In 1988, Canada enshrined multiculturalism into law, a democratizing manoeuver that allowed practitioners of non-Western and non-classical forms of music to agitate for equitable access to public arts funding. This agitation ultimately forced government-funded Canadian arts councils to re-examine their Eurocentric granting programs and to expand the parameters by which they fund music. Today’s arts council peer assessors must now assess applications covering a broad range of musical genres and differing aesthetic values, and must incorporate into their evaluations the councils' sociopolitical priorities emphasizing diversity and inclusivity. Yet, few assessors understand why and how identity politics informs the contemporary music-making of ethnocultural minorities and how collectively held stereotypes influence Canadians’ expectation for ethnocultural representation. In this thesis, I endeavour to separate the historical, sociopolitical and philosophical threads that have contributed to the current musical environment in Canada. I begin by examining the parallel histories of funding for high culture—which led to public arts funding—and early celebrations of multiculturalism. I then examine liberal democratic philosophy and how it fostered the “politics of difference” that characterizes Canadian multiculturalism. Although liberal democracy holds that each citizen be recognized as equal and have equality of opportunity to nurture his or her individual, authentic self, Canadians have historically treated ethnocultural minorities unequally, resulting in the latter pursuing politics of difference based upon collective characteristics. Collective difference politics, though, are prone to stereotype. In the Canadian music world these stereotypes are manifest in external desires for authentic ethnocultural representation, which can overshadow a minority musician’s ability to cultivate a unique musical voice. I devote the second part of my thesis to examining the effects of equity initiatives on Canadian arts councils. Based upon interviews with music and equity officers from the Canada Council, the Ontario Arts Council and the Toronto Arts Council, I show how the dichotomy between collective and individual authenticities results in unequal modes of assessment that perpetuate both ethnocultural stereotypes and Western classical music’s monopoly over funding, limiting our definitions of Canadian music.

In 1988, Canada enshrined multiculturalism into law, a democratizing manoeuver that allowed practitioners of non-Western and non-classical forms of music to agitate for equitable access to public arts funding. This agitation ultimately forced government-funded Canadian arts councils to re-examine their Eurocentric granting programs and to expand the parameters by which they fund music. Today’s arts council peer assessors must now assess applications covering a broad range of musical genres and differing aesthetic values, and must incorporate into their evaluations the councils' sociopolitical priorities emphasizing diversity and inclusivity. Yet, few assessors understand why and how identity politics informs the contemporary music-making of ethnocultural minorities and how collectively held stereotypes influence Canadians’ expectation for ethnocultural representation. In this thesis, I endeavour to separate the historical, sociopolitical and philosophical threads that have contributed to the current musical environment in Canada. I begin by examining the parallel histories of funding for high culture—which led to public arts funding—and early celebrations of multiculturalism. I then examine liberal democratic philosophy and how it fostered the “politics of difference” that characterizes Canadian multiculturalism. Although liberal democracy holds that each citizen be recognized as equal and have equality of opportunity to nurture his or her individual, authentic self, Canadians have historically treated ethnocultural minorities unequally, resulting in the latter pursuing politics of difference based upon collective characteristics. Collective difference politics, though, are prone to stereotype. In the Canadian music world these stereotypes are manifest in external desires for authentic ethnocultural representation, which can overshadow a minority musician’s ability to cultivate a unique musical voice. I devote the second part of my thesis to examining the effects of equity initiatives on Canadian arts councils. Based upon interviews with music and equity officers from the Canada Council, the Ontario Arts Council and the Toronto Arts Council, I show how the dichotomy between collective and individual authenticities results in unequal modes of assessment that perpetuate both ethnocultural stereotypes and Western classical music’s monopoly over funding, limiting our definitions of Canadian music.

Se realiza una investigación comparada de los consejos de las artes de tres regiones subnacionales de países distintos: Cataluña (España), Escocia (Reino Unido) y Jalisco (México) para investigar la aplicación del principio de “arm’s length”, su ejecución, su relación con el contexto cultural y político, así como su inclusión en sistemas institucionales distintos al anglosajón. Con una metodología cualitativa y el uso de estudios de caso, se llevan a cabo trabajos de campo en cada lugar mediante entrevistas, observaciones y trabajo documental, aplicando el canon conjunto de concordancias y diferencias para su análisis. Se concluye que un consejo de las artes no es necesariamente un organismo bajo el principio de “arm’s length” y se reflexiona sobre la influencia que los actores involucrados buscan ejercer a través de sus diversos recursos. La relación entre los consejos y sus contextos muestra las dialécticas entre legitimidad/eficiencia, transparencia/clientelismo y diferenciación/estandarización y tensiones entre centro/periferia. Desde la política se utiliza este principio como argumento retórico, mientras se pretende tener mayor control sobre las decisiones, aunque esto aumente su nivel de responsabilidad. Desde el sector cultural se ignora que el principio busca también mantener su distancia con él para evitar clientelismos. Se evidencia un mimetismo que copia modelos ajenos sin adaptarlos suficientemente al contexto y sin profundizar en experiencias externas ni con reflexiones teóricas, lo cual deja al descubierto algunos errores del proceso. / Titol: Els consells de les arts i el principi d’“arm’s length” en les politiques culturals subnacionals: un estudi comparatiu entre Catalunya (Espanya), Escòcia (Regne Unit) i Jalisco (Mèxic). Resum: Es realitza una investigació comparada dels consells de les arts de tres regions subnacionals de països diversos: Catalunya (Espanya), Escòcia (Regne Unit) i Jalisco (Mèxic) per investigar l'aplicació del principi d’"arm's length", la seva execució, la relació amb el context cultural i polític, així com la seva inclusió en sistemes institucionals diferents a l’anglosaxó. Amb una metodologia qualitativa i l’ús d'estudis de cas, es porten a terme treballs de camp en cada lloc mitjançant entrevistes, observacions i treball documental, aplicant el cànon conjunt de concordances i diferències per a la seva anàlisi. Es conclou que un consell de les arts no és necessàriament un organisme sota el principi d’"arm 's length" i es reflexiona sobre la influència que els actors involucrats busquen exercir a través dels seus diversos recursos. La relació entre els consells i els seus contextos mostra les dialèctiques entre legitimitat/eficiència, transparència/clientelisme, diferenciació/estandardització i tensions entre centre/perifèria. Des de la política s'utilitza aquest principi com argument retòric, mentre es pretén tenir major control sobre les decisions, encara que això augmenti el seu nivell de responsabilitat. Des del sector cultural s'ignora que el principi busca també mantenir la seva distància amb ell per evitar clientelismes. S'evidencia un mimetisme que copia models aliens sense adaptar-los suficientment al context i sense aprofundir en experiències externes ni amb reflexions teòriques, la qual cosa deixa al descobert alguns dels errors del procés. / Title: The arts councils and the arm’s length principle in cultural policy at a subnational level: A comparative study between Catalonia (Spain), Jalisco (Mexico) and Scotland (UK). Abstract: Comparative research on the arts councils of three sub-national regions from different countries, Catalonia (Spain), Jalisco (Mexico) and Scotland (United Kingdom), is carried out to examine the application of the arm's length principle, its performance, its relation to the cultural and politic context and its inclusion in institutional systems other than the Anglo-Saxon system. With a qualitative methodology and case study strategy, fieldwork is performed in each place through interviews, observations and documentary work, applying the joint canon of agreement and difference for analysis. The conclusion reached is that an arts council is not necessarily a body under the arm's length principle and the influence that stakeholders seek to exert through their various resources is reflected upon. The relationship between arts councils and their context shows the dialectics between legitimacy/efficiency, transparency/clientelism and differentiation/standardisation, and the tensions between the centre/periphery. This principle is used from politics as a rhetorical argument, while the aim is to have more control over decisions, even though this increases the level of accountability. The cultural sector is unaware that the principle also seeks to keep its distance from it to avoid clientelism. There is an evident mimicry, copying foreign models without adapting them sufficiently to the context and without delving more deeply into external experiences and theoretical reflections, which reveals some mistakes of the process.