Leadership:
- Innate or Acquired?

By André Lavoie
Translated by Andrée McNamara Tait

You cannot buy talent – so the saying goes. In the arts though, talent is far more likely to flourish within an environment that is open to discoveries and fuelled by people who are full of passion and conviction. Some feel the same way about leadership, that it is quite simply a character trait found in certain individuals who are luckier than most. But in fact, leaders do not act in isolation; rather, they are often the product of a combination of circumstances, or even “accidents.” It is not simply a question of genes inherited from their parents...

A scene from the public performance of In Flagrante, created by Sarah Stanley, Nick Carpenter and the 2005 graduating class of NTS in October 2004. - © Maxime Côté

The National Theatre School would like to provoke more and more of these “accidents.” This is neither a threat nor wishful thinking on the part of Simon Brault, Director General, for whom the implementation of the Cultural and Artistic Leadership Program (CALP), financed by the J.W. McConnell Family Foundation, represents much more than a kind of “essential extra-curricular activity.” Aimed at supporting innovative projects submitted by students or recent graduates, the program is not a generous producer-in-disguise for wayward shows, but an important contributor to artistic projects that have deliberately strayed from the beaten path. Calling all innovative thinkers and visionaries who think outside the box!

The term is probably overused, often paired with “management” or “marketing,” but for Simon Brault, supporting leadership in the cultural milieu is not simply a question of keeping up with a trend. It is the very vitality of cultural organizations that is at stake. These organizations are, in fact, the accurate, and sometimes cruel reflection of the societies which support them... and which will produce those who will lead their destiny, or at the very least, challenge them in a loud and clear voice. Society has everything to gain by training not only accomplished artists, but visionaries who will break the barriers of conformity, raging against rattling mediocrity, inertia, prejudice, and ignorance. Furthermore, “artist” doesn’t necessarily rhyme with “avant-gardist” anymore, according to Simon Brault. “In a theatre school such as ours,” he says, “individuals who enrolled 45 years ago were, almost by definition, people willing to be perceived as marginal, and who were ready to play a pioneering role. It was not considered the proper thing to do. In today’s world, it would be easier to train talented people, who would be assured skills and knowledge, but who would be more concerned with conforming to the mold of a theatre school than by the idea of exploring new ground. Obviously, that is not our choice.”

To promote this exploration, there often needs to be someone in charge, a trailblazer who does not work alone. Leaders are only exceptional in their ability to surround themselves with people whose passions overlap with their own. Together, they are propelled into an adventure, working to make it more viable and accessible. Charles Landry1, a member of the British organization, COMEDIA, and author of the essay The Creative City, goes one step further. He feels that leaders are also like storytellers. “A leader will weave an incredible tale,” explains Landry, “and his or her talent lies in persuading each and every person that they have an important role to play in this particular story. Leaders have the ability to accomplish the things they are talking about, which goes well beyond functionality and, more specifically, their own interests.”

Canadian Robert Palmer2, an international consultant in the cultural sector based in Brussels, observes “a veritable craving for a new kind of leadership. There are countless books, conferences, and seminars on this subject. All around the world, there are no fewer than one hundred institutions created to understand the nature of leadership.” He also believes that this phenomenon is directly linked to a political crisis, in nations as well as in cities, and in major cultural institutions. For him, leadership “cannot be reduced to a simple question of personality. We are not talking solely about abilities,” he continues, “but about three essential elements: vision, credibility, and integrity. Vision is the capacity to anticipate and predict the future, using imagination. Credibility only exists as long as those who are led remain convinced that their leader believes in what he or she is saying. And integrity is the way in which the individual thinks and behaves, guided by genuine ethical and moral principles.”

“A leader will weave an incredible tale and his or her talent lies in persuading each and every person that they have an important role to play in this particular story.” – Charles Landry

These principles could no doubt be applied to certain politicians and other opinion leaders, but Charles Landry does not believe that leadership, any more than creativity, is the prerogative of a chosen few. “I feel that everyone has creative potential, only some people have it more than others. But I also feel that everyone could be a little more creative! It is the same thing for leadership. And instead of teaching it, we must put in place favourable conditions.” The CALP is one of them, even though Simon Brault, for his part, realizes that it is an “act of faith” – one that is nonetheless calculated and spread over four years. “Considering what we have at our disposal, we really can play a decisive role if we decide to support a project.”

Decisive, but also essential for the future dynamism of culture in general, and theatre in particular. The program does not seek to promote art for art’s sake. It does, however, try to position theatre practice right in the heart of the preoccupations and questions of today’s society – a society which is being shaken to its very core by strong winds of change, courtesy of globalization; and these changes are numerous, fierce, and unsettling. Furthermore, theatre does not live outside of these upheavals. “When I go to a theatre festival,” explains Robert Palmer, “I no longer have any idea what I am going to see. It is becoming harder and harder to clearly define artistic disciplines, since the boundaries between each discipline are being blown away. And the most interesting work reflects these changes, these transitions.”

This cavalcade of signs underscores the need for cultural leaders to help citizens see more clearly. For this, “they must be able to reach out and touch people’s emotions and generate something positive,” says Charles Landry. “And it is not necessarily a director or even an artist who can achieve this.” It is indeed a great challenge, according to Robert Palmer. “We cannot solve the problems of the 21st century with 19th century thinking...Today, improving our cities – and please note that for the first time in the history of humanity, half the planet will soon dwell in cities –, does not involve “building” something, but relying on cultural and intellectual capital. The true resources are not factories, banks, and service industries, but people, with their intelligence, passion, and imagination. It is the creativity of those who live in these cities, or who lead them that will ensure their future success.”

On this point, Charles Landry has a somewhat different approach. “I believe that culture is a major catalyst for development, but unfortunately, not everyone agrees. When this is the case, we must give cultural leaders their due because they have succeeded in convincing the naysayers.” Robert Palmer also agrees that cultural leaders are sometimes “marginalized.” Is it because there are not enough of them preaching the gospel of culture? And if, as the African proverb goes, you need a village to educate a child, then it is not too much for a program to assist in the emergence of a leader...

In 1978 Charles Landry founded COMEDIA, Europe’s leading cultural planning organization based in Gloucestershire, U.K. Since then, he has collaborated on numerous projects concerned with urban revitalisation through cultural activities in Europe as well as South Africa and New Zealand. He has written extensively including his book The Creative City: A Toolkit for Urban Innovators (2000) and Culture at the Crossroads: Culture and Cultural Institutions at the Beginning of the 21st Century (2001), in collaboration with Marc Pachter.

Originally from Toronto and now living in Brussels, Robert Palmer has worked in the cultural sector for more than twenty years. Before becoming a cultural consultant for many cities in Europe, the European Commission and the European Council, he was the city of Glasgow’s director of cultural development and director of the dance and theatre sections of the Scottish Arts Council. He gives numerous workshops and conferences around the world.

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