The business of promoting Canada overseas: Canadian image makers

When it comes to promoting Canada overseas, culture plays second fiddle to nobody. For a change, the Department of Foreign Affairs and International Trade gives it top priority these days -- alongside trade, tourism and politics. The Department adopts the role of champion for our artists, writers, performers, filmmakers, and the cultural industries -- and appears to revel in it. It is good news for artists: to be seen as an integral part of our foreign policy. And, most importantly, Foreign Affairs is able to help Canadian arts practitioners, in very practical ways, when considering the big leap overseas.

Jim Wright, Minister for Political and Public Affairs at the Canadian High Commission in London, England, sets the scene when he says enthusiastically, "We are proud to promote Canadians of all artistic persuasions as part of projecting Canada's image." Wright, a career diplomat, who has held senior posts in Washington and Moscow, and left the Prime Minister's Office for a four year posting to London, is jubilant about his cultural responsibilities.

Britain's relatively new Department of National Heritage, responsible for arts and culture, was once dubbed "The Ministry of Fun" by David Mellor, the former Cabinet Minister whose portfolio it was. Jim Wright seems to be catching on fast. All too often, the feeling abroad is: "Who would want to visit Canada? Canadians are boring people." Jim sees an opportunity for Canadian artists to put an end to this misconception. And when spotted in November at a reception given by London's Sadler's Wells Theatre for Les Ballets Jazz de Montreal and its supporters (one being the Canadian High Commission), he was definitely having fun.

Seen from the London perspective, be thankful that the Government of Canada recognizes the vital role Canadian culture can play in projecting the image of a modern, highly developed and interesting country. And that there exists abroad a growing breed of committed supporters like Jim Wright. Surely they will help persuade the Federal Government on the importance of nurturing more strongly (especially financially) our artists and arts organizations, which light up Canada as an exciting competitor in the international visitation stakes. Indeed, without world-class artists and companies, Canada would soon become an less attractive place in which to do business, settle or visit.

Jim Wright points out that London, Paris, New York and Tokyo, followed by Bonn, Washington and Rome, are exceptionally important" cities for Canadian cultural activities and industries. Each has a Cultural Attache and small staff. All are energetic arts management professionals on four year contracts -- many countries simply assign career officers to handle culture.

Jim rates London number one in importance, followed by Paris. He is the "maestro" and master strategist. His outstanding "leader" and "general manager" as Cultural Attache is Diana Jervis-read, a brilliant selection of Jim's, in 1993. Both Jim and Diana underline the mutuality of their task, and stress that the work of the Cultural Affairs Section is a team effort. Whatever it is, it appears to work well, and Canadian cultural diplomacy is flourishing and popular in London and the U.K.

Jervis-read possessed just about the perfect credentials for the number one job, and the Department of Foreign Affairs was fortunate to attract her. Her curriculum vitae suggests a route leading quite naturally to her current position. Education: England, France, Germany, U.S.A. Languages: French, conversational Italian, Spanish. First job: Antique Finder Magazine, London; followed by London Life and Good Photography Magazines. Stints with film/TV/music/ publishing companies. 1976: Organizing Committee (COJO) of the Olympic Games in Montreal; followed by a stint as Cultural Attache at Ontario House in London for the Ontario Ministry of Culture and Communications; 1991-1992: External Relations Advisor and Government Liaison for the Canadian Opera Company. By 1991, she was Deputy Chief of Protocol, Government of Ontario. Director General and Chair of the task force which organized the seven day, 52 site, three city Ontario visit of The Prince and Princess of Wales -- which required her to work with the Secretary of State Department and the Prince of Wales' Office. She now says, "I would never want to organize a visit like that again in ten days. It was absolutely hectic." In 1993 she planned a worldwide programme of events to mark the 250th Anniversary of Sotheby's Auction House the following year.

Speaking about her responsibilities as Cultural Attache, in which she is assisted by four specialist officers and an office manager, Diana asserts, "My job is to elevate the awareness in Britain of Canada as a well-developed, sophisticated world player with an historical and contemporary arts community which can compete internationally." And one is left in no doubt -- she is a very determined lady. Asked to compare Canada's cultural diplomacy in the U.K. with that of other embassies, she chuckles, "We are the envy of other countries!"

Quizzed on what she likes most about her job -- following some reflection, the diplomatic curtain inches up and exposes a warm, sincere, passionate woman. "I care deeply about what I'm doing. I care passionately about the arts. Canada has so much to offer and we can compete anywhere. I find cultural diplomacy absolutely fascinating -- making all these things work together is a tremendous challenge I really enjoy, between the High Commission, the Department of Foreign Affairs, the Department of National Heritage, the provincial governments, and government agencies, together with our Canadian artists and companies." Suddenly, a job that sounded too much like fun takes on a new, more serious aspect.

How can the Cultural Affairs Section assist Canadian arts practitioners? "We put people in touch with people." This is one of Diana's great strengths: she has the Midas Touch. "We have a unique knowledge of venues and people, and add the creative element -- the cross element. We tailor individually for each person's or organization's creative vision. What makes a difference is the individual. We understand artists and how to work with them." And the feeling does seem to be mutual.

Diana sees herself as a facilitator and promoter, which she does with efficiency and humour. Though always moving at breakneck speed, there is a serenity about her, and an intense interest in people. And the British arts establishment admires and respects this colourful and stylish entrepreneur.

What have been some of the great moments in her diplomatic career? In 1983, Ed Mirvish bought and refurbished London's famous Old Vic Theatre, and in January of 1984 they brought over the Stratford Festival production of The Mikado, which was directed by Brian Macdonald. Diana was involved in the gala reopening of the theatre and surrounding events -- an ideal opportunity to promote Canada.

On the opening night of the 1980 Edinburgh Festival, she gave a party for Oscar Peterson at the Caledonian Hotel. Guests included Dizzy Gillespie and Jessye Norman. "That was great fun!" Diana is always to be seen where the Canadian action is. She brings a sense of occasion to events.

In terms of the performing arts, Jervis-Read's section of the Canadian High Commission is able to advise upon and assist with the organizational and promotional aspects of visiting Canadian performers and companies. The High Commission has funds which can be used to help U.K. host organizations promote Canadian performers, including receptions and launches. Officers support and assist with Canadian events right across the country. ARTSNEWS, an interestingly produced, comprehensive diary of arts events involving Canadians, is circulated monthly to 6,000 arts leaders, press and opinion makers. How helpful big government can be to artists when it decides to push them to the top of the totem pole.

But it all begins in Ottawa. The Department of Foreign Affairs' Performing Arts Program Objective is to "promote tours abroad of Canadian companies, groups and artists in the fields of music, theatre and dance." Financial assistance corresponding to the cost of international transport is provided with priority given to projects that "last a minimum of two weeks, present Canadian works of the highest quality, respond to a demonstrated interest abroad by an established local sponsor who can provide guarantees, and are organized by a Canadian agent or professional tour co-ordinator." Proposals must be submitted to the Performing Arts Advisory Committee during the fiscal year preceding the proposed tour.

Jim Wright and Diana Jervis-Read have every reason to be pleased and excited when running through their projected roster of Canadian artists for 1994 and 1995. Their efforts can make the difference between success or failure, not only for the artists, but for Canada. It reads like a "Who's Who in the Performing Arts in Canada." A random sampling includes: Nexus, the Montreal Symphony, the NAC Orchestra, Tafelmusik, Nouvel Ensemble Moderne, Inuit and Native Singers, the Rankin Family, Tim Brady, the Flying Bulgar Klezmer Band, the Canadian Opera Company, Cirque du soleil, Robert LePage, Brad Fraser, O Vertigo, Les grands ballets, Lynda Gaudreau, Carbonne Fourteen, and Anjali. Now that represents a serious commitment to Canadian artists and an enormous amount of work for Diana and her crew.

Despite the invasion of Canadian artists and performers, Jervis-Read's ringing peroration to Canadian performers is: "Keep in close touch. Let's talk. We're here to help." Now that's also new, coming from big government, and all with a welcoming smile from our new "angel" in London. [Sections]

Louis K Fleming is Canadian based in London. He is a director of Theatre Projects Consultants and an international arts management consultant.

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