Equity, Diversity, and Inclusion Through Popular Music & Variety
Prior to the pandemic, the Popular Music and Variety Department had robust and diverse programming. As it became clear that COVID-19 restrictions were going to be in place longer than just a few weeks, the Popular Music and Variety Department took on the challenge of creating new virtual programs to support popular music artists. Although popular music artists have been using online streaming for many years now, its role within the arts has changed drastically during the pandemic. Prior to COVID-19, streaming was more widely used for marketing and promotion, but during the pandemic, these technologies have become an integral tool for disseminating artistic performances. Streaming also opened up new opportunities for many institutions and (as outlined earlier) the NAC was in a position to contribute significantly to online programming as a result of the in-house technology already established in the Music Education Department.
With a focus on artist development, inclusive environments, and opportunities without borders, the Popular Music and Variety Department shifted their programming online quickly and successfully when pandemic restrictions were implemented in March 2020. Created by Heather Gibson, Canada Performs was the first program to be implemented by the NAC’s Popular Music and Variety Department. Sponsored by Facebook, Slaight Music, and the Royal Bank of Canada (RBC), Canada Performs provided both performance and financial opportunities for artists across Canada during the pandemic.
As the Executive Producer and creator, Gibson worked extensively on Canada Performs initiative by communicating with sponsors and reviewing artist applications. Successful applicants had the opportunity to perform a one-hour live concert from the safety of home. They also received a payment of $1,000 for their performance. This initiative came at a critical time when musician’s tours, concerts, and financial stability were in question. Working alongside the digital design and marketing teams, Gibson created one of the most notable online programs at the NAC, which subsequently led to the development of both the Lunch Break series and the NACO at the Fourth.
In our interview with Gibson in November 2020, she detailed how her varied experience and background from her time at Jest in Time Theatre, the Halifax Jazz Festival, Word on the Street Halifax, and The Company House (just to name a few) have all contributed to the diverse entrepreneurial skillset she has today. She is responsible for programming almost all music at the NAC (with the exception of orchestral and theatre programming) including popular music, cirque performances, comedy acts, and community programming. From managing, to booking, planning, and relationship building, Gibson plans her programming year-round as opposed to seasonally like other departments. She aims to find artists and performers that are not just interesting, but who also contribute to artist development and diversity at the NAC.
Representation has always been integral to how Gibson approaches her role at the NAC. Not only does she see the NAC as an environment in which artist development can unfold, but she also envisions it as a place that ensures programming that is accessible and inclusive with a focus on building relationships across borders. As such, Gibson is always looking to expand the diversity of the NAC's programming with attention given to artists of colour and members of the LGBTQ+ community. Gibson also believes in supporting other well-established artist development programs such as the Banff Centre, SOCAN, and the National Music Centre.
One of the challenges beyond moving content online was being able to continue the development of partnerships nationwide. As the COVID-19 restrictions continued to limit in-person performances, many artists could no longer come to the NAC to perform due to travel restrictions. The solution? The NAC went to them. Throughout October and November 2020, the popular discovery series Live at the NAC Fourth Stage travelled to different cities across Canada to host shows in the hometowns of artists. Not only did this provide a performance opportunity for the artists, but it was also a means to continue building partnerships despite the unfavorable circumstances.
Given Canada’s size, Gibson faced numerous challenges for programming, including (but not necessarily limited to), negotiating six time zones, supporting artists that lacked technological infrastructure, and even varying provincial health regulations. As Gibson discussed with us, in this new virtual world, a big part of her programming revolves around coordinating events at an optimal time that will bring the most benefit to the artist and the nation’s community. But the decision for the NAC to travel to artists also worked to alleviate stresses for the performers – many of whom faced technological difficulties as they navigated filming and recording their own music. On top of this, Gibson had to consider the different regulations from the various provincial public health organizations when touring. Although difficult, Gibson embraced these new challenges and seized the opportunity to move toward a more dynamic outlook on performance considerations.
Gibson envisions the NAC as a place that will continue to embrace the online component. Online programming has added equity to the national music landscape in the sense that it has erased provincial and territorial borders. Now more than ever, the NAC can work with artists from the Northern communities that they would otherwise not be able to reach as frequently. Under pandemic restrictions, Gibson was not worried about when the audiences would return in person: rather, she focused on creating a space online that could easily be accessed from home and that will continue to provide opportunities for artists across Canada. During the pandemic, the goal was no longer to sell tickets, so Gibson and her team found ways to best communicate with audiences and keep them engaged. Virtual programming prior to the pandemic seemed unimaginable but has now become an asset to rethink the many ways in which performing arts can be created, shared, and experienced.
