Kate Marland: Canada’s cultural identity is not just CanCon

The Nutcracker, composed by the Russian Pyotr Tchaikovsky, exemplifies why.

(The Nutcracker, performed by the Royal Winnipeg Ballet.)

Canada’s highbrow cultural revival does not need to be led by fresh commissions from Canadian composers or Canadian artists, forced down our throats by CRTC broadcasting regulations. Faced with the overwhelming task of civilisational renewal in this country, it can be tempting to feel the path forward must be paved by great Canadian symphonies, “Blue Jays World Series 2025: The Opera,” or a forty-piece art exhibition dedicated to beavers and birch trees.

While the quest for our Canadian Mozart, Michelangelo, or Balanchine is noble, and we should be incessant in our advocacy for policies which create the environment for cultural producers to flourish, I would argue that we do not need to set such lofty goals for ourselves off the bat.

For a country, and in particular a right-wing movement, in a state of cultural austerity, we need to walk before we run. Our focus should be on calling for policy proposals which aim to support a canon of cultural outputs that transcends partisan politics. A Conservative Party platform should not be concerned with supporting cultural products that meet an ideological purity test, or advance a certain political agenda.

What we should be doing as a movement is identifying a canon of works which are rooted in tradition, have a demonstrated history of excellence, and objectively represent what is good, beautiful, and true. We should then apply pressure to the government to support this canon. Luckily, there is a deep tradition of Canadian excellence in highbrow cultural pursuits that provides a perfect indication of what cultural products the government should support.

In the spirit of Christmas, let’s look at The Nutcracker, Tchaikovsky’s famous ballet that has become a hallmark of the holiday season for audiences worldwide. Canada is home to several traditional and world-renowned productions of The Nutcracker that typically become the focus of many of our cultural institutions every December, most of which are supported in some way by governments at the federal, provincial, and municipal levels.

Year over year, The Nutcracker is generally any given ballet company’s most reliable box-office draw. The music is some of Tchaikovsky’s most recognisable compositions, frequently used in television, film, and commercials. For many, The Nutcracker is their first (or only) exposure to ballet.

For the uninitiated, The Nutcracker tells the story of Clara, a young girl who, armed with her Christmas gift, a wooden nutcracker that comes to life, takes on a fantastical battle between toy soldiers and rats. This story is set to music by the ever-popular Pyotr Tchaikovsky, of Swan Lake fame.

Many will recognise the Waltz of the Sugar Plum Fairy as synonymous with Christmastime.

Les Grands Ballets Canadiens, one of Canada’s top ballet companies, has been performing the same version of The Nutcracker since 1964. This version was staged by Canadian dancer and choreographer Fernand Nault. It remains a lasting symbol of the Christmas season across North America, with productions regularly selling out. The GBC’s version has been presented for 60 years, with the staging revised slightly by Mr. Nault in 1987. This year’s run will go from December 12 to 30, with 18 shows.

The National Ballet, another excellent Canadian company, will be running The Nutcracker from December 5 to 31, and is celebrating its 30th season of performing Canadian choreographer James Kudelka’s version. According to the National Ballet’s website, over 1.3 million people have attended The Nutcracker in Toronto over 30 years and 672 performances, and this year’s run of 27 performances is completely sold out.

The lasting popularity of both these productions makes a larger point about Canadian cultural audiences: