The Impact of DEI Policies on Canadian Cultural Institutions
In his forthcoming book Lament for a Literature, former CBC executive Richard Stursberg presents a critical examination of how the Trudeau government's approach to cultural policy has contributed to the erosion of Canadian artistic expression. Stursberg argues that the Liberal government inherited a cultural sector already weakened by previous administrations and compounded existing problems through misguided initiatives.
From Structural Neglect to Ideological Focus
According to Stursberg, the Trudeau Liberals failed to address fundamental structural challenges facing Canadian media and creative industries. Instead of developing comprehensive solutions for a sector struggling with digital disruption and changing consumption patterns, the government prioritized ideological initiatives above practical support for cultural production.
Stursberg observes that as Canadian media organizations lost ground to foreign digital platforms, Canadians gradually disengaged from domestic cultural content. He notes that this shift meant Canadians were "no longer consuming Canadian news, laughing at Canadian comedies, reading Canadian books, watching Canadian documentaries, or hearing the opinions of Canadian experts" on matters of national importance.
The DEI Framework and Its Implementation
The government's primary cultural initiative became the full embrace of Diversity, Equity, and Inclusion principles across all institutions. This approach was signaled early when Prime Minister Justin Trudeau famously explained his gender-balanced cabinet by simply stating "Because it's 2015." The administration subsequently implemented what it termed a feminist agenda that permeated all government activities, including budget analysis and cultural funding decisions.
Major cultural institutions including the CBC, Canada Council, and Telefilm Canada aligned with this new orientation by developing measures to improve access for equity-seeking groups. In practice, this often meant requiring applicants to provide detailed accounts of BIPOC (Black, Indigenous, and People of Colour) participation in their projects. Projects deemed insufficient in this regard frequently faced rejection regardless of artistic merit.
The Chilling Effect on Creative Expression
As DEI frameworks advanced, Stursberg identifies an emerging cultural phenomenon where the right not to be offended gained prominence. He cites the case of veteran CBC journalist Wendy Mesley, whose distinguished career ended after she referenced Pierre Vallières' seminal work Les Nègres Blancs d'Amérique during a discussion. Someone took offense at her use of a word from the book's title, leading to her dismissal despite no violation of workplace rules or laws.
This incident reflects what author Anne Applebaum describes in The Atlantic as a new reality where people can lose "jobs, money, friends, colleagues" for violating social codes that may have emerged only recently. The resulting atmosphere of caution has profound implications for creative industries, where writers, publishers, and booksellers increasingly avoid controversial or challenging material in favor of politically acceptable content.
Consequences for Canadian Literature and Culture
Stursberg questions whether contemporary publishers would release works as challenging as Leonard Cohen's Beautiful Losers, Marian Engel's Bear, or Mordecai Richler's Oh Canada! Oh Quebec! in today's cultural climate. The fear of arbitrary judgment creates what Applebaum describes as manuscripts remaining "in desk drawers or unwritten altogether" because authors anticipate potential backlash.
This chilling effect limits artistic daring and freedom of expression, ultimately diminishing the vitality of Canadian cultural production. Stursberg concludes that while DEI principles were originally intended to celebrate previously suppressed voices, their implementation has become what he characterizes as a punishing exercise in ideological purity that fails to address the real challenges facing Canadian culture.
The former CBC executive argues that this approach has accelerated the decline of Canadian cultural engagement, as audiences increasingly turn away from domestic content that fails to challenge or inspire. His analysis suggests that without a rebalancing of priorities, Canadian cultural institutions risk becoming increasingly irrelevant in both domestic and international contexts.
