The blogs were ablaze recently as Terry Clement, one of Toronto’s most outspoken comics, asked a question that hit a nerve in the Canadian comedy community.
“Why aren’t stand-up comics eligible for government grants?” The question was part of a larger concern that Clement had regarding the lack of respect for comedians. But it was the question that received hundreds of replies.
To my knowledge, no stand-up has ever received any government moolah.
Some years ago, this was the concern of the late, great philanthropist Bluma Appel, and the two of us slogged through many meetings with many bureaucrats before we gave up from exhaustion. But I did get some answers, none of which would probably satisfy Clement and company.
There is a bias among granting institutions against what is considered the “popular arts.” This would include comedy, of course, but also, for example, pop music, wrestling and video game design. Grants, argue the cultural mandarins, should go to more “serious” work. Since comedy is, by definition, the antithesis of serious, the art form is at a disadvantage.
The cleavage between non-profit and for-profit is another bias that runs deep in the granting community. Comedians live in a market-driven world, which implies a financially stable one. But just because they dwell in the for-profit sector doesn’t mean their careers are profitable. Many comics have incomes below the poverty line. When I explained that fact to one bureaucrat, he replied that — compared to most poets, actors and dancers — comics are comparatively wealthy. True, perhaps, but grim nevertheless.
I was also told that grants aren’t usually given to individual artists, but that they are given to support specific projects that they do. Since comics evolve their material over time and not, for example, as an actor developing a new show, comedians are at a disadvantage.
There’s no reason, of course, that a comic couldn’t try obtaining a grant this way, under the umbrella of “theatre.” Let’s say Clement wanted to devise an entirely new 40-minute set, and it had a theme of multiculturalism across the country. If he had the patience to fill out all the forms (a daunting task to those used to the simplicity of the free market) he might get some cash for travel and accommodation.
But let’s say Clement was more interested in exploring surreal or controversial topics. The people who give out grants are familiar with controversial topics treated seriously — there’s that word again! But to get laughs playing with taboo ideas? That would make even the most enlightened bureaucrat uncomfortable at best.
If a comic develops a TV show or movie, there are grants embedded within the system to help with the development and production costs. Comedy, drama, reality show, it wouldn’t make a difference. But I think what comics are agitating for is something simpler and more direct. And I seriously doubt that their time will come.
We’re moving into a world where grants of all kinds are on the chopping block. It’s happening quietly at all levels all across the country.
The comedian’s life is a tough one financially. Not everyone can be Russell Peters. It seems to be stardom or starvation. Not much of a choice, really, but that, as they say, is showbiz.
Post City Magazines’ humour columnist, Mark Breslin, is the founder of Yuk Yuk’s comedy clubs, and the author of several books, including Control Freaked.