocate from the funding of community programming to the production of local news. To maintain support for the production of community programming, the CRTC focused its regulatory approach to ensure that a minimum amount of contributions made by BDUs to community television funds programming rather than overhead expenditures. At the same time, the CRTC clarified definitions on what constitutes a community program and included measures to ensure that local community input is taken into account in programming decisions. The new policy also recognizes the existence of regional disparities. Certain BDUs that serve metropolitan markets (Montréal, Toronto, Edmonton, Calgary and Vancouver) are permitted to direct their allowable local expression contribution to community programming in other markets and/or to designate local television stations for the production of local news. Vertically integrated groups are responsible for gauging the needs of their subscribers and viewers before deciding where and how to spend all or part of their allowable contribution to local expression, depending on whether the market served by the BDU is metropolitan or non-metropolitan. Local programming: To preserve the local news and information ecosystem that is important for the full democratic participation of Canadian citizens, the new policy requires that all local programming be locally relevant, while all local news be locally reflective. A program is considered locally relevant if it is of interest to the community or market served. News programming is considered locally reflective if it shows footage and addresses issues related to the market served and it is produced by or specifically for the station. The policy ensures that Canadians can continue to access, through conventional television stations (available on the basic service of BDUs), as well as by other means, locally produced programming that is relevant to their market. The policy requires that all conventional television stations broadcast a minimum level of locally reflective news and information. The stations must also allocate a percentage of their previous year's revenues to such programming. The new policy also permits BDUs to devote part of their required 5% Canadian programming contribution to the production of local news and information on local conventional television stations. To support the production of locally reflective news and information by smaller independently owned television stations, the CRTC also created the Independent Local News Fund (ILNF) as part of the new policy. The ILNF is funded by BDUs through part of their 5% contribution to Canadian programming.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
In 2018, BDUs contributed a total of approximately USD 122 million (CAD 161.1 million) to local expression: • approximately USD 84 million (CAD 110.8 million) was provided to licensees’ own community channels; • approximately USD 36.1 million (CAD 47.7 million) was provided to locally reflective news programming; and • approximately USD 2 million (CAD 2.6 million) was provided to community programming in other markets served by the licensee. Independently owned stations received approximately USD 16.5 million (CAD 21.7 million) from the ILNF.
Financial resources allocated to the policy/measure in USD: 

Most BDUs are required to make an annual contribution of 5% of its previous year's gross revenues to the creation and production of Canadian programming. Of this amount, cable companies must contribute a maximum of 1.5% to local expression while satellite companies must contribute a maximum of 0.6% to local news.
BDUs must contribute 0.3% of their 5% contribution to Canadian programming from the previous year's broadcast revenues to the ILNF.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Canadian Association of Broadcasters
Type of entity: 
Public Sector

Entorno digital

Policies, measures or mechanisms are in place to support the digital transformation of cultural and creative industries and institutions (e.g. funding for digitization of analogue industries): 
YES
Policies or measures have been introduced to ensure vibrant domestic digital cultural and creative industries markets with a diversity of e-players of all sizes (e.g. fair remuneration rules; control market concentration; prevention of monopolies of digital content providers/distributors or their algorithms that potentially restrict the diversity of cultural expressions, etc.):: 
YES
Policies and measures have been implemented to enhance access to and discoverability of domestically produced cultural content in the digital environment (e.g. action plans or policies for digital content pluralism, public support to cultural or artistic portals in specific languages, national or regional online distribution platforms for domestic content, etc.): 
YES
Measures and initiatives have been implemented to promote digital creativity and competencies of artists and other cultural professionals working with new technologies (e.g. spaces for experimentation, incubators, etc.): 
YES
Statistics or studies with recent data on access to digital media, including on the type of cultural content available through digital media, are available: 
YES
Percentage of the population with subscriptions to online cultural content providers (e.g. Netflix, Spotify, Amazon, etc.): 
70.10%
2019
Relevant Policies and Measures: 

The Broadcasting and Telecommunications Legislative Review (BTLR)

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage; Innovation, Science, and Economic Development Canada
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Describe the main features of the policy/measure: 
To ensure that Canada’s communications legislation can keep pace in a rapidly evolving digital industry and continue to support Canadian creators and producers, the Government of Canada appointed an external Panel of experts to review the Broadcasting, Telecommunications, and Radiocommunications Acts. The Panel shared a “What We Heard Report” in June 2019, highlighting that various interested parties are urging immediate action to establish an equitable regulatory framework for all participants in the Canadian broadcasting sector. The Panel is also examining issues such as content creation in the digital age, net neutrality, cultural diversity, and how to strengthen the future of Canadian media and Canadian content creation as well as amending existing definitions or adding new ones that are more appropriate for the current broadcasting and media context. The Panel’s final report is due in January 2020. It is anticipated that the report will inform future Government actions to modernize Canada’s communication legislation. The final report of the expert panel entitled ‘‘The Future of Communications in Canada: Time to Act’’, was presented to Navdeep Bains, Minister of Innovation, Science and Industry as well as to Steven Guilbeault, Minister of Canadian Heritage on January 29, 2020. It is expected that the 97 recommendations proposed in the report will inform future government actions to modernize Canada's communications legislation.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Financial resources allocated to the policy/measure in USD: 

USD 1,283,562.00

Has the implementation of the policy/measure been evaluated?: 
NO

Diversity of Content Online Initiative

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Industria editorial
Describe the main features of the policy/measure: 
In 2017, Canadian Heritage launched an international engagement strategy for the promotion of diversity of content in the digital age. The notion of “diversity of content” broadens the concept of cultural diversity by including content such as information and news, and by putting an emphasis on diverse points of view and perspectives. In 2018, a joint declaration was signed between the governments of Canada and France, reaffirming their desire to capitalize on the diversity of online content as a means of fostering the resilience of citizens in the face of disinformation. The Canadian federal Budget 2019 invested funding to enable Canada to lead an international initiative to develop guiding principles on diversity of content and strengthen citizen resilience to disinformation. The adoption of guiding principles would frame concrete actions and policies to protect and promote diversity of content online. The first virtual meeting of the multi-stakeholder working group that will be tasked with drafting the guiding principles is scheduled for the fall of 2020.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Canadian Heritage is working collaboratively with four like-minded countries to form a core mini-lateral group: Australia, Finland, France and Germany. This five-country group had their first meeting in February 2020 in Paris to discuss objectives and priorities for the initiative as well as collaborative policy development approaches. In parallel and to help guide working group discussions, a series of research papers have been commissioned from academics, who are experts in digital issues relating to the discoverability of content, normative instruments schematizing the governance of content diversity, online data trusts, as well as design for diversity.
Financial resources allocated to the policy/measure in USD: 

Part of the digital citizenship initiative, announced in Budget 2019, with funding amounting to CAD 3.4 million (USD 2.4 million) over 4 years.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Government of France
Type of entity: 
Public Sector
Name of partner: 
Government of Germany
Type of entity: 
Public Sector
Name of partner: 
Government of Finland
Type of entity: 
Public Sector
Name of partner: 
Government of Australia
Type of entity: 
Public Sector
Name of partner: 
Private Sector partners to be confirmed
Type of entity: 
Private Sector
Name of partner: 
Civil Society partners to be confirmed
Type of entity: 
Civil Society Organization (CSO)

Digital Citizen Initiative

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Describe the main features of the policy/measure: 
The Digital Citizen Initiative (DCI) is a multi-component strategy that aims to support democracy and social cohesion in Canada by building citizen resilience against online disinformation and building partnerships to support a healthy information ecosystem. The DCI supports citizen-focused activities (including digital, news and civic literacy programming and tools), research, and civil society/academic capacity building through grants and contributions funding to better understand and build resilience to online disinformation in Canada.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
In 2019, the DCI granted CAD 7 million in funding to 23 projects to support digital media and civic literacy prior to the 2019 federal election. It also granted $2.1 million in funding to 8 research projects that aim to better understand the origins, spread, and impacts of online disinformation in Canada and how digital media and civic literacy activities can be better evaluated. The DCI also supports the Public Policy Forum’s Digital Democracy Project ($2.5 million over 4 years) and has initiated a Joint Initiaitve with the Social Science and Humanities Research Council (SSHRC) ($2 million over 4 years).
Financial resources allocated to the policy/measure in USD: 

USD 9.9 million (CAD 13.4 million)

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Privy Council Office
Type of entity: 
Public Sector
Name of partner: 
Democratic Institutions
Type of entity: 
Public Sector
Name of partner: 
Global Affairs Canada
Type of entity: 
Public Sector
Name of partner: 
Social Sciences and Humanities Research Council
Type of entity: 
Public Sector

Canada Media Fund (CMF)

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
Launched in April 2010, the Canada Media Fund (CMF) is a non-profit public–private partnership funded by the Government of Canada and the cable, satellite and Internet Protocol Television (IPTV) distributors. The CMF promotes, develops and finances the production of Canadian content and relevant applications for all audiovisual media platforms. It delivers financial support to the Canadian television and digital media industries through three streams of funding. The Convergent Stream supports the creation of innovative television and digital media content for consumption by Canadians. The Experimental Stream encourages the development of leading edge, interactive digital media content and software applications. A new Development sector stream was added in 2019-2020 to support the development of projects that benefit the sector at large, in particular opportunities relating to training, promotion or mentorship, etc.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
In 2018-2019, the CMF provided USD 228 million in funding for the production of 493 television shows and digital content projects generating 2,595 hours of new content and triggering USD 1 billion in production activity. These totals include Aboriginal and diverse languages funded projects, other than our two official languages, namely French and English. In 2018-2019, 24 programs delivered television audiences of over one million Canadian viewers – in-line with the previous year. Of those, 21 were in the French-language market and three in the English language market. In 2018-2019, the CMF also contributed USD 32.5 million to 116 innovative projects, that is 26 games, 8 pieces of rich interactive media, 18 web series, and 3 pieces of software. This investment triggered USD 59 million in industry activity. The CMF contributes also to media diversity, notably through the Diverse Languages Program and Aboriginal Program. The Diverse Languages Program committed USD 2.3 million to 11 convergent projects in Arabic, Italian, Russian, Spanish, Tagalog, and Ukrainian. This program resulted in USD 4.1 million in Canada’s creative industry’s activities. As for the Aboriginal Program, it provided USD 6.5 million to 14 television productions and digital content in Aboriginal languages. In total, each dollar invested by the CMF generates on average 3 dollars of investments. Regarding objective 1 c), since April 2019, Canadian online platforms can now trigger CMF funding for digital productions, which demonstrates consideration for market evolution and offers more possibilities in terms of content and format.
Financial resources allocated to the policy/measure in USD: 

For 2019-2020, CMF anticipates it will invest USD 270.5 million (USD 121 million from the Government of Canada and USD 150 million from private distributors) in Canadian production. The Government of Canada annually provides USD 103 million to the CMF. In addition, the Canadian Government has agreed to provide an additional supplement of USD 132 million over a five-year period, totaling USD 18 million for 2019-2020.

The Canada Media Fund also obtains financial contributions from cable, satellite and Internet Protocol Television (IPTV) Canadian distributors. Under regulatory obligations, broadcast distributors are required to make an annual contribution of 5% of their annual broadcasting revenues to Canadian programming, most of which goes to the CMF.

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

The first (and only) Summative Evaluation of the CMF program focused on the period from 2010-11 to 2013-14. It addressed the core issues of relevance and performance, including effectiveness, efficiency and economy.

The evaluation found that the CMF acts to strengthen Canada's capacity to become a leader in the digital economy through its support for Canadian digital content and applications.

All seven of the evaluation recommendations have been fully addressed, which enable PCH to work with the CMF to improve both the Convergent and the Experimental streams and gave the Fund the necessary flexibility, for example, to start funding Web series.
The next summative evaluation of the program is to be completed by summer 2020, covering the five-year period from 2014-15 to 2018-19.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Canadian Coalition of Cultural Expression
Type of entity: 
Private Sector

Canada Council Digital Strategy Fund

Name of agency responsible for the implementation of the policy/measure: 
Canada Council for the Arts
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Launched in 2017, the Canada Council’s Digital Strategy Fund encourages an overall approach that helps support Canadian artists, groups and arts organizations in understanding the digital world, engaging with it, and responding to the cultural and social changes it produces. The Fund supports initiatives that aim at developing a user-centred culture of innovation, a rethinking of organizational culture, work procedures and leadership styles, and the adoption and deployment of available technological solutions. The Canada Council encourages initiatives that embody the values and principles of both the digital world and the Digital Strategy Fund, namely: - a focus on collaboration, partnership and networking; - open-mindedness, and willingness to share knowledge, results, ideas and lessons learned; - experimentation, risk-taking and iterative development. The fund includes three regular components: a) Digital Literacy and Intelligence: Project grants to support the arts sector in building digital knowledge, skills and capacity. It supports Canadian artists, groups and arts organizations in their efforts to respond more effectively to the challenges, issues and opportunities of the digital era, develop and broaden their strategic digital thinking, and strengthen their ability to translate that thinking into sustainable, concrete actions. b) Public Access to the Arts and Citizen Engagement: Project grants to support Canadian artists, groups and arts organizations to improve the public’s access, engagement and participation in the arts through digital means. It supports innovative digital initiatives that enhance the artistic experience of diverse publics, encourage the participation and engagement of citizens with the art, and increase discoverability and access to the works of Canadian artists, both at home and abroad. c) Transformation of Organizational Models: Project grants to support the exploration, development, implementation or optimization of existing digital initiatives in order to help arts organizations transform the way they work in order to address challenges, seize opportunities and adapt to a networked and connected environment. In 2019, the Council launched the Creation Accelerator, a pilot to support the development, creation and sharing of original digital content for potential distribution on CBC/Radio-Canada’s digital platforms
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Note: Figures are in Canadian dollars. 2017-18: - $6.0 million total awarded - 38 arts organizations supported ($5.3 million awarded) - 2 groups supported ($166.9 thousand awarded) - 5 artists supported ($594.3 thousand awarded) 2018-19: - $24.1 million total awarded - 261 arts organizations supported ($21.7 million awarded) - 4 groups supported ($436.4 thousand awarded) - 16 artists supported ($1.9 million awarded) Creation Accelerator: Results will be available late February 2020.
Financial resources allocated to the policy/measure in USD: 

Between 2017 and 2021, the Canada Council will invest $88.5 million through the Digital Strategy Fund.

Has the implementation of the policy/measure been evaluated?: 
NO

The Arts in a Digital World Summit (March 2017)

Name of agency responsible for the implementation of the policy/measure: 
Canada Council for the Arts
Describe the main features of the policy/measure: 
In March 2017, the Canada Council hosted The Arts in a Digital World Summit in Montreal. Participants engaged in cross-sectoral discussions, which raised awareness of current technological realities while also furthering the collective capacity of the arts sector to meet the exciting possibilities of tomorrow. The Summit was not about Digital Arts, which is recognized as an artistic discipline in the Council’s new funding model programs, nor was it about using digital technologies to make art. Rather, it was a discussion about the transition and transformation of the Canadian arts sector to thrive in the digital era. The Summit sparked a series of crucial conversations within the arts community on how to scale up its use of digital technologies to reach a wider public and be more sustainable in the long term.
Does it specifically target young people?: 
YES
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
In March 2017, some 300 arts leaders, digital experts and strategic thinkers gathered at l’Arsenal, in Montréal, to participate in the Council’s Arts in a Digital World Summit. With its hackathon-like format, the Summit’s sessions, conferences, workshops and human libraries highlighted the importance of digital literacy, transformation and collaboration to take full advantage of digital’s potential and the access and cultural engagement opportunities it offers.
Financial resources allocated to the policy/measure in USD: 

USD 666 thousand (CAD 870 thousand)

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

A post-event survey was administered, and a recap is available on the Canada Council website:
https://canadacouncil.ca/spotlight/2017/06/recap-of-the-arts-in-a-digita...

Most of the participants expressed the desire to collaborate with people they met at the Summit in the future. Becoming "ambassadors" and bringing back info and messaging from the Summit to their communities were also noted as important for many participants.

This event gathered people together to discuss the countless changes brought about by the digital age; the philosophical, ethical and organizational transformations needed to adapt to it; the issue of digital literacy in the arts sector; and the endless potential of digital technologies to reach new audiences. The Summit also helped validate the approach the Canada Council would take with the Digital Strategy Fund, which was launched later in 2017

Québec’s Digital Cultural Plan (QDCP)

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Following an extensive consultation process that began in 2010, MCC launched Québec’s Digital Cultural Plan in September 2014. Prepared in conjunction with the network of agencies and Crown corporations affiliated with MCC and with stakeholders in the cultural and communications sectors, the plan has the following objectives: • Provide the means for players in the cultural sector to create and innovate in a rapidly evolving technological context; • Raise the profile of Québec culture by promoting its dissemination to as many people as possible on local, national and international markets; • Create synergy between the various stakeholders to make Québec cultural products accessible; • Facilitate access to culture and the dissemination of culture with a view to democratization. In view of the importance of listening to the community in order to remain as active as possible in response to the extremely rapid evolution of new digital practices, MCC decided to focus the plan on major issues starting in 2016. For the moment, there are two major concerns: Support and appropriation In its first few years, the plan focused on the importance of raising the level of digital skills and literacy in the cultural sector. It seemed necessary to promote the assimilation of new digital practices in order to set up winning conditions to ensure the sustainability of all the actions in the plan. Cultural visibility and outreach To maintain and increase the vitality and visibility of Québec culture, it is essential to adopt practices characteristic of digital technology. The digitization, documentation and public availability of works and content is a first step. At the heart of actions promoting the visibility and discoverability of culture, working with data on cultural content is key. In addition to these major concerns, the plan also has six thematic components: • Experimentation, research and development: Support innovative projects, the development of new business models, and expertise-sharing and partnerships with the academic and business communities. • Infrastructure and equipment: Modernize equipment and update the digital networks of Québec’s cultural venues in order to optimize their presentation role. • International: Support the dissemination of our culture abroad and foster partnerships leading to exchanges of expertise and international collaboration. • Youth and education: Stimulate young people’s interest in culture by creating tools and content and encouraging their use in education and cultural leisure activities. • Cultural memory: Ensure the sustainability of Québec cultural and heritage content and its archiving and digitization. • Programs, policies and directions: Update the financial assistance programs, action plans and regulations administered by MCC and its Crown corporations to reflect new digital practices.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The number of measures announced publicly since the QDCP’s inception stands at 121. The QDCP’s achievements can be found on the website and are identified in section 5. In general, since 2014 there has been a notable increase in the level of digital literacy in the culture network as a whole and, more specifically, in data culture.
Financial resources allocated to the policy/measure in USD: 

This plan initially called for an investment of USD 80 million (CAD 110 million) over seven years. The action plan for Quebec's cultural policy put an additional USD 11 million (CAD 15 million) into the QDCP and extended it for two additional years, bringing the total investment to USD 91 million (CAD 125 million) over nine years (2014-2023).

For the 2019-2020 fiscal year, USD 13.2 million (CAD 18.2 million) was invested.

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

The implementation is currently being evaluated.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Several government ministries and agencies are involved in implementing the QDCP, along with a number of private sector and civil society organizations.
Type of entity: 
Public Sector

Action plan for data on Québec cultural content - Measure 111 of the Québec Digital Cultural Plan

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The action plan for data on Québec cultural content (Measure 111) is part of Québec’s new cultural policy and, more specifically, the Québec Digital Cultural Plan. It is a response to the conclusions of the report entitled État des lieux sur les métadonnées relatives aux contenus culturels [Current Status of Metadata on Cultural Content], published by the Observatoire de la Culture et des Communications du Québec (OCCQ [Québec Culture and Communications Observatory]) in 2017. It also contributes to the implementation of MCC’s 2019–2023 strategic plan [in French only]. The action plan for Québec cultural content is based on four major objectives and work plans defined on an annual basis: 1. Increase metadata expertise within MCC, crown corporations and the environment; 2. Make it easier for the public to discover Québec cultural content (visibility); 3. Contribute to the efficiency of the chain of remuneration for creators (traceability); 4. Facilitate measurement of the consumption of cultural products in Québec.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The results of Measure 111 are currently in the form of findings by the committees for the various cultural sectors. The main points of consensus across the committees are as follows: • The need for common standards for describing cultural content, i.e. the same way of describing content and organizing data for automated processing • An interest in developing a reference database for each sector • The need for each production and each creator to be uniquely identified so that data can be more easily linked • A willingness to explore the potential for linking data from the various sectors • The importance of having data on Québec cultural content in the Wikimedia universe (Wikipedia, Wikidata, etc.) to improve its discoverability The work of the sectoral committees has given the community an opportunity to make comments, promoted the sharing of experiences and a better understanding of the challenges, and demonstrated that all sectors are engaged and ready to move forward. As 2019–2020 draws to a close, it is clear that in all sectors, key players are increasingly aware of the importance of data and are ready to start working to address the associated challenges. Nor should the committees’ impact on their organization be overlooked. The observations highlighted several areas for improvement, which have led to changes in some cultural institutions (e.g. adoption of the International Standard Name Identifier (ISNI)).
Financial resources allocated to the policy/measure in USD: 

For 2019-2020, USD 554,854 (CAD765,000)

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Committees representing cultural sectors
Type of entity: 
Public Sector
Name of partner: 
Committees representing cultural sectors
Type of entity: 
Private Sector

Establish and staff a network of digital cultural development agents – Measure 120 of the Québec Digital Cultural Plan

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Conseil des arts et des lettres du Québec (CALQ [Québec Council of Arts and Letters])
Société de développement des entreprises culturelles (SODEC [Cultural Enterprise Development Corporation])
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
In 2016, the Québec Digital Cultural Plan (QDCP) implemented a major “support and assimilation” project, assigning the application of measures to cultural Crown corporations, Compétence culture, Québec numérique and Culture pour tous. The vision of the “support and assimilation” project is to support and assist cultural sector stakeholders in adapting and sharing new practices. The purpose is to provide the entire Québec cultural community with a broad, cross-cutting view of its relationship with digital technology and to ensure that initiatives combining culture and digital technology • can take precedence over the business interests of individual organizations and individuals; • can find solutions that address the needs of the cultural community more directly; • support the transformation of the cultural community’s digital practices so that it can take advantage of the opportunities generated; • can produce learning that is accessible and transferable to other sectors or stakeholders. Measure 120 – Establish and staff a network of digital cultural development officers Complementing the measures already in place, Measure 120 comes into play in the fifth, sixth and seventh years of the QDCP. It makes it possible to hire digital cultural development officers (DCDOs) by provincial, sectoral or regional organizations federated under the DCDO network. The latter’s objectives are as follows: • Assert the cultural community’s digital leadership; • Encourage the sharing of issues, the implementation of sustainable collective solutions and the development of core projects; • Support the digital transformation of participating provincial, sectoral and regional organizations.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Two tangible results: 1) Forty-seven DCDOs engaged in the digital transformation of the 56 organizations (and their members) that hired them, based on four specific mandates: coordination, training, monitoring and project development 2) A community of professional practice in action around the sharing of problems and sustainable collective solutions and the development of core projects
Financial resources allocated to the policy/measure in USD: 

Approximately USD 5 million (CAD 7 million) for the duration of the measure, from 2019 to 2022.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Québec numérique
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Fifty-six provincial, regional or sectoral organizations
Type of entity: 
Civil Society Organization (CSO)

France-Quebéc mission on the discoverability of Francophone cultural content online

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
On April 3, 2019, the Minister of Culture of France and the Minister of Culture and Communications of Québec announced the official launch of the France-Québec mission on the discoverability of French-language cultural content online. This mandate was assigned to a chargé de mission appointed within each of the two departments. The discoverability of content in the digital environment refers to its online availability and its identifiability within the vast array of other content by someone who was not specifically searching for it. It depends not only on the specific characteristics of the content, but also increasingly on the global strategies of a few major players that concentrate online cultural practices. In a context where cultural practices are largely influenced by the evolution of the digital environment, the discoverability of local content is a major challenge for the diversity of cultural expressions. The objective of this collaboration is to establish an initial diagnosis of the various issues and factors associated with discoverability, and then to propose and implement short-, medium- and long-term solutions to ensure the online visibility of Francophone artists and works in sectors such as music, audiovisual, books and publishing, performing arts, visual arts and heritage.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
To address this crucial issue, the French and Québec chargés de mission held meetings in 2019 with leaders from more than 100 institutional, industrial and economic organizations active in the cultural sectors on both sides of the Atlantic. Researchers were also commissioned to produce studies based on their research. The chargés de mission also spoke at the International Study Days on Access to and Discoverability of Francophone Cultural Content in the Digital Age, which were co-organized by the University of Québec at Montréal and the International Organization of La Francophonie (IOF) on October 23 and 24, 2019. The results of this mission are expected in 2020. In addition, a presentation on the recommendations produced by this joint mission will be made to IOF member governments at the next Francophonie Summit, which is scheduled to take place in Djerba in 2021.
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ministry of Culture of France
Type of entity: 
Public Sector

Plan d’action pour la musique (PAM [Music Action Plan])

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Música
Describe the main features of the policy/measure: 
The 2017–2019 music action plan was designed to provide transitional support to the music industry to help it make the digital transformation. The plan has four areas of action: 1. Support creators and the music industry to facilitate the digital transformation through a temporary increase in financial aid to businesses. 2. Develop core measures to address digital issues in the music sector, including the development of a common repository of Québec metadata and preparatory work to facilitate the management of Québec music metadata. 3. Promote French-language songs and Québec music to provide exposure for our artists in Québec and abroad. Defend the unique characteristics of the Québec music industry in the digital age, particularly in interactions with the Canadian broadcasting regulatory authority.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The music action plan has achieved the following goals: • Stabilizing the revenues of the companies that make up the Québec music industry; • Maintaining investment in the production of sound recordings and shows; • Creating the common repository of Québec music metadata in partnership with industry representatives; • Creating an industry-wide metadata indexing tool and holding discussions on the tool’s governance; • Promoting the exposure of young Québec audiences to works by our artists; Supporting the development of our artists here and internationally.
Financial resources allocated to the policy/measure in USD: 

Between 2017 and 2019, MCC allocated CAD 8.6 million to its effort to support all players in the Quebec music industry.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Société de développement des entreprises culturelles du Québec (SODEC [Québec Cultural Enterprise Development Corporation])
Type of entity: 
Public Sector
Name of partner: 
Secrétariat à la politique linguistique [Linguistic Policy Secretariat]
Type of entity: 
Public Sector
Name of partner: 
Association québécoise de l’industrie du disque, du spectacle et de la vidéo (ADISQ [Québec Album, Show and Video Industry Association])
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Société de gestion collective des droits des producteurs d’enregistrements sonores et de vidéoclips (SOPROQ [Québec Collective Management of the Rights of Sound and Video Recording Producers])
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Association des professionnels de l’édition musicale (APEM [Professional Music Publishers’ Association])
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Société professionnelle des auteurs et des compositeurs du Québec (SPACQ [Québec Association of Professional Songwriters and Composers])
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Guilde des musiciens et des musiciennes du Québec (GMMQ [Québec Musicians Guild])
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
ARTISTI
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Society of Composers, Authors and Music Publishers of Canada (SOCAN)
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Regroupement des artisans de la musique (RAM)
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Union des artistes (UDA [Québec Artists’ Union])
Type of entity: 
Civil Society Organization (CSO)

Partnering with Civil Society

Professional organizations and/or trade unions representing artists and/or cultural professionals in the following sectors exist in your country (i.e. federation of musicians, publishers unions, etc.): 
Cinema/Audiovisual arts
Design
Media Arts
Music
Publishing
Visual Arts
Performing Arts
Public funding schemes supporting CSOs involvement in promoting the diversity of cultural expressions exist: 
YES
Training and mentoring opportunities were organized or supported by public authorities during the last 4 years to build skills on communication, advocacy and/or fundraising of civil society organizations involved in the promotion of the diversity of cultural expressions: 
YES
Dialogue mechanisms between public authorities and CSOs for cultural policy making and/or monitoring have been implemented during the last 4 years (meetings, working groups, etc.): 
YES
If YES, please provide up to 2 examples: 
Following its appointment in June 2018, the Broadcasting and Telecommunications Legislative Review Panel undertook an extensive communications and consultation process to identify the critical issues facing Canadians, and to gather ideas and reflections in order to answer the complex questions for which they had the mandate, to formulate concrete recommendations. The Panel held face-to-face meetings with stakeholders in Vancouver, Calgary, Whitehorse, Yellowknife, Iqaluit, Winnipeg, Toronto, Ottawa, Montreal, Halifax and St. John's. The organizations they met were diverse and included industry, creators, Aboriginal communities, OLMCs, public interest groups, accessibility groups and other groups.
The cultural policy of Québec, Partout, la culture, is the result of an extensive consultations process: thousands of Quebecers participated in this exercise, as representatives of organizations or as individuals.
Policies and measures promoting the diversity of cultural expressions have been elaborated in consultation with CSOs during the last 4 years: 
YES
Relevant Policies and Measures: 

Support for projects of civil society organizations working in the field of the diversity of cultural expressions

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Ministère des Relations internationales et de la Francophonie (MRIF) [Ministry of International Relations and the Francophonie]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
MCC and MRIF support one-time projects by CSOs that are consistent with the Government of Québec’s priorities with respect to the implementation of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. A number of CSO projects have been supported since 2016, including the following: 2016–2017 • The Study on International Cooperation with French-speaking African Countries for the Implementation of the Convention on the Diversity of Cultural Expressions in the Digital Environment (hereinafter “the Study”), carried out by the UNESCO Chair on the Diversity of Cultural Expressions at Laval University 2019–2020 • International study days on discoverability, organized by the International Organisation of La Francophonie (IOF) and the University of Québec at Montreal (UQAM) on October 23 and 24, 2019 • An international seminar entitled “Les approches intégrées de la protection des ressources culturelles et naturelles en droit national et international : un état des lieux” [“An Inventory of Integrated Approaches to the Protection of Cultural and Natural Resources in National and International Law”], organized by the UNESCO Chair on the Diversity of Cultural Expressions at Laval University, September 12 and 13, 2019 • Support for the participation of speakers at an event organized by the International Federation of Coalitions for Cultural Diversity (IFCCD) in Togo (November 2019) • Preparation of the Guide to the Negotiation of Cultural Clauses in Trade Agreements (hereafter “the Guide”), launch of the Guide and seminar entitled “Prendre en compte la nature spécifique de la culture dans la négociation et la mise en œuvre d’engagements en matière de commerce électronique : Pourquoi? Comment?” [Consideration of the specific nature of culture in the negotiation and implementation of e-commerce commitments: why? how?] (January 31, 2020)
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The Study and the Guide were distributed to the Parties to the Convention at the 7th session of the Conference of Parties in June 2019 and at the 13th session of the Intergovernmental Committee in February 2020, respectively, thereby contributing to their capacity-building. Proceedings of the symposium entitled “An Inventory of Integrated Approaches to the Protection of Cultural and Natural Resources in National and International Law” will be published in 2020.
Financial resources allocated to the policy/measure in USD: 

NB The amounts shown below represent the total funding by the Government of Quebec (MCC and MRIF).

2016-2017
* Production, release and translation of the Study on International Cooperation with French-speaking African Countries for the Implementation of the Convention on the Diversity of Cultural Expressions in the Digital Environment: USD 23,572 (CAD 32,500)

2019-2020
* International study days on discoverability: USD 14, 528 (CAD 20,030)
* International seminar entitled "An Inventory of Integrated Approaches to the Protection of Cultural and Natural Resources in National and International Law": USD 4,351 (CAD 6,000)
* Support for the participation of speakers at an event organized by the International Federation of Coalitions for Cultural Diversity (IFCCD) in Togo (November 2019): USD 3,094.27 (CAD 4,266.19)
* Production of the Guide to the Negotiation of Cultural Clauses in Trade Agreements, launch of the Guide and seminar entitled "Prendre en compte la nature specifique de la culture dans la negociation et la mise en oeuvre d'engagements en matiere de commerce electronique : Pourquoi? Comment?" [Consideration of the specific nature of culture in the negotiation and implementation of e-commerce commitments: why? how?] (January 31, 2020): USD 22,847 (CAD 31,500)

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
UNESCO Chair on the Diversity of Cultural Expressions
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Coalition for the Diversity of Cultural Expressions
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
University of Québec at Montréal
Type of entity: 
Civil Society Organization (CSO)

Goal 2 - Achieve a Balanced Flow of Cultural Goods and Services and Increase the Mobility of Artists and Cultural Professionals

Mobility of Artists and Cultural Professionals

Please indicate if the following policies and measures exist in your country: 
Policies and measures supporting the outward mobility of artists and cultural professionals (e.g. export offices, support for participation in international cultural markets for cultural professionals, etc.)
Specific visa policies or other cross border measures supporting the inward mobility of foreign artists and cultural professionals in your country (e.g. simplified visa procedures, reduced fees for visas, visas for longer durations)
Work permit regulations supporting the inward mobility of foreign artists and cultural professionals in your country (e.g. double taxation avoidance agreements, special work permits and health insurance, subsidies to cover living expenses, etc.)
Please indicate if the following operational programmes have been developed or supported/funded by public authorities during the last 4 years: 
Information resources or training services providing practical guidance to facilitate the mobility of cultural professionals (e.g. Internet platforms)
Major cultural events (e.g. cultural seasons, festivals, cultural industries markets, etc.) having a mandate to promote the diversity of cultural expressions and hosting a large number of foreign artists, notably from developing countries
Please indicate if the following mobility funds (e.g. scholarships, travel grants, etc.) have been managed or supported by public authorities during the last 4 years: 
Public funds supporting the outward mobility of national or resident artists and other cultural professionals
Public funds supporting the inward mobility of foreign artists and other cultural professionals, notably from developing countries
Relevant Policies and Measures: 

Creative Export Strategy - Canada Arts Presentation Fund (CAPF)

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Música
Las artes escénicas
Describe the main features of the policy/measure: 
The Canada Arts Presentation Fund (CAPF) gives Canadians access to a variety of professional artistic experiences in their communities by providing financial assistance to arts presenters that professionally present arts festivals or performing arts series, as well as their support organizations. As part of Canada’s Creative Export Strategy, CAPF has been provided USD 372,625 (CAD 500,000 ) per year from 2017-2018 to 2022-2023 to support the promotion of Canadian artists to international markets through festivals and contact events, by supporting delegations of international presenters to participate at Canadian festivals, contact events or presenter conferences as well as delegations of Canadian arts presenters to attend international arts events. Eligible activities include: • Delegations of international presenters to participate at Canadian festivals, as well as contact events or presenter conferences with a ‘market’ or ‘showcase’ component as a core activity. • Delegations of Canadian arts presenters to attend international arts events which facilitate peer-to-peer contact, and which are essential for the promotion of Canadian artists in international markets.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The number of delegations of Canadian arts presenters at international arts events has steadily increased. In 2017-18 there were 19 delegations, 2018-19 there were 24 delegations and 2019-20 there were 29 delegations. Expected results include an increase in the number and quality of opportunities for interactions between international and Canadian artists and presenters leading to reciprocal participation of Canadian arts presenters at international events.
Financial resources allocated to the policy/measure in USD: 

CAPF has been provided 383,000 (CAD 500,000) per year from 2017-18 to 2022-23.

Has the implementation of the policy/measure been evaluated?: 
NO

Canada Council Granting Programs: Arts Across Canada and Arts Abroad

Name of agency responsible for the implementation of the policy/measure: 
Canada Council for the Arts
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The Canada Council’s Arts Abroad Program celebrates the creativity, innovation and excellence of Canadian artists by helping to bring Canadian works to the world. This program supports artists, arts professionals, groups and organizations to enhance international exposure, undertake artistic exploration or exchanges with international colleagues, and nurture new and existing art markets in a global context. This program includes six components: a. Travel: Project grants for artists, arts professionals, groups and organizations to travel abroad to network, collaborate and build the international profile of Canadian arts practice b. Representation and Promotion: Project grants to support Canadian organizations that represent Canadian artists to travel to develop international markets and promote work abroad c. Translation: Project grants for Canadian or foreign organizations to translate Canadian literary and dramatic works for publication or presentation abroad d. Circulation and Touring: Project grants for Canadian artists, groups and organizations to circulate exhibitions and tour internationally e. Residencies: Project grants for artists, arts professionals, artistic groups and arts organizations to participate in residencies abroad f. Co-productions: Project grants for Canadian artistic groups and arts organizations to be partners in international co-productions of new work or exhibitions The Canada Council’s Arts Across Canada Program fosters meaningful relationships and exchanges between artists and the Canadian public. Artists, arts professionals, groups and arts organizations can apply to present and share artistic work with diverse communities across the country, engage more deeply with the public and develop a stronger national profile. Festivals and other presenters can apply to highlight the work of Canadian and international artists, and contribute to the growing dialogue and exchange on the arts in Canada. This program includes a component for Foreign Artist Tours, which provides project grants for Canadian arts organizations to host tours of foreign artists in Canada.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Note: Figures below are in Canadian dollars (CAD). Arts Abroad 2017-18: - $12.8 million total awarded - 403 arts organizations supported ($8.2 million awarded) - 97 groups supported ($1.5 million awarded) - 657 artists supported ($3.1 million awarded) 2018-19: - $16 million total awarded - 485 arts organizations supported ($9.1 million awarded) - 130 groups supported ($2.1 million awarded) - 901 artists supported ($4.8 million awarded) Arts Across Canada 2017-18: - $18.6 million total awarded - 586 arts organizations supported ($16.5 million awarded) - 108 groups supported ($1.2 million awarded) - 245 artists supported ($899.9 thousand awarded) 2018-19: - $22.5 million total awarded - 638 arts organizations supported ($19.5 million awarded) - 129 groups supported ($1.5 million awarded) - 346 artists supported ($1.4 million awarded)
Financial resources allocated to the policy/measure in USD: 

Arts Abroad
2017-18: USD 9.8 million (CAD 12.8 million )
2018-19: USD 12.3 million (CAD 16 million)

Arts Across Canada
2017-18: USD 14.3 million (CAD 18.6 million )
2018-19: USD 17.2 million (CAD 22.5 million)

Has the implementation of the policy/measure been evaluated?: 
NO

Ontario-Québec Cultural Exchange Program

Name of agency responsible for the implementation of the policy/measure: 
Ontario Ministry of Heritage, Sport, Tourism and Culture Industries
Québec ministère de la Culture et des Communications
Describe the main features of the policy/measure: 
This program, which ran for two years (2017-18 and 2018-19), aimed to strengthen the cultural dialogue and foster greater cultural collaboration between Ontario and Québec. The program was part of the joint action plan under the Agreement for Cooperation on Culture, which was renewed by Ontario and Québec in October 2016. Priority was given to projects that supported the co-creation or co-dissemination of digital cultural content, or innovative initiates allowing the cultural sectors adapt to new digital realities. Special consideration was given to projects involving partners from communities located outside major urban centres.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Six projects were funded in the first year of the program (2017-18) and another five in 2018-19. Initiatives supported by the program include: • A market development project, promoting the creation and presentation of dance works by Indigenous and pluralistic dance artists among performing arts presenters in both Ontario and Québec; • Co-creation between a Franco-Ontarian theatre company and an Indigenous theatre company of a play for children between the ages of two and six years-old that explores Indigenous cosmogony (theory of the origins of the universe), to be presented in both provinces; • A one-day conference bringing together artists, cultural workers and organizations from both provinces to consider the challenges of the digital revolution; • A multi-faceted project exploring ways to integrate cultural diversity into theatre creation, involving a theatre laboratory, a practitioner symposium and a digital portal (postmarginal.ca); • A crossover creation residency for Québec and Ontario storytellers to acquaint themselves with each other's storytelling canons with the goal of re-interpreting the stories and legends to new audiences; and • “LIBLAB bilingue”, an inaugural partnership between Opera de Montréal and Tapestry Opera (Toronto), bringing together four composers and four librettists to create 16 operas over a 10-day period, with performance to take place in Montréal and Toronto in 2020.
Financial resources allocated to the policy/measure in USD: 

USD 44,715 (CAD $60,000) per year for each of 2017-18 and 2018-19

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ontario Ministry of Heritage, Sport, Tourism and Culture Industries
Type of entity: 
Public Sector
Name of partner: 
Québec ministère de la Culture et des Communications

Development of markets outside Québec and international promotion of Québec culture

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Québec government action today is taking place in an environment of increased competition and rapid change. To be effective, that action must reflect the modest size of Québec’s domestic market and be deployed in a coordinated manner on a number of levels. MCC is responsible for coordinating government action to develop international culture markets. To do so, it works in cooperation with its government partners, the Ministère des Relations internationales et de la Francophonie (MRIF [Ministry of International Relations and the Francophonie]) and Québec’s offices abroad, the Ministère de l’Économie et de l’Innovation (MEI [Ministry of the Economy and Innovation]), the Conseil des arts et des lettres du Québec (CALQ [Québec Council of Arts and Letters]) and the Société de développement des entreprises culturelles (SODEC [Cultural Enterprise Development Corporation]). Québec’s cultural policy, Partout, la culture (see Section 1.1.1), is designed to maintain the presence and vitality of the province’s culture everywhere, including in Canada, internationally and on digital platforms. To that end, it pursues the objective of supporting artists and cultural enterprises and organizations in their actions to develop international markets (Objective 4.4.). Québec’s International Vision (see Section 1.1.2) contributes to the same objective. Among the measures planned to support artists, businesses and cultural organizations in their efforts to develop international markets, the Government of Québec intends to stimulate the export, outreach and discoverability of Québec cultural works and productions (Measure 40 of the 2018–2023 government action plan for culture) through a number of actions, including the following: • Enhance support for touring and for the dissemination and export of Québec cultural productions; • Increase support for the outward mobility of Québec artists, organizations and cultural enterprises; • Create cultural showcases and accentuate collective activities abroad; • Provide funding for international co-production; • Enhance the services offered to the cultural community by Québec’s offices abroad.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
2019–2020 Through the market development budget allocated to Québec’s offices abroad and the Aide aux Projets-Volet Accueil program, MCC supported 52 showcases and collective activities abroad. These include Québec’s presence at the International Performing Arts for Youth (IPAY) Congress in Philadelphia, the music showcase at Linecheck / Milano Music Week, the Canada/Québec focus at the Bremen dance festival (Tanz Bremen), the Effet Québec showcase of Québec creativity in Tokyo, the Québeciné film festival in Mexico City and the Canada/Québec focus at the African Performing Arts Market in Abidjan.
Financial resources allocated to the policy/measure in USD: 

The total funding planned for Measure 40 is USD 10 million (CAD 14 million) over five years (2018-2023).

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
MRIF and Québec’s offices abroad
Type of entity: 
Public Sector
Name of partner: 
MEI
Type of entity: 
Public Sector
Name of partner: 
CALQ
Type of entity: 
Public Sector
Name of partner: 
SODEC
Type of entity: 
Public Sector
Name of partner: 
Les Offices jeunesse internationaux du Québec (LOJIQ [Québec International Youth Offices])
Type of entity: 
Public Sector
Name of partner: 
The Musée d’art contemporain de Montréal (MACM [Montréal Museum of Contemporary Art])
Type of entity: 
Public Sector
Name of partner: 
Musée national des beaux-arts du Québec (MNBAQ [Fine Arts Museum of Québec])
Type of entity: 
Public Sector
Name of partner: 
Musée de la civilisation du Québec (MCQ [Québec Museum of Civilization])
Type of entity: 
Public Sector
Name of partner: 
Société de télédiffusion du Québec (STQ [Québec Broadcasting Corporation])
Type of entity: 
Public Sector
Name of partner: 
Investissement Québec (IQ)
Type of entity: 
Public Sector

International culture commitments between the Government of Quebec and foreign partners

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Ministry of Culture and Communications]
Ministère des Relations internationales et de la Francophonie [Ministry of International Relations and the Francophonie]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Bilaterally, more than 30 international commitments, both multisectoral (with a cultural component) and sectoral (specific to culture), have been signed between the Government of Quebec and foreign partners since the 1960s. Those commitments, which are still in force, mainly concern the implementation of cooperation projects and activities defined jointly by the states and governments concerned. They are primarily intended to foster lasting collaboration between Quebec and its partners; promote co-creation and co-presentation; encourage the sharing of expertise, experience and information; and facilitate the mobility of artists, cultural professionals, and the cultural goods and services of the two parties. Implementation differs between commitments, but it is generally assigned to working groups composed of representatives of the two parties. Those groups meet on an annual or biennial basis. Between 2016 and 2020, seven new international commitments were made between Quebec and the following: • Kyoto Prefecture (a friendship and cooperation agreement) • The Republic of Cuba (a joint statement) • The Basque Country (a memorandum of understanding)* • The State of Louisiana (a joint statement) • The Government of the State of Maharashtra (a cooperation agreement) • Flanders (a joint statement)* • Wales (a statement of intent)* * These agreements contain a reference to the Convention on the Protection and Promotion of the Diversity of Cultural Expressions.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The results vary from commitment to commitment. Nevertheless, they must generally • involve at least one foreign partner and one Quebec partner; • be conducted jointly, in both territories, based on the principle of reciprocity and mutual commitment with regard to funding and concrete benefits; • promote long-term exchanges between Quebec and the foreign state or government; • be culturally far-reaching and abundant in benefits for both partners; • establish, or facilitate access to, networks for the creation, dissemination and marketing of cultural products or services; • encourage the development of specific skills in cultural domains.
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Quebec Council of Arts and Letters
Type of entity: 
Public Sector
Name of partner: 
SODEC [Cultural Enterprise Development Corporation]
Type of entity: 
Public Sector

Specific commitments of agencies and Crown corporations reporting to the Minister of Culture and Communications

Name of agency responsible for the implementation of the policy/measure: 
Conseil des arts et des lettres du Québec (CALQ) [Quebec Council of Arts and Letters]
Musée de la Civilisation du Québec (MCQ) [Quebec Museum of Civilization]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Based on their areas of jurisdiction, a number of agencies and Crown corporations reporting to the Minister of Culture and Communications enter into specific agreements with foreign institutions or governments to develop partnerships. The agreements cover international cooperation initiatives in the cultural sector. In particular, through its studios and workshop residences, CALQ supports and stimulates creators by providing them with an appropriate environment and means for the production and presentation of their works, by promoting the exchange of artistic and literary views, and by contributing to the establishment of lasting ties between creators in Quebec and other countries. Since 2016, CALQ has signed two agreements: a cross-residency and workshop-residency agreement in the visual arts sector with the Ministry of Culture of Senegal and a cross-residency and workshop-residency agreement in the visual arts and comic strip sector with the Ministry of Culture and Communication of Morocco. The Musée de la civilisation de Québec (MCQ) has a number of international outreach activities that promote professional cultural exchanges, the mobility of artists and cultural professionals, and the transfer of knowledge and expertise in the cultural sector. The MCQ’s international cooperation activities take many forms: borrowing and lending of collection objects, partnership exhibition projects and exhibition tours, promotion of various cultures through cultural mediation activities, collaboration with universities and hosting of foreign students. Every year, the MCQ hosts interns from abroad (mainly from Francophone countries, especially France and Belgium), particularly in the design and museology sectors. From 2016 to 2019, a number of exhibitions were co-produced with international partners and had a high profile beyond Quebec’s borders, including the following: • “Resiliência, life stories from Brazil in collaboration with the Museum da Pessoa [Museum of the Person] in São Paulo • “Comme chiens et chats,” from the Cité des sciences et de l’industrie in Paris • “Hergé à Québec,” produced by Moulinsart and Hergé Studios of Belgium, an unparalleled success in the summer of 2017 • “London Calling,” with the assistance of several important museums in the United Kingdom, including the Victoria and Albert Museum in London • “My 2000-Year-Old Double,” in partnership with the Musées d’art et d’histoire de Genève [Geneva Museums of Art and History] and the Gandur Foundation for Art, winner of several awards for its innovative concept • “Venenum, A Poisonous World,” with Lyon’s Musée des Confluences • “Curiosities of the Natural World,” with the Natural History Museum in London
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Through these various commitments, the Government of Quebec wishes to encourage greater mobility of Quebec artists, cultural professionals and cultural products in order to promote Quebec culture on the international scene. It also wishes to encourage the exchange of expertise between cultural institutions in Quebec and other countries.
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ministry of Culture of Senegal
Type of entity: 
Public Sector
Name of partner: 
Ministry of Culture and Communication of Morocco
Type of entity: 
Public Sector
Name of partner: 
Cité des sciences et de l’industrie in Paris
Type of entity: 
Public Sector
Name of partner: 
Museum of the Person in São Paulo
Type of entity: 
Public Sector
Name of partner: 
Moulinsart and Hergé Studios of Belgium
Type of entity: 
Public Sector
Name of partner: 
Several important museums in the United Kingdom (including the Victoria and Albert Museum and the Natural History Museum in London)
Type of entity: 
Public Sector
Name of partner: 
Musées d’art et d’histoire de Genève
Type of entity: 
Public Sector
Name of partner: 
Fondation Gandur pour l’Art and the Musée des Confluences in Lyon
Type of entity: 
Public Sector

Flow of Cultural Goods and Services

Export strategies or measures to support the distribution of cultural goods and services outside your country exist for the following cultural domains: 
Cinema/Audiovisual arts
Design
Media Arts
Music
Publishing
Visual Arts
Performing Arts
Cultural management
Your country has granted or benefited from preferential treatment* to support a balanced exchange of cultural goods and services in the last 4 years: 
-
If YES, please provide up to 2 examples: 
-
Your country has provided or benefited in the last 4 years from Aid for Trade support, a form of Official Development Assistance (ODA), that helped to build capacities to formulate trade policies, participate in negotiating and implementing agreements that provide a special status to cultural goods and services: 
YES, I have provided Aid for Trade support
If YES, please provide up to 2 examples: 
Expert Deployment Mechanism (EDM) 2018-2025 Implemented by Cowater International and the Institute of Public Administration of Canada (IPAC) - EDM will help reduce poverty by deploying technical assistance on a responsive basis to help developing countries negotiate, implement, adapt to and benefit from bilateral or regional Free Trade Agreements (FTAs) and Foreign Investment Protection Agreements (FIPAs) with Canada.
Trading Partners Responsive Facility 2015-2018 The TPRF was designed to develop small-scale projects (particularly for SMEs) that respond to specific requests from a developing partner country in the context of trade negotiations or subsequent to trade agreement implementation, and to help developing partner countries to take advantage of new export opportunities created by free trade agreements with Canada.
Value of direct foreign investment in creative and cultural industries (in USD): 
4,100,000,000USD
2018
Relevant Policies and Measures: 

Creative Export Strategy

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The Creative Export Strategy was launched in June 2018 with an investment of $125 million over five years to assist Canadian creative industries to maximise their export potential. The Creative Export Strategy is being implemented across three key pillars of activities: 1) Boosting export funding in existing Canadian Heritage programs and Telefilm Canada to position creative industries for export and sales in foreign markets: • The Canada Arts Presentation Fund: To support participation of arts presenters and stakeholders at key Canadian festivals and arts events, and participation of delegations of Canadian arts presenters in key international arts events; • The Canada Book Fund: To support preparation for Canada as Guest of Honour Country at the Frankfurt Book Fair and support publishers’ participation at international book fairs and exploratory trade missions; • The Canada Music Fund: To support professional bootcamps, international touring and marketing, business development, and buyers missions to Canada; • The Canada Periodical Fund: To support participation of magazine publishers at trade shows and international conferences, exploratory trade missions, and export readiness support; and, • Telefilm Canada: To produce up to two additional coproductions annually. 2) Increasing and strengthening the presence of Canadian creative industries abroad by: • Promoting Canadian artists and culture internationally and increasing support for Canada's international priorities; and • Offering direct services to companies through Global Affairs Canada’s Trade Commissioner Service. 3) Grow creative industries by funding export-ready projects through the Creative Export Canada program and building the relationships needed to make business deals. This includes the following sub-activities: a) The Creative Export Canada program provides financial support for projects that foster innovation, generate export revenues and enhance the discoverability of Canadian content abroad. b) Creating opportunities and increasing export capacity through the coordination of trade missions (e.g., Latin America 2019 and China 2018), international trade events (e.g., Edinburgh Festivals - August 2018 and 2019 and the Game Developers Conference in San Francisco - March 2019) and partnerships (e.g., the Canada-Mexico Partnership). c) Leading Canada’s overall participation as the Guest of Honour Country at the Frankfurt Book Fair, the publishing industry’s largest event.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The Creative Export Strategy supported over 1,000 Canadian creative businesses in 2018-2019 across its three pillars of activity. Support was provided for export activities around the globe, particularly in France, Germany, the United Kingdom and the United States. Other results and activities of note across the Strategy’s three pillars include the following: • The Canada Periodical Fund funded 26 export projects, benefiting 35 Canadian periodical publishers; • The Canada Arts Presentation Fund funded 24 projects, 20 of which supported the participation of international presenters at Canadian events and 4 that supported the participation of Canadian presenters to international events; • The Trade Commissioner Service of Canada offered services to 671 services to creative companies across 9 missions, such as the United States, France, the United Kingdom, India, Japan, China and Mexico; • The China and Latin America trade missions led to the signature (or advanced negotiation) of 56 commercial agreements for Canadian creative businesses; • The Creative Export Canada program funded 20 export projects, directly benefiting 85 Canadian creative businesses and helping to promote thousands of artists abroad.
Financial resources allocated to the policy/measure in USD: 

Starting in June 2018, the Government of Canada provides USD 18 million (CAD 25 million) a year for five years, to fund the Creative Export Strategy.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Global Affairs Canada
Type of entity: 
Public Sector
Name of partner: 
Telefilm Canada
Type of entity: 
Public Sector

The Creative Saskatchewan Investment Fund

Name of agency responsible for the implementation of the policy/measure: 
Creative Saskatchewan
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Creative Saskatchewan was established as a crown agency of the Government of Saskatchewan in recognition of the integral role that creative industries play in a vibrant Saskatchewan. Creative Saskatchewan stimulates the commercialization of creative products and helps Saskatchewan’s creative talent find firmer footing in domestic and international markets. The agency accomplishes this by administering the Creative Saskatchewan Investment Fund via a suite of grants, mentoring opportunities, and investments in creative industry associations. Since its establishment, the agency has been operating a variety of grants to support creative industries including: -Production grants -Marketing grants -Export grants -Business Capacity, Research and Development grants Several creative industry development associations receive significant operational and programs support via the Creative Saskatchewan Investment Fund including: -Saskatchewan Media Production Industry Association: SMPIA represents members of the media and screen-based production industry of Saskatchewan through communication, training and advocacy. -SaskBooks: Saskatchewan’s provincial creative industry association for book publishers. They are a not-for-profit association whose members are book publishers operating in Saskatchewan. -SaskMusic: A non-profit, member-based association that represents, promotes and develops the artists and music industry of Saskatchewan. SaskMusic offers one-on-one guidance, workshops, marketing and export assistance, career development opportunities, peer sessions, artist and business listings, and more. -SaskGalleries: The Saskatchewan Professional Art Galleries Association is a not-for-profit, member-based organization that represents Saskatchewan commercial art galleries who sell the art of local, national, and international artists, including more than 600 Saskatchewan artists. The association promotes, develops and encourages the growth of Saskatchewan professional commercial art galleries who exhibit and sell original works of art. -SaskInteractive: Represents members involved in the development of content-based interactive digital media, as well as consumers and stakeholders. Our mission is to serve and support an entrepreneurial network of interactive producers, developers and designers. -Saskatchewan Craft Council: The SCC fosters an environment where excellence in craft is nurtured, recognized and valued. The SCC supports Saskatchewan craftspeople to flourish creatively and economically, and actively engages with Saskatchewan’s Indigenous communities. -Saskatchewan Association of Theatre Professionals: SATP drives economic growth in the live performing arts industry and facilitates creative development while working for increased public awareness and support for the theatre professionals and professional theatre. These investments strengthen creative sector economic impact while fulfilling Creative Saskatchewan’s mandate to positively affect the gross domestic product (GDP) of the Province of Saskatchewan.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The Screen-Based Media / Feature Film / Television Production Grants provide a production incentive based on the amount of eligible spending in Saskatchewan. To date, the grant has invested $7.2 million (USD), triggering at least $20 million (USD) in production spending in Saskatchewan. The Market Travel Grant covers up to 50% of a creative entrepreneur’s travel costs to participate in creative industry marketing events around the world. Since inception, Saskatchewan’s creative entrepreneurs have accessed the Market Travel Grant to participate in more than 500 national and international marketing events. The Market and Export Development Grant covers up to half the expenses of a wide spectrum of marketing activities, materials and strategies. The grant has helped creative entrepreneurs launch marketing campaings for movies, books, albums, fine craft and more. Other projects propelled by funding from this grant have included sales catalogues, improved websites, music videos, retail incubators, and more. The Tour Support Grant has invested in more than 230 music tours, helping Saskatchewan musicians take stages and win new audiences across North America, Europe, Asia and Australia. Grant recipients have reported that our grant programs a) had a significant impact on their businesses and b) helped them advance their business goals, scoring, on average, each category 4.51 and 4.56 out of 5 respectively.
Financial resources allocated to the policy/measure in USD: 

$23 million (USD) since 2013

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

The most recent comprehensive review of Creative Saskatchewan took place in 2015.

The consultations led to the implementation by Creative Saskatchewan of several recommendations, including a new communications plan, a new website and an online application system, a review of program policies and procedures, an examination of funding equity, and a review of board governance.

Indicators used to assess successes of the Crown Agency included: alignment with Saskatchewan's cultural policy and with sister agencies that support arts (Saskatchewan Arts Board) and culture (SaskCulture); alignment with government direction; compliance with agency legislation; progress toward agency goals; and achievements in sector development, communications and client services.

For more information on the consultation report, please see: https://www.saskatchewan.ca/government/public-consultations/creative-sas...

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Government of Saskatchewan, Ministry of Parks, Culture and Sport
Type of entity: 
Public Sector
Name of partner: 
Creative Saskatchewan
Type of entity: 
Public Sector
Name of partner: 
Government of Saskatchewan
Type of entity: 
Public Sector

Creative Industries Fund

Name of agency responsible for the implementation of the policy/measure: 
Province of Nova Scotia Department of Communities, Culture and Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The Creative Industries Fund invests in Nova Scotia registered cultural businesses that are focused on global exporting and supports not-for-profits and social enterprises focused on development of the culture sector outside of Nova Scotia. Eligible creative industries include, but are not limited to, Fashion/Design, Film and TV, Music, Performing Arts, Production and Fine Craft, Visual Art and Applied Arts, and Publishing. Companies/enterprises must be registered with the Nova Scotia Registry of Joint Stocks Company, and the fund covers up to 50% of eligible costs. Goals of the program include: • Furthering the objectives of Nova Scotia’s Culture Action Plan: Creativity and Community • Increasing capacity to export • Increasing export sales and revenue growth • Expanding global markets and audiences • Fostering industry growth of Nova Scotia creative sector outside of Nova Scotia
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The annual CAD 2 million fund has an ongoing intake and in 2018-19 received approximately 70 applications. In 2017-18, support totaling CAD 2.06 million was provided to 51 recipients. Nova Scotia’s culture and creative sector is an important part of our provincial economy. Through the Creative Industries Fund we support the sector so they can enter global markets and expand exports. This helps grow the sector, create jobs and strengthen our economy. Examples of successes through this program in the reporting period include: Craft Aliance ($35,627 in 2017/18) led an export mission to the NY Now Wholesale Show in New York City. Six Nova Scotia companies participated, and accumulated sales were expected to reach an estimated $1.165 million in the six-to-twelve months following the show. 2b Theatre’s ($30,000 in 2017/18) hit musical Old Stock: A Refugee Love Story had a seven-week off-Broadway run in New York City, winning many award nominations and finding new business opportunities along the way. It was the Company’s first run in New York.
Financial resources allocated to the policy/measure in USD: 

Approximately CAD 7.8 million during this period, estimated USD 5.85 million

Has the implementation of the policy/measure been evaluated?: 
NO

Nova Scotia Culture Trade Strategies

Name of agency responsible for the implementation of the policy/measure: 
Province of Nova Scotia, Department of Communities, Culture and Heritage
Cultural domains covered by the policy/measure: 
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Culture trade missions to Asia were undertaken in 2018 and 2019, including China and Japan. In May2018, the delegation met with Chinese and Japanese government officials, cultural organizations, and business leaders to discuss ways to foster more trade and culture sector exports to China and Japan. The Culture Action Plan includes a focus on growing the province's creative sector and exports, creating more jobs in the sector and provide more business opportunities for Nova Scotia companies. Government’s role is to help industry be export ready and provide opportunities for international expansion. Development of Nova Scotia’s relationship to China in regard to cultural exchange has also been strengthened under the Agreement of Understanding and Friendship for a Sister Province Relationship Between the Province of Nova Scotia, Canada, and the Province of Guangdong, China, a maritime province with a population of about 110 million people. The two provinces commit to further developing their relationship in areas of trade, investment, information and communication technologies, the ocean economy, agriculture, energy, education, culture, tourism and transportation and logistics. In November2019, a specific Memorandum of Understanding was signed regarding cultural exchange between the Nova Scotia Department of Communities, Culture and Heritage of the Province of Nova Scotia and the Department of Culture and Tourism of Guangdong. The Nova Scotia-Europe Engagement Strategy was developed to help maximize the province’s trade, tourism and investment opportunities with European markets. In April, 2019, representatives of the Nova Scotia Department of Communities, Culture and Heritage, travelled to England and Germany in April for a mission targeted on culture. The team met with government officials in both countries.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
An example of Nova Scotia’s cultural presence in China is Mermaid Theatre, based in the province that has held more than 170 performances in China in the past few years. Additionally, in spring, 2019, five Nova Scotia contemporary artists joined the China portion of the second mission to showcase their works of art alongside folk artist Maud Lewis in an exhibition titled: Terroir: A Nova Scotia Landscape. The museum estimated that almost 10,000 people viewed the exhibit from May 1 to 4. The exhibition travelled to Zhuhai and Shenzhen later in 2019. The delegation gathered information on Chinese culture, the Chinese market and explored additional opportunities for cultural exchange between China and Nova Scotia. Interest focused on Nova Scotia’s creative industries and importing Nova Scotia culture, especially our music, theatre and crafts. The visits were a first step to developing new partnerships and export opportunities for the province’s creative industries.
Financial resources allocated to the policy/measure in USD: 

est. $202,000 in 2019

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Province of Nova Scotia
Type of entity: 
Public Sector

Culture-trade interface

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications [Ministry of Culture and Communications]
Ministère de l’Économie et de l’Innovation [Ministry of the Economy and Innovation]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The interface between culture and trade is a long-standing priority of the Government of Québec. Québec has been and remains a fervent promoter of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, which reaffirms the sovereign right of states and governments to adopt and implement cultural policies and measures and recognizes the distinctive nature of cultural goods and services as vehicles of identity, values and meaning. In trade agreement negotiations, Québec wants not only to protect current policies and measures, but also to preserve cultural policies and measures in the future, particularly in the digital environment. Québec’s new cultural policy (see Section 1.1.1) also states, in Objective 2.4 (Increase Québec’s influence in the area of culture and cooperation with its international partners), that the Government of Québec intends to preserve its ability to adopt and implement cultural policies and measures, particularly in the digital universe, by invoking, inter alia, the principle of cultural exception. Québec’s International Vision (see Section 1.1.2) states that Québec will play an influential role and fulfil its legislative responsibilities in international trade negotiations that affect its areas of jurisdiction or concern markets or economic issues of interest to it. This applies, for example, to the negotiation of agreements involving cultural diversity and the protection thereof. MEI (Department of the Economy and Innovation] is responsible for defending Québec’s interests and positions in the negotiation of Canada’s trade agreements and consults the various sectoral departments, including MCC, in this regard. The Government of Québec promotes the objectives and principles of the Convention with its trading partners that are Parties to the Convention and also maintains a dialogue with civil society when negotiating agreements. Québec drew the interests of its cultural industries to the federal government’s attention in the negotiation of the Canada-U.S.-Mexico Agreement (CUSMA). Signed on November 30, 2018, CUSMA includes a cultural exemption that applies to all chapters of the agreement, including the chapter on electronic commerce. This exemption will allow Québec to retain its full authority to adopt and implement measures to protect and promote Québec culture.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Sectoral departments of the Government of Québec
Type of entity: 
Public Sector

Tratados y acuerdos

Multilateral or bilateral trade and/or investment agreements providing a special status to cultural goods and/or services have been signed during the last 4 years or are under negociation: 
UNDER NEGOTIATION
Multilateral or bilateral agreements including specific provisions providing a special status to cultural goods and services and digital products in the field of e-commerce have been signed during the last 4 years or are under negotiation: 
UNDER NEGOTIATION
Multilateral or bilateral agreements, declarations and/or strategies on relevant policy issues for the diversity of cultural expressions (e.g. education, digital, intellectual property, sustainable development, gender equality, etc.) signed or amended to take into account the objectives or principles of the Convention during the last 4 years: 
YES
Relevant Policies and Measures: 

Cultural industries exception in Canada's free trade agreements

Name of agency responsible for the implementation of the policy/measure: 
N/A, Global Affairs Canada leads the negotiation of Canada's trade agreements
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Música
Industria editorial
Describe the main features of the policy/measure: 
All of Canada’s international trade agreements include (an) exception(s) for the cultural industries, which exclude those industries from key trade obligations. It is designed to preserve Canada’s policy space to adopt and maintain programs and policies that support the creation and distribution of Canadian artistic expression or content, without conflicting with trade disciplines included under the terms of the agreement. Cultural industries are defined broadly as those engaged in the publication, distribution or sale of books, magazines, film, video and music, as well as broadcasting. The cultural industries exception is technologically neutral. It applies to both the physical and the digital environment. Given its horizontal breadth, it overrides trade disciplines with respect to cultural industries in all chapters of the trade agreement, including the digital chapter, where one is included in the agreement. This provides the government of Canada will full policy flexibility to respond to rapid technological advances and changes in how Canadians produce and consume cultural expressions and content. In addition to seeking inclusion of a cultural industries exception, Canada also actively promotes the objectives of the Convention when negotiating international trade agreements by including explicit reference to its objectives and principle in the preamble of each agreement. Through these efforts, Canada continues to show its active role in the implementation of the Convention at the national and international levels. Among international trade agreements concluded by Canada over the past four years, the Canada-United States-Mexico Agreement (CUSMA) and the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP) exclude cultural industries from their scope. Canada is also engaged in several negotiations that are currently underway (e.g. ASEAN, Mercosur, Pacific Alliance, etc.) and continues to work in order to preserve policy space for cultural policies and programs at all levels of government.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
This provision preserves Canada’s flexibility to adopt and maintain cultural measures such as, tax credits, content quotas, or subsidies. In essence, the cultural exception preserves Canada’s cultural sovereignty and allows the government to pursue various cultural objectives, including implementing preferential measures designed to nurture domestic cultural content, as encouraged by the UNESCO Convention.
Financial resources allocated to the policy/measure in USD: 

No specific financial resources are dedicated to this the measure. The Canadian government supports its cultural industries through various measures that are possible because of the exception included in Canada's trade agreements.

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

The cultural industries exception represent a longstanding approach in the context of Canada's trade negotiations. To date Canada has maintained this provision with little or no changes from its original iteration in 1989. One of the strength of this provision relies on its adaptability over time. Its current wording is deemed to be adequate to protect policy space both in the analog and digital environment.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Provincial governments
Type of entity: 
Public Sector
Name of partner: 
Cultural industries stakeholders
Type of entity: 
Private Sector
Name of partner: 
Civil Society stakeholders
Type of entity: 
Civil Society Organization (CSO)

WTO Joint Statement Initiative on E-commerce

Name of agency responsible for the implementation of the policy/measure: 
N/A - Global Affairs Canada is responsible for negotiating on behalf of Canada at the WTO
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Música
Industria editorial
Describe the main features of the policy/measure: 
In January 2017, Canada, along with 70 other WTO Members, signed the “Joint Statement on Electronic Commerce” to initiate exploratory work towards possible future WTO negotiations on the trade-related aspects of e-commerce. Canada has been an active participant in all meetings and is a strong supporter of multilateral efforts to advance WTO work in the area of e-commerce. With respect to culture in this prospective agreement, Canada communicated a clear position to the effect that it would withhold the policy space to pursue its cultural objectives, in particular in the online environment which is now the prominent medium to experience cultural products.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The discussions on a new multilateral framework for e-commerce and digital trade are currently ongoing and are still at an early stage. Canada's negotiating position has been publically communicated as follows: On culture, Canada is seeking an overall outcome in these negotiations that preserves broad policy flexibility in the future to adopt policies and measures to support the creation and distribution of Canadian artistic expression and cultural content. Canada is of the view that countries have an inalienable right to define and implement cultural policies, as prescribed by the UNESCO convention
Financial resources allocated to the policy/measure in USD: 

No financial resources have been allocated other than those required to ensure that cultural experts actively participate in these negotiations

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
The Canadian Coalition for the Diversity of Cultural Expressions (CDCE)
Type of entity: 
Civil Society Organization (CSO)

Audiovisual treaty coproduction modernization: Seven treaties signed since 2016

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Describe the main features of the policy/measure: 
Since 2016, Canada’s focus has been the implementation of the Coproduction policy. In that time, Canada has signed five modernized treaties with New Zealand, Luxembourg, China, the Belgian Communities, and Ireland. Canada has also signed two new Coproduction treaties with Jordan and Ukraine, countries with which there was no audiovisual treaty previously. It is important to note that treaties with Luxembourg and Ukraine have yet to come fully into effect as they are awaiting ratification. These signings are pursuant to the introduction of Canada’s Policy on Audiovisual Coproduction in March 2013. The policy outlines Canada’s new approach to Audiovisual Coproduction Treaty negotiation with the ultimate goal of modernizing old treaties and signing of new treaties in order to stimulate investment in Canada, create opportunities for the Canadian audiovisual industry to access new markets, generate employment for Canadians and establish or expand international markets for Canadian talent and audiovisual productions. The modernized treaties also refer to the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, which encourage the conclusion of coproduction treaties as one of the means to promote international cooperation.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The added flexibility of modernized treaties provide an opportunity for higher levels of audiovisual production while positioning Canada as a partner of choice internationally and strengthening cultural and economic ties with partner countries. Coproduction treaties allow producers to combine their creative and financial resources to develop coproductions that stimulate foreign investment, create jobs and increase exchanges of culture and knowledge between partner countries. Furthermore, the signing of new treaties where partnerships did not exist in the past provides an opportunity for international partnership, collaboration and economic activity that was not previously possible.
Financial resources allocated to the policy/measure in USD: 

The implementation of Canada's Policy on Audiovisual Treaty Coproduction does not require the investment of financial resources, other than human resource expenditures by the Department of Canadian Heritage.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Partner country public sector counterparts.
Type of entity: 
Public Sector

Maine/New Brunswick Cultural MOU

Name of agency responsible for the implementation of the policy/measure: 
Government of New Brunswick (Department of Tourism, Heritage and Culture)
State of Maine (Maine Arts Commission)
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
To examine any manner of simplifying and streamlining border-crossing processes for artists, performers, cultural institutions and creative businesses; Explore the potential of enhancing the exchange of cultural information; Explore the potential for collaborative cross-border cultural projects; Identify possible new and/or expanded cross-border business and/or cultural tourism opportunities; Explore the differences and similarities between approaches to the creative economy and creative communities in Maine and New Brunswick to assess how successes may be mirrored.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Many cross-border projects have helped to create opportunities for artists to exhibit in both countries, for musicians and other creators to move more simply across the border and for policies of mutual interest and importance to be shared and communicated about.
Has the implementation of the policy/measure been evaluated?: 
NO
If yes, what are the main conclusions/recommendations?: 

Both jurisdictions continue to see value in the MOU so the relationship continues to be nurtured through monthly conference calls, and yearly in-person meetings and conference opportunities for Task force members.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Government of New Brunswick (Department of Tourism, Heritage and Culture)
Type of entity: 
Public Sector
Name of partner: 
State of Maine (Maine Arts Commission)
Type of entity: 
Public Sector
Name of partner: 
Other supporting agencies/spaces
Type of entity: 
Civil Society Organization (CSO)

Cultural initiative between New Brunswick and Louisiana

Name of agency responsible for the implementation of the policy/measure: 
Ministry of Intergovernmental Affairs
Ministry of Tourism, Heritage and Culture
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Inventory of existing links: Twinning, cross-border works and initiatives, mention in heritage places, etc. Improvement of information exchange: creation and maintenance of a cultural network between the two territories, multi-year meetings, etc. Facilitation of cross-border activities: improvement of the cross-border process, linking of similar organizations in the two territories, etc. Strengthening of partnerships: identification of possible partnership opportunities, development of cultural and artistic residences and markets, etc.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
This cultural initiative is newly created (set up in August 2019). Three projects were funded (participation in a film festival, talks for an exchange of artists between two music festivals, travel of a representative of a multicultural center on the occasion of the Acadian and Creole Festival of Lafayette), and several projects are being developed following discussions initiated during the presentation meetings (organization of an authors' exchange, exhibition of an Acadian artist in Baton Rouge).
Financial resources allocated to the policy/measure in USD: 

To be determined according to the budget allocated for 2020/2021.

Has the implementation of the policy/measure been evaluated?: 
NO
If yes, what are the main conclusions/recommendations?: 

The first assessment is scheduled to take place in 2024.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ministry of Intergovernmental Affairs
Type of entity: 
Public Sector
Name of partner: 
Council for the Development of French in Louisiana
Type of entity: 
Public Sector
Name of partner: 
Ministry of Tourism, Heritage and Culture

Goal 3 - Integrate Culture in Sustainable Development Frameworks

National Sustainable Development Policies & Plans

National sustainable development plans and strategies recognize the strategic role of: 
Creativity and innovation
Please rate from 1 to 4 the type of outcomes expected by the inclusion of culture in national sustainable development plans and strategies 1 most often expected outcome 4 least expected outcome): 
Economic (e.g. employment, trade, intellectual property, cultural and creative industries, rural and territorial development): 
1
Social (e.g. social cohesion and inclusion, inequality and poverty reduction, values and identity, vulnerable and minority groups, empowerment and human capital, education): 
1
Environmental (e.g. natural resources, reducing environmental impact of cultural industries and practices): 
2
Cultural (e.g. cultural infrastructure, participation and access to culture, innovation, artists support): 
1
Public cultural bodies and agencies responsible for culture or creative industries are involved in the design and implementation of sustainable development policies and plans (i.e. participate in coordination mechanisms such as joint planning committees): 
YES
Cultural industry-led regeneration initiatives and projects at the regional, urban and/or rural levels have been implemented in the last 4 years: 
YES
Policies and measures facilitate participation in cultural life and access to diverse cultural facilities and expressions, notably addressing the needs of disadvantaged or vulnerable groups (e.g. via reduced entrance fees; audience development, arts education and audiences awareness-raising): 
YES
Latest data on cultural participation rates by socio demographic variables (sex/age groups/rural- urban/income levels/education levels): 
Cultural participation disaggregated by type of activity, 2016 Type of activity Participation rate Public art gallery 39% Artistic or cultural festival 31% Live performance (theatre/comedy) 40% Pop music 42% Classical music 16% Heritage or ethnic performance 20% Other cultural performance 20% Movie at a theatre 71% Total participation 86% Cultural participation disaggregated by gender, 2016 Gender Participation rate Male 85% Female 87% Cultural participation disaggregated by age group, 2016 Age group Participation rate 15-24 years 97% 25-44 years 93% 45-64 years 84% 65+ years 70% Cultural participation disaggregated by area of residence (urban/rural), 2016 Area of residence Participation rate Larger urban population centres 87% Rural areas and small population centres 81% Cultural participation disaggregated by income level, 2016 (in Canadian dollars) Income level Participation rate Less than $25,000 77% $25,000-$49,999 76% $50,000-$74,999 84% $75,000-$99,999 87% $100,000-$124,999 91% $125,000+ 95% Cultural participation disaggregated by education level Education level Participation rate Less than high school diploma or equivalent 69% High school diploma or equivalent 85% Trade certificate or diploma 82% College/CEGEP/other certificate or diploma 90% Univ. certificate or diploma below bachelor's 93% Bachelor's degree (e.g., B.A., B.Sc., LL.B.) 94% Post-bachelor's degree, diploma, certificate 95%
Relevant Policies and Measures: 

Building a Foundation for Change : Canada’s Anti-Racism Strategy, 2019–2022

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Describe the main features of the policy/measure: 
Building a Foundation for Change: Canada's Anti-Racism Strategy 2019–2022 invests $45 million to take immediate steps in combatting racism and discrimination. Guided by a vision of Canada where all Canadians benefit from equal access and equitable participation to all economic, cultural, social and political spheres, it lays a foundation for longer term action by focusing on three guiding principles: Demonstrating Federal Leadership, Empowering Communities, and Building Awareness & Changing Attitudes. Regarding demonstrating federal leadership, the Strategy created a new Anti-Racism Secretariat at the Department of Canadian Heritage. The Secretariat is supported by existing interdepartmental committees as well new interdepartmental committees it has created, including the Equity-Seeking Communities and COVID-19 Taskforce and the Working Group on the International Decade for People of African Descent. In addition to coordinating federal action and driving the overall strategy, the Secretariat works with federal departments and agencies to address the effects of discrimination. Regarding empowering communities, the Strategy seeks to support Indigenous Peoples and communities on the ground who have expertise in addressing various forms of racism and discrimination must be supported. Funding for projects and capacity building at the community level will recognize and enhance their expertise. It will allow them to draw on their lived experiences to tailor initiatives to their particular circumstances. For raising awareness and changing attitudes, the Strategy seeks to increase awareness of the historical roots of racism and discrimination, and their impacts on our communities and Indigenous Peoples. This is being done through a $3.3 million investment in a National Public Education and Awareness Campaign based on regional and demographic needs that will be informed and developed with impacted communities and Indigenous Peoples. Equally, the Strategy is investing $6.2 million to increase reliable, usable and comparable data and evidence regarding racism and discrimination. This includes working with Statistics Canada and the Centre for Gender, Diversity and Inclusion Statistics, and enhancing the collection of disaggregated data that can be broken down by meaningful categories of race and/or ethno-cultural origins, and the analysis of this data.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Financial resources allocated to the policy/measure in USD: 

USD 33.1 million (CAD 45 million)

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
All federal departments and institutions
Type of entity: 
Public Sector

Initiative on Canadian Accessible Digital Books

Name of agency responsible for the implementation of the policy/measure: 
Department of Canadian Heritage
Cultural domains covered by the policy/measure: 
Industria editorial
Describe the main features of the policy/measure: 
Canada’s 2019 Budget announced an investment of $22.8 million over 5 years (2019-20 to 2023-24) to support the sustainable production and distribution of accessible digital books by Canadian independent publishers through the Department of Canadian Heritage’s Canada Book Fund. The objective of this initiative is to help the Canadian book industry to integrate accessible publishing features into the production and distribution of digital books (ebooks and audiobooks) that can be used by everyone, including persons with print disabilities. Specifically, this initiative aims to increase the availability of "born accessible" Canadian-authored digital titles.
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Results are not yet available as the program is in its first year of operation (2019-2020).
Financial resources allocated to the policy/measure in USD: 

USD 17.5 million over five years

Has the implementation of the policy/measure been evaluated?: 
NO

Telefilm Canada committed to providing increased support for Indigenous filmmakers by increasing the feature film financing support made available for creators from Canada’s Indigenous communities to $4 million annually, over the next five years

Name of agency responsible for the implementation of the policy/measure: 
Telefilm Canada
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
Telefilm sets aside funding for projects by Canadian filmmakers from Indigenous communities. These projects will be assessed by an external jury having Indigenous representation. Applicant companies applying for funding under this Stream will have to show that: • At least 51% of the project’s copyright is held by a production company whose majority shareholder is Indigenous • Two of the three key members of the creative team (producer, director or screenwriter) are Indigenous In addition, Telefilm created an Indigenous Working Group to consult on priorities and action plans to help better support Indigenous creators.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Funding for Indigenous creators amounted to $5.3 million in 2017-2018, well surpassing the $4 million annual objective set by Telefilm. This includes commitments to support the Canadian Indigenous screen-based industry through the development, production and marketing of Indigenous content, as follows: Development $75,000 5 projects; Production $5.1 million 14 projects; Promotion $161,000 8 projects
Financial resources allocated to the policy/measure in USD: 

USD 3.9 million

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

The multi-pronged approach to better supporting Indigenous creators is bearing positive results. There is an increased presence of Indigenous creators in the pipeline. In addition, there is a stronger more positive working rapport with Indigenous creators. In addition, Telefilm has begun prioritizing Indigenous representation in its workforce.

Lastly, Telefilm is committed to supporting the Indigenous Screen Office - a sustainable autonomous entity that will help indigenous creators amplify their voices and ensure a vibrant indigenous screen-based industry.

Engagement with the Decade for People of African Descent (DPAD) and Nova Scotia’s “Count Us In” Action Plan for DPAD

Name of agency responsible for the implementation of the policy/measure: 
Province of Nova Scotia
African Nova Scotian Affairs (ANSA)
Department of Communities, Culture and Heritage
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Nova Scotia’s Culture Action Plan (CAP) acknowledges that long-standing prejudices have had devastating social and economic impacts in the Province, particularly in the African Nova Scotian community. CAP also names alignment with the goals of the UN International Decade for People of African Descent (2015-2024) as key to advancing the African-Nova Scotian community and building action for cultural diversity in general in the Province. On May 8, 2018, Premier Stephen McNeil proclaimed the Decade for People of African Descent (DPAD) in Nova Scotia. Nova Scotia was the first provincial / territorial jurisdiction in Canada to proclaim the Decade. In September, 2019, Nova Scotia unveiled its DPAD Action Plan, “Count Us In”. The Plan identifies the needs of African Nova Scotians, evaluates what is and is not working for the African Nova Scotian population, and creates opportunities for improved health and well-being, under the three pillars of the UN International Decade for People of African Descent: Recognition, Justice, Development. The action plan is designed to recognize the important contributions of people of African descent living in Nova Scotia, while at the same time working to tackle the unique challenges impacting the community. The document envisions a Nova Scotia where African Nova Scotians can prosper, equitably and respectfully access, and fully participate in all facets of Nova Scotian society. Nova Scotia has been, and remains, committed to undertaking initiatives to address systemic racism and discrimination, having initiated the Home for Coloured Children Restorative Inquiry and remaining actively involved in the inquiry process. Residents of five African Nova Scotian communities have received clear title to their land. Government is also developing an African Nova Scotia justice plan in collaboration with African Nova Scotians and the Office of African Nova Scotian Affairs. We want to help create positive change in the African Nova Scotian community. The UN Working Group of Experts on People of African Descent’s report on Canada noted deep concern for the structural racism that lies at the core of many Canadian institutions, and that our country’s history of enslavement, racial segregation, and marginalization has had a serious, negative impact on people of African descent. Count Us In: Nova Scotia’s Action Plan in Response to the International Decade for People of African Descent, 2015–2024 aims to reduce barriers, attitudinal and discriminatory practices African Nova Scotians face, and bring Nova Scotians together in this endeavour. This will build a more inclusive, welcoming, and equitable province with improved social well-being, population and economic growth. There are more than 50 African Nova Scotian communities in the Province. According to the 2016 Statistics Canada census: • 2.4% of Nova Scotians identify as African Nova Scotian. • The median age of African Nova Scotians is 28.3 years. For the whole population of Nova Scotia, the median age is 45.1 years. • 71.8% of African Nova Scotians have roots in Nova Scotia going back three generations or more. • 12.9% of African Nova Scotians are newcomers (immigrants). • African Nova Scotians are the largest racialized group in Nova Scotia. They make up 37.3% of Nova Scotia’s racialized population.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
New measure, launched in September 2019
Financial resources allocated to the policy/measure in USD: 

Est. CAD 59,000 during the reporting period or est. USD 44,000

Has the implementation of the policy/measure been evaluated?: 
NO
If yes, what are the main conclusions/recommendations?: 

Youth Culture Camps

Name of agency responsible for the implementation of the policy/measure: 
• Ontario Ministry of Heritage, Sport, Tourism and Culture Industries
Describe the main features of the policy/measure: 
The Youth Culture Camps initiative (YCC) is a community-based program for Indigenous youth that provides funds to Indigenous organizations to deliver leadership initiatives and cultural-based camps. It is a targeted, proposal-based program offering opportunities for leadership development, physical activity and enhancing traditional language and knowledge for Indigenous youth. YCC was launched in 2017, in response to the Truth and Reconciliation Commission’s recommendations.
Does it specifically target young people?: 
YES
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
• 16 leadership-in-training camps and 121 community-based culture camps took place in the first two full years of implementation (2017-18 and 2018-19). • Organizations have reported positive outcomes for youth including improvements in the areas of leadership skills, cultural identity and mental health.
Financial resources allocated to the policy/measure in USD: 

CAD 2.5 million (or USD 1.8 million) annually

Has the implementation of the policy/measure been evaluated?: 
NO

Government initiative to integrate culture into sustainable development under the Government Sustainable Development Strategy (2015-2020)

Name of agency responsible for the implementation of the policy/measure: 
The Ministère de la Culture et des Communications (MCC [Ministry of Culture and Communications)
Ministère de l’Environnement et de la Lutte contre les changements climatiques (MELCC [Ministry of the Environment and the Fight Against Climate Change])
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The aim of the key action in Québec’s Agenda 21 for Culture (A21C), implementation of the Governmental Culture Initiative, is to more fully integrate culture into the government’s sustainable development efforts. The key word in this initiative is “integration,” which in concrete terms means taking culture into account to promote • the achievement of social, economic, territorial and environmental development objectives in the government’s sustainable development efforts; • respect for its identity, the richness of its diversity, the sustainable use of its resources, and support for its dynamic nature reflected in its potential for creativity and innovation. As part of Québec’s Government Sustainable Development Strategy 2015–2020 (GSDS), the governmental culture initiative, launched in 2013, is a commitment that applies to all Québec departments and agencies (approximately 110) covered by the Sustainable Development Act (SDA) of 2006. Starting on April 1, 2016, each of the government organizations concerned had to add to its Sustainable Development Action Plan (SDAP) at least one action that contributes to the achievement of one of the 27 objectives of the 2015–2020 GSDS, including Objective 1.5, which deals specifically with culture: enhance access to and participation in cultural life as a driver of social, economic and territorial development. Implementation of this project took place over a four-year period, from April 1, 2016, to March 31, 2020. Examples: • The Ministère du Tourisme (MTO [Ministry of Tourism]): Action 8 of MTO’s 2017–2020 Sustainable Development Action Plan supports tourism industry partners to enhance Québec’s economic vitality and tourist appeal, while facilitating access to and participation in cultural life. The SDAP also confirms MTO’s contribution to enhancing access to and participation in cultural life through its support for festivals and events and for sectoral and regional tourism associations. • LOJIQ [Québec International Youth Offices]): Recognizing the importance of integrating the cultural component into the three dimensions of sustainable development, LOJIQ is committed to addressing all the objectives of Québec’s Agenda 21 for Culture in its activities, particularly Objective 11: recognize and promote culture as a driver of sustainable economic development at the local, regional and provincial levels; promote the economic benefits of Québec culture; develop new models of economic support for culture and for promoting cultural patronage; promote cultural entrepreneurship in all its forms; support Québec’s cultural presence on the international scene; and include it in local and regional economic planning. For the last several years, LOJIQ has been actively supporting young, up-and-coming artists, creators, artisans and arts, culture and communications workers in their international endeavours. In 2018, MCC adopted Québec’s new cultural policy entitled Partout, la culture (see Section 1.1.1) and the 2018–2023 government action plan for culture (see Section 1.1.2). Essentially, the new cultural policy aims higher; it not only takes into account the 21 principles of the A21C, but also gives concrete expression to the integrated vision of culture and sustainable development advocated by the Chantier gouvernemental en culture [Governmental Culture Initiative]. It thus embodies a commitment to a new integrated conception of the link between culture and sustainable development. Specifically, it includes four major directions based on the three dimensions of sustainable development – social, environmental and economic development – plus territorial development.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Contribution to the government’s efforts to integrate culture into sustainable development under the 2015–2020 GSDS: A total of 92 departments and agencies (DAs), or approximately 84% of the DAs covered by the SDA, have met the requirement to implement at least one action to contribute to the achievement of one of the 2015–2020 GSDS’s 27 objectives related to Québec’s Agenda 21 for Culture. Target for Objective 1.5: Enhance access to and participation in cultural life as an important driver of social, economic and territorial development: 82% of DAs contribute to the achievement of Objective 1.5 with a total of 202 commitments. Of these commitments, 64% have been met or are in the process of being met. The commitments made by the DAs are mainly the following: • Set up art exhibitions (permanent or temporary) in government institutions (contribution to Objective 1 of Agenda 21 for Culture) • Carry out heritage assessment of government facilities (contribution to Objective 1 of Agenda 21 for Culture) • Put Québec’s documentary heritage, collections and works online through digitization (contribution to Objectives 2 and 14 of Agenda 21 for Culture) • Promote culture-related activities, events and courses for DA employees (e.g., intranet, website, newsletter, video clips) (contribution to Objective 5 of Agenda 21 for Culture) • Organize cultural events in public spaces and government institutions (contribution to Objective 5 of Agenda 21 for Culture) • Promote Québec’s Journées de la culture [Culture Days] (contribution to Objective 5 of Agenda 21 for Culture) • Organize cultural exchange missions with DAs outside Québec (Canada or international) (contribution to Objectives 2 and 8 of Agenda 21 for Culture) • Offer free cultural activities every year (contribution to Objective 9 of Agenda 21 for Culture) • Provide financial support for cultural projects and encourage Québec producers (contribution to Objectives 2 and 11 of Agenda 21 for Culture)
Has the implementation of the policy/measure been evaluated?: 
NO

Measure 3 of the 2018–2023 government action plan for culture: Expand the range of activities and services offered by cultural Crown corporations that address the needs of people with disabilities, immigrants and people living in poverty

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
Measure 3 of the 2018–2023 government action plan for culture will expand the range of activities and services offered by cultural Crown corporations that address the needs of people with disabilities, immigrants and people living in poverty. The planned actions for this measure are as follows: • Acquire specialized equipment and cultural products with a non-standard distribution format; • Design tailored activities; • Hold extramural activities, e.g., in public places; • Adapt spaces to allow universal access when renovation projects are planned. A number of measures by cultural Crown corporations facilitate participation in cultural life and access to diverse cultural expressions and infrastructure, including by addressing the needs of vulnerable and disadvantaged groups. For example: From 2018 to 2020, the Musée d’art contemporain de Montréal (MACM [Montreal Museum of Contemporary Art]) implemented various programs through this measure, including the Inclusion in Action program, which specifically targets Indigenous people, persons with disabilities, immigrants or people in vulnerable situations, giving them the opportunity to discover a cultural place and occupy it in a unique and highly creative way. As part of Inclusion in Action, the MACM offers a range of services and programs, including Inclusion in Action –- Making Connections, which specifically addresses the social engagement of Québec’s Indigenous youth. The Musée de la civilisation (MCQ [Québec Museum of Civilization]) has made accommodations for people with physical, hearing, visual or intellectual disabilities (e.g., adjustments to the reception desk and ticket office, improved signage). In addition to these accommodations, there is a policy of free admission for individuals or groups and educational activities for groups or individuals with special needs. In 2019, the MCQ also established an organization-wide committee on the issue of universal accessibility. The committee will propose and prioritize various initiatives with the ultimate goal of improving access to the MCQ for people with disabilities and, more generally, for anyone who may encounter an obstacle in their visit experience. It should also be noted that in 2019, the MCQ began the Sésame project, which will make culture accessible and open to people from the cultural communities, marginalized groups and persons with disabilities. The Sésame project includes a component for immigrant francization students. Bibliothèque et Archives nationales du Québec (BAnQ [Québec Library and Archives]) has developed various activities to promote the cultural participation of vulnerable and disadvantaged groups: • A series of cultural mediation workshops for people who are homeless or very vulnerable, combining lessons in photography with the discovery of BAnQ’s collections and public expression. The results of these workshops take the form of exhibitions in BAnQ buildings, on the Internet and in exhibition spaces outside BAnQ; • A series of introductory workshops on BAnQ’s collections in areas frequented by disadvantaged and/or homeless people, specifically for those groups; • A series of poetry-writing workshops for vendors of L’Itinéraire magazine, with public presentation of their work; A personalized invitation to community organizations in the Grande Bibliothèque district (Ville-Marie borough of the City of Montréal) to participate in their free cultural programming.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
At the MACM, Measure 3 has made it possible, via the Inclusion in Action – Making Connections program, to carry out the following activities: • Develop tailored communication strategies to connect with First Nations, Métis and Inuit people; • Host Indigenous groups and organizations, or groups and organizations dedicated to Indigenous communities; • Build positive relationships with First Nations, Métis and Inuit people; • Raise staff awareness of the cultures, realities and issues of Indigenous peoples; • Create project continuity tools for the Indigenous component, Making Connections; • Maintain the positive relationship between Indigenous people and the Museum. BAnQ: • Fourteen participants from 3 community organizations (Accueil Bonneau, La Rue des Femmes, L’Itinéraire) in the photo exhibition Vues de la rue; • Eight young participants from the downtown youth employment centre’s Focus program in the photo exhibition Focus Montréal; • Three seasons of introductory workshops on BAnQ’s collections in the Jardins Gamelin adjacent to the Grande Bibliothèque (approximately 300 participants from disadvantaged groups); • Three seasons of haiku poetry workshops (poems exhibited for three years as part of an art installation entitled “structure Poèmes d’un jour” at the Grande Bibliothèque); • A season of participation in “self-service poetry” workshops (as public poets interacting with the general public); • A season of participation in the writing workshops entitled “La ruche de poésie” (with the creation of a published magazine): 30 vendors of L’Itinéraire magazine participated; A dozen community organizations contacted through the St-Laurent district consultation table, with quarterly meetings, to strengthen ties with the community and its various groups (homeless, disadvantaged, addiction, mental health).
Financial resources allocated to the policy/measure in USD: 

A total of USD 1.8 million (CAD 2.5 million) over the 2018-2023 period is earmarked for the implementation of this measure, for all of the Crown corporations involved.

BAnQ:
* Three cycles of photography workshops and exhibitions: USD 21,759 (CAD 30,000)
* Introductory workshops in the Jardins Gamelin: USD 725 (CAD 1,000)
* Haiku workshops and the art installation entitled "structure Poemes d'un jour" (3 years): USD 54,398 (CAD 75,000)
* "Self-service poetry" workshops: USD 2,176 (CAD 3,000)
* "La ruche de poesie" workshops: USD 2,901 (CAD 4,000)

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Société de la Place des Arts de Montréal (SPDAM)
Type of entity: 
Public Sector
Name of partner: 
Société du Grand Théâtre de Québec (SGTQ)
Type of entity: 
Public Sector
Name of partner: 
Musée de la civilisation du Québec (MCQ)
Type of entity: 
Public Sector
Name of partner: 
Musée d’art contemporain de Montréal (MACM)
Type of entity: 
Public Sector
Name of partner: 
Musée national des beaux-Arts du Québec (MNBAQ)
Type of entity: 
Public Sector
Name of partner: 
Bibliothèque et Archives nationales du Québec (BAnQ)
Type of entity: 
Public Sector
Name of partner: 
Ministère de l’Immigration, de la Francisation et de l’Intégration (MIFI) [Québec Ministry of Immigration, Francization and Integration]
Type of entity: 
Public Sector
Name of partner: 
Office des personnes handicapées du Québec [Québec Office of People with Disabilities]
Type of entity: 
Public Sector
Name of partner: 
Accueil Bonneau
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
La Rue des Femmes
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Groupe communautaire L’Itinéraire
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Carrefour Jeunesse Emploi Montréal Centre-Ville
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Dîners St-Louis
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Partenariat du Quartier des Spectacles
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
La poésie partout
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Debout : Actes de paroles
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Table de concertation du Faubourg St-Laurent
Type of entity: 
Civil Society Organization (CSO)

International Cooperation for Sustainable Development

Your country has contributed to or benefited from the International Fund for Cultural Diversity (IFCD) during the last 4 years: 
YES, my country has contributed to the IFCD
Development cooperation strategies, including South-South cooperation strategies, recognize the strategic role of creativity and diverse cultural expressions: 
NO
If YES, please provide the name(s) of the strategy and year(s) of adoption: 
-
Your country manages multi- and/or bilateral technical assistance and capacity building cooperation programmes supporting: 
Cultural policy development and implementation in developing countries
Medium, small or micro-enterprise development of creative industries and markets in developing countries
Artists and cultural professionals in developing countries
Value of the total national contribution to the International Fund for Cultural Diversity (in USD): 
54,397.00
2019
Relevant Policies and Measures: 

Cooperation by Québec in international organizations

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) [Ministry of Culture and Communications]
Ministère des Relations internationales et de la Francophonie (MRIF) [Ministry of International Relations and the Francophonie]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
At the multilateral level, the Government of Québec contributes to the enhancement of international cooperation mainly within two international organizations: UNESCO and the International Organization of La Francophonie (IOF). Within these organizations, the Government of Québec supports initiatives and focuses on issues it considers to be priorities with respect to the cultural policy Partout, la culture and Québec’s International Vision. Measure 15 of the cultural policy and the International Vision both have the goal of enhancing cooperative actions and increasing Québec’s presence in international forums. The planned actions include the following: • Promoting the diversity of cultural expressions, in particular in collaboration with the developing countries of La Francophonie; • Reinforcing Québec’s commitment to its partners in La Francophonie and its role in the field of culture within UNESCO; • Enhancing cooperation within La Francophonie with a view to increasing the visibility of Francophone cultural content in the digital universe. UNESCO The Government of Québec contributes in particular to enhancing international cooperation within UNESCO through its recurring contribution to the International Fund for Cultural Diversity (IFCD). Since 2016, MCC and MRIF have jointly contributed to the IFCD five times. IOF The Government of Québec is a full member of the IOF, a grouping of 88 states and governments (54 members, 7 associate members and 27 observers). As the IOF’s fifth-largest donor, Québec actively supports the delivery of its programs. The IOF’s cultural programs • recognize and promote the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions; • assist States in developing and implementing their cultural policies; • encourage talent and stimulate creation by supporting artists, professionals and cultural enterprises through financial assistance or support for projects; • foster cultural identities and the promotion of multilingualism; • support artist mobility, in particular through the Fonds d’aide à la circulation des artistes [Artist Travel Assistance Fund]; • support the production, promotion and marketing of audiovisual works from southern countries. AUF The Government of Québec also supports the actions of the Agence universitaire de la Francophonie (AUF). The AUF, an agency of La Francophonie, brings together higher education and research institutions on all continents that use French as a language of instruction and research. With nearly 1,000 member institutions in 118 countries, it is one of the largest university associations in the world. As part of its 2017–2021 programming, the AUF is carrying out a number of actions in the cultural field. TV5 TV5 is the world’s number-one French-language television network. Thanks to the distribution of nine regional channels and two specialty channels managed from Paris by TV5Monde, and the Canadian feed managed by TV5 Québec Canada, TV5 reaches 364 million households in nearly 200 countries and territories. For more than 30 years, Québec has been developing a very active partnership through TV5 with the governments of France, the Wallonia-Brussels Federation, Switzerland and Canada. Québec’s objectives with respect to TV5Monde are to support La Francophonie and the French language and contribute to the diversity of cultural expressions, in addition to providing Québec with an international showcase and a promotional tool for distributing its television productions around the world.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Financial resources allocated to the policy/measure in USD: 

UNESCO
Between 2016 and 2020, Quebec contributed USD 108,795 (CAD 150,000) to the IFCD, for a total contribution of USD 290,120 (CAD 400,000) since 2008.

IOF
In 2019-2020, MRIF contributed USD 2,223,272 (CAD 3,065,314) to IOF programming (other than operating programs). The IOF estimates that 18.65% of its programming funds are devoted to its French Culture and Language mission. As a result, we estimate that Quebec contributed USD 413,915 (CAD 571,681) to IOF programming in the area of French culture and language.

AUF
In 2019-2020, MRIF contributed USD 406,168 (CAD 560,000) to AUF programming (other than operating programs). An undetermined portion of this funding is devoted to programming in the field of French culture and/or language.

TV5
The Government of Quebec announced at the meeting of senior officials of donor governments in December 2019 that, for 2020, it would maintain its contribution based on the one-ninth benchmark, which is EU8,257,000, i.e. EU3,302,080 for the Government of Quebec (40% of one ninth). The Government of Quebec's contribution is split evenly between MCC and MRIF.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
UNESCO
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
International Organization of La Francophonie
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Agence universitaire de la Francophonie
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
TV5
Type of entity: 
Public Sector

International cooperation by Bibliothèque et Archives nationales du Québec (BAnQ)

Name of agency responsible for the implementation of the policy/measure: 
Bibliothèque et Archives nationales du Québec (BanQ [Québec Library and Archives])
Describe the main features of the policy/measure: 
Direction 3 of BAnQ’s 2016–-2018 Strategic Plan involves playing an influential role as a benchmark documentary institution. The aim is to assert BAnQ’s leadership and visibility in La Francophonie in terms of professional and scientific cooperation, particularly in the field of archives. BAnQ wants to make the expertise of Québec’s archives teams available to other countries, both for the development of archival science and for the development of information technologies. BAnQ wants to assess the needs of national documentary institutions in French-speaking countries in order to prepare a tailored service plan offering wider access to its digital collections or digitization training.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The Curator and Director General of Québec’s Archives led a mission to Côte d’Ivoire on November 21 and 22, 2018. She delivered two speeches to an audience consisting mainly of Ivorian officials. She covered the following topics: • The issue of records management in public administrations; • The necessary collaboration between records managers and computer specialists. The mission was also an opportunity to discuss the feasibility of establishing a general framework for cooperation between BAnQ and the Côte d’Ivoire General Directorate of the Treasury and Public Accounting on subjects falling within the scope of their respective missions and to formalize their intention to work together on joint projects. The content of the draft agreement is currently being reviewed by the parties.
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
General Directorate of the Treasury and Public Accounting of Côte d’Ivoire
Type of entity: 
Public Sector

Fonds pour la jeune création francophone [Young Francophone Creation Fund]

Name of agency responsible for the implementation of the policy/measure: 
Collectif Génération Films
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Describe the main features of the policy/measure: 
Launched in December 2017, the Fonds pour la jeune création francophone contributes to the development of the film and audiovisual industry and encourages the emergence of new Francophone talent in sub-Saharan Africa. The countries eligible for funding are Benin, Burkina Faso, Burundi, Cameroon, Congo Brazzaville, the Central African Republic, Chad, the Democratic Republic of Congo, Côte d’Ivoire, Djibouti, Gabon, Guinea, Comoros Islands, Mauritius, Madagascar, Mali, Niger, Rwanda, Senegal, Seychelles, Togo and Haiti. The Fund has three components: development assistance, production assistance and post-production assistance.
Does it specifically target young people?: 
YES
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
The Fund supports the French language as a tool for film and audiovisual creation and promotes cultural diversity in French-speaking African countries.
Financial resources allocated to the policy/measure in USD: 

MCC makes an annual contribution of USD 14,506 (CAD 20,000).

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Société de développement des entreprises culturelles (SODEC [Cultural Enterprise Development Corporation]) du Québec
Type of entity: 
Public Sector
Name of partner: 
Centre National du cinéma et de l’image animée (CNC)
Type of entity: 
Public Sector
Name of partner: 
Wallonia-Brussels Federation (WBF)
Type of entity: 
Public Sector
Name of partner: 
Film Fund Luxembourg (FFL)
Type of entity: 
Public Sector
Name of partner: 
Telefilm Canada
Type of entity: 
Public Sector
Name of partner: 
TV5 Monde
Type of entity: 
Public Sector
Name of partner: 
Orange Studio
Type of entity: 
Private Sector
Name of partner: 
Orange Content
Type of entity: 
Private Sector
Name of partner: 
France Télévisions
Type of entity: 
Public Sector
Name of partner: 
French, Canadian and Belgian chapters of the Société des auteurs et compositeurs dramatiques (SACD)
Type of entity: 
Civil Society Organization (CSO)

Goal 4 - Promote Human Rights and Fundamental Freedoms

Gender Equality

Ministries, governmental agencies and/or parliamentary bodies in charge of gender equality: 
Exist and are relevant for artists and cultural professionals
Policies and measures to support the full participation of women in cultural life have been implemented during the last 4 years: 
YES
Policies and measures have been adopted to support the recognition and advancement of women as artists, cultural professionals and/or creative entrepreneurs, (e.g. ensure equal pay for equal work or equal access to funding, coaching or mentoring schemes, anti-discrimination measures, etc.): 
YES
Data is regularly collected and disseminated to monitor: 
Participation of women in cultural life
Percentage of total public funds given to female artists and cultural producers: 
54.00%
2018
Percentage of women/men in decision-making /managerial positions in public and private cultural and media: 
No data available
Percentage of works from female/male artists displayed / projected in important festivals of the arts and cultural industries (film, book publishing, music industry etc.): 
No data available
Percentage of women participation in cultural activities: 
87.00%
2016
Relevant Policies and Measures: 

Women in Production Summit (an initiative involving the voluntary participation of engaged partners)

Name of agency responsible for the implementation of the policy/measure: 
Canadian Radio-television and Telecommunications Commission (CRTC)
Department for Women and Gender Equality
Femmes du cinéma, de la télévision et des médias numériques
Réalisatrices Équitables
Women in Film and Television Vancouver
Women in Film and Television Toronto
Women in View
Women in Communications and Technology
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Describe the main features of the policy/measure: 
The Canadian Broadcasting Act, which grants the Canadian Radio-television and Telecommunications Commission (CRTC) its regulatory powers, states that the Canadian broadcasting system should, through its programming and the employment opportunities arising out of its operations, serve the needs and interests, and reflect the circumstances and aspirations of Canadian men, women and children, including equal rights. The Commission considers that it can play a role in improving women’s access to key leadership positions in the Canadian television and film production sector. To help achieve this objective, in December 2018, the Commission gathered the decision-makers of Canada’s largest English- and French-language public and private sector television broadcasters at the Women in Production Summit. The objective of the Summit was to find lasting solutions that the broadcasters could voluntarily implement to increase women’s access to key creative positions, such as producer, director, writer, cinematographer, editor and showrunner, within the Canadian television and film production sector. As a result of this Summit, the participating broadcasters agreed to report annually to the Commission on their progress in facilitating women's access to key creative roles in independent film and television production. The broadcasters’ participation in the Summit was, and still is, strictly voluntary. A joint public statement, issued by the CRTC and the participating broadcasters on 8 March 2019, stated that the broadcasters who participated in the Summit will each work on voluntary action plans, tailored to their business and markets, to increase women’s access to key creative positions and production budgets in the Canadian film and television industry.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
All seven broadcasters (Bell Media, Blue Ant Media, CBC/Radio-Canada, Corus Entertainment, WildBrain, Rogers Media and TVA Group) who participated in the Summit have made available on their websites their action plan dedicated to the implementation of this initiative. All action plans are linked on the Summit page of the CRTC website (https://crtc.gc.ca/eng/industr/parit.htm).
Financial resources allocated to the policy/measure in USD: 

The financial resources allocated to the implementation of this initiative are at the discretion of the volunteer participants. The Commission expects the industry to invest its own resources to facilitate women's access to key creative roles in production.
However, the expenses related to the organization of the December 2018 Summit were assumed by the Commission as host of the event.

Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Bell Media Inc.
Type of entity: 
Private Sector
Name of partner: 
Blue Ant Media Inc.
Type of entity: 
Private Sector
Name of partner: 
Canadian Broadcasting Corporation / Société Radio-Canada
Type of entity: 
Public Sector
Name of partner: 
Corus Entertainment Inc.
Type of entity: 
Private Sector
Name of partner: 
WildBrain (formerly DHX)
Type of entity: 
Private Sector
Name of partner: 
Rogers Media Inc.
Type of entity: 
Private Sector
Name of partner: 
TVA Group Inc. / Groupe TVA Inc.
Type of entity: 
Private Sector

Commitment to Parity

Name of agency responsible for the implementation of the policy/measure: 
National Film Board of Canada
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Medios de comunicación
Describe the main features of the policy/measure: 
The NFB remains a leader in women’s cinema. In 2016, it was one of the first cultural organizations in the federal public service to make specific, gender parity commitments. The NFB committed to achieving and sustaining parity (50 percent) by 2019 in terms of the number of films directed by women and in the budgets allocated to their projects. In 2017, the NFB went even further in its commitment, this time aiming for parity in key creative positions for animated, documentary and interactive works by 2020. The targeted disciplines include editing, cinematography, screenwriting and music composition, as well as other creative activities related to animation and immersive storytelling, in which women are very under-represented. By making these various commitments, the NFB is helping to increase women’s representation and places itself as an industry leader. The NFB confirmed this leadership role by taking part in the World Forum of Francophone Women in Bucharest, a major event organized jointly by Romania and the International Organisation of La Francophonie (IOF) The NFB also announced that it will share its bank of female talent, to which industry professionals can submit their portfolio and résumé. To date, nearly one hundred women have registered. Their candidacies are now accessible online for the Réalisatrices Équitables (RE), Femmes du cinéma, de la télévision et des arts numériques (FCTMN), and Film Fatales organizations, with whom the NFB will work to promote female talent.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
In March 2019, three years after the launch of its gender parity initiative, the NFB announced that it had achieved its objectives regarding the number of productions by women and the share of production budgets allocated to women creators. Results for 2018–2019: • 48 percent of works in production were by women (38 percent by men and 14 percent by mixed teams). • 44 percent of production budgets were allocated to works produced by women (35 percent to works produced by men and 21 percent to works produced by mixed teams). We also note that the NFB’s efforts to promote gender equality were highlighted by Women in Governance, a non-profit organization that works to advance women in all areas of society, which gave the NFB Platinum parity certification, the highest level, at its annual Recognition Gala in September 2019. The first public cultural institution to be recognized by this Canadian organization, the NFB is one of 48 organizations from across the country to receive certification, only 8 of which received platinum certification. In 2017–2018: Along with productions, the NFB studios launched initiatives in 2017—2018 such as the latest Cinéaste recherché(e) competition, for the first time aimed solely at emerging women filmmakers in animation, which doubled the number of participants. We also note the Projet 5 courts by the Documentary Studio in Québec, produced by five young women from the Abitibi-Témiscamingue region. In 2018–2019: Launched in 2018–2019, the Femmes des métiers series is one of the NFB’s many initiatives to support its gender parity objectives. Organized in cooperation with the Institut national de l’image et du son du Québec (INIS), Réalisatrices Équitables, and Femmes du cinéma, de la télévision et des médias numériques (FCTMN), this series of public discussions seeks to encourage more women to have a career in the cinema industry by presenting four discussions that provide invaluable, personal access to the experiences of women artists. The other projects the NFB led in 2018–2019 that specifically targeted women include Projet 5 courts, and the 10th Concours Tremplin. As part of its commitment to achieve parity in creative positions in the fields of music competition, cinematography and mixing, the NFB hired teams made up almost exclusively of women for several of its production projects in 2018–2019, including Because We Are Girls (Parce qu’on est des filles), Question period (Période de questions) and Lake (Le lac).
Financial resources allocated to the policy/measure in USD: 

Parity* in NFB production budgets is allocated to works produced by women. This performance indicator is an integral part of annual reporting at the NFB.

*Parity refers to equal representation between men and women. It is important to understand that the goal is not exactly 50 percent, but a degree of parity that is close to the indicator for works completed by the NFB.

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

Despite the end of the three-year commitment to parity, it is clear that the NFB wants to ensure that these commitments are an integral part of its culture and methods in future years. There will be constant work to ensure the diversity of Canadian society is represented both in front of and behind the camera.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Réalisatrices équitables
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Femmes du cinéma, de la télévision et des médias numériques (FCTMN)
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Women in Governance
Type of entity: 
Civil Society Organization (CSO)
Name of partner: 
Institut national de l’image et du son du Québec (INIS)
Type of entity: 
Civil Society Organization (CSO)

Telefilm, with the support of the industry, commitment: to build, by 2020, a representative and diversified feature film portfolio that better reflects Canada’s population.

Name of agency responsible for the implementation of the policy/measure: 
Telefilm Canada
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Describe the main features of the policy/measure: 
Telefilm created a Gender Parity Working Group comprised on key industry partners and stakeholders. This body provides a feedback loop for our actions, and action plan. Telefilm began implementing its five-step action plan to reach gender parity by 2020. The plan is: 1) Encourage a diversity of projects: Telefilm encourages all producers to submit projects that reflect the diversity and inclusivity of Canada’s population. 2) Evaluation of projects: The production evaluation language is clear in indicating the gender parity priority. Our guidelines and communications to the industry underline that, for projects of equal quality, Telefilm will prioritize the projects whose key creatives reflect diversity of the country in terms of gender, as well as Indigenous communities or cultural diversity 3) Transparency and reporting: Telefilm continues to respect government privacy laws. However, in order to regularly report back to the industry, other means of data reporting were created. Aggregate data is collected via a voluntary questionnaire at the application stage, which will identify key creative members of the team (director, writer, producer). This questionnaire also addresses questions regarding if members are from Indigenous communities. 4) Continued targeted promotion of female talent to raise their professional profile and market appeal (e.g. St. John’s International Women’s Film Festival, Birks Diamond Tribute, the Hot Docs’ Don Haig Award Pay It Forward Prize, and many other initiatives). In addition, Telefilm will continue to promote all talent in its general promotional activities, and does so through the lens of inclusivity (e.g. at red carpets, delegations, conference panels, press, etc.) 5) Continued support of the conversation on gender parity via research and professional development initiatives (e.g. Five in Focus, Women in the Director’s Chair, Women in Film & Television, Women in View—2 x More, CMPA study Women & Leadership: A study of global policies and programs to advance gender parity in the screen-based industries)
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
There is a greater presence of parity in the Telefilm pipeline in the three key creative roles. In 2018-19 circa 67% of projects had at least one woman in a key creative role (95 projects in 18-19, up from 83 projects in 17-18) and 45% had at least two women in key creative roles (Volume). • In 2018-19 there was an increase in funding for all three key roles, both in dollars and percentage; • Parity zone was reached for women producers.
Financial resources allocated to the policy/measure in USD: 

Telefilm's commitment is for both volume and dollars, and by budget level. Detailed budget breakdowns are available on the Telefilm website.

Has the implementation of the policy/measure been evaluated?: 
YES
If yes, what are the main conclusions/recommendations?: 

Progress and improvement is being made in achieving greater parity in the feature film pipeline.

Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Telefilm works with the support and cooperation of key clients (e.g. producers).
Type of entity: 
Public Sector

Measure 18 of the 2018–2023 government action plan for culture: Implement actions to ensure gender equality and equity in the cultural sector

Name of agency responsible for the implementation of the policy/measure: 
Ministère de la Culture et des Communications (MCC) du Québec [Québec Ministry of Culture and Communications]
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The cultural policy Partout, la culture (see Section 1.1.1) and the 2018–2023 government action plan for culture (see Section 1.1.2) are intended to ensure greater inclusion of all talents. Measure 18 will result in actions to ensure equality between women and men and equity in the cultural sector. The planned actions are as follows: • Analyze the exclusion factors and situations in the various occupations in the cultural sector; • Identify and implement priority responses to improve everyone’s access to cultural services, programs, jobs, networks and decision-making structures, including representation in media and audiovisual spaces; • Analyze best practices and their impact on certain social groups within the cultural sector, including women, diverse people, artists, cultural workers with disabilities, and the next generation of cultural workers.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
Has the implementation of the policy/measure been evaluated?: 
NO
Partner(s) engaged in the implementation of the measure: 
Name of partner: 
Ministry of Immigration
Type of entity: 
Public Sector
Name of partner: 
Ministry of Labour, Employment and Social Solidarity
Type of entity: 
Public Sector
Name of partner: 
Status of Women Secretariat
Type of entity: 
Public Sector
Name of partner: 
Québec Office of People with Disabilities
Type of entity: 
Public Sector

Libertad artística

The constitution and/or national regulatory frameworks formally acknowledge: 
The right of artists to create without censorship or intimidation
The right of artists to disseminate and/or perform their artistic works
The right for all citizens to freely enjoy artistic works both in public and in private
The right for all citizens to take part in cultural life without restrictions
Independent bodies are established to receive complaints and/or monitor violations and restrictions to artistic freedom: 
YES
Initiatives to protect artists at risk or in exile have been developed or supported by public authorities during the last 4 years (e.g. providing safe houses, guidance and training, etc.): 
NO
Measures and initiatives intended to ensure transparent decision-making on government funding/ state grants and awards for artists exist (e.g. through independent committees, etc.): 
YES
Social protection measures that take the professional status of artists into account have been adopted or revised in the last 4 years (e.g. health insurance, retirement schemes, unemployment benefits, etc.): 
YES
Economic measures that take the status of artists into account have been adopted or revised in the last 4 years (e.g. collective agreements, income tax and other regulatory frameworks, etc.): 
YES
Relevant Policies and Measures: 
-

Measures and Initiatives reported by Civil Society Organizations

Describe how the CSO form has been used to promote collaboration with CSOs in the preparation of this report, including the distribution of the form and the modalities of collection and analysis of the information received. Please indicate the percentage of measures and initiatives received that have been considered as relevant by the Party and included in the QPR.: 
CDCE’s mandate is to ensure Canadian representation of over 200,000 creators and professionals and 2,000 businesses that are members of its 40 member associations. CDCE is a key partner of the Department of Canadian Heritage. The Department worked closely with CDCE to prepare this report, distributing the online form in advance to collect data, as well as subsequently consulting on the nature of the analysis undertaken and the final inclusion choice. All measures and initiatives proposed by CDCE (100% in percentage terms) were deemed relevant by the Party.
GOAL 1 - Support sustainable systems of governance for culture: 

‘‘Save Our Culture” campaign – 2019

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for the Diversity of Cultural Expressions
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Industria editorial
Describe the main features of the measure/initiative: 
From August 20 to October 21, 2019, the CDCE led a major campaign to protect and promote local and national cultural expression in the digital environment. The campaign was launched ahead of the federal election, aimed to (1) raise awareness of the issues of the development and funding of local and national cultural expressions in the digital age, (2) generate widespread support for the principle that cultural policies should apply online, and (3) ensure that these issues are discussed during the election campaign in order to increase the commitments of various parties and multiply the outreach potential. Under the slogan “Save Our Culture,” all the players in the sector mobilized to request that the cultural policies in Canada apply to the Web, denounce the favourable conditions available to the Web giants and issue a call to the political class on the importance of reviewing broadcasting, telecommunications and copyright laws. The campaign was launched through a press release and an open letter that accompanied the material posted on the website and social media (video, animated GIFs, texts, etc.). A variety of broad themes were identified for content production, especially the article on the ties between the media crisis and challenges within the cultural sector, and posts on the positions of various parties. Several strategies have been developed with members, specifically an open letter on the music sector, and a photo op at the ADISQ press conference. Performers showed their support for the campaign through photos, publications and presentations similar to the one made by Pierre Lapointe at the ADISQ awards ceremony. Presentations were made at the CDCE’s general membership meetings. Many publications were created and shared on social media. Other member organizations made appeals, published open letters and distributed campaign material at events, thereby amplifying the reach of the message. The cultural sector’s challenges were raised several times in the media and the parties made additional commitments to protect our culture online.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
CDCE members wrote several opinion editorials and press releases and granted a variety of interviews to the press. In total, there were 176 campaign-related appearances (radio, television, print, social media, online and reposts), which generated 34,231,234 impressions (impressions are the number of times news is viewed by an individual, including the number of listeners and television viewers). The vast majority of the appearances were positive or neutral. In Québec, Grenier aux Nouvelles ranked the campaign among the top 10 best campaigns in the month of August 2019. On the CDCE’s social networks, the campaign materials and publications generated nearly 150,000 impressions. The campaign messages were also shared by several performers. Photos of 37 performers posing with campaign slogans were shared on social networks. An opinion editorial from the music industry was signed by 228 people in the sector, including many performers. Pierre Lapointe made several presentations (during the Radio-Canada talk show Tout le monde en parle and at the ADISQ awards ceremony) to support the campaign.

Organized the 6th Congress of the International Federation of Coalitions for Cultural Diversity (IFCCD), October 9 to 11, 2019, in Lomé, Togo – 2019

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for Diversity of Cultural Expressions
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the measure/initiative: 
The Coalition acts as Secretariat for the International Federation of Coalitions for Cultural Diversity (IFCCD). Founded in 2007, the IFCCD brings together coalitions and organizations from 30-some companies on every continent that mobilized to get their countries to ratify and/or implement UNESCO’s 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions. The Congress became a pan-African conference as well as a general meeting of the IFCCD. The Congress was about cultural policy advances at the national, sub-regional and regional levels, as well as some of the main challenges and opportunities for the implementation of policies and the role of civil society: the situation of women in the arts and culture, copyright, trade negotiations, discoverability of local expressions in the digital era, civil society participation in the development of cultural policies, the implementation of the 2005 Convention in the African Region, etc. At the IFCCD’s general meeting, the federation’s main directions were adopted, priority actions were debated, a new board of directors was elected and a number of administrative issues were addressed. The event aimed to achieve the following objectives: • Provide African stakeholders in the cultural field with a forum for analysis, forward thinking, dialogue and proposals for the development and, especially, the implementation of cultural policies. • Allow participants to learn more about UNESCO’s Convention on the Protection and Promotion of Diversity of Cultural Expressions; the role of the main active organizations, such as the Organisation Internationale de la Francophonie (OIF); the current issues for the implementation of the Convention; and certain innovations stemming from civil society. • Increase African civil society’s participation in the implementation of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions; and promote the participation of African civil society in the IFCCD, thereby contributing to better consideration of the plural reality of the diversity of cultural expressions on a global scale, as well as a better representation of the IFCCD. • Renew the IFCCD’s Board of Directors and establish the organization’s broad directions/thrusts for the 2019–2023 period. The Congress took place thanks to the support of the Organisation Internationale de la Francophonie, the West African Economic and Monetary Union (WAEMU), the Québec Ministère de la Culture et des Communications [Department of Culture and Communications], the French Coalition for Cultural Diversity, the Togolese Coalition for Cultural Diversity, the Coalition for the Diversity of Cultural Expressions (Canada), the Government of Togo, the Government of Canada, the Québec Government Office in Dakar and the Austrian Coalition for Cultural Diversity.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
More than 85 people from 28 countries participated in the Congress and many partnerships were forged with organizations that agreed to support the event. The accumulated resources helped cover the participation fees for 33 people, including 20 from African countries. As part of the survey conducted after the event, we asked participants to evaluate how the regional conference helped them increase their knowledge of the seven topics that were addressed. The large majority of respondents replied good or excellent for all the topics. The event helped to mobilize individuals and civil society organizations that were not in the IFFCD network, which is always rewarding for an organization. The survey results revealed that all the participants had a positive view of the IFCCD and that they wished to collaborate with the federation again or to become a member and participate in a new IFCCD in the future. In short, participation in the event is proof of a keen interest by civil society in the issues addressed by the Convention. In particular, there is a real desire on the part of civil society to collaborate to adopt and implement cultural policies, or policies aimed at protecting and promoting culture in trade agreements or the digital environment. Regional and national political organizations’ representatives on-site were able to witness that. For those who missed the Congress, summaries of the presentations and supporting documentation, video material and the declaration on the IFCCD website are an opportunity to see the interest and expertise of civil society to contribute to the protection and promotion of diversity of cultural expressions. In addition, all this material, which continues to be put online on our website, allows those who did not participate in the event to strengthen their knowledge and use the training and mobilization material to support their activities. The Lomé Declaration came out of the collaborative work with participants to arrive at a consensus version. It was published on the IFCCD’s website and shared on social media. In this declaration, “Participants of the 6th Congress of the IFCCD are committed to working together on these objectives toward the next IFCCD meeting in 2022–2023.” The first objective involves the development, implementation and evaluation of cultural policies. Beyond this result, depending on the event’s final program, we can affirm that the conference helped establish a forum for analysis, forward thinking, dialogue and proposals for the development and, especially, the implementation of cultural policies. This also influenced the delegates at the congress to identify the IFCCD’s directions and priorities.

Provided support to other coalitions for diversity and civil society organizations in other countries (2016–2019)

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for the Diversity of Cultural Expressions
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the measure/initiative: 
The Coalition serves as the secretariat of the International Federation of Coalitions for Cultural Diversity (IFCCD). Founded in 2007, the IFCCD brings together coalitions and organizations from 30-some companies on every continent that mobilized to get their countries to ratify and/or implement UNESCO’s 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions. This role shows unquestionably the importance that the CDCE places on the strength of an international network. CDCE members continually renew their support for this mission when CDCE resources are allocated, either to contribute to the IFFCD, participate in UNESCO’s statutory meetings or support civil society’s efforts in other countries. For example, the CDCE’s general coordinator provided guidance to the organizing team of the International Meeting on the 2005 Convention at Guanajuato, Mexico, from November 27 to 29, 2019. She provided support for the program’s development; the establishment of relationships with the Canadian and Québec governments, as well as Mexicans with whom the IFFCD has a relationship; and obtaining funding. She also participated in the conference to present the IFCCD and the CDCE’s experience as well as current challenges that concern CDCE members.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
The ongoing involvement of the CDCE has allowed the IFCCD to continue its mission, and it has convinced the Canadian government to renew its support for the CDCE, especially to maintain the international action component. The CDCE’s work has helped relaunch the IFCCD’s mission as of 2018. The congress that was organized in October 2018 in Montreal confirmed the member organizations’ interest in redefining the IFCCD’s mission for the coming years. A congress was successfully organized the following year and helped complete this relaunch. In the case of the Mexico example, at the end of the meeting, organizations committed to relaunching the Mexican Coalition, which had been inactive up until that point.

Encouraged civil society concerted action in the context of the review of broadcasting and telecommunications laws, 2018–2019

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for the Diversity of Cultural Expressions
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Industria editorial
Describe the main features of the measure/initiative: 
Protecting and promoting the diversity of cultural expressions in the digital environment has become one of the CDCE’s two main action priorities. In 2018, background work began to identify more specific directions that could be taken by the CDCE to promote the application of online cultural policies in Canada. A certain number of meetings and achievements could be mentioned as part of this report, but we will limit ourselves to the most important components. On June 5 and 6, 2018, the Coalition for the Diversity of Cultural Expressions (CDCE) organized a meeting in Montreal and then in Toronto to read the CRTC report “Harnessing Change: The Future of Programming Distribution in Canada.” The CDCE invited Suzanne Lamarre, an expert in telecommunications, radiocommunication and broadcasting laws and regulations; a lawyer; and an engineer at Terrien Couture to deliver an analysis of the report, which was followed by a panel discussion by CDCE members. At the Montreal meeting, “What future for the Diversity of cultural expressions online?”, a large audience took part in the discussions. The two events provided an opportunity for a shared analysis of the CRTC report’s findings and proposals, and paved the way to the following steps. As luck would have it, the Canadian government announced the creation of an expert panel to review the legislative framework for the Canadian broadcasting and telecommunications on June 5 and this helped participants to start discussing the way forward. To support its contribution at consultations organized by the expert panel, the CDCE organized several meetings with its members and other organizations in the cultural sector to promote the best convergence possible in that sector. The CDCE commissioned a legal opinion from a specialist, which was very useful to members. The CDCE was invited to meet the members of the expert panel on October 25. It published an open letter on October 24, requesting regulations adapted to digital challenges. Lastly, a brief was submitted by the CDCE on January 11, 2019, and was put online on the CDCE site.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
This initiative greatly encouraged collaboration and consistency in the cultural sector as part of the expert panel’s consultations. Several members of the CDCE, as well as other organizations in the cultural sector, have explicitly supported the CDCE’s recommendations. Producing a collective legal opinion also gave the organizations quality input that they can draw on in their representations. The events held in June helped organizations share their analysis of a very important report and led to a CDCE publication. CDCE members were happy to note the inclusion of the diversity of cultural expressions among the subjects that the expert panel had to include in its report. It is an important sign that means that the CDCE’s efforts to raise awareness on this matter are recognized and shared. Members decided to follow up on this initiative by organizing the “Save Our Culture” campaign (see measure 1) in order to take the collective reflection to another level. The expert panel’s report will be available by January 31, 2020, Therefore, it is difficult at this stage to evaluate the impact that this work has had on the committee’s work, and even less so on the laws themselves because the bills will be tabled in 2020.

Examined the impacts of artificial intelligence on diversity of cultural expressions – 2018

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for the Diversity of Cultural Expressions
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the measure/initiative: 
The CDCE led an initial consultation on artificial intelligence (AI) so that the discussions regarding its development and applications could better take into account general cultural challenges, and particularly those of the diversity of cultural expressions. On September 25, 2018, CDCE representatives and collaborators met with the Montreal Declaration team to discuss the interaction between artificial intelligence and the diversity of cultural expressions. Additional research and feedback from members or allies of the CDCE, especially at the CDCE’s 20th anniversary on October 25, 2018, completed the consultation. The CDCE’s goal is to identify the challenges raised by artificial intelligence and opportunities that it evokes for the diversity of cultural expressions, propose ethical principles to monitor the development of AI in cultural matters and make recommendations to create the implementation of these principles.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
This consultation was first summarized in a CDCE publication. It was sent to the Montreal Declaration team, which led to the integration of new challenges related to cultural diversity in the second version of the declaration. This document facilitated the CDCE’s representations and the creation of partnerships, especially with the new document International Observatory on the societal impacts of artificial and digital intelligence. The CDCE is therefore the first civil society partner under the Arts, media and cultural diversity axis. Various presentations led by the CDCE on the matter helped inform the people and organizations that are active in the cultural sector about the tangible applications of artificial intelligence in culture and the potential impacts, positive or negative, of these application on the diversity of cultural expressions. The text also circulated through the International Federation of Coalitions for Cultural Diversity and was made available to UNESCO on a website ahead of the 12th session of the intergovernmental committee.
GOAL 2 - Achieve a balanced flow of cultural goods and services and increase the mobility of artists and cultural professionals: 

Monitored the treatment of culture in trade agreements and the framework for e-commerce on a global scale – (2018–2019)

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for the Diversity of Cultural Expression
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the measure/initiative: 
The CDCE monitored the negotiations of the new agreement between Canada, Mexico and the United States very closely to ensure the cultural exemption was maintained. The negotiations intensified from August 28, 2018, following the bilateral agreement between the United States and Mexico. From that time, contact with public servants and political representatives was frequent or even continuous during decisive periods. Informative emails to members were also very regular. The CDCE published a press release on August 29 in both languages, and an explanatory note on the cultural exemption on September 6. Both documents circulated widely on social media and generated several articles, mentions and interviews. After the negotiations were concluded, the CDCE issued a press release on October 1, 2018, to highlight that the cultural exemption was being maintained. The coordinator made a presentation on CUSMA at Forum XN on November 7, 2018. She also wrote an article in a book published in 2019 by M Éditeur. The CDCE commissioned a professor at the University of Sherbrooke to draft a private legal analysis. Her opinion, which was translated and sent to members on January 14, 2019, complemented the other analyses that had been distributed and provided new perspectives on the reprisal clause. After this work, comments were prepared and sent to the CDCE’s contacts in government. Thanks to this work, the French version of the text was modified. In 2019, the CDCE wrote two documents as part of the consultations led by the Government of Canada. One was about negotiations on possible membership in the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP) and proposed various options to the Canadian government to take advantage of all available opportunities to improve the protection of culture in the CPTPP. The other document was produced in the consultation on Canada’s Future World Trade (WTO) Negotiations on E-Commerce. In this document, the CDCE made 11 recommendations to protect and promote diversity of cultural expressions in the future negotiations and asked the Government of Canada to ensure that the cultural sector was exempt from future e-commerce negotiations at the WTO. The CDCE’s activities concerning the new North American Free Trade Agreement is consistent with the coalition’s historical involvement in business issues, its role as guardian of cultural sovereignty and maintaining the cultural exemption. Since it was founded, the CDCE has closely monitored the main negotiations that Canada has engaged in, especially the Canada-European Union Comprehensive Economic and Trade Agreement and the Comprehensive and Progressive Agreement for Trans-Pacific Partnership, and its advice was sought several times, especially on a potential bilateral agreement with China.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
Canada made maintaining the cultural exemption one of the two red lines during the negotiations with the United States and Mexico. It seems reasonable to conclude that mobilizing the cultural sector bolstered the Government of Canada’s willingness to maintain its protection despite the pressure from the United States. The CDCE’s press releases generated media publications and interviews with its representatives. The work done supported the CDCE’s members in their representations to the government. Comments about potential negotiations at the WTO were sent to International Federation of Coalitions for Cultural Diversity members and allies, thereby helping to inform civil society organizations elsewhere in the world about the negotiations and contribute to the analysis and proposals that will be made by various organizations over the coming years.

Outreach activities about the issues related to the 2005 Convention in the digital era – 2017

Name of CSO(s) responsible for the implementation of the measure/initiative: 
Coalition for the Diversity of Cultural Expression
Cultural domains covered by the measure/initiative: 
Cine / Artes audiovisuales
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Describe the main features of the measure/initiative: 
The CDCE formed a partnership with professor Veronique Guèvremont, UNESCO Chair on the Diversity of Cultural Expressions at Laval University and commissioned her to produce an expert opinion and lead mobilization activities on trade negotiations in the digital era. Engagement activities gave the members of the Coalition for the Diversity of Cultural Expressions (CDCE) the tools they need to face challenges arising from the trade negotiations in the digital era and made policy decision makers aware of the need to maintain the cultural exemption in the TPP and NAFTA during negotiations. A one-day public information and engagement seminar dedicated to the theme “Renegotiating NAFTA: threat or opportunity for Quebec’s cultural industries?” was organized by the CDCE in collaboration with ADISQ on June 6, 2017, at the ITHQ in Montreal, with Ms. Guèvremont as a speaker. This event was also the opportunity to review the function of the cultural exemption in trade treaties to better grasp the issues of their negotiation in the digital era. Two other events were organized on December 5, 2017, in Montreal, and on January 22, 2018, in Toronto. During these seminars, Véronique Guèvremont presented her expert opinion to CDCE members. These events helped mobilize civil society, stimulate discussion and increase its expertise.
Does it specifically target young people?: 
NO
Does this measure/initiative receive or has it received International Fund for Cultural Diversity (IFCD) funding?: 
NO
What are the results achieved so far through the implementation of the measure/initiative?: 
This project helped attract the attention of and mobilize civil society at the start of important trade negotiations for Canada. The expert opinion allowed the CDCE to identify the elements that have to be incorporated in trade treaties in order to maintain the protection of Canadian cultural industries in accordance with the objectives and principles of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions and with the operating guidelines aiming at the implementation of this instrument in the digital environment. Updating the knowledge of the CDCE and its members on the cultural exemption in trade treaties in the digital era was essential to help understand the implications of new chapters and clauses in the agreement, to be more relevant in the statements with public leaders to better explain the importance of protecting culture in trade agreements to a broader audience and to participate more effectively in consultations led by the Canadian government.
GOAL 3 - Integrate culture in sustainable development frameworks: 
-
GOAL 4 - Promote human rights and fundamental freedoms: 
-
On the basis of the analysis of the responses provided through the CSO form, present up to ten main priorities of CSOs to implement the Convention over the next four years.: 
1) Legislative review for the application of cultural policy in the digital environment. As in most countries, the Canadian legislative framework does not apply to online programming services (Netflix, Spotify, etc.), in large part foreign-owned, or cellular phone or Internet service providers. The CDCE is actively involved in reviewing broadcasting, telecommunications and copyright legislation. The review of these laws is the CDCE’s main priority at this time and undoubtedly for the coming years. Here is a summary of reasons that this review of laws is so crucial: Online programming services are not subject to requirements of discoverability and funding local and national content, which impedes the reach of local cultures, in addition to maintaining a system that is unfair to businesses that are bound by the regulatory framework. These programming businesses do not share information with the government, even when official requests are made. We do not have any information about Canadians accessing and being exposed to a variety of content. Even though traditional television content continues to play an important role in the lives of Canadians, these services are continuously losing viewers. This is leading to a decrease in income for broadcasting companies, which are the only ones that have to contribute to the Canadian content support fund. Consequently, the fund’s resources are being depleted. That is why Canadian Heritage increased its contribution to the Canada Media Fund in 2017. In radio, the commercial radio business has experienced a drop in revenues since 2014. Regular contributions from broadcasters to the music production fund are also down. Revenue losses in the music industry are colossal due to the drastic change in the way people consume music. Physical and digital album sales are in constant decline and streaming is continually increasing. The financial repercussions for the whole sector are dismal. These reductions in financial resources in the audiovisual and music sectors, combined with the constant decrease in conventional media advertising revenues, negatively impact the diversity of cultural expressions. For example, in the audiovisual field, fiction television shows, the genre at the core of the cultural expression, are the first to experience the lack of available resources. In the music sector, revenue losses are also resulting in a reduction in the number of projects that can be supported or the resources available to promote it. Opportunities in term of discoverability and funding are not the same for English- and French-speaking markets in Canada. Francophone products are not as easily exported in the global market and have a smaller funding base. The models established in the digital era are leading to the impoverishment of many performers, creators and cultural professionals. The median income of performers is $23,100, 45% less than that of Canadian workers. The addition of 40 exceptions to the Copyright Act in 2012 and its inability to adapt to technological realities have considerably weakened the revenues of creators and rights holders, which affects the creation of new work. Telecommunications service providers (Internet and mobile) benefit from access to cultural content online: video and audio account for the lion’s share of the time that Canadians spend online, for a combined total of 72%. Their revenues are increasing and their profit margins were 38.1% in 2017, but they do not contribute a cent to funding the cultural content. 2) Follow-up on trade negotiations to exclude culture from the trade agreements’ provisions Trade negotiations now include commitments concerning digital trade where the cultural sector must be preserved, at risk of not adopting new legislation to protect and promote our culture. Therefore, it is critical that culture remains excluded from trade negotiations, including digital commerce, through a global cultural exemption without the possibility of reprisals. WTO negotiations related to electronic commerce will be particularly closely monitored by the CDCE. 3) Develop artificial intelligence that contributes positively to the diversity of cultural expressions Reflections on the ethical dimension related to the development of artificial intelligence have been multiplying for a few years, and rightly so. Technical developments in artificial intelligence are numerous and quick; they are generating an increasing number of applications in nearly all activity sectors, public investments are very significant in several countries and often complement even larger private investments. While several applications have a formidable potential to improve general living conditions, others could contradict certain laws or other legal instruments. The development of these technologies is not formally supervised and these reflections are increasing to attempt to remedy this complacency. Still today, the majority of the reflections ignore the challenges facing the cultural sector. However, the applications of AI in culture are numerous: recommendation algorithms, applications to help create works (composition, writing, special effects, digital characters), data enhancement, etc. Cultural organizations need to better understand and anticipate the impacts and opportunities of these developments on the diversity of cultural expressions and the opportunities that they present, especially the following aspects: - Reviewing laws to take technological advances into account - Identifying cultural content with metadata - Promoting cultural content - Obtaining training, expertise and equipment - Developing grant programs - Creating new partnerships to promote data exploitation - Intellectual property issues related to AI creation - Changing jobs and conditions in the cultural sector

Emerging Transversal Issues

Relevant Policies and Measures: 

Creating, Knowing and Sharing: The Arts and Culture of First Nations, Inuit and Métis Peoples

Name of agency responsible for the implementation of the policy/measure: 
Canada Council for the Arts
Cultural domains covered by the policy/measure: 
Cine / Artes audiovisuales
Diseño
Medios de comunicación
Música
Las artes escénicas
Industria editorial
Artes visuales
Describe the main features of the policy/measure: 
The Canada Council is committed to reaffirming and revitalizing its relationship with First Nations, Inuit and Métis peoples in Canada. The Canada Council believes that an approach that respects First Nations, Inuit and Métis artistic expression, cultural protocols, Indigenous rights and Indigenous worldviews will stimulate First Nations, Inuit and Métis artists, artistic practices, and communities. The Creating, Knowing and Sharing Program acknowledges the cultural sovereignty of Indigenous peoples and respects the concepts of First Nations, Inuit and Métis self-determination. This program supports Indigenous individuals, groups, Indigenous-led arts organizations and arts/cultural sector development organizations that foster a vital and resilient Indigenous arts ecosystem. This program functions using a self-determined, Indigenous-centred approach. This means that it will be guided by Indigenous values and worldviews, administered by staff of First Nations, Inuit and Métis heritage, and assessed by First Nations, Inuit and Métis individuals. Collaborations between Indigenous and non-Indigenous artists, that are led by Indigenous artists/organizations are encouraged and facilitated in Creating, Knowing and Sharing.
Does it specifically target young people?: 
NO
Does the International Fund for Cultural Diversity (IFCD) support the implementation of the policy/measure?: 
NO
What are the results achieved so far through the implementation of the policy/measure?: 
Note: Figures below are in Canadian dollars (CAD). 2017-18: - $9.4 million total awarded - 57 arts organizations supported ($5.1 million awarded) - 19 groups supported ($1.1 million awarded) - 133 artists supported ($3.2 million awarded) 2018-19: - $12.2 million total awarded - 71 arts organizations supported ($6.8 million awarded) - 22 groups supported ($1.1 million awarded) - 171 artists supported ($4.3 million awarded)
Financial resources allocated to the policy/measure in USD: 

2017-18: USD 7.2 million (CAD 9.4 million)
2018-19: USD 9.35 million (CAD 12.2 million)

Has the implementation of the policy/measure been evaluated?: 
NO

Challenges and Achievements

Describe the main results achieved to implement the Convention (at least one major achievement in one of the four goals): 
In its roadmap for implementing the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions in the digpital environment, Canada strongly reaffirmed its commitment to a successful transition to promoting the diversity of cultural expressions in the digital age. This has been done at the federal level through regulatory and public policy initiatives, such as the Broadcasting and Telecommunications Legislative Review, as well as the implementation of the Digital Citizenship Initiative, including an international strategy on the diversity of online content. Canadian Heritage Portfolio organizations are also addressing this technological transition, as illustrated by the launch in 2017 of the Canada Council for the Arts’ Digital Strategy Fund, which encourages and supports Canadian artists, groups and arts organizations in understanding the digital world, engaging with it and responding to the cultural and social changes it produces. Canada’s Creative Export Strategy emphasizes the role of creative industries as a strength of the Canadian economy (accounting for 3% of the national GDP), and as part of the country’s economic growth plan, thus supporting companies doing business abroad in achieving their international trade objectives. Launched in June 2018, the Strategy supported a variety of activities during the 2018–2019 fiscal year, such as funding 32 export-ready projects that will share nearly $14.8 million in funding (also includes the 2019–2020 fiscal year); providing services to 671 creative companies at 9 Canadian missions abroad; and the signing (or advanced negotiation) of 56 trade agreements for Canadian creative companies through trade missions to China (2018) and Latin America (2019). In the same vein, it is relevant to highlight the maintenance of the cultural exemption in the new Agreement between the United States, Mexico and Canada. This blanket exemption, which protects Canada’s cultural sovereignty, covers cultural industries and is a provision included in the majority of Canada’s international trade agreements. Given its horizontal breadth, it overrides trade disciplines with respect to cultural industries in all chapters of the trade agreement, including the digital chapter. In order to reflect the country’s regional needs and specificities, some provinces have also implemented separate measures to promote the exchange of cultural goods and services, and to facilitate the mobility of artists and cultural professionals. These include Creative Saskatchewan, a creative marketing program, and Nova Scotia’s culture trade strategies.
Describe the main challenges encountered to implement the Convention and the main solutions found or envisaged to overcome them: 
As articulated throughout the report, topics related to the theme of diversity of cultural expressions in the context of the growing digital economy are a priority for Canada. These emerging issues are very complex and multi-dimensional in nature. In order to address these issues in a comprehensive and effective manner, we advocate a cooperative and multi-stakeholder approach to our work, particularly on the issue of the diversity of online content. This will eventually result in the creation of an international multi-stakeholder working group to develop guiding principles on diversity of content and strengthen citizen resilience to disinformation. Adopting guiding principles will help to define policies and concrete measures to protect and promote the diversity of online content.
Describe the steps planned in the next four years to further implement the Convention and the priority areas identified for future policy action based on the conclusions of the current reporting process: 
Over the next four years, the roadmap for implementing the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions in the digital environment will serve as an anchor to continue the progress already made on the implementation of Canada’s international strategy in this regard. In the same vein, building on the Broadcasting and Telecommunications Legislative Review panel’s report entitled “Canada’s Communications Future: Time to Act,” the Government of Canada will begin work on implementing the recommendations made, including those concerning new regulatory approaches, namely the expansion of the mandate of the Canadian Radio-television and Telecommunications Commission (CRTC) to support the production and promotion of audiovisual content in the digital age. Given the projected magnitude of the economic impact of the effects of the COVID-19 pandemic on creative industries over the next few years, we plan on continuing to work with our provincial and territorial government colleagues, as well as our civil society partners, to adapt some of our policies and programs to better support the cultural sector. The Canadian government has already begun to take significant sectoral measures to better support artists affected by the resulting upheavals. These include the announcement of $500 million to help alleviate the financial pressures on the cultural, heritage and sport organizations as they deal with the challenges and impacts of this pandemic.

Annexes

Please upload relevant documents (law, policy, agreement, regulation, strategy, etc.), studies and statistics in PDF format related to the implementation of the 4 goals and the 11 areas of monitoring of the Convention in your country. The documents should have been produced during the reporting period covered by this periodic report. Please provide the title and a description of the main content of the document in English or French.: 

Submission

Designated official signing the report: 
Title: 
Ms.
First name: 
Julie
Family name: 
Boyer
Organization: 
Canadian Heritage
Position: 
Officially designated National Point of Contact of the Convention
Date of submission: 
2020
Electronic Signature: