Town of Huntsville Staff Report

Meeting Date: July 25, 2018 To: General Committee

Report Number: CS-2018-24 Confidential: No

Author(s): Teri Souter, Manager of Arts, Culture & Heritage

Subject: Cultural Strategy Update

Report Highlights

• Cultural Strategic Plan update • Current internal/external situation review • Cultural Strategic visioning/inclusion encouraged for 2018-19

Recommendation

That: Motion GC54-16 be rescinded; and

Further That: the next term of Council be encouraged to consider an updated Cultural Strategy for the Corporation of the Town of Huntsville when identifying the Strategic Priorities for 2018-2022.

Background

The Town of Huntsville's Cultural Strategy 2011 contained 27 recommendations. Progress on the Cultural Strategy has been regularly reported. A status update "Culture Strategy Update" was presented to the Arts, Cultural and Heritage Advisory Committee on February 23, 2016: 25 of 27 goals were "finished/ongoing" and the remaining 2 were "started/needs attention." Some of the goals were completed or outdated. "Culture Strategy Direction" Report CS-2016-16 was then presented and Motion ACH8-16, including a commitment for community engagement and collaboration, was passed by the Advisory Committee: "The Manager of Arts, Culture & Heritage work via Advisory Committee, staff, sector professionals and stakeholders to draft a Huntsville Culture Strategy whitepaper, 2016 to 2019, to better reflect the direction of current council and to implement these directions." This motion was amended at General Committee on March 30, 2016. The amended motion GC54-16 is: "that The Manager of Arts Culture and Heritage work to draft a Huntsville Culture Strategy, 2016 to 2019, to better reflect the direction of current Council and further that the Manager of Arts, Culture and Heritage report back to committee." This was ratified via Council Resolution 94- 16, April 27, 2016. On December 20, 2016 via Council Resolution 312-16, Council recognized the importance of Culture in the "Strategic Plan 2017 and Beyond", the Vision Statement of which reads: "A vibrant, inclusive, healthy community which inspires innovation and growth; celebrates the arts, culture, and heritage; promotes recreation; while developing a resilient economy founded on social caring and environmental stewardship." On subsequent review with the CAO and Director of Community Services, due to time, resource and expertise constraints, a staff draft of a new Culture Strategy was not feasible.

Discussion

Since 2009 when Huntsville's Cultural Strategy was begun, 2011 when it was adopted, and February 2016 when direction was provided to staff, much has changed in both the (internal) Huntsville and external (Federal and Provincial) cultural landscape. Internally, tactical goals in Huntsville's Cultural Strategy were investigated for feasibility/cost, presented via reports and/or public meetings, completed and outcomes reported. Staff worked closely through the Ontario Ministry of Tourism and Creative Cities Network of Canada as part of a working group to develop a position and have input into Ontario's first Culture Strategy. The resulting collaborative position paper was outlined and endorsed by Huntsville Town Council resolution 338-15 on October 26, 2015. Staff have continued to research and monitor the current 'cultural planning landscape' locally, regionally, provincially, nationally and internationally. Culture is a fast-paced area of study, change, evolution and prominence in successful planning. Staff have participated in Creative Cities' Municipal Members "Culture Position Study Survey", March 2018, and have offered to be a case study for the consultant doing the study. The outcome of this work is not yet compiled. Staff are monitoring cultural planning in other places as well: the City of Hamilton, Ontario "Love Your City: Cultural Policy and Plan" 2008 is scheduled for updating in 2019; the United Kingdom, Department for Culture, Media and Sport White Paper on Culture 2016 is the first culture position the UK has released in 50 years. While the resources available to the Municipality of the Town of Huntsville are much more modest, the overarching precepts are constant and applicable, especially as we seek to understand where we are going and how we are going to get there. Culture changes dramatically from region to region; however the concepts of cultural pride, health, accessibility, inclusion and appreciation are universal. Internally, the Town of Huntsville's Strategic Plan 2017 and Beyond Vision references the importance of culture to the community. However, there are no tactical goals to achieve Arts, Culture & Heritage objectives included in the 2017 Strategic Plan. Also internally, the Town of Huntsville's oldest and largest heritage and culture asset, Muskoka Heritage Place, is undergoing a strategic review. Council direction on this review is not known at the time of writing this report. There may be 'economies of scale' and/or integration with these strategic visions and goals. Recent information presented to the Municipal Heritage Committee (CS-2018-23, May 30, 2018) provides research showing the positive economic link between cultural heritage and the economy. The 2010 Town of Huntsville's "Unity Plan - Huntsville's Guide to A Sustainable Future" includes "Goal #10 in the Arts, Cultural and Heritage category: The community will encourage and foster continual growth of arts, culture, and heritage through municipal and community awareness, education and support." The Town of Huntsville is expected to continue to update strategic planning following the imminent municipal election in order to capture the priorities of elected incoming officials. To streamline and consolidate plans, it is suggested that an updated Cultural Strategy be developed and appended to the pending Community Services Master Plan that is to be completed in 2018/2019. The subject requires focused attention to consult and engage the community, stakeholders, and then to develop practical strategic goals, aligned with - and explicitly stated in - Council's strategic priorities. It is suggested that the approach encompass Integrating Community and Cultural Planning, as a best practice, as plans to achieve community goals are interrelated, interdependent, complex and quickly evolving. The Manager of Arts, Culture & Heritage, in consultation with sector professionals, has reviewed Culture plans and updates from the following Ontario municipalities: • Owen Sound, population 21,000 - Cultural Master Plan 2007, 59 pages; Cultural Master Plan updated 2012, 52 pages • Ottawa, population 947,031 - Ottawa 20/20 Arts and Heritage Plan 2003, 61 pages; A Renewed Action Plan for Arts, Heritage and Culture in Ottawa (2013-2018), 2013, 31 pages • Brantford, population 93,650 - Municipal Cultural Plan 2005, 23 pages; Municipal Cultural Plan Update 2014, 34 pages • Prince Edward County, population 24,735 - Leveraging Growth and Managing Change Strategic Cultural Plan 2005, 47 pages; Shaping Tomorrow Today, 2012, 53 pages • City of Hamilton, population 551,751 - Planning and Economic Development, Tourism and Culture Division "Transforming Hamilton Through Culture" 2013, 79 pages, scheduled for update in 2019 The review of these plans indicates that the process becomes more complex as the 'lower hanging fruit' goals are achieved, that comprehensive consultation and alignment with existing plans is optimal, and that vast differences in approach between organizations and structures must be considered when developing a "made in Huntsville" strategy. Each locale has various attributes, assets, mindsets and organizational frameworks and priorities. Externally, in 2015, the Truth and Reconciliation Commission of Canada published their final report with Calls to Action for all levels of government. The Province of Ontario adopted their first Culture Strategy in 2016, "The Culture Strategy for Ontario: Telling our Stories, Growing our Economy". The current provincial government has not released a position on culture at this time. Membership in the Creative Cities Network of Canada provides Municipal Cultural Planning tool kits, research and evolving best practices to municipal members across Canada. Federal and Provincial agencies develop funding strategies aligned with federal and provincial current strategic directions; eligibility can be impacted by local strategic planning alignment. For example, April 2018 "Ontario Investing $6 Million in Cultural Tourism". Culture is recognized as an economic driver, especially for tourism, which historically has been a significant economic sector in the local Huntsville economy. It is advantageous to align local plans with provincial positions. In June 2018 the Province of Ontario elected a new premier and party. Staff continue to communicate with cohorts at the provincial level as cultural position is developed.The most recent mandate letter on Tourism, Culture and Sport on file from the Province of Ontario dated September 23, 2016 is from ex-Premiere Wynne. It remains to be seen what incumbent Premiere Ford's government will prioritize in the arts, culture and heritage portfolio. We expect to be updated at the provincial level in the coming months. Staff will continue to gather updated sector materials, studies and statistics for sharing with senior management, and through them, with council. These materials may be used during council visioning exercise for the upcoming term. Incoming elected officials generally undertake orientation and strategic visioning following municipal elections.

Options

1. Update the Culture Strategy as forming an integral part of a more comprehensive community strategy (recommended) 2. Update the Culture Strategy as a stand-alone guiding document 3. Do nothing

Capital

The "Culture Strategy" reserve account has a balance of $10,000. For comparison, the 2009 Culture Strategy was produced with $68K (funded via provincial grant) and the 2010 Unity Plan was produced, also with a $68K budget (funded via Federation of Canadian Municipalities). In the past, staff have had success using municipal contribution to leverage funding from non-municipal taxation sources for strategically-aligned planning. This reserve fund can only be expended at the express direction of Council. It is expected the financial implications of any updated strategic culture policy creation will be addressed in a future report.

Operational n/a

Council Strategic Direction / Relevant Policies / Legislation / Resolutions

Resolution #338-15, Ontario Cultural Strategy Resolution #129-16, Arts, Culture and Heritage Advisory Committee Resolution #312-16, Strategic Plan 2017 and Beyond Recommendation ACH8-16 February 23, 2016, Amended GC54-16, March 29, 2016 Resolution #94- 16 April 27, 2106. Resolution #50-11 “Cultural Strategy”; Resolution #10-13 “Cultural Tourism”; Resolution #41-14 “Cultural Strategy Update”

Attachments

Cultural_Strat_ 2011_Final CulturalStrategy_Goals_Feb_2016 TRC_Calls_to_Action On_Cult_Strat_Final Ontario Investing $6 million in Cultural Tourism Cultural_Planning_Toolkit_CCNC Cult_Stats_2018 Munic_Gov_Role_cult_planning_CCNC Integrating_Community_Cultural_Planning September 2016 Mandate letter_ Tourism, Culture and Sport _ Ontario Resolution Council Oct 26 15 16

Consultations

Seema Jethalal, Regional Director General, Canadian Heritage, Ontario Region of Canadian Heritage Alida Stevenson, Senior Policy Advisor, Culture Division,Ontario Ministry of Tourism, Culture and Sport Eva S. Salter, Regional Advisor, Ministry of Citizenship, Immigration and International Trade, Ontario Ministry of Tourism, Culture and Sport Ali Sabourin, MBA (Innovation) Senior Project Manager - Cultural Plan, Tourism and Culture Division, Planning and Economic Development Department, City of Hamilton Elena Bird, Senior Policy Advisor, City of Toronto, Economic Development and Culture Anna Whelan, General Manager, Creative City Network of Canada Ben Dick, Project Lead, Culture Position Study, Creative City Network of Canada Scott Ovell, Economic Development Coordinator, Town of Huntsville

Respectfully Submitted: Teri Souter, Manager of Arts, Culture & Heritage

Manager Approval (if required): ______

Director Approval: Kari Lambe, Director of Community Services

CAO Approval: Denise Corry, Chief Administrative Officer

Town of Huntsville

December 2010

Town of Huntsville Cultural Strategy 4 Table of Contents

Preface — The Importance of Investment in Culture ...... 6 1. What is Culture? ...... 8 2. What is Creativity? ...... 8 3. Seven Principles Underlying Municipal Provision of Cultural Services...... 9 4. Responsibilities of Cultural Organizations...... 10

1. Introduction to the Cultural Strategy ...... 12 1.1 Purpose of this Strategy and its Relationship to the Unity Plan and Other Municipal Policies, Strategies, and Practices...... 14 1.2. Activities Undertaken...... 15 1.3 Caveats and Cautions...... 15 1.4 Structure of this Report...... 17

2. Situation Analysis ...... 18 2.1 What Makes Huntsville Unique?...... 20 2.2 SWOT Assessment as the Basis for Strategic Planning...... 21 2.3 Strengths of Huntsville’s Culture Sector...... 21 2.4 Weaknesses of Huntsville’s Culture Sector ...... 22 2.5 Opportunities Facing Huntsville’s Culture Sector ...... 23 2.6 Threats Facing of Huntsville’s Culture Sector ...... 26 2.7 Strategic Implications of the Foregoing...... 27

3. Strategic Recommendations ...... 28 3.1 Vision and Mission...... 30 3.2 Recommendations...... 30

4. Implementation of the Cultural Strategy...... 40 4.1 Roles and Responsibilities...... 42 4.2 Next Steps: Timeframe and Responsibility for Implementation of Actions ...... 42 4.3 Financial Implications of the Strategy...... 43 4.4 The Importance of Accountability...... 44

Endnotes ...... 49

5 Preface The Importance of Investment in Culture

6 In this introductory section, the terms ‘culture’ and ‘creativity’ are introduced, as they are fundamental to the discussion and development of the plan. Next, seven principles underlying the provision of municipal services in culture are presented. These principles in turn influence the development of the plan. They also articulate the importance of in‐ dividuals and cultural organizations in working with the municipality to provide cultural services.

7 1. What is Culture? products, new services, new The term ‘culture’ can mean different businesses, and new jobs. A new class things to different people: of entrepreneurial workers—coined the ‘creative class’ by economics guru  It can be the formalized expression of Richard Florida—is now powering the visual, performing, literary, and media economic growth of North America’s arts activity in the community, as cities. The defining characteristic of the expressed in places such art galleries, creative class is that its members work theatres, libraries, and museums with ideas. They are also young, highly  It can be the customs, history and educated, self‐motivated, and heritage (including built heritage) of a entrepreneurial. Creative class workers community, particularly when include academics, medical represented by a critical mass from a professionals, financial analysts, high‐ certain cultural tradition or tech workers, and those who work in background the cultural sector: writers, filmmakers,  It can be the energy and ‘buzz’ created actors and artists. This group has through nightlife, festivals, events, and grown tremendously in the last creative industries in downtowns and century, from 10% of the working other focal points in the community population in 1900 to over 30% today. (In fact, according to Richard Florida, The strategy described herein considers there are more members today of the ‘culture’ to encompass all of the above. creative class than there are blue collar workers.) 2. What is Creativity?  Creative Economy refers to the various Several key terms are commonly heard in economic sectors that draw in large contemporary discourse on culture and part upon the energies and talents of creativity in a municipal context. Foremost the creative class. These economic among these terms are ‘creative class’, sectors include private sector ‘creative economy’, and ‘creative city’. enterprises involved with the creation of new products and services:  Creative Class — In our knowledge‐ advertising agencies, new media and based economy, innovation and software development, engineers and creativity driving the creation of new architects, and commercial art

8 galleries. However, the creative desire to express that creative 4. Now is the time to invest in culture — economy also embraces the non‐profit potential). Cultural activities in Especially in a time of economic cultural sector: arts and heritage communities should be an important downturn, there is a natural tendency organizations, museums, theatres, and accessible outlet for this potential for decision‐makers to regard festivals, public art galleries, and arts creativity. investment in culture as an ‘inessential education. frill’, something that can easily be  Creative City, which refers to both an 2. Municipalities (as well as other levels deferred in favour of addressing more intentional stance as well as an outcome. of government) have a responsibility immediate priorities. We hold that, The intentional stance occurs when a to develop cultural amenities for their given the evidence of culture‐led municipality strives to proactively residents — It follows from the regeneration in cities across North provide for the cultural and creative foregoing that healthy communities American and Europe4, and given the needs of its residents. The outcome is concerned with providing for the full scope of opportunities available in that the municipality attracts and range of needs of their residents will Huntsville, investment in culture is a develops its creative class and its provide a range of opportunities for vehicle for economic development that creative economy sectors. engagement in culture and creative can provide a significant return. opportunities, for persons of all ages Moreover, from a purely practical 3. Seven Principles Underlying Municipal and backgrounds.2 point of view, if monies are to be spent Provision of Cultural Services on public infrastructure, recessionary Within the context of these definitions of 3. Investment in culture is an economic conditions generally offer cost savings ‘culture’ and ‘creativity’, there are seven development strategy — Beyond in both capital and labour. As such, principles that comprise our statement of providing for the essential needs of infrastructure investments can spur the beliefs about the importance of culture to a residents, investment in culture is an creation of new jobs. fulfilling and meaningful life, and the economic development strategy for ways in which governments should communities. The work of Richard 5. The dual nature of the leadership role provide cultural services for these needs of Florida3 and others has amply shown of the municipality — We see the role their residents: that communities with a high quality of the municipality in the development of life—of which cultural opportunities of the cultural life of the community as 1. Everyone has the potential to be a are an essential component—attract the being twofold: first, it is to demonstrate creative individual — Following from “Creative Class”, who in turn invest in leadership in consultation and policy the extensive work of Charles Landry1 businesses, create jobs and contribute development—through assessing what and others, we believe that everyone in myriad other ways to the health and the community is saying it wants and has within them a creative potential vitality of the community. needs by way of cultural facilities and (and beyond that, a basic need and services. (This is leadership in the

9 sense that Charles Block sees it: of the funding and staff time  To become familiar with the strategy creating the conditions for, and expended. In this regard, one very developed and articulated here, and convening, a conversation with the useful framework is the Triple Bottom provide input and guidance to help community to identify what is Line (TBL framework) that examines shape and fine‐tune it on an on‐going needed.5) The second role is then to benefits in a multidisciplinary context basis respond by providing facilities, considering social, economic and  To work in cooperation with the staff programs, services, etc., in accord with environmental benefits.6 (A TBL resources allocated by the municipality community needs, tempered by the framework is suggested as a potential to implement this strategy: participate wisdom of municipal staff and elected framework for accountability.) in networking, communications and officials regarding what is affordable coordination activities, provide and reasonable at the time. 4. Responsibilities of Cultural Organizations updated information The discussion that follows highlights  To continue to develop and provide 6. The community creates its own areas in which the municipality is the diverse and excellent range of culture — Notwithstanding the encouraged to invest, and help develop, programming that at present exists municipality’s essential role as a the cultural life of the community. collectively across the sector provider of key cultural facilities and Huntsville can provide leadership, policy,  To support one another’s efforts by services, ultimately it is community‐ facilities, staff support and funding. attending events and festivals, based organizations and individuals However, in keeping with the philosophy purchasing works of art, advocating that create the culture of a community; articulated at the outset of this report, formally and informally on behalf of municipalities are “enlightened ultimately the cultural life of the specific organizations enablers”. Accordingly, municipal community is shaped by the participating  To act as ambassadors for Huntsville/ politicians and staff must keep their individuals and organizations that call Muskoka culture both within and ears to the ground and ensure that new Huntsville their home. The Town cannot outside of the community and innovative organizations that ‘create’ culture in Huntsville: that is only  To speak, wherever possible, with a reflect areas of emerging need in the possible through the active involvement collective voice in discussions with the community are nurtured and given a and participation of organizations and Town of Huntsville concerning key chance to grow. individuals. issues related to culture and the Cultural Strategy. 7. Accountability is critical — Any plan Recognizing that the role of the for investment in municipal municipality is to provide certain essential These statements reflect the underlying infrastructure and services must elements for the cultural life of the philosophy and resulting attitudes that all monitor and evaluate progress, and community, the role of both organizations members of the consulting team have demonstrate the return on investment and individuals should be: brought to this consulting assignment.

10 11 Section 1 Introduction to the Cultural Strategy

12 This section presents the context of the Cultural Strategy starting with the Unity Plan—Huntsville’s plan for sustainability—and the role of this Cultural Strategy within it. Next, the specific activities involved in the development of this strategy are described, and various caveats possibly affecting the results are outlined. Finally the structure of the balance of the report is described.

13 1.1 Purpose of this Strategy and its cultural tourism, downtown development Relationship to the Unity Plan and Other and/or redevelopment, place Municipal Policies, Strategies, and Practices competitiveness, and community The purpose of this Strategy is to harness branding. Accordingly, Town policies, the potential of Huntsville’s arts, culture, strategies, and practices that affect the and heritage sector (ACH sector) in the ACH sector and its capacity to contribute service of Huntsville’s economic and social to economic development were reviewed development, in alignment with the in drafting of this Strategy. These Town Town’s objectives for sustainability. policies, strategies, and practices include:

The Strategy charts a course for Huntsville  Investment in the ACH sector overall to realize its opportunity to become a  Resourcing for the office of the sustainable, creative community and Manager of Culture, Heritage, and Muskoka’s cultural hub. The Strategy Programming recommends how the Town can facilitate  ACH sector representation before and enable the ACH sector’s growth. In Town Council addition, the Strategy offers a Cultural  Rental policies and pricing for the Mission Statement and Statement of Core Algonquin Theatre Cultural Values to guide the development  The Town’s support for Muskoka of the sector, designed to ensure that Heritage Place Huntsville’s ACH organizations and  The Town’s support for the Huntsville institutions work collaboratively with each Public Library other, and work collaboratively with the  The Town’s public art policy Town. An implementation plan, detailing  The Town’s in‐kind or ad hoc support roles and responsibilities, timelines, and for other cultural initiatives implementation requirements is designed  The Town’s marketing initiatives to build the capacity of ACH sector to related to ACH realize its potential.  The Unity Plan and this Strategy’s positioning vis‐à‐vis the Unity Plan In developing this Strategy, special attention was paid to how the ACH sector With respect to the Unity Plan, this can serve Huntsville’s economic Strategy aligns with the Unity Plan’s Vision development, including opportunities in for the Future:

14 Huntsville is a vibrant, welcoming Each direction is amplified, with one by TCI. Work began in the late spring of and healthy place in which to live exception, Strategic Direction No. 10.2: 2010 and concluded in the autumn of 2010. and play as we foster innovation, “Protect or preserve heritage buildings More than 50 individuals and celebrate arts, culture, heritage, and and sites”. Apart from recommendations organizational representatives participated recreation, develop a strong and that concern Muskoka Heritage Place, in the project. These individuals resilient economy and follow an issues related to architectural preservation represented Huntsville’s ACH groups, the ethic of social caring and and conservation fall outside this Town, tourism and business interests, and environmental stewardship.7 Strategy’s purview. That said, the overall Huntsville’s youth. In addition, many thrust of this Strategy is wholly consistent Huntsville residents offered their own More specifically, the recommendations in with, and supportive of, the protection and input into the planning process, this Strategy serve the Unity Plan’s Goal preservation of Huntsville’s heritage unaffiliated with any larger group. The No. 10 for arts, culture and heritage: buildings and sites. findings of these research activities have been analyzed and synthesized, and form The community will encourage and In summary, this Strategy is designed to the basis for the SWOT analysis, strategic foster continual growth of arts, harness Huntsville’s ACH sector—its recommendations, and implementation culture, and heritage through visual and performing artists, media and strategy that follows in this Plan. See municipal and community literary artists, curators, managers and exhibit 1 for the outcomes of the research awareness, education and support.8 administrators, producers and activities. entrepreneurs, fundraisers and In the Unity Plan, five strategic directions volunteers—as a force for Huntsville’s 1.3 Caveats and Cautions are linked to Goal No. 10: economic and social development, whose Several caveats and cautions should be efforts are supported and facilitated by the borne in mind when reading this Strategy. 10.1 Foster and encourage ongoing Town. Where existing Town policies, appreciation for arts and culture strategies, and practices are deemed not to Huntsville’s opportunity for ACH 10.2 Protect or preserve heritage support the opportunity that the ACH development is broader than this Cultural buildings and sites sector affords Huntsville, modifications to Strategy suggests. 10.3 Promote the linkages between these policies, strategies, and practices are Because of budgetary constraints, this art and natural environment advised. Where warranted, new policies, Strategy does not include an inventory of 10.4 Promote the linkages between strategies, and practices are recommended. Huntsville’s for‐profit ACH sector and an art and education analysis of its relationship with the non‐ 10.5 Become a leader in Muskoka 1.2 Activities Undertaken profit ACH sector. For‐profit ACH assets as an arts destination and This Cultural Strategy is the outcome of a include commercial fine artists, writers, community research and analysis process undertaken and professional musicians; commercial

15 Exhibit 1 Research activities

ACTIVITY PURPOSE 1. Twenty one‐on‐one interviews with representatives from Huntsville’s ACH  Uncover issues and opportunities related to ACH sector development groups, the Town of Huntsville, tourism and business interests, and Huntsville’s youth.

2. An on‐line survey of Huntsville’s ACH organizations  Determine organizational structure, financing and budgets, programming and audiences, venues, and organizational needs 3. An on‐line community survey of Huntsville’s permanent and seasonal  Explore residents’ involvement with ACH in Huntsville, and opinions residents available over the Town’s website (Note: More than 100 related to the provision of ACH programs, facilities, marketing, and Town completed surveys were received.) support for the ACH sector

4. Two town‐hall forums with Huntsville residents  Gather views on culture’s role in the community (as per item 3) 5. A roundtable discussion with representatives from the ACH sector  Explore issues affecting sectoral development 6. A meeting with a group Huntsville’s teens and pre‐teens  Discuss issues affecting youth engagement with ACH activities 7. Site visits to the Algonquin Theatre, Muskoka Heritage Place, Huntsville  Assess Huntsville’s ACH facility assets, and other related cultural assets Public Library, Canada Summit Centre, Waterloo Summit Centre for the Environment, River Mill Park, Huntsville Railway Station, and numerous galleries and restaurants in the downtown 8. A driving tour of the Town of Huntsville (including Port Sydney and  Understand Huntsville’s ACH sector in a broad community and regional Utterson), along with the towns of Gravenhurst and Bracebridge context

9. A review of Town policies, plans, and background documents with  Ensure familiarity with extant Town polices, plans, and background implications for the ACH sector development materials

10. An inventory of Huntsville’s ACH sector assets, including venues, programs  Ensure familiarity with Huntsville’s tangible ACH sector assets and activities, collections, and organizations

11. An inventory of Huntsville’s intangible cultural character and identify,  Ensure familiarity with Huntsville’s intangible ACH sector assets including values and traditions that are unique to Huntsville

12. A review of best practices in ACH development among selected Ontario  Examine ACH development models in other communities for applicability cities, including Orillia, Strathroy, Chatham, Barrie, Prince Edward County, to Huntsville’s ACH development and Cambridge.

16 art galleries; commercial dance and music actions on the part of the Town that are and threats are considered. Section 2 schools; bookstores; music and musical designed to generate returns, both social concludes by reviewing the strategic instrument retailers; graphic designers; and economic. These actions are mutually implications of the SWOT laying the and visual art suppliers among others. In reinforcing. They are intended to be groundwork for actions designed to realize addition, although Huntsville possesses a implemented, in their entirety, in the the ACH sector’s potential. variety of restaurants, the culinary arts are timeframe that is detailed in this Plan’s not inventoried or analyzed. When these implementation strategy (see Section 4). Section 3 — Strategic Recommendations for‐profit ACH assets are combined with Section 3 is the heart of the Cultural the non‐profit ACH assets that are this We caution that, if this Cultural Strategy’s Strategy. It articulates a Cultural Mission Cultural Strategy’s focus, the economic actions are viewed as an ‘à la carte menu’ Statement and Statement of Core Values and social impact of the ACH sector is from which Town Council may pick and by which the Town can facilitate and notably increased, with significant choose, they are unlikely to realize the enable the ACH sector’s growth. It then implications for cultural tourism, place potential of Huntsville’s ACH sector. offers a series of recommendations competitiveness, community branding. clustered within five categories that 1.4 Structure of this Report correspond to the major areas of sectoral The community survey was not statistically The report is divided into four main development that need to be addressed: (1) representative. sections: organization and networking, (2) facilities, The resources available to this project did (3) policies and programs, (4) marketing, not permit undertaking a statistically Section 1 : Introduction to the Cultural and (5) innovation. representative survey of community Strategy residents. It is therefore assumed that the Section 1 outlines the Huntsville‐specific Section 4 — Implementation input received from the community context through which this Cultural Section 4 is a blueprint for implementing reflects the perspectives of those most Strategy has evolved, the way in which the the recommendations laid out in Section 3. knowledgeable about, and invested in, Cultural Plan was developed, and context It proposes timelines to actualize the Huntsville’s arts and cultural life. in which it exists. Cultural Strategy in the short term, Notwithstanding, 100 completed surveys medium term, and long term, including is a very high completion rate for a Section 2 — Situation Analysis roles, responsibilities, and resource community the size of Huntsville and is Section 2 is a situation and SWOT analysis requirements. indicative of strong support for the ACH in which the findings of the Cultural sector amongst residents. Strategy’s 12 discrete research activities are synthesized and interpreted. Strengths and Results depend on full implementation. weaknesses of the ACH sector are This Cultural Strategy proposes a series of identified, and the sector’s opportunities

17 Section 2 Situation Analysis

18 This section describes the results of the surveys and interviews using a ‘Strengths, Weaknesses, Opportunities and Threats’ (SWOT) framework.

19 2.1 What Makes Huntsville Unique? famous and iconic Algonquin Before exploring the range of strengths, Provincial Park. The new Waterloo weaknesses, opportunities and threats that Summit Centre for the Environment (a were highlighted through the interview partnership with the University of and survey process, it is useful to review Waterloo) acknowledges the Town’s some of the key characteristics that make proximity to the wilderness and Huntsville a unique community, not just resulting excellence as a research from the perspective of arts, culture and environment. The Group of Seven heritage, but from the point of view of the Outdoor Gallery reinforces the community overall. This context will then association of the community with the provide a better framework within which nationally renowned Group of Seven, to view the full range of attributes and which specialized in capturing the characteristics of the Town as discussed in beauty of the outdoor environment on the SWOT analysis. canvas.  A close association with First Nations Below are some of the attributes that we — Huntsville has a long and close note position Huntsville quite positively as association with First Nations people. compared to many other communities of a The area is the ancient hunting, fishing similar size and situation. and gathering ground of the Anishinabek people (although they  Chosen for the G8 summit — After an apparently did not settle in the vicinity exhaustive selection and due diligence of the Town). The Town maintains a process, Huntsville was chosen in 2008 tradition of hosting Casino Rama’s as the host community for the 2010 G8 Community Wellness Program summit of world leaders. storytelling (at Muskoka Heritage  Exceptional association with arts and Place on Mondays in the summer). the natural environment — Huntsville Also, to our knowledge, Huntsville is lies at the north end of Muskoka, a the only municipality that has district known nationally and partnered with two other aboriginal internationally for its scenic outdoor groups to host a sunrise ceremony and beauty (as well as being a Designated pow wow (the UNITY pow wow, held Arts Community). The Town is the on National Aboriginal Day June 21, closest major centre to the world‐ 1010) as part of the G8 welcoming

20 celebrations.9 Exhibit 2  Distinctive events — Huntsville has a Definition of SWOT long tradition of genuinely different and unique events. These include the How Defined Strategically? Strategic Actions Portage Flyer Festival (train ride at Strengths  Unique or very strong factors that  Protect an advantage Muskoka Heritage Place), the Great provide current advantages or  Further develop or capitalize upon an benefits in the provision of services existing advantage Pumpkin Trail (safe Halloween event to residents and visitors in an authentic pioneer village), the Weaknesses  Areas of current disadvantage in the  Strengthen weak areas nighttime Santa Claus Parade, the provision of services to residents  If possible, redefine weakness Festival of the Arts, studio tours, and and visitors (through the creation of alternative many more. These events reflect and perceptions) reinforce many of the themes Opportunities  Situations that present  Feasibility testing opportunities for future advantage  Implementation planning mentioned above. or benefit

Threats  Situations that present dangers of  Risk assessment Thus in many ways Huntsville is a unique future disadvantage  Contingency planning community, in terms of its geographical position, the creative energies of its following were mentioned within the historically‐minded individuals — residents, and the ways in which it context of this SWOT approach. The proximity to other artists and interacts with its citizens and the rest of crafts‐persons who can influence and the world. This presents a unique 2.3 Strengths of Huntsville’s Culture Sector inspire one another was mentioned as perspective from which to view strengths, Major strengths identified throughout the being a key strength. weaknesses, opportunities and threats, to interview and survey process include the  History and heritage — A wealth of which we turn next. following: interesting history and heritage resources was seen as both a strength 2.2 SWOT Assessment as the Basis for  Beautiful environment in which to and an opportunity (i.e. further Strategic Planning work — Huntsville is an inspiring development and promotion). A SWOT analysis can provide the basis for place in which to live and create.  UNITY Plan, and this Cultural a strategic plan. Different elements  Small town safe and friendly Strategy — The fact that the (strengths, weaknesses, and so on) will atmosphere — Related to the previous community had undergone a logically imply different types of strategic point, this provides a friendly and sustainable planning process (the actions and initiatives, shown in exhibit 2. supportive atmosphere in which to live UNITY Plan), and was undertaking and create. this specific follow‐up strategy, was Through the surveys and interview, the  Proximity to other culturally‐ and seen as a major strength.

21  Office dedicated to arts, culture and Muskoka Heritage Place, the library, strength far outweighed those seeing it heritage matters — The fact that the the CSC) were excellent, especially as a negative. It is our view too that it Town has an office dedicated to the when compared to many other is a strength. arts, culture and heritage sector, with communities of its size. The new senior‐level management overseeing Active Living Centre (ALC) also 2.4 Weaknesses of Culture Sector ACH issues, was seen as a strength. presents significant programming Some weaknesses were mentioned  Public art policy — The relatively new possibilities in this regard as well. throughout the interview and survey public art policy adopted by the Town  Tourism destination — Another key process including the following: was seen as a very positive sign, and strength was that Muskoka and strength of the community. However, Huntsville are major destination focal  Some lack of diversity — Several the implementation of the strategy, in points for cottagers as well as tourists, mentioned that Huntsville lacked terms of timing and resource and this brings potential markets and cultural diversity, especially when commitments, etc., is somewhat audiences for heritage‐related and compared to communities to the south uncertain at this point. cultural products right into the area. and that this was unfortunate for the  Strong ethic of volunteerism —  ‘Arts, culture and heritage seen as community. Another key strength for the vitally important for a healthy  Arts, cultural and heritage community overall as well as the arts, community’ — In our community opportunities for youth — Another culture and heritage community survey, 90% of respondents agreed common theme heard was that specifically, is the strong motivation to with this statement, and the remaining Huntsville lacked cultural activities volunteer in a variety of organizations 10% of respondents indicated that they and facilities for youth and that this that exist throughout the community. ‘somewhat agreed’ with the statement. contributed in part to individuals  Strong organizations, lots of activities Clearly, arts, culture and heritage are leaving the community in search of — Another common strength seen was seen as a key community priority. opportunities elsewhere. the success of organizations such as the  Group of Seven Outdoor Gallery —  Lack of a public art gallery — Many HFA, the BIA, and the Chamber, and Several mentioned that the Group of thought that a public art gallery was the wide variety of activities and Seven Outdoor Gallery was a major the one key facility that Huntsville was events put on in the community on a differentiator for the Town and lent it a lacking, and that if this could be year‐round basis. distinct and unique identity. (Note that provided, the community would be  Excellent provision of facilities — there were a few detractors as well to able to offer a well‐rounded and Despite some gaps in provision seen by this program, thinking it to be too complete set of cultural facilities to the some (see next section) many did traditional and rooted in the past—not public. mention that the facilities provided by ‘edgy’ enough.) But the number of  Unwelcoming attitude — the Town (Algonquin Theatre, proponents seeing this feature as a Notwithstanding the previous

22 comment (In the ‘strengths’ section) there should be a ‘Huntsville Arts and learning opportunities and ‘opportunities relating to the friendly small town Culture Advisory Committee’ created, to appreciate talent from outside the atmosphere, a significant minority did others think that a larger ACH sector region’ were the greatest deficiencies. comment on the fact that newcomers to group that adopt an integrated the community had a hard time fitting approach to the full scope of arts, The next most critical gap area appeared to in and being welcomed to the Town. culture and heritage issues to be be ‘media arts’, where one third of the  Library needs renewal — Several appropriate. sample response indicated that they would mentioned that the library is old, tired like to see various learning opportunities and in need of an ‘overhaul’ and 2.5 Opportunities Facing Culture Sector put into place. expansion. Some felt a brand‐new As context for the discussion of facility was required, others a opportunities it is instructive to present With these results as context, specific refurbishment of the existing facility. some information resulting from the opportunities that were seen (roughly in  Affordability of Algonquin Theatre public survey. Exhibit 3 shows the order of the frequency with which they — Several complained that the pricing percentage of respondents who felt that were mentioned) were: structure and business model for the there was a ‘major deficiency’ in the Algonquin Theatre was such that is not provision of different ACH opportunities.  Public art gallery — By far the major affordable by community groups. Those areas where a third or more of the opportunity mentioned was for a new  Need for improvements at Muskoka response indicates a ‘major deficiency’ are public art gallery. (Note that not all Heritage Place — Several interviewees indicated in yellow; those where half or respondents necessarily appreciated (especially those involved with more indicated such a lack are highlighted the fact that a public art gallery—as volunteer activity at Muskoka Heritage in blue. opposed to a large commercial selling Place) reported that there were several art gallery—would involve a areas in which Muskoka Heritage Place The highest deficiency was seen in the permanent collection, a curator, an (and the associated railway activity) provision of multicultural opportunities. exhibition mandate, etc.). was in need of improvement and A majority of respondents saw major  Greater utilization of Canada Summit refurbishment. deficiencies. Here, learning opportunities Centre — Several mentioned greater  Lack of unified voice for ACH sector were reported as the most severe opportunities to better utilize the at Council — The heritage sector has a deficiency, followed by opportunities to facilities at the Canada Summit Centre specific and dedicated voice at Council watch and appreciate, followed in turn by to exhibit art, as well as other cultural through the auspices of the Huntsville opportunities to participate. activities and events. Heritage Committee. However, no  New library (and possibly archives) such similar voice exists for the arts The next most commonly‐mentioned — Several believe that a new library and culture side. Some suggest that category was the visual arts, where facility is needed. While several saw a

23 Exhibit 3 new facility would be an ideal Perception of Major Deficiencies in Provision of ACH Opportunities in Town of Huntsville opportunity to develop a new public art gallery facility. Others felt as well % of Survey Re‐ that this would be an opportune time Type of Opportunity Arts, Culture Heritage Sector sponse Reporting ‘Major Deficiency’ to develop a proper archives facility for Learning opportunities Visual Arts 33.8% the Town. Performing Arts 19.7%  Multicultural activities — Several Media Arts 33.3% noted in the interviews and surveys Literary Arts 31.0% that the Town lacked ethno‐cultural diversity and that this was a particular History and Heritage 11.9% weakness. Related to this, several Multicultural Activities 62.1% reported that a major opportunity to Opportunities for active engagement as a partici‐ Visual Arts 14.8% rectify this weakness could be to pant or volunteer Performing Arts 9.7% develop more activities and events that Media Arts 28.3% might have a multicultural aspect to Literary Arts 26.4% them. This could: History and Heritage 10.5%

Multicultural Activities 51.8%  Involve those multicultural Opportunities to observe or otherwise appreciate Visual Arts 18.2% individuals and families that do performances or activities undertaken by local/ Performing Arts 3.2% regional residents live in the Town and area in arts Media Arts 20.4% and cultural activities Literary Arts 32.2%  Expose the Town populace overall History and Heritage 6.6% to a greater range of diversity, and Multicultural Activities 53.6% c) act as an additional attraction for Opportunities to observe or otherwise appreciate Visual Arts 33.9% visitors to the Town (perhaps performances or activities undertaken by talent Performing Arts 8.5% attracting non‐traditional visitors to from outside the area Media Arts 32.1% the Town and area). Literary Arts 33.3%  Aboriginal focus — Somewhat related History and Heritage 19.6% to the foregoing, some felt that a Multicultural Activities 49.1% greater emphasis upon the Aboriginal culture and heritage of Huntsville would be warranted. At present there is a small Aboriginal display at

24 Muskoka Heritage Place—this could be and culture activities. An example the ‘strengths’ section, many saw the expanded. As well, there may be other cited was ARTSpace in downtown Group of Seven Outdoor Gallery as festivals, events and activities that Chatham (see: unique and differentiating and could be explored. (In discussions with www.artspacechathamkent.com). suggested that the program should staff, it is understood that the Town ‘Improv classes’ was another continue, if not expanded. does participate to a significant extent opportunity mentioned on occasion.  More profile for Captain Hunt — A in Aboriginal‐related activities [see the  Permanent downtown arts creation few interviewees and survey previous section on ‘What Makes space — Some suggested that an respondents felt that there was an Huntsville Unique?’], and that possibly opportunity for engagement and opportunity to give the story of this points to an opportunity to innovation could be some sort of arts Captain Hunt who founded Huntsville increase awareness of the Town’s creation space downtown, which greater profile and visibility. (The activities in this regard.) would provide a venue and visibility questions of whether this should be at  Public market — Several mentioned for arts and culture activities in the MHP, downtown, or elsewhere was the opportunity to develop a public community. (Again, ARTSpace in not addressed.) market (likely downtown). In addition downtown Chatham is an example of  Highest and best use of Club 55 space to a traditional public market (selling how such a downtown arts creation — A few interviewees and survey locally grown produce, and featuring space might function.) respondents observed that the space in locally‐made food items) this could  Outdoor band shell or performance Town Hall currently being used by include local artists and crafts persons. venue — A few saw that the Club 55 might not represent the  Small performing arts space — Some development of an outdoor band shell ‘highest and best use’. If Club 55 could mentioned the desirability of or performing arts venue could be a be relocated into the Canada Summit developing a small (50–100) key opportunity. Centre, the space might be more performing arts space (possibly in a  More arts workshops in summer — appropriately given over to theatre‐ new or refurbished library facility) for Some noted that more arts‐related related purposes (e.g. rehearsal space). lectures, small‐scale screenings, workshops over the summer period  Program or activity partnership with recitals, etc. This venue would would be desirable. Somewhat related new Waterloo Summit Centre for the compliment the much larger to this was an opportunity to explore Environment (WSCE) facility — The Algonquin Theatre facility by the possibility of a Huntsville branch of new Waterloo Summit Centre for the providing a smaller‐scale venue. the Haliburton School of the Arts. Environment space is a beautiful new  More opportunities for youth — (Note that a trial version of this is facility. Some suggested that there may Many mentioned that there should be currently under negotiation.) be some scope for the Town to explore more opportunities for youth  Continuing expansion of Group of joint arts and culture programs with engagement in a wide variety of arts Seven outdoor gallery — As noted in the University of Waterloo and that

25 this possibility should be actively Related to this were suggestions for a (individuals and organizations) for explored. ‘Huntsville folk festival’. noteworthy community contributions.  Arts directory — Some suggested that  History of women in Huntsville/ This recognizes and acknowledges there should be a comprehensive arts Muskoka — Several mentioned that achievement, as well as acting possible directory available for the Town (they one historical theme that deserved as an inspiration to others. One are not aware whether such a directory stronger emphasis in programming possibility would be to add on an arts/ already existed). Related to this is a was the role of women in the history of culture/heritage achievement award to need for a single source where Town the Town. This was suggested as a the existing Business Excellence information relevant to arts, culture theme that could be pursued not only Awards, an initiative of the Chamber and heritage is available. at places such as Muskoka Heritage of Commerce.  Greater opportunities for GBLT Place but also a focus for historical  Consolidation of facilities of NFP community — A few respondents events and activities. groups — A few suggested an suggested that there could be more arts  Capacity‐building support for arts, opportunity to encourage all and cultural activities for the gay, culture and heritage organizations — community arts, culture and heritage bisexual, lesbian, transgender (GBLT) One suggestion made by a few was to organizations to locate in one facility community (without specifying what have ‘capacity‐building’ workshops for and share services for creative sorts of activities might be not‐for‐profit groups and synergies and greater cost appropriate). organizations in the community. They effectiveness. Such a move would  Increase accessibility for lower‐ might discuss topics of common encourage greater cross‐ income residents — Some commented concern such as audience communication and service that the Town might consider some development, fundraising, succession coordination by these groups. sort of sponsorship or subsidy planning, etc. This initiative might be (perhaps through solicitation of something to explore on a larger 2.6 Threats Facing of Culture Sector corporate support) to enable Muskoka‐wide basis. Some key threats that were identified individuals, families and groups that  ACH summit event — One suggestion throughout the interview and survey otherwise could not afford access to made was that an annual one or two‐ process included: various arts, culture and heritage day workshop session or summit activities to attend or participate. devoted to leadership in the arts (or  Financial situation of the Town —  More performing opportunities for other arts‐related issues could be Several expressed concern relating to younger musicians — Some expressed hosted). the overall financial situation of the an interest in developing more  ACH awards program — Another Town, and whether some of the opportunities to showcase the talents suggestion was to give out awards to strategic directions outlined in this of young musicians from the area. the arts, culture and heritage sector cultural plan (as well as the overall

26 UNITY Plan) would be feasible and Exhibit 4 affordable. Related to this, some fear SWOT strategic implications was expressed that the Town might not  Create strong strategic plan that articulates community vision for arts and culture be able to support existing Strengths and builds upon the UNITY plan framework commitments to venues and activities  Continue to work with other community organizations to provide excellent facili‐ (e.g. Algonquin Theatre, Muskoka ties and programs (Algonquin Theatre, Muskoka Heritage Place, CSC Art Gallery, Huntsville Festival of the Arts, Group of Seven Outdoor Gallery, etc.) Heritage Place).  Capitalize upon opportunity presented by Waterloo Summit Centre for the  Stalled economic recovery — Several Environment also indicated that a major threat  Capitalize on the strong images and associations of the area through an ‘arts and culture’ brand for the area (recognize that the District has already branded itself would be continuing economic as a ‘Designated Arts Community’) recession and/or a stalled economic Weaknesses  Consider ways and means to involve youth in on‐going cultural planning recovery, which would dampen the  Upgrade and refurbish facilities where required (library, MHP, Algonquin Theatre) enthusiasm of local and seasonal Opportunities  Investigate the need for a public art gallery, and (assuming need and desirability residents, as well as tourists to the area, can be demonstrated) ways and means of providing it to participate in events, purchase arts  Develop refurbishment plan for new library and cultural products, etc.  Develop more focused marketing approach for arts, culture and heritage facilities and activities  Difficult times for not‐for‐profit  Opportunity to develop a cultural tourism product marketing and development organizations — Times of economic plan for the Town recession, stagnation or even slow  Undertake analysis, and promote results, showing that ACH sector is an economic engine for the community and generates a significant return‐on‐investment to growth are always difficult for not‐for‐ the community profit organizations that are dependent Threats  Consider provision of capacity‐building support tools for ACH organizations to upon grants, donations, and members’ ensure their ongoing sustainability support. A threat perceived by some is  Potential to undertake an economic impact assessment to demonstrate ROI of the ACH sector to potential funders that these organizations in Huntsville and Muskoka may be threatened over the next few years.

2.7 Strategic Implications of the Foregoing Some of the strategic implications arising from the SWOT assessment are outlined in exhibit 4.

27 Section 3 Strategic Recommendations

28 This section of the report outlines the Strategy itself. First, the Vision and Mission are presented; next, the various strategic recommendations that comprise the Strategy are described.

29 3.1 Vision and Mission importance of arts, culture and The Vision for Huntsville as a community heritage activities: overall as expressed in the UNITY Plan adopted by Council is:  Every individual is a creative being and has creative potential Huntsville is a vibrant, welcoming and  One key responsibility of a healthy healthy place in which to live and play community is to provide opportunities as we foster innovation, celebrate arts, for individual to realize their creative culture, heritage, and recreation, potential develop a strong and resilient economy  The Town respects its past and should and follow an ethic of social caring and provide opportunities for residents and environmental stewardship. visitors to connect to and understand this proud history Within this context, the proposed Cultural  The role of the Town is to respond to Mission Statement for the Town is: the needs of residents and community‐ based organizations to create the The Town of Huntsville ensures the cultural life of the community through provision of a wide range of arts, partnerships that provide services, culture and heritage opportunities facilities and programs that meet available to residents and visitors alike community demand by working actively in partnership with community organizations and The Town will undertake the above in an enterprises. These efforts will result in environmentally and fiscally responsible Huntsville being recognized as a manner, that reflects the principles and leading creative community in aims of the Unity Plan. Ontario. 3.2 Recommendations Supporting this Cultural Mission Recommendations to achieve the Cultural Statement, the proposed articulation of Mission are developed in the following Core Cultural Values for the Town is as exhibits. For each we outline the suggested follows: timeframe in which the recommendation would be implemented, and its rationale. The Town of Huntsville holds the following values relating to the 30  Strategic Context (exhibit 5) — program recommendations are those Strategic context recommendations are having to do with policies that the those that link this Cultural Strategy to Town puts in place specifically to the overall planning context of the support arts, culture and heritage Town. activities.  Organization and Networking (6) —  Marketing (9) — Marketing Organization and networking recommendations are those having to recommendations are those having to do with the way the Town promotes do with how the Town organizes itself arts, culture and heritage activities to to respond to arts, culture and heritage its residents, cottagers and visitors initiatives. throughout the year.  Facilities (7) — These  Innovation (10) — Innovation recommendations are those having to recommendations are those aimed at do with facilities that the Town encouraging the on‐going provides for arts, cultural and heritage development of new arts, culture and activities and the ways in which the heritage related services from within Town eases access to these facilities. the community.  Policies and Programs (8) — Policy and

Exhibit 5 Strategic context

Recommendation Timeframe Rationale 1. Adopt the Cultural Mission Statement and Immediately (i.e. as  This clearly links the Cultural Strategy to the UNITY Plan Statement of Core Cultural Values articulated soon as possible)  This will provide the context within which all of the foregoing above recommendations will be implemented 2. Adopt this Cultural Strategy as official policy, and Immediately (i.e. as  Goal #10 of the UNITY Plan (relating to Arts, Heritage and Culture) promote it as the cultural policy extension of the soon as possible) recommended that the Town develop and adopt a Cultural Strategy UNITY Plan  This will ensure that this Cultural Strategy is seen as the arts, culture and heritage arm of the overall UNITY Plan  This should also ensure that those residents who signed up for participation in the UNITY Plan presentation are actively utilized in the implementation of this Cultural Strategy

31 Exhibit 6 Organization and Networking recommendations

Recommendation Timeframe Rationale

3. Establish Heritage, Arts, Culture working Immediately (i.e. as soon as pos‐  This will be a sub‐working group to the Arts, Culture, Heritage/ Social group to advise The Unity Plan Committee on Well‐being/Affordable Housing focus group to the Unity Plan arts, culture and heritage activities on an on‐ sible) Advisory Committee going basis—comprised of resident  This group is a key implementation vehicle for this Cultural Strategy, representatives of all existing arts/culture/ as it fulfills the goals of the Unity Plan heritage groups, engaged individuals, as well  This is a strategic group rather than an operating committee as invited participation from selected other  This special purpose body is balanced within the Heritage, Arts, groups Culture working group  Existing Heritage Committee would be ‘folded into’ this new working group  There is at present no single voice for arts, culture and heritage activities at Unity Plan Advisory Committee  Some concern regarding lack of shared information among arts and culture groups, which this recommendation would address  This would convey a positive impression to Unity Plan Advisory Committee that arts, culture and heritage community can and does speak with a united voice on key issues

4. Investigate youth advisory group to Heritage, Short‐term (i.e. within next 1‐2  This could be an informal group of high‐school students invited to Arts, Culture working group to provide on‐ participate at Heritage, Arts, Culture working group meetings, and going input regarding youth perspective) years) provide their input  Youth could receive recognition of volunteer hours spent in return for time  More formal or longer‐term involvement might evolve out of this structure 5. Change the name of the manager position Longer‐term  This will send a strong signal reinforcing the importance of ‘arts’ in from ‘Manager of Culture, Heritage and the mix of activities in which the Town is involved Programming” to “Manager of Arts, Culture  This clearly identifies this position as the support person for Goal Heritage and Programming” to clearly reflect #10 of the UNITY Plan the arts focus  As various elements of this strategy are implemented, additional resources for the Manager of Arts, Culture, Heritage and Program‐ ming will be required  Particular areas of need will relate to marketing, capacity‐building, etc.

32 Recommendation Timeframe Rationale 6. Provide capacity‐building support to local Short‐term (i.e. within next 1‐2  With other arts organizations throughout the District of Muskoka (e.g. arts, culture, heritage organizations years) Arts Council of Muskoka, other local arts groups), should investigate potential to provide capacity‐building workshops for local arts and culture organizations; investigate interest in and potential for topics such as audience development, grant‐writing and fundraising, marketing and promotion, succession planning, etc. with help of models already available 7. Join the Creative City Network of Canada Immediately (i.e. as soon as pos‐  This network can be a tremendous resource for information, tools, ideas sible) (see: www.creativecity.ca) (current cost $265 for community under 20,000)  This also sends a very strong message to the community overall as to the importance of arts and culture and the ‘creative economy’ 8. Establish a partnership with Waterloo Short‐term (i.e. within next 1‐2  This new iconic facility has very interesting potential as a partner with Summit Centre for the Environment years) the Town in various arts and culture initiatives (e.g. venue for classes, (WSCE) and other educational bodies as participant in arts activities and events, showcase for the community) opportunities arise  Once tenancy has been established by the University staff, initial exploratory conversations should take place in this regard  Explore possibility of WSCE being on Heritage, Arts, Culture working group 9. Host periodic (possibly annual) ACH Short‐term (i.e. within next 1‐2  A one‐day or weekend summit event has a strong advantage in focusing summits to discuss the state of arts, years) for first; every 2‐3 years the community’s attention on arts, culture and heritage activities (i.e. culture and heritage activities in thereafter their significance and importance) and signaling intentions to improve Huntsville; also develop an awards the sector program  The first such summit (we suggest in 2011) would be to launch this strategy, and discuss ways and means of its implementation  The recommended shoulder season activity would be mid‐winter or early‐spring  Those who expressed interest in being involved in arts, culture and heritage activities (i.e. those who signed up at the Unity Plan workshop in the summer of 2010) should be solicited for participation and advice

33 Exhibit 7 Facilities recommendations

Recommendation Timeframe Rationale

10. Continue to monitor the pricing Short‐term (i.e. within next  One key purpose of facilities is to enable local residents to experience the thrill of structure for all town cultural 1‐2 years) being on‐stage in an excellent facility rework facilities and activities to ensure  The pricing structure should be such as to ensure affordability to local user groups competitive affordability for local  A pricing study needs to be undertaken, with a view to ways and means to ensure groups affordability (reviewing existing non‐profit rate in light of community rates for comparable theatres)  Future resourcing should consider sponsorship development to supplement Town funding and increased fees for non‐local use  Ensure the communications rationale accompanies price adjustments  Provide adequate lead time on any price adjustments for inclusion in forward planning by partner agencies/users/brokers/promoters  Where organizations are viable to afford the pricing of the Algonquin Theatre they should be made aware of alternative performance venues such as churches and schools 11. Undertake a building conditions Short‐term (i.e. within next  The interview and on‐site visits revealed several physical deficiencies with respect review and possibly landscape plan 1‐2 years) to Muskoka Heritage Place (e.g. roofing, artifact storage, archival storage) for Muskoka Heritage Place, and  This facility should be brought up to the same standards of visitor satisfaction and develop a plan to implement needed community pride as is exemplified in the Algonquin Theatre improvements  Philosophy is to maintain facilities we already have before developing new ones 12. Undertake a survey of needed capital Medium‐term (i.e. 3 to 5  Interview with manager revealed several areas that are going to need professional upgrades to Algonquin Theatre, years) attention in the next few years develop plan to implement  The philosophy is to look after/maintain facilities we already have before improvements developing new ones 13. Continue enabling support of exhibit On‐going  This is an excellent way to support working local artists of merit in a prestigious art gallery function at the Canada and active facility with ample use that exposes users to the variety and quality of Summit Centre (CSC) local artists  It also provides some income to local artists as CARFAC (Canadian Artists' Representation/le Front des artistes canadiens) fees are paid  Continue to support working group of volunteers who jury the show

34 Recommendation Timeframe Rationale

14. Continue enabling support for the Group On‐going  The Group of Seven Outdoor gallery of art murals sponsored by Downtown of Seven Outdoor Gallery Huntsville BIA provides an excellent way to provide public art that is intimately tied with the history of the area, as well as giving local artists and the community overall an opportunity to participate in the creation of works of art; they are a tangible symbol to visitors and residents alike of the pride the Town takes in its heritage and artistic talents and blends the two in a very appropriate and meaningful way  This provides a strong and positive differentiator for the Town  The Town should work with the BIA to ensure the continuation and expansion of this program 15. Investigate the feasibility of a public art Long‐term, and possibly  The facility most lacking according to survey response and interviews is a gallery facility possibly in a location phased in public art gallery associated with a new library (including  With the existing Heritage Place and Algonquin Theatre, this would public‐private partnerships [PPP] provide a complete range of facilities for a community that is fully engaged possibilities) with its cultural sector  Note that this is a professionally curated function as opposed to just ‘wall space to showcase art’ and that this would not be a commercial art gallery

16. Assess the feasibility of development of a Long–term (i.e. 5+ years)  There are some significant concerns expressed through interviews and new public library facility surveys with the existing main library facility in downtown Huntsville (size too small, facilities aging, location not prominent)  As consultants we share these concerns  New development in a more prominent location would sends significant message about the importance of this critical function to the community as well as the role of a library in the 21st century in a smaller community  It also could provide a logical home for a new public art gallery facility  A feasibility/planning study should be undertaken in the longer term (5+ years from now) to determine feasibility and desirability at that point 17. Review a feasibility of a facility for Long‐term (i.e. 5+ years)  Suggestions were made from several arts groups that there would be community‐oriented arts, culture and significant advantage to all arts, culture and heritage groups being able to heritage groups to have offices and share space in one facility (could be existing space as opposed to purpose‐ shared services in one place built)  Advantages would accrue in lower costs, shared services, and increased interaction and communications among groups  Role of Town would be to assist groups in evaluating feasibility of this joint arrangement but not necessarily (or even likely) to provide space  Town role is to be react to local groups and organizations who would need to approach Council with a proposal

35 Exhibit 8 Policies and programs recommendations

Recommendation Timeframe Rationale

18. Investigate the community interest in Medium–term (i.e. 3 to 5 years)  The community survey revealed that the gaps in programming most additional arts and culture programs frequently identified were: offered by the Town  Multicultural programs  Aboriginal programs  Media arts  Visual arts  Literary arts  Explore potential to offer new types of programs in these areas in partnership with existing arts organizations or private sector organizations  Offer new programs on a trial basis to determine affordability and demand  Consider using those who signed up at the Unity Plan presentation to help solicit interest, develop courses, test demand 19. Support longer‐term development of a Medium‐term (pending results  Several interviewees and survey respondents suggested the possibility of School of the Arts in Huntsville of pilot program) establishing a ‘Haliburton School of the Arts’ (HSOA) or similar partnership in Huntsville  This could possibly even be a branch of the HSOA  This would also establish Huntsville clearly as the arts and culture location in Muskoka  The Town is looking at pilot program in partnership with Fleming/ Haliburton for summer 2011 20. Implement the new Town public art Immediately  The Town’s newly‐approved Public Art Policy (2010) provides direction policy and support for the active support of public art 21. Compile inventory of public art and Immediately  This is a requirement of the Town auditor, for all Town facilities (CSC, ALC, sports memorabilia library, Town Hall, theatre, civic centre, public (non‐museum areas) of MHP) art, memorabilia, awards, plaques, trophies, etc.  The inventory is to contain location information, condition, image  It will be very useful for on‐going planning purposes  A potential resource would be the youth experience summer job program

36 Exhibit 9 Marketing recommendations Recommendation Timeframe Rationale

22. Create a brand for Huntsville as the arts Long‐term (i.e. 5+ years)  There may be some potential to create a brand image and identity for and culture location in Muskoka Huntsville as the arts and culture location for Muskoka, building upon the existing and growing strong identities of HFA, the G8 legacy, a public art gallery, the partnership with University of Waterloo, etc.  The Town, through the External Marketing Committee (Huntsville and Lake of Bays) as well as the existing offices of manager of marketing and manager of ACH, and Chamber of Commerce and economic development should investigate this potential 23. Develop more aggressive marketing of arts, Short‐term (i.e. within next 1‐2  The seasonal market in particular suffers from a lack of awareness of culture, and heritage activities in Huntsville years) arts, culture, and heritage activities in Huntsville  The Town, likely in cooperation with the Chamber of Commerce, should develop a more intensive program to ensure that seasonal residents are aware of arts, culture and heritage activities and opportunities  This campaign should explore non‐traditional venues for promotion (e.g. displays, booths at LCBO outlets on weekends)  Social marketing tools (e.g. Facebook, Twitter) should be actively incorporated as well 24. Create a directory of arts, culture and Short‐term (i.e. within next 1‐2  Many interviewees and survey respondents indicated that such a heritage organizations and persons in years) directory (available in both print form as well as on‐line) would be highly Huntsville desirable  As well, such a directory will show the significant critical mass that the sector has, which will start to change perceptions about the importance of the sector  Assistance of the economic development department should be solicited in this initiative  Note that the beginnings of such a directory already exist in the form of the Town’s leisure guide 25. Develop a cultural tourism product Medium‐term (i.e. 3 to 5 years)  Capitalizing upon the brand developed (see recommendation 21) and the development and marketing strategy for facilities developed and approved, develop a cultural tourism strategy to Huntsville maximize the tourism and visitor impact that Huntsville can achieve with its cultural assets 26. Undertake an economic impact assessment Medium‐term (i.e. 3 to 5 years)  Several other communities have found that information about the of the size and significance of the ACH economic impact of the ACH sector (i.e. its actual performance as an sector economic engine in the community) can be very influential with politicians and residents alike  Assistance of the District of Muskoka and possibly Chamber of Commerce should be solicited in this initiative

37 Exhibit 10 Innovation recommendation

Recommendation Timeframe Rationale 27. Review feasibility of establishing small Long‐term  Part of the Town Vision indicates an intention to foster innovation in the annual ACH seed fund from corporate or arts and culture (as well as other aspects of Town operations) foundation support for innovative projects  Similar initiatives exist in other communities to encourage innovation in in arts, culture or heritage dependent upon the arts matching funding or in‐kind contributions  HACHAG could play key consulting role in developing guidelines for from applicant application and in advising on allocation of funds

38 39 Section 4 Implementation of the

40 This section discusses implementation of the Cultural Strategy. First, roles and responsibilities of the various organizations in the community implementing the Strategy are outlined. Next, timeframes and responsibilities are discussed. Finally, the financial implications of the Strategy and the need for accountability are developed.

41 4.1 Roles and Responsibilities heritage sector and that help guide One of the principles articulated at the out‐ Council’s efforts set of this report was ‘the community cre‐  Organizations themselves becoming ates its own culture’ (point #6 in the Pref‐ involved in fundraising activities and ace). This principle reinforced the fact that other initiatives that help support the it is not the municipality that ‘creates’ the sector cultural life of the community. Rather, it is  Residents and local politicians sup‐ the community itself that does this. The porting the wide variety of arts, culture municipality bears certain responsibilities and heritage activities that are put on relating to the provision of facilities and across the municipality throughout the programs and responding to the wishes of year through membership, attendance the community overall. However, it is ulti‐ and participation mately the responsibility of the community  Funding and granting organizations to create the sort of arts, culture and heri‐ recognizing the cultural vitality of the tage environment it desires. community and supporting it through the provision of appropriate resources This is an important principle to bear in mind when thinking about the implemen‐ All these players have important parts to tation of the strategy presented in the pre‐ play in the successful implementation of vious section. The Town clearly has many Huntsville’s cultural strategy and this responsibilities in bringing about the sorts should be kept foremost in mind as the of conditions in which cultural activity and rest of this implementation plan is dis‐ heritage preservation and interpretation cussed. can occur (as described in the set of recom‐ mendations in section 3 of this report) but 4.2 Next Steps: Timeframe and Responsibility other community groups and organiza‐ for Implementation of Actions tions have responsibilities too, including: The recommendations outlined in Section 3 of this Strategy are designed for imple‐  Individuals becoming involved in vol‐ mentation over the short, medium and unteer activities that help sustain the long terms. Short term is defined as the not‐for‐profit organizations that consti‐ year following the adoption of this Strat‐ tute a large part of the arts, culture and egy (in effect, 2011). Medium term is de‐

42 fined as the two‐year period stretching mendations can proceed) are high‐ tions to the Town may be through: procur‐ from 2012 to 2013. Long term is defined as lighted in yellow. ing volunteer resources can be (such as the the year 2014 and beyond. volunteer assistance that was provided to 4.3 Financial Implications of the Strategy Muskoka Heritage Place some years ago); Implementing this Cultural Strategy’s rec‐ The financial implications of the budget accessing grant funding; soliciting founda‐ ommendations may require some adjust‐ are outlined in this section. In order to tion support; and forging partnerships ment to the time horizons according to the make the projection, we have assumed that with other organizations. While it may be Town’s budget cycle, other Town planning any given budget item should be inflated a challenge to secure sponsors, the com‐ priorities, and unforeseen vicissitudes. both by the consumer price index, averag‐ munity should consider capitalizing on That said, exhibit 11 outlines what, in our ing 1.5% annually over the last three years any business sponsorship opportunities to view, is the ideal framework for imple‐ for Ontario and the population growth rate supplement Town funding where possible. mentation. The framework cites each rec‐ which averaged 1.3% annually over the The potential to offset resources of this ommendation, the primary agent(s) re‐ period 2001 to 2006. This rate is assumed type should be actively explored through‐ sponsible for implementing each recom‐ to hold in future. The combined inflation out the implementation of the Strategy. mendation, and the proposed time horizon rate accounting for both CPI and popula‐ for each recommendation. tion growth is therefore 2.8% annually. 4.4 The Importance of Accountability This rate was used to inflate base budgets At the outset of this report, one of the key Note: corresponding to each recommendation. principles articulated was that of 1. The ordering of the recommendations ‘accountability’ (point #7 in the Preface). corresponds to the sequence of their For each recommendation, the year of im‐ Accordingly, it is very important for an implementation beneath each plementation is highlighted in yellow in annual report to Council on the implemen‐ “Strategic Context” heading. exhibit 12 on the following page. The table tation of this Strategy to be prepared. This 2. The numbering of the recommenda‐ shows the net increase in operating costs should be undertaken with the input of tions corresponds to their ordering in associated with each recommendation. The Heritage, Arts, Culture working group and Section 3. assumptions for each recommendation are be consistent with the accountability re‐ 3. The primary recommendation is for shown in the column on the right. The porting done on the various other UNITY Council to approve this Strategy in strategy shows net financial implications Plan initiatives. The Manager of Arts, Cul‐ principle and to delegate an implemen‐ increasing from approximately $35,000 in ture, Heritage and Programming should tation team of municipal staff to pro‐ 2011 to approximately $340,000 in 2016. make the report to Council (with Heritage, pose ways and means to actualize it in Arts, Culture working group in atten‐ accordance with the timetable. Note that these represent the maximum dance). 4. Three critical path actions (i.e. those that amounts that the Town might be called must occur in order that other recom‐ upon to provide. The financial implica‐

43 At minimum, the progress update should  New arts, culture and heritage oppor‐ cover: tunities that have arisen in the course of the past year  A general report on notable arts, cul‐  (When undertaken) report on the eco‐ ture and heritage achievements in nomic impact of arts, culture and heri‐ Huntsville over the past year tage and the return‐on‐investment of  Progress made on recommendations the Town’s expenditure in these areas contained within this Strategy  Barriers to implementation and ways In addition to financial return‐on‐ and means of overcoming these investment, consideration should also be

Exhibit 12 Implementation of recommendations

Recommendation Responsibility Short Term Medium Term Long Term (2011) (2012 ‐ 2013) (2014+)

Strategic Context — Organization and Networking 1. Adopt Cultural Mission Statement and Statement of  Council to approve. Core Cultural Values  Staff to incorporate into day‐to‐day outlook  and activities 2. Adopt this Cultural Strategy as official policy and pro‐  Council to approve in principle mote it as the cultural extension of the UNITY Plan  Staff to recommend ways and means to  adopt 3. Establish Heritage, Arts, Culture working group  Council to approve 

4. Establish youth advisory group to Heritage, Arts, Cul‐  Manager of Culture, Heritage and  ture working groupfor ongoing input re: youth Programming perspective 5. Re‐title “Manager of Culture, Heritage and  Council to approve Programming” to “Manager of Arts, Culture and  Heritage and Programming” to reflect inclusion of arts

44 Recommendation Responsibility Short Term Medium Term Long Term (2011) (2012 ‐ 2013) (2014 +) 6. Provide capacity‐building workshops to local ACH orgs  Council to approve  Manager of Culture, Heritage and  Programming to implement

7. Join the Creative City Network of Canada  Manager of Culture, Heritage and Programming 

8. Establish a partnership with Waterloo Summit Centre  Council to approve Manager of Culture, for the Environment (WSCE) Heritage and Programming to implement 

9. Host periodic ACH summits to discuss state of ACH.  Manager of Culture, Heritage and Develop awards program Programming 

Strategic Context — Facilities 10. Continue to monitor pricing structure for all Town fa‐  Manager of Culture, Heritage and cilities to ensure affordability for local groups Programming; Algonquin Theatre Manager 

11. Undertake review of building conditions and  Council to approve  landscaping at Muskoka Heritage Place. Develop plan Manager of Culture, Heritage and  for improvements. Programming to oversee

12. Undertake survey of needed capital upgrades to  Manager of Culture, Heritage and Algonquin Theatre. Develop plan for improvements. Programming; Algonquin Theatre Manager 

13. Continue enabling support of art exhibits in Canada  Council to approve Summit Centre   14. Continue enabling support for the Group of Seven  Town continue to work with and support BIA Outdoor Gallery   15. Investigate feasibility of a public art gallery facility  Council to approve (possibly in location associated with a new library—  see item 15, below)

16. Assess feasibility of developing new public library  Council to approve  17. Review feasibility of facility for community‐based ACH  Manager of Culture, Heritage and organizations to share offices and services Programming 

45 Recommendation Responsibility Short Term Medium Term Long Term (2011) (2012 ‐ 2013) (2014+) Strategic Context — Policies and Program 18. Investigate community interest in additional ACH  Manager of Culture, Heritage and  programs offered by the Town Programming; Community Services Dept. 19. Support development of a School of the Arts in  Manager of Culture, Heritage and  Huntsville Programming 20. Implement existing Town public art policy  Manager of Culture, Heritage and  Programming 21. Compile inventory of public art and sports memora‐  Manager of Culture, Heritage and  bilia Programming Strategic Context — Marketing 22. Create brand for Huntsville as premier ACH  Council to approve  destination in Muskoka  Manager of Culture, Heritage and Programming; Economic Development Dept; Huntsville COC  External Marketing Committee 23. Market ACH activities more aggressively in Huntsville  Manager of Culture, Heritage and  Programming; Manager of Marketing; Huntsville COC 24. Create directory of ACH orgs and individuals in  Manager of Culture, Heritage and  Huntsville Programming; Economic Development Dept. 25. Develop cultural tourism product development and  Council to approve  marketing strategy  Manager of Culture, Heritage and Programming; Economic Development Dept.; Huntsville COC 26. Undertake economic impact assessment of ACH sector  Manager of Culture, Heritage and  Programming;  Economic Development Dept., Huntsville COC Strategic Context — Innovation 27. Review feasibility of establishing small annual ACH  Manager of Culture, Heritage and  seed fund with corporate or foundation support for Programming innovative ACH projects

46 Exhibit 12 Financial implications

Short Term Medium Term Long Term Notes/Assumptions Recommendation 2011 2012 2013 2014 2015 2016 1. Adopt Cultural Mission, $0 $0 $0 $0 $0 $0 Values statements 2. Adopt this strategy as $0 $0 $0 $0 $0 $0 official policy 3. Establish Heritage, Arts, $0 $0 $0 $0 $0 $0 Operating costs contained in exist‐ Culture working group ing budget 4. Establish Youth Advisory $0 $0 $0 $0 $0 $0 Operating costs contained in exist‐ Group ing budget 5. Re‐title Manager of Arts, $0 $0 $0 $0 $0 $0 Culture and Heritage 6. Provide capacity‐building $2,000 $2,056 $2,114 $2,173 $2,234 $2,296 Facilitator and expenses contracted workshops 7. Join Creative City $300 $308 $317 $326 $335 $344 Membership dues Network of Canada 8. Partner with Waterloo $2,500 $2,570 $2,642 $2,716 $2,792 $2,870 Some additional operating expenses Summit Centre for the Environment 9. Host periodic ACH $0 $3,000 $0 $3,169 $0 $3,348 Summit every other year summits 10. Continue to monitor $0 $0 $0 $0 $0 $0 pricing for Algonquin Theatre 11. Undertake review of $10,000 $0 $0 $0 $0 $0 Some internal resources for review; Muskoka Heritage Place excludes capital improvements facility 12. Develop capital plan for $0 $15,000 $0 $0 $0 $0 As above Algonquin Theatre 13. Continue enabling sup‐ $0 $0 $0 $0 $0 $0 Town provides in‐kind support port of arts exhibits at through provision of space Canada Summit Centre

47 Short Term Medium Term Long Term Notes/Assumptions Recommendation 2011 2012 2013 2014 2015 2016 14. Continue enabling sup‐ $2,000 $2,050 $2,114 $2,173 $2,234 $2,296 Town maintains its own murals port for the Group of Seven Outdoor Gallery 15. Establish public art $0 $0 $0 $25,000 $200,000 $205,564 Feasibility study and gallery operat‐ gallery ing funds 16. Feasibility study of new $0 $0 $0 $25,000 $0 $0 Integrated library, art gallery feasi‐ library bility study. Excludes capital budget 17. Feasibility study to share $0 $0 $0 $0 $0 $0 Assumed done internally offices 18. Investigate community $0 $0 $10,000 $12,000 $14,000 $16,000 Investigation leads to additional interest in additional ACH $10,000 program with $2,000 incre‐ programs ments 19. Support development of $0 $0 $0 $25,000 $0 $0 Study cost shared with province School of the Arts which bears most operating costs 20. Implement public art $5,000 $5,140 $5,284 $5,432 $5,584 $5,740 $2,000 for inventory and $3,000 for policy exhibit fees 21. Compile inventory of $0 $0 $0 $0 $0 $0 Responsibility of Manager of ACH public art and sports and Programming , possibly using memorabilia volunteer support 22. Create brand for $0 $0 $0 $40,000 $25,000 $25,695 feasibility then marketing Huntsville 23. Market ACH activities $10,000 $10,280 $10,568 $10,864 $11,168 $11,481 more extensively 24. Create directory of ACH $3,000 $0 $0 $0 $0 $0 Assumes some printing costs organizations 25. Develop cultural tourism $0 $40,000 $10,000 $10,280 $10,568 $10,864 Create product, then market product, marketing strategy 26. Undertake economic $0 $10,000 $0 $0 $0 $0 Contracted service impact assessment of ACH sector 27. Review feasibility of $0 $0 $0 $10,000 $10,280 $10,568 Feasibility done internally, results in establishing ACH seed $10,000 fund. fund Total Incremental new oper‐ $34,800 $90,410 $43,038 $174,132 $284, 194 $297,066 ating funds

48 Endnotes

1. See Charles Landry, The Creative City – A Toolkit for Urban Innovators, Earthscan, 2000.

2. Again Charles Landry, this time The Art of City Making, Earthscan, 2006.

3. See, for example, Florida’s The Rise of the Creative Class (Basic Books, 2002) and Who’s Your City? (Random House, 2008).

4. Notable examples are Pittsburgh, Pennsyl‐ vania; New Haven, Connecticut; Glasgow, Scotland; and Bilbao, Spain.

5. See Charles Block, Community – The Struc‐ ture of Belonging, Berrett‐Koehler Publish‐ ers, 2008.

6. See Andrew Savitz, The Triple Bottom Line, Jossey‐Bass, 2006.

7. Unity Plan: Huntsville’s Guide to a Sustain‐ able Future, p. i. Town of Huntsville, Sept. 3, 2010.

8. Ibid. p. 32.

9. Still another example would be a joint resolution signed by the Town of Hunts‐ ville and Rama First Nation and Wasauk‐ sing First Nation regarding the right to clean water and sanitation, to be pre‐ sented to the G8 Summit participants.

49 50

99 Crown’s Lane, First Floor, Toronto, Ontario M5R 3P4 www.consulttci.com

LEGEND COLOUR Finished, ongoing 25/27 Town of Huntsville Started, needs attention 2/27 CULTURAL STRATEGY UPDATE Future goal 0/27 STATUS @ Feb 29/16 27/27 Goals at a Glance • February 23, 2016

# Item Description Page 1 Adopt Cultural Mission, Values Ensure provision/collaborate/lead – adopted February 22, 2011res. No. 50-11 30 2 Adopt Cultural Strategy Strategic Plan – http://huntsville.ca/en/visiting/artscultureheritage.asp 1-49 Unity Plan ACH/SWB/AH group – January 24, 2011 resolution No. 31-11, Goal 3 Establish ACH Working Group 31-32 #10 of Unity Plan Informal or formal, could be part of ACH UP or other; UP Recreation Group Investigate Youth Advisory to potential, ongoing, CS 2013-03 – Youth Engagement, UofW students rep’t, support 4 32 ACH Huntsville Art Society – Jan 2014 HHS Art Show – Youth Advisory Committee of Council 2014-18 Council Term 5 Re-title Manager - ACH Done, 2011 32 Capacity investment artsVest/Business for the Arts – 2011 to 2012; ongoing goal, Provide capacity-building WorkinCulture, CS 2013-04; sector consultations ongoing. Art orgs – Jan 17, 6 workshops to support local 33 Bracebridge; workshop HAS/Edge of the Woods/Jumblies (supported by OTF) Jan ACH groups 18, 2014 7 Join Creative City Network Done, 2012 33 Partner with Waterloo Summit Ongoing, 2013 Incubation Entremedia, Sheertech Alternate Energy; Heritage 8 33 Centre for the Environment planning courses, Aug 2013 Networking with CARFAC and OCC, July 2011. Ongoing. Ec Impact Study, Goal 9 Host periodic ACH summits 33 #26 engagement, 2013 - Community Performers, Arts Orgs Monitor pricing for Algonquin Yearly comparison analysis within sector as part of annual 10 Theatre and municipal cultural 34 review/branding/tactics/planning/operational plans facilities Undertake building condition 11 review of MHP and develop CS2011-16 – Appendix A – living document, ongoing 34 plan 12 Review needed upgrades AT CS2012-23 June 6, 2012, ongoing 34 Continue to support visual art 13 By end of 2014 will have hosted 20 exhibits; paid CARFAC artists’ fees, ongoing 34 at CSC Continue to support Group of Gerry Lantainge, BIA, other partners. Support, market, enable, celebrate, 14 35 Seven outdoor gallery participate. Tom Thomson 100th 2012-2017 initiative, ongoing. Longer term goal (2014), maintain partnership relationships with arts organizations Assess feasibility of new Public 15 15 is ongoing, seed funding in 2014 budget approved, WorkInCulture Session Feb 17 35 Art Gallery 2016 INCORPORATE OUTCOMES OF FEB 17 SESSION IN NEW PLAN Longer term goal (2014), maintain relationship with Library as asset in ACH sector, Assess feasibility of new Public 16 16 ongoing, may be able to combine with #15 funding opportunity – Library Board 35 Library Goal – town purchase of property 2015 – Library Board and Strategic Plan Longer term goal (2014), perhaps in conjunction with #15 and #16, maintain Assess feasibility of shared 17 17 relationship with groups as asset in ACH sector, ongoing - RFP CNR Station group; 35 space for local ACH groups continue to collaborate, Culture Hub lease June 2014 CoC, HaAHS, HAS, HTSS Investigate community interest Medium term goal (2013), survey, develop Key Performance Indicators, 18 in new ACH activities offered communicate, corporate Community Services goal, ongoing, comparative research 36 by town and competitive analysis ongoing, private nfp partnership HAS uptake, programs Pilot with The Haliburton School of The Arts in 2011, return for 2012, ongoing, 2013 retained relationship. New opportunities supported, Community 19 Support School of the Arts 36 Engagement/Economic Development/private sector lease space potential. Haliburton withdrawal; Cultural Hub? ACHAdvisoryGoal Policy developed and adopted resolution No. 191-10, June 10, 2010, ongoing – Implement Town’s 2010 Public 20 2013, Partner’s Hall, Library, CSC – 2014 items offered for 36 Art Policy purchase/donation/loan – compliance with PAP Sports inventory done March 2012, Sports Display completion target Nov 2012. Compile inventory of public art Public Art inventory – to be done in 2013 Sports Display Completed – CS-2013-06 21 36 and sports memorabilia Jan 15, 2013; public art inventory assessment underway 2014; Heritage Collection assessment values/conditions. CS-2014-22 update every 3 years, insurance issues Longer term goal (2014) Ongoing, continue to build partnerships, awareness of value of ACH sector, internally with Manager of Marketing and Executive decision- Create brand for Huntsville as makers, externally with collaborators, partners, and broad-base communication, tie 22 THE arts and culture destination to all other goals – Note: Dec 2013, Gravenhurst became the second town in Muskoka 37 in Muskoka to adopt a Cultural Plan. Gravenhurst also has this goal. Staff have reached out to collaborate. Gravenhurst in process of hiring Director of Recreation, Arts & Cultural Services (Jan 2014) Shorter term goal (2012) ongoing, Social Media policy 2012, tie to #25, budget implications/constraints to implement, see #25, 2013 – Marketing of area as ‘place’ Undertake more aggressive is indicated as next step(s) in Goal #25. – Town Ec Dev – ongoing with partners – EE 23 23 37 marketing of ACH assets RTO 12; MTMA; HV/LoB Chamber of Commerce – IMPLEMENTATION NEW PLAN GOAL – review of brands - Town (the Corporation) and Town (the Place/Destination) ongoing Create Directory of ACH 24 Ongoing, Leisure Guide, Chamber of Commerce 37 individuals and organizations Collaborative project with Chamber of Commerce, funding application to ON Tourism Dev Fund, Kate at Chamber lead, Aug 2012, 2013 – Funding ON Tour Ec. 25 Develop Cultural Tourism Plan Dev. RFP issued by Chamber of Commerce Feb 7, 2013, closes Mar 7, 2013. 37 Presented to Committee, council accepted for information IMPLEMENTATION – NEW PLAN GOAL Funding secured via Muskoka Community Futures & Explorers’ Edge - collaborative Undertake Economic 26 pilot project with Creative Muskoka, District wide – CS-2013-15 Feb 12, 2013; 37 Assessment of ACH sector ratified Council, Feb. 25, 2013. – RENEWAL Longer term goal (2014), work with Community Engagement/Budget, research into Assess feasibility of ACH seed 27 27 municipal sector practices underway. (Culture adhoc, CCNC) FURTHER ASSESSMENT 38 fund AND IMPLEMENTATION – NEW PLAN GOAL Truth and Reconciliation Commission of Canada: Calls to Action

Truth and Reconciliation Commission of Canada: Calls to Action This report is in the public domain. Anyone may, without charge or request for permission, reproduce all or part of this report.

2015

Truth and Reconciliation Commission of Canada, 2012 1500–360 Main Street Winnipeg, Manitoba R3C 3Z3 Telephone: (204) 984-5885 Toll Free: 1-888-872-5554 (1-888-TRC-5554) Fax: (204) 984-5915 E-mail: [email protected] Website: www.trc.ca 1

Calls to Action

In order to redress the legacy of residential schools and publish annual reports on the number of Aboriginal advance the process of Canadian reconciliation, the Truth children (First Nations, Inuit, and Métis) who are in and Reconciliation Commission makes the following calls to care, compared with non-Aboriginal children, as well action. as the reasons for apprehension, the total spending on preventive and care services by child-welfare agencies, Legacy and the effectiveness of various interventions. 3. We call upon all levels of government to fully implement Child welfare Jordan’s Principle.

1. We call upon the federal, provincial, territorial, and 4. We call upon the federal government to enact Aboriginal Aboriginal governments to commit to reducing the child-welfare legislation that establishes national number of Aboriginal children in care by: standards for Aboriginal child apprehension and custody cases and includes principles that: i. Monitoring and assessing neglect investigations. i. Affirm the right of Aboriginal governments to ii. Providing adequate resources to enable Aboriginal establish and maintain their own child-welfare communities and child-welfare organizations to agencies. keep Aboriginal families together where it is safe to do so, and to keep children in culturally appropriate ii. Require all child-welfare agencies and courts to take environments, regardless of where they reside. the residential school legacy into account in their decision making. iii. Ensuring that social workers and others who conduct child-welfare investigations are properly iii. Establish, as an important priority, a requirement educated and trained about the history and impacts that placements of Aboriginal children into of residential schools. temporary and permanent care be culturally appropriate. iv. Ensuring that social workers and others who conduct child-welfare investigations are properly 5. We call upon the federal, provincial, territorial, educated and trained about the potential for and Aboriginal governments to develop culturally Aboriginal communities and families to provide appropriate parenting programs for Aboriginal families. more appropriate solutions to family healing. Education v. Requiring that all child-welfare decision makers consider the impact of the residential school 6. We call upon the Government of Canada to repeal experience on children and their caregivers. Section 43 of the Criminal Code of Canada.

2. We call upon the federal government, in collaboration 7. We call upon the federal government to develop with the provinces and territories, to prepare and with Aboriginal groups a joint strategy to eliminate 2 | Truth and Reconciliation Commission of Canada

educational and employment gaps between Aboriginal 14. We call upon the federal government to enact an and non-Aboriginal Canadians. Aboriginal Languages Act that incorporates the following principles: 8. We call upon the federal government to eliminate the discrepancy in federal education funding for First i. Aboriginal languages are a fundamental and valued Nations children being educated on reserves and those element of Canadian culture and society, and there First Nations children being educated off reserves. is an urgency to preserve them.

9. We call upon the federal government to prepare and ii. Aboriginal language rights are reinforced by the publish annual reports comparing funding for the Treaties. education of First Nations children on and off reserves, iii. The federal government has a responsibility to as well as educational and income attainments of provide sufficient funds for Aboriginal-language Aboriginal peoples in Canada compared with non- revitalization and preservation. Aboriginal people. iv. The preservation, revitalization, and strengthening 10. We call on the federal government to draft new of Aboriginal languages and cultures are best Aboriginal education legislation with the full managed by Aboriginal people and communities. participation and informed consent of Aboriginal peoples. The new legislation would include a v. Funding for Aboriginal language initiatives must commitment to sufficient funding and would reflect the diversity of Aboriginal languages. incorporate the following principles: 15. We call upon the federal government to appoint, in i. Providing sufficient funding to close identified consultation with Aboriginal groups, an Aboriginal educational achievement gaps within one Languages Commissioner. The commissioner should generation. help promote Aboriginal languages and report on the adequacy of federal funding of Aboriginal-languages ii. Improving education attainment levels and success initiatives. rates. 16. We call upon post-secondary institutions to create iii. Developing culturally appropriate curricula. university and college degree and diploma programs in iv. Protecting the right to Aboriginal languages, Aboriginal languages. including the teaching of Aboriginal languages as 17. We call upon all levels of government to enable credit courses. residential school Survivors and their families to reclaim v. Enabling parental and community responsibility, names changed by the residential school system by control, and accountability, similar to what parents waiving administrative costs for a period of five years enjoy in public school systems. for the name-change process and the revision of official identity documents, such as birth certificates, passports, vi. Enabling parents to fully participate in the education driver’s licenses, health cards, status cards, and social of their children. insurance numbers. vii. Respecting and honouring Treaty relationships. Health 11. We call upon the federal government to provide adequate funding to end the backlog of First Nations 18. We call upon the federal, provincial, territorial, and students seeking a post-secondary education. Aboriginal governments to acknowledge that the current state of Aboriginal health in Canada is a direct result 12. We call upon the federal, provincial, territorial, of previous Canadian government policies, including and Aboriginal governments to develop culturally residential schools, and to recognize and implement appropriate early childhood education programs for the health-care rights of Aboriginal people as identified Aboriginal families. in international law, constitutional law, and under the Language and culture Treaties.

13. We call upon the federal government to acknowledge 19. We call upon the federal government, in consultation that Aboriginal rights include Aboriginal language with Aboriginal peoples, to establish measurable goals rights. to identify and close the gaps in health outcomes Calls to Action| 3

between Aboriginal and non-Aboriginal communities, Royal Canadian Mounted Police to investigate crimes in and to publish annual progress reports and assess long- which the government has its own interest as a potential term trends. Such efforts would focus on indicators such or real party in civil litigation. as: infant mortality, maternal health, suicide, mental 26. We call upon the federal, provincial, and territorial health, addictions, life expectancy, birth rates, infant governments to review and amend their respective and child health issues, chronic diseases, illness and statutes of limitations to ensure that they conform to the injury incidence, and the availability of appropriate principle that governments and other entities cannot health services. rely on limitation defences to defend legal actions of 20. In order to address the jurisdictional disputes historical abuse brought by Aboriginal people. concerning Aboriginal people who do not reside on 27. We call upon the Federation of Law Societies of Canada reserves, we call upon the federal government to to ensure that lawyers receive appropriate cultural recognize, respect, and address the distinct health needs competency training, which includes the history of the Métis, Inuit, and off-reserve Aboriginal peoples. and legacy of residential schools, the United Nations 21. We call upon the federal government to provide Declaration on the Rights of Indigenous Peoples, Treaties sustainable funding for existing and new Aboriginal and Aboriginal rights, Indigenous law, and Aboriginal– healing centres to address the physical, mental, Crown relations. This will require skills-based training emotional, and spiritual harms caused by residential in intercultural competency, conflict resolution, human schools, and to ensure that the funding of healing rights, and anti-racism. centres in Nunavut and the Northwest Territories is a 28. We call upon law schools in Canada to require all law priority. students to take a course in Aboriginal people and the 22. We call upon those who can effect change within the law, which includes the history and legacy of residential Canadian health-care system to recognize the value schools, the United Nations Declaration on the Rights of Aboriginal healing practices and use them in the of Indigenous Peoples, Treaties and Aboriginal rights, treatment of Aboriginal patients in collaboration with Indigenous law, and Aboriginal–Crown relations. Aboriginal healers and Elders where requested by This will require skills-based training in intercultural Aboriginal patients. competency, conflict resolution, human rights, and anti- racism. 23. We call upon all levels of government to: 29. We call upon the parties and, in particular, the federal i. Increase the number of Aboriginal professionals government, to work collaboratively with plaintiffs not working in the health-care field. included in the Indian Residential Schools Settlement ii. Ensure the retention of Aboriginal health-care Agreement to have disputed legal issues determined providers in Aboriginal communities. expeditiously on an agreed set of facts.

iii. Provide cultural competency training for all health- 30. We call upon federal, provincial, and territorial care professionals. governments to commit to eliminating the 24. We call upon medical and nursing schools in Canada overrepresentation of Aboriginal people in custody over to require all students to take a course dealing with the next decade, and to issue detailed annual reports Aboriginal health issues, including the history and that monitor and evaluate progress in doing so. legacy of residential schools, the United Nations 31. We call upon the federal, provincial, and territorial Declaration on the Rights of Indigenous Peoples, Treaties governments to provide sufficient and stable funding and Aboriginal rights, and Indigenous teachings and to implement and evaluate community sanctions that practices. This will require skills-based training in will provide realistic alternatives to imprisonment for intercultural competency, conflict resolution, human Aboriginal offenders and respond to the underlying rights, and anti-racism. causes of offending.

Justice 32. We call upon the federal government to amend the Criminal Code to allow trial judges, upon giving reasons, 25. We call upon the federal government to establish a to depart from mandatory minimum sentences and written policy that reaffirms the independence of the restrictions on the use of conditional sentences. 4 | Truth and Reconciliation Commission of Canada

33. We call upon the federal, provincial, and territorial 40. We call on all levels of government, in collaboration governments to recognize as a high priority the need to with Aboriginal people, to create adequately funded address and prevent Fetal Alcohol Spectrum Disorder and accessible Aboriginal-specific victim programs and (FASD), and to develop, in collaboration with Aboriginal services with appropriate evaluation mechanisms. people, FASD preventive programs that can be delivered 41. We call upon the federal government, in consultation in a culturally appropriate manner. with Aboriginal organizations, to appoint a public 34. We call upon the governments of Canada, the provinces, inquiry into the causes of, and remedies for, the and territories to undertake reforms to the criminal disproportionate victimization of Aboriginal women and justice system to better address the needs of offenders girls. The inquiry’s mandate would include: with Fetal Alcohol Spectrum Disorder (FASD), i. Investigation into missing and murdered Aboriginal including: women and girls. i. Providing increased community resources and ii. Links to the intergenerational legacy of residential powers for courts to ensure that FASD is properly schools. diagnosed, and that appropriate community supports are in place for those with FASD. 42. We call upon the federal, provincial, and territorial governments to commit to the recognition and ii. Enacting statutory exemptions from mandatory implementation of Aboriginal justice systems in a minimum sentences of imprisonment for offenders manner consistent with the Treaty and Aboriginal affected by FASD. rights of Aboriginal peoples, the Constitution Act, 1982, iii. Providing community, correctional, and parole and the United Nations Declaration on the Rights of resources to maximize the ability of people with Indigenous Peoples, endorsed by Canada in November FASD to live in the community. 2012.

iv. Adopting appropriate evaluation mechanisms to measure the effectiveness of such programs and Reconciliation ensure community safety.

35. We call upon the federal government to eliminate Canadian Governments and the Un i t e d Na t i o n s barriers to the creation of additional Aboriginal healing De c l a r a t i o n o n t h e Ri g h t s o f In d i g e n o u s Pe o p l e lodges within the federal correctional system. 43. We call upon federal, provincial, territorial, and

36. We call upon the federal, provincial, and territorial municipal governments to fully adopt and implement governments to work with Aboriginal communities to the United Nations Declaration on the Rights of provide culturally relevant services to inmates on issues Indigenous Peoples as the framework for reconciliation. such as substance abuse, family and domestic violence, 44. We call upon the Government of Canada to develop and overcoming the experience of having been sexually a national action plan, strategies, and other concrete abused. measures to achieve the goals of the United Nations

37. We call upon the federal government to provide more Declaration on the Rights of Indigenous Peoples. supports for Aboriginal programming in halfway houses Royal Proclamation and Covenant and parole services. of Reconciliation

38. We call upon the federal, provincial, territorial, and 45. We call upon the Government of Canada, on behalf of Aboriginal governments to commit to eliminating the all Canadians, to jointly develop with Aboriginal peoples overrepresentation of Aboriginal youth in custody over a Royal Proclamation of Reconciliation to be issued by the next decade. the Crown. The proclamation would build on the Royal 39. We call upon the federal government to develop a Proclamation of 1763 and the Treaty of Niagara of 1764, national plan to collect and publish data on the criminal and reaffirm the nation-to-nation relationship between victimization of Aboriginal people, including data Aboriginal peoples and the Crown. The proclamation related to homicide and family violence victimization. would include, but not be limited to, the following commitments: Calls to Action| 5

i. Repudiate concepts used to justify European 47. We call upon federal, provincial, territorial, and sovereignty over Indigenous lands and peoples such municipal governments to repudiate concepts used to as the Doctrine of Discovery and terra nullius. justify European sovereignty over Indigenous peoples and lands, such as the Doctrine of Discovery and terra ii. Adopt and implement the United Nations nullius, and to reform those laws, government policies, Declaration on the Rights of Indigenous Peoples as and litigation strategies that continue to rely on such the framework for reconciliation. concepts. iii. Renew or establish Treaty relationships based on principles of mutual recognition, mutual respect, Settlement Agreement Parties and the Un i t e d and shared responsibility for maintaining those Na t i o n s De c l a r a t i o n o n t h e Ri g h t s o f In d i g e n o u s Pe o p l e s relationships into the future. 48. We call upon the church parties to the Settlement

iv. Reconcile Aboriginal and Crown constitutional Agreement, and all other faith groups and interfaith and legal orders to ensure that Aboriginal peoples social justice groups in Canada who have not already are full partners in Confederation, including the done so, to formally adopt and comply with the recognition and integration of Indigenous laws and principles, norms, and standards of the United Nations legal traditions in negotiation and implementation Declaration on the Rights of Indigenous Peoples as a processes involving Treaties, land claims, and other framework for reconciliation. This would include, but constructive agreements. not be limited to, the following commitments:

46. We call upon the parties to the Indian Residential i. Ensuring that their institutions, policies, programs, Schools Settlement Agreement to develop and sign and practices comply with the United Nations a Covenant of Reconciliation that would identify Declaration on the Rights of Indigenous Peoples. principles for working collaboratively to advance ii. Respecting Indigenous peoples’ right to self- reconciliation in Canadian society, and that would determination in spiritual matters, including include, but not be limited to: the right to practise, develop, and teach their

i. Reaffirmation of the parties’ commitment to own spiritual and religious traditions, customs, reconciliation. and ceremonies, consistent with Article 12:1 of the United Nations Declaration on the Rights of ii. Repudiation of concepts used to justify European Indigenous Peoples. sovereignty over Indigenous lands and peoples, such as the Doctrine of Discovery and terra nullius, iii. Engaging in ongoing public dialogue and actions to and the reformation of laws, governance structures, support the United Nations Declaration on the Rights and policies within their respective institutions that of Indigenous Peoples. continue to rely on such concepts. iv. Issuing a statement no later than March 31, 2016,

iii. Full adoption and implementation of the United from all religious denominations and faith groups, Nations Declaration on the Rights of Indigenous as to how they will implement the United Nations Peoples as the framework for reconciliation. Declaration on the Rights of Indigenous Peoples.

iv. Support for the renewal or establishment of 49. We call upon all religious denominations and faith Treaty relationships based on principles of groups who have not already done so to repudiate mutual recognition, mutual respect, and shared concepts used to justify European sovereignty over responsibility for maintaining those relationships Indigenous lands and peoples, such as the Doctrine of into the future. Discovery and terra nullius.

v. Enabling those excluded from the Settlement Equity for Aboriginal People Agreement to sign onto the Covenant of in the Legal System Reconciliation. 50. In keeping with the United Nations Declaration on vi. Enabling additional parties to sign onto the the Rights of Indigenous Peoples, we call upon the Covenant of Reconciliation. federal government, in collaboration with Aboriginal organizations, to fund the establishment of Indigenous law institutes for the development, use, and 6 | Truth and Reconciliation Commission of Canada

understanding of Indigenous laws and access to justice iv. Promote public dialogue, public/private in accordance with the unique cultures of Aboriginal partnerships, and public initiatives for peoples in Canada. reconciliation.

51. We call upon the Government of Canada, as an 54. We call upon the Government of Canada to provide obligation of its fiduciary responsibility, to develop a multi-year funding for the National Council for policy of transparency by publishing legal opinions it Reconciliation to ensure that it has the financial, human, develops and upon which it acts or intends to act, in and technical resources required to conduct its work, regard to the scope and extent of Aboriginal and Treaty including the endowment of a National Reconciliation rights. Trust to advance the cause of reconciliation.

52. We call upon the Government of Canada, provincial 55. We call upon all levels of government to provide annual and territorial governments, and the courts to adopt the reports or any current data requested by the National following legal principles: Council for Reconciliation so that it can report on the progress towards reconciliation. The reports or data i. Aboriginal title claims are accepted once the would include, but not be limited to: Aboriginal claimant has established occupation over a particular territory at a particular point in time. i. The number of Aboriginal children—including Métis and Inuit children—in care, compared with non- ii. Once Aboriginal title has been established, the Aboriginal children, the reasons for apprehension, burden of proving any limitation on any rights and the total spending on preventive and care arising from the existence of that title shifts to the services by child-welfare agencies. party asserting such a limitation. ii. Comparative funding for the education of First National Council for Reconciliation Nations children on and off reserves.

53. We call upon the Parliament of Canada, in consultation iii. The educational and income attainments of and collaboration with Aboriginal peoples, to Aboriginal peoples in Canada compared with non- enact legislation to establish a National Council for Aboriginal people. Reconciliation. The legislation would establish the council as an independent, national, oversight body iv. Progress on closing the gaps between Aboriginal and with membership jointly appointed by the Government non-Aboriginal communities in a number of health of Canada and national Aboriginal organizations, and indicators such as: infant mortality, maternal health, consisting of Aboriginal and non-Aboriginal members. suicide, mental health, addictions, life expectancy, Its mandate would include, but not be limited to, the birth rates, infant and child health issues, chronic following: diseases, illness and injury incidence, and the availability of appropriate health services. i. Monitor, evaluate, and report annually to Parliament and the people of Canada on the Government of v. Progress on eliminating the overrepresentation of Canada’s post-apology progress on reconciliation Aboriginal children in youth custody over the next to ensure that government accountability for decade. reconciling the relationship between Aboriginal vi. Progress on reducing the rate of criminal peoples and the Crown is maintained in the coming victimization of Aboriginal people, including years. data related to homicide and family violence ii. Monitor, evaluate, and report to Parliament and the victimization and other crimes. people of Canada on reconciliation progress across vii. Progress on reducing the overrepresentation of all levels and sectors of Canadian society, including Aboriginal people in the justice and correctional the implementation of the Truth and Reconciliation systems. Commission of Canada’s Calls to Action. 56. We call upon the prime minister of Canada to formally iii. Develop and implement a multi-year National respond to the report of the National Council for Action Plan for Reconciliation, which includes Reconciliation by issuing an annual “State of Aboriginal research and policy development, public education Peoples” report, which would outline the government’s programs, and resources. plans for advancing the cause of reconciliation. Calls to Action| 7

Professional Development and ii. Community-controlled culture- and language- Training for Public Servants revitalization projects.

57. We call upon federal, provincial, territorial, and iii. Community-controlled education and relationship- municipal governments to provide education to public building projects. servants on the history of Aboriginal peoples, including iv. Regional dialogues for Indigenous spiritual leaders the history and legacy of residential schools, the United and youth to discuss Indigenous spirituality, self- Nations Declaration on the Rights of Indigenous Peoples, determination, and reconciliation. Treaties and Aboriginal rights, Indigenous law, and Aboriginal–Crown relations. This will require skills- Education for reconciliation based training in intercultural competency, conflict 62. We call upon the federal, provincial, and territorial resolution, human rights, and anti-racism. governments, in consultation and collaboration with Church Apologies and Reconciliation Survivors, Aboriginal peoples, and educators, to:

58. We call upon the Pope to issue an apology to Survivors, i. Make age-appropriate curriculum on residential their families, and communities for the Roman Catholic schools, Treaties, and Aboriginal peoples’ historical Church’s role in the spiritual, cultural, emotional, and contemporary contributions to Canada a physical, and sexual abuse of First Nations, Inuit, and mandatory education requirement for Kindergarten Métis children in Catholic-run residential schools. We to Grade Twelve students. call for that apology to be similar to the 2010 apology ii. Provide the necessary funding to post-secondary issued to Irish victims of abuse and to occur within one institutions to educate teachers on how to integrate year of the issuing of this Report and to be delivered by Indigenous knowledge and teaching methods into the Pope in Canada. classrooms. 59. We call upon church parties to the Settlement iii. Provide the necessary funding to Aboriginal schools Agreement to develop ongoing education strategies to utilize Indigenous knowledge and teaching to ensure that their respective congregations learn methods in classrooms. about their church’s role in colonization, the history and legacy of residential schools, and why apologies to iv. Establish senior-level positions in government at the former residential school students, their families, and assistant deputy minister level or higher dedicated to communities were necessary. Aboriginal content in education.

60. We call upon leaders of the church parties to the 63. We call upon the Council of Ministers of Education, Settlement Agreement and all other faiths, in Canada to maintain an annual commitment to collaboration with Indigenous spiritual leaders, Aboriginal education issues, including: Survivors, schools of theology, seminaries, and other i. Developing and implementing Kindergarten to religious training centres, to develop and teach Grade Twelve curriculum and learning resources curriculum for all student clergy, and all clergy and on Aboriginal peoples in Canadian history, and the staff who work in Aboriginal communities, on the need history and legacy of residential schools. to respect Indigenous spirituality in its own right, the ii. Sharing information and best practices on teaching history and legacy of residential schools and the roles curriculum related to residential schools and of the church parties in that system, the history and Aboriginal history. legacy of religious conflict in Aboriginal families and communities, and the responsibility that churches have iii. Building student capacity for intercultural to mitigate such conflicts and prevent spiritual violence. understanding, empathy, and mutual respect.

61. We call upon church parties to the Settlement iv. Identifying teacher-training needs relating to the Agreement, in collaboration with Survivors and above. representatives of Aboriginal organizations, to establish 64. We call upon all levels of government that provide permanent funding to Aboriginal people for: public funds to denominational schools to require i. Community-controlled healing and reconciliation such schools to provide an education on comparative projects. religious studies, which must include a segment on 8 | Truth and Reconciliation Commission of Canada

Aboriginal spiritual beliefs and practices developed in i. Determine the level of compliance with the United collaboration with Aboriginal Elders. Nations Declaration on the Rights of Indigenous Peoples and the United Nations Joinet-Orentlicher 65. We call upon the federal government, through the Social Principles, as related to Aboriginal peoples’ Sciences and Humanities Research Council, and in inalienable right to know the truth about what collaboration with Aboriginal peoples, post-secondary happened and why, with regard to human rights institutions and educators, and the National Centre for violations committed against them in the residential Truth and Reconciliation and its partner institutions, to schools. establish a national research program with multi-year funding to advance understanding of reconciliation. ii. Produce a report with recommendations for full implementation of these international mechanisms Youth Programs as a reconciliation framework for Canadian archives. 66. We call upon the federal government to establish multi- Missing Children and Burial Information year funding for community-based youth organizations to deliver programs on reconciliation, and establish 71. We call upon all chief coroners and provincial vital a national network to share information and best statistics agencies that have not provided to the Truth practices. and Reconciliation Commission of Canada their records on the deaths of Aboriginal children in the Museums and Archives care of residential school authorities to make these 67. We call upon the federal government to provide funding documents available to the National Centre for Truth to the Canadian Museums Association to undertake, in and Reconciliation.

collaboration with Aboriginal peoples, a national review 72. We call upon the federal government to allocate of museum policies and best practices to determine the sufficient resources to the National Centre for Truth level of compliance with the United Nations Declaration and Reconciliation to allow it to develop and maintain on the Rights of Indigenous Peoples and to make the National Residential School Student Death recommendations. Register established by the Truth and Reconciliation 68. We call upon the federal government, in collaboration Commission of Canada.

with Aboriginal peoples, and the Canadian Museums 73. We call upon the federal government to work with Association to mark the 150th anniversary of Canadian churches, Aboriginal communities, and former Confederation in 2017 by establishing a dedicated residential school students to establish and maintain national funding program for commemoration projects an online registry of residential school cemeteries, on the theme of reconciliation. including, where possible, plot maps showing the 69. We call upon Library and Archives Canada to: location of deceased residential school children.

i. Fully adopt and implement the United Nations 74. We call upon the federal government to work with the Declaration on the Rights of Indigenous Peoples and churches and Aboriginal community leaders to inform the United Nations Joinet-Orentlicher Principles, as the families of children who died at residential schools related to Aboriginal peoples’ inalienable right to of the child’s burial location, and to respond to families’ know the truth about what happened and why, with wishes for appropriate commemoration ceremonies regard to human rights violations committed against and markers, and reburial in home communities where them in the residential schools. requested.

ii. Ensure that its record holdings related to residential 75. We call upon the federal government to work with schools are accessible to the public. provincial, territorial, and municipal governments, churches, Aboriginal communities, former residential iii. Commit more resources to its public education school students, and current landowners to develop materials and programming on residential schools. and implement strategies and procedures for the 70. We call upon the federal government to provide funding ongoing identification, documentation, maintenance, to the Canadian Association of Archivists to undertake, commemoration, and protection of residential school in collaboration with Aboriginal peoples, a national cemeteries or other sites at which residential school review of archival policies and best practices to: children were buried. This is to include the provision of Calls to Action| 9

appropriate memorial ceremonies and commemorative iii. Developing and implementing a national heritage markers to honour the deceased children. plan and strategy for commemorating residential school sites, the history and legacy of residential 76. We call upon the parties engaged in the work of schools, and the contributions of Aboriginal peoples documenting, maintaining, commemorating, and to Canada’s history. protecting residential school cemeteries to adopt strategies in accordance with the following principles: 80. We call upon the federal government, in collaboration with Aboriginal peoples, to establish, as a statutory i. The Aboriginal community most affected shall lead holiday, a National Day for Truth and Reconciliation to the development of such strategies. honour Survivors, their families, and communities, and ii. Information shall be sought from residential school ensure that public commemoration of the history and Survivors and other Knowledge Keepers in the legacy of residential schools remains a vital component development of such strategies. of the reconciliation process.

iii. Aboriginal protocols shall be respected before 81. We call upon the federal government, in collaboration any potentially invasive technical inspection and with Survivors and their organizations, and other parties investigation of a cemetery site. to the Settlement Agreement, to commission and install a publicly accessible, highly visible, Residential Schools National Centre for Truth and Reconciliation National Monument in the city of Ottawa to honour 77. We call upon provincial, territorial, municipal, and Survivors and all the children who were lost to their community archives to work collaboratively with the families and communities. National Centre for Truth and Reconciliation to identify 82. We call upon provincial and territorial governments, in and collect copies of all records relevant to the history collaboration with Survivors and their organizations, and legacy of the residential school system, and to and other parties to the Settlement Agreement, to provide these to the National Centre for Truth and commission and install a publicly accessible, highly Reconciliation. visible, Residential Schools Monument in each capital 78. We call upon the Government of Canada to commit city to honour Survivors and all the children who were to making a funding contribution of $10 million over lost to their families and communities. seven years to the National Centre for Truth and 83. We call upon the Canada Council for the Arts to Reconciliation, plus an additional amount to assist establish, as a funding priority, a strategy for Indigenous communities to research and produce histories of and non-Indigenous artists to undertake collaborative their own residential school experience and their projects and produce works that contribute to the involvement in truth, healing, and reconciliation. reconciliation process. Commemoration Media and Reconciliation 79. We call upon the federal government, in collaboration 84. We call upon the federal government to restore and with Survivors, Aboriginal organizations, and the arts increase funding to the CBC/Radio-Canada, to enable community, to develop a reconciliation framework for Canada’s national public broadcaster to support Canadian heritage and commemoration. This would reconciliation, and be properly reflective of the diverse include, but not be limited to: cultures, languages, and perspectives of Aboriginal i. Amending the Historic Sites and Monuments Act to peoples, including, but not limited to: include First Nations, Inuit, and Métis representation i. Increasing Aboriginal programming, including on the Historic Sites and Monuments Board of Aboriginal-language speakers. Canada and its Secretariat. ii. Increasing equitable access for Aboriginal peoples ii. Revising the policies, criteria, and practices of the to jobs, leadership positions, and professional National Program of Historical Commemoration to development opportunities within the organization. integrate Indigenous history, heritage values, and memory practices into Canada’s national heritage iii. Continuing to provide dedicated news coverage and and history. online public information resources on issues of concern to Aboriginal peoples and all Canadians, 10 | Truth and Reconciliation Commission of Canada

including the history and legacy of residential cultures and traditional sporting activities of schools and the reconciliation process. Aboriginal peoples.

85. We call upon the Aboriginal Peoples Television ii. An elite athlete development program for Aboriginal Network, as an independent non-profit broadcaster with athletes. programming by, for, and about Aboriginal peoples, to iii. Programs for coaches, trainers, and sports officials support reconciliation, including but not limited to: that are culturally relevant for Aboriginal peoples. i. Continuing to provide leadership in programming iv. Anti-racism awareness and training programs. and organizational culture that reflects the diverse cultures, languages, and perspectives of Aboriginal 91. We call upon the officials and host countries of peoples. international sporting events such as the Olympics, Pan Am, and Commonwealth games to ensure that ii. Continuing to develop media initiatives that inform Indigenous peoples’ territorial protocols are respected, and educate the Canadian public, and connect and local Indigenous communities are engaged in all Aboriginal and non-Aboriginal Canadians. aspects of planning and participating in such events. 86. We call upon Canadian journalism programs and media schools to require education for all students on Business and Reconciliation the history of Aboriginal peoples, including the history 92. We call upon the corporate sector in Canada to and legacy of residential schools, the United Nations adopt the United Nations Declaration on the Rights of Declaration on the Rights of Indigenous Peoples, Treaties Indigenous Peoples as a reconciliation framework and to and Aboriginal rights, Indigenous law, and Aboriginal– apply its principles, norms, and standards to corporate Crown relations. policy and core operational activities involving Indigenous peoples and their lands and resources. This Sports and Reconciliation would include, but not be limited to, the following: 87. We call upon all levels of government, in collaboration i. Commit to meaningful consultation, building with Aboriginal peoples, sports halls of fame, and other respectful relationships, and obtaining the free, relevant organizations, to provide public education that prior, and informed consent of Indigenous peoples tells the national story of Aboriginal athletes in history. before proceeding with economic development 88. We call upon all levels of government to take action to projects. ensure long-term Aboriginal athlete development and ii. Ensure that Aboriginal peoples have equitable growth, and continued support for the North American access to jobs, training, and education opportunities Indigenous Games, including funding to host the games in the corporate sector, and that Aboriginal and for provincial and territorial team preparation and communities gain long-term sustainable benefits travel. from economic development projects. 89. We call upon the federal government to amend the iii. Provide education for management and staff on the Physical Activity and Sport Act to support reconciliation history of Aboriginal peoples, including the history by ensuring that policies to promote physical activity as and legacy of residential schools, the United Nations a fundamental element of health and well-being, reduce Declaration on the Rights of Indigenous Peoples, barriers to sports participation, increase the pursuit of Treaties and Aboriginal rights, Indigenous law, and excellence in sport, and build capacity in the Canadian Aboriginal–Crown relations. This will require skills sport system, are inclusive of Aboriginal peoples. based training in intercultural competency, conflict 90. We call upon the federal government to ensure that resolution, human rights, and anti-racism. national sports policies, programs, and initiatives are inclusive of Aboriginal peoples, including, but not Newcomers to Canada limited to, establishing: 93. We call upon the federal government, in collaboration

i. In collaboration with provincial and territorial with the national Aboriginal organizations, to revise governments, stable funding for, and access to, the information kit for newcomers to Canada and its community sports programs that reflect the diverse citizenship test to reflect a more inclusive history of the diverse Aboriginal peoples of Canada, including Calls to Action| 11

information about the Treaties and the history of residential schools.

94. We call upon the Government of Canada to replace the Oath of Citizenship with the following:

I swear (or affirm) that I will be faithful and bear true allegiance to Her Majesty Queen Elizabeth II, Queen of Canada, Her Heirs and Successors, and that I will faithfully observe the laws of Canada including Treaties with Indigenous Peoples, and fulfill my duties as a Canadian citizen.

Truth and Reconciliation Commission of Canada

1500–360 Main Street Winnipeg, Manitoba R3C 3Z3 Telephone: (204) 984-5885 Toll Free: 1-888-872-5554 (1-888-TRC-5554) Fax: (204) 984-5915 E-mail: [email protected] Website: www.trc.ca The Ontario Culture Strategy Telling our stories, growing our economy Culture is everyday good living, a way of life, shared histories, values, beliefs, vitality, beauty, pride, play, sport, recreation, leisure, fashion, cultural industries, entertainment, live music, photography, publishing, architecture, civic spaces, art, design, interactive digital media, watching television, movies, learning, trying new things, language, books and magazines, crafts, humour, amateur and professional theatre, dance, opera, pow wows, maple syrup festivals, agricultural festivals, farmers’ markets, cultural institutions, museums, archives, historical societies, built heritage and cultural heritage landscapes, fishing, hunting and trapping, social interaction, social cohesion, citizen engagement, sustainability, the products of artists and entrepreneurs. Culture is tangible and intangible. Culture means good mental health, good relationships and enlarged spirits. Culture provides joy. Libraries are sanctuaries for many people. Food defines who we are and where we are from. Music is an essential part of human experience. Archaeology is very important to complement or fill gaps in the written record. Culture is the sharing of creative knowledge, skills and talents. It is volunteering, donating and working selflessly to build strong communities. Culture is bold. It is creativity and imagination. It is reflection and creative thinking. It is knowledge and understanding. It is innovation and technology. It is provocation and exploration of new ideas. Art must be democratic but must also go beyond consensus to be edgy and challenge us. Culture is an expression of our identity and history. It is an explanation and exploration of who we are. It is how we enjoy ourselves. It helps us understand where we live and presents Ontario to the rest of the world. It fosters awareness. It is our wilderness and our friendliness. Culture starts with gaining an accurate understanding of the historical accomplishments of African/ Black people. It is a community’s past, present and future. Culture is what unites Franco-Ontarians and reflects them back to themselves. It is a means of intergenerational transmission. Contents 4 Minister’s message

5 Culture Strategy Advisory Group

6 Ontario’s stories

9 Overview of the Culture Strategy

12 A vision for culture in Ontario

14 Goal 1: Promote cultural engagement and inclusion

18 Goal 2: Strengthen culture in communities

22 Goal 3: Fuel the creative economy

26 Goal 4: Promote the value of the arts throughout government

28 Moving forward

30 Endnotes

Kim Adams (Canadian b. 1951). Bruegel-Bosch Bus 1997-ongoing sculpture-installation 1960s Volkswagen bus, figurines, mixed media. Art Gallery of Hamilton. Acquired with the assistance of the York Wilson Endowment Award at The Canada Council for the Arts, and with funds from The E. Muriel Baker Estate, The Russell Nelson Eden Estate, and the Walter and Duncan Gordon Foundation, 2001. © Copyright Kim Adams.

Inside front and back covers: In our public engagement process, we asked people to describe culture. These are some of the words and phrases you used.

OntariO Culture Strategy • 3 Minister’s Arts and culture inspire us, bring us together and make our communities and economy stronger. They give us opportunities for self-expression and have the potential to transform message lives, especially for our children and youth.

In September 2015, the Ontario government set out to create the province’s first Culture Strategy, starting with a public engagement process, Culture Talks, to ask what culture means to you and your community. Through large town halls, small group discussions, meetings with Indigenous partners and communities, an online dialogue and written submissions, thousands of you shared your perspectives and priorities with us.

We heard clearly that culture matters deeply to Ontarians, that it is an essential part of individual and community well-being. We heard, too, that culture includes an almost limitless array of human experiences and expressions. Thank you for your tremendous response. Your input helped shape the Ontario Culture Strategy.

I would like to thank my colleague, the Honourable Michael Coteau, Minister of Children and Youth Services and the Minister Responsible for Anti-Racism, for his leadership of the public engagement process and the development of the Culture Strategy, as the former Minister of Tourism, Culture and Sport. Minister Coteau and I are grateful to the members of the Culture Strategy Advisory Group for their dedication, advice and valuable insights throughout the process of creating the Culture Strategy.

Ontario’s diversity, in both people and places, is one of our greatest strengths. We have unique urban, rural and Northern communities, and communities formed through shared origins, histories, lived experiences and languages. This diversity is reflected in our creative expressions and it is what makes arts and culture in Ontario distinct and remarkable.

Opportunities to experience arts and culture should be available to everyone, and our diverse voices should be heard and celebrated. The government of Ontario, our culture and tourism agencies, and many other dedicated organizations and individuals, including artists and volunteers, work hard every day in communities across Ontario to make sure this happens.

This Strategy builds on all of that work by focusing government support where it is needed most: to promote cultural engagement and inclusion, strengthen culture in communities, maximize the contributions of culture and creativity to our knowledge economy and promote the value of the arts throughout government.

I am excited to launch Ontario’s first Culture Strategy. We will continue the dialogue we began with Culture Talks as we move forward to implement the Strategy and strengthen the arts and culture sector for all Ontarians.

Honourable Eleanor McMahon Minister of Tourism, Culture and Sport

4 • OntariO Culture Strategy Culture Strategy Advisory Group We thank the members of our Culture Strategy Advisory Group for their dedication, advice and valuable insights throughout the process of creating the Ontario Culture Strategy.

Francisco Alvarez Randy Lennox Heritage Toronto Bell Media

Carole Beaulieu Tanya Matanda OCAD University Art Gallery of Ontario volunteer

Shirley Cheechoo Chris McDonald Weengushk Film Institute Hot Docs Canadian International Documentary Festival

Margaret Eaton Toronto Region Immigrant Mark Monahan Employment Council RBC Ottawa Bluesfest, CityFolk and the Festival of Small Halls

Shelley Falconer Art Gallery of Hamilton Tory Tronrud Thunder Bay Museum, Lakehead University and Ontario History Jim Fleck Business for the Arts Catherine Voyer-Léger Alliance culturelle de l’Ontario Georges Haroutiun Applied Arts magazine Nancy Webster Young People’s Theatre Jane Hilton Ontario Library Association Ron Williamson ASI (Archaeological and Cultural Rose Jacobson Heritage Services) and Museum Picasso PRO of Ontario Archaeology

OntariO Culture Strategy • 5 Ontario’s stories

The Global Savages Sunrise Ceremony on Wikwemikong Bay. Photo provided by Debajehmujig Storytellers.

Introduction Ontario’s stories are rooted in the rich We tell our stories through film and diversity of our landscapes and peoples. television, music and opera, visual arts and interdisciplinary arts, media arts and Our vast and varied landscape spans interactive digital media like video games more than a million square kilometres, and apps, theatre and dance, books and from Hudson Bay and the boreal forests magazines and crafts. of the Far North to the Great Lakes and deciduous forests of the south, and from We tell our stories through the architecture the Manitoba border in the west to the of the buildings and spaces we inhabit and banks of the Ottawa River in the east. that inspire us, the design that adds value to Ontario encompasses 444 municipalities just about everything we touch and use, and and is covered by 46 treaties and other the fashion we choose for function and style. agreements between First Nations Art galleries, museums, science centres, and the Crown. cultural centres, archives, historical societies, Ontario is home to over 13 million people: Friendship Centres and public libraries act Indigenous peoples with deep ties to as storehouses of knowledge and culture, the land and water; Francophones who telling our stories, giving us windows onto celebrated 400 years in Ontario in 2015; the world and bringing the world to us. disability and Deaf1 communities with We celebrate our stories together at pow specific cultural and linguistic identities; wows and Rendezvous events, historical people from many different ethno-cultural re-enactments and multi-sport games, backgrounds who strive to retain their through art and theatre in the park, at music languages and traditions; and many more and film festivals, cultural and multicultural diverse communities. We have all helped to festivals, food and agricultural festivals, and weave the fabric of today’s Ontario and our at annual events like Doors Open Ontario stories continue to evolve in exciting ways and Culture Days. as our population grows and changes. And all of this, of course, is only the Our stories are reflected in our languages, beginning. We tell our stories in many value systems, beliefs, cultural identities, other ways. traditions, and the food we lovingly prepare and share. They are embodied in artifacts, heritage buildings and places, cultural and natural landscapes, and in the land itself.

6 • OntariO Culture Strategy Culture matters to Ontarians From every corner of the province, in many In fall 2015, we began the process of different voices and in many different words, developing the Culture Strategy with an the overwhelming message we heard was extensive public engagement process. This that culture matters profoundly to Ontarians. was the first time Ontario had held such a far-reaching dialogue with individuals Culture enriches every and communities across the province and part of our lives with all culture sectors about the value Culture gives free flight to our imaginations, and significance of culture. Thousands of lifts our spirits, entertains us, gives us people participated through town halls, hope and inspires us in unexpected and written submissions and an interactive sometimes life-changing ways. It gives digital platform. We held smaller community shape, context and understanding to our conversations with Francophones, youth, experiences and the experiences of others. seniors, ethno-cultural communities, It can challenge us, ask difficult questions, newcomers, people with disabilities and make us wonder and motivate us to find people who are Deaf. We also held meetings answers. It reflects and re-imagines our with Indigenous partners and communities. world. Culture connects us and creates We reported back with “Culture Talks: community identity, cohesion, vibrancy A Summary of What We Heard from and prosperity. Ontarians.”2

3 As our public engagement process made What did we mean by “culture”? We neither clear, culture is a fundamental, organic and defined nor limited its meaning. We wanted vital part of our lives and our community life. to discover what it means to Ontarians and Many people spoke or wrote about culture their communities and we learned that it as a fourth pillar of community sustainability means many different and important things. and well-being, alongside social equity, The response was remarkable for both economic health and environmental volume and passion. On the inside front and responsibility.4 Participation in arts, culture back covers, we have collected some of the and recreation is an indicator of quality of hundreds of ways people defined culture life in the Canadian Index of Wellbeing.5 and described why it is important to them.

Art in the Moment gallery tour at the AGO. Photo by the Art Gallery of Ontario.

OntariO Culture Strategy • 7 Culture influences our well-being at all Heritage buildings and districts can revitalize stages of life. In the early years, at school, downtown cores and main streets, creating and through after-school and community- desirable neighbourhoods and supporting based arts and culture programs, local economic development. Reusing children develop creativity, cross-cultural buildings also cuts down on landfill waste, understanding and often a lifetime protects greenfield land and can reduce connection to arts and culture. Along with greenhouse gas emissions. One report techniques for self-expression, youth learn comparing buildings of equivalent size and collaboration, problem-solving, leadership, function found that building reuse almost and entrepreneurial and professional skills. always offers environmental savings over For at-risk youth especially, engagement in demolition and new construction.7 As arts and culture is linked to improved social architect Carl Elefante put it, “The greenest skills and higher academic achievement. building is…one that is already built.”8 Through the many learning opportunities Ontario’s outstanding cultural institutions, offered by individual artists, arts attractions, festivals and events infuse our organizations, galleries, museums, science communities and our province with energy centres, botanical gardens and public and vitality — and contribute to economic libraries, arts and cultural experiences development and tourism. Spending by support lifelong learning and help develop arts and culture tourists generates about the talent and skills of Ontarians of all ages. $3.9 billion in GDP and supports about A growing body of research also shows 61,000 jobs in the province.9 that opportunities to engage with arts Culture also supports the economy and culture build confidence and improve through direct and indirect job creation. physical and mental health, especially In 2014, culture contributed about for our seniors. $25.3 billion, or nearly four per cent, Ontario’s rich and diverse cultural heritage6 to Ontario’s GDP, supporting almost gives our communities identity and 280,000 jobs.10 Engagement in arts and character, and it enhances our sense of place culture is a catalyst for creative thinking and pride in where we live. Conserving our and innovation, and communities where cultural heritage reflects what we value arts and culture thrive attract creative, about our past, what we have learned from talented and skilled people to live and it and what we want future generations work there. These are essential qualities to know. Kingston’s limestone buildings, in the knowledge economy and vital to Windsor’s Walkerville, Cobalt’s mine Ontario’s future growth and prosperity. headframes and the Kinomaage-Waapkong (“The Teaching Rocks”) in Petroglyphs Provincial Park are just a few examples from across the province.

8 • OntariO Culture Strategy Overview of the Culture Strategy

The Gryphon Trio is joined by violist Paul Coletti for a performance at Koerner Hall during the Toronto Summer Music Festival. Photo by Peter Alberti.

Input into the Strategy The Culture Strategy reflects the input we received during our public engagement process, as well as research we undertook to gather information on culture in Ontario, investigate key trends affecting the sector and look at how jurisdictions around the world are responding to similar trends.11 Both the research and public input identified Ontario’s increasing diversity and digital technology as two of the greatest impacts on culture in Ontario, now and in the years to come. While we were developing the Strategy, the Truth and Reconciliation Commission Visit to the AGO through the Institute for Canadian Citizenship’s ‘Ahlan Canada’ program. of Canada released its final report, which Photo by Andrew Williamson Photography. shed light on the brutalities committed at residential schools and set out a path toward reconciliation for all Canadians.12 The report Ontario’s Commitment to Reconciliation Page 8: exposes the terrible truth that the residential with Indigenous Peoples is a plan for Publicity image for school system was specifically intended working with Indigenous partners to address Sampradaya Dance to destroy Indigenous identities and the legacy of residential schools, close gaps Creations for the cultures. In our discussions with Indigenous and remove barriers.13 The plan seeks to production of Prayoga staged at Meadowvale partners and communities, we learned create a culturally relevant and responsive Theatre in Mississauga. that reconnecting children and youth with justice system, support Indigenous cultures Photo by On Up their traditional cultures and languages is and reconcile relationships with Indigenous Photography. an urgent priority. The Journey Together: peoples.

OntariO Culture Strategy • 9 Walk Off The Earth performing at CityFolk in Ottawa. Photo by Steve Gerecke.

Ontario continues to work with the In April 2014, the Métis Nation of Ontario Chiefs of Ontario to address issues and the Government of Ontario renewed around Indigenous heritage and burial the Framework Agreement16 to advance sites in response to the report of the 2007 reconciliation between the Crown and the Ipperwash Inquiry.14 We also built on two Métis people through actions including other critical relationship agreements improving the well-being of Métis children, in developing the Culture Strategy. In families and communities. In charting our August 2015, the Chiefs of Ontario and the path forward, understanding and respect Government of Ontario signed an historic for Indigenous cultures will play a key role. Political Accord to guide the relationship between First Nations and the province. Guided by a vision and principles The Accord affirms that First Nations have Everything we do as we implement the an inherent right to self-government, that Culture Strategy will be guided by a vision the relationship between Ontario and First and principles. We invited feedback on Nations must be based upon respect for the vision and principles during our public this right and commits the parties to work engagement process and we are confident together on issues of mutual interest.15 that they reflect the values that are important to Ontarians.

10 • OntariO Culture Strategy Working toward four Building on the work of our overarching goals agencies and attractions The Culture Strategy sets out four Ontario’s agencies and attractions undertake overarching goals for the next five years: their own processes to respond to changes promote cultural engagement and inclusion, that affect their mandates. For example, two strengthen culture in communities, fuel the of our granting partners have completed creative economy and promote the value planning and redesign processes recently. of the arts throughout government. These The Ontario Arts Council, our principal goals reflect our commitment to removing conduit for support to artists and the barriers and increasing opportunities for broader arts sector, launched its new cultural participation. They also balance the strategic plan in 2014.17 The Ontario Trillium important social and economic benefits of Foundation introduced its new investment culture and reinforce the vital role artists and strategy in 2015, focusing on six action areas arts organizations play in communities, in to improve and enrich people’s lives.18 The the creative economy and in helping to build Culture Strategy builds on and complements a more inclusive society. Each goal includes these initiatives, as well as the business strategies and actions. planning work of all of our partner agencies. Photo provided by the Ontario Science Centre.

RBC Bluesfest in Ottawa. Culture and tourism agencies and attractions Photo by Steve Gerecke. Ontario’s culture and tourism agencies and attractions are centres of excellence and innovation. For residents and visitors, they offer opportunities for learning, recreation, enjoyment and entertainment.

• Art Gallery of Ontario • Ontario Science Centre • Fort William Historical Park • Ontario Tourism Marketing Partnership Corporation • Huronia Historical Parks • Ontario Trillium Foundation • McMichael Canadian Art Collection • Ottawa Convention Centre • Metro Toronto Convention Centre • Royal Botanical Gardens • Niagara Parks Commission • Royal Ontario Museum • Ontario Arts Council • Science North • Ontario Heritage Trust • Southern Ontario Library Service • Ontario Library Service - North • St. Lawrence Parks Commission • Ontario Media Development Corporation • Ontario Place Corporation

OntariO Culture Strategy • 11 A vision for culture in Ontario

An Ontario where every person has the opportunity for creative expression and cultural participation, and where the diversity of our stories and communities is reflected, valued and celebrated, now and as part of our legacy to future generations.

12 • OntariO Culture Strategy Principles to guide government support for culture

Creativity and innovation Culture exposes us to new ideas and inspires new ways of thinking. Support for culture should help to nourish and reward creativity, exploration, experimentation and innovation.

Quality of life and economic development Culture contributes significantly to both quality of life and economic development in Ontario. Support for culture should help to enrich our lives, strengthen and animate our communities and build a dynamic business environment in Ontario.

Diversity and inclusion Ontario’s rich diversity is one of our greatest strengths. We should all have the opportunity to participate in Ontario’s diverse cultural life, regardless of age, background, language, ability or where we live in the province. Support for culture should recognize people with disabilities and people who are Deaf as cultural and linguistic communities with unique identities, experiences and values.

Respect for Indigenous peoples Indigenous cultures, languages and heritage represent distinct identities, histories and ways of life. Ontario is committed to reconciliation by strengthening and transforming its relationship with Indigenous communities and by implementing changes that reflect Indigenous priorities.

Collaboration and partnerships The talents and contributions of many people and organizations make our culture sector strong and vibrant. Support for culture should encourage collaboration and partnerships among provincial ministries and agencies; municipal, provincial/ territorial, federal and Indigenous partners; not-for-profit arts and culture organizations; the private sector; and all communities and individuals.

Public value and accountability Government investment in culture should be guided by what Ontarians value and by what makes a positive difference in the lives of individuals and communities. This ministry, its agencies and the organizations we fund are accountable for achieving the best possible outcomes within available resources.

Backbone, Red Sky Performance. Photo by Rita Taylor.

OntariO Culture Strategy • 13 Goal 1: Promote cultural engagement and inclusion

Focus on removing barriers and increasing opportunities for cultural participation

Lead Storyteller and Cultural Elder from Debajehmujig Storytellers crossing the New Meuse river in Rotterdam, as The Global Savages bring their stories to Europe. Photo by Peter Van Beek.

14 • OntariO Culture Strategy Our first goal flows directly from our vision Active engagement with arts and culture for culture — an Ontario where every person has enormous benefits orf people of all has the opportunity for creative expression abilities and at all stages of life. During and cultural participation. Culture Talks, parents, educators and many others stressed the importance of In our engagement process, we heard from arts and culture in education, not only for members of some communities who still their intrinsic value but also for their role experience barriers to accessing culture in developing critical and creative thinking funding and to participating fully in the skills that support success in school, in life cultural life of our province, including and in the future workforce. The arts also people from Indigenous, Francophone, provide engaging and innovative ways to and ethno-cultural communities, people teach many other subjects, including with disabilities, people who are Deaf, and math and science. people living in rural and remote areas of the province. We need to do better at removing The Ministry of Education is an important barriers and increasing opportunities partner in providing opportunities for for everyone. cultural engagement for children and youth — from its guiding document for There are many inclusive practices that we early years curriculum development20 and can learn from and build on. The following its policy for French-language schools21 to are just a few examples from our agencies the provincial curriculum (Kindergarten and attractions to show the range of to Grade 12), which provides a foundation programs aimed at reaching out to and for appreciation of arts and culture, to including all of Ontario’s communities: the Pathways to Success program for • The Ontario Heritage Trust has created an high school students who want to build online gallery and educational resources careers in culture.22 The ministry’s renewed to promote greater understanding of vision for education promotes a learning Franco-Ontarian heritage. environment that respects and values Ontario’s cultural diversity, creating a • The Art Gallery of Ontario and the Royal space where diversity is recognized as a Ontario Museum have recently partnered contributor to success. In collaboration with the Institute for Canadian Citizenship with First Nations, Métis and Inuit to pilot their Ahlan welcome program communities and education partners, the which connects newcomers with cultural Ministry of Education is also developing a attractions, experiences and people 19 plan to incorporate Indigenous histories in their communities. and cultures into the mandatory public • Science North delivers science programs education curriculum.23 for Northern and Indigenous communities, including five remote communities it serves by chartered plane through a partnership with Northern Nishnawbe Education Council. • In 2015-16, the Ontario Arts Council established its first Deaf and Disability Arts Projects program to support projects by artists who are Deaf or who have a disability. • The McMichael Canadian Art Collection developed and shared its guide, “The Art of Inclusion,” a seven-step process for designing and delivering accessible programs in arts and culture organizations.

OntariO Culture Strategy • 15 Ontario’s agencies and attractions offer a We are also working on laying the wide range of programs to complement foundation for developing a more formal the school curriculum and programs. and lasting relationship with Indigenous The Ontario Arts Council supports arts communities to engage on a broad range programming and activities in school and of cultural interests and priorities. We community settings through its Artists in want to open up a meaningful dialogue Education, Aboriginal Artists in Schools, to explore together how we can support Artists in Residence (Education), and Arts Indigenous cultures, nourish cultural Education Projects and Organizations vitality and promote the contributions of programs. The Royal Ontario Museum’s Indigenous cultures to all Ontarians and Youth Cabinet brings together Indigenous the world. We also want to help facilitate and non-Indigenous youth to develop stronger relationships between Indigenous online museum content. The Southern communities and museums and other Ontario Library Service and Ontario Library culture organizations. Service — North coordinate Club Amick, This goal reflects our commitment to a book club for First Nation children inclusion with strategies to further reduce attending Kindergarten to Grade 6 in barriers and encourage greater participation Ontario’s remote communities. in culture by all communities, inspire the next Museums, galleries, public libraries and other generation, and strengthen our relationship arts and culture organizations also provide with Indigenous communities. engaging educational and intergenerational learning experiences, co-op placements, summer employment and volunteer opportunities for people of all ages. The availability of arts and culture activities helps to build age-friendly communities. For seniors, there is a strong connection between cultural engagement and general well-being and active living. Over the next two decades, Ontario will experience a large demographic shift, with the number of seniors expected to double by 2036.24 The Ontario government has been working with agencies, stakeholders, regions and municipalities to create initiatives to support older adults to remain active contributors to the cultural life of our communities. Dear Sudbury mural by Danielle Daniel. Photo by Danielle Daniel.

Strategy 1 Reduce barriers and encourage greater participation in culture

• Bring together Ontario government • Continue to support culture agencies, granting partners to share best practices organizations and other partners to and increase access and inclusion remove barriers for people with disabilities throughout the application and assessment and people who are Deaf to increase process, and ensure that representatives opportunities for creation and of communities who may face barriers participation in arts and culture. to accessing culture funding are actively • Identify and promote ways to increase involved in the discussions, including opportunities for Ontario’s seniors to Indigenous, Francophone and ethno- engage with arts and culture in their cultural communities, people with communities in many different ways, disabilities and people who are Deaf, and including as artists, mentors, volunteers people living in rural and remote areas. and participants.

16 • OntariO Culture Strategy Strategy 2 Inspire the next generation and help youth build careers in the culture sector

• Continue to identify and promote • Support youth cultural camps in opportunities for collaboration and Indigenous communities to build partnerships between the culture and leadership and promote awareness of education sectors to increase opportunities traditional knowledge and languages for participation in arts and culture and through daily hands-on activities. learning through the arts. • Develop a new fund to support publishers in creating curriculum-linked learning resources aimed at fostering the use of diverse Canadian content in schools. • Build new community partnerships to support high school students interested in further learning or exploring careers in arts and culture by offering more Specialist High Skills Major and co-op placements, dual credit programs and other opportunities available through the Ministry of Education’s Pathways to Success program. • Continue to support Ontario’s culture agencies, attractions and organizations in offering opportunities for children and On the set of the Canadian Film Centre’s short youth to engage with arts and culture film Oliver Bump’s Birthday, from director and in promoting youth engagement Jordan Canning. Photo by Krystina Pucci, in the heritage sector. provided by the Canadian Film Centre.

Strategy 3 Expected results

Strengthen our relationships • There will be fewer barriers with Indigenous to accessing culture funding. • People of all ages and communities and work abilities will have more opportunities to engage toward reconciliation with arts and culture. • Youth will have more • In collaboration with Indigenous peoples, establish an information and supports ongoing dialogue to address shared culture priorities, available to help them such as preservation of Indigenous cultural heritage pursue careers in the culture and languages and participation in all aspects of sector. Ontario’s cultural life. • There will be stronger • Help facilitate cross-cultural understanding between relationships between First Nations, Métis and Inuit communities and Indigenous communities, museums and other culture organizations to create the province and culture stronger relationships and partnerships. organizations to support • Provide an Indigenous Cultural Revitalization Fund to Indigenous culture priorities. support cultural activities in Indigenous communities, with the goals of revitalizing cultural practices, raising awareness of the vitality of Indigenous cultures in Ontario and promoting reconciliation.

OntariO Culture Strategy • 17 Goal 2: Strengthen culture in communities

Focus on strengthening community-based arts, culture and heritage

Converted heritage building, the Artscape Wychwood Barns community cultural hub. 18 • OntariO Culture Strategy Photo by Ted Chai Photography. This goal focuses on strengthening culture This goal complements the work of our where most of us experience it — close agencies by focusing on public libraries, to home, in our communities. The places First Nation public libraries and heritage we live are one type of community. Other organizations, which the ministry funds communities are formed by the bonds directly. It aims to build the capacity of all people share through history and identity. not-for-profit arts and culture organizations and to continue supporting the volunteers Municipalities are key partners in supporting who dedicate their time to sustaining culture. local arts, culture and heritage. Over the past decade, 69 municipalities, representing Our 265 public libraries and 45 First Nation nearly three-quarters of Ontario’s public libraries serve over 99 per cent of population, have developed cultural plans to Ontario’s population. They are supported integrate culture into local decision-making by the Southern Ontario Library Service and help achieve broader priorities like and Ontario Library Service - North, which creating jobs and promoting tourism. Some provide coordination, training and program First Nations and Métis communities have delivery. In addition to making printed and also identified and documented their cultural digital resources available, public libraries resources and developed cultural plans to have become essential spaces for access help preserve and revitalize their distinct to cultural experiences, technology and heritage and languages. community life. Libraries offer important services like education opportunities, Municipalities play a key role in preserving employment and small business support, our cultural heritage. Under the Ontario newcomer programs and access to Heritage Act, they designate properties or government information. areas that are of value to their communities to conserve them for future generations. Community museums, historical societies, Under provincial planning legislation, historic sites, archives and other heritage municipalities protect cultural heritage organizations conserve and promote and archaeological sites and must consider our cultural heritage through their the interests of Indigenous communities collections, interpretive displays and diverse in the process. programming. They act as research centres and community spaces for public education, Archaeological sites can include the remains dialogue and knowledge-sharing. Ontario of Indigenous settlements, battlefields has museums devoted to science and such as those from the War of 1812, pioneer technology, television, planes, trains, settlements and shipwrecks. More than fashion, textiles, shoes, canoes, dance, 80 per cent of Ontario’s archaeological sites theatre, sports and more. are Indigenous in origin and some sites are more than 10,000 years old. Archaeological artifacts like fragments of pottery and stone, arrowheads and pipes tell us a great deal about the lives of the people who left them behind. All of Ontario’s culture agencies support cultural vitality in communities through programs for all ages: the Ontario Trillium Foundation invests in community-based initiatives to enrich people’s lives through arts, culture and heritage; the Ontario Heritage Trust identifies, protects, renews and promotes Ontario’s heritage in all its forms — cultural and natural, tangible and intangible; and the Ontario Arts Council supports and nourishes professional artists and arts organizations in communities throughout the province. Its programs also focus on under-served or under-represented communities, including Northern, Indigenous and Francophone communities, youth, artists who are Deaf, artists with disabilities, and arts professionals of colour.25

Uncle Tom’s Cabin Historic Site. Photo provided by the Ontario Heritage Trust.

OntariO Culture Strategy • 19 This goal also recognizes that sharing and our understanding of Indigenous histories celebrating our diverse cultures enrich our and cultures and celebrate the vitality of lives, build cross-cultural understanding, Indigenous artistic expressions, including and encourage us to take pride in where modern Indigenous music and visual arts. we live and what we have accomplished Both Indigenous and non-Indigenous together. An example on a grand scale is the participants in our engagement process arts and culture festival that accompanied called for more opportunities to learn the 2015 Pan Am and Parapan Am Games. about and appreciate Indigenous cultures. Over 38 days, more than 1.4 million residents This goal builds on the work of our agencies and visitors participated in arts and culture and attractions and many other partners events, including music, theatre, dance, and organizations. Its strategies aim to visual arts and fashion. strengthen community-based culture Ontario’s culture and tourism attractions organizations, conserve and promote like the Art Gallery of Ontario, Huronia Ontario’s diverse cultural heritage, and Historical Parks and Fort William Historical connect people and communities through Park work with Indigenous partners to sharing and celebrating our diverse heritage deliver compelling programming for and cultures. residents and visitors. They help increase

Strategy 1 Help build strong community-based culture organizations

• Work with government partners and • Work with First Nation public libraries culture stakeholders to maximize the use to better understand their unique needs of public libraries, museums, galleries and and identify opportunities for responding other culture facilities as community hubs through improved supports. and explore opportunities to integrate • Review and update provincial funding arts and culture activities and spaces into programs for community museums and schools and other community facilities. heritage organizations to build capacity, • Review and update provincial funding strengthen leadership and support more programs for public libraries to build the diverse organizations. capacity of libraries serving rural and • Collaborate on the continued remote communities, improve digital implementation of the Ontario Volunteer services and support leadership and Action Plan26 and promote the Partnership innovation. Grant Program,27 which helps build the capacity of the not-for-profit sector, including arts and culture organizations.

Elgin Theatre. Photo by Peter Lusztyk. 20 • OntariO Culture Strategy Strategy 2 Conserve and promote Ontario’s diverse cultural heritage

• Help heritage property owners use clean, • Work with the Ministry of Government low carbon technologies, and enable the and Consumer Services and heritage province to develop and share expertise organizations to support local archives to on heritage and energy conservation, promote, preserve and facilitate access to by leveraging opportunities for energy Ontario’s diverse documentary memory efficiency improvements through Ontario’s for current and future generations. Climate Change Action Plan. • Work with Indigenous partners, • Provide online access to information archaeologists, museums and other about Ontario’s cultural heritage, including stakeholders to develop a framework to designated heritage properties and improve conservation of archaeological provincial heritage properties. artifacts so that current and future generations can learn about and • Develop additional tools to help understand our past. communities identify and protect their cultural heritage, including guidance on • Review the Standards and Guidelines cultural heritage landscapes, cultural for Consultant Archaeologists to reflect planning, and the interests of Indigenous the evolving practice of archaeology communities in conserving cultural in land use and development contexts, heritage, to support municipalities in including the engagement of Indigenous implementing the Provincial Policy communities and the care of artifacts. Statement (2014).28

Strategy 3 Connect people and communities by sharing and celebrating our diverse heritage and cultures

• Bring together culture and tourism • Celebrate Canada’s 150th anniversary with agencies and attractions and Indigenous special programming through our culture partners to increase public awareness and agencies, all year long, to highlight the understanding of Indigenous histories, important role of arts and culture in the rich cultural heritage, knowledge and ongoing history of our province and our country. contributions to arts and culture in Ontario. • Continue to engage with the • Collaborate with sport and recreation Government of Québec to facilitate partners to explore more opportunities and foster information exchanges, to integrate cultural engagement into work collaboratively on common issues community recreation and sport, and to and develop joint projects under the encourage cultural celebrations as a part Agreement for Cooperation on Culture of multi-sport games held in Ontario. between the Government of Ontario and the Government of Québec relating to the arts, cultural industries,29 public libraries and heritage.

Expected results • Funding will be targeted to support a greater diversity of organizations and • There will be more recognition and use of key priorities (e.g., digital services). public libraries and other culture facilities • Cultural heritage conservation will as community hubs. be more inclusive of Indigenous • Ontarians will gain greater understanding communities and perspectives. of cultural heritage conservation and there • Ontarians will be more aware of will be more tools to assist in conserving Indigenous contributions to arts Ontario’s unique cultural heritage. and culture in the province.

OntariO Culture Strategy • 21 Goal 3: Fuel the creative economy

Focus on maximizing the contributions of the creative economy to Ontario’s cultural vitality and economic prosperity

Members of Kobo Town perform at the opening night of Lulaworld in Toronto. Photo by Anna Encheva.

22 • OntariO Culture Strategy All parts of Ontario’s culture sector address the challenges and maximize the contribute to a strong creative economy: opportunities presented by a global digital professional artists; the cultural industries economy. Culture workers, whether they (including film and television production, are independent artists, entrepreneurs or interactive digital media, music recording leaders of arts and culture organizations, and performance, and book and magazine also need business skills to succeed in an publishing); the wider creative industries increasingly competitive arena. Ontario’s (like architecture, design, fashion, diversity is our key competitive strength advertising, broadcasting and industries and our cultural workforce must reflect our that support them); and Ontario’s cultural diversity by actively engaging members of institutions, organizations, galleries, science Indigenous, ethno-cultural and Deaf and centres, museums, heritage sites, festivals disability communities, as well as newcomers and events. to Ontario. Companies and workers in the creative Ontario is well positioned for success in economy develop, create, produce, this dynamic environment. The Ontario perform and present world-class work and Arts Council provides funding to Ontario’s compelling experiences, supply creative professional artists and arts organizations, services or fill supporting knowledge- supporting their contributions to the cultural based roles. Their economic impact vitality and economic prosperity of Ontario. resonates throughout the province in the Arts, culture and the creative industries thriving interactive digital media sector in are identified as a priority economic sector Southwestern Ontario, the vibrant fashion in the Growth Plan for Northern Ontario. district in Toronto, the award-winning theatre The Northern Ontario Heritage Fund community in Stratford and the growing Corporation30 provides funding to film and film and television production industry in television productions that create jobs and Sudbury. training opportunities for Northern residents. Some components of the creative The Ontario Media Development sector have a global reach, such as our Corporation (OMDC) provides business entrepreneurial Ontario Science Centre and development services and funding for Science North, which have been exporting growth for our cultural industries and their creative services and products for more seeks out investment opportunities for the than two decades. To build on our success, province. It acts as the hub of Ontario’s we need to remain competitive nationally creative economy, brokering international and grow the economic and cultural impact deals at OMDC’s International Financing of our creative sector internationally. Forum during the Toronto International Film Festival, supporting industry-led The creative economy is expected to initiatives like Interactive Ontario’s GameON: become even more important to Ontario’s Ventures, and Magazines Canada’s MagNet prosperity as we continue to shift from Conference, managing the Ontario Music a manufacturing and resource-based Office and Ontario Film Commission, economy to one dependent on knowledge and celebrating Ontario authors through and innovation. Digital content is constantly the annual Trillium Book Award and Prix evolving and introducing new possibilities, littéraire Trillium. Ontario also offers over such as augmented and virtual reality. Digital $400 million in cultural media tax credits to technology and distribution are creating new attract investment and jobs to our province opportunities for our artists and creative- and supports the wider creative industries sector entrepreneurs and transforming the through its broader economic agenda. traditional cultural industries. This goal builds on this support and on Ontario’s postsecondary, training and the work of many other partners and research institutions, like OCAD University, organizations. Its strategies focus on York University’s 3D Film Innovation making Ontario a culture leader, at home Consortium, the Canadian Film Centre, and and internationally, and on strengthening Sheridan College with its Screen Industries Ontario’s culture workforce. Research and Training Centre partnership, lead the way in responding to these changes by incubating cutting-edge technologies and developing exceptional creative talent. In the knowledge economy, people are Ontario’s most important resource. Now and for the future, we need a cultural workforce with the technical skills to

OntariO Culture Strategy • 23 On the set of the Canadian Film Centre’s feature film Molly Maxwell, from director Sara St. Onge. Photo provided by the Canadian Film Centre.

Strategy 1 Make Ontario a culture leader at home and internationally

• With the permanent Ontario Music Fund as - Explore the development of risk a foundation, continue to build Ontario as capital programs, designed with an a leading North American centre for music entertainment focus, that reflect the production and performance, as well as business models and rapid product spur music tourism by setting a vision and development cycles of the arts and directions to further the development of cultural industries. the Ontario Live Music Strategy. - Attract investment that increases Ontario’s • Continue to work with Ontario’s growing productivity, creativity and global interactive digital media companies to competitiveness in the culture sector. build a globally competitive industry that - Explore opportunities to strengthen can innovate and succeed in the next the use of design as a key competitive generation of interactive entertainment, advantage in the knowledge economy, for including video games, augmented example by promoting the application of and virtual reality, mobile content and design in manufacturing and technology. cross-platform storytelling. - Accelerate the creation and adoption • Establish a public/private film and television of new disruptive technologies31 to industry advisory panel to examine priority strengthen the culture sector’s role issues facing the industry and collaborate in the knowledge economy. on strategies to promote the growth, innovation and global expansion • Work with the Ministry of Infrastructure of Ontario’s film and television sector. and other ministries to inform the development of a long-term infrastructure • Help ensure Ontario’s competitiveness as a plan for Ontario to better understand and top production jurisdiction by modernizing work toward addressing the needs of the the suite of tax credits for screen-based culture sector. productions. • Collaborate with government partners • Seek opportunities to grow the culture and the tourism industry to identify sector within the framework of the opportunities to grow cultural tourism Business Growth Initiative by working in Ontario, including Francophone with partner ministries to foster innovation tourism and Indigenous-led tourism, and help scale up companies: and offer authentic and compelling - Explore the development of visitor experiences. entrepreneurship and commercialization • Continue to engage with the federal programs designed for the arts and government to help ensure the health cultural industries, including the of Ontario’s broadcasting and promotion of partnerships between production industries. firms and across sectors to share risk and maximize expertise.

24 • OntariO Culture Strategy Strategy 2 Strengthen Ontario’s culture workforce

• Develop a better understanding of the • Engage federal, provincial and territorial impact of the digital transformation on culture partners on strategies to improve culture and as a first step work with the socioeconomic status of artists and partners to organize a digital culture to improve support for culture-related symposium to bring together stakeholders infrastructure. from all culture sectors to share experiences and expertise, build capacity to address digital challenges and take advantage of new opportunities. • Increase awareness and uptake of the Canada-Ontario Job Grant32 among employers in the culture sector to assist them in developing their workforces through employer-led digital skills and other training. • Help ensure that Ontario’s culture workforce is positioned to succeed in the knowledge economy by creating opportunities to enhance technical and business skills training and foster learning opportunities for arts and culture sector students and workers, for example through experiential learning, including internships and mentorships, and other forms of professional and skills development. Selection of books shortlisted for the 2016 Trillium Book Award/Prix littéraire Trillium. • Explore ways for provincial and federal Photo by Andy Schoenhofer immigration programs to contribute and Rebecca Langstaff. to the growth and success of Ontario’s culture sector and eliminate barriers to the successful integration of cultural workers.

Expected results

• The Ontario government will develop mormoree effective tools to help our culture sector compete in the digital world. • There will be more opportunities forfor Ontario government/industry collaboration to drive cultural industry productivity, innovation and exports. • There will be better coordination throughoutthroughout the Ontario government to integrate the cultural industries into Ontario’s broader economic agenda. • More Ontarians will be equipped with the skills and knowledgeknowledge necessary to contribute to the creative economy. Virtual reality headset. Photo provided by the Canadian Film Centre.

OntariO Culture Strategy • 25 Goal 4: Promote the value of the arts throughout government

Focus on enhancing the profile of the arts sector across government for the benefit of the sector and all Ontarians

A Fuzion drawing workshop at Creative Works Studio, an Inner City Health Program of St. Michael’s Hospital. Photo by Marlena Zuber.

Jurisdictions around the world have • Both not-for-profit and commercial arts recognized that, in addition to their important organizations, including facilities such intrinsic value, the arts contribute to our as theatres, galleries and studios lives and our communities in many other • Community arts councils and service ways. Ontario has more than 58,000 and trade associations professional artists working in over 200 communities across the province. We will • Disciplines such as dance, literary arts, promote the contributions of artists and the music, theatre, visual arts, media arts, broader arts sector throughout the Ontario multidisciplinary arts, and new art forms government with an Arts Policy Framework. and practices often inspired by digital The Framework will build on the Status possibilities of Ontario’s Artists Act, which recognizes • A large supporting workforce, including artists’ invaluable contributions to Ontario’s technicians, administrators, fundraisers, economy, quality of life and sense of identity. marketers and many others Ontario’s diverse arts sector comprises: • Thousands of volunteers who assist arts organizations and provide leadership as • Professional and amateur artists, including board members Indigenous and Francophone artists, artists who are Deaf and artists with disabilities • Arts educators and educational institutions and organizations

26 • OntariO Culture Strategy One example of integrating the arts with other sectors is the Creative Engagement Fund to Stop Sexual Violence and Harassment in Ontario.33 The Ontario Women’s Directorate has partnered with the Ontario Arts Council to deliver the $2.25 million fund. Professional artists, not-for-profit community organizations and sexual violence experts are collaborating to address the issues at the heart of sexual violence and harassment. By stimulating discussion, transforming perspectives, and offering new tools to name and take action on sexual violence and harassment, the fund’s artistic projects will help us imagine a better and healthier future. These are three of the 11 successful applicants to Frank Gehry’s sculptural staircase at the AGO. date, announced in May 2016: Photo by the Art Gallery of Ontario. • FESFO (Fédération de la jeunesse franco- The Arts Policy Framework will help ontarienne) is leading a project called “It’s increase awareness within government of Never Okay for Franco-Ontarian Youth,” a the size, scope and diversity of Ontario’s multidisciplinary arts program to engage arts sector and of the many opportunities Franco-Ontarian youth in dialogue and available to integrate the arts into a range action on sexual violence and harassment. of policy and program areas. In turn, this • LAMPHEAD is delivering a youth-led video will create new opportunities for artists and animation project called “Get Consent” arts organizations to engage with other to explore the issue of consent and offer sectors. The Framework will also encourage youth in downtown Toronto practical skills and support government ministries and to make sure they have positive, healthy agencies to consider the needs and relationships. potential contributions of artists and arts organizations when they develop or review • The Institute for Research and policies and programs. Development on Inclusion and Society’s “Witness” project is exploring, through The Framework will provide a toolkit to all dance, video and theatre performances, Ontario ministries and agencies that will the stories of refugee women who have include facts about Ontario’s arts sector, experienced sexual violence. links to key sector organizations and associations, best practices and case studies, information on monitoring and measuring outcomes and links to additional resources.

Strategy Expected results Inspire greater • The Arts Policy Framework will be a catalyst for creative and innovative integration of integration of the the arts to advance Ontario’s social and economic objectives. arts into public • Awareness of Ontario’s diverse arts community will be increased within the policy and programs Ontario government and its agencies. • Develop an Arts Policy Framework • Ontario government ministries and in collaboration with Ontario’s culture agencies will have more tools to consider agencies, actively promote the the needs and contributions of artists Framework to government ministries and arts organizations in their and agencies and monitor how well it policies and programs. is working. • Artists and arts organizations will have new opportunities to engage with other sectors in government.

OntariO Culture Strategy • 27 Moving forward

Great Lake Swimmers perform as part of Live at Massey Hall. Photo provided by Massey Hall/Roy Thomson Hall.

Implementing the Culture Strategy with Indigenous partners and communities The Culture Strategy contains actions to and other levels of government, or policy guide the government’s support for culture and program development. Examples over the next five years. We can implement include developing a framework to improve some actions in the short term, within the conservation of archaeological artifacts next one to two years. Two examples are (Goal 2) and seeking opportunities to grow bringing together government granting the culture sector within the framework of partners to share best practices and increase the Business Growth Initiative (Goal 3). access and inclusion (Goal 1) and working In the next phase of this initiative, we will with First Nation public libraries to better develop a plan to guide the implementation understand their unique needs (Goal 2). of the Culture Strategy and track our Others actions will take longer because they progress in meeting its commitments. require more input from partner ministries, agencies and stakeholders, engagement

28 • OntariO Culture Strategy Measuring and reporting on progress as when we review funding programs and The expected results for each goal in the when we develop a framework to improve Culture Strategy provide a broad idea of conservation of archaeological artifacts. what we want to achieve. As we implement New avenues for in-depth discussion the Strategy, we will develop objectives that introduced in the Strategy include the are more specific, along with performance public/private advisory panel to examine measures for individual actions. In five years, priority issues facing the film and television we will publish a special progress report on industry and an ongoing dialogue with the implementation of the Culture Strategy. Indigenous communities to address This will allow us to take stock of what culture priorities. we have accomplished and what we still need to achieve. Opportunities to collaborate, learn, exchange ideas and share expertise are Our agencies undertake their own planning other important ways for us to continue processes to respond to changes and the dialogue and stimulate action. Culture emerging needs and set their courses for and tourism agencies and attractions and the future. The Ontario Arts Council’s “Vital Indigenous partners will explore ways to Arts and Public Value: A Blueprint for 2014- raise public awareness about Indigenous 2020” and the Ontario Trillium Foundation’s histories and contributions to arts and new investment strategy, mentioned earlier, culture and the digital symposium for are two examples. All provincial agencies the culture sector will focus on sharing report on their activities through business knowledge and strategies. plans, financial reports and annual reports. In addition, all agencies’ mandates undergo We learned a great deal through Culture review at least every seven years to ensure Talks. As we implement Ontario’s Culture that they are consistent with government Strategy, continuing the dialogue will assist priorities and policy objectives. us in achieving the goals Ontarians helped us set. We will engage a great many individuals, partners, organizations and communities Continuing the dialogue in that dialogue. By encouraging and The Culture Strategy public engagement facilitating broader collaboration and process began a conversation about partnerships, the Culture Strategy will the future of arts and culture in Ontario. be a catalyst for renewed creative and Implementation of the Strategy will establish economic energy in the culture sector new channels of communication to continue and in communities across Ontario. the dialogue. We will seek input from stakeholders and Indigenous partners about proposed changes at key implementation points, such

Children learning about the Jewish holiday, Purim. Photo provided by Bonnechere Union Public Library.

OntariO Culture Strategy • 29 Endnotes

1 The Canadian Hearing Society’s definition of “Culturally 16 Ontario. “Ontario and Métis Nation Renew Framework Deaf” refers to “individuals who identify with and Agreement.” April 17, 2014. participate in the language, culture and community of Deaf people, based on a sign language.” Canadian 17 Ontario Arts Council. “Vital Arts and Public Value: Hearing Society. Glossary of Terms. A Blueprint for 2014-2020.” 2014.

2 Ministry of Tourism, Culture and Sport. “Culture Talks: 18 Ontario Trillium Foundation. “What We Fund: A Summary of What We Heard from Ontarians.” Our Investment Strategy.” April 27, 2016. 19 Ahlan Canada. 3 In this document, we use “culture” or “arts and culture” to underscore that we are talking about culture in its 20 Ministry of Education. “How Does Learning Happen? broadest sense, including but not exclusively meaning Ontario’s Pedagogy for the Early Years.” 2014. The creative expressions related to cultural identity. The document endorses the value of the arts in supporting arts include craft, dance, literary arts, media arts, expression, identifying the arts as one of the four music, opera, theatre, visual arts and many creative foundational conditions necessary for children to combinations of these disciplines. grow and flourish.

4 Jon Hawkes. “The Fourth Pillar of Sustainability: Culture’s 21 Ministry of Education. “Politique d’aménagement essential role in public planning.” Cultural Development linguistique de l’Ontario pour l’éducation en langue Network (Vic). 2001. See also Sustainable Kingston. française.” 2004. This document is the Ministry of “Four Pillars of Sustainability.” Sustainable Kingston. Education’s distinct educational policy for Ontario’s French-language schools. 5 Canadian Index of Wellbeing. “How are Ontarians Really Doing? A Provincial Report on Ontario Wellbeing.” 22 Ministry of Education. “Specialist High Skills Major April 2014. Policy and Implementation Guide.” 2014. In 2016-17, the Specialist High Skills Major program is being 6 Cultural heritage includes built heritage, cultural heritage expanded to train students in skills identified as valuable landscapes, archaeology, museums and heritage in today’s economy, including innovative thinking, organizations. problem solving, creativity and entrepreneurship.

7 Preservation Green Lab. “The Greenest Building: 23 Ontario. “Ontario Implementing New Indigenous Training Quantifying the Environmental Value of Building and Education Requirements.” February 17, 2016. Reuse.” National Trust for Historical Preservation. 2011. 24 Ontario. Seniors. 8 Carl Elefante. “The Greenest Building Is…One That Is Already Built.” Forum Journal: The Journal of the 25 The Ontario Arts Council’s definition of “arts National Trust for Historic Preservation 21, no. 4 professionals of colour” is based on the Government (Summer 2007). of Canada’s definition of “visible minorities,” which is “persons, other than Aboriginal peoples, who are 9 Generated by the Ministry of Tourism, Culture and Sport non-Caucasian in race or non-white in colour.” from: Statistics Canada. Travel Survey of Residents of Canada, Summary Tables, 2012 and International Travel 26 Ontario. “Ontario’s Volunteer Action Plan.” Survey, Summary Tables, 2012. 27 Grants Ontario. 10 Statistics Canada. Provincial and Territorial Culture Indicators, 2010 - 2014. 28 Ministry of Municipal Affairs. “Land Use Planning: Provincial Policy Statement.” 2014. 11 Communications MDR. “Environmental Scan of the Culture Sector: Ontario Culture Strategy Background 29 Cultural industries include film and television production, Document.” Ministry of Tourism, Culture and Sport. 2016. interactive digital media (e.g., video games, apps), the music industry and book and magazine publishing. 12 Truth and Reconciliation Commission of Canada. “Honouring the Truth, Reconciling for the Future: 30 Ontario. Northern Ontario Heritage Fund Corporation. Summary of the Final Report of the Truth and Reconciliation Commission of Canada.” 2015. 31 A “disruptive technology” is an innovative product or process that displaces established technology and may 13 Ontario. “The Journey Together: Ontario’s Commitment challenge existing firms or create a completely new to Reconciliation with Indigenous Peoples.” industry.

14 Ipperwash Inquiry. Report of the Ipperwash Inquiry. 2007. 32 Ministry of Advanced Education and Skills Development. “Canada-Ontario Job Grant.” 15 Ontario. “First Nations, Ontario Sign Political Accord.” August 24, 2015. 33 Ontario Arts Council. Creative Engagement Fund.

30 • OntariO Culture Strategy Culture is passing on deep and rich cultural traditions, including folk culture practices and arts. It is teachings and customs. It is human and natural history. It is a healing component of life. It is processing the past and creating a new better future by admitting what is difficult from the past and moving toward healing. Culture is what differentiates somewhere from anywhere. It contributes to sense of place and state of mind. It makes places vibrant and unique. It is the cultural heritage of the community over time. It is key to city building and transformation. It is the strong ties that bind physical place to human experience and vice versa. Culture determines the success and greatness of societies. It is gathering and celebrating together as a community. Culture is the heart of a community. It is about family and friends. It is being able to participate freely, safely and joyously in family traditions. It is being able to participate freely in political discourse. It is a shared experience. It is a joyful community. Culture is our relationship with the environment. It is connection to the land, water, medicine, fish, food and everything we do. It is awareness of the natural environment. For Northern Indigenous communities, cultural heritage broadly reflects language, economy, spirituality and deeply personal relationships with landscapes. It is the core of contemporary communities who are struggling to survive in a rapidly changing world. Culture is inclusion. It is enriched by diversity. It is personal culture and heritage. It is ethnicity. It is multiculturalism. It is how we connect with and learn about one another. Culture is the telling of our stories, and the listening to others’ stories and finding points of intersection, commonalities and the universalities of the human spirit and the human endeavour. Culture should not be understood as the stories we tell, but the relationships we have. Culture means something different to every Ontarian. The way that each and every Ontarian lives their day-to-day life defines part of our culture. Culture presents a vision of human experience. It provides hope and a sense of belonging. It allows us to dream of the future. Cover art • Nightless Night by Lora Northway

Lora Northway is an exhibiting artist, arts educator and curator in Thunder Bay, Ontario. She received her Honours Bachelor of Fine Arts from Lakehead University and a Certificate in Arts Education from York University. Inspired by her family’s immigration to Canada in 1901, her stylistic references include Finnish textiles, pattern and myth, with a local and contemporary vernacular.

Alongside her studio practice, she is a co-coordinator for Definitely Superior Artist-Run Centre (Premier’s Award for Excellence in the Arts winner), founder of the Die Active Art Collective, Neechee Studio Indigenous Youth Collective, and co-founder of inVISIBLEink LGBTQ youth collective. She has received numerous awards and grants, including the Ontario Arts Council Emerging Artist and Northern Arts grants. She also developed and delivered a conference on “Youth Arts Thunder Bay artist Lora Northway working on her Engagement in the North” for 25 Indigenous youth leaders mixed media painting Nightless Night, 2014 © copyright. Photo by Dee Laroque. from Northern communities.

Ministry of Tourism, Culture and Sport 9th Floor, Hearst Block 900 Bay Street Toronto, Ontario M7A 2E1 Tel: 416-326-9326 Toll Free: 1-888-997-9015 Fax: 416-314-7854

© Queen’s Printer for Ontario, 2016

Disponible en français. Available in alternative formats.

ISBN 978-1-4606-8228-9 (Print) ISBN 978-1-4606-8229-6 (HTML) ISBN 978-1-4606-8230-2 (PDF) Ministry of Tourism, Ministère du Tourisme, Culture and Sport de la Culture et du Sport

Minister Ministre

9th Floor, Hearst Block 9e étage, édifice Hearst 900 Bay Street 900, rue Bay Toronto, ON M7A 2E1 Toronto (Ontario) M7A 2E1 Tel: 416 326-9326 Tél. : 416 326-9326

Good afternoon,

I am pleased to announce that our government is investing $6 million over three years into the Ontario Cultural Attractions Fund (OCAF) to continue to grow cultural tourism in Ontario.

This continued funding, beginning this year, will support arts and cultural organizations to develop, promote, and present unique events and exhibitions that bring visitors to communities across the province. The investment aligns with the goals of Ontario’s Culture Strategy, which our government launched in July 2016.

We understand the importance of cultural tourism as a strong economic driver for Ontario communities that generates tourism revenues and jobs. Last month, we announced support for 36 art and cultural events taking place this spring and summer, including the opening of the Museum of Contemporary Art (MOCA) in Toronto, the Summer Solstice Indigenous Festival in Ottawa, and the Northern Lights Festival Boréal in Sudbury.

Through our ongoing commitment to art and cultural organizations, we will continue to showcase our vibrant cultural sector, create jobs, build local economies, and attract visitors from around the world to discover Ontario.

With kind regards,

Daiene Vernile Minister of Tourism, Culture and Sport

CULTURAL PLANNINGA PARTNERSHIP TOOLKIT BETWEEN 2010 LEGACIES NOW & CREATIVE CITY NETWORK OF CANADA 2010 Legacies Now gratefully acknowledges the Province of British Columbia for its ongoing support of initiatives like the Cultural Planing Toolkit “ Planning is critical to success in every facet of our lives. Cultural planning offers an opportunity for communities to create a roadmap unique to their needs, aspirations and strengths. By planning strategically, local governments and arts groups can work together to integrate arts and culture more fully into their community.” Honourable Stan Hagen, Minister of Tourism, Sport and the Arts

Using this Toolkit The publication is written for everyone, This toolkit is a guide for the process of whether directly or tangentially Culturalcultural planning in aPlanning community. It includes Toolkit involved in both cultural and community an adaptable model and practical checklists planning, including: for navigating and charting progress. Background material and additional details • Community leaders and organizations are provided on a companion website. both within and outside the cultural sector itself; The toolkit has been developed to • Local government staff with responsibility encourage community leaders, planners for cultural or community services and and local government staff to explore the policy development; potential of cultural planning. In particular, • Elected council members – those with we hope to demonstrate how cultural economic development and business resources can support the delivery portfolios as well as those with cultural of a spectrum of community priorities. and heritage portfolios; and • Those in local government and its many partner organizations engaged in education, health, revitalization, environment, planning, community safety, transportation and other sectors to which cultural resources can make unique contributions. CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Using this Toolkit 21 Step 2: Information-Gathering and Research (4-6 months) Contents 21 Get organized 1 Cultural Planning: An Introduction 21 Align objectives with community goals 2 Cultural planning: A new lens to view community issues 22 Information Gathering Workshops 3 Different Types of Cultural Planning Projects 23 Develop a knowledge base 4 Key characteristics of successful cultural planning 23 Gather and analyze detailed information on the community’s 5 Language cultural resources: Cultural mapping 24 Step 3: Assessment and Analysis (2-3 months) 7 Cultural Planning: Before you Start 24 Review all the information 7 Read 24 Identify opportunities and issues 7 Ask questions and listen to others in your community 24 Step 4: Organization and Consultation (ongoing) 8 Build your partnerships and alliances 25 Community Priorities and the Potential Benefits 10 A Community Partnership Checklist of Cultural Resources 11 Learn about the decision-makers in your community 27 Step 5: Writing the Plan (1-2 months) 11 Research funding possibilities 27 Identify why culture is important 12 Checklist: Is Your Community Ready for Cultural Planning? 27 Draft the text of the plan based on the work so far 13 Before You Start... 27 Test the draft and adjust if required 28 Step 6: Public Consultation (2-3 months) 15 Cultural Planning: An Action Sequence 28 Step 7: Finalizing and Adoption (1-2 months) 16 Step 1: Preparation (2-3 months) 29 Step 8: Launch (1 month) 16 Leadership 29 Step 9: Implementation, Monitoring and Review (Ongoing) 16 What do you hope to achieve by the process? 30 Tips: Recommendations for Effective Cultural Planning 17 Who will be involved? 31 Implementation Strategies for Public-Sector Plans 17 Key players 17 Community consultation i Resources 18 Why consult? 19 Funding and timeframe v Appendix 20 Work Plan Example v Selecting and Hiring a Consultant

Cultural Planning: An Introduction

Cultural planning: Planning: A new lens to viewAn community Introduction issues Key characteristics of successful cultural planning Language

Cultural planning is a process of inclusive Cultural planning is a way of looking at community consultation and decision- all aspects of a community’s cultural Culturalmaking that helps local Planning: government identify Anlife Introduction as community assets. Cultural planning cultural resources and think strategically considers the increased and diversified about how these resources can help a benefits these assets could bring to community to achieve its civic goals. It is the community in the future, if planned for also a strategic approach that directly and strategically. Understanding culture and indirectly integrates the community’s cultural activity as resources for human and cultural resources into a wide range of local community development, rather than merely government planning activities. as cultural “products” to be subsidized because they are good for us, unlocks The term cultural planning is relatively new, possibilities of inestimable value. And when emerging out of Europe in the 1960s and our understanding of culture is inclusive and 1970s as cities and towns faced changing broader than the traditionally Eurocentric economies and demographics. As part vision of “high culture,” then we have of European urban regeneration strategies, increased the assets with which we can cultural planning integrated the arts into address civic goals. other aspects of local culture and into the texture and routines of daily life in the city. Today, communities around the world are actively engaged in cultural planning and nurturing cultural development.

Circus of Dreams, 2001 (Vancouver) Public Dreams Society

PAGE 1 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Cultural planning provides planning: a new or different • Combat social exclusion in the community lens for looking at the community, its issues • Combat the “geography of nowhere” Aand concerns.new Itlens provides a tofresh perspectiveview communityoutlook by providing designissues in finding ways to: opportunities to develop pride of place • Support community empowerment through community involvement and ownership of local community initiatives • Support democratic cultural policy by better understanding what people are doing and want to do • Support the development of partnerships • Commit to policy-making based on a solid research foundation • Improve and develop more programs and services in response to identified community needs • Improve communication and cooperation among arts and other groups Additional resources can be found at • Integrate culture into the larger www.creativcity.ca/toolkits community more effectively, increasing • Integrating Community and Cultural Planning • Evolving Local Government Planning Perspectives awareness of the potential of arts and cultural activity to contribute to community and economic development • Improve visibility of a community’s artists, cultural workers and organizations • Improve access to the arts and develop larger audiences • Improve cultural facilities • Sustain or increase levels of public and private funding for culture

PAGE 2 ComprehensiveDifferent detailed Types Community-wide of plan based on broadly defined understanding Culturalcultural plan Planningof culture Projects with integrated goals compiled through community consultation.

Framework cultural plan Community-wide plan based on a broadly defined understanding of culture, compiled through a process of community involvement to produce a framework of long range goals to guide more specific planning work in the future

Cultural plan with Community-wide plan with a specific focus, for example on the predominantly single arts sector alone discipline focus

Community cultural A comprehensive identification and analysis of a community’s assessment or cultural cultural resources and needs gathered through a broadly based mapping consultative/collaborative process. It is a critical early phase of any cultural planning process.

Specialized arts or Assessment with a specific focus, e.g., economic impact, feasibility cultural assessment study for fundraising campaign or facility development, cultural tourism potential

Specific issue plan Community-wide plan focused on a single issue, e.g., access and diversity

Specific district Plan with integrated goals for only one geographic portion of cultural plan a community (e.g. inner city or neighbourhood)

Cultural component of Arts and/or heritage and/or culture are integrated vertically as municipal or regional one part of a city or master plan, e.g., a section or chapter of the general plan - vertical plan is dedicated to arts, culture, heritage, etc.

Cultural component of Arts and/or heritage and/or culture are integrated horizontally a municipal or regional across a city or master plan, e.g., each division of local government general plan - horizontal considers arts, culture, heritage, etc. as a resource to help achieve their goals

Adapted from Dreeszen (1997).

PAGE 3 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Cultural planning is wide-ranging, fluid and • Community development approaches situational.Key characteristics People may understand it as of like consensus building, roundtables and successfulboth a compact, component cultural strategy and a planningforums from the ground up grand vision. Its features can change as a • A process of broadly-based community project or conversation progresses, growing involvement and collaboration broader and more inclusive or narrower and that includes a representation of the more specific. Nonetheless, the most community and its cultural sectors, successful cultural planning initiatives share neighbourhood citizens, elected officials key characteristics and values. and other community leaders • An emphasis on identity, place-making, • A local definition of culture that focuses community pride and heritage on more than just Eurocentric, arts-based activities and heritage • Inclusion of those living and experiencing the social issues under consideration, • Artistic values and cultural meanings from the outset of the process itself and that are negotiated between cultural in the proposed outcomes practitioners and the audience or community, rather than defined or • Access (physical access and affordability) prescribed by arts producers, institutions to the process itself and to the and authorities alone proposed outcomes • An understanding of culture and cultural • Representation of diverse communities development as resources for human within the larger community, as defined development within a broader goal of by ethnicity, sexual orientation and societal improvement socio-economic status, from the outset of the process itself and in the • A focus on cultural resources and proposed outcomes how they can be mobilized to help a community achieve civic goals • Links between the various cultural agencies, local government and the • A focus on building networks, community relationships and partnerships rather than facilities

PAGE 4 Cultural planning is a dynamic and emergent Culture is what counts as culture to practice. New concepts are challenging the people involved – the shared beliefs, Languageassumptions and long-accepted vocabulary, customs, rituals and values of a people words can mean very different things in a given place and at a given time. to different people, and there are an infinite “The most important aspect ... is the process number of nuanced perceptions of culture. you use in order to arrive at a definition – the discussion, the debate, the expression of Respecting and valuing diverse diverse views of how people perceive culture, experiences and providing the opportunity and the inevitable controversies that arise. for respectful discourse is a key principle Culture is the sum total of the discussion of the cultural planning process, beginning about how people understand culture in their with an understanding of terms such own communities.” Palmer (2002) as culture, arrived at through discussion. The definitions here are provided as a Cultural resources are all the basis for understanding the information institutions, activities and people in this toolkit and as a starting point in a community through which we express for conversation. They are not meant to our shared beliefs, customs, rituals and be prescriptive or all-encompassing. values: the libraries, historical societies, museums, galleries, symphony orchestras, theatres, public parks, community groups, First Nations and ethnic associations, training institutions, sports organizations, colleges and schools, artists, musicians, performers, writers and more ...

Cultural planning is a process of inclusive community consultation and decision-making that helps local government to identify cultural resources and to think strategically about how these resources can help a community to achieve its civic goals.

next page: St. John’s: Mural by youth in downtown St. John’s Photo: Montgomery Hall

PAGE 5 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

PAGE 6 Cultural Planning: Before you Start

CulturalRead Planning: Before you Start Ask questions and listen to others in your community Build your partnerships and alliances Learn about the decision-makers in your community Research funding possibilities

ReadImmerse yourself in articles and other resources about cultural planning (see Resources). You may also find itAdditional helpful resources tocan be look found at www.creativcity.ca/toolkitsat other communities’ cultural plans. • Cultural Planning in Canada: Selected City Profiles • Bibliography on Cultural Planning

Ask What are questions the issues that are important and listen Find out to what reportsothers and plans have to people in the community? To cultural already been prepared, and their status ingroups? your To artists? community To parents, seniors (have they been acted upon?). and teenagers? Identify the players: elected officials, What work has already been done in the municipal staff, library staff, community way of cultural, First Nations, arts and leaders and staff members of volunteer- heritage development? Who were and run organizations such as art galleries, are the key players? Talk to them to find museums, historical societies, dance out what they accomplished and how studios, and theatre groups … to start they did it. Acknowledge the work these the list. people have already done.

Nanaimo Banner Festival Lianne Moors, Artist Photo: Nanaimo Art Gallery

PAGE 7 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Successful partnerships are built and sustained on a foundation Buildof trust, mutualyour respect partnerships and collaboration and – this alliances doesn’t happen overnight. Successful partnerships emerge from action, rather than rhetoric, and take time to mature.

PAGE 8 Victoria Trackside Gallery Construction Photo: Victoria Trackside Gallery Archives

Developing partnerships is an essential • Encourage all bodies to broaden their element of cultural planning. A wide-ranging role and function in response to wider and strong cultural partnership can: community needs and aspirations, working alongside local government • Support government policy in • Help offset any loss of influence or lack encouraging a wider community of recognition of cultural services leadership function for local governments provided by a local government alone • Help bring together the diverse cultural • Deliver a reinvigorated platform from sector spread across the public, private, which to further develop relationships not-for-profit and community sectors with the voluntary and community sectors • Involve every organization that contributes • Offer a basis for drawing in and involving significantly to the community’s quality local government departments and of life and cultural well-being organizations not engaged in cultural • Help bring the private sector into the activities and whose work affects quality process (increasingly, business provides of life and community well-being facilities or services for the whole community – from health care to sports and leisure centres; it is frequently the driver of local economies, and it has a large employment base with Adapted from Creative Cultures (2004) cultural expectations)

A partnership is only fully effective when Develop personal contacts with key staff the partners identify a common purpose and board or committee members. Be and act upon it. There needs to be a sure their names are on your mailing lists tangible outcome, whether it’s securing and keep them informed. or providing funding, sharing facilities Ensure you have active representation or resources, joint planning and delivery on planning committees. of programs or advocacy on behalf Establish networks. Keeping in regular of culture and community well-being. contact with your supporters will make them feel connected to your cause Identify and encourage individuals and ready to act on your behalf. and organizations who may be potential partners. Designate cultural sector proponents as liaisons to key boards, councils, Discuss their interests with them and commissions or agencies so you know how they might be involved – what will what issues these bodies are facing be most practical and effective. as you embark on the cultural planning Be helpful to others. Demonstrate your process. Quite often, the solution organization’s commitment to the notion to a problem can be negotiated with of culture as an integral part of the sometimes unlikely partners, as long as community. If you help other agencies both parties know each others’ needs. and coalitions in their work, they Know how people will respond before you will likely be there when you need their ask them to get involved in your project. support for your planning. PAGE 9 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

A We Community have a common vision of what Partnership We have identified Checklist and located the the partners are working toward. resources that are needed. There are goals and objectives for We know who speaks for the partnership working together and we have identified and who will be the contact person for our desired common or shared outcomes. information about the project. We have discussed and established We have considered the need principles or values for how to behave for identification for the partnerships in the relationship. (e.g. a project name, a logo or We know who else should be involved some type of recognition) and for as partners or collaborators. the individual partners. We have figured out the give and get (i.e. We know how long the partnership what you are prepared to give and what will last and how it will end. you expect to get from working together). We have discussed joint evaluation and There is a written agreement so that know how it will happen, what will be everyone understands the commitment. assessed and who will do it. Roles and responsibilities are assigned and everyone knows who is doing what.

Source: Badham, Marnie, Frank, Flo, & Hemphill, Sue. (2006). Artist and Community Collaboration: A Toolkit for Community Projects. Regina/Prince Albert, Saskatchewan: Common Weal Community Arts.

PAGE 10 Find out which organizations, government What are the issues at the top of agenciesLearn and departmentsabout can theset policies, decision-makers their agendas? inmake decisionsyour or communitytake actions that could affect cultural development. This could Learn how each governing body works, include: your local MLA, mayor and council, how policies and decisions are made, the parks and recreation commission, and who or what influences the the school board and district staff, the city decision-makers. Find out about their planning department, the chamber of budget, planning cycles and timelines. commerce, the economic development commission and other community agencies.

Evaluate the potential for funding your • Which local government department planning process and the implementation would cultural planning fall under? What Researchof your plan: funding possibilitiesis the budget process and how do you apply for funds? • What are the other sources of potential funding? What are their criteria? Do they require matching funds? • What are the timeframes for applications to the different funding sources?

PAGE 11 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Checklist: Is Your Community Can you answer the question “What Is there support for the planning process Readydo you want tofor achieve Cultural by doing Planning?from the community’s cultural leaders? cultural planning now?” in a concise Is there a capable, willing agency, and persuasive manner? division or department with enough staff Do you have the appropriate political time and management capacity to act support? as administrative and fiscal agent for the Will planning participants reflect the planning process? community’s diversity? Do you have access to local research Are funds available and allocated and planning expertise? to pay the cost of planning? What Have there been positive community are the sources? experiences with planning? Will funds also be available and committed to implement planning recommendations? What will be the sources?

PAGE 12 Planning cannot guarantee the outcome than planning as if the future were pre- Beforeyou want. Instead You it can help Start you to achieve . . . determined, plan for flexibility. Plans that something integral to any future success: can’t be changed shouldn’t be written. readiness to face the challenges that chance presents. Rule number one for coping with PUT PLANNING IN ITS challenges is to do your homework and PLACE AND TIME. know what you are up against. Some groups don’t recognize that it takes time and effort to plan well. They want the PLANNING IS ONLY AS GOOD results, but aren’t able or willing to make AS THE INFORMATION ON the investment. They end up in the worst of WHICH IT IS BASED. both worlds: their ongoing work is set back Too often, groups rely on untested because they took time to plan without assumptions or hunches, erecting their thinking through the implications; and their plans on unsteady ground. Everyone “just too-rushed plans end up being half-baked knows” there’ll be no problem getting a ideas. Be realistic about what you can distributor for a video, or that it would be invest. Find a way to plan that suits your impossible to find funding for a new facility. available resources – time, energy, money. It’s the obvious things that everyone just knows that are most likely to trip you up. TOO MUCH OF A GOOD THING: If you’re going to plan, it’s worth the extra PLANNING CAN BECOME A time to test assumptions and hunches SUBSTITUTE FOR ACTION. against reality. Times have been hard for many non-profit organizations. One of the ironies of funding PLANNING ISN’T MAGIC: cutbacks in recent years is that it has YOU CAN’T ALWAYS GET sometimes been easier to obtain support WHAT YOU WANT. for planning than for programming. Frequently, organizations contemplating new initiatives, like a program, a facility, or staff WHAT GOES AROUND, COMES expansion, begin by writing the last page of AROUND: GROUPS CAN BE their plans. But the process of planning is BLINDSIDED BY THE ISSUES one of research and investigation. Planning THAT PLANNING REVEALS. is a tool that can help you decide whether When an organization takes on the task of to go forward, not just how. planning, everyone should be made aware that issues may arise that need talking ADAPTABLE BEATS through, and that there may be moments of OBDURATE, ANYTIME. heat, struggle, and even head-on collision. In contrast to a construction project, Your planning process should include the organization building is never complete; time, focus, and talent for the mediation like all life forms, an organization’s choices needed to resolve such conflicts, so you can are to continuously adapt or die. Rather turn to face the future as a team.

PAGE 13 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

BOILERPLATES AND COOKIE WRITING IT UP IN PLAN-SPEAK CUTTERS ARE THE WRONG RATHER THAN PLAIN LANGUAGE TOOLS FOR THIS JOB. UNDOES THE GOOD OF Some planners opt for a “model” approach: PLANNING. all dance companies are supposed to Sometimes organizations have great face-to- develop this way; here are the seven stages face planning experiences: good discussions, of museum development; follow the ten moments of profound insight. But feelings “best practices” of community arts councils. don’t last long: they need to be carried It’s not that other organizations’ experiences forward into action, guided by a written aren’t relevant to your own. Sometimes plan. Some planning documents are so they’re perfectly germane. But not often. vague, abstract and general, they’re useless Organizations, with the complexity and to the people who invested so much in diversity of their individual members, considering their futures. Put enough flesh deserve to find their own paths rather than on the bare bones of your plans to keep being pushed through an organizational the document alive and kicking, or it will be assembly line. buried in a drawer before the ink has dried.

Adapted from: Arlene Goldbard. (1999). The Pitfalls of Planning. National Endowment for the Arts – Lessons Learned: A Planning www.nea.gov/ Toolsite. For full text go to: resources/Lessons/GOLDBARD.HTML

Mural by youth in downtown St. John’s Photo: Montgomery Hall

PAGE 14 Cultural Planning: An Action Sequence

Cultural Planning: AnStep 1:Action Preparation Sequence (2-3 months) Step 2: Information-Gathering and Research (4-6 months) Step 3: Assessment and Analysis (2-3 months) Step 4: Organization and Consultation (ongoing) Step 5: Writing the Plan (1-2 months) Step 6: Public Consultation (2-3 months) Step 7: Finalizing and Adoption (1-2 months)

Step 8: Launch (1 month) Step 9: Implementation, Monitoring and Review (Ongoing) Tips: Recommendations for Effective Cultural Planning Implementation Strategies for Public-Sector Plans

There are many ways to approach cultural planning. We have developed a nine-step Culturalprocess with an estimated Planning: timeframe that An Action Sequence can serve as a starting point in developing a work plan. It has been developed from the perspective of a community organization working in partnership with local govern- ment, and may be adapted to meet the unique needs of your community.

Step Time frame 1. Preparation 2 – 3 months 2. Information-gathering and research 4 – 6 months 3. Assessment and analysis 2 – 3 months 4. Organization and consultation Ongoing 5. Writing the plan 1 – 2 months 6. Public consultation 2 – 3 months 7. Finalizing and adoption 1 – 2 months 8. Launch 1 month 9. Implementation, monitoring and review Ongoing

Production of a plan using this nine-step process should take from 13 to 20 months. A longer time could mean the project risks losing momentum. A shorter time could mean the project might suffer in terms of the quality and reliability of the information it is built upon, as well as the extent of community and local government ownership.

PAGE 15 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

(2-3 months) Leadership Leadership is the ability to persuade others Good and visionary leaders: Stepto want to work 1: togetherPreparation towards a shared vision. Kouzes & Pozner (1997) Leadership • Create a climate conducive to new can be situational or positional, that is, ideas and an environment in which leadership can be found in one person or experimentation is rewarded a group of people responding to a particular and encouraged through example need or situation, and they need not be • Take action to establish a common vision in a traditionally-described position that meets the needs of the community of leadership. The leadership for cultural • Provide clarity in defining standards planning often comes from within the or setting expectations, and focus on community. One organization or a group strategic and overarching issues of community leaders becomes the catalyst to which local government responds. • Open doors, drive things forward and inspire others • Speak up for culture within local government and the wider community • Secure resources and persuade others of the effectiveness of an integrated cultural program alongside other key priorities like education or community safety • Secure buy-in or commitment from across local government, its partners and stakeholders

Adapted from Creative Cultures (2004)

What do you hope to achieve by the process? Clarify reasons for planning. Determine the scale of the plan. Planning Discuss and agree upon a preliminary for the whole geographic jurisdiction meaning of the term culture in your of a municipality (or a region) will usually community. provide the most suitable framework for linking cultural development with other Determine the scope of the plan (decide municipal or regional activities, and for what to include and exclude, methods, balancing a range of issues and needs. external and internal linkages; establish cross sector links with the health sector, education, training and environmental services, and social agencies).

PAGE 16 Who will be involved? Gather cultural and civic leaders to discuss • At least one senior municipal staff person planning concept, methods, costs, benefits with the authority to champion the and feasibility. A range of different project and ensure that the cultural plan individuals should be involved from the is given priority as required beginning, including: • Community leaders from both within and beyond the cultural community – • Elected councillors – to ensure ownership to generate a broader understanding of of the planning process and the issues and opportunities across resulting plan the community

Key players Who will be actively involved in designing recreation commissions, as well as arts, and carrying out the planning process? heritage and other cultural organizations, agencies, artists and more. Identify the lead administrative agency, Make contact with the local government department or organization that will agency or department and other manage the planning and evaluate their public or private entities whose work is administrative capacity. Will a consultant community assessment or planning (e.g., be required or is staff available? district or regional planning department). Identify all the partners and stakeholders Secure endorsement from elected officials involved in the implementation of a for the planning process, and keep them cultural plan. This would include: the informed from the beginning – and before business community, major employers you go looking for financial support and unions, school boards, community or contributions. Ensure they are kept colleges and universities, social informed as the process gets underway. service agencies, libraries, parks and

Community consultation Community consultation is an essential part an understanding of the proposed plan of the cultural, as well as local government, and increases the likelihood of acceptance. planning process. Local government, as Who should be involved in consultations? the most accessible and responsive level In short, everyone and anyone who wants of government, is a community effort. to be: residents and resident associations, From the very start of a planning project, community groups (recreational, sports, a process for ongoing community validation arts and cultural, social, political, needs to be articulated and built into the environmental), youth, seniors, business/ work. This affords the community a chance economic developers, tourism, the media, to let the planning body know how well they multi-cultural groups, First Nations, have heard the concerns, issues, dreams and government organizations, schools, the aspirations of the community. It helps build marginalized and vulnerable, etc.

PAGE 17 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Why consult? • To ensure the public is aware of and There are a variety of ways to solicit public understands the issues directly affecting input. From the perspective of local them, specifically the consequences government, some of these are statutory of potential environmental, social and and part of the local government economic trends. governance structure, including public • To obtain advice from the public – using hearings required when making certain the skills and wisdom of the community decisions (especially around planning and for better problem solving and decision- land use) and volunteer advisory making as information and different committees and commissions. In addition, perspectives are considered through a many tools and techniques – both well collaborative thought process. established and state-of-the-art – can be used in the planning process: • To build consensus and community acceptance of the directions to be • Vision and strategy sessions pursued – buy-in. • Brainstorming, mind-mapping, • To ensure that information will be shared daydreaming, visualization, lateral thinking with as many people as possible and that • Idea fairs the material is pertinent to the issues • Computer simulations and scale models and reflects the concerns of the public. of plans • To incorporate public input into planning • Social and environmental impact analysis to achieve better implementation • Kitchen/coffee table discussions strategies and better use of resources. • Information kits – printed and electronic • Hotlines Consultation processes need to be • Discussion papers based on a number of principles – the • Poster competitions process should be inclusive, credible, • Information gathering workshops clear and flexible. The general approach • Study visits and field trips chosen depends on a range of situational • Seminars, workshops, forums, open considerations and strategic choices: houses, conferences, focus groups, study circles “ A broadly inclusive participatory style may be • Incentives and recognition preferable when planning partners come from • Training volunteer facilitators several different sectors and planning goals • Community events and cultural projects are emergent. A more technocratic style is • Surveys and opinion polls appropriate if goals are mandated and there • Displays and exhibits are few inter-sectoral partners, for example • Media releases, articles, events, briefings, to develop a civic facility management plan. and interviews The style used depends on the constraints • Establishing a store-front office that participants work with and what • Formal submissions they hope to achieve, as each model is useful • Citizen committees Rivkin-Fish (2002) • Stakeholder interviews for different things.”

PAGE 18 Funding and timeframe As the scope of the planning project takes shape, you will be able to determine the Develop a preliminary budget for potential cost. Depending on the scope and the planning process. scale of the work, the project could cost from $10,000 to $60,000. Identify sources of funding for the planning process and make applications. Fundraising is friend raising. Build Develop a detailed work plan: What work relationships with potential sources. These will be done, and by whom? agencies could be partners in your planning Develop a timeframe. When scheduling initiative, or perhaps support some of public consultation, work around summer the implementation projects recommended and Christmas holidays whenever through the planning process. A funding possible. plan for the project and for implementation Align the cultural planning processes needs to take into consideration in-kind and timetable to other council strategic as well as cash contributions from multiple planning activities (particularly the sources, including your municipality or management plan and budget) and to region and programs such as 2010 Legacies other funding application deadlines and Now’s Arts Now program (in British funding cycles. Columbia). Other possibilities include community foundations and agencies Start thinking about how the concerned with the economic, health or implementation plan will be funded. social sustainability of communities. Identifying and nurturing these prospects will take diligence and persistence but innovative sources of matching support can be found.

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xxxx xxxx xxxx xxxx xxxx xxxx xxxx xxxx xxxx xxxx xxxx xxxx

xxxx

Months Jan Feb Mar Apr May Jun July Aug Sept Oct Nov Dec Jan Feb Mar

ork P lan

Leadership achieve? hope to do you What Who will be involved? Consultation Community Partnerships goals with community Align objectives base a knowledge Develop Planning Action Sequence Cultural Work Plan Example Work M onth W 15 ACTIVITIES 1. Preparation and Timeframe Funding and Research Gathering 2. Information mapping Cultural and Analysis 3. Assessment all the information Review and issues Identify opportunities and Consultation 4. Organization officials + elected with community in touch Keep the Plan 5. Writing Draft the text of the plan based on the work so far on the work of the plan based the text Draft and adjust if required the draft Test 6. Second Consultation feedback/refine obtain public to the draft Make and Adoption Finalizing 7. 8. Launch and Review Monitoring 9. Implementation,

PAGE 20 Step 2: Information-Gathering(4-6 months) and Get organized Align objectives with Research community goals Consider the resources that are available Goals are often stated explicitly in existing and the expertise that will need to be local government official community, called upon. Identify and recruit regional or other plans. In smaller community leaders to serve on a steering communities, they may stem from relatively committee. They will guide activities informal public involvement processes. through the political and planning stage. Decide whether a consultant is needed Examine community goals to see and if so, for which part(s) of the work. how cultural strategies could help to achieve them. — If the decision is no, determine and document which department, agency or Develop explicit cultural development community organization will be goals that build on existing community responsible for which elements of the priorities. work plan. — If the decision is yes, issue a request for proposals and negotiate a contract with a consultant.

See Appendix A: Selecting and Hiring a Consultant

Alberta Centennial Initiative , St. John’s: Mural by youth in downtown St. John’s 2005 (Calgary), Public Dreams Society Photo: Montgomery Hall

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Various techniques and processes of Advertisements are placed in local media Informationinformation gathering will be usedGathering in cultural inviting Workshops interested members of the public to planning. There is always the need to participate. Ideally, workshop participation balance time and capacity with the need is fewer than 50 per session, enabling small to hear as many diverse and balanced voices breakout groups of 10 to 12 people. The as possible. workshops can be duplicated in different geographic areas or for discipline or sector- Facilitated information-gathering work- specific groups, as many times as needed. shops are a well-tested method of hearing first-hand the views and ideas of a wide The format for the workshops consists of range of key stakeholders and the public. a short introductory presentation followed They are an opportunity for all participants by discussion in the facilitated breakout to share information about cultural groups. To provide consistency and to resources in the region and about the ensure key issues are addressed, facilitators cultural planning process. use a Discussion Guide in each facilitated breakout session. As well, time is provided To ensure balanced representation at each for participants to raise “anything else.” workshop, personalized invitations are Each group reports out and comments and sent to representatives of a wide range of observations are recorded on flip charts. interests including, but not limited to: To put together a summary of each • Visual arts workshop, the information recorded from • Performing arts the breakout groups is combined. • Heritage As much as possible, the summaries • Recreation incorporate the actual words of the • Music organizations participants as recorded on the flip charts – • Historical societies organized under the key topics outlined • Adult training in the Discussion Guide and by issue raised, • Media arts but not edited. • Media (print, broadcast, online) • Literary arts Following this process, participation at • Business and tourism organizations a given workshop is balanced and diverse • Recreation departments in profile, and every participant, through • Libraries, schools and school districts their small, facilitated breakout group, • Colleges and universities has had the opportunity to have their • Ethnic, First Nations, neighbourhood opinions recorded. The summaries provide associations a comprehensive record of what was heard. • Local government (elected officials, staff and advisory bodies) • Other community groups

PAGE 22 Develop a knowledge base Gather and analyze detailed information on the Undertake a wide-ranging strategic scan community’s cultural of environmental, economic, social, resources: Cultural and cultural trends and developments in mapping the community. Cultural mapping is an identification of Review existing documents and gather a community’s cultural resources and an information about the community: analysis of needs gathered through a broadly based consultative/collaborative — Assemble key information on process. It is an effective tool to be used population, physical assets, cultural in a cultural planning process. assets and activities from sources such as the Canada Census, school data, The extent and detail of the mapping will recreation or historic preservation be determined by the scope of the planning studies, economic development reports, process and the resources and time social service studies, other plans, available. It could be a detailed process and so forth. involving any combination of methods — Gather profiles of public facilities such as: public information sessions, focus and cultural businesses, and information groups, public forums, invitations to on fixed heritage, moveable or material the public to submit briefs, or a detailed heritage, First Nations cultures, cultural questionnaire (administered by education and training resources, staff and volunteers or self-administered and cultural and environmental tourism. by participants). — Compile relevant policy and planning documents (local, regional, provincial). Staff, a consultant and/or volunteers Look for strategic links to culture and working under direction will be needed examples of where cultural activities have for the compilation of the information. already helped with improvements to community well-being. See the 2010 Legacies Now Cultural — Review the work of other bodies such Mapping Toolkit for detailed information as economic development commissions on cultural mapping and tourism agencies. Consider conducting specific studies such as: — Economic impact assessment — Economic strategies — Comparative analysis with other communities — Audience patterns — Volunteerism

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Step 3: (Assessment2-3 months) and Analysis Review all the information Identify opportunities and issues Quantitative: From the data collected, it is now possible Analyze numeric data (survey results) to identify themes reflecting the opinions with counts, averages of the participants and the community. This analysis will lead to identification of Identify patterns and clusters of data the key issues and priorities, and the Note most frequent responses development of cultural planning goals and Cross-tabulate findings (e.g., compare objectives. At the same time, this will help media habits of non-participants with identify performance indicators (a series those of arts-attendees) of measurable benchmarks indicating Do tests to determine the statistical progress that will eventually be incorporated significance of results into the implementation plan). Identify a few key issues for planning in Are the draft cultural planning goals an interim assessment report consistent with community goals? Are they realistic, and what are some of the Qualitative: cost and other resource implications? Identify patterns and themes in transcripts, interviews, focus groups and public meetings, and in narrative responses to open-ended survey questions Synthesize key information and issues

Keep in touch with your(ongoing community )and elected officials. Talk about the benefits of electedStep officials. 4: Once Organization the information an expandedand approachConsultation to cultural planning. about the cultural profile of the community Make sure elected officials have a chance has been gathered and draft planning to consider the potential benefits and how goals set, find opportunities for informal they relate to other community priorities. discussion amongst key stakeholders and

PAGE 24 TheCommunity items on our priority list asPriorities we hear and the Potential Benefitsthem from our residents: of Cultural Resources

• Create jobs in our community to replace • Talk to the folks who say we need to find those lost in the latest mill closure a new facility for the city museum because • Bring new corporate business to town the sports club thinks the old grain silo would be better used as rock climbing • Ensure the skilled employees needed for facility, and they are probably right a young film industry are trained and available when required • Talk to the other folks who insist we should first build a new multi-discipline • Rebuild our business core and support arts centre – who’s to know? the businesses located there • Find space for summer festivals that • Encourage new and innovative ideas, does not anger the neighbours at 10 p.m. organizations and businesses or alarm the environmentalists when • Revitalize the old section of town wildflowers are walked on – without displacing the people who • Find a way for community theatre groups live there now to access the perfectly good, under-used • Find a way to stabilize the operations of public school theatre our major heritage and arts organizations • Keep local facilities affordable for local • Invigorate our tarnished tourism appeal groups • Rebuild our pride in a unique community • Ensure kids have access to professional • Expand our community as a major cultural events education and training centre • Rid the downtown core of graffiti Relevant cultural planning will weave all • Find a solution to the problem of of these concerns into the process. skateboarders and drifters, whose presence can discourage visitors • Save heritage buildings under threat from the condo building boom

From conversations in communities throughout British Columbia

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PAGE 26 Royal Bank Opera House Doors Open Ontario, Port Hope, May 2004 Photo: Andrea Patterson, Tourism Coordinator, Municipality of Port Hope

(1-2 months) Identify why culture is important StepMaking a strong 5: case Writing for culture is an the Plan Identify current and potential links important element of a cultural plan. between cultural and community Identify and articulate its importance. Find development which can provide a firm ways to measure the impacts and outcomes basis for integration of cultural activity so that its contribution Produce a summary analysis of how can be recognized and measured. There are culture is already or could be linked to a number of ways to do this, such as: delivery of community priorities

Focus on any quality-of-life indicators Make use of existing data, research being used by your council, and organize and evidence your information to demonstrate what is Review best practices being achieved Include the views of other sectors and the public Creative Cultures (2004)

Draft the text of the plan based on the work so far Briefly summarize the planning process Weave together the recommendations of undertaken to develop the plan. the various task forces or consultant(s). Compile the key findings and issues Review this synthesis with the steering articulated through the research and committee and revise as required. consultations to date. Organize and Develop an implementation plan. This summarize this information to develop clear should include: a series of specific steps and concise arguments for supporting and that will be taken to ensure the plan gets implementing the cultural plan. implemented; the identification of the Organize a task force for each key issue body that will oversee implementation, to generate and evaluate solutions and monitor progress and provide leadership; options. Then, express these timelines and funding. recommendations and intentions as goals, Propose performance indicators objectives and items for action. (a series of measurable benchmarks Alternatively, the steering committee or that can indicate progress). consultants can make recommendations.

Test the draft and adjust if required A draft of the full plan should be reviewed stakeholders who will have been included by the steering committee prior to in the process to date. circulating more widely. Collect all comments and adjust the plan Next, it should be sent to elected as appropriate. Consult with the steering representatives and, where appropriate, committee as needed. partner agencies, opinion leaders and key Submit the revised plan to the steering committee for its endorsement. PAGE 27 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

(2-3 months) Make the draft plan public and begin Make the draft plan available to all Stepa second consultation6: Public stage to: Consultationorganizations that participated in the — Obtain feedback information-gathering phase, and publicize widely. — Refine and improve the plan Hold meetings with key stakeholders to — Remedy any gaps or errors discuss the draft and, through this — Give the public the opportunity to dialogue, determine if any final changes consider and understand the potential are required. benefit of an expanded approach to cultural planning for all members of the community — Help build an understanding of the proposed plan and increase the likelihood of community acceptance

Step(1-2 months 7: Finalizing) and Adoption Collate and analyze responses to the Prepare and release an executive summary. consultation draft and incorporate them Prepare a fundraising plan to implement into the plan where appropriate. the cultural plan. Present the final version to the steering committee and to elected representatives for adoption.

PAGE 28 (1 month) Organize a high-profile launch of the plan Send a copy of the plan to other Step(e.g., issue 8: a media Launch release, convene stakeholders and agencies with an a media conference, and celebrate the interest in its development and plan’s publication). implementation, including senior Present the plan to all organizations government culture departments affected, and encourage each to and agencies. formulate specific action plans to support its implementation. (Depending on how integrated the process has been to date, these sub-plans may already have been incorporated.)

Step 9: Implementation,(Ongoing Monitoring) Identify an agency or local government Ensure monitoring mechanisms are in department responsibleand for Review funding place to keep the strategy on course. development, overseeing implementation A plan that includes a series of and monitoring progress. measurable benchmarks provides a map Target simple, high visibility projects for the future that can indicate progress for implementation immediately after – How far have we come? What have we completion of the plan to help build accomplished? And what do we do next? momentum. The steering committee may be Maintain a live information base and reconvened annually to evaluate progress update both qualitative and quantitative and suggest course corrections. information, reviewing for implications any changes may have on the plan. Some communities may later conduct specific-issue plans (e.g., cultural facilities, cultural tourism, etc.).

PAGE 29 CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

• Consider multiple approaches to • Anticipate and take steps to manage Tplanning,ips: e.g., Recommendations use cultural assessment conflicts for (e.g., aroundEffective raised expectations and culturalCultural mapping methodologies Planning and inadequate implementation funding). as tools for analyzing local cultural life. • Attend early to funding the cultural • Take time to do the necessary plan’s implementation. pre-planning. • Identify at least short-term priorities • Recruit participants who are among planning goals. representative of the community’s • Build/ transform capacity within local diversity – be inclusive and engage the government – strengthen professional community directly in planning and skills and knowledge in municipal cultural decision-making. For example, experiment planning and decision-making. with community forums for collective • Reserve time, energy and funds for planning and decision-making aimed at the critical implementation stage. mobilizing and engaging a wide range of stakeholders. • Document the planning process in the published plan. • Embrace a broad definition and understanding of the community’s • Anticipate that cultural planning may cultural resources. inspire additional planning – recognize that this may be an ongoing process. • Budget consulting time. • Cultural planning should be encouraged • Give priority to collecting empirical with caution (outline associated risks, evidence that shows the benefits of e.g., increased expectations and cultural development to the community. inadequate resources, cultural/political • Integrate cultural planning into the local conflicts). government general planning process – cut across the silos. Adapted from Dreeszen (1997) • Anticipate increased expectations.

PAGE 30 • Document the planning process from the • Plan for the municipality or region to Implementationbeginning through to implementation Strategies and commission a formal evaluation of the forongoing Public-Sector evaluation. Plansplan two to five years after publication. • Name multiple, specific agencies charged • Seek authority to plan from elected with implementation of specific officials and submit resulting plans for outcomes. (This only works if the named inclusion in comprehensive plans such as agencies participate in the planning.) the local government master plan or • Identify a single, coordinating entity official community plan. charged with overseeing implementation. • Widely distribute a well-designed plan. In some cases, the coordinating agency is Describe goals in general terms and created to implement the plan. actively encourage individual groups and • Raise funds specifically dedicated to agencies to fulfill the plan as it serves implementation of the community plan. their interests. • Involve respected and representative community leaders in an inclusive process. • Reconvene the planning steering committee periodically to monitor implementation progress. The expectation of a public accounting for results can be a powerful incentive to act. Adapted from Dreezen (1999)

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PAGE 32 Resources

Resources

Companion website – Additional references www.creativecity.ca/toolkits The following articles and reports were ResourcesA companion website has been developed valuable references in the preparation for this Cultural Planning Toolkit to of this toolkit: offer additional background information. It includes material on: Assembly of BC Arts Councils. (2002). Community Arts Toolkit: A Practical Guide for • Evolving local government planning Community Arts and Other Small, Not-for- perspectives Profit Organizations. Parksville, BC: ABCAC. www.assemblybcartscouncils.ca • Integrating community and cultural planning Badham, Marnie, Frank, Flo, & Hemphill, • Cultural planning in Canada: selected Sue. (2006). Artist and Community city profiles Collaboration: A Toolkit for Community Projects. Regina/Prince Albert, SK: Common Weal Community Arts. Websites The following three websites will lead you to Baeker, Greg. (2002). Beyond Garrets and a variety of publications and articles: Silos: Concepts, Trends and Developments in Cultural Planning. Ottawa: Department www.creativecity. The Creative City Network of Canada’s of Canadian Heritage. ca/resources/making-the-case/ Centre of Expertise on Culture and MCPP-concepts-trends-developments.pdf Communities has developed an extensive bibliography on cultural planning: www.creativecity.ca/cecc Baeker, Greg, & Croteau, Marc. (2000, December). Urban Planning and Cultural National Endowment for the Arts Resources. Presentation at a Department Lessons Learned: A Planning Toolkit: of Canadian Heritage capacity building www.nea.gov/resources/Lessons/index.html workshop on arts and cultural policy development. Toronto: EUCLID Canada. Arts Now, a program of 2010 Legacies Now: www.2010legaciesnow.com Berridge, Joe. (2006). “The Creative City.” Plan Canada, 46(1).

Bianchini, Franco, & Parkinson, Michael. (Eds.). (1993). Cultural Policy and Regeneration: The West European Experience. Manchester, UK: Manchester University Press.

i CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Bianchini, Franco. (1991). Models of Dreeszen, Craig. (1999). Who’s on First? Cultural Policies and Planning in West Resolving Problems of Implementation in European Cities. Presentation at a cultural Public-Sector Planning. National Endowment www.nea.gov/ planning conference, Victoria, Australia. for the Arts – Lessons Learned. resources/Lessons/Dreeszen2.html Victoria: Engineering Publications.

Born, Paul. (2006, April 21). Recognizing Dreeszen, C., & Korza, P. (Eds.). (1994). Community Assets. Presentation at B.C. Fundamentals of Local Arts Management. Library Association conference. Burnaby, Amherst, MA: Arts Extension Service, http://tamarackcommunity.ca/ BC. University of Massachusetts. downloads/Recognizing_Community_ Assets.pdf Duxbury, Nancy. (2003, September). “Cultivating Creative Communities: A Cardinal, Donna. (1998). Changing Cultural Era for Canadian Cities.” Municipal Purposes of Municipal Cultural Policy. World. Presentation at Cultural Policies and Cultural Practices: Exploring Links between Fielding, Jeff, & Couture, Gerry. (1994). Culture and Social Change conference, “Reflections on the Profession.” Plan Ottawa. Ottawa: Canadian Cultural Research Canada, 75th Anniversary Edition. www.arts.uwaterloo.ca/ccm/ccrn/ Network. documents/colloq98_cardinal.html Garrett-Petts, W.F. (Ed.). (2005). The Small Cities Book. Vancouver: New Star Books. City of Port Philip (Australia). (2003).

City of Port Philip Arts Plan 2003-2006. Gibson, Lisanne. (2004). Port Phillip’s www.portphillip.vic.gov.au/attachments/ o7832.pdf Creative Class. Keynote speech at Recreating Urban Culture conference. Port

Phillip City Council, Melbourne, Australia. Creative Cultures. (2004). Leading the www.portphillip.vic.gov.au/understanding_ Good Life: Guidance on Integrating Cultural gentrification.html#L2 and Community Strategies. Produced for Department of Culture, Media, Goldbard, Arlene. (1999). The Pitfalls of and Sport, Local Government Team. Planning. National Endowment for the Arts www. www.nea.gov/resources/ Aberdeen, UK: Creative Cultures. – Lessons Learned. culturesouthwest.org.uk/downloads/file. Lessons/GOLDBARD.HTML asp?Filename=leading-the-good-life.pdf

Government of Canada. Department of Dreeszen, Craig. (1997). Community Cultural Infrastructure and Communities. (2005). Planning Handbook: A Guide for Community Integrated Community Sustainability Planning: Leaders. Washington, DC: Americans for the A Background Paper. Ottawa. Arts & the Arts Extension Service, University of Massachusetts.

ii Government of Canada. External Advisory Landry, Greg. (2004). “Measuring Committee on Cities and Communities Community Creativity.” Plan Canada, 44(2). (chaired by Mike Harcourt). (2006, June). From Restless Communities to Resilient Places: McNulty, Robert. (1992). Culture and Building a Stronger Future for All Canadians. Communities: The Arts in the Life of American Final report of the External Advisory Cities. Washington, DC: Partners for Livable www.livable.com Committee on Cities and Communities. Cities. Ottawa: Infrastructure Canada. McNulty, Robert, & Tam, Laura. (Eds.). Government of New South Wales (Australia). (2005). Mobilizing Arts and Cultural (2006). Cultural Planning Guidelines for Local Resources for Community Development. Government. Sydney/Nowra, New South Washington, DC: Partners for Livable www.livable.com Wales, Australia: NSW Ministry for the Arts Communities. www. and Department of Local Government. dlg.nsw.gov.au/Files/Information/CPG- Mercer, Colin. (2004, December). “From final.pdf Data to Wisdom: Building the Knowledge Base for Cultural Policy.” Insight, No. 3. Hall, Sir Peter. (2001). “Cities in Civilization: Amsterdam & Bucharest: Polices for Culture. www.policiesforculture.org/insight/ Culture, Innovation and Urban Order.” Plan org. Canada, 41(3). insight3_mercer.html

Hawkes, Jon. (2001). The Fourth Pillar of Municipalities of Maple Ridge & Pitt Sustainability: Culture’s Essential Role in Public Meadows, BC. (1996). Ridge Meadows Arts Planning. Melbourne, Australia: Cultural and Culture Policy and Plan. Maple Ridge/Pitt Development Network. Meadows, BC: Ridge Meadows Parks and Leisure & Ridge Meadows Arts Council. Healey, Patsy. (2003). “Editorial.” Planning Theory and Practice, 4(3), 245-247. Nicolai, Andrei. (2001). “The Twenty-First Century is Here: Is Anybody Home.” Plan Jacobs, Jane. (1961). The Death and Life of Canada, 41(1). Great American Cities. New York & Toronto: Random House. Oberlander, H. Peter. (Ed). (2006a). The Livable City. Vancouver working group Jamieson, Walter. (1994). “Canadian discussion paper. Prepared for World Urban Personal Planning: A Personal Potpourri.” Forum 3. Vancouver: Western Economic www.wd.gc.ca/ced/ Plan Canada, 75th Anniversary Edition. Diversification Canada. wuf/livable/1a_e.asp Kouzes, J., & Pozner, B. (1997). The Leadership Challenge. San Francisco: Jossey Bass. Oberlander, H. Peter. (Ed). (2006b). The Planning City. Vancouver working group discussion paper. Prepared for World Urban Forum 3. Vancouver: Western Economic www.wd.gc.ca/ced/ Diversification Canada. wuf/planning

iii CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Palmer, Robert. (2002, November). ‘What is Stevens, Louise K. (1987). Conducting a a Creative City?’ Keynote address at Community Cultural Assessment: A Work Kit. Creative City Network inaugural conference, Amherst, MA: The Arts Extension Service, Vancouver, BC. University of Massachusetts.

Rifkin-Fish, Ziggy. (2002). Cultural Policy, Stevens, Louise K. (1990). Developing a Planning Styles and Inter-Sectoral Logics: Strategic Cultural Plan: A Work Kit. Amherst, Community Planning in the U.S. MA: The Arts Extension Service, University Presentation at the CCRN Colloquium, of Massachusetts. Cultural Development in Canada’s Cities: Linking Research, Planning and Practice, Stevenson, Deborah. (2004). “Civic Gold Toronto, ON. Rush: Cultural Planning and the Politics of the Third Way.” International Journal of Sacco, Pier Luigi, & Blessi, Giorgio Tavano. Cultural Policy, 10(1). (2006). European Culture Capitals and Local Development Strategies: Comparing Stevenson, Deborah. (2005). “Cultural the Genoa 2004 and Lille 2004 Cases. Planning in Australia: Text and Contexts.” www.creativecity.ca/cecc/downloads/ Journal of Arts Management, Law, and Society, Sacco_TavanoBlessi.pdf 35(1), 36-48.

Sandercock, Leonie, & Attili, Giovanni. Union of British Columbia Municipalities. (2005, April). How Far Can/Should Planners (1997). Creative Connections: Arts and Go? A Planning Imagination for the 21st Culture in British Columbia Communities. Century. Planning Institute of British Victoria: UBCM. www. Columbia keynote address, Vancouver. pibc.bc.ca/05conf/index.html

Sandercock, Leonie. (1998). Towards Cosmopolis. London, UK: Wiley Publishing. Selwood, Sara. (2002, December 30). www.spiked- “Measuring culture.” Spiked. online.com/Articles/00000006DBAF.htm

iv Appendix

Appendix

Selecting and Hiring a Consultant Once you have determined that a • Budget and Cost – Ask for the number consultantAppendix will be needed A for at least part of hours and hourly rates for each of of the work, you will need to write and send the consultants assigned. Have them out a request for proposals (RFP) from include the cost for each phase, as well consultants interested in being hired for a as the maximum fee for this project. They project. The RFP provides basic information should identify personnel and non- about your organization and the cultural personnel items separately within the planning process you will undertake. The total budget. RFP should establish a general format • Resumes of Personnel – They should required for the proposals, which will allow provide resumes of each consultant who you to evaluate and compare consultants will work on the project, and detail their equally and efficiently. The following is a respective duties and responsibilities format for an RFP, which can be modified for this project. Ask for a summary of as required. relevant experiences from each of the consultants that shows they have worked RFP Sample Format on similar projects with similar agencies. Organization’s mission, programs, • References – Request a list of references services (who are you?) for each of the consultants assigned to the project. This list should briefly Background: the scope of the project and describe the scope of the work done for what you are looking for a consultant to do these references, the year each project was completed and a contact name and The problem or need: the reason for doing phone number for each one. the cultural planning at this time

Anticipated outcomes: what you want the Proposal Selection Criteria planning project to accomplish State the criteria by which proposals will be evaluated and compared. These criteria Proposal content: can include: clarity of proposal and work • Consultant or Firm – Ask for their name, plan, timeline, capability of establishing address, phone, fax, website and e-mail an effective working relationship with the address. client, experience with similar planning projects, budget and costs. • Anticipated Scope of Work and Time Frame – Ask the potential contractor to detail the activities, format, and time frame required to complete the required task. They should provide a timeline that includes each phase of the project, along with a description of expected time commitments of staff and volunteers.

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Timeline for Selecting Consultant Screening Potential Candidates Indicate deadlines for submission of First, eliminate proposals that are letters of proposals, and selection of the obviously unsuitable, i.e. those that show consultant. a lack of understanding of the problem, don’t provide the necessary information Proposal Submission or tend to ramble. Indicate name, address and phone number Then go through them again and look at of agency contact. the proposed actions. Look for strategies that will work in your community, with Offer as much useful information as your organization. possible so prospects can develop relevant From the remaining RFPs, look at proposals and accurate bids. At the same proposals that adequately meet your time, make sure your format won’t require needs. Make sure the respondent an excessive amount of time and work for understands what is expected. Both you the respondent. Remember that consultants and the consultant should have a clear are not paid for developing their proposals. picture of what the outcome of their work If your RFP entails a huge time commitment, will look like. it may deter qualified but busy prospects who simply don’t have the time to respond. Check to see if the consultant has given Ideally, create a format that allows your you a timeline for the anticipated work. prospects to answer in a two-or three-page Check the consultant’s references. Is he proposal. or she capable of delivering as promised? Is the person dependable? Asking for Remember that an RFP is not a request for samples of previous work is appropriate. conclusions from the consultant. Rather, the Cost is an important factor when hiring purpose of the proposal is to specify how a consultant, but don’t allow price to the consultant will approach the problem. eliminate a bid too quickly. You might be able to negotiate an acceptable fee Finding Consultants with the respondent when it comes to Once you’ve developed your RFP, compile a the interview. What you want to avoid mailing list of potential candidates for the is eliminating a good plan, maybe the job. Ask associates in other nonprofits and best plan, based solely on an estimate of at the municipality for recommendations cost. One way to avoid this negotiation and lists of consultants. Ask where you process is to include budget parameters should post or advertise the RFP. in the work statement. (Although, if you choose to state these parameters, expect the fee for services to equal the amount you have to spend.)

vi Meeting the Candidates During the Interview When the final few proposals are chosen Begin by outlining the project, then and you are ready to conduct interviews, ask how the consultant would proceed. consider that the consultant you choose Review your objectives. will be working with you for a number of If this is a consulting firm, ask if the months. You’ll want to take into account presenters will be the ones doing the applicant’s personality as well as the the work. proposal in the interview. Ask the consultant what they expect of you and what you can expect of them. Set the Interview Process with a team of two or three people: Evaluate the consultant’s personality and working style by observing: Define the process for evaluating How well they listen to what is consultants. being said Decide who will initiate the interview by What questions they ask outlining the situation. How well they analyze the situation Develop a list of questions and decide What solutions are presented and who will ask them. how realistic they are

Direct costs: Discuss Fee Estimates and Determine how to bill travel, Project Timelines long-distance phone and fax, subcontracted Be sure you and the consultant agree on services. the type of interim materials you will be Workplace: Where will the consultant expecting. You’ll want to get a commitment work? What administrative support, to staying on track with the project and equipment and supplies are expected? proof the work is done well. These terms Contract dates: Define when the contract should be specified in the agreement. Once begins and ends. Consider how the timeline you have conducted all your interviews and will be amended or extended. made your choice of consultants, you will Termination clause: Under what conditions want to write a letter of agreement or a can one or both parties walk away from the contract. Expect that agreement on price work before completion. The notification will take negotiating. requirement may be 30 days, 60 days or a shorter time period. If disputes arise, The Contract arbitration may be needed. A formal contract protects both parties from the common complaints of cost Rights to data: If proprietary information overruns and missed deadlines. is collected, determine conditions under This should include: which data can be used and who has access once work is completed. If confidentiality is Work plan: Tasks to be completed, involved, the consultant must be informed. outcomes expected, timetables Fees: Hourly or daily rate. Billing monthly, on completion, or retainer basis. Determine Adapted from various Internet resources. type of invoice required.

vii CULTURAL PLANNING TOOLKIT: A Partnership between 2010 Legacies Now and Creative City Network of Canada

Anne Russo Anne Russo wrote the 1997 UBCM publication Creative Connections: Arts and Culture in British Columbia Communities, which describes how municipalities of all sizes are successfully pursuing civic goals through their arts and cultural activities. The book has been a valuable introductory toolkit promoting the possibilities of cultural planning. She has collaborated with the Creative City Network on projects such as the Municipal Comparative Framework, documenting municipal support for cultural activity in over thirty Canadian municipalities, large and small. She has been involved in cultural planning on a broad scale, as the project manager for the 2002 Regional Arts Strategic Plan for the Capital Regional District and on a more intimate scale, leading collaborative planning exercises with community based arts organizations. She loves the diversity of experience to be found in the arts sector.

Diana Butler Diana has a BA in Urban and Economic Geography from UBC and MSc. in Urban and Regional Planning from the University of Toronto. Diana is a member of the Planning Institute of BC and the Canadian Institute of Planners. Diana served for eleven years on Oak Bay Municipal Council (6 as Mayor) and six years on the Capital Regional District Board, acquiring a solid and practical understanding and appreciation for the workings of local government and inter-jurisdictional/inter-governmental relationships. As Chair of the Greater Victoria Intermunicipal Committee, Diana, oversaw the development of the Arts Policy for Greater Victoria – the first for the region. Diana has worked at a senior level and a consultant with municipal, provincial and federal governments and many community/not-for-profit societies. She is a partner in Urban Aspects Consulting Group, undertaking many projects involving social and strategic planning, housing, the arts, (e.g. Arts Policy and Programming and the Capital Region and the CRD Regional Arts Strategy), governance, community and regional planning (e.g. several Official Community Plans). As a result, Diana has extensive knowledge of the organizational, programming, funding, policy, and strategic challenges facing the arts and arts organizations and their relationship to community planning. Diana has written numerous reports and articles and has been a presenter at UBCM and many other forums. For the past seven years, Diana has been on the Board of the Art Gallery of Greater Victoria, serving as President for two years.

2010 Legacies Now 2010 Legacies Now is a not-for-profit society that works in partnership with community organizations, non-government organizations (NGOs), the private sector and all levels of government to develop sustainable legacies in sport & recreation, arts, literacy, and volunteerism. 2010 Legacies Now actively assists communities discover and create unique and inclusive social and economic opportunities leading up to and beyond the 2010 Olympic and Paralympic Winter Games. For more information, visit www.2010LegaciesNow.com.

Creative City Network of Canada Transforming communities through culture The Creative City Network of Canada/Réseau des villes créatives du Canada is a national non-profit organization that operates as a knowledge-sharing, research, public education, and professional development resource in the field of local cultural policy, planning and practice. Through its work, the Creative City Network helps build the capacity of local cultural planning professionals – and by extension local governments – to nurture and support cultural development in their communities. By doing so, the Creative City Network aims to improve the operating climate and conditions for artists and arts and cultural organizations across the country, and the quality of life in Canadian communities of all sizes. The members of the Creative City Network are local governments across Canada. More information is available at www.creativecity.ca

400 - 1095 West Pender Street Vancouver, British Columbia V6e 2m6 Www.2010legaciesnow.com

This brochure is printed on 100% PCW manufactured entirely with wind energy and contains 100% post-consumer recycled fiber. This paper is certified by Green Seal. Cultural Statistics: Measuring Cultural Impact

Roundtable on Culture Statistics 16 February 2018 Daniel Fujiwara [email protected] Data measurement in the cultural sector (1)

• To date the impact and health of the cultural sector have very much been measured in economic terms.

• In turn, statistics and data in the cultural sector have focused on key objective economic indicators such as number of people employed, number of visitors, visitor expenditure etc.

• This type of data is generally relatively easy to collect but does not paint a full picture of the impact and dynamism of the cultural sector.

• Increasing interest globally in understanding the wider benefits of culture beyond just the economic impact (tourism, jobs, revenue etc). Data measurement in the cultural sector (2)

• Recent drives in the cultural sector in the UK and elsewhere (e.g. Australia) have focussed on understanding people’s subjective experiences when engaging with arts, culture and heritage.

• This allows us to understand the full benefits of culture for society in order to make well-informed public investment decisions in the arts, culture and heritage sectors.

• Wider impacts are now included in arts and culture business cases and investment appraisals in the UK. Static data on cultural engagement National data • In the UK and elsewhere a growing number of data sets contain data on wellbeing, life events and cultural engagement (e.g. Canadian General Social Survey (GSS)).

Impacts of sport and cultural engagement on likelihood of going into further education

Sport and cultural engagement and wellbeing (life satisfaction) Organisation level data: Natural History Museum

Happiness measured on a scale of 0-10 Darwin Centre

Free exhibition space Restaurant Fujiwara, Lawton, Mourato et al. (2015) Geo-location Linking national datasets with environmental and other data provides additional insight.

APS data General population Private housing Social housing Coefficient Coefficient Coefficient Daytime aircraft noise (>55db) -0.15 -0.09 -0.45 Night time aircraft noise (>50db) -0.1 N/A N/A Annual Population Survey. N=190,000

Fujiwara & Lawton (2016) Living with aircraft noise: Airport proximity, aviation noise and subjective wellbeing in England. Transport Research

APS data Coefficient Flooding event in past 6mths -0.04 Roadworks (<500m) -0.03 Annual Population Survey. N=265,000

Fujiwara & Keohane (2018). Handbook on Wellbeing, Happiness and the Environment. Edward Elgar Publishing Dynamic (real time) data on cultural engagement Experience Sampling Method (ESM) data • Smartphones and tablets collect momentary wellbeing data in real time.

• Data collected from visitors and staff at cultural institutions and heritage sites. • We can assess the impact of activities, weather, and location on wellbeing. • Requires data to be collected regularly from a large representative sample. Cultural activities

Happiness Relaxation Cultural institutions

Polygon with matched responses from the British Museum Neuroeconomics @ Nuit Blanche

Large-scale experiment with EEG based interface technology with 523 participants at Toronto Nuit Blanche art festival.

Participants of the experiment wore wireless EEG headsets and took part in an interactive art installation called "My Virtual Dream" (animations, artistic imagery and music).

Brain activity differed depending on whether the stage of the installation demanded concentration or relaxation from the participant.

Neurofeedback was also used to change the art and music in response to how the participants felt. The role of ‘non-users’ in the cultural sector Fujiwara, Lawton, Mourato et al. (2015) Contingent valuation study of visitors, road users, and UK general population for removal of A303 road from the Stonehenge World Heritage Site.

Sample Net Value Visitors £24,501,877 Use and non-use values for heritage, Road Users £49,145,539 visual amenity, and noise reduction Non-users £1,203,428,521 aspects of the scheme. Total £1,277,075,937 Values used in public consultation Stonehenge World Heritage Site for future road scheme. Fujiwara, Lawton, Mourato et al. (2016) www.simetrica.co.uk

Evolving Local Government Planning Perspectives

The changing role of local government Historically, provincial governments provided a list of things that local governments could do or could not do. More recently, the trend has been to grant local governments broad powers and more flexibility for deciding and providing services the community feels are needed – and this is where cultural planning fits in, as evidenced by a growing local government role in the development of arts, culture and heritage in Canada.

Local governments include cities, districts, towns, villages and regional bodies of all sizes from the very small to the very large. Under the Canadian Constitution, local governments are established and granted their powers (e.g., to create bylaws, budgets and undertake local services) by provincial governments, usually through the Municipal Act or Local Government Act.

Local government is often viewed as the level of government most accessible and closest to the public: it is located within the local community, providing opportunities for direct community involvement in its affairs; it provides many basic services that impact the health, safety and quality of life of its residents; and it has a significant role in determining how a community will develop and respond to changing circumstances.

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Influences on local government

Local governments are responding to a variety of forces and trends that are impacting communities and have had a ‘trickle down’ effect on community planning practices. These trends and forces set the stage for cultural planning, and include:

. An acceptance of Jane Jacobs’ view that “rational” and formulaic styles of planning, so much in vogue post-war, were heavy-handed and ultimately harmful to the health and vitality of cities – that what was needed instead was that planning should acknowledge and facilitate mixed land uses and diversity1 . A recognition that the community should be involved in the planning process – one of the most influential planning practice activities of the 1970s and 1980s was the rise in citizen participation, with public participation built into the planning process and fundamentally changing the role of planners, moving them out of the traditional, closed arena of technocratic and into a more open, political/advocacy one2 . A greater interest in the factors that impact the quality of life (e.g., social well-being and long-term economic prosperity) with an emphasis on community building, capacity building, social capital and livability held together by values such as interdependency, tolerance and respect . Significant non-European immigration changing the ’face’ of the city and presenting challenges for addressing diversity in all its cultural, social, spatial and political manifestations . The application of culture and heritage as key drivers in downtown revitalization and cultural tourism strategies . An emphasis on place-based planning (uniqueness and authenticity) that promotes community identity, pride and a sense of belonging and provides a competitive advantage for cities in attracting investment and new business . An interest in integration and comprehensiveness – ‘silo busting’ is a trend across Canada and abroad . The devolution of responsibility from senior levels of government forcing local government to examine traditional ways of doing business and delivering services . The emergence of cities as economic drivers and the changing nature of local economies (the emergence and marriage of the cultural/intellectual and technological economy focussed on creativity and innovation) . Globalization . The push towards sustainability for the planet, and in particular in human settlements . The cumulative effect of several decades of support for arts and cultural policies

In addition, local governments are recognized for “their increasing primacy as the crucibles of economic and social change … they have perhaps the greatest potential for creative innovation of any level.”3 This manifests itself in an interest in: • Recognizing that profound cultural differences in communities often shape both the content of community plans and the planning process itself • Promoting the connection between a vigorous arts and cultural life and economic and community health • Providing services and infrastructure using a creatively designed organization and management that emphasizes flexibility, innovation, risk-taking, collaboration and leadership

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The increased involvement by local government role in cultural planning is evident across Canada in communities of all sizes and in a variety of ways. Local governments participate both directly and indirectly in the cultural life of their community by improving the operating conditions and environment for local artists and cultural organizations, by building and enhancing their community’s opportunities for cultural expression and participation and by using their cultural resources as assets to help achieve the civic goals of an economic vital and healthy community.

While many municipalities have long histories of involvement in cultural planning, others have recently hired their first staff person with a mandate to address cultural issues and develop cultural policy for the community. Municipal cultural staff are located in a variety of departmental contexts, and typically work alone or in small teams. They come to this work from a wide variety of backgrounds. Some are specialists, while others have lengthy job descriptions where they are responsible for any and all municipal actions regarding cultural development, and still others have arts, culture or heritage included as one component among other responsibilities.4

New directions in community planning Urban/community development involves a multi-disciplinary ‘playing-field,’ one of whose key players is the planner. Just as local government has adapted and continues to adapt to changing circumstances and new realities, so has and is the planning profession. The inaugural meeting of the Town Planning Institute of Canada was held in 1919. Its roots were planted firmly in the British tradition, described as “the scientific and orderly disposition of land and buildings in use and development with a view to obviating congestion and securing economic and social efficiency, health and well-being in urban and rural communities.”5 The essence of much of planning remained “regulatory, rule-bound, procedure-driven, obsessed with order and certainty: in a word, inflexible.”6

Over the years, the planning profession has faced a number of challenges: . Difficulties associated with forecasting and projecting future needs and the need to be skilled at dealing with uncertainty and change . A focus on plans and how they are made – techniques, strategies and methodologies for plan-making – as opposed to understanding and defining the need these efforts are intended to match . Institutional barriers (the nature of the organizations that employ planners) – siloed, entrenched interests, inertia, emphasis on zoning, physical land use planning and the efficient delivery of municipal services, culturally and politically charged . The resilience of European values and cultural norms – the need to recognize the multi- cultural and fragmented nature make-up of communities and considering such socio- economic factors as gender, race, income, ethnicity and location in their work . Shifting social ideologies and values, resulting in a re-examination of ‘solutions’ and ‘approaches’ . Skills required for the effective management of the planning process (e.g., negotiation and conflict resolution) have had little to do with their technical education and experience . Acquiring new technology-related skills (e.g., CAD, GIS, data base management)

Today, there is a new emphasis on defining planning as “managing our co-existence in shared space”7; opening up public debate about problems and opportunities for change8; and serving, developing and maintaining civic engagement – enabling and facilitating the community to manage its built environment.9

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This change in emphasis is reflected in an understanding of communities as a ‘living organisms’ and in a number of emerging approaches to community planning. These emerging approaches have significant implications for the future of cultural planning.

The community as a living organism ... • The brain and nervous system refers to participatory processes by which a city develops visions and plans, monitors the implementation of its plans and adjusts to changing circumstances; • The heart is the common values and public space of a city that reflect and reinforce its essential identity, that provide for dialogue, remembering history, celebration and socialization; • The organs are the neighbourhoods, industrial clusters, downtown, parks and other hubs of a city; • The circulatory system and neural networks that weave connections within a living organism are the transportation routes, infrastructure, waste disposal, communication lines, water flows and green space that connect these nodes.

Source: Oberlander (2006a)

Emerging and Emergent Approaches to Community Planning

Social Planning Social planning was part of the post-war attempt to establish social order in the wake of an economic depression and a long war. It has grown beyond using rational processes to resolve what were perceived as social problems and today is based more on community organizing, knowledge construction, and communicative action.

Heritage Planning Heritage conservation is about the management of a community's past for the future generation, and heritage planning is the process through which to decide how best to manage that inheritance. Heritage planning should be integrated within an overall community or regional planning system.

Healthy Communities Healthy communities recognize that the fundamental conditions and resources for health are peace, shelter, education, food, income, a stable ecosystem, sustainable resources, social justice and equity, that all sectors of the community work together to achieve social, economic and environmental well-being. One of the strategies for achieving this is through strategic community plans, organizational development and collaborative community action.

Complete Communities A complete community provides a range of choices in the physical and social elements of neighbourhoods (e.g., housing, shopping, working, travel, leisure, services and social contacts close to home). Encouraging diversity and vibrant places helps to address issues of well-being and gives people more choices about how they want to live their lives.

New Urbanism New urbanism promotes the creation and restoration of diverse, walkable, compact, vibrant, mixed-use communities composed of the same components as conventional development, but assembled in a more integrated fashion, in the form of complete communities.

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The Livable City The Livable City is underpinned by a common set of guiding principles: accessibility, equity, and participation. Livability refers to an urban system that contributes to the physical, social and mental well being and personal development of all its inhabitants. It is about delightful and desirable urban spaces that offer and reflect cultural and sacred enrichment. Key principles that give substance to this theme are equity, dignity, accessibility, conviviality, participation and empowerment.

Smart Growth Smart growth principles ensure that growth is fiscally, environmentally and socially responsible and recognizes the connections between development and quality of life. Smart growth planning and development incorporates: mixed land uses, well-designed compact neighbourhoods, a variety of transportation choices, diverse housing opportunities, growth in existing communities, preservation of open spaces, natural beauty, environmentally sensitive areas and agricultural lands; smarter and cheaper infrastructure and green buildings; fostering a unique neighbourhood identity and nurturing engaged citizens.

The Creative City The creative city is conventionally thought of as the home for thriving arts and cultural activity…but successful cities must also embrace creativity in the way they deliver services, energize their staff and manage their futures.

Sustainable communities As sustainability has emerged as a core concern of the planning profession, new skills and approaches are evolving that also have significant implications for the future of cultural planning:

Integrated Planning: sustainability issues cannot be dealt with in isolation; they require multi- pronged approaches based on an understanding of the complex and dynamic inter- relationships between social, economic and ecological systems.

Collaboration: • Partnerships and alliances – the search for sustainability requires facilitating multi- stakeholder initiatives, the participation of non-governmental and private sector organizations, often in partnership with public sector organizations. • Participation – continued efforts to encourage and facilitate the participation of various groups in society, in all stages of the planning process, through a variety of techniques. • Consultation and outreach – use of consultative processes that target specific groups or in other ways make greater efforts to reach out to marginalized or vulnerable communities.

Empowerment Through Knowledge: • Use of new technology – new technologies are being used as tools for tracking and managing data, outreach, education, receiving community feedback, monitoring and evaluation, and researching urban trends • Research – many innovative research techniques are being used to find ways of better understanding the unique needs and qualities of communities, ecosystems and economies in transition10

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 5

The integration of culture with community planning is consistent with the growing acceptance of culture as one of the four pillars of sustainable cities and communities – along with social, economic, and environmental considerations.

References: . Government of Canada – Department of Infrastructure and Communities . Government of Canada – External Advisory Committee on Cities and Communities (chaired by Mike Harcourt) . The Fourth Pillar of Sustainability: Culture’s Essential Role in Public Planning by Jon Hawkes

Contemporary planning literacies and sensibilities In Towards Cosmopolis (1998), Leonie Sandercock outlined five literacies (technical, analytical, multicultural, ecological and design) that would equip planners with the necessary knowledge to face present and future challenges, including the integration of cultural and community planning.

To these she has added sensibilities that might enable planners to rise to the challenges of 21st century cities: • A sensibility that is as alert to the emotional economies of cities as it is to the political economies; as alert to the city senses (sound, smell, taste, touch, sight) as it is to city censuses; as alert to the soft-wired desires of its citizens as it is to the hard-wired infrastructures; as concerned with the ludic as with the city’s productive spaces, indeed seeing these as inseparable; • A sensibility as curious about the spirit of place as it is critical of capitalist excesses; a sensibility that can help citizens wrest new possibilities from space, and collectively forge new hybrid cultures and places.

Sandercock goes on to outline four key qualities of a planning imagination that can be harnessed to the task of urban transformation, that is, the task of building more just, more sustainable and more beautiful cities. These four qualities she identifies as political, audacious, creative and therapeutic sensibilities.11

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 6

References Berridge, Joe. (2006). The creative city. Plan Canada, 46(1). Duxbury, Nancy. (2003, September). Cultivating creative communities: A cultural era for Canadian cities. Municipal World. Fielding, Jeff, & Couture, Gerry. (1994). Reflections on the profession. Plan Canada, 75th Anniversary Edition. Government of Canada. Department of Infrastructure and Communities. (2005). Integrated community sustainability planning: A background paper. Ottawa: Department of Infrastructure and Communities. Government of Canada. External Advisory Committee on Cities and Communities (chaired by Mike Harcourt). (2006, June). From restless communities to resilient places: Building a stronger future for all Canadians. Final report of the External Advisory Committee on Cities and Communities. Ottawa: Infrastructure Canada. Hawkes, Jon. (2001). The fourth pillar of sustainability: Culture’s essential role in public planning. Melbourne, Australia: Cultural Development Network. Healey, Patsy. (2003). Editorial. Planning Theory and Practice, 4(3): 245-24 Jacobs, Jane. (1961). The death and life of great American cities. New York & Toronto: Random House. Jamieson, Walter. (1994). Canadian personal planning: A personal potpourri. Plan Canada, 75th Anniversary Edition. Nicolai, Andrei. (2001). The twenty-first century is here: Is anybody home? Plan Canada, 41(1). Oberlander, H. Peter. (Ed). (2006a). The livable city. Vancouver working group discussion paper. Prepared for World Urban Forum 3. Vancouver: Western Economic Diversification Canada. www.wd.gc.ca/ced/wuf/livable/1a_e.asp Oberlander, H. Peter. (Ed). (2006b). The planning city. Vancouver working group discussion paper. Prepared for World Urban Forum 3. Vancouver: Western Economic Diversification Canada. www.wd.gc.ca/ced/wuf/planning Sandercock, Leonie. (1998). Towards cosmopolis. London, UK: Wiley Publishing. Sandercock, Leonie. (2005, April 22). How far can/should planners go? A planning imagination for the 21st century. Planning Institute of British Columbia Keynote Address, Victoria. www.pibc.bc.ca/05conf/index.html

1 Plan Canada, 46(2), Summer 2006, p. 13 2 Jamieson (1994) 3 Berridge (2006) 4 Duxbury (2003) 5 Nicolai (2001) 6 Sandercock (1998) 7 Healey (2003) 8 Fielding & Couture (1994) 9 Nicolai (2001) 10Oberlander (2006b) 11Sandercock (2005)

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 7

Cultural Planning Toolkit – Web Resource Integrating Community and Cultural Planning

Cultural planning is concerned with how people live in places and communities (as citizens), and with the ways in which they use the arts and other forms of creative endeavour to enhance, consolidate and express these attachments. It is also about the way in which local government plans and manages these processes for a range of political ends, including social control and place management.1

In general, cultural planning has a lot in common with other planning processes based on sound data, comprehensive consultation and thorough analysis. They all build: • Common knowledge (what do we know together?) – consolidating, mapping and sharing information • Common ground (where are there information gaps and agreement) – identifying information gaps and shared opportunities • Community capacity (where do you want to be and how do you get there) – mapping the cultural context and developing a strategic action plan

Cultural and community planning have: • A common vision in seeking to improve the quality of life of local people • Common o bjectives focused on inclusiveness, responsiveness to local needs and actively seeking to broaden opportunities for all sections of the community • Opportunities for integrated programs and projects centered on building social cohesion, developing a positive sense of place and strong bonds and respect between communities • Opportunities for widening partnership resources through bringing in all sectors, public, private and not-for-profit, as well as identifying linkages which secure value for money benefits2

The overall aims of integrating cultural and community planning include: . Finding effective ways in which culture can respond to community needs and priorities, helping to bring together corporate and community agendas . Raising the profile and application of cultural activity in community planning and development and demonstrating the value of its unique contribution and approach . Maximizing the overlap between the work and outputs of community and cultural planning3

The strongest case for integrating cultural and community planning is that it is already “joined up”: It is joined up with our personal, community, regional and national identities. It is joined up with our diverse lifestyles and social environments. It is joined up with the way we live, work and play. It is increasingly joined up with our capacity for sustainable economic development, and attracting inward investment in a knowledge-based and creative economy. It is joined up with the ways in which we can make communities and places physically attractive, socially and economically dynamic and diverse. It is joined- up, ultimately, to our whole quality of life.4

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 1

Figure 1

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 2

The Benefits Cultural planning provides a new lens or a different lens for looking at the community. It can provide a fresh perspective. It can also:

• Contribute to combating social exclusion in the community • Combat the “geography of nowhere” by providing design opportunities to develop “pride of place” • Support community empowerment through community involvement and ownership of local community initiatives • Support democratic cultural policy by better understanding of what people are doing and want to do • Support the development of working in partnership • Commit to policy-making based on a solid research foundation • Result in more and improved programs and services in response to identified community needs • Improve communications and cooperation among arts and other groups • Integrate the arts/culture into the larger community better, increasing awareness of the potential of arts and culture to contribute to community and economic development • Improve visibility of a community’s artists and arts organizations • Improve access to the arts and development of large audiences • Improve cultural facilities • Sustain or increase levels of public and private funding for culture

Considerations Despite the similarities in the objectives, characteristics and processes used in community and cultural planning, there are several challenges in integrating them successfully. These include: • Defining culture too narrowly – limited by traditional discipline-based policies and frameworks (i.e., distinct policies for museums, performing arts, libraries, cultural industries, etc.) inherited from senior levels of government, or the continued hold that established interests and cultural institutions/facilities have on cultural planning agendas. • Defining culture and cultural resources too broadly, leading to policy complexity and difficulties for implementation. • Lack of community and stakeholder understanding or awareness of culture’s connectivity and significance, which can result in discomfort and uncertainty about linking broader concepts of well-being with culture, or not seeing culture as central to people’s lives but as a luxury or afterthought. • Lack of consensus (or division) within the local cultural sector and lack of access to tools, information and expertise. • Municipal government structures/processes: • A lack of understanding and support on the part of elected officials and senior municipal staff. • Organizational fragmentation – competing interests and values such as departmental and political rivalries; entrenched silos (the use of old planning and decision-making structures that do not cut across and link other areas of municipal planning and decision making); no convening body or agency to draw community stakeholders together; a weakness in setting out clear roles and responsibilities for shared policy areas and few mechanisms for ensuring accountability after a policy has been developed.

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 3

• Resource scarcity – most public funding has been designated towards existing facilities and institutions, with little available resources to invest in new creative activity, insufficient dedicated resources to support municipal cultural planning. • A lack of a clearly articulated policy framework or legislative foundation for local governments as a lever for change – “When “push comes to shove” at budget time it is the “must do” items (legislated requirements) that take precedence over the “nice to do” (non- legislated activity). • Little understanding that culture is at “the heart of the major challenges facing cities”5 and that implementation requires strategic actions that get beyond motherhood statements about how good culture is for a community. • The resilience of European values and cultural norms where factors such as gender, race, income, ethnicity have lacked attention. • The scope and scale of government activity and the overload of senior policy makers. • The difficulty of forecasting and projecting future needs and uncertainty and change, the constant emergence of new technologies requiring the acquisition of new technologically related skills, and a lack of skills for the effective management of planning processes (e.g. negotiation and conflict resolution). • The nature of local decision-making – often more complex than for senior governments – “local decisions often have a direct, visible and immediate impact… they leave no one indifferent” as they can become politically charged and can generate intense conflicts.6 • A focus on the city centre, leaving the periphery marginalized. • An emphasis on land use planning and the efficient delivery of services.

How to integrate There are a number of existing guidelines for integrating cultural planning and community planning and strategies. See, in particular:

• Creative Cultures. (2004). Leading the good life: Guidance on integrating cultural and community strategies. Produced for Department of Culture, Media, and Sport, Local Government Team. Aberdeen, UK: Creative Cultures. www.culture.gov.uk/NR/rdonlyres/4C880A7D-B3C5-4C28-8279- C0191A3DC552/0/leadingthegoodlife.pdf • Government of New South Wales (Australia). (2006). Cultural planning guidelines for local government. Sydney/Nowra, New South Wales, Australia: NSW Ministry for the Arts and Department of Local Government. www.dlg.nsw.gov.au/Files/Information/CPG-final.pdf

Monitoring and evaluating integration Alongside the many initiatives and programs that provide fertile ground for culture’s role in community development, comes a requirement to set and meet targets and to monitor and evaluate outputs and outcomes. You need to know what you have achieved and what really matters to your community – “if it can’t be counted, it won’t be focussed on,” with cultural planning losing out to other endeavours.7

A number of checklists for monitoring and evaluating the integration of cultural planning into local government policies and operations have been developed.8 The following checklists are a composite of these. Factors identified at each stage of the planning process are considered critical to overall success.

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 4

Identifying Definitions and Information Needs Notes  Are you discussing and agreeing on the scope and meaning of culture for your community?  Is a wide range of people involved in this discussion, including those representing non-cultural services?  Are you carrying out an audit of key policies to identify actual and potential links to culture?  Are you identifying key local objectives, priorities and issues and considering how culture can contribute to these?  Are you reviewing existing data on quality of life issues for your local community?  Are you developing informative and practical performance indicators for culture?  Are you identifying gaps in this information and developing ways of filling these gaps?  Are you discussing and agreeing any other ways in which you can establish the case for culture?

Consultation Notes  Are you drawing on a wide range of existing and specially arranged consultation activities to identify community needs and aspirations?  Are consultation activities providing information on quality of life issues for your community?  Are you involving ethnic groups or activities as part of your effort to reach all sections of your community?  Are you addressing issues of cultural diversity, local characteristics, and regional identity as part of your consultation process?  Are you involving the local community in decision-making processes concerning cultural development issues?  Is the community properly informed of council’s decisions?  Are there ways in which your community can continue to be involved in the planning and implementation of local cultural activities?

Partnerships Notes  Are representatives of the wider cultural sector able to link with the local strategic plan and local authority work on cultural and community development?  Are you able to identify tangible projects and outcomes from your partnership which demonstrate an effective partnership between cultural and community planning?  Are there other actions you are taking (or could be) to establish and maintain a strong partnership?  Would there be value in establishing a joint council-community committee on cultural development?

Leadership Notes  Are you undertaking an audit of current leadership and networks to identify strengths, weaknesses and gaps?  Are you taking steps to raise the profile and prestige of cultural leadership to encourage champions for culture in all sectors?  Do you have an effective body to work with and support your cultural leadership?  Is this body able to focus on overarching and strategic tasks?  Are you considering activities to develop, strengthen and expand leadership for culture?  Are there other actions you are (or could be) taking to provide effective leadership?

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 5

Integration Notes  Does the plan use a broad approach to culture and tap into the wide range of council and community concerns and activities?  Is a broader cultural development perspective being brought to issues, concerns and ideas which are already on the council’s agenda – for example, townscape improvements, heritage conservation, major development projects, traffic management, economic and tourism development?  Is cultural development under the plan linked to other established local area planning processes – social/community, land use, health or environment planning?  Does the plan envisage broader, more diverse or more imaginative uses of major facilities such as libraries, galleries and performing arts centres?  Does the plan reflect strong, wide ranging networks between council and the community ?  Are the necessary skills for a broad approach to cultural development and cultural planning available within the council’s existing staff structures?  Are training opportunities available for staff who are already involved in cultural development and planning to some extent, but require extra skills?  Are staff resources sufficient for a more concerted and integrated approach?  Could available skills and resources be used more effectively?  Is there scope for the deployment of multi-disciplinary and cross- departmental teams on cultural development projects?  Where no specialist cultural worker is employed, has an appropriate member of staff been allocated responsibility for cultural development issues?  Where is the community arts officer (or equivalent) located in the organization?  Does this arrangement facilitate or hamper linkages between cultural development and other closely related fields particularly community services, environmental planning and design and economic tourism development?  Is there clear responsibility at senior management level for cultural development and or ensuring an integrated approach?  Does the framework for implementation specify appropriate agencies responsible for implementing strategic cultural provision?  Is the council a member of a regional district with an expressed interest in cultural development and planning?  Are you involving representatives of regional bodies in key stages of your planning and implementation?  If not, has the council considered the scope for, and potential benefits of, addressing cultural development issues with its neighbour councils at a regional level?

Monitoring and Evaluation Notes  Will the monitoring of outcomes in the area of culture reliably assess relevant indicators?  Does the framework establish clear, effective indicators for measuring success and how they would be measured?

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 6

Indicators of progress towards integration The changes necessary to achieve full integration of cultural development into local government thinking, planning and decision-making will only take place gradually. The goal of integration should, however, remain in place and be used to measure progress and to assess the value of alternative courses of action. The Government of New South Wales developed a useful set of indicators to monitor and evaluate progress towards integration (see References), which has been adapted as follows:

Indicators of progress towards integration Low awareness:  Council unaware of full extent of its involvement in cultural activities  Council unaware of full extent of community involvement in cultural activities  Short term, ad hoc community arts projects  Cultural assets, resources and services not fully integrated into council’s overall strategic plan

Raising awareness and extending engagement:  Broader concept of cultural development emerging  Greater awareness and recognition of the extent of council’s involvement in cultural development  Greater awareness and recognition of the extent of the community’s involvement in cultural activities  Greater awareness of First Nations cultural development activities and initiatives  Development and adoption of Indigenous consultation protocols  Initiation of some longer term cultural development projects which engage different sections of council  Developing understanding of the role of museums, galleries and historical societies in supporting local distinctiveness and identity  Continuing strong dependence on energies/leadership of one or two key individuals

Emerging vision and relationships:  Widespread awareness/acceptance of broad cultural development approach  Beginnings of a long-term vision  Development of extensive council–community networks  Development of strong council–First Nations community networks  Wider engagement by council staff in cultural development activities  Solid basis of support within council among elected members, senior managers, various professional groups

Cultural Planning Toolkit - Web Resource - www.creativecity.ca/toolkits 7

Vision, commitment and development:  Commitment to routine consideration/incorporation of cultural development factors in council activities and decision-making processes  First Nations consultative protocols routinely and widely applied throughout council. Advice from First Nations community routinely sought  Well articulated long term vision  Establishment of multi-disciplinary teams  Cultural development skills identified, acknowledged and developed in council staff  Council’s cultural assets, resources and services aligned to the overall strategic direction of council  Responsibility for cultural development shared across a range of disciplines and at senior, middle management and operational levels throughout the council

Integration:  Formal integration of cultural development into council’s strategic planning, corporate planning and budgetary processes  Powerful ‘quality of life’ ethos pervades all council activities

References Baeker, Greg. (2002). Beyond garrets and silos: Concepts, trends and developments in cultural planning. Ottawa: Department of Canadian Heritage. www.creativecity.ca/resources/culturalplanning.pdf

Creative Cultures. (2004). Leading the good life: Guidance on integrating cultural and community strategies. Produced for Department of Culture, Media, and Sport, Local Government Team. Aberdeen, UK: Creative Cultures. www.culture.gov.uk/NR/rdonlyres/4C880A7D-B3C5-4C28-8279- C0191A3DC552/0/leadingthegoodlife.pdf

Government of New South Wales (Australia). (2006). Cultural planning guidelines for local government. Sydney/Nowra, New South Wales, Australia: NSW Ministry for the Arts and Department of Local Government. www.dlg.nsw.gov.au/Files/Information/CPG-final.pdf

Laperriere, Helen. (1995). Thinking about culture: The role of research at the local level. Paper delivered at conference on “Culture in the Neighbourhood: The Role of Research and Planning,” Estonia.

Stevenson, Deborah. (2004). Civic gold rush: Cultural planning and the politics of the third way. International Journal of Cultural Policy, 10(1).

Source: Creative Cultures (2004). Leading the Good Life: Guidance on Integrating Cultural and Community Strategies was a response to changes to the planning framework in the 2002 Local Government Act in the United Kingdom whereby local councils were no longer required to produce free-standing Local Cultural Strategies, but should subsume these within Community Plans.

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1 Stevenson (2004) 2 Adapted from Creative Cultures (2004). Leading the good life: Guidance on integrating cultural and community strategies. 3 Creative Cultures (2004) 4 Creative Cultures (2004) 5 Baeker (2002) 6 Laperriere (1995), cited in Baeker (2002) 7 Creative Cultures (2004) 8 These include: Cultural Planning Guidelines for Local Government (Government of New South Wales, 2006); Leading the Good Life: Guidance on Integrating Cultural and Community Strategies (Creative Cultures, 2004).

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()A 7690 2 33)147)9745937B3)39)7C597)@

D9 9  ! 9)9  2 3311147)9745939639)9CC !@ CORPORATION OF THE TOWN OF HUNTSVILLE

Huntsville Town Council

Date: October 26. 2m 5 No. 3~8-\S- \ , Moved by: I - // L,u\C.,~e- \ \~1-f'I/ ~7 Seconded by: .Fi: {._,, \,

BE IT RESOLVED THAT: Report No. CS-2015-94 dated October 26, 2015 prepared by Teri Souter regarding "Ontario Cultural Strategy" be received;

AND FURTHER THAT: The Corporation of the Town of Huntsville, Ontario endorses the Creative City Network of Canada, Ontario Municipal Members position to the Ontario Ministry of Tourism, Culture & Sport regarding Ontario's first Culture Strategy:

)> Emphasize the importance of local governments in the Ontario Culture Strategy Guiding Principles by recognizing that culture is different everywhere and highlighting the unique role of local governments in supporting Ontario's diverse municipalities; )> Invest in funding for municipalities to boost the implementation of municipal cultural plans, and strengthen the management and development of local cultural resources; and )> Advance the role of local governments in fostering an environment in which arts, cultural industries, cultural heritage, and public libraries thrive in communities by partnering with relevant professional networks and organizations on the creation of new resources and tools, professional training, and knowledge sharing opportunities.

AND FURTHER THAT: The Manager of Arts, Culture & Heritage is directed to submit the position to the Ministry online prior to December 6, 2015.

RECORDED VOTE DECLARATION OF PECUNIARY INTEREST

MEMBERS OF COUNCIL YEA NAY MEMBERS OF COUNCIL PERSONAL BUSINESS EMPLOYMENT OTHER Councillor Alcock Councillor Alcock Councillor Armour Councillor Armour Councillor FitzGerald Councillor FitzGerald Councillor Schumacher Councillor Schumacher Councillor Stone Councillor Stone Councillor Terziano Councillor Terziano Councillor Thompson Councillor Thompson Councillor Wiebe Councillor Wiebe - Mayor Aitchison Mayor Aitch is on /I TOTAL: I / A / ;,; (,/ -// ,/ ...... Carried: """:j /{/ ~ / ~ ~