Our creators are losing their freedom

A few weeks ago, director Barry Avrich caused a storm when he declared that you don’t have to be black to write black stories.

The director who just won a Screen Award for his documentary Oscar Peterson: Black+WhiteHowever, she wishes there were more films and series about black people. “There are so many black stories,” he said, “no matter who is telling them, they need to be made known!” »

The reaction was not long in coming. All that swarms and scribbles in the English-speaking audiovisual world, whose wokism is ever growing, condemned the unfortunate filmmaker in one voice. Where was that mad head to make such a flippant statement?

Didn’t he know that “cultural appropriation” in Canada “officially” ended on Wednesday, July 4, 2018, the day the Montreal International Jazz Festival closed the SLĀV show by Robert Lepage and Betty Bonifassi after the manifestation of a small group of exalted ones abruptly ending? During this era of extreme political correctness, the Academy of Canadian Cinema and Television quickly fired Avrich.

Even Céline Peterson, the daughter of the famous jazz musician, said she was comforted by the strong reaction to Avrich’s offensive remarks. In the days that followed, the director had to publicly beat up his guilt. He promised that he would now devote himself fully to supporting black creators and all other underrepresented creators.


As things stand, there is no longer any chance that a director or a white artist could envision a scenario or show about black people and therefore Aboriginal people. Our creators, who have physical traits historically associated with European-originated populations, now know that the doors of the Arts Councils, Telefilm, NFB, Radio-Canada, and all charities are doubly locked on them, regardless whether their projects involve Blacks or Aboriginal people.

But that’s not all. Their chances of being supported in white-only stories are greatly improved if they have the intelligence to include some black or indigenous people, a disabled person, or an LGBTQUIA+ in their teams or cast. In this way, they can collect valuable points from aid organizations.


Be careful, you are not allowed to play at your finest. Director Michelle Latimer had to leave the series because she could not prove her Algonquin ancestry from Kitigan Zibi to Maniwaki beyond a doubt. cheater that she had succeeded in creating pain and misery. The series was immediately canceled by the CBC despite the success of the first season. The filmmaker’s error was unforgivable, and “the sea would have passed without washing away the stain,” to paraphrase Alfred de Musset. The unfortunate hasn’t worked for over two years, as far as I know, carrying her blunder around like it was a criminal record.

Our writers and our artists now walk on eggshells, whether white or black. The charities, without which they could not express themselves, are gradually weaving a web around them that will eventually suffocate them. For all their good intentions, the rules they impose on our creators will end up being just as sterilizing as those suffered by creators in totalitarian regimes.

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