Village Squire, 1976-09, Page 34M. Nott
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SEAFORTH A
How much are you worth to society?
BY KEITH ROULSTON
How much are you worth to society?
Don't Zook at your present paycheque. J ust
imagine yourself some aloof, all-knowing
judge who issued salaries according to how
much people contributed to society. How
much would you as that judge give to
someone who was doing your job?
I must admit it's a question that fascinates
and disturbs me. It came to mind a few weeks
ago as I • was reading an article in
a newspaper on results of a survey of incomes
of people in the arts. I can't remember all the
figures now (I didn't file the paper away for.
'reference as usual because it was somebody
elses), but they were pretty startling. It
turned out, as I recall, that only about 10
percent of people who acted or played music
could make enough money to get above the
poverty line in Canada. A bare handful pulled
down what would be considered adequate
salaries in most professions. •
, It's the same situation, of course, among
writers and painters and other forms of the
arts. The oft -told tale of many people involved
in the arts goes like this:
"And what do you do", a questioner asks.
"I'm a writer (substitute artists or actor or
musician)."
"That's nice. But what do you do for al
living?"
It's sad but true. We have a strange
ambivalence in Canada tout the elements of
what would be called Show Business in the
U.S. Down there big name actors, writers,
musicians, artists make fantastic salaries,,
amounts unheard of by the man in the street.
We forget, of course, that many people in the
business starve, or even that the big stars of
today probably went through some pretty
lean years. Still, down there there is actually
a commercial market for the arts so the artist
can always look forward to breaking through
into a position of earning a decent living, or
even with luck and a lot of skill, to the point of
making a killing.
In Canada, we just don't have that hope. If
you're an actor in Canada, your goal is just to
be able to stay working and survive, not earn 1
millions. There is no movie industry. I here
are few television. shows (and short-sighted
Canadian television viewers seem to want to
keep it that way with their demand for more
and ever more imported American produc-
•tions), both of which are the really big money
areas.
There isn't even a "Broadway". The only
32, VILLAGE SQUIRE/SEPTEMBER 1976
really big-time live theatre is the Stratford
Festival and the Shaw Festival, both of which
operate only a small part of the year. There
has been an outburst of theatrical energy in
-recent years leading to many new theatres
but most are shoe -string establishments and
the actors are lucky to get enough to keep
them eating while they're working, let alone
during the long periods between jobs ,(actors
are classed as self-employed and thus cannot
collect unemployment insurance).
It's much the same in other fields, although
there are exceptions. In music, for instance,
we have the anomaly of the biggest portion of
musicians making little while a few big stars
make so much money they don't know what to
do with it all. It was recently estimated, for
instance, that folk singer composer Bruce
Cockburn earned $150-$200,000 a year. If so,
what do the really big superstars like Cordon
Lightfoot and Ann Murray make? Someone
recently guessed that Lightfoot would make
over a million dollars a year. Thcte were
probably 2000 other musicians who didn't
earn that between them.
In writing, it's virtually impossible to earn
a living even with grants from arts funding
organizations. There are a few examples of
successes such as the $100,000 a year or so
that Pierre Berton earns, but much of this is
through television work and due to a work
schedule that would kill most people.
The arts, of course, are in the vulnerable
position of being considered a frill by many
people. They are probably today, about where
the proponents of universal education were a
century ago, The vast majority of the general
public didn't see the need for paying teachers
much in those days either and would just as
soon.have kept the kids home to help on the
farm. Now, of course, education is something
of a sacred cow and teachers have gone from
being penniless and outcasts to forming a
powerful bargaining group which can get
what it wants.
Yet aren't good artists, actors and writers
as much a part of the education program as
teachers? What would teachers have to teach
about without the writers to write texts, the
playwrights who write the plays that are
studied, and the artists who have done
everything from illustrating textbooks to
creating the masterpieces the kids see on
field -trips to the museum?
Canada has a strange priority system when
it comes to rewarding people for their
contribution to society. It isn't.so much what
you do as how much power you wield. So
lawyers and accountants who play with red.
tape and make the country ever more
expensive to live in are given big incomes
because government redtape (generally due .
to laws passed by the • lawyers and
accountants who make up the majority of our
legislators) means we can't Ii,t' „ ithout them.
We pay our garbage men b ,od salaries
because they strike frequently and always in
mid -summer 'heat w,i•.es leaving the cities
smelling and filled with potential diseases.
Our farmers, the people who provide the staff
of life get relatively little for their long hours,
big investment and high risk while the girls
who handle the checkout duties at large city
supermarkets make much more for a 9 to 5 job
five days a weWt with paid vacation.
Given the incongruities of the whole thing,
it isn't much wonder that people in the arts
are considered not worth worrying about
Still, until they are given the opportunity to •
earn a decent living, to concentrate on doing
their job well instead of worrying where the
next meal is coming from, this country is
always going to have areal deficiency. I don't
know what the answer is, but I think we need
to find it.