Arts Rant: Towards 2007

3 Oct 2005 in Highland

A New World Solution To An Old World Problem

GEORGINA COBURN reflects on the cultural energy and grassroots decision-making of Western Canada as a model for development in the Highlands and Islands in 2007 and beyond

ON A RECENT visit to Western Canada I was immediately struck by the vibrancy of a culture that unashamedly celebrates itself. As a new world country Canada, like Australia where I was raised, is a place that is continuously in the process of self evaluation.

Defining cultural identity is a dynamic and often difficult ongoing process, acknowledging painful past histories, integrating multicultural experiences and coming to terms with the land itself.

Out of all the forces that shape our environment the most powerful tool we have is our optimism, the belief that we will not be confined by history but grow and develop due to our own self determination.

The new world approach to culture is characterised by change, the desire to develop ideas which are often as big as the land that they spring from. This creative energy makes a great many things possible. Back here in the Highlands and Island, our own region could positively benefit by looking at how we ourselves can harness this entrepreneurial spirit in order to develop our cultural infrastructure.

Throughout my three week trip I was consistently amazed and delighted by the amount of creative activity which has become a part of the West Coast lifestyle and vital to the economy, especially in isolated islands and smaller communities.

Even as a relatively young and isolated city Vancouver has a vibrant arts and performing arts scene.

Many of the arts related businesses that I visited ten years ago were still in existence and everywhere we went the unique work of artists of all kinds was celebrated publicly. The natural beauty of the West Coast Canadian environment is clearly an inspiration to many people and it is also a reason why our Highland region continues to grow at such a pace.

From the moment you arrive at Vancouver Airport you know you have landed somewhere special. Constructed in the manner of a First Nations longhouse, the arrivals hall with its traditional architecture and large scale sculptural and water features creates a lasting first impression.

Throughout this main gateway to the province of British Columbia are superb examples of indigenous art and sculpture that celebrate the uniqueness and beauty of the West Coast that draws people from all over the world.
Haida sculptor Bill Reid’s phenomenal work ‘The Jade Canoe’ is a powerful symbol of a people steering themselves into the future and a public acknowledgement of the rich history, folklore and culture in the region.

We watched as great care was taken in cleaning and caring for this large sculpture and the many others that enhance the environment for both local workers and travellers. It is a Provincial and National treasure and is treated as such.

Music was also in abundance here, while people waited for their departures they were treated to a sampling of live music from jazz to Celtic fiddle no doubt providing young music students with summer time employment and making what is normally a clinical and stressful environment relaxed and enjoyable. I was actually happy to pay my airport improvement fee!

Even as a relatively young and isolated city Vancouver has a vibrant arts and performing arts scene. The City Gallery provides space for visiting national and international exhibitions but also devotes an entire floor to the amazing life and work of Emily Carr.

Although represented in Galleries across Canada, it is appropriate that nowhere else in the country will you see such a collection of her work, a natural outgrowth of the passion she had for the magnificent West Coast. To be introduced to this artist’s painting is to be introduced to the qualities that are unique to BC’s stunning natural environment. In this building the province is justifiably proud of one of its greatest artists.

What I find so inspiring even in small communities and in all these examples is the degree of grass roots support for the arts and local producers

Granville Island in Vancouver is open year round and extremely popular with both locals and visitors. The whole area is full of artists’ studios, printmakers and workshops producing handcrafted goods in ceramics, glass, wood and textiles, theatre and performance spaces, and a fresh produce market.

A distinct ‘cultural quarter’ that provides a commercially viable alternative to shopping malls. On the same site is the Emily Carr School of Art and Design, an encouraging environment for any student or practitioner since a potential market for their labours is right there on the doorstep.

The prominence of murals, public art markets, music and cultural festivals of all kinds even in small communities are fuelled not only by tourism but by locals. This creative activity seems to be accepted as part of the West Coast lifestyle and is promoted as such.

Even in a small town like Chemainus, “the little town that did”, the fortunes of a declining mill town were addressed by the painting of numerous murals depicting the history of the area. Today the murals and Victorian architecture still draw crowds of tourists but the cafes, galleries, craft stores, street music and concentration of antique stores also draw locals from more populated centres, especially on the weekends.

In order for cultural activity to grow and flourish it cannot be solely dependent on the tourist market but must be made accessible to the general public. With the emptying of Inverness ‘Old Town’ we could learn a thing or two about reversal of fortune from the self determination of this small community.

Similarly on the West Coast of Vancouver Island the small village of Tofino has an active policy of no chain stores which has preserved the qualities which has made it such a popular destination. It has retained its character in spite of increased economic development.

The difference is decisions were actively made by this community about the type of development it would be. Banning chain stores altogether from a large town like Inverness is clearly not a viable option, but the folk of Tofino clearly show that forward planning can have a positive effect on the future development of an area and that their destiny won’t be controlled by multinational companies who care nothing for local communities, their workforce or the kind of environment they serve to create.

What I find so inspiring even in small communities and in all these examples is the degree of grass roots support for the arts and local producers, especially in the face of the all pervading North American culture to the south. In the Province of British Columbia it seems that they are not afraid to stand up and display all their uniqueness and justifiably so – they have much to celebrate, as do we.

As a city Inverness is in the midst of a crucial time and what is done in the immediate future to develop our cultural infrastructure will be vital to the whole future of the region and the quality of life of the people living in it. For years our city planners have neglected the arts as a legitimate source of development for the region’s economy. The arts are often publicly perceived as fund guzzling organisations for the cultural elite.

Projects such as the Tartan Heart Festival at Belladrum, the Merkinch Arts and Writers groups which sprung out of the annual local Arts In Merkinch festival, and Wayne Mackenzie’s determination to launch his “Ironworks” music venue are all encouraging examples of cultural activity that I don’t think any Inverness resident would have any problem supporting. They are also examples of individual perseverance and positive group action which should be publicly applauded. And they all began with an idea.

I agree that in terms of the 2007 cultural celebrations what happens after the 1 January 2008 is absolutely crucial.

We have the talent and creative energy – but as yet not the belief in self promotion – necessary to create a healthy environment for arts-related businesses to thrive. A critical examination of the way we view ourselves and our culture and a shift in the priorities of local government are necessary to create a strong infrastructure supporting a varied amount of work. To not take up the arts as a keystone of the region’s economic future is a huge mistake.

For our local government it seems that it is easier to build another supermarket than invest the time, energy and resources to the development of what seems to them to be a given. “We have a rich Highland Culture” I hear people say, as if this were a timeless historical fact. But what is being done to nurture that culture and secure its future?

We have a track record of missed opportunities; the closure of Balnain House and the idea of creating a traditional music school in the Highland capital; the development of the old Craig Dunain site as a central campus for the University of the Highlands and Islands; the development of a city Gallery so that works that have been offered for loan by The National Galleries of Scotland can actually be housed somewhere, simultanoesuly providing a space to publicly view the work of local artists. It is too easy to dwell on past mistakes and lack of vision, but this does not have to dictate our creative future.

I am happy that out of the failure of the city of culture bid the plans for a celebration have begun. There are plenty of individuals doing amazing creative work in their communities but we have the opportunity in 2007 to support their endeavours in such a way as to make them a permanent part of our way of life here. It is time to raise the bar of our expectations and see ourselves – both as residents and art practitioners – as part of a much bigger picture.

I am glad that an emphasis has been placed on young people in 2007 and I hope that the year’s activities will give them a belief in themselves and in what can be achieved in their own community as well as developing an enthusiastic audience and market for cultural activity.

The creative scene is changing – the Highland Council’s recent appointment of a Public Arts Officer, for example, is an encouraging sign of future commitment.

Our region has incredible potential, a wealth of artistic talent and an inspirational natural environment, but both the public and arts organisations need to make their voices heard about the kind of environment we want to leave to future generations and the kind of image we want to project to the world.

Are we to become a big empty service point defined by our castle appearing on a banknote? Congratulations Inverness – you’re a city, you’ve arrived!

I agree that in terms of the 2007 cultural celebrations what happens after the 1 January 2008 is absolutely crucial. The creative energy and confidence generated especially by community group events in partnership with arts organisations and practitioners has the power to have a great affect on the regions future economy and how it sees itself.

I predict a groundswell of public and community support and a cultural renaissance in the Highlands and Islands.
Put it down to my new world optimism!