When the Future of Art, and of Our World, Is Reflected in Cultural Metissage

By André Lavoie
Translated by Andrée McNamara Tait

The topic tends to surface – for some, it has become a given while for others, it is simply an idea to be tossed about. However, cultural metissage is an undeniable reality, particularly throughout Canada’s major cities which have experienced large waves of immigration – an essential condition in ensuring their vitality. But, exactly what do we mean when we talk about cultural diversity, which some refer to as “interculturality?”

“Begin by understanding, and thus, perhaps, loving others, in their darkness as well as in their shining moments.” – Gandhi

Pierre Anctil – © Université d’Ottawa, Amir Ali Alibhai – © Peter Mey

Although the term metissage refers to the idea of a “hybrid,” a “fertile union of differences,” or even a sort of “fusion,” and has long been documented in terms of genetics, it is an entirely different story in the cultural and social spheres. However, history is rife with examples of civilizations that have been nourished and inspired by their neighbors as well as by their rivals; the same can be said for the globalization of economic exchanges, a concept which was already in fashion as far back as Antiquity… Closer to home, we need only look at the vitality of St. Laurent Boulevard, in Montreal, over the past century to understand just how cultural diversity did not wait to be clearly defined to manifest itself.

But while this intermingling of cultures may well be highly visible on the streets of Montreal, Toronto, and Vancouver, what impact can it have on the culture of its host societies? Is it a natural phenomenon or a concerted action by political powers? “Cultural diversity cannot be bought or transacted on the market,” says anthropologist and historian Pierre Anctil, Director of the Institute of Canadian Studies at the University of Ottawa. “Of course, governments, large institutions, and social groups can support this movement and finance it, but this will never replace the work of all of the creators who cross over cultural barriers. When artists from different horizons come together to create the same piece on the same stage, the result is cultural diversity. This is not to be confused with listening to African music on the radio, for instance. That is a valid experience, but we are talking about something else in this case.” For example, Pierre Anctil took part in the adventure that is Michel Tremblay’s play, Les Belles-sœurs, not in “joual” but in Yiddish. As a translator of this language in which he is fluent, transposing the play into Yiddish, at the request of Jewish artists, seemed self-evident. “The play has a cultural meaning that closely resembles what we encounter in the Yiddish culture: an isolated and oppressed people, victims of history, but displaying the vitality, strength, and will to create something new.”

““It is often a powerful way to make room for new immigrants, all the while enriching Canadian culture which continues to thrive because it
is constantly redefining and questioning itself.”

Crossing those barriers and the desire to discover others and their art forms is, of course, quite different from multiculturalism policies – “which are highly regarded around the globe,” explains Pierre Anctil, “when you consider that there are so many regions of the world that are not open to differences” – that tend to let different cultures coexist rather than promoting a dialogue between them. In fact, cultural metissage gives way to “hybrid art forms, new sources of inspiration,” says Pierre Anctil.

Cultural metissage is considered a sort of fusion, or osmosis, between the work of so-called “homegrown” artists and those who have immigrated here for all kinds of reasons, often difficult and heart-breaking. On this point, Aïda Kamar, Vice President of the Festival du monde arabe, has a few reservations. According to her, interculturality is not synonymous with fusion. “That notion has done enough damage,” she says with conviction. “It would mean that we are all alike, as though we must put aside our differences and keep only what unites us. As long as those differences are not recognized, there will be an untapped potential. The creators feel this frustration.” However, wanting to reach out to others is undoubtedly a sign of respect, openness, and tolerance. And speaking of tolerance, Aïda Kamar sees in it a “deviation” of a “rich and important” concept: “Tolerance comes with indifference. That means that we put an end to our aggression. But isn’t this aggression a sign of some sort of interest, a platform for discovery?”

Instead of aggression, Amir Ali Alibhai prefers to talk about respect. Arts Programmer at the Roundhouse Centre in Vancouver, he considers interculturality to be a “formidable dialogue and not a debate.” In fact, “in a debate, there is always a winner and a loser, but never dialogue.” And in this game, he explains, “everyone wins. We should look more closely at the example set by the First Nations – who, by the way, are far from forming a homogenous group! – consider themselves to be the guardians, the protectors of nature and not its owners: we would surely see environmental problems in a new light.” The coming together of cultures can act as a springboard for this much hoped-for dialogue and Aïda Kamar cites the example of a performance by Whirling Dervishes and Benedictine monks as an illustration of a communion that can exist despite the fact that one does not speak the same language. Amir Ali Alibhai brings up another case in point which provided incredible opportunities for exchanges — the increasing number of encounters between non-Natives and members of the Squamish Nation, in Vancouver, while sitting around a camp fire and storytelling.

Furthermore, it is often a powerful way to make room for new immigrants, all the while enriching Canadian culture which continues to thrive because it is constantly redefining and questioning itself. “Luck would have it that Canada is a small society,” says Pierre Anctil, “a country born of immigration itself and less influenced by rigid ideology. In Europe, for instance, there is not such a wide acceptance of diversity in terms of immigration.” A point of view emphatically shared by Aïda Kamar. “Every time that France must move, it is confronted by mentalities which have been deeply anchored for hundreds of years. Here, we are still in the building and development stages. This floating identity can create a risk but why not see it as an opportunity for enrichment?”

And this enrichment is never more obvious than on stage, both the large and the small ones. “Theatre is the perfect place for interculturality,” according to Pierre Anctil. “The stage is a living space that is less institutionalized, especially with smaller companies.” And so, do larger companies become impervious to these influences? “That is a particularity of our world,” adds the historian. “There is a distance between major institutions and the creative sectors. The reigning elite are taking more and more time to renew themselves; people are being appointed at the end of their careers and are therefore older. As a result, it is more difficult for a large museum or a symphony orchestra to be open to cultural metissage than it is for a small theatre company.”

Aïda Kamar nonetheless sees a danger in an often too systematic marginalization, even though she recognizes the exceptional dynamism of companies with grand ambitions, but modest means. “Many theatre companies, large and small, say that they have reached their maximum in terms of audiences; perhaps they should, however, pay more attention to their programming. In commercial and economic terms, everyone wins because diversity is a great source of richness and cultural development, and in the long run, this is equally as important for the more established institutions.”

In any event, while creators continue to increase the number of original experiences they produce, cultural diversity must not simply be perceived as the evolution of artistic processes or as a passing fashion. Especially since some assimilate it within the globalization of cultural products, of which “world music” is but one avatar. Cultural diversity appears, in these troubled times, to be a necessity. For Aïda Kamar, the hope of a better tomorrow resides in interculturality, and not only for performing arts venues or festivals. “Interculturality is necessary if we do not want the other to become an enemy,” she says. Amir Ali Alibhai agrees, saying that in a world that is “as connected” as ours, it is our future. Let it be said: the 21st century will not only be spiritual, but culturally diverse…

PIERRE ANCTIL
Quebecer Pierre Anctil is the Director of the Institute of Canadian Studies at the University of Ottawa. He holds a doctorate in social anthropology and a master’s degree in international management. He is also a specialist in Jewish culture and has written numerous works on this subject as well as on the multi-ethnic face of Montreal.

AÏDA KAMAR
A graduate in philosophy and communications, Aïda Kamar began her career in Beirut and now works in Montreal. She is the editor of the newspaper L’Avenir, Vice President of the Festival du monde arabe, and a member of Culture Montréal.

AMIR ALI ALIBHAI
A visual artist, curator, and writer, Amir Ali Alibhai is also Arts Programmer at the Roundhouse Community Arts and Recreation Centre, in Vancouver. A fine arts graduate, he also holds a masters degree in curriculum studies; his thesis was on cross-cultural collaboration.

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