News and Views

Canadian Art Issues: Canadian Conference of the Arts Bulletins

Music Reviews: Penguin Eggs
Music Reviews written by Roddy Campbell, Editor of Penguin Eggs.

Visual Arts: From the Pen of Robert Genn
A biweekly commentary written by Artist Robert Genn.

Artist at Work: Articles regarding Disability Insurance for Freelancers
First of a series of articles written by Aidan Cosgrave, of J.S.T. Productions.

Visual Arts ^

Robert Genn visual artist at canadaart.INFO
From the pen of

Robert Genn

Subscribe to Robert Genn's twice weekly letter for insight and inspiration for your artistic career.

August 8, 2008

"In Lucca I've borrowed a friend's workshop for a sanctuary. Wine cellar and bicycle garage, it's a tiny grotto in the bowels of a 13th century home, its main wall contingent to the base of an 11th century church. In summer's midday, while the town's at ease, it's a cool retreat with one high window that brings only distant bells, the occasional chatter of children and the beguiling clip, clip, clip of stylish heels.

Italy lives with the burden of history. To see Michelangelo's unfinished sculptures in Florence's Galleria dell'Accademia is to inhale the marble dust of genius. Tuscany itself is so laden with great art that it's easy for artists to say, "Why bother?"

While it's difficult to know the comparative statistics, in North America it's estimated that four percent of the population try their hand at fine art. I'm sure the percentage in Europe is much lower. Is this because Europeans have the idea that it's all been done before?.."

Read the illustrated responses to the last letter: "Sanctuary".

 

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Artist at Work ^

Peace of Mind

I recently received an e-mail regarding a member of the arts community who had become ill, was no longer able to work and needed some financial assistance. As I have done in the past, I sent a cheque to assist, though I knew this was only a band-aid solution. In the e-mail it indicated that the individual had no savings, no RRSPs, and no Disability Insurance. Unfortunately this is not an uncommon story. I suspect that many readers of this article are in need of reviewing their financial management strategy.

As I wrote the cheque I thought back to other cheques that I have written in similar situations and decided it was time to spread the word to freelancers about the importance of carrying Disability Insurance. To begin, I conducted an unscientific survey, asking freelancers if they have disability insurance. The good news was that the majority knew what Disability Insurance was; the bad news was that the majority did not carry it.

I know that this is an old topic but clearly the message has not resonated with its target. This is evidenced by the recent announcement in the States that the Altman Family will be matching donations to support a fund for members of the arts community who have been injured or fallen ill.

Why didn’t the surveyed freelancers have coverage? One individual seriously said, “I don’t require coverage because I am careful at work”. Most indicated that they are covered by WSIB or the group plan offered with their membership in an industry association. While these are valuable to freelancers, WSIB only covers an individual when they are injured on the job and many group plans only offer short-term coverage.

Disability Insurance offers extended coverage and, most importantly, covers you when you slip in front of a bus, fall ill, or, in the worst case, have been diagnosed with an incurable disease.

After understanding the limitations of WSIB and group plans the next reason given for not having coverage was the cost and hassle of signing up. I did not have an answer for this so I enlisted the help of my Insurance Broker to review various plans and find a financially viable option with simple sign up procedures.

For those unaware, Disability Insurance is a form of insurance coverage that provides a portion of income lost as the result of a total or partial disability caused by either an accident or an illness. Who should carry this insurance? Everyone. Who MUST carry this insurance? While it is not the law, it is commonsense that all individuals who are freelance and/or small business owners should carry disability insurance.

As noted, the reason many individuals in the arts community don’t have disability insurance is because it is perceived to be expensive. On average by investing approximately 3% of your annual income you can protect almost 90% of your income. More importantly Disability Insurance offers peace of mind, knowing that in the event that you are injured or fall ill, your financial situation will remain relatively solvent.
As a small business owner, I am very aware of the cost of insurance and the need for Disability Insurance. But I am also very aware of the cost when an individual does not carry the necessary insurance and becomes injured or is fallen by an illness. We are all human and tragedy can strike at anytime. There are too many in the community who have ignored the need for RRSP’s, life insurance, savings, and most importantly Disability Insurance.

This article is only the first step in ensuring that I don’t have to write any more cheques.
Step 2 - continue to spread the word about the importance of Disability Insurance
Step 3 - offer assistance to those with questions
Step 4 - source a cost effective and hassle free disability insurance plan
Step 5 - ensure that the curriculum in all Arts related programs includes a course on the
financial responsibilities of the freelance community

Disability Insurance = Peace of Mind.

aidan cosgrave
J.S.T. Productions
jstproductions@bellnet.ca

 

Music Reviews ^

Music Review Penguin Eggs

Among others, in penguin eggs autumn issue, we have articles on:

Cover feature: Fred Eaglesmith Spiked with religious themes, Fred Eaglesmith’s latest recording, Tinderbox, rattles around the dusty back roads of scorched-earth farming communities, where glazed-eyed preachers deliver fire and brimstone holding rattlesnakes for props.

The Penguin Eggs Interview: Billy Bragg He was the punk who worshipped The Clash and rasped short, sharp shock songs in a band called Riff Raff, but abandoned dreams of stardom to join the British army. But Billy Bragg, the rough diamond with the razor wit and the fastest tongue in the east (end of London), was never cut out to be a soldier and bought himself out of the army to return to his first love and re-launch his career as a one-man Clash. – Questions by Colin Irwin

Chatam County Line The roots of Chatham County Line came from Americana icons as diverse as the Grateful Dead and the Del McCoury Band. With the release of IV, Fish Griwkowsky finds CCL brimming with confidence having discovered its own voice.

Socalled Socalled’s revolutionary tour de force, Ghettoblaster, merges everything from klezmer to country on a bed of hip-hop beats and social commentary. Nobody makes music like this man, reckons Mary Beth Carty.

Widow Maker As their name Widow Maker suggests, this Calgary combo fly close to the edge, combining blues and old-time to forge their … erm … killer bluegrass. Robert Remington discusses Jimmy Martin’s hemorrhoids and Widow Maker’s fine first album.

Rupa and the April Fishes Rupa and the April Fishes emerged from San Francisco’s Bay Area to release one of the most thrilling debut recordings of 2007. Tony Montague uncovers the kaleidoscope of roots styles these cultural nomads nurture.

Little Miss Higgins Little Miss Higgins’s country blues envelops the wind, the emptiness of the Saskatchewan landscape, and mucky hands from gardening. An enthralled Mike Savada uncovers her roots.

Amos Garrett Amos Garrett pays tribute to the late, trailblazing blues and r&b icon Percy Mayfield on his latest release, Get Way Back. Mike Bell considers it a stunning achievement set amidst an illustrious career.

Boiled In Lead A quarter of a century on and Boiled in Lead continue to break the mould. Sandy MacDonald finds their first release in a decade a bold and invigorating approach to traditional folk and world music.

Ndidi Onukwulu Ndidi Onukwulu’s voice elicits comparisons with Billie Holiday’s – not bad company for an award-winning twenty-something-year-old with a bold new record dedicated to the universe. Pat Langston beams aboard.

Devotchka Devotchka scored the Oscar-nominated soundtrack for Little Miss Sunshine. Buoyed by that success, they made the magnificent A Mad and Faithful Telling. It captures their mercurial vitality and musical daring, Tony Montague reckons.

Ghost Bees Ghost Bees sing about goblins, vampires and ogres like Pol Pot and the Khmer Rouge. Eerie and unconventional, Maghan Campbell finds their taste for the macabre poignant and painfully modern.

Law Lau grew out of Edinburgh’s invigorating, free-wheeling pub sessions to become the U.K.’s folk band of the year. An ecstatic Colin Irwin chronicles the amazing pedigree of a band propelled by improvisation.

We also have small features on Bette & Wallet, Meg Hutchison, Norah Rendell & Brian Miller, The North Atlantic Fiddle Convention, Simon Gauthier and The Tara Cafe in our Big Buzz section!

more
from Roddy Campbell at Penguin Eggs!

Canadian Art Issues ^

CCART news about canada art at canadaart.info
Canadian Conference
of the Arts

Ottawa, November 20, 2007

Ottawa, November 20, 2007CCA Bulletin 36/07 – Update on various files

* The Government of Canada Launches a National Competition to Determine the Location of the Future Portrait Gallery of Canada
* A New International Organization is Formed: the International Federation of Coalitions for Cultural Diversity (IFCCD)
* The CCA Writes to the Honourable Jim Prentice, Minister of Industry
* Good News for Festivals
* Federal Subsidies and Contribution Agreements: Where Do Things Stand?
The Government of Canada Launches a National Competition to Determine the Location of the Future Portrait Gallery of Canada
On November 9, 2007, the Honourable Josée Verner, Minister of Canadian Heritage and the Honourable Michael Fortier, Minister of Public Works and Government Services, announced that the Government of Canada was launching a Request for Proposals to determine where the future Portrait Gallery of Canada will be built. This Request is addressed to all public and private sector presenters in the following nine cities: Halifax, Quebec City, Montreal, Ottawa-Gatineau, Toronto, Winnipeg, Edmonton, Calgary and Vancouver. These cities were selected because they have large populations and efficient transit networks, and are likely to attract foreign visitors.
This announcement clearly marks the death of the previous plan involving the conversion of the former American embassy, across the street from the Parliament Buildings, a plan on which over 11 million dollars has already been spent. We note as well the aborted plan to build the Portrait Gallery in Calgary, with funding from the private sector. The current call for tenders marks a clear turning point in government policy concerning national institutions, one already evident in last year’s announcement of the Canadian Museum for Human Rights in Winnipeg, based as well on the idea of partnerships between the government and the private sector and of decentralization away from the National Capital. Ms. Verner, expressed her desire to circulate the new Gallery’s collection, so that as many Canadians as possible can see the faces which have made their mark on Canadian history. This new policy direction is eliciting both favourable and critical reaction.
The government hopes to make the announcement concerning the new site of the Portrait Gallery of Canada next spring, which leaves little time for presenters to find partners for such a project. According to the government’s timeline, this new cultural installation should welcome its first visitors during the 2011-2012 season.
A New International Organization is Formed: the International Federation of Coalitions for Cultural Diversity (IFCCD)
On September 19, representatives of 37 national coalitions favouring cultural diversity meeting in Seville, Spain, formed the International Federation of Coalitions for Cultural Diversity (IFCCD). The Federation will take over from the International Liaison Committee of Coalitions for Cultural Diversity (ILC-CCD), which has coordinated and provided support for the work of various national groups since 2003, and has liaised with UNESCO and with the International Network on Cultural Policy (INCP).
Organized through the efforts of the Spanish Coalition, the founding convention was an opportunity to set out the structure of the Federation. A ten-person Board of Directors was chosen, chaired by Rasmane Ouedraogo, president of the Burkina Faso Coalition. The Federation will be incorporated in Canada, its headquarters will be in Montreal, and its Secretary General will be Jim McKee, Executive Director of Canada’s Coalition for Cultural Diversity. Solange Drouin, co-chair of the CCD, was elected treasurer. The French Coalition will serve as the Federation’s representative to UNESCO.
In the closing declaration of the Seville meeting, the representatives of the participating coalitions set out the mandate of the new Federation. For example, the IFCCD will support countries’ ratification of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, so as to reach the goal of ratification by 150 countries by 2010, in particular, by those countries from under-represented areas (Asia, the Middle East, Africa). As well, the Federation will support the creation of new national coalitions, and will work to speed up the implementation of the Convention.
The CCA Writes to the Honourable Jim Prentice, Minister of Industry
On October 29, the CCA sent a letter to the Honourable Jim Prentice, Minister of Industry, urging him to use his discretionary powers to assure that Statistics Canada’s Survey on Giving, Volunteering and Participating be continued. This survey, conducted in its present form since 2001, provides an indication of the dollar value of all donations and of the time given by citizens to non-profit and charitable organizations. The survey, and the budget associated with it, are now at risk as a result of budgetary adjustments taking place at Statistics Canada.
The CCA letter notes that the arts and cultural sectors provide a livelihood for over 600 000 Canadians, many of whom work for non-profit organizations. In many cases, these organizations are heavily dependent on the work of volunteers and on income from donations. The information provided by the Statistics Canada survey is, therefore, of great importance to many organizations in the arts and cultural sectors (and in other sectors), which rely on it as a yardstick to evaluate their fundraising efforts among private donors, as well as their audience growth.
Good News for Festivals
On September 12, 2007, the Minister of Canadian Heritage, the Honourable Josée Verner, announced the creation of a new program called Building Communities Through Arts and Heritage. This announcement fulfills a commitment made in the 2007 federal budget to devote $30 million a year over two years to local festivals and special events.
One of the strong points of this announcement is definitely the news that $7 million from this program will be added to the budget of Arts Presentation Canada, to provide support to professional arts and heritage festivals. This funding will be gradually introduced, and will be fully available in 2009-2010.
Federal Subsidies and Contribution Agreements: Where Do Things Stand?
Some may recall the recommendations made last winter to the federal government by the Blue Ribbon Panel on Grants and Contributions
An implementation process for these recommendations has been established under the direction of the Treasury Board, with representation from concerned parties. Imagine Canada has formed a working group, which meets every six weeks with government representatives. During a meeting this past June attended by the CCA, the non-profit sector identified three clear priorities, which were accepted by the Treasury Board:
* The gradual establishment of a multiyear funding scheme
* The establishment of a uniform implementation regime for all departments
* A commitment by the government to set measurable standards regarding the handling of applications (e.g. standardized forms, time limits for processing applications, verification requirements, etc.)
Given that the administration of many subsidy programs and contribution agreements has been transferred to the provinces, the working group formed by Imagine Canada will look at the need for provinces to take measures similar to those being developed at the federal level. Significant progress on this question should take place during 2008, and the CCA will keep you informed of any major developments.

Publication of
Canadian Conference of the Arts

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