This article, by the director of the Ottawa Animation Festival brings to the surface a number of long-standing complaints regarding the relationship between ASIFA-Internatiional and the major international festivals they sanction. As such, we would like to invite comments from all interested parties, whether they agree or disagree with Robinson's point of view.

Logo for the Ottawa International Animation Festival 96.

Since its beginnings in 1960, ASIFA-International has taken great strides in ensuring the continuous development of the "art of animation." Through its sanctioning of festivals, creation of workshops and retrospectives, support and protection of independent animators and their films, the creation of an archive, and a number of other activities, ASIFA has not only established some much needed exhibition venues for animators, but has also shown us just how far reaching animation is as a way of expression for many different cultures. As evidence, ASIFA has evolved from one organization into many, with branches springing up all across the world. Yet some 37 years later in a drastically altered world, ASIFA-International appears to have lost its way. This once active and energetic association has become a bureaucratic "old boy's club," seemingly more concerned with the prestige and benefits of their position than with actively promoting "the art of animation." Gutsy and altruistic initiatives have given way to stagnant diplomacy. For example, recent festival reviews seemed to have been based on the hope of return invitations rather than honesty, and the ASIFA children's rights workshop (children are asked to make films based on issues adults think are important rather than allowing them to express their own opinions), reeks of a stifling political correctness.

My recent experiences with the organization, as director of the Ottawa International Animation Festival (one of five sanctioned festivals), have not only reinforced my feelings about its stagnancy, but has ultimately led the festival to consider withdrawing from ASIFA. Despite repeated attempts to communicate with the board in Annecy, Holland and Zagreb, with the exception of a few individuals, it did little to inquire, advise, or assist with Ottawa 96, let alone respond to my concerns about ASIFA's relationship with the festival and its overall role in animation.

Just prior to Ottawa 96, ASIFA finally contacted us. Unfortunately, all they wanted was to take advantage of the ASIFA rule that obliges festivals to cover all board members' accommodations and pass expenses.(Rule 7c: "Each festival must invite the members of the ASIFA board (22 maximum) that obliges festivals to cover all board members" accommodations and pass expenses.) Given that, with a few exceptions, board members have done nothing to assist the festival, I found it astonishing that they have the nerve to magically appear and make such demands. This was especially frustrating in light of the severe government cuts that the festival was forced to absorb this year. In anticipation of these cuts, we did our best to avoid letting them affect the quality of our programming. and looked elsewhere for cuts. (E.g., we hired less staff and reduced the size of the Selection Committee from five to three.) When the cut became official, the other obvious area to cut was the board invitations rule. Despite a detailed written explanation to the ASIFA board, one board member remained insistent that he be invited. He immediately called a colleague, who then complained to me and insisted that I invite the board to the festival. So much for artistic mandates.