Abolish cultural subsidies
08/15/08 | by Editor | Categories: Weekly Column
By Pierre Lemieux
Starting next year, the federal government will be discontinuing or reducing a dozen cultural subsidy programs. The budget cuts amount to a bit more than 1% the total federal expenditures on culture (which are about $3.5 billion per year). And note that in the last two years of Conservative government, these expenditures have increased by 15%.
The small planned decrease in the continuous increase of cultural expenditures is raising a big fuss. Defending cultural subsidies, Andrew Wilhelm-Boyles of the Vancouver-based Alliance for Arts said, “[G]overnments have historically done this because it was good for the country”. How altruistic these subsidized artists are! They’ll fight tooth and nail for their loot.
The argument for abolishing at least one of the programs has revolved around the “typical Canadian” not wanting to finance leftists to travel all over the world and promote their radical views and eccentric art. The problem with this argument is that it is not only the typical Canadian who pays taxes. Untypical ones are also forced to pay. Why shouldn’t they have access to benefits too? In what French political scientist Bertrand de Jouvenel calls “totalitarian democracy”, where the democratic state intervenes everywhere, there is no obvious answer to the question of whose culture and lifestyle the state should support. Should the majority oppress minorities or should minorities get a piece of the cake?
It is not a defensible solution to stop subsidizing this or that group of artists because the party in power happens not to like them. The real solution would be to abolish all cultural subsidies.
Cultural subsidies reward those who are efficient at lobbying, not at producing culture. They often go to organized interests, whether the artists’ interests or other interests. During fiscal year 2006-2007, for example, publishers got $26.2 million “to enhance their development and distribution”, including $765,000 to Québécor and $193,017 to Transcontinental. The Association for the Export of Canadian Books got $4.7 million, Québec City $1.1 million (under the Cultural Spaces Canada program only), and a small, rural, unknown town $239,371 as a “cultural capital”.
Cultural subsidies actually harm culture. Compare subsidized French culture and relatively unsubsidized Anglo-American culture over the past four or five decades. The subsidized artists are those who can’t persuade the public to voluntary buy their works; the more subsidies available, the more of these “artists” you get. In his 1991 book L’État culturel (“The Cultural State”), French historian Marc Fumaroli notes that the tenants of the Bateau Lavoir, including Braque and Picasso, were not subsidized. Nor were, up to the 1950s and 1960s, playwrights who, like Beckett and Ionesco, had their work played in non-subsidized Paris theatres.
In a post on the French side of this site, Québec author Christian Mistral argues that “subsidizing unpopular art works is a sign of civilization”. As an example, he says, “even if I hate cantaloupe, I resign myself to the fact that it is cultivated for the eccentrics who love it”. Indeed, he has a point. Civilization implies that art lovers exist who are allowed to enjoy works of art and that artists are not forbidden to produce them. It does not mean, however, that cantaloupe haters are forced to finance cantaloupe growers.
Cultural subsidies are not much different than if each subsidized artist was given a revolver and told to collect the money himself.
Even if the state financed them with manna from heaven, cultural subsidies would be dangerous because they mean power to control culture and, thus, ideas and people. Canadian author George Woodcock argued that this is precisely what happened with the creation of the CBC:
“In none of the early documents relating to establishing a national broadcasting system was there much reference to radio as an instrument for cultural development or … as an agency that in some way might foster the arts. The first aims under consideration seemed to be patriotism … and power — how to apportion control over a medium of unparalleled efficacy in the dissemination of information or — if the needs of propaganda required it — misinformation.”