Interview with Gilles Doré, executive director of CINARS

Gilles Doré, executive director of CINARS, shares his insights on the evolving performing arts landscape, the crucial role of cultural diplomacy, and the necessity of dialogue between artists, institutions, and audiences.

Gilles Doré is the Executive Director of CINARS (International Exchange for the Performing Arts) since March 2022. Originally from Québec, Canada, he brings over 25 years of experience in arts management and international development within the performing arts sector. Throughout his career, he has held key positions such as Director of International Development, Financial Director, and General Manager in renowned dance, theatre, and music organizations. He has also worked as a consultant for institutions like the Conseil des Arts et des Lettres du Québec, the University of Montreal, and the Laval Arts Council.

How has your experience been so far in the city and at the festival?

Gilles Doré: I had time yesterday to go out to eat and explore the city. It’s a beautiful, beautiful place. I’m amazed that it’s still so real and natural, even with the influence of tourism. It’s great.

For someone who’s never been here, how would you describe the atmosphere of the festival and the city?

Gilles Doré: Yesterday, I attended a show called 10,000 Hours from Australia, a circus and acrobatic performance. As I was exploring the overall programming, I noticed the strong presence of significant dramatic works but also shows designed to reach broader audiences. It’s an excellent integration of diverse performances, engaging different types of audiences and fostering dialogue. That’s so important, to connect directly with the public, which some festivals sometimes fail to achieve.

Often, festivals can become too niche. But here, I feel there’s a genuine blend: both specialized programming and performances that embrace a wide audience. Regarding the professional side, the conference and the market, I think we might even call it a “meeting” rather than a market. It’s a space for exchange.

For our readers, could you give us an overview of Canada’s cultural presence on the global stage at the moment?

Gilles Doré: Canada has always maintained a significant presence worldwide in the performing arts. The quality of our artistic work is strong. However, the world is changing very quickly. After COVID, many companies wanted to resume touring internationally as they did before, but the economic reality has shifted. Some countries no longer have the same budgets, and there’s an overwhelming number of Canadian companies applying for touring support. Unfortunately, it’s impossible to fund everyone, so we’re experiencing turbulence in terms of budget balance.

Are there any positive developments for arts funding in Canada despite these challenges?

Gilles Doré: Yes! Recently, the Québec Arts Council secured an additional budget for the next four years USD 20 million more per year. This funding will support companies through various programs, including touring initiatives. So, I believe Québec and Canada will continue to have a strong international presence in the coming years.

It’s quite remarkable, especially since in Europe, many are facing budget cuts while we’re seeing investments grow. It’s a testament to the strength of our performing arts community in Québec, which has advocated strongly for this support given rising costs in creation and touring.

Beyond budgets, what do you see as the most pressing challenges facing the performing arts ecosystem in Canada right now?

Gilles Doré: The ecosystem as a whole is in a period of turbulence. Artists, companies, agencies, and producers are all rethinking their business models. Programming itself is evolving, and audience behavior is changing rapidly. We’re in a moment of generational change happening at high speed, which demands new ways of thinking.

One of the biggest challenges, in my view, is maintaining a dialogue among programmers, artists, and the public. The audience needs to be heard and engaged. Re-establishing that dialogue is critical.

How do you believe institutions can facilitate this reconnection with audiences, especially younger generations?

Gilles Doré: I believe programmers should establish programming committees composed of younger people for young people. Many of our contemporary institutions have existed for 40 or 50 years. It’s time to create space for new generations and open a dialogue that brings them into the conversation. This is crucial for revitalizing new writing and innovation in the performing arts.

Do you see a growing emphasis in Canada on gender equity and representation of minority communities in the arts?

Gilles Doré: Absolutely. In both Canada and Québec, these values are profoundly embedded. When organizations apply for grants from the Arts Council of Canada or the Québec Arts Council, part of the criteria evaluates how they support minorities, LGBTQ+ communities, and gender equality. It has become an integral aspect not only of funding applications but also of how teams and artistic projects are structured.

It’s changing organizational models and even creative processes. It’s fantastic progress. Many leadership positions in our cultural institutions are held by women. For instance, the President of the Québec Arts Council is a woman, as is the Director of the Arts Council of Canada. Several key programming directors and arts managers are women as well. So, while some countries may still struggle with gender parity in cultural leadership, we’ve made significant strides in Canada.

How do you view the importance of events like this market here in Sibiu compared to similar gatherings elsewhere?

Gilles Doré: Although I’ve only been here for two and a half days, I’m exploring and getting to know the platform. For newcomers, the first visit to such a conference is more about prospecting and understanding the environment rather than immediate development.

My impression is that this event acts as a crucial connector, especially for Central and Eastern Europe. It helps bring this region into broader international conversations. It’s vital for discovering the local dramaturgy, choreography, and overall performing arts scene. I’m very impressed by the caliber of professionals gathered here. After 30 years, the Sibiu event has become firmly established, which is fantastic.

Why would you encourage a cultural manager to attend this kind of professional market?

Gilles Doré: Attending markets like this is essential for expanding one’s network and rethinking business models. By connecting globally, managers can benchmark what they’re doing against the broader field and gain insights into new strategies.

Touring isn’t what it used to be. Decades ago, fewer companies toured extensively, sometimes with 200 shows per year. Today, there’s a much larger offering of shows but fewer opportunities for high-volume touring. This means companies need to rethink their positioning and develop new strategic approaches. Platforms like this help managers understand how the world is changing and how to adapt.

How should companies adapt touring plans given the uncertainties of today’s world, from geopolitical conflicts to economic volatility?

Gilles Doré: The key words today are flexibility and adaptation. The world changes every six months, and what we’re discussing now may look completely different in another half-year.

Producers and artists need to adjust expectations. Touring internationally is no longer about volume; it’s about strategic positioning. Companies must understand their artistic identity and where they fit within both local and international ecosystems. At CINARS, we offer seminars for young producers on how to develop international strategies, identify target audiences, and plan step-by-step engagement over several years.

There’s also a crucial distinction between success and achievement. Success can be unpredictable, while achievement is about sustaining one’s vision and artistic journey regardless of fluctuations in external validation.

Considering current political and social events, what do you believe is the role of cultural diplomacy today?

Gilles Doré: Cultural diplomacy is one of the most pressing issues right now. For the past two decades, we’ve experienced growth in international touring. But since COVID, and particularly in the past year, we’ve witnessed shifts in societal values and politics that directly impact the cultural sector’s financial health.

Some countries are undergoing significant changes in core values, which triggers reactions from others. For instance, earlier this year in Tokyo, I was with colleagues from Japan, Korea, Canada, and the Netherlands discussing how changes in U.S. cultural policies were sending shockwaves internationally.

I’ve told the Canadian government that Canada needs to redefine its soft power. We might not win economic or military battles with larger nations, but if we continue exporting high-quality artistic work globally, we can wield significant cultural influence.

Artists should be seen as ambassadors of human rights and should even be protected as such, including freedom of travel without excessive visa barriers. It may sound utopian, but cultural diplomacy is more vital than ever if we want to maintain global connections and support democracy.

The theme of this year’s festival is “Thank You.” Who is one person in your life to whom you’d most like to say thank you?

Gilles Doré: That’s a beautiful question. I’d like to thank my mentor, the person who brought me into this field and helped me navigate the world of international connections over decades. They enriched my life and gave me a specialized perspective on the international circulation of the arts. Their guidance has helped me adapt and continue evolving. And now, I hope to pass on that spirit by supporting the next generation of arts professionals.