We need diversity in front of and behind the camera
Growing up, I was a shy kid who did not fit in — a loner who loved music, film and television. “Star Wars,” “The Shining,” “The Exorcist,” “Akira” and Hitchcock’s “Psycho” changed my life and opened my creative mind.
I was raised by a single mother of three, born in Toronto and calling the multicultural community of Brampton my home.
As I grew older, I realized the art that I so dearly cherished did not reflect the world I lived in. The characters on screen seldom looked like me or my peers. When Black people did appear in films, we were portrayed as slaves, substance abusers or drug dealers. As a kid already struggling with my sense of identity, this began to take a toll on me.
I have worked in the music, film, and advertising industries with my longtime friend Director X for over 20 years, collaborating with artists like Drake, Kendrick Lamar, and Rihanna. While I am a proud Canadian who celebrates Canada’s diversity, I have witnessed first hand the challenges faced by Black, Indigenous and people of colour (BIPOC) within our creative industries.
When attending advertising award shows, X and I were usually the only Black people in the room. In June, producer Lindsay Goeldner compiled a spreadsheet of prominent Toronto commercial production directors. Of the 517 directors accounted for, only six were Black and less than 10 per cent were BIPOC.
In all aspects of our creative industries, from copywriting to cinematography, BIPOC representation must be supported and systems and institutions must change.
Talking about the problem is not enough. Proactive solutions are required if we wish to create an industry reflective of our population and modern times.
There are several organizations that have been working toward solutions for some time now: Pathway 2 Industry, POV 3rd Street, Reelworld, Film in Colour, Remix Project, HXOUSE and BIPOC TV & Film.
We must build on the progress of our peers and create equal educational opportunities and mentorship programs for budding BIPOC youth breaking into the industry. Paid internship programs are also extremely important, providing sustainable opportunities for those who cannot afford to work for free.
Positions of power, such as leadership and board positions, must allow for proper BIPOC representation. Both the industry and the government must collaborate to support these changes and tackle the issue of underrepresentation in advertising and other creative industries.
The latest announcement by the city of Toronto to provide funding to support Black leadership in the city’s music industry is a step in the right direction, but more must be done. The music industry is just one pillar of the intertwined creative industries that all need the same support and opportunity
We must tell the stories of the underrepresented and underappreciated, in front of the camera and behind it. It is only then that the creative industries will become equal and inclusive.