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Annmarie Morais is no stranger to Canada's television and film industry. The York University graduate and veteran writer has worked on many Canadian based television shows including: Due South, Hotel Babylon, and Da Kink In My Hair. Morais, who is also the writer behind the feature film How She Move, is now based in Los Angeles. However, she keeps a close eye on Canadian television and is especially interested in issues related to diversity.

"You can judge the value that you place on something by the time and finances that you devote to it," says Morais. So if we use that as the bar, we see that the Canadian TV industry doesn't highly value black Canadian experiences. Our goal as black communities is to see ourselves reflected in some way. But disappointingly, perhaps the one way that Canadian networks do mirror the American television format is that you don't see us on prime time; and you don't see us being decision makers regarding what is televised during prime time."

Morais's unique perspective on the television industry is built out of her experiences both north and south of the border. She believes that there is a unique Canadian voice that connects well with Canadian and foreign audiences.

"I don't think that anyone can ignore the fact that we're in trouble in Canada in terms of making a concentrated effort to develop shows and writers reflecting our unique and diverse voices," says Morais. "If our goal is just to make poor imitations of American shows, then I suggest that we rethink that situation. There are things that we Canadians do very well, which are unique and find popularity. Shows like Da 'Kink' and Little Mosque have strong fan bases because these are stories that are unique to Canada and people want to hear them."

The acclaimed writer points to successful Canadian television series which have garnered international acclaim while maintaining a strong and realistic portrayal of life in Canada.

"While in the States, I work with a lot of teenagers and pre-teens, and every one of them knows about Degrassi. Now, that show doesn't have an O.C formula or Beverly Hills 90210 formula; it's unique and it has a Canadian voice. Shows like Degrassi prove that we can develop shows that have strength across the border."

For Morais, the secret to Canada's future success is for the television industry to encourage diversity behind the scenes, within the management sector, and also in front of the camera.

"Now, there are a lot of things that have to click in place for us to create viable representations of our communities which reach across race, borders, and nationalities. Primarily, we need producing entities that are open and receptive, and believe that our communities have something to be said...I hope that within the next five to 10 years, all of our networks will have a different perspective on their programming. We have to stop looking to Americans - who incidentally, look to the British for their programming anyway - and rethink what it is people really want to see. Let's reflect ourselves on the television landscape and do what we do well."

 

Jon Sarpong is the Diversity Officer at Durham College and the University of Ontario Institute of Technology (UOIT). He provides independent diversity training and consultation for various organizations. Contact Jon by e-mailing jsarpong@hotmail.com