RFP Request for Proposals

RFP

Request for Proposals

DATE: AUGUST 11, 2020

DEADLINE FOR QUESTIONS: AUGUST 31, 2020

CLOSE DATE: SEPTEMBER 4, 2020

RFP NUMBER: R2040

DESCRIPTION: Feasibility Study for the Boardmore Playhouse and Theatre

SECTION 1 - INTRODUCTION 1.1 Purpose

Cape Breton University (herein referred to as the University) is seeking proposals from proponents (herein referred to as vendors) for an arts consultant with expertise in the design and operation of theatre facilities to prepare a feasibility study for the Boardmore Playhouse and Theatre. Please see Section 5 of this document for specific requirements.

1.2 Background

Background information on the University can be referenced by visiting the Cape Breton University web site at www.cbu.ca

SECTION 2 - ADMINISTRATIVE REQUIREMENTS

2.1 The Law

The law applicable to a contract arising from this RFP shall be the law in the Province of Nova Scotia.

2.2 Error /Omissions

2.2.1 If any errors or omissions are discovered, the Procurement Office should be notified at once. Minor details not specified but obviously required should be provided by the vendor in keeping with normal practice. 2.2.2 Any error or misinterpretation of the requirements does not absolve the vendor of the responsibility to supply them. Vendors are responsible to clarify any ambiguities prior to submitting a proposal.

2.3 Indemnification and Insurance

2.3.1 In responding to this RFP, vendors warrant their compliance to appropriate Municipal, Provincial and Federal laws and to obtain all applicable licenses and permits. Vendors must agree to indemnify the University and its employees if they fail to comply. The University reserves the right to cancel any agreement arising from this RFP for failure to adhere to the above. 2.3.2 The vendor must agree to indemnify the University, its officers and employees against any damage caused as a result of any negligence or unlawful acts of the vendor or its employees. 2.3.3 The vendor must agree to indemnify the University, its officers and employees against any claims or costs initiated by third parties as a result of any negligence or wrongful acts of the vendor or its employees.

Cape Breton University – RFP for Boardmore Playhouse & Theatre Feasibility Study 1

2.4 Disclosure of Information

The information contained in this document is considered confidential and should not be used for any purpose other than to submit a proposal; disclosure to third parties without the University’s permission is strictly prohibited. Proposals submitted as a result of this RFP will be considered confidential. However, vendors must be aware that the University is governed by the Freedom of Information and Protection of Privacy Act (FOIPOP).

SECTION 3 - PROPOSAL PROCEDURES

3.1 Proposal Submission

Proponents shall submit an electronic copy of the quote, complete with all supporting documentation.

It is the responsibility of the proponent to confirm that the quote has been received by CBU. Some emails are rejected due to actions on the part of the sender. Care should be taken by the proponent to avoid or to be aware of all such causes for an emailed submission to be late or undeliverable.

Place the quote and other required documents in a pdf file and email to Brenda MacDonald with the subject:

RFP R2040 FEASIBILITY STUDY FOR THE BOARDMORE PLAYHOUSE AND THEATRE

Proposals must be emailed to:

Brenda MacDonald at [email protected] No later than 3 p.m., Atlantic Time, on the date specified on the cover page of this document

All Proponents shall carefully examine the RFP document. Any ambiguities or inconsistencies shall be brought to the attention of CBU in writing prior to the due date; failure to do so will constitute an acceptance by the Proponent of any subsequent decision. Any questions concerning the intent, meaning and interpretations of the RFP document shall be requested in writing, and received by CBU prior to the deadline for questions as indicated on the cover page.

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To ensure the equality of information among Proponents, answers to enquiries that are relevant to the quality of responses will be forwarded simultaneously to every Proponent in receipt of this RFP, without revealing the sources of the inquiry. CBU will not be responsible for any oral instructions made by any employee(s) of CBU in regard to this RFP.

CBU shall not be responsible for costs incurred in the preparation and submission of quotes in response to this RFP. CBU reserves the right to reject any or all quotes submitted, or to accept a quote in its entirety without negotiation, or to accept any part thereof, in its sole discretion, considering the best interest of CBU. No obligation to enter into a contract with any Company is expressed or implied. CBU reserves the right to terminate the process without award of a contract.

At any time throughout the RFP process, a proponent may withdraw a submitted proposal. To affect a withdrawal, a notice of withdrawal must be sent to the CBU Contact and must be signed by an authorized representative. CBU is under no obligation to return withdrawn proposals.

3.2 Proposal Requirements

Proposals must include the following information. These are minimums and additional relevant information is acceptable.

3.2.1 Approval Submissions must be signed by an authorized director of the company.

3.2.2 Introduction Provide a brief company history and corporate qualifications and experience in providing the Deliverables, addressing the number of years in business, credentials and experience of the key personnel who will both manage and perform services (include 1-page CV), and a detailed outline of the amount of time each person will devote to the project.

3.2.3 Executive Summary Provide a brief executive summary of your understanding of the requirements specified in this RFP including, but not limited to, scope of work, objectives of the study and potential issues. This content should be expressed in your own words and not simply recite the requirements specified in this document. Primary emphasis should be on content and substance; highlighting the key features of your proposal. It should allow the evaluation team to quickly gain an overall perspective of your proposal, prior to reviewing it in detail.

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3.2.4 Experience with Higher Education Provide a brief overview of any experience working with higher education institutions (colleges and/or universities) and arts and cultural facilities, and highlight how that experience would be beneficial in relation to the Deliverables. Proponents without experience with higher education and arts and cultural facilities clients may provide an overview of comparable projects in similar environments.

3.2.5 Approach Outline the organizational approach, providing a recommended strategy, and identify, in point form, what will be addressed in the strategy.

3.2.6 Methodology Provide a brief overview of your methodology to project management related to the Deliverables. Outline the methodology to be used, complete with steps, work tasks, timelines, meetings and project milestones. Proponents should identify what information will be required from the post-secondary institutions and the time frame for providing that information.

3.2.7 Timeline Provide a schedule, including a start date, milestones to complete the work, time frame for research and report preparation by the deadline of November 30, 2020.

3.2.8 Service Agreement Where applicable, proposals should include a copy of the organization’s standard Service Agreement, if any, which the University will review during the evaluation process.

3.2.9 Value Add Outline any unique or value-added services, process savings, etc. not covered elsewhere in the response, which may be beneficial to the project and/or enhance your firm’s ability to effectively manage this work.

3.2.10 Additional Information Proponents are encouraged to submit additional information as they see fit. This additional information should be clearly identified as such and shall be considered at the sole discretion of the University.

3.2.11 Documentation Proponents may include relevant, additional resource documentation that will assist in evaluation. These may include brochures, screen shots, URLs, webinars, demos, etc. regarding the services being sought.

3.2.12 Quote Proponents must provide quote for the project.

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3.3 Inquiries

3.3.1 All communication MUST be directed to Brenda MacDonald, Purchasing Clerk/Buyer via email to [email protected].

3.3.2 Verbal clarification must not be interpreted as a change in content. The University will not assume responsibility for verbal instructions or suggestions.

3.3.3 Should the vendor find discrepancies or omissions from the specifications, or should the vendor be in doubt as to the meaning of any part of the RFP, the vendor should notify the University prior to the deadline for questions date. Minor details not specified, but obviously required, should be provided by the vendor in keeping with normal practice. Any error or misinterpretation of the requirements does not absolve the vendor of the responsibility to supply them.

3.3.4 The deadline for questions is 3:00 p.m. (Atlantic Standard Time), as designated by the Procurement Services office clock, on the date specified on the covering page. It is the vendor’s responsibility to present any questions or clarify any ambiguities of this this RFP prior the deadline for questions.

3.3.5 Any revisions and addenda can be obtained from Brenda MacDonald, Purchasing Clerk/Buyer; [email protected]

SECTION 4 - TERMS AND CONDITIONS

4.1 General Terms and Conditions

4.1.1 The University may request that short listed consultants provide an onsite presentation prior to awarding the RFP.

4.1.2 This issuance of this RFP does not form a commitment and the University is not under obligation to receive further information or participate in discussion as a result of issuing this document.

4.1.3 The University is not bound to accept the lowest cost proposal, but rather reserves the right to accept the proposal which, in the opinion of the University, best meets the established criteria and provides the best overall value to the University.

4.1.4 The University reserves the right not to choose any of the proposals submitted and not to award if, in the opinion of the University, it is in their best interest. The University reserves the right to waive any informality contained herein.

4.1.5 The University reserves the right to enter into negotiations, prior to award, with any vendor as a result of issuing this document, without obligation. Furthermore, if an agreement cannot be reached within 5 days from date of initial contact, the

Cape Breton University – RFP for Boardmore Playhouse & Theatre Feasibility Study 5

University reserves the right to terminate negotiations with that vendor and initiate negotiations with another.

4.1.6 The submission of a proposal shall be deemed proof that the vendor is satisfied as to all provisions of this RFP. The University will not entertain claims based on assertion by the vendor that it was uninformed or unaware of specifications, terms or conditions.

4.1.7 Proposals shall be in enough detail to allow the University to determine the vendor’s position from the documents received. The University may refuse to consider any submission that does not include documentation or other information specified in the RFP.

4.1.8 All materials submitted in response to this RFP shall become the property of the University.

4.1.9 All costs incurred in preparing an RFP, or presenting or elaborating upon an RFP, shall be borne solely by the vendor.

4.1.10 The University reserves the right to cancel this RFP process at any time. In the event of any such cancellation, the University shall not be obligated to pay any costs, damages or claims of any type or kind to any vendor.

4.1.11 Notice in writing shall constitute award.

4.1.12 Unless otherwise stated, it is assumed that the information presented in the proposal will be valid for 90 days from the date of closing.

4.1.13 The University reserves the right to cancel any agreement arising from this RFP in instances of vendor non-compliance. Non-compliance is considered to be, but not limited to, failure to respond to requirements in a timely manner, poor quality workmanship, failure to adhere to administrative requirements or failure to perform or fulfil the terms and conditions of this document and subsequent agreement.

4.2 Subcontractor Use of a subcontractor must be approved by the University. Therefore, a) Subcontractor(s) must be clearly identified in the proposal. b) If agreed to, the vendor will be required to take a primary role and assume overall responsibility for the effective provision of services throughout the contract period

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Section 5 – RFP PARTICULARS

5.1 Context

Local and regional strategic plans identify a leadership role for Cape Breton University (CBU) and the Boardmore Playhouse and Theatre in the creative economy of Cape Breton Island. The Theatre is poised to train the next generation of culture workers and possesses expertise to capitalize on growing tourism opportunities, but the aging infrastructure of the Playhouse, constructed in 1979, is an impediment. The facility lacks a green room, carpentry shop, adequate storage, teaching space, and has limited accessibility for audience members and performers. Its design cannot accommodate some technical systems, limits wing space, prohibits direct access to the wings from the dressing rooms, and has inadequate soundproofing from heating and ventilation systems.

Improved infrastructure is critical to support the vibrant local theatre community and prepare students for careers in the culture sector. A feasibility study will determine the nature and extent of the modifications required to be on the leading edge of theatre; innovative equipment and technology to support training, production, and marketing; and means by which the facility can be made eco-friendlier and more accessible. It will ensure that infrastructure upgrades are financially sustainable and determine how the Boardmore can best support community and professional theatre in Cape Breton.

5.2 Deliverables

This RFP is an invitation to submit offers for the provision of an arts consultant with expertise in the design and operation of theatre facilities to prepare a feasibility study for the Boardmore Playhouse and Theatre. The resulting report should be robust enough to enable the University to: 1) understand the infrastructure investment required for the Boardmore to take on a leadership role in the local and regional creative economy, 2) identify a strategic and economically feasible infrastructure renewal plan, and 3) prepare a compelling case for support to ensure fundraising success.

5.3 Scope

Via the feasibility study, Cape Breton University seeks to better understand the infrastructure changes necessary to position the Boardmore Playhouse and Theatre for a leadership role in the local and regional creative economy. The successful vendor will review and itemize issues that impact the operation of the Boardmore Playhouse and Theatre (including infrastructure, technology, competitive landscape, etc.). Then, the vendor will identify whether and how these identified issues can be addressed by each of three scenarios, and the deficiencies that will remain. The three scenarios are: updating the aging infrastructure, renovating and reconfiguring the space, and constructing a new facility.

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The vendor will consider: • The specific infrastructure issues at the Boardmore Playhouse that impede the Theatre’s ability to fully take on a leadership role as identified in multiple community and government strategies and reports. • The equipment, technology, and software required to remain at the forefront of theatrical production and training. • Specific means of making the Playhouse more energy efficient and eco-friendly, and thereby more financially sustainable into the future. • Specific means of making the Playhouse more accessible, not only for the audience, but also for performers. • Means by which audience experience can be enhanced, with an improved box office and foyer, and the implementation of food and beverage service. • The competitive landscape within which the Boardmore operates to enable it to differentiate itself from and work collaboratively with other local theatres, like the Savoy Theatre, Highland Arts Theatre and other creative arts facilities on Cape Breton Island. • Technology that can facilitate ticketing and inbound/outbound marketing, and how such technology could contribute to the sustainability of the Playhouse and Theatre in the long term, including potential partnerships with other local facilities for these services. • Other existing on-campus spaces which, if repurposed, could help to meet the Boardmore’s future needs, aligning with recommendations of CBU’s Creative Arts Task Force report “Let’s Make a Circle – CBU’s Creative Arts Strategy (December 2019)”. • How CBU’s Boardmore Theatre can increase its training of professionals (actors, directors, playwrights, technicians, stage managers) to support Cape Breton’s growing theatre and other cultural industries.

For three scenarios, consider: • The specific strategies under each scenario to address identified issues. • The financial implications, advantages and disadvantages, and feasibility of each, both in terms of infrastructure and operations (including programming expenses, staff salaries, operating and maintenance costs, revenues, etc.). • How each would improve the physical conditions for collaboration, artistic creation, production, and/or presentation, including how to complement other internal creative arts facilities renovating towards building a creative campus model at CBU and strengthening our contribution to the Cape Breton creative economy. • How each would impact audiences, artists, creators, staff, and other users, including anticipated audience/visitor attendance numbers following the changes to infrastructure. • How each will allow the Boardmore Playhouse, or other community organizations utilizing the facility, to better reach or serve audiences. • How each will improve the quality and diversity of the arts and/or heritage programming carried out at the Boardmore, now and in the future.

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• How each of these scenarios will benefit other professionals in Cape Breton from a range of arts or heritage sectors and creative disciplines.

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ADDENDUM #1 AUGUST 19, 2020 RFP R2040 FEASIBILITY STUDY FOR BAORDMORE PLAYHOUSE AND THEATRE

In the time of Covid, with travel restrictions and other precautions regarding person to person contacts and group contact, can you advise as to your expectations regarding the number of in- person meetings and those that can occur on Zoom, Microsoft Meeting and Skype.” Likely, one in person meeting. All other meeting will be virtual.

Do to Covid-19, will the University be open to conducting project meetings virtually, when possible? Yes

Has a budget or budget range been established for this study? Yes, $30,000

First however, we wanted to make sure that submitting for this study would not eliminate us from then pursuing the design RFP later on. Could you please confirm this? Confirmed. You will not be eliminated. Any future design work contracts for the Boardmore would have to be issued as another RFP document. The RFP would be posted and would be open to all vendors to bid on.

Would we/could we have access to the local and regional strategic plans that identify the leadership role for Cape Breton University and the Boardmore Playhouse and Theatre in the creative economy of Cape Breton Island? http://cbvoices.ca/wp-content/uploads/2018/02/creative-economy-growth-plan-vibe-creative- group.pdf 1. https://fliphtml5.com/objf/ddjy/basic

Will the shortlist definitely be asked for in-person presentations? Or will there be virtual presentations due to Covid?

In person presentations, if possible. Otherwise presentations will be virtual.

What is the budget range for the project? $30,000

What is the decision timeline? Mid September decision with November 30, 2020 as deadline to finish the feasibility study.

What methodology will be used to assess proposals?

See RFP 4.1.3 to 4.1.9

The report mentions CBU’s Creative Arts Task Force Report. Is this document available to proponents?

Yes

Has the University conducted any prior work that has defined the future direction of programming at the Boardmore theatre?

Yes, internal consultation with senior management, faculty, development dept., and theatre management.

Who will be responsible for the project on behalf of the university?

Development Dept. and Theatre Manager

The RFP speaks to 'three scenarios'. Are these predetermined or already established and are they described in a document that could be made available?

These are not predetermined, but serve as three suggested scenarios.

Is there an incumbent Architect already working on this project from an earlier stage, or who has carried out work for the Boardmore Playhouse in the recent past? Would such a scenario influence the owners’ evaluation of proposals?

The University has contracted a local Architectural Firm to do work for the Boardmore Playhouse in the past. It is likely that this firm will be part of the evaluation team.

Does the University have a date of award in mind?

Mid September.

Is the University committed to pursuing the project beyond this study or, except for fundraising, is the project subject to conditions which might result in the project not proceeding?

The university is committed to pursuing the project beyond this study.

What is determining the November 30 end date for the study. Is the owner aware of likely circumstances where this date may change?

The Playhouse will be dormant for most of the Fall term, so it is an ideal time to do this study.

Whilst a physical site review will be essential at the outset of the project, is the owner comfortable with the use of a virtual platform such a Zoom or Teams for most meetings and interviews?

Yes, virtual meetings are expected.

The completed 'deliverables' are likely to be substantial reports including drawings. Is the owner comfortable with interim and final reports and other 'deliverables' being submitted in a non- proprietary electronic format rather than as paper 'hard' copies?

Yes

Will our involvement at this stage of this project preclude our involvement at the next or later stages?

Any future design work contracts for the Boardmore would have to be issued as another RFP document. The RFP would be posted and would be open to all vendors to bid on.

Does the owner have any other completion dates in mind? For example; early 'Covid' related works to allow the theatre to partially function, or longer-term dates such as a final completion date for the renovated facility?

No other completion dates for the feasibility study. Completion date for the renovated facility will be determined by the feasibility study.

Is there guidance for proponents about the intended capital budget for the project?

The feasibility study budget is $30,000. Budget for capital and renovations will be determined by the feasibility study.

Are current drawings of the venue available or would the team need to survey?

Current drawings for the venue can be found at https://www.cbu.ca/community/boardmore- playhouse/rental-tech-information/Likley they are not detailed enough – an in person survey will be required.

ADDENDUM #2

RFP R2040 FEASIBILITY STUDY FOR BOARDMORE PLYHOUSE AND THEATRE

AUGUST 25, 2020

Does CBU have a tentative start date for the 3-month study? It would be very helpful to see the existing theatre - particularly for the facility analysis scope - however the current Covid-19 travel restrictions/quarantine period make this challenging. Has there been discussion internally as to how to address this?

We aim to award the RFP by mid September and the successful applicant to begin immediately following awarding the contract. It is envisioned for at least one site tour of the facility. CBU’s COVID-19 policies are following the directives of the Province of Nova Scotia which, currently, require a 14-day self isolation period for travellers outside of Atlantic Canada. We have not had any discussion about how to address this and open to suggestions within submitted proposals.

What is the governance model of the theatre? Is it operated by and for CBU, or does it have a blend of University and Community programming? Do you anticipate any change in governance and operational model going forward?

The theatre is owned and managed by CBU. Its use is for CBU’s academic programs, but its history since inception has been linked to productions having community audiences, actors, writers, stage managers, technicians alongside students/alumni of the theatre.

The study should make recommendations on any suggested changes to governance or operational models going forward.

Have you undertaken any community consultation, and if so, are you able to provide data on the findings to support the work?

The following local and regional strategic plans had a level of community consultation.

http://cbvoices.ca/wp-content/uploads/2018/02/creative-economy-growth-plan-vibe-creative- group.pdf

https://fliphtml5.com/objf/ddjy/basic It’s anticipated a level of consultation would take place internally with students, staff, faculty and alumni of the Boardmore to compliment the consultations already completed within these studies.

Is the deadline for the study is still November 30, 2020? And, if we are to be awarded the study, would we be able to submit for the eventual design RFP as well? Yes, the deadline for the study is still November 30, 2020. Successful applicants are still eligible to submit for any eventual design RFP as well.

Who will serve as the University's representative and a point of contact throughout the study? CBU’s Theatre Manager

Will a working committee or task force support or manage the study, and if so, which campus and community entities will be represented? A working committee from CBU will include Theatre Manager, Development department and Director of Facilities.

What is the University’s budget range for services related to the completion of the study? $30,000

How and why has the University decided to consider three scenarios in the study? It’s worthwhile to understand and weigh the cost of the 3 scenarios as CBU does future planning of theatre’s direction, capital projects and fundraising campaigns.

What is the impetus for the November 30 completion date? Is there flexibility? The Playhouse will be dormant for most of the Fall term, so it is an ideal time to do this study.

Can you send us the CBU Creative Arts Task Force Report, either as an attachment or as a link?

Please see attached below.

Let’s Make a Circle CBU Creative Arts Strategy 2019

Contents

Introduction p 3

Purpose and Scope p 4

Recommendations

Facilities Reimagined p 5&6

Creative Arts Programs p 7&8

Student & Campus Life p 9

Community Relationships p 10

Analysis of Reports p 11

Professional Development: Skills and Learning p 11

Creative Arts Conference p 12

Moving Forward p 13

Appendices p. 14 to 20

a) Creative Arts and Culture Sector Background b) CBU Press c) Creative Arts Conference d) Student & Campus Life and the Arts e) Community-University Relationships Background f) Analysis of Reports g) List of Reports and Documents Referenced

Introduction

Creative Art and the CBU Strategic Plan Creative Arts activities can play an important role in CBU’s engagement with the five mandates of the strategic plan. First, we invest in our students when we provide courses and activities that foster creative expression. The ability to apply creative solutions to difficult problems is highly valued in the workplace. For this reason, the experiences that we can provide have impacts across programs.

In addition, the importance of creativity in entrepreneurship, technology and development makes engagement with creative arts an important tool in our strategy to champion the Island’s prosperity. The potential for economic development through promotion of the Creative Economy has been recognized by all levels of government, and our students will enter this environment with an advantage over students from traditional programs.

Indigenizing the L’nu way and Globalizing with a Difference must, in part, happen through engagement with Creative Arts. Cultures express who and what they are through music, dance, theatre and art. By creating opportunities in and out of the classroom for cultural expression in these areas, we find highly evocative and personal ways to teach and learn about each other.

Many faculty and staff are already engaged in creative activities both in the classroom and through membership in arts-based societies and groups. By providing opportunities within programs, on campus and within the community, we benefit from an untapped resource. Shared creative activities involving faculty, staff and students create a unique collegial experience.

In every one of these categories, the learning is organic and experiential. Courses in the creative arts build a strong foundation for further exploration and application in other disciplines. Workshops and performances off-campus by students and faculty brings creative arts into the community, creating networks that benefit us in the future and raising our profile.

Purpose and Scope

The CBU Creative Arts Task Force was created to recommend strategies for the development of CBU as a Creative Campus by:

• Conducting an analysis of existing CBU reports, including materials gathered during the Strategic Planning process as they relate to Creative Arts. • Examining the cultural strategies developed by external organizations on the island as they relate to the arts, with particular emphasis on the position of the university within these strategies. • Consulting with internal CBU stakeholders with an interest in the arts about the notion of a “creative campus,” and the future role of the university in the arts on Cape Breton Island.

In particular the Task Force addressed:

• Student and campus life and the arts • Physical resources related to the arts at CBU • Creative Arts programming at CBU • Community-university relationships and agreements in the context of the arts

Membership

The task force consisted of 8 people in total:

• 6 members from the university community • 1 community member • 1 student

The task force’s exploration was conducted from August 26 to November 14, 2019. Regular bi-weekly meetings were held to consolidate the ongoing research. Our group was divided into pairs with each pairing assigned to one of the topics listed from the terms of reference. Internally, consultation was done with Faculty, Staff, Students, Deans, Facility Managers, and Program Managers. Externally, meetings were held with Cape Breton Partnership, Centre for Craft and Design, Highland Arts Theatre, Savoy Theatre, Cape Breton Victoria Regional Centre for Education, CB Mic, and Dance Nova Scotia.

Goal It is the view of this Task Force that the following recommendations will provide short term and long- term solutions to the sustainability of Creative Arts Programing at CBU and move CBU toward a vibrant and creative campus for all who attend the institution. It is hoped that the recommendations will also position CBU as a strong partner in Cape Breton’s Creative Economy.

Recommendations

1. Facilities Reimagined

Facilities are arguably the most pressing concern for the development of academic and non - academic creative arts at CBU. There is not enough properly designed and dedicated space for the teaching and practice and growth of music, theatre, and visual art. Music is taught in rooms which are not soundproof. This creates a problem when two or more rooms are used concurrently. The Boardmore Theatre ‘s Season of Plays requires rehearsal space every day of the week for most of the Fall/ Winter terms. The teaching of visual art can only be offered in Spring/Summer session due to lack of dedicated rooms. Space is at a premium at CBU. In response to this challenge certain areas of campus should be re-imagined as creative arts programing spaces. A feasibility study is needed to examine existing physical space that can be renovated to proper specifications. The following recommendations offer some ideas as to ways this can be addressed.

• dedicate the Multiversity Room for the teaching and practice of Theatre Arts • dedicate some parts of C-wing for the teaching, practice, and storage for Music and Visual Art • dedicate the Centre for Sound Communities Studio for the teaching, practice, and research of Traditional Dance • facility upgrades to the Boardmore Playhouse (funding for feasibility study in progress) • as a long- term goal, initiate a fundraising campaign dedicated to the construction of a properly designed and dedicated Creative Arts Facility to house the teaching and practice for all CBU Creative Arts programing – Music, Theatre, Visual Art, and Dance.

Furthermore, the following recommendations identify ways to utilize some existing space at CBU for the development for Creative Arts Student Life programing.

• properly equip the Pit Lounge with lighting and sound for a variety of performance styles - music, dance, stand-up comedy, spoken word. • properly equip the Canada Games Complex for large concert style performances and large conference events- Music Festivals, Caper Con. • identify the following areas on campus for creative activities – Cafeteria, Great Hall, Campus Centre Lobby, Library, Courtyard.

1.1 Off Campus Presence

While the idea of establishing an off campus ‘bricks-and-mortar’ facility for teaching and community engagement in the creative arts has been discussed as a possible long-term goal, it is recommended that existing spaces on campus (eg., re-purposed C-Wing bays) and temporary spaces facilitated through partnerships (eg., Cape Breton Centre for Craft and Design, The Convent), be explored as tangible, low- overhead options. To some extent this is already in place with the Centre for Craft and Design and The

Convent as partners for CBU Art Gallery initiatives (eg., CBUAG curated Komqwejwi’kasikl exhibition in April 2019 and monthly ‘Artists’ Gatherings), but expansion of these and other offerings could be pursued to increase downtown presence. Additionally, it is recommended that pursuit of opportunities to build a greater, island-wide presence through existing and potential MOUs (eg., Mabou Convent / Gaelic College; Parks Canada) should be explored in the interest of expanding both course offerings and public, educational outreach initiatives beyond the CBRM.

Since 2018, the Art Gallery has provided educational outreach events and opportunities using facilities made available through partnerships at the following:

• Cape Breton Centre for Craft & Design (exhibition and curator’s talk) • Fortress of Louisbourg (curator’s talk / walking tour) • Harbourview Montessori School (‘Art on Wheels’ workshop) • Whitney Pier Youth Group (‘Art on Wheels’ workshop) • Sydney Academy (‘Art on Wheels’ workshop) • Riverview High School (‘Art on Wheels’ workshop) • Louisbourg Library (curator’s talk) • New Dawn / The Convent (‘Artists’ Gatherings’) • Doktor Luke’s (‘Crit Theory Sessions’)

These and other spaces across Cape Breton (eg., The Mabou Convent, library branches, etc.) could be used to host audio/visual presentation of course content or educational, community outreach material with little, logistical difficulty.

2. Creative Arts Academic Programs

At present, we have a BACS Music Major, a BACS Applied Theatre Major, and a Theatre Arts Certificate. Students in the BA and BACS can do a minor in drama or music. Students in the 3-year BACS can take music or drama in their academic field. Art courses can be used as electives in all of our undergraduate programs with a free elective category, but the lack of 3000 level courses in art prevents students from taking an art minor or using it in the academic field of the BACS.

In the BA, students may fulfill the Arts/Communication group in the Core with up to 6 credits in creative arts, but it is not mandated. Many of our creative arts courses have a significant writing component, so they could be used as the writing elective for Engineering Diploma students (the standard for a course being considered a writing course is set by Dalhousie).

A number of faculty allow students to do creative assignments rather than a traditional academic paper as part of their evaluation strategy. As part of the strategy going forward, we can gather data on the kinds of creative assignments faculty engage in and provide opportunities for them to share their experience with other faculty interested in adding this option to their evaluation scheme.

While some music and theatre courses enjoy healthy enrollment, most do not. This results in low enrollment for both related degree programs. To address the low enrollment situation in the short term, there are several strategies which can be moved on very quickly to help improve enrollment. It is the hope of the task force that these short- term strategies, and the overall promotion of CBU as a creative campus, will increase enrollment in the full degree programs. To raise the profile and engagement with Creative Arts in all Academic programs we recommend:

• Creative Arts Experiential Learning opportunities for CBU Students (co-op/internships) e.g. Creating Entrepreneurship in the Creative Economy proposal- Student Services. • Faculty to build in creative arts assignment into their grading scheme (creative arts option) • Through the Centre for Teaching and Learning, design Professional Development workshops in the use of Creative Arts as a teaching tool for faculty. • Develop a series of Creative Arts information sessions for Academic Advisors • Develop a series of Creative Arts information sessions for Recruitment Officers • All program regulations should include a statement strongly encouraging students to take at least one 3 credit course in one or more of the creative arts • Encourage all schools to integrate Creative Arts into their programs through students’ electives • Develop a certificate/diploma in Film Studies • Develop a certificate/diploma Creative Arts and Social Innovation or Arts Management • Examine cross-listing possibilities with Creative Arts courses (comm/theatre, music/history) • Develop additional courses in Visual Arts • Include Creative Arts activities in the co-curricular record program • Include Creative Arts in the “Don’t Cancel Class” program • Develop Creative Arts courses within the B.Ed. program

• Establish CBU as a “Hub” for Creative Arts for Secondary Schools. • Collaboration between academic departments and the Boardmore Playhouse for the purpose of yearly play selection • Collaboration between academic departments and the CBU Art Gallery for the purpose of exhibit selection • Commitment to an Artist in Residence Program (see appendices) • Re-establish the CBU Press (see appendices) • Expand Boardmore Theatre’s participation in regional, national, and international theatre festivals

3. Student & Campus Life and the Arts

In years past, enlivening CBU’s campus with creative energy has at times been challenging. Given the physical location of our campus, certain times of the week and months of the year are considerably less lively than others. With that in mind, the committee has endeavored to provide concrete, feasible strategies, projects, and programs to enhance and inspire creativity among students and staff. It is our hope and indeed our goal to daily expose the campus community to new efforts in art and creativity processes that vary in scope from the ephemeral and experimental to the traditional and long-lasting. Because students often learn best from each other, some of our most salient recommendations are informal student-led activities. Working with the Student Life Coordinator, we recommend:

Annual Creative Arts Festival - Students working and studying in the creative arts will be invited once a year to produce, organize, and execute exhibits, performances, and publications in a multi-day festival.

Housing community ensembles - Increasing the sound of creativity on campus, CBU should offer sponsorship to Cape Breton’s community ensembles including pipe bands, orchestras and community choirs.

Enlivening the Pit with Friday afternoon Jam sessions - Students, faculty and staff would be invited to perform, socialize and jam.

EverBlock Supply The blocks (essentially very large legos) allow people to build furniture, walls, and sculpture.

Open Projection - Students who work and experiment in digital and multimedia will be invited to play and project creations onto campus walls.

Pit Matinees – Increased daily programming at the pit. The collaborative time block should allow for musical, dance and theatrical demonstrations at the pit. These performances should be students and staff, but could also include inviting people from the community.

4. Community-University Relationships

The purpose of creative arts extension programming is to link Cape Breton University to organizations that foster accessibility to the arts. The Task Force recommends including creative arts programs or elements within all new MOUs. Existing agreements should be analyzed to reveal opportunities to include the creative arts. By harnessing the unifying power of the creative arts, CBU can better connect with other stakeholders to improve arts access in under-resourced areas. Through outreach initiatives specific to the arts, CBU can build internship and co-op opportunities, develop educational programs, and inspire interest in careers in the culture sector. Strategic partnerships can lead to conferences, festivals, and co -productions of original content and products. Through a focused review, current partnerships and connections can be enhanced to better engage the community in the arts. Examples of programs and agreements in force or in development include:

• Establishing/revising MOU with the Gaelic College (programing possibilities at the Mabou Convent in all of our creative arts) • Establishing/revising MOU with Cape Breton Centre for Education (Creative Arts Day at CBU, High School Theatre Festival, Heritage Fair, Traditional Music in the classroom) • Establish/revise MOU with Celtic Colors (more CBU involvement with the Festival: mainstage performance; coops and internships) • Establish a MOU/Partnership with Cape Breton Partnership (working together to move CB Strategy and CBRM Strategy action items forward) • Establish connection with Cape Breton Music Festivals and arts organizations (Gobblefest, Whitney Pier Youth Club Music program, Cape Breton Chorale, Cape Breton Orchestra, etc.) • Establish connection with Cape Breton’s many dance schools to explore dance programming at CBU.

5. Analysis of Reports

The Creative Arts Taskforce began their work by gathering and analyzing related reports, government documents and sectoral statistics. The development of the Creative Arts sector has been well studied and documented over the past 25 years; many local reports speak to the educational needs of the sector and a potential role for Cape Breton University. For example, in 2014, the CBRM Mayoral Roundtable on the "Next Steps for Arts and Culture", chaired by Joella Foulds, was tasked with formulating next steps for the local creative economy and how the municipality can assist. The Roundtable delivered their report, CBRM Creative Economy Growth Plan, to the Mayor and Council in September 2017.

A review of the various reports’ recommendations provides key global themes that inform the work of the CBU Creative Art Taskforce. Due to the varied nature of the culture sector and those employed within it, we recommended that CBU work in consultation with, and develop strategies through partnership with those organizations that represent the sector. A coordinated and collaborative approach is required to best impact the sector and for increased success of initiatives acted upon. Learning and professional development for the sector was consistently identified as a need for the sector.

The culture sector does not demonstrate a clear career path; therefore, many find themselves working in the sector with little to no formal credential. Post-secondary programming in the form of arts/culture education is needed but so is cultural management programming for those that are in leadership roles. For those that are cultural producers (crafter/artisan, musician, artist, etc.) a need for entrepreneurial and business training was specified.

The modes of learning vary from the traditional in-class room degree focused program to adult education courses via distance delivery methods, symposiums, and conferences. The diversity of the sector should be mirrored in the diversity of delivery methods.

As the culture sector finds and defines its identity the need to create career resources and educational pathways will increase. Recruitment and promotion of the options and opportunities of arts and culture professions and programs will need to be developed and distributed.

5.1 Professional Development: Skills and Learning

In addition to the creation or revitalization of foundational academic programming to support the development of the creative arts and culture sector there is a clear need for continuing professional development for the community of artists, performers, cultural entrepreneurs and cultural stewards. While it is recognized that this audience has highly developed skills in the areas of their craft, performance or subject area, this expertise often leads them into professional roles where they have little to no formal training or education. Areas which emerge from the literature for skills development and continuing learning include:

• Marketing, with a specific interest in export marketing • Promotions, with particular focus on digital avenues and social media • Human resource management including succession planning • Entrepreneurship • Cultural management

The delivery modes of interest include mentorship, distance learning, workshops and institutes and conferences. A program of study leading to a certificate of completion is recommended as funding may be available to support learners through professional development grants. The offerings, designed for the working, adult learner, would also strengthen and support the development of a network of cultural workers in the region and province.

The delivery could be in partnership with the Gaelic College and thereby offerings outside the CBRM through either their St. Anne’s campus or Mabou Convent campus. In-person and on-line delivery should be explored.

5.2 Creative Arts Conference

A recurring theme contained within previous and companion reports is the need to strengthen the research and development capacity of the culture sector. This is an area where CBU has the ability to make a substantive and impactful contribution. This may be achieved by connecting with faculty and students engaged in sector related research, supporting research that brings focus and increased awareness to the culture sector, and disseminating research within the creative arts community and policy makers.

Areas of research should be formed in meaningful partnerships with the practicing community of artists, cultural entrepreneurs and cultural stewards. CBU’s strength in community-based research is a good foundation from which to engage practitioners, the community, and the sector.

Recent in-house consultations brought forward the suggestion of an annual creative arts conference. There are partners to engage when considering an annual conference. The Growing the Creative Economy Conference was initiated in 2016 and has been held annually in Sydney to bring together those working in or connected to the Creative Economy. It is recommended that CBU partner with previous coordinators including the Cape Breton Partnership, the Cape Breton Centre for Craft and Design and the Nova Scotia Department of Communities Culture and Heritage, to bring a research and learning component into this existing program. This approach would strengthen the connection between academic research and its dissemination within its community of interest and practice.

Moving Forward

The following recommendations are crucial to the success of the outcomes suggested in this report. Creation of a team, mandated to realize a creative campus, speaks to CBU’s commitment to the sustainability and promotion of our arts and culture sector. CBU’s desire to provide ongoing support for this initiative solidifies its position as both an incubator and celebrator of creativity and innovation.

For action:

• Creation of a CBU Creative Arts Coordinator position. • Creation of a CBU Creative Arts Advisory Group (facility managers, program directors, faculty, students, community member(s) • Dedicated Marketing and communication plan for Creative Arts

Appendices

a) Creative Arts and Culture Sector Background

Today, the 8th largest sector in the Nova Scotia economy is culture, representing 2.3% of Nova Scotia’s GDP. In 2015, the mandate of the Nova Scotia Department of Communities, Culture and Heritage stated that communities depend on innovation and creativity to meet the challenges of a changing world. To be innovative, communities need to encourage creative and cultural expression, value life-long learning and share their stories. Since then, the Department has launched the Province’s first comprehensive Culture Action Plan. The Plan will establish a shared vision for culture in Nova Scotia and identify opportunities to strengthen the culture sector and, in so doing, contribute to building a more prosperous future and enhancing the quality of life in communities and the province as a whole.

In 2016, the Culture Satellite Account reported that Nova Scotia sustained 13,719 jobs in the culture and sport sector, representing 3.0% of all jobs in the province. This number represents a 12% increase from the 12,286 jobs reported in 2010. The culture and sport sector accounts for $874 million of NS’s GDP, or 2.3% of Nova Scotia’s economy. This number represents a 13% increase from the 2010. Therefore, the sector is growing.

In 2018, Nova Scotia’s Department of Communities, Culture & Heritage (CCH) completed the second Culture Index Survey. Nova Scotia was the first province to undertake a study that illustrates the social value of culture and has been collecting this data since 2015. The 2018 Culture Index Survey found that:

• 81% agree that culture helps enrich the quality of our lives • 78% agree that culture helps create community identity • 74% agree that culture helps connect people from different communities and backgrounds • 63% agree that culture helps attract new residents from outside Nova Scotia • 59% agree that cultural organizations are critical to the sustainability of their community

b) CBU Press There is interest to see CBU Press continue, thereby continuing the 45-year tradition of bringing Cape Breton stories and content to audiences through publication. Currently, with the 2017 demise of CBU Press as a regional player in conventional publishing, CBU Press resides with the cultural resources department. Through a negotiated agreement with Nimbus the catalogue of the Press is distributed, and future projects may be published through a subvention. For CBU to reinvigorate its presence as a regional publisher, investment and experience are required.

A three-year start up timeframe is recommended to assemble an Advisory Committee, call for manuscripts and the development of a tentative calendar and catalogue. A demonstrated history of success would be required (a minimum of 3 years) before external funding could likely be successfully secured. Therefore, CBU will need to invest fully in these initial years.

Additionally, skills would be contracted to implement each project such as lay-out, cover design, editing, etc. on an as need basis. It should be assumed that a conventional book project would cost up to $10,000. Co-publication with Nimbus would in some cases soften the expense if the book fit their criteria or plans. Or if it didn’t fit, CBU might bear the full amount even under co-publication. It therefore depends entirely on how strongly felt is the desire to publish.

Despite the cost, there are times and projects that the university should step up and support publication. Indeed, there are plenty of instances where university subvention to major scholarly presses is required, but in the realm of Cape Breton culture and history, if a narrow enough mandate was formulated, in-house projects should be considered. There are dozens, perhaps hundreds of potential publications to be found within the walls of the Beaton Institute, while not likely to break even cost-wise, all deserving of being produced.

If cultural resources were to include publishing into its department mandate, a point person needs to be designated, and compensated, to guide projects through to completion. That person needs support in the form of a committee charged with (1) conceiving and implementing a mandate and plan of publishing parameters, and (2) helping to select projects, or at least agreeing that a proposal fits the mandate. Additionally, supporting the cultural resources department to implement a revenue stream for value-add services is an option to be explored. Perhaps this is worth examining for an innovative approach that could include digital publishing.

c) Creative Arts Conference & Research It is recommended that emerging partnership trends inform CBU’s research in the culture sector. Including the GLAM initiative at the national level and the LAMNS organization at the provincial level would be beneficial.

At the national level, the formation of GLAMs (Galleries, Libraries, Archives and Museums) has led to the holding of a series of Summits. The initial Summit, held in 2016, had as its objective to present the current state of research on the social and economic value of memory institutions and to highlight examples of innovation. The result was the collectively adopted the Ottawa Declaration. The Declaration was a commitment to moving forward based on a shared recognition of how much the galleries, libraries, archives and museums (GLAMs) sector, have in common, and the opportunities and benefits of working collaboratively.

The Ottawa Declaration stated that together, galleries, libraries, archives, and museums (GLAMs) would:

• Increase collaboration between our institutions and our networks at the local and national levels to catalyze new partnerships that spark creativity and enhance engagement; • Develop innovative programs and services, and adopt technologies that empower us to engage our publics; and; • Enrich and expand access to our collections to ensure that our institutions contribute significantly to the public good and sustainable development.

In Nova Scotia, LAMNS (Libraries, Archives, and Museums Nova Scotia) is a collaborative network comprised of the following organizations/associations:

• Association of Nova Scotia Museums (ANSM) • Council of Nova Scotia Archives (CNSA) • Council of Regional Librarians (CORL) • Novanet • Nova Scotia Archives (NSA) • Nova Scotia Provincial Library (NSPL) • Nova Scotia Museum (NSM)

LAMNS works to increase the capacity of the network to share resources and to identify opportunities for high impact collaboration. LAMNS hosted in its initial summit entitled Taking it to the People: 2019 Summit on the Value of Galleries, Libraries, Archives and Museums. LAMNS has been the regional voice for the sector at GLAM hosted events

d) Student & Campus Life and the Arts

Tabula Rasa Wall – A bare wall in a high-traffic area of campus suitable for ephemeral visual expression (e.g., chalkboard wall, whiteboard wall) equipped with expressive media (e.g., markers, paint, chalk, film projection). Annual Creative Arts Festival - Students working and studying in the creative arts will be invited once a year to produce, organize, and execute exhibits, performances, and publications in a multi-day festival. Content and contributors can be drawn from course and thesis work but can also grow but of extracurricular initiatives. The Annual Creative Arts Festival will also serve as a vehicle for the culmination of a proposed CBU Mentorship initiative where student creators would exhibit their work from an eight-month mentorship. Institutional Commitment to an Artist in Residence Program - Many Canadian universities, public libraries and philanthropic societies appoint a writer in residence, and recently have begun appointing Artists in Residence. The main purpose of the writer or artist in residence is to hold regular office hours (usually 2-4 times per month depending on the person’s availability and what the university expects) and meet with students and perhaps staff who are working on creative projects. CBU has a history of drama as old as the university itself that would benefit from a professional writerly presence on campus. Likewise, would CBU’s dance, music, and visual arts students benefit from the residency of a leading figure in their discipline. This could be the centre point in an expanded creative writing, performance, and studio art program at CBU. Finally, Cape Breton has an impressive roster of authors and artists to draw upon if the university wanted to stick to local, and hitherto local artists (Linden MacIntyre, Lynn Coady, Anne Marie MacDonald, Ursula Johnson to name a few). Having undertaken an Entrepreneur in Residence, the university will be familiar with the idea and the value of a similar role geared toward a growing segment of the student population.

Creative Loans - Using the library as the hub, allow students to borrow musical instruments (or, conceivably other tools for creative work e.g., drop sheets, digital art tablets, sound/video recording equipment) from the library. Part and parcel to this endeavor would be studio spaces that students could also book for practice, performance and composition. Small spaces in C-Wing or some other yet- to-be-determined space could be set aside and subdivided to accommodate. Public libraries have in recent years begun branching out into loaning objects other than books (the CBRL, for example, loans out outdoor equipment like snowshoes). Housing community ensembles - Increasing the sound of creativity on campus, CBU should offer rehearsal space to Cape Breton’s myriad community ensembles including the Cape Breton Pipe Band, The Cape Breton Orchestra and various community choirs. Enlivening the Pit with Friday afternoon Jam sessions - The Pit has a history as one of Sydney’s primary music venues for touring musical acts. The stage setup and room location would make The Pit ideal for Friday afternoon jam sessions. Students, faculty and staff could would be invited to perform, socialize and jam. A library musical instrument loans program would obviously augment an initiative like this. EverBlock Supply - Office building blocks are growing in popularity in offices and university campuses. The blocks (essentially very large legos) allow people to build furniture, walls, and sculpture. They inspire creativity, ingenuity, and problem-solving as students construct and deconstruct their built environments. Open Projection - Students who work and experiment in digital and multimedia will be invited to play and project creations onto a wall in some location on campus. Pit Matinees – Increased daily programming at the pit. The collaborative time block should allow for musical, dance and theatrical demonstrations at the pit. These performances should be students and staff, but could also include inviting people from the community.

e) Community-University Relationships Background

• Establishing/revising MOU with the Gaelic College (programing possibilities at the Mabou Convent in all of our creative arts)

The Memorandum of Understanding with the Gaelic College could be revisited to include the potential of a satellite location at the Mabou Convent, offering creative arts programming from Cape Breton University. This would allow for our creative arts programming to be accessible to those in western Cape Breton and would also allow the university to be further connected to other parts of the island.

• Establishing/revising MOU with Cape Breton Centre for Education (Creative Arts Day at CBU, High School Theatre Festival, Traditional Music in the classroom)

It has been identified by both the Cape Breton Victoria Regional Centre for Education and Cape Breton University that the current outdated Memorandum of Understanding needs to be revisited with regards to achievable outcomes for both parties. This newly created document would include an overview of partnerships including a creative arts day at CBU where students from across the board would have the opportunity to come to campus and experience different facets of the arts, the High School Theatre

Festival and connections to facilitate traditional music in the classroom in conjunction with faculty from CBU. These along with other outreach initiatives to expose students of all ages to creative arts will act both as an educational endeavor along with a potential recruitment opportunity for CBU and creative arts programming.

• Establish/revise MOU with Celtic Colors (more CBU involvement with the Festival: mainstage performance; coops and internships)

A strong partnership with Celtic Colors will prove to be of benefit to both the festival and our CBU students. Through increased co-ops and internships with Celtic Colours, CBU has the ability to expose students not only in arts-based programs but also science and business to the opportunities with a large-scale music festival. Further connections and building on current partnerships such as the Roots in the Room program Celtic Colors facilitates in local schools on the island could be of benefit to both the university and the festival. Through such outreach programs, the university and Celtic Colors are able to target students interested in careers within the creative arts and mentor them through their creative process.

Establish a MOU/Partnership with Cape Breton Partnership (working together to move CB Strategy and CBRM Strategy action items forward) There is a strong interest from the Cape Breton Partnership in having CBU participate in the Cape Breton Cultural Strategy Action Plan though participation in Arts and Cultural conferences, Coop and internships and student volunteers.

Establish connection with Cape Breton Music Festivals (Gobblefest, Whitney Pier Youth Club Music program)

In addition to creating a partnership with Celtic Colours, it is important that the university makes an effort to connect with other local music festivals that showcase different cultures and age groups. By having this diversity, CBU has the ability to reach a larger target market as it pertains to awareness creative arts programming at the university.

f) Analysis of Reports

The culture sector is a current priority for the Government of Nova Scotia. The 2013 Throne Speech acknowledged the importance of cultural resources to the province calling “culture the heart and soul of Nova Scotian identity.” Since then, the province’s first Culture Action Plan has been developed and released. The Action Plan is led by the Department of Communities, Culture and Heritage and is overseen by a committee of Deputy Ministers and senior officials from a wide range of Departments and agencies.

The Creative Nova Scotia Leadership Council, created in 2011, is an advisory body to the Minister of Communities, Culture and Heritage. The Council’s work has played a significant role in beginning to shift mindsets regarding culture, moving it from the margins to a more prominent place on the planning and

policy agenda of the Province. The Council’s report Culture: Nova Scotia’s Future, released in 2014, began developing a shared vocabulary and set of assumptions that set a context for the development and implementation of the Culture Action Plan. Their more recent report “Culture in Action: Demonstrating the Social Benefits of Culture” was released in 2019.

Momentum has been growing in Cape Breton Island related to the creative economy and to growing the creative industries and broader cultural sector. A major contributor was a series of successful Creative Economy Conferences organized in 2013, 2014, 2016 and 2018. These events have attracted participants from around the region and across the province, helping to build shared understanding and foster collaboration in advancing culture sector development.

A statistical understanding of the importance of the sector has been emerging through the Stats Can Culture Satellite Account and the 2018 Nova Scotia Culture Index. This work provides ongoing data and analysis on the economic impact of the culture sector and the labour market involvement and contributions across the country.

Growing recognition of the importance of cultural resources to communities and economies s emerging against the backdrop of a series of reports, documenting the severe economic and demographic challenges facing the province. A seminal document in this regard was Now or Never: An Urgent Call to Action for Nova Scotians (The Ivany Report). The Ivany Report pointed to the Cape Breton Partnership as a model of the cross-sectoral approaches needed to drive change in communities and economies, including the culture sector.

g) List of Reports and Documents Referenced: 1. Arts and Culture in the Canadian National Strategy for a Digital Society, Department of Canadian Industry: Digital Economy Consultation, Canadian Conference of the Arts, 2010. 2. Cape Breton Culture Industry Strategy for Growth, 1995. 3. CBRM Mayoral Roundtable: “CBRM Creative Economy Growth Plan”, 2017. 4. Creative Nova Scotia Leadership Council (CNSLC): “Culture in Action: Demonstrating the Social Benefits of Culture”, 2019. 5. Creative Nova Scotia Leadership Council (CNSLC): “Culture: Nova Scotia’s Future” A Creative Nova Scotia Leadership Council Report, 2014. 6. Creative Nova Scotia Leadership Council. Culture: Nova Scotia’s Future. 7. Cultural Satellite Account 2010, Canada, 2015. 8. Culture Sector Strategy Cape Breton Island and Mulgrave, 2017. 9. Department f Communities, Culture and Heritage, 2018 Nova Scotia Culture Index Study Highlights, 2018. 10. Economic trends in Nova Scotia Culture and Sport, 2010-2016. 11. Louisbourg300, Economic Analysis and Return on Investment (ROI), 2014.

12. Nova Scotia Tourism, Culture and Heritage. A Treasured Past, A Precious Future: A Heritage Strategy for Nova Scotia 2008-2013, 2008. 13. Nova scotia’s Culture Action Plan, 2017. 14. Social Enterprise Network of Nova Scotia. Nova Scotia Social Enterprise Strategy Development Process. March 2016. 15. Statistics Canada, National Household Survey, 2011. 16. The Role of the University College of Cape Breton as Cultural Animator, 1992. 17. “UCCB and the Community”, A Project of the Bras d’Or Institute. 1988.

ADDENDUM #3 SEPTEMBER 1, 2020 R2040 FEASIBILITY STUDY FOR THE BOARD MORE PLAYHOUSE AND THEATRE

Has the structural integrity of the theatre been analyzed and confirmed?

The structure was built to the code of the day. There have been no modifications that required structural reviews or analysis.

The RFP refers to studying other campus spaces and facilities which might be of theatrical use. Does the Development Department have drawings of most of the campus that we can access if we are successful? Are these digital drawings (.dwg for example), are they digital scans (.pdf for example) or might they be only paper files? Can the incumbent architect's drawings be made available to us in digital form?

The RFP mentions drawings of the Boardmore and we have downloaded the scans of paper drawings. Are there more and have they been scanned? If we are successful, can we assume that CBU can make either digital drawings (.dwg for example) or digital scans (.pdf for example) available to the successful applicant?

We do have pdf scans or pdf copies of dwg files for all spaces on campus.

Can this document: CBU’s Creative Arts Task Force report “Let’s Make a Circle – CBU’s Creative Arts Strategy (December 2019)”. be made available to us?

Please see Addendum #2 .