{"id":11887,"date":"2026-02-10T22:40:58","date_gmt":"2026-02-11T02:40:58","guid":{"rendered":"https:\/\/www.composition.org\/non-classifiee\/advocacy-conference-report\/"},"modified":"2026-02-10T23:04:12","modified_gmt":"2026-02-11T03:04:12","slug":"advocacy-conference-report","status":"publish","type":"post","link":"https:\/\/www.composition.org\/fr\/nouvelles-fr\/advocacy-conference-report\/","title":{"rendered":"D\u00e9fense des droits et int\u00e9r\u00eats: Rapport de conf\u00e9rence"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Conf\u00e9rence O2, 3-5 f\u00e9vrier 2026, Edmonton<\/h1>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/02\/Cecila-O2-1024x1024.png\" alt=\"\" class=\"wp-image-11884\" srcset=\"https:\/\/www.composition.org\/wp-content\/uploads\/2026\/02\/Cecila-O2-980x980.png 980w, https:\/\/www.composition.org\/wp-content\/uploads\/2026\/02\/Cecila-O2-480x480.png 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1024px, 100vw\" \/><\/figure>\n\n\n\n<p>Plus t\u00f4t en f\u00e9vrier,\u00a0Edmonton\u00a0a accueilli une conf\u00e9rence conjointe de trois jours de l\u2019Association of Opera in Canada et d\u2019Orchestras Canada, r\u00e9unissant environ 170 d\u00e9l\u00e9gu\u00e9\u00b7e\u00b7s de partout au pays, dont une forte repr\u00e9sentation des directions administratives et artistiques des milieux orchestral et lyrique, ainsi qu\u2019un groupe restreint mais engag\u00e9 de compositeur\u00b7rice\u00b7s.<\/p>\n\n\n\n<p>La conf\u00e9rence proposait des pr\u00e9sentations, des panels et des tables rondes abordant des sujets allant de la finance sociale et de la coproduction jusqu\u2019\u00e0 la d\u00e9fense des int\u00e9r\u00eats, au lobbying et \u00e0 la promotion de la culture canadienne par l\u2019entremise de d\u00e9l\u00e9gations commerciales internationales. Elle comprenait \u00e9galement une allocution principale de la directrice et PDG du Conseil des arts du Canada, Michelle Chawla.<\/p>\n\n\n\n<p>Parmi les th\u00e8mes r\u00e9currents des diff\u00e9rentes s\u00e9ances figuraient la souverainet\u00e9 culturelle, les lacunes persistantes en mati\u00e8re de financement, le d\u00e9veloppement et la fid\u00e9lisation des publics, ainsi que l\u2019importance croissante de l\u2019engagement num\u00e9rique.<\/p>\n\n\n\n<p>Gr\u00e2ce \u00e0 un soutien au d\u00e9placement offert par l\u2019AOC et OC, la vice-pr\u00e9sidente de la LCC, Cecilia Livingston, a particip\u00e9 \u00e0 la conf\u00e9rence et pris part au panel \u00ab Built In, Not Bolted On: Celebrating Canadian Composers in Orchestral and Operatic Programming \u00bb, qui a suscit\u00e9 des discussions anim\u00e9es sur les obstacles et d\u00e9fis li\u00e9s \u00e0 la programmation de compositeur\u00b7rice\u00b7x canadien\u00b7ne\u00b7s.<\/p>\n\n\n\n<p>Les pan\u00e9listes ont formul\u00e9 des suggestions concr\u00e8tes, notamment : une int\u00e9gration plus approfondie des compositeur\u00b7rice\u00b7x aux activit\u00e9s des diffuseurs, des mod\u00e8les de co-commandes, des r\u00e9cits marketing plus solides, la programmation d\u2019\u0153uvres existantes, un suivi soutenu des commandes, ainsi qu\u2019une collaboration plus \u00e9troite avec la LCC et le Centre de musique canadienne (CMC).<\/p>\n\n\n\n<p>La s\u00e9ance s\u2019est conclue par une meilleure connaissance de la CLC aupr\u00e8s des administrateur\u00b7rice\u00b7x, une plus grande familiarit\u00e9 avec des outils partag\u00e9s tels que les contrats types et les listes de v\u00e9rification pour compositeur\u00b7rice\u00b7x invit\u00e9\u00b7e\u00b7s, ainsi qu\u2019un consensus g\u00e9n\u00e9ral affirmant que le r\u00e9pertoire canadien \u2014 et la participation de la LCC \u2014 peuvent constituer un volet stimulant des prochaines discussions lors des futures conf\u00e9rences.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La vice-pr\u00e9sidente de la LCC, Cecilia Livingston, est all\u00e9e \u00e0 la conf\u00e9rence O2 \u00e0 Edmonton.<\/p>\n","protected":false},"author":4,"featured_media":11885,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[67],"tags":[],"class_list":["post-11887","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nouvelles-fr"],"acf":{"pdf_download_link":"","pdf_download_button_text":"","pdf_download_link_2":"","pdf_download_button_text_2":""},"_links":{"self":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts\/11887","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/comments?post=11887"}],"version-history":[{"count":1,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts\/11887\/revisions"}],"predecessor-version":[{"id":11889,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/posts\/11887\/revisions\/11889"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/media\/11885"}],"wp:attachment":[{"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/media?parent=11887"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/categories?post=11887"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.composition.org\/fr\/wp-json\/wp\/v2\/tags?post=11887"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}