Arts and Learning Environmental Scan

ARTS AND LEARNING ENVIRONMENTAL SCAN

Through delivering quality arts education programs which often build partnerships between artists, schools, and other community organizations, artist, teachers, arts organizations and public funders are building healthier communities.

ArtsSmarts - Caslan School - AB, 2006

FINAL REPORT Directed by Louise Poulin Jennifer Ginder, Jean Jolicoeur, Cathy Smalley

Presented to the Canadian Public Arts Funders (CPAF) and the Federal-Provincial-Territorial Working Group on Arts and Learning

August 31, 2006

Table of Contents Page 2

TABLE OF CONTENTS

EXECUTIVE SUMMARY...... 4

1. Purpose ...... 5 2. Methodology...... 7 3. Key Findings ...... 10 3.1 The Current Situation: a highly valued contribution ...... 10 3.2 Trends...... 14 4. Directions and Actions ...... 20 4.1 Directions ...... 21 4.2 Actions ...... 21

PART ONE: EXISTING GOVERNMENT FUNDING PROGRAMS ...... 23

1. INTRODUCTION ...... 24 2. SUMMARY OF PROGRAM FINDINGS...... 24 3. INTRA GOVERNMENTAL AND INTER GOVERNMENTAL JURISDICTIONAL ISSUES ...... 28 4. NETWORKS...... 29 5. SUMMARY – TABLE OF PROGRAMS ...... 31 6. PROGRAM INFORMATION FROM PROVINCES AND TERRITORIES ...... 34 ALBERTA – ALBERTA FOUNDATION FOR THE ARTS...... 34 BRITISH COLUMBIA ARTS COUNCIL ...... 37 MANITOBA ARTS COUNCIL ...... 39 NEW BRUNSWICK – DEPARTMENT OF EDUCATION...... 41 NEWFOUNDLAND AND LABRADOR ARTS COUNCIL ...... 43 NORTHWEST TERRITORIES – DEPARTMENT OF CULTURE, HERITAGE AND LANGUAGE ...... 45 NOVA SCOTIA – DEPARTMENT OF TOURISM, CULTURE AND HERITAGE...... 47 NUNAVUT – DEPARTMENT OF CULTURE, LANGUAGE, ELDERS AND YOUTH ...... 49 ONTARIO ARTS COUNCIL ...... 51 ONTARIO – MINISTRY OF CULTURE...... 54 PRINCE EDWARD ISLAND COUNCIL OF THE ARTS...... 56 PRINCE EDWARD ISLAND – DEPARTMENT OF COMMUNITY AND CULTURAL AFFAIRS...... 57 QUEBEC – CONSEIL DES ARTS ET DES LETTRES DU QUEBEC ...... 59 QUEBEC – MINISTERE DE LA CULTURE ET DES COMMUNICATIONS ...... 61 SASKATCHEWAN ARTS BOARD ...... 64 YUKON – DEPARTMENT OF TOURISM AND CULTURE...... 66

PART TWO: NATIONAL ARTS PROGRAMS...... 68

1. INTRODUCTION ...... 69 2. SUMMARY OF FINDINGS...... 69 3 PROGRAM INFORMATION FROM NATIONAL ARTS PROGRAMS ...... 72 ARTS NETWORK FOR CHILDREN AND YOUTH...... 72 ARTSSMARTS – CANADIAN CONFERENCE FOR THE ARTS...... 75 DRAMA EDUCATION – QUEEN’S UNIVERSITY...... 78 MCCONNELL FOUNDATION ...... 80

Arts and Learning Environmental Scan – Final report – August 31, 2006

Table of Contents Page 3

PART THREE: ARTISTS AND ARTS ORGANIZATION SURVEY...... 83

SUMMARIES OF FINDINGS...... 84 1- ARTIST AND ARTS ORGANIZATION PROFILE ...... 85 1.1 Discipline ...... 865 1.2 Respondent type and age...... 876 1.3 Geographical location...... 877 2- PROFILE OF THE ORGANIZATION’S HUMAN RESOURCES ...... 888 3- CHARACTERISTICS OF THE ACTIVTIES OFFERED ...... 89 3.1 Activities sectors...... 89 3.2 Program objectives...... 91 3.3 Area of involvement...... 92 4- THE CHILDREN AND YOUTH...... 93 4.1 Children and youths’ age, profile and location of practice...... 93 4.2 Number of children and youth having taken part in activities...... 934 5- FINANCIAL STRUCTURE OF ARTS ORGANIZATION...... 95 5.1 Financial structure, programs and required funding...... 95 5.2 Funding constraints ...... 97 6- PARTNERSHIPS AND NETWORKING...... 98 6.1 Local partners...... 989 6.2 Non-local partners ...... 100 6.3 Required partners and obstacles encountered...... 100 7- FUTURE CHALLENGES...... 101 7.1 Measurement of outcomes...... 101 7.2 Research needs ...... 102 7.3 Outlook for the future...... 103 7.4 Existing challenges...... 104

PART FOUR: FIVE CASE STUDIES...... 105

1. INTRODUCTION ...... 106 2. SUMMARIES OF KEY FINDINGS ...... 106 3 FIVE CASE STUDIES ...... 109 ART GALLERY OF NOVA SCOTIA - NOVA SCOTIA...... 109 ARTSTARTS IN SCHOOLS – BRITISH COLUMBIA ...... 113 DE-BA-JEH-MU-JIG THEATRE GROUP - ONTARIO ...... 117 REGINA PUBLIC SCHOOL DIVISION LEARNING THROUGH THE ARTS - SASKATCHEWAN ...... 121 SALON DU LIVRE DU SAGUENAY LAC-SAINT-JEAN - QUEBEC...... 124

APPENDICES ...... 128

APPENDIX 1– PROVINCIAL GUIDELINES - CURRICULUM ...... APPENDIX 2 – SURVEY TECHNICAL REPORT: AIRMS TABLE ...... APPENDIX 3 – LIST OF RESPONDENTS ...... APPENDIX 4 – INTERVIEW GUIDE FOR GOVERNMENT AND NATIONAL ARTS EDUCATION PROGRAM RESPONDENTS...... APPENDIX 5 – INTERVIEW GUIDES FOR ARTS ORGANIZATION FOR CASE STUDIES ...... APPENDIX 6 – QUESTIONNAIRE FOR ARTS ORGANIZATION SURVEY ...... APPENDIX 7 – TECHNICAL APPENDIX – CROSS TABLES...... APPENDIX 8 – REFERENCES AND SEARCHING......

Arts and Learning Environmental Scan – Final report – August 31, 2006

EXECUTIVE SUMMARY

Arts and Learning Environmental Scan – Final report – August 31, 2006

Executive Summary Page 5

Acknowledgements and Consultants

Acknowledgements This research was developed and enriched by interviews with many respondents representing provinces and territories, national arts programs and arts organizations, as listed in Appendix 2 and 3. We sincerely appreciate the wealth of information, the vision, the support and the relevance of the information and comments these individuals shared with us. The authors are grateful for the close collaboration of Robyn Jeffrey, Canada Council for the Arts Partnership and Networks Officer; Kelly Wilhelm, Partnership and Networks Coordinator; Elizabeth MacKinnon, Department of Canadian Heritage Research Manger; Basilia Zagrobelny, Canadian Heritage Research Officer; and from the Canadian Public Arts Funders (CPAF); the Federal-Provincial/Territorial Working Group on Arts and Learning; Cécile Arsenault, Francophone Cultural Affairs Officer, Government of PEI and Provincial ArtsSmarts Coordinator; Richard Brownsey, Executive Director, BC Arts Council; Steven Campbell, director of Community Partnerships, Ontario Arts Council; and Chris Rosati, Policy Advisor, Ontario Ministry of Culture. Without their contributions, this research could not have been completed to such a comprehensive degree.

Consultants The research was carried out by ArtExpert.ca, a consulting firm specializing in Strategic cultural analysis, arts management and feasibility studies located in Montreal, Quebec in collaboration with Jolicoeur et Associés, a Quebec City-based research, analysis and service improvement strategies company. The team was made up of senior consultants from Ontario and Quebec: Louise Poulin, Project Director and team leader; Jennifer Ginder, team leader for Networks and Jurisdictional Challenges; Cathy Smalley, team leader for Arts Education Activities; Jean Jolicoeur, team leader for Data Collection; Marik Danvoye, Data Processing and Statistical Analysis; Pierre-Alexandre Lacoste, Programming and Computer Technician; Karine Turmel, production Coordinator and Center supervisor; with special input from Stéphane Leclerc, Benoit Gignac and Jean-François Dion.

Louise Poulin August 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 6

1. Purpose

The Canadian Public Arts Funders (CPAF) and the Federal-Provincial/Territorial Working Group on Arts and Learning (F-P-T WG) mandated ArtExpert.ca to undertake a research study to better understand the breadth of learning in, through and about the arts in Canada. The study focused on ages 5-18 (students K-12) and three types of activity: • Arts and learning activities and programs available within the education system; • Arts and learning activities and programs offered by public, not-for-profit organizations such as conservatories, professional arts organizations, etc.; and • Networks that bring together organizations involved in arts and learning activities within and outside the education system.

Understanding the scope of arts education activities is complicated by the large number of governments, ministries, agencies, school boards and not-for-profit organizations involved in this field. Curricula are a provincial responsibility, typically set by a provincial ministry of education. Curriculum delivery is the responsibility of school authorities. Arts councils and provincial ministries of culture are also keenly interested in this topic, as today’s students are not only our next generation of artists, but the future administrators, audiences, volunteers, and donors who will sustain and grow the arts. Individual artists and arts organizations have increasingly become engaged in arts education initiatives for the same reasons.

The main topic of the research is: An environmental scan of arts education programs supported by Ministries of Culture and Public Arts Funders in different areas across the country. The study sought to provide answers to the following key questions: √ What are the number and the nature of arts education initiatives taking place across the country? √ What are the jurisdictional issues and trends that are impacting, positively or negatively, upon the successful delivery of arts education practices? √ What can the client group learn from case studies of successful initiatives undertaken in Canada, and which elements of these programs can be integrated into best management practices for dissemination to other organizations? By addressing these questions, the study provides CPAF and F-P-T WG with an overview of the arts and learning activities undertaken in each province and territory and how they are networked; the challenges facing arts education programs; and five case studies to provide inspiration for new models and approaches.

This report is divided into five sections. The “Executive Summary” identifies the important themes emerging from the research with respect to provinces, territories, artists and arts organizations across the country. Part One, “Existing Government Funding Programs,” and Part Two, “National Arts Programs,” provide a profile of arts education activities in each province and territory plus four national arts education programs. In every case the program is described along with its unique characteristics and challenges. The third part, “Artists and Arts Organizations,” profiles programs that are being delivered by practitioners in the field, their characteristics and challenges, while the last part, “Five Case Studies,” examines each organization’s objectives with respect to their arts education program, budget, partners, lessons learned and, finally, the different challenges they face.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 7

2. Methodology

Through this project, ArtExpert.ca and its research team collected data, conducted interviews and examined case studies, whose findings will expand the client’s understanding of the scope of arts and learning across the country and highlight best practices. The summaries provided in each section are the consultants’ summaries of the findings and reflect the opinions expressed by the interview respondents; they are not the opinions of the study team. The project was overseen by a working committee comprised of members of CPAF and the F-P-T Working Group.

Key Informant Interviews

In order to address the following question: What are the jurisdictional issues and trends that are impacting, positively or negatively, upon the successful delivery of arts education practices? a review of arts education funding programs and partnerships in each province and territory was undertaken. Interviews were conducted with 16 provincial and territorial government representatives from culture and education departments, arts councils, and four organizations involved with arts education initiatives that have a national scope.

There are many players involved in supporting arts and learning activities across Canada: ministries of education, ministries of culture and heritage, arts councils and private foundations, among others. However, this environmental scan focuses primarily on activity supported by public arts funders. As such, Part One (Existing Government Funding Programs) presents a representative sample— selected by the project steering committee—of funding programs offered by arts councils or equivalent arts funding bodies, and provincial ministries of culture or departments therein. While there are other funders supporting arts and learning activity in Canada, the scope of this project is limited to this particular segment of the funding environment. Part Two (National Arts Programs) presents a representative sample of those who are noteworthy examples of arts and learning activity happening in different domains: a foundation, a university, and two not-for-profit organizations.

For this step, Jennifer Ginder, Louise Poulin and Cathy Smalley carried out an in-depth document review, conducted individual interviews, and gathered detailed data from the 20 interviewees. The interviews were conducted by telephone. The average length of an interview was 60-75 minutes. Interviewees received copies of the interview guide beforehand in order to help them prepare for the interview. The questionnaire that formed the basis of each interview was divided into three parts. The first pertained to arts education programs being offered; the second solicited information on existing arts education networks and their efficacy; and the third asked questions about friction that might exist between jurisdictions – both internally in each province or territory, or between funders and other organizations active in the field. (See Appendix 4 for the interview guide)

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 8

Web Survey - Canadian Artists and Arts Organization Survey

The objective of this part of the study was to gather information on arts education activities offered by the various artists and arts organizations in Canada.

Study Population The study population consisted of 265 arts organizations and 110 artists involved in the delivery of arts education activities to young people from kindergarten to grade 12. This population was defined out of a 396-name preliminary list, from which non-valid numbers, duplicates and non- eligible respondents were removed.

Phase 1 – Designing and adapting the questionnaire for the Internet A questionnaire was developed by the firm Jolicoeur et Associés in collaboration with Louise Poulin and Jennifer Ginder. The average time to complete the questionnaire was 23 minutes. Once designed, the questionnaire was programmed using Web Interviewer software by Voxco. After programming the questionnaire, numerous tests were carried out in order to ensure that it was properly administered.

Phase 2 – Mailing questionnaires and making follow-up phone calls On June 15, 2006, each organization and individual was sent an email directing them to the survey. Reminders were sent to participants who had not yet completed the questionnaire on June 21 and July 4, 2006. Each email reminder included the Internet link, the access number, and the name and telephone number of a technical support manager. On June 28, 29, and 30, 2006, telephone reminder calls were made to all participants who had still not completed the questionnaire. The technical support manager supervised the data collection from the beginning to the end of the operation. 74 technical support requests were handled by email. The data was collected between June 15 and July 10, 2006, in order to maximize the response rate. In all, 182 completed questionnaires were received out of a 375-institution sample, for a response rate of 48%.

Case Studies

In order to answer the following question: What can the client group learn from case studies of successful initiatives undertaken in Canada, and which elements of these programs can be integrated into best management practices for dissemination to other organizations?, the study team was asked to research, interview and report on five case studies selected by the project working group. The case studies were the Art Gallery of Nova Scotia, ArtStarts in Schools – British Columbia, De-ba-jeh-mu-jig Theatre Group – Ontario, Regina Public School Division Learning Through The Arts – Saskatchewan, and Salon du Livre du Saguenay-Lac-Saint-Jean – Quebec. These interviews were conducted by telephone. The average length of an interview was 75 minutes. Interviewees received copies of the interview guide beforehand in order to better prepare themselves for the interview. (See Appendix 5 for the interview guide.)

The organizations and representatives were chosen from across the country according to their relevance to various clienteles, their location, the size of their organization, and their positive contributions to social, cultural, technological and environmental development through arts education.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 9

Definitions

Learning in the Arts1: refers to learning the specific knowledge and skills of a particular art form.

Learning about the Arts2: is generally an integral part of the arts program and allows the student to understand and appreciate works of art as well as the function and history of a particular art form.

Learning through the Arts3: involves using arts lessons to teach concepts that are being studied in other subjects (such as geometric forms in a visual arts lesson to help with mathematics) or a skill (for example conflict resolution through drama).

Learning Through The Arts (LTTA): LTTA was developed and is being implemented by the Royal Conservatory of Music. It is a structured curriculum using the arts to teach all academic subjects. The program incorporates ongoing professional development of teachers, professional development of artists, writing of lesson plans, curriculum development, in-class delivery and continuous assessment.

Jurisdiction: For the purpose of this report, the term “jurisdiction” is used to define a government jurisdiction, typically provincial, territorial or federal. In the section “Jurisdictional Challenges” in Part One, the term was also used to explore inter-departmental issues within a province or territory.

Youth at risk: There is currently discussion about the term “youth at risk,” given that some think it marginalizes the youth it refers to. However, other terms, such as “excluded youth,” are not yet widely used, so this report has opted to use “youth at risk.”

Arts Funders: For the purpose of this report, “arts funders” refers to the provincial and territorial ministries and agencies in arts and education that were interviewed.

Arts and learning: In this document, the terms "arts education" and "arts and learning" have been used interchangeably.

1 “Canadian Reflections on Arts and Learning: The Challenge of Systemic Change”, Canadian Commission for UNESCO(World Conference on Arts Education Lisbon 2006) p.6 2 Idem 3 Idem

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 10

3. Key Findings

3.1 The current situation: a highly valued contribution

Arts education programs are valued by arts funders across the country. They are valued because of benefits such as: - building an appreciation for the arts among youth - providing employment opportunities and income to artists, - being a catalyst for community involvement projects, - fostering interaction with other government departments such education and community and social development.

3.1.1 Program Outreach: Flexibility, adequate support, continuity

A principal challenge for many arts funders interviewed for this study is to ensure that every school- age child in their region has access to consistently high-quality arts education. In particular, making arts education programs accessible to remote or underserved communities is identified as a priority in many jurisdictions. Some arts funders noted that their arts education programs have been enormously successful and effective in their reach and appeal to typically underserved communities. For example, the ArtsSmarts program in Newfoundland and Labrador has now been implemented in all districts of the province. Likewise, in British Columbia, 39 of the 40 school districts are benefiting from the ArtStarts program, which is able to reach learners in remote and rural parts of the province. In Quebec, the “Culture at school” program makes it possible to provide art- awareness activities to all school-age children, making these activities part of the school day. When programs are flexible enough, they can accommodate new directions, new policies and budget changes.

Despite these successes, outreach to remote and underserved communities is a challenge for some jurisdictions, the principal hurdles noted being time and money. As most artists are located in large urban centres, the availability of artists to undertake residencies in such regions can be a challenge. In some jurisdictions, accommodation and travel costs associated with residencies in remote and rural regions were a significant part of the program’s budget.

Many provinces and territories are considering strategies and tools by which they can market the availability and benefit of their arts education programs to remote and underserved communities. The Ontario Arts Council has developed a short video demonstrating the benefits of arts education, which will be sent to all schools across the province. Many others, such as Yukon and Alberta, produce artist catalogues to facilitate the identification and selection of artists by schools and communities.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 11

Provincial and territorial networks are firmly established Many arts funders report that networks exist in their jurisdiction. Those cited include: • Networks representing academics or educators, such as music teachers’ associations or drama educators’ associations. • Unique networks exist in some areas, such as networks representing theatre companies for young audiences in Ontario, and for adopting theatrical presentation as a method of teaching drama in Quebec. • Ad hoc networks or advisory committees created for a specific task. Typically these committees represent a mix of artists, educators, funders and parents and advise on policy and program development. • ArtsSmarts networks that have been created directly through the work of the ArtsSmarts program for the programming of touring and residencies.

National Network: an option worth considering The majority of funders were of the opinion that there is a need for a national arts education network. Two jurisdictions, however, are not convinced that a national network is necessary. Opinions were expressed as to what the network’s purpose should be. The purposes given are listed here from most to least frequently cited: • Information and resource sharing • Sharing of best practices in arts education delivery • Building awareness of the value of arts education and advocating a consistent message • Sharing of new models and ideas in arts education practice • Undertaking a research study of the benefits of arts and learning 4 • Ensuring that the UNESCO declaration , which states that every child deserves a quality arts education, is applied on a national rather than a regional level • Sharing of tools such as contracts and resource materials • Bringing arts professionals and teachers together for a national dialogue • Countering teacher isolation

3.1.2 Program Outcomes: building a better society

Arts funders and arts education practitioners noted a range of valued outcomes from their arts education programs. The most frequently cited were increased access to and understanding of the arts, coupled with the building of familiarity with artistic practices among young people. Others noted the important role that arts education projects play in community development, especially in remote or rural communities where the project frequently engages not only the youth, but extended families and the broader community.

Jurisdictions that offer programs where the arts are used as a teaching tool for the non-arts curriculum observed that these programs contribute to improved understanding of the curriculum and a heightened sense of identity.

4 Web site of LEAInternational: UNESCO Culture

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 12

3.1.3 Teachers and Artists: the cornerstones

Respondents noted that teachers and artists are essential elements of arts education activities in schools and that their teamwork is critical to the success of any initiative. Both must be trained and committed to the work. Arts education programs are about artists sharing skills and practices with teachers and students – the artists are there to augment school resources, not to replace teachers. The Canadian Commission for UNESCO in the research called “Mapping an Artistic Space : Arts Education in Canada” stated that “Arts educators and organizations have to work harder to make a strong case for implementing arts education programs at a national level for the school curricula.”5

Training and support The majority of artists are centralized in large urban areas, which makes artist residencies in remote regions both expensive and problematic, especially as the most effective residencies are those where the artists develop long-term relationships with the children. Training artists for this work, and mentoring younger artists, are important. Through arts education initiatives such as the four national arts organizations respondents, a new generation of artists is being exposed to the field. Enriched by these encounters, they can assume leadership roles among youth in schools and communities. Excluding independent respondents, i.e. artists, the average number of administrative employees working for organizations is 14, while the average number of artists employed by these organizations is four. It should also be noted that part-time status is very common among administrative employees, while artists are often employed on a contractual basis.

Other challenges are primarily related to the shortage of competent people to teach the arts. Teacher training is a real issue. There are difficulties in recruiting specialists to work in schools. Even trained teachers do not always have sufficient time to prepare projects or include arts education in an already crowded core curriculum. Allotted teaching hours and time limits for the instruction of all required subjects on the curriculum limit the time available for the arts. Quebec is working on a way to consolidate activities in children’s extra-curricular activities in all regions.

Forging solid links Arts liaison officer positions at school boards are very important to arts education projects such as the four national arts-organization respondents. The elimination of these positions endangers the advancement of arts education. A database, catalogue, and/or artist directory that teachers can use to locate artists with whom to partner, is an extremely useful tool. In Alberta, the Artists’ Roster for the Artists and Education component is intended to provide a “meeting place” for artists and schools. Nearly 80 artists are included in the Artists’ Roster, representing artists from a variety of disciplines.

Linking arts education to the educational system’s priorities, such as literacy and numeracy, is also a conscious and effective strategy. This leads to some concern expressed by artists and arts organization respondents, that using the arts to teach science and math turns art into a tool, rather than a valid and important subject into itself. But most recognize that learning in, about and through the arts is equally important, and that learners should be receiving quality arts education in

5 “Mapping an Artistic Space : Arts Education in Canada”, by Monica Nyvlt, Canadian Commission for UNESCO, 2003, p.10

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 13 each of these three areas. Arts education should also create a life-long interest in, and appreciation of, the arts.

3.1.4 Resources – Financing: Stability please

A common theme was that the lack of resources available to schools and arts education practitioners is still an impediment to participation and success. Tremendous energy is used in continually searching for multiple one-time grants for initiatives. Financial insecurity makes it difficult for schools and arts organizations to plan and sustain long-term visions of effectiveness, accessibility and impact.

While each organization faces unique challenges, the common challenge faced by these projects is the need for sustainable funding. Time and again, interviewees cited insufficient funding to do the work that needs to be done as the principal challenge. Most rely heavily on project funding, the endless yearly pursuit of which weakens organizational capacity.

More programs According to artists and arts organizations, the main barriers to accessing federal and provincial funding are the programs’ failure to meet respondents’ needs and the absence of programs. At the municipal level, the absence of programs is the primary barrier. Barriers to private and corporate funding are generally related to organization types and internal resources. Among the most frequently cited barriers are shortages of time and money. Shortages of staff and volunteers and insufficient expertise and contacts are also mentioned. Further obstacles include: “arts and learning programs often do not fit the criteria for funding – we are not engaged in professional art making, nor education”; “the lack of collaboration between government departments”; “the need to bridge the cultural gap between education and art,” and “silo mentalities.” Finally, one respondent decried the lack of “public awareness of the important role artists play in the teaching of creativity and maintenance of a strong cultural identity.”

Looking to the future, almost half (48%) of respondents said that the main challenge or barrier to be overcome is the lack of sustained and sufficient funding. Finally, over three quarters (79%) state that additional research in the field of arts education would be useful.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 14

3.2 Trends

3.2.1 Active participation in as many artistic experiences as possible

Approximately 300 individuals and organizations active in the field of arts education took part in the survey. Among these respondents, approximately one hundred are artists, while the remaining 70% are organizations. These artists and organizations have generally been working in the field for about 20 years. All parts of Canada are well represented. These individuals and organizations are active mainly at the regional or provincial level.

Artists and arts organizations pursue various objectives through their arts and learning programs. Those whose programs emphasize Learning in the Arts focus on artistic training programs, arts awareness and providing an introduction to one or more art forms. For those whose programs emphasize Learning about the Arts, cultural development or the development of future audiences and increase cultural understanding are common objectives. For those seeking to engage participants in Learning through the Arts, the emphasis is on core curriculum learning through close collaboration between teachers and artists.

Many jurisdictions offer both hands-on creative programs (such as an artist-in-residence) as well as a touring program supporting performances or literary readings in schools. In these jurisdictions there is discussion of the relative value of having students participate in hands-on creative arts programs (such as residencies), versus simply attending a performance. It was noted by some funders and by survey participants that touring shows that also include a residency component are ideal, as they provide a combination of the two. Consequently, some provinces are starting to expect this type of active, more personal interaction between touring organizations and their audiences. Touring is expensive, so this discussion will continue as funders consider how to make the best use of their financial resources.

3.2.2 Closing the gap between supply and demand

Almost three quarters of artists and arts organizations receive public funding, while 57% receive program grants. The most common source of funding is the provincial level. Two thirds (65%) of respondents are seeking additional sources of funding.

Several arts funders observed that the demand for their arts education programs far outweighs their financial capacity to deliver. That being said, several noted that momentum is building for increased investment in arts and learning. The partnerships that arts councils and culture departments have forged with departments of education, combined with the success of arts education initiatives such as ArtsSmarts, Learning Through the Arts (LTTA) and the various artist-in-schools programs, had led to a general sense of optimism among funders about securing additional funding for arts education programs. For some this will come from government, while others are looking to the private sector. This is notably the case for agencies looking to replace expiring J.W. McConnell Family Foundation (McConnell Foundation)6 support for ArtsSmarts.

6 Further information on the ArtsSmarts funding can be found in the Part Two: National Arts Programs.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 15

3.2.3 Government-wide involvement in arts and culture

In every province and territory Departments or Ministries of Education take the lead in developing arts curricula. Arts Council or Culture Ministry involvement ranges from none at all, to informal conversations, to (in rare cases) formal consultation as a part of curriculum review. However, all jurisdictions report that it is very helpful for arts-based agencies to be involved, because they bring a specialized and useful perspective to the discussions. They have something important to contribute to the achievement of educational objectives.

There is strong interest expressed by respondents in strengthening the partnership between arts and education within government. This partnership is essential for the smooth integration of artists into schools. A lack of resources on the arts side and a perceived lack of acknowledgement and respect on the education side, make this difficult. It is important to note that this statement reflects the survey respondent, all of whom represent the arts community, and not the education system. Working in isolated silos is not productive. Better communication and understanding, combined with effective sharing of resources, leads to progress and success in arts education.

Other government ministries that are involved with arts education in some provinces and territories include Community Development, Tourism, Citizenship, Health, and Youth or Children’s Services. In general, these are viewed as complementary initiatives to those being undertaken by the arts sector. There was some concern raised about the artistic quality of these programs in the absence of consultation with arts agencies or departments.

No one felt that there were too many players or too much programming. There is room for a multitude of programs and approaches, and a diversity of reinforcing voices is a real strength.

3.2.4 Potential partnerships throughout the community

The importance of partnerships is a strong and recurring theme in the interviews and the survey. Nearly two thirds (65%) of artists and arts organizations offer certain activities in partnership with similar institutions. Almost all partners (97%) are located in the same area, while two thirds (64%) of arts organizations have partners located outside their area.

Everyone needs to give their best effort Where the population is scattered outside of main urban centres, program delivery is costly, and schools do not always have the financial means to cover a share of project costs. Some provinces allocate budgets to compensate for the extra costs of bringing an artist from the city to remote and rural areas. However, some schools and communities have demonstrated their ability to be creative and effective in building financial and other partnerships to support arts education initiatives through local private sector fundraising. In P.E.I., for example, merchants get involved directly with the schools by providing materials and partner organizations provide volunteers; in Nova Scotia, government funding for touring to the schools was discontinued and these projects are now funded by the schools, school boards and other local interests such as parent-teacher associations.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 16

Arts education initiatives open a door for arts councils and culture departments to position the arts in the broader political and social context: several jurisdictions noted the opportunities arts education programs have provided for them to enter into meaningful dialogue with departments of education, and to use the arts as a vehicle in support of community development. This has resulted in the leveraging of financial support for arts education programs in provinces such as Nova Scotia, where the Four C’s Foundation supports arts education activities in the Halifax region; Ontario, where other funding partners for Ministry projects include the Ministry of Education, the Ontario Arts Council, the Ontario Trillium Foundation, the Department of Canadian Heritage, and private and community foundations such as the Laidlaw Foundation, the Toronto Community Foundation and the McConnell Foundation; or in Newfoundland and Labrador, where the funding partners for the NLAC programs include the Department of Education, the Department of Tourism, Culture and Recreation, and corporate partners such as Aliant and Husky Oil.

Partnerships can bring together multiple parties involved in the community, for example: government ministries of education and culture, provincial arts councils, universities and colleges, school boards and school divisions, social service agencies, large corporations, local businesses, community and other foundations, and parent associations. When such partnerships can be sustained long-term, they contribute to consolidating an arts presence in community leadership.

Schools are part of the community; they do not operate in isolation. In fact, they are frequently at the centre of the community. Many arts funders deliver quality arts education programs that often build partnerships between artists, schools, and other community organizations, thereby building healthier communities.

3.2.5 Art is a necessity of life

One acknowledged goal of arts education is to use the power of the arts to release the creative potential of individuals. Arts education has a powerful positive effect on students. The interviews and survey show that, over time, arts education initiatives can have a much broader impact in a community, especially where ongoing local partnerships develop.

ArtsSmarts Funders in jurisdictions involved in the ArtsSmarts program are unanimously excited about the program and the benefits it has brought to artists, teachers, students and communities. ArtsSmarts was conceived as a mechanism to teach not only the arts but also non-arts subjects, and there is sufficient flexibility built into the program to ensure that partners have been able to adapt it to local needs and circumstances. For example, ArtsSmarts in Saskatchewan is not used to teach the non- arts curriculum, only the arts curriculum. In New Brunswick, each school district is responsible for tailoring the ArtsSmarts program to its specific needs, interests and ideas. And in Newfoundland and Labrador, ArtsSmarts projects are frequently found in small communities where the most important outcome of the project can be community involvement. Further information on the ArtsSmarts program can be found in Part Two: National Arts Programs.

Much work remains to be done Measures such as test scores, school attendance, or vandalism rates can provide policy makers with hard data. But arts education is not just about raising test scores. There are many ways to break

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 17 down and look at the impact of arts-infused education. Beyond the effect on the children, there are also many other levels of impact in the school and the community.

Finding ways to fully understand and to appropriately document these many layers of impact is a preoccupation shared by every interviewee.

In some parts of the country, keeping specific cultures alive is vital and essential. Arts education projects demonstrate that the arts help children build their identity. They contribute to strengthening the place of youth in a community, for example, through public presentations of performances or exhibitions of works created by children. For example, the LTTA Aboriginal program “…helps preserve and celebrate Aboriginal culture by providing opportunities to bring indigenous languages and arts form to a new generation.”7

Arts education builds an appreciation for the arts, and encourages many kinds of life-long involvement: artists, audiences, and donors. In the study “Effect of Arts Education on Participation in the Arts” conducted by National Endowment for the Arts, it has been documented that “For almost every type of arts participation, the more one received of both school-and community-based arts education, the more one participated in the arts as an adult, either through consumption or creation.”8

Cultural and education departments, arts education networks, and arts organizations are looking for better ways to document the benefits of arts education activity in the short and long term in Canada. During the consultations conducted by the Canadian Commission for UNESCO in August 2005, there was a general consensus that more Canadian research in arts education is needed. “Participants suggested research that pools our collective resources and identifies our specific needs… Most art associations and organizations expressed a need for a large database of programs, resources, and names of groups and individuals who are active in all of the arts.”9

Trend toward exploring new ways to reach children The five case studies reflect the diversity of the arts and learning milieu. They are a microcosm of the arts education field, each offering different strategies developed by innovative minds intent on developing the best possible programs to serve an identified need in a specific community.

These case studies are a fascinating glimpse into what can be achieved given creative ideas, determination and a willingness to build programs based on solid results. For all their differences, the single most important unifying characteristic is the desire to improve learning and life outcomes for children.

These arts organizations view their role as providing the inspiration for educators and artists to do the best they can, in their own way. Thus they recognize, respect and honour the work of individual teachers and artists, and continue exploring new ways to reach children through the arts. Respondents noted that by developing familiarity with the creative process and the circumstances

7 “An Information Supplement from LTTA”, The Globe and Mail, Monday, April 24, 2006, page 3. 8 “Effect of Arts Education on Participation in the Arts”, Executive Summary, National Endowment for the Arts, Louis Bergonzi and Julia Smith, 1996. 9 “Learning to Live, Living to Learn: Perspectives on Arts Education in Canada”, Preliminary Report on Consultations conducted by the Canadian Commission for UNESCO, August 2005, p. 19

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 18 involved in creating, and by opening a dialogue with the artist, children develop respect for the work of artists, and a sense of ownership of the medium. This point is underlined by the Salon du livre du Saguenay-Lac-St-Jean in achieving its goals, which aim to comply with the directives in the education ministry’s Programme de formation de l’école québécoise (2001).

3.2.6 Sustained effort is required on behalf of youth at risk

Almost half of the artists and arts organizations who participated in the survey are working in the field of learning in the arts. The best-represented disciplines are music and theatre. The clientele is generally school-age (6 to 18 years), and the most frequently reached groups are arts students and youth at risk. Ontario stands apart from the other provinces for its more pronounced efforts among youth at risk and new immigrants.

Interviewees noted that while all children can benefit, learners at risk really respond to arts education in positive ways. There is tremendous potential for growth and impact in this area, both within and outside the school system. During the World Conference on Arts Education Lisbon 2006 the Canadian Commission for UNESCO stated that “Societal interests are served in that arts education helps students at risk, develops collaborative skills, increases enjoyment of school and improves school attendance. The arts develop self-esteem, reveal and increase potential and help individuals communicate who they are.”10

Arts funders noted that while they do not have arts education programs specifically geared to youth at risk or youth who are new immigrants, they serve these constituencies through other mechanisms. In Ontario, for example, they are served through community arts programs, whereas in Yukon and the Northwest Territories projects for this demographic are a policy priority within all funding programs.

3.2.7 Ongoing innovation

Several jurisdictions reported that they had recently announced new programs designed and developed in partnership with education departments. These are briefly summarized here; further details of these programs can be found later in Part One (Existing Government Funding Programs), within the program description for the relevant province.

In Nova Scotia, the Department of Education and the Department of Tourism, Culture and Heritage jointly contribute to Cultural Opportunity For Youth, a program specifically designed to be flexible and to encourage innovation among artists working in the school system. Similarly, in Newfoundland and Labrador, the Premier’s interest in arts education led to the Cultural Connections strategy unveiled in 2005, which will invest in a variety of educational initiatives including increasing the number of teachers and increased investment in arts education initiatives.

10 “Canadian Reflections on Arts and Learning: The Challenge of Systemic Change”, Canadian Commission for UNESCO(World Conference on Arts Education Lisbon 2006) p.11

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 19

In Ontario, the Premier, the Minister of Culture, and the Minister of Education jointly unveiled the Arts Education Partnership Initiative, a matching program designed to leverage private sector funding for arts education projects delivered by arts organizations.

The Ontario Arts Council is embarking upon two pilot programs. The first is designed to provide artists who work in schools with teaching skills. Artists who are on the Artists in Education roster will receive a one-week dedicated training course in classroom techniques, upon completion of which they will receive a certificate. This new program, which will commence in August 2006, is being developed and implemented in partnership with York University. This will be the first program of its type in Canada and, if successful, the OAC plans to make the course a requirement for all artists on the Artists in Education roster in future years.

The second pilot entails placing artists in residence in two school boards for the entire year – one in the English-language system and one in the French-language system. The school board and the principals will negotiate whether the artist stays in one school for that period, or rotates to several schools, and/or spends time working with teachers on the curriculum. If successful, and funding is found, they would like to expand this program to every school board in the province.

In Quebec, a program was launched in 125 of the most disadvantaged English- and French-language primary and secondary schools on the Island of Montreal. A team of teachers and professionals was formed to implement a measure aimed at promoting access to cultural resources. It has been observed that a significant number of students from disadvantaged backgrounds, including some with little schooling at the time of their arrival in Quebec, experience more difficulty and demonstrate a pronounced educational lag and less integrated learning. In addition, they have a lower success rate, a lower graduation rate and often leave school earlier than others, without obtaining any qualifications. It is this particular situation that inspired the creation of the program.

3.2.8 Lessons from the case studies

In Part Four (Five Case Studies), the programs studied range from the fairly structured, School Division-based Learning Through the Arts initiative across the entire Regina public school system, to the individually designed interventions by De-ba-jeh-mu-jig workshop leaders in isolated Aboriginal communities. Vancouver-based ArtStarts in Schools offers a wide array of programs in schools across the whole province, while Salon du Livre du Saguenay Lac-Saint-Jean focuses on promoting reading in a rural community in Quebec. The work of both the Art Gallery of Nova Scotia and De-ba-jeh-mu-jig is closely interwoven with community development. It takes time to fully develop and fine-tune the program. In order to provide the best service to its youth, every organization developed its program over a long period of time. Each successful program or partnership builds upon the foundation of success of previous programs. It has taken ArtStarts ten years to build its roster of programs, and Debaj is constantly developing and evolving its residencies. Arts and learning initiatives are typically driven by a vision built on the artistic vision of the organization. This is most notably the case where arts education programs are an offshoot of producing organizations, such as Salon du Livre, Debaj and AGNS. Strong partnerships are an essential foundation upon which to build successful programs. The pre-eminent partnership is typically between artist, educator and child, or

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 20

between artist and child. Government departments are typically partners, while community service and health care organizations are important partners for the AGNS and Debaj. Successful programs require the “buy-in” and support of the whole organization, combined with staff focus and energy. From Regina to Halifax, from Vancouver to Manitoulin Island and Saguenay, these successful programs are all thriving on the energy of their directors and the belief of the whole organization in the value of arts and learning initiatives. The organizations train staff specifically in issues related to taking arts practice to young people, and provide acceptable working conditions in order to retain staff. This can be a challenge for projects in remote areas such as Salon du Livre and Debaj. Successful programs are more than just the work of one person, they require a systemic approach to arts and learning.

4. DIRECTIONS AND ACTIONS

Arts education is a field of activity that is highly valued by the arts practitioners who witness first- hand the positive impact of their interventions with young people. It is also highly valued by arts funders, who see the benefits of arts literacy among youth, the employment opportunities provided for artists, and the potential for developing the next generation of artists, arts administrators, audiences, volunteers and donors.

Arts education opens doors to partnerships on many levels. Arts councils and culture ministries are strengthening their relationships with other government departments interested in the subject, such as departments of education and community development. Arts organizations and other program providers have capitalized upon the appeal of arts education initiatives to the private sector in their bid to expand the scope of their financial partnerships.

The demonstrated success of curriculum-based arts education programs such as ArtsSmarts and Learning Through The Arts, as well as anecdotal success stories from artists and organizations undertaking residencies, provides a powerful foundation from which to build. It also has been demonstrated that every organization developed its program over a long period of time and that these organizations are driven by a vision built on the artistic vision of the organization, which requires true staff focus and energy.

Many arts organizations and survey respondents expressed the need for increased financial investment in their programs. The case for support for such investment, however, will be easier to make to both the public and private sectors if there is hard data that quantifies the impact of these interventions. The following recommendations, drawn from interviews undertaken for this study, as well as some comments submitted by survey participants, suggest that a network of funders has the will and the capability to design and implement a study to measure the impact of arts education initiatives across the country.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 21

4.1 Directions

Given what we have learned, future efforts in the development of arts education in Canada should be channeled as follows:

DIRECTION 1

Focusing on continuity Particular attention must be given to maintaining continuity in arts education efforts. To achieve this, existing programs must be flexible enough to adapt and evolve to meet the requirements of the different contexts in which they might be offered. They must also benefit from stable financial support.

DIRECTION 2

Favouring networking As networks develop and grow, arts education provides ever greater benefits to Canadian society. The emphasis on arts education must become pervasive in government, cities, towns, corporations, etc. and initiatives must be strongly encouraged.

DIRECTION 3

Generate societal value-added Arts education goes well beyond the simple acquisition of knowledge. It helps build a better society, and can even contribute to the resolution of tangible social problems. Research and initiatives designed to prove this claim need to be undertaken.

4.2 Actions

Following are two specific consensus-driven proposals for action.

Recommendation no. 1: Measuring Impact

• Whereas the respondents note the lack of hard statistical data, there is a growing body of evidence supporting the powerful impact that arts education can have on children; • Whereas an immense body of international research does exist and there have been international tools and mechanisms used to measure impact and outcomes at an international level, there is a limited amount of Canadian research; • Whereas most interviewees identified the need to quantify the outcomes of their arts education programs to know if their investment is having an impact. Several respondents identified specifically the need for a long-term, longitudinal study of the benefits;

Arts and Learning Environmental Scan – Final report – August 31, 2006 Executive Summary Page 22

Since this would require the involvement of many players, including the education system, the Ministries of Culture, and the arts councils,

It is recommended that all involved parties work together to improve access to existing research on the impact of arts and learning activities in Canada and explore the viability of developing a simple instrument to measure the impact of programs.

Recommendation no. 2: National Network

The majority of provincial and territorial respondents were of the view that there is a need for a national network. • Whereas opinions were expressed as to what the network’s purpose should be: − Information and resource sharing and countering teacher isolation − Sharing of best practices in arts-education delivery − Building awareness of the value of arts education and advocating a consistent message − Sharing of new models and ideas in arts-education practice − Undertaking a research study of the benefits of arts and learning − Ensuring that the UNESCO declaration, which states that every child deserves a quality arts education, is applied on a national, rather than a regional level − Sharing of tools such as contracts and resource materials − Bringing arts professionals and teachers together for a national dialogue; • Whereas it has been noted that the network’s value will lie in its ability to bring arts professionals and educators to the table; • Whereas the value of CPAF was noted as an example of how the network might function;

It is recommended that more emphasis be placed on networking and the sharing of resources bringing all parties to the table.

Arts and Learning Environmental Scan – Final report – August 31, 2006

PART ONE: EXISTING GOVERNMENT FUNDING PROGRAMS

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 24

1. INTRODUCTION

The study team was provided with a list of 16 provincial and territorial arts councils and ministries responsible for culture to interview for this research project. There are many players involved in supporting arts and learning activities across Canada: ministries of education, ministries of culture and heritage, arts councils, and private foundations, among others. However, this environmental scan focuses primarily on activity supported by public arts funders. As such, this section presents a representative sample—selected by the project steering committee—of those funding programs provided by arts councils or equivalent arts funding agencies, and provincial ministries of culture or departments therein. While there are other funders supporting arts and learning activity in Canada, the scope of this project is limited to this particular piece of the funding environment.

The questionnaire that formed the basis of each interview was divided into three parts; the first being about arts education programs provided by the funder; the second soliciting information on existing arts education networks and their efficacy; and the third questions about challenges that might exist between jurisdictions – both internally in each province or territory, or externally. A copy of the questionnaire is attached as Appendix 5.

In this section of the report the study team has summarized the key findings from these interviews. This summary is followed by a table of the programs offered in each province and territory. Following the table is a synthesis of the programs offered in each provincial and territorial jurisdiction including the unique characteristics of these programs, the lessons that the arts funding body has learned from its work in this area, and the challenges that are being faced. In all cases, the summaries reflect the opinions expressed by the interview respondents and are not the opinions of the study team. Each respondent was asked to review the section of the report on their province or territory during the preparation of this report.

2. SUMMARY OF PROGRAM FINDINGS

Arts education programs are valued by arts funders across the country. They are valued because of benefits such as building an appreciation for the arts among youth, providing employment opportunities for and income to artists, being a catalyst for community engagement projects, and the fostering interaction with other government departments such education and community and social development.

The description of the programs offered in each province and territory that are found later in this section of the report capture those initiatives specifically designed to stimulate the interaction of artists with students from kindergarten to grade 12 in school and community settings. These are the programs typically listed as “Arts Education Programs”. What the program descriptions in the report do not capture is the breadth and depth of other mechanisms through which arts funders support arts education. For example, many arts funders provide support for arts education activities through their discipline-based operating or project funding programs.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 25

Almost all provide operating support to arts organizations which may not have education as a primary mandate, but a portion of whose annual activity involves arts education. Others provide grants through community development programs, typically for work with youth in community settings.

The principal themes that arose were:

Program Outreach

A principal challenge for many arts funders interviewed for this study is to ensure that every school aged child in their region has access to consistent high quality arts education. In particular, making arts education programs accessible to remote or underserved communities is identified as a priority in many jurisdictions. Some arts funders noted that their arts education programs have been enormously successful and effective in their reach and appeal to typically underserved communities. For example, the ArtsSmarts program in Newfoundland and Labrador is now implemented in all districts of the province. Likewise in British Columbia, 39 of the 40 school districts are benefiting from the ArtStarts program, which is able to reach learners in remote and rural parts of the province. In Quebec, the “Culture at school” program made it possible to provide art-awareness activities to all school-age children, making these activities part of the school day. When programs are flexible enough, they can accommodate new directions, new policies and budget changes.

Many provinces and territories are considering strategies and tools by which they can market the availability and benefit of their arts education programs to remote and underserved communities. The Ontario Arts Council has developed a short video demonstrating the benefits of arts education which will be sent to all schools across the province. Many others, such as the Yukon and Alberta produce artist catalogues to facilitate the identification of and selection of artists by schools and communities.

Program Outcomes

Respondents noted a range of valued outcomes from their arts education programs. The most frequently cited were the increased access to and understanding of the arts, coupled with the building of familiarity with artistic practices among young people. Others noted the important role that arts education projects play in community development, especially in remote or rural

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 26

communities where the project frequently engages not only the youth, but extended families and the broader community.

Jurisdictions which offer programs where the arts are used as a teaching tool for the non-arts curriculum observed that these programs contribute to improved understanding of the curriculum and a heightened sense of identity.

New Programs

Several jurisdictions reported that they had recently announced new programs designed and developed in partnership with education departments. These are briefly summarized here and further details of these programs can be found later in this section, within the program description of the relevant province.

In Nova Scotia, the Department of Education and the Department of Tourism, Culture and Heritage jointly contribute to Cultural Opportunity For Youth, a program specifically designed to be flexible and to encourage innovation for artists working in the school system. Similarly in Newfoundland and Labrador, the Premier’s interest in arts education led to the Cultural Connections strategy unveiled in 2005, which will invest in a variety of educational initiatives including increasing the number of teachers and increased investment in arts education initiatives.

The Ontario Arts Council is embarking upon two pilot programs. The first is designed to provide artists who work in schools with teaching skills. Artists who are on the Artists in Education roster will receive a one-week dedicated training course in classroom techniques, upon completion of which they will receive a certificate. This new program, which will commence in August 2006, is being developed and implemented in partnership with York University. This will be the first program of its type in Canada, and if successful, the OAC plans to make the course a requirement for all artists on the Artists in Education roster in future years.

The second pilot entails placing artists in residence in two school boards for the entire year - one in the anglophone system and one in the francophone system. The school board and the principals will negotiate whether the artist stays in one school for that period, or rotates to several schools, and/or spends time working with teachers on the curriculum. If successful, and funding is found, they would like to expand this program to every school board in the province.

In Quebec, the “Culture at school” program made it possible to provide art-awareness activities to all school-age children, making these activities part of the school day. Introducing the arts into the curriculum and making them a requirement for academic success has enabled more advances in the field of arts and learning. This approach is considered to be a universal client-based one. However, allotted teaching hours and time limits for the instruction of all required subjects on

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 27

the curriculum limit the time available for arts in the curriculum. Quebec is working on a way to consolidate activities in children’s after-school social milieu in all regions. These activities must, however, occur within quality-controlled settings staffed by competent professionals.

Trend towards Creative Participation

Many jurisdictions offer both hands-on creative programs (such as an artist in residence) as well as a touring program supporting performing arts performances or literary readings in the schools. In these jurisdictions there is discussion about the relative value of having students participate in hands-on creative arts programs (such as residencies), vs acting as a member of the audience during a performance. It was noted by some funders and by survey participants that touring shows which also include a residency component are ideal as they provide a combination of the two. Consequently some provinces are starting to expect this type of active, more personal interaction between touring organizations and their audiences. Touring is expensive, so as funders consider how to make the best use of their financial resources this discussion will continue.

ArtsSmarts

Funders in jurisdictions involved with the ArtsSmarts program are unanimously excited about the program, and the benefits it has brought to artists, teachers, students and communities. ArtsSmarts was conceived as a mechanism to teach not only the arts but also non-arts curriculum subjects, and there is sufficient flexibility built into the program to ensure that partners have been able to adapt it to local needs and circumstances. For example, ArtsSmarts in Saskatchewan is not used to teach the non-arts curriculum, only the arts curriculum. In New Brunswick each school district is responsible for tailoring the ArtsSmarts program to their specific needs, interests and ideas. And in Newfoundland and Labrador ArtsSmarts projects are frequently in small communities where the most important outcome of the project can be community engagement. Further information on the ArtsSmarts program can be found in Part Two: National Arts Programs.

Youth at Risk

Arts funders noted that while they do not have arts education programs specifically geared to youth at risk or youth who are new immigrants, they serve these constituencies through other mechanisms. In Ontario, for example, they are served through the community arts programs, whereas in the Yukon and the Northwest Territories projects for this demographic are a policy priority within all funding programs.

Financing

Several respondents observed that the demand for their arts education programs far outweighs their financial capacity to deliver. That said, several noted that the momentum is building for increased investment in arts and learning. The partnerships that arts councils and culture

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 28

departments have forged with departments of education, combined with the success of arts education initiatives such as ArtsSmarts, Learning Through the Arts (LTTA) and the various artist in schools programs, has led to a general sense of optimism among funders about securing additional funding for arts education programs. For some this will come from government, while others are looking to the private sector. This is notably the case for agencies looking to replace expiring J.W. McConnell Family Foundation (McConnell Foundation)11 support for ArtsSmarts.

Where the population is scattered outside of main urban centres, program delivery is costly, and schools do not always have the financial means to cover a share of project costs. Some provinces allocate budgets to compensate for the extra costs of bringing an artist out from the city to remote and rural areas. However, some schools and communities have demonstrated their ability to be creative and effective in building financial and other partnerships to support arts education initiatives through local private sector fundraising. In PEI for example, merchants get involved directly with the schools by providing materials, and partner organizations provide volunteers, while in Nova Scotia when government funding for touring to the schools was discontinued these projects are now funded by the schools, school boards and other local interests such as parent teacher associations.

Measuring Impact

Most funders interviewed identified the need to quantify the outcomes of their arts education programs to know if their investment is having an impact. Nova Scotia is interested in measuring the social indicators and is about to undertake research in this area. Several respondents identified specifically the need for a long-term, longitudinal study of the benefits, which would require involvement of many players, including the education system, the Ministries of Culture, and the arts councils. One respondent wondered if a simple instrument could be developed by which to measure the impact of programs. Another noted that the evaluation process used by ArtsSmarts provides both qualitative and quantitative information, and suggested the challenge is to obtain this type of evaluation on all arts education programs.

3. INTRA GOVERNMENTAL AND INTER GOVERNMENTAL JURISDICTIONAL ISSUES

In every province and territory Departments or Ministries of Education take the lead in developing arts curriculum. Arts Council or Culture Ministry involvement ranges from none at all, to informal conversations, to (in rare cases) formal consultation as a part of curriculum review. However, all jurisdictions report that it is very helpful for arts-based agencies to be involved, because they bring a specialized and useful perspective to the discussions. They have something important to contribute to the achievement of educational objectives.

There is strong interest in strengthening the partnership between arts and education within government. This partnership is essential for the smooth integration of artists into schools. A lack of resources on the arts side, and a perceived lack of acknowledgement and respect on the

11 Further information on the ArtsSmarts funding can be found in the Part Two of this report.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 29

education side, make this difficult. It is important to note that this statement reflects the survey respondent, all of whom represent the arts community, and not the education system. Working in isolated silos is not productive. Better communication and understanding, combined with effective sharing of resources, leads to progress and success in arts education.

Other government ministries that are involved with arts education in some provinces and territories include Community Development, Tourism, Citizenship, Health, and Youth or Children’s Services. In general, these were viewed as complementary initiatives to those being undertaken by the arts sector. There was some concern raised about the artistic quality of these programs if there is no consultation with arts agencies or departments.

No one felt there were too many players or too much programming. There is room for a multitude of programs and approaches, and a diversity of reinforcing voices is a real strength.

Respondents noted that although education is within provincial jurisdiction, it is of great national importance. This makes it awkward for federal agencies, willing but wary of jurisdictional sensitivities, to define their role. It was suggested that one way around this is to focus on the artistic rather than the educational component. The Canada Council and Canadian Heritage both support arts organizations for domestic touring, for example, and there should be more communication with the provinces on how this relates to arts education priorities and programs. The idea of working collaboratively across the north, for example, was raised. A common statistical database, or joint efforts on evaluation and research, are other possibilities.

CPAF is a good start, and is strategically well-placed to assume a mandate which could advance the cause.

4. NETWORKS

Provincial/Territorial Networks

Many respondents report that networks exist in their jurisdiction. Those cited include: Networks representing academics or educators, such as music teachers’ associations, or drama educators’ associations. Unique networks exist in some areas, such as networks representing theatre companies for young audiences in Ontario, and for adopting theatrical presentation as a method of teaching drama in Quebec. Ad hoc networks or advisory committees created for a specific task. Typically these committees represent a mix of artists, educators, funders and parents and advise on policy and program development. ArtsSmarts networks that have been created directly through the work of the ArtsSmarts program for programming of touring and residencies.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 30

Most interviewees noted the need for an umbrella network in their own region to bring both the educational and the arts sectors to the table. The exception is Manitoba, where The Alliance for Arts Education already exists with 380 members comprising teachers, artists, parents, superintendents and political staff. This network had its genesis in a conference, which was followed by video and professional development programs. The organization has not developed further, but there are plans for an advocacy campaign this year. The main challenges for the Alliance are that it is under-resourced and attracts primarily those already engaged.

National Network

Respondents were overwhelmingly of the view that there is a need for a national network. Two jurisdictions, however, are not convinced that a national network is necessary. Opinions were expressed as to what the network’s purpose should be, listed here from the most frequently cited, to those mentioned by only one interviewee: Information and resource sharing Sharing of best practices in arts education delivery Building awareness of the value of arts education and advocating a consistent message Sharing of new models and ideas in arts education practice Undertaking a research study of the benefits of arts and learning Ensuring that the UNESCO declaration, which states that every child deserves a quality arts education, is applied on a national, rather than a regional level Sharing of tools such as contracts and resource materials Bringing arts professionals and teachers together for a national dialogue Countering teacher isolation

Although they were not specifically asked how such a network should be constituted, several interviewees noted the value of CPAF as an example of how the network might function. One interviewee suggested establishing an arts and learning sub-committee of CPAF.

A small number believe the network’s value will lie in its ability to bring arts professionals and educators to the table, and that a network which does not include practitioners would be ineffective. Such a network, one respondent suggested, would need to function with a secretariat or coordinator somewhere other than Ottawa to create distance from the centralized thinking of the federal government and its agencies.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 31

5. SUMMARY – TABLE OF PROGRAMS

In, About, Number of organizations Program Name Through Number of projects Venues Budget Grant range Average

Artists and Education Alberta project grant program In 260 projects Schools $960,000 $2,000 - $5,000 $3,600 Schools, Community Support Arts Organization program Venues, & Summer School More than 100 Summer program In organizations Camp $240,000

In, About, 3319 performances; 56 British Columbia ArtStarts in Schools Through residencies School $420,000 $2,000 - $20,000 $8,000 Arts venue, $375,000 12 Arts Training Orgs In, About 13 orgs school $5,000 -$100,000

$4,000 plus Manitoba Artists in the Schools In, Through 200 projects All $340,000 $650 - $6,500 travel ArtsSmarts Through 15 projects All $25,000 $2,000 - $10,000 $4,000 Touring to Schools 3 tours All $90,000 $30,000 Community Program All $55,000

40 projects 76 elementary schools, In, About, 22 high schools $32,000 per New Brunswick ArtsSmarts Through 1,500 students All $160,000 $4,000 school district

12 BC Arts Training Organization budget of $375,000 includes both pre-professional and professional training, budget cannot be broken down.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 32

In, About, Number of organizations Jurisdiction Program Name Through Number of projects Venues Budget Grant range Average

Newfoundland and Labrador ArtsSmarts Through 27 projects in 27 schools All $140,000 $2,000 - $5,000 $4,000

Visiting Artist In 40 applications to date All $35,000 $500 $500 plus travel

Northwest Territories Workshop Grants In, about, through 18 All $120,000 $3,500 - $18,000 $9,500

Nova Scotia Artists in Schools In 3 orgs/300 projects School $60,000 ArtsSmarts Through 7 residencies School $30,000 Cultural Opportunity for Youth In All $100,000

Grant to Not-for-profit $300,000 $15,000 - Nunavut organizations In, about, through All to $25,000 Touring to Schools $500,000

Ontario Arts $5,000 plus Council Artists in Education In, about, through 140 artists All $1,000,500 $1,000 - $6,300 travel $30,000 - Arts Education Orgs In, about, through 200 (4 in budget) All $456,000 $200,000 Arts Education Projects In, about, through 60 projects All $458,000 $1,100 - $11,700 $6,000 Aboriginal Arts In, about, through 30 artists All $100,000 $1,800 - $5,000 $3,000

Ontario Ministry of Cultural Strategic $12,000 - Culture Investment Fund In, about, through 10 projects All $323,500 $50,000 $30,000 Learning Through the Arts Through 1 grant School $1 million

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 33

In, About, Number of organizations Jurisdiction Program Name Through Number of projects Venues Budget Grant range Average

Prince Edward Island Council for 13 the Arts ArtsSmarts Through 12 projects School $20,000 $ 1 204 - $ 8 276 $7,500 Prince Edward $135,000 Island 11 projects plus in- $45,000 $2,250 14 Department of ArtsSmarts Through 10 schools School kind Community and Confederation Centre of Art Cultural Affairs the Arts In, about Venue

Quebec – Conseil Operational support to des arts et des organization and artists In, through All Varies Varies lettres Special Program : developing children’s creativity Not allocated yet All $2.5 million Varies Varies

Quebec – Specialized artistic Department of training In 64 organizations School $2 million Varies Varies Culture and Communication Advanced training In 11 institutions School $5 millionVaries Varies 2,000 projects Culture at school In, about, through 406,000 children $2.4 million Varies Varies Venues to provide Art attractive programming Not allocated yet Venue $300,000 Varies Varies

Saskatchewan ArtsSmarts In, about 17 All $110,000 $806 - $7,500 $5,000 Artists in Residence In, about 5 residencies All $85,000 $15,000 - $35,000 $35,000

15 Yukon Artist in the Schools In, about, through 50 artists School $25,000 $40 - $1,200 $200

13 Contribution of $20,000 mostly in-kind 14 The $135,000 plus in kind represent the financial contribution of all the partners. 15 Includes $5,000 administration fee to the Yukon Arts Centre

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part One: Existing Government Funding Programs Page 34

6. PROGRAM INFORMATION FROM PROVINCES AND TERRITORIES

ALBERTA – ALBERTA FOUNDATION FOR THE ARTS www.cd.gov.ab.ca/artsbranch/artists_and_education/index.asp

Description and purpose of the program

The Alberta Foundation for the Arts (AFA) supports arts residency programs in Alberta schools through the Artists and Education project grant program.

1- “Artists and Education project grant program”: enables schools to bring professional Alberta artists into their classrooms for residency programs lasting from one to thirty days. Any supported project can be located in any Alberta school or school jurisdiction recognized by Alberta Education, which operates on a full-time basis for students in kindergarten through Grade 12.

The objectives of the program are to expose students to Alberta artists and their work, to expose students to the creative process and to develop students’ creativity. Arts residencies encourage students’ creativity in fine arts and non-fine arts subjects involving professional Alberta artists, organizations or specialists in Alberta schools. Schools may select their artists from the approved Artist Roster but are not limited to those artists. The projects emerging from this program are generally directly related to the school curriculum, especially the English and fine arts curricula.

The program helps Alberta schools by subsidizing the fees of professional artists from any artistic discipline who provide interactive arts residency projects for grades K-12. The selection of candidate schools is based on project merit, the commitment demonstrated by the school and the project’s benefits for students.

Schools can apply annually for funding. An independent jury of arts and education experts considers all eligible applications and forwards funding recommendations to the AFA for approval. In 2005, 260 projects were funded under the program – 90% of applicants and a total investment of $960,000. These numbers are consistent with the previous five years, when an average of 230 projects were awarded annual total funds of $930,000. Together with the two other components listed below, the AFA invested approximately $1.2 million in arts education programs.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 35

2- “Community Support Organization program”: supports organizations whose primary activity is the support and promotion of the arts. Even though this program is less relevant to this particular study because it only supports a few “education” groups, overall 100+ organizations are funded through the Community Support Organization program. Some of the educational beneficiaries are: √ Alberta Band Association. Its membership roster includes school, community and military band directors, professional composers and clinicians, administrators, students, parents, and members of the general public. √ Alberta String Association, which strives to support and develop programs serving a network of string professionals, string students, and string-interested parties who advocate quality string playing and string education in the province of Alberta. This includes services such as an informational newsletter, educational and academic publications, a website as multi-purpose platform including a directory, a lending music and video library, specialized workshops, advocacy and benefit events, and a provincial conference. √ Calgary Arts Partners in Education Society (CAPES) is an independent charity working in partnership with local educators, businesses, and arts and culture groups to infuse the arts into the core curriculum. Every year, the network reaches over 20 schools in the Calgary area thanks to its experience and broad appeal.

3- “Summer School Program”: for arts instruction for children, Alberta music camps and aboriginal groups.

Unique characteristics – lessons learned

Under the Artists and Education Project grant program schools can partner with any professional Alberta artist who has school residency experience, or use the program’s Artist Roster, artists’ profiles, and program proposals to connect with an artist suitable for their school and students. Artists may come from a variety of disciplines, including visual arts, acting, dance, music, writing and storytelling. The range of activities is reasonably varied: master classes, clinics, student workshops, and/or performances, readings, student demonstrations and/or student performances, or exhibitions based on the programs.

The Artists’ Roster for the Artists and Education component is intended to provide a “meeting place” for artists and schools. Although schools can launch their own artistic projects with the artist of their choice, nearly 80 artists are included in the Artists’ Roster, representing artists from a variety of disciplines.

A unique characteristic of this program is that it is set up to provide a higher subsidy for schools outside the urban centres of Calgary and Edmonton. This is to compensate for the extra cost of bringing an artist out from the city.

The Alberta Foundation for the Arts board of directors recognizes the value of these activities. This program will continue to receive support from the Foundation for the foreseeable future.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 36

Challenges

It is a constant challenge to maintain a continuous link with schools with the goal of ensuring that they understand, use, and get actively involved in the Artists and Education program.

1. Participation in the program requires a certain level of commitment on the school’s part. Teachers do not always have sufficient time to prepare projects, and schools do not always have the financial means to cover 50% of project costs, as required by the AFA subsidies program. The AFA is exploring the possibility of establishing a quick, web-based method for teachers to complete the application form in order to save scarce time. Schools in rural areas (more than 100 km from urban centres) can take advantage of an AFA funding rate as high as 75% of the project cost. 2. Artists are not always available (teaching and travel time) to participate in the program. There is geographical inequality and a lack of balance between the various disciplines taught. The result is that rural schools have reduced access to artists relative to urban schools.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 37

BRITISH COLUMBIA ARTS COUNCIL www.bcartscouncil.ca/programs/

Description and purpose of the program

ArtStarts in Schools is the principal vehicle through which the British Columbia Arts Council funds arts education activities. They provide ArtStarts with a grant of $300,000, matched by the Vancouver Foundation, with the goal or providing students throughout the province have access to, and experience with, artists and art forms. The BC Arts Council also provides ArtStarts with administration and operating grants.

The two ArtStarts programs funded by the BC Arts Council provide students with two opportunities: a) being in the audience and observing a touring performance; and b) creating art through an artist -in -residence program where the artist is in the school for a longer period of time. A further objective of the program is to provide work for artists.

Applications to ArtStarts are submitted by the School Districts, and the school district selects the professional artists they wish to bring in. School districts pay half the cost of the touring production or residency. The program aims to serve every school district in the province, with a distance bonus built into the program to encourage participation in the North. This strategy has been successful, as 59 of the 60 school districts participated in the program last year, with artists working in 179 communities.

ArtStarts in Schools was selected as a case study for this report, and further information on this program can be found in Part Four.

In addition, the British Columbia Arts Council provides grants to 13 arts training organizations engaged in pre-professional arts training, such as the Victoria Conservatory of Music. Their arts-based Community Development Program provides funding for projects aimed at youth at risk, new immigrants and community projects that impact on youth and adults.

Unique characteristics – lessons learned

The most important outcome of the Arts Council’s investment in ArtStarts has been the exposure of children to the arts, particularly in remote communities where there are few opportunities to see dance or theatre. The Arts Council has seen an increase in arts programming that reflects the cultural diversity of the province, and this has been reflected in the offerings to children in the schools, who are now exposed to these different cultural traditions of art making. Another important outcome has been that through participation in this program, children learn to recognize that making art is a normal and reasonable thing for all to do and to enjoy.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 38

The funding provided through the arts training organizations has the same outcomes. However, because this is more specialized training , it is one step further along the path of arts education than the ArtStarts program initiatives.

The Arts Council has no ability to quantify the outcome of the program investments, since a systematic long-term longitudinal study of the benefits of arts education has not been undertaken. Such a research project would require a commitment by the school system, the Ministries of Education and Culture, and the Arts Council.

It makes sense for the Arts Council to direct its arts education activities through ArtStarts. ArtStarts is dedicated to getting artists into the schools; it is their focus, their responsibility. The principal funders maintain a role during the adjudication process, and participate in the refinement of the guidelines. However, day-today operations are the responsibility of an organization with proven expertise in the field.

Challenges

The principal challenges identified for the ArtStarts program are: The need to expand the residency component, which is expensive. The increasing difficulty faced by touring companies due to cost. Ensuring reasonable access to remote areas in the north of the province. Ensuring access by First Nations peoples. The need to maintain equitable access by wealthier school districts and those with limited financial resources (the school district has to pay half of the cost). How do you encourage those with few resources, yet not penalize those with the resources and the willingness to put their funds into arts programs?

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 39

MANITOBA ARTS COUNCIL www.artscouncil.mb.ca/english/artsdev.html

Description and purpose of the program

The Manitoba Arts Council (MAC) offers the following arts education programs:

1. Artists in the Schools Residencies (AIS) This program has been running for over 20 years and is a partnership between professional artists and teachers to explore the arts in the school context. Originally designed to be learning in and about the arts, it has evolved and now includes learning through the arts projects. MAC publishes a directory of juried artists which is sent to the schools with projects then developed by professional artists in collaboration with teachers. The school is the applicant with residencies both short term (one week) and long term (two to ten weeks) integrated into the school’s daily schedule. Most of the participating artists are from Winnipeg and travel throughout the province.

2. ArtsSmarts MAC is one of four partners producing ArtsSmarts Manitoba. This program complements the AIS program in that: a) ArtsSmarts features arts infused learning through the support of projects developed by artists and teachers that explore the set curriculum. b) ArtsSmarts is designed to involve artists living and working in their home communities. It is less of the “visiting artists from the urban centre” and promotes a more intensive, longer- term relationship, even after the project has finished.

3. Touring Program The objective of the touring program is to offer schools and communities the opportunity to see live professional presentations (in some cases related to curriculum) and to experience professional arts in their own community. MAC encourages the presenting companies and individuals to include increased preparation and/or follow up designed to enhance the performance experience. Touring grants for school audiences are incorporated into the general touring program, which is designed to support work that is artistically excellent, engaging and appropriate to young people, their teachers and families and reaches communities throughout the province.

4. Community Programs MAC offers a variety of programs that may connect professional artists with youth in school and community settings. The Artist In Community Residency Program assists organizations by responding to community development needs in, or through, the arts by engaging Manitoba artists to work in Manitoba communities for a specified period of time. In this program artists engage with the broader community or public in ways that are meaningful and relevant towards the outcome of individual and community development. Programs addressing the specific needs of youth have been actively encouraged.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 40

Unique characteristics – lessons learned

The MAC programs are multi-layered, providing professional arts experiences for students designed to engage young people in artistic activity on a variety of levels from simple awareness, to full participation and appreciation.

The challenge remains: how do artists and the arts build and maintain a permanent and valued role in the education system throughout the province? And what continuing role does an Arts Council play in meeting this challenge?

MAC does rank AIS applications by geographic regions, does attempt to reach schools that have not previously taken advantage of a program and is working with partners to build a base of professional artists working in communities throughout the province.

Partnerships

The AIS program is funded through the regular provincial allocation received by the Council and supports the ArtsSmarts Manitoba partnership in a similar fashion. The AIS program has recently been “topped” up by a specific extra allocation from Manitoba Youth, Citizenship and Education. ArtsSmarts Manitoba is also funded directly by its other partners Manitoba Youth, Citizenship and Educations, the Manitoba Department of Culture, Heritage and Tourism, and the McConnell Foundation. Other partners are actively being sought. MAC was a founding member of the Alliance for Arts Education in Manitoba and has assisted the Alliance in developing advocacy and awareness conferences, videos and campaigns.

Challenges

Challenges identified in Manitoba are:

• Having sufficient resources to ensure professional development opportunities for artists and teachers are available on a regular basis; • Building awareness of the value and impact of the programs with teachers, school boards and politicians; • Engaging the variety and quality of artists required to meet the potential needs of the arts education programs in the province.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 41

NEW BRUNSWICK – DEPARTMENT OF EDUCATION www.gnb.ca/0000/francophone-f.asp

Description and purpose of the program

The “Learning Through the Arts” and “Learning About the Arts” programs are on the provincial arts curriculum and represent 6% of students’ instructional time. From K-6, this involves general arts programs. Music and visual arts are on the program in grades 7, 8 and 9 (in these grades, students must choose between visual arts and music); in grades 10, 11 and 12, the options are visual arts, music, dramatic arts, and media arts (delivered online). Only one high school offers dance. However, physical education programs (kindergarten to grade 11) include the theme of expression, which is generally approached through creative dance. The goal is to help the student represent ideas or express facts by using a range of movements either alone or as part of a group; to enable the student to create rhythmic sequences using gestures with or without motion; to help the student develop the ability to create or interpret a given theme by performing various symbolic movements. These programs meet specific objectives identified by the department, namely fostering creativity, appreciation and interpretation.

ArtsSmarts has been implemented in five French-language school districts in New Brunswick (76 elementary schools, 22 high schools), this program employs over 35 artists and reaches more than 1,500 students. Over 40 projects have been completed. The arts-learning programs supported by ArtsSmarts are managed by the Education Department in collaboration with the Department of Wellness, Culture and Sport. The school districts are responsible for the implementation of the various artistic projects. They are also responsible for tailoring the ArtsSmarts program to their specific needs, interests and ideas.

Unique characteristics – lessons learned

The department’s pedagogical services office believes strongly in the importance of learning through the arts, and this is the fundamental reason for the partnership with ArtsSmarts. We believe that the arts help children build their identity.

Some schools are not served by this program, which is aimed at supplementing the core curriculum’s arts program, mainly because projects are selected by a provincial committee at the beginning of the year. Given the number of applications, which greatly exceeds budgets, choices must be made. Selection criteria have been established toward that end.

The program developed in small committees has been able to unite citizens and youth, for example through the presentation of performances or the exhibition of works created by children through the program. The program contributes to the vitality of the province’s francophone culture.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 42

Each of the five school districts manages a budget envelope of $32,000. This support comes from various partners: $15,000 from the McConnell Foundation (ArtsSmarts partner); $10,000 from the Education department and Wellness, Culture and Sport department; $6,000 from Acadian credit unions; and $1,000 from the districts themselves. Some of the districts contribute additional funds. Scheduled to run for three years, the program is currently in its first year (2005-06). The program is to be self-financing by 2008-09.

One person oversees ArtsSmart for all five school boards. Three other staffers also work on the program, one of whom is also responsible for the arts programs included in the curriculum.

Challenges

The challenges are primarily related to the shortage of competent people to teach the arts. Teacher training is a real issue. Currently, generalists often teach school arts programs. Together with the University of Moncton, a more flexible music training program will help to educate more B. Ed. (music) graduates starting in September 2006.

There are difficulties in recruiting specialists to work in schools in some parts of the province, such as the north, northeast and northwest. This puts students at a disadvantage.

Although the will exists to expand arts programs, this expansion is limited by available resources.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 43

NEWFOUNDLAND AND LABRADOR ARTS COUNCIL www.nlac.nf.ca/grants/

Description and purpose of the program

1. ArtsSmarts The Newfoundland and Labrador Arts Council (NLAC) has been offering the ArtsSmarts program in conjunction with the McConnell Foundation for 9 years. The objective of the program is to: build long-term partnerships between schools, teachers, communities and students; enable the school to explore ways to integrate arts into the arts or nonarts subject areas; provide opportunities for children to participate in the arts and to develop an appreciation of the importance of culture.

Applications to the program are accepted from schools or school boards. While most of the artists are professional, a key consideration is the connection, or relationship, between the artist and the community. Frequently ArtsSmarts projects are in small communities and sometimes the communities adopt the ArtsSmarts project as their own and help to raise funds.

The McConnell Foundation funding has been gradually decreasing, and will expire this year to be replaced by new funding through the Cultural Connections program.

The Cultural Connections strategy was unveiled in the 2005 budget and includes $10 million over 3 years for a variety of educational initiatives. The Department of Tourism, Culture and Recreation has been involved with this, and in partnership with an advisory committee representing all participants, examined a number of programs - Learning Through the Arts (currently being offered on the West Coast, LTTA in NL was initiated by the Royal Conservatory of Music and after the first round of funding it is now a separate entity funded by the private sector), ArtsSmarts, Visiting Artists, and the professional development of teachers. This new money is being allocated to a range of education programs such as increasing the number of teachers, but a portion is being allocated to ArtsSmarts and Visiting Artists.

2. Visiting Artists The Visiting Artists program was reintroduced in April 2006, after a hiatus due to lack of funding. The reinstatement has been made possible through funding from the newly unveiled Cultural Connections program.

The purpose of Visiting Artists is to provide opportunities for artists to go into the school for a reading, performance or other presentation. This focus on presentation differentiates Visiting Artists from ArtsSmarts where the focus is hands-on creative. The school is always the applicant, although sometimes the artist will initiate a project. When necessary, the Arts Council acts as matchmaker between the artist and the school.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 44

The program was announced in April 2006, and 40 applications were received for projects to occur within the balance of the school year. Based on this level of demand, there will be insufficient funding available in the next school year to fund all the requests.

Unique characteristics – lessons learned

The ArtsSmarts program meets all of its objectives and is the best NLAC program in terms of its ability to reach out across the province. While 90% of the applications to other Council programs are typically from St. John’s, 50% of the applications to ArtsSmarts are from outside St. John’s. While they have yet to reach their goal of having an ArtsSmarts or Visiting Artists project in every school, artists are active in schools in every region of the province.

The most important outcome of the ArtsSmarts projects is community engagement. The NLAC notes the pride and excitement when communities become involved in the projects and make them their own. Art displays and performances often take place in community centres, reflecting the involvement of the larger community. The program has been so successful that even if the three year funding through Cultural Connections is not renewed, the NLAC will use funds from their operating budget to ensure continuation of the program.

Partnerships

The funding partners for the NLAC programs include: Department of Education Department of Tourism, Culture and Recreation Corporate partners such as Aliant and Husky Oil French Services Division of the Government of Newfoundland and Labrador who helped with outreach into five French schools.

Challenges

Two years ago the challenge was how to fund ArtsSmarts with the impending withdrawal of McConnell Foundation funding. The current challenges for Visiting Artists and ArtsSmarts are: Marketing the programs to schools and communities which have not experienced the programs and thus do not know the benefits and the application process. Financial resources, specifically funding for travel to market the programs. Helping the schools with the application process and helping them identify appropriate artists. Cultural barriers still exists with Labrador, although it is less of a barrier with ArtsSmarts than with other NLAC programs. Matching the school with an artist from their community is a continuing challenge as 85% of the province’s professional artists live in St. John’s.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 45

NORTHWEST TERRITORIES – DEPARTMENT OF CULTURE, HERITAGE AND LANGUAGE pwnhc.learnnet.nt.ca/artscouncil/

Description and purpose of the program

Funding for all arts and cultural activities in the Northwest Territories is provided by the Department of Culture, Heritage and Language through the Northwest Territories Arts Council. A five-person volunteer Northwest Territories Arts Council provides policy advice and grant recommendations to the Department and to the Minister. The secretariat for the Council is housed within the Department.

The Council does not have a separate program for arts education. Arts education initiatives are funded through either: a) Workshop grants: these grants are open to workshops for adults and children; or b) Discipline grants: there are five discipline programs and education projects which can be funded through their discipline grant.

Approximately 50% of the arts education activity in the NWT is funded through workshop grants, the other 50% through discipline grants.

Applicants for workshop grants are band councils, community centres, or schools. Individual artists can apply directly if they can demonstrate community support for their intended workshop. The program is very open to pre-professional projects in any setting.

Funding priorities are: Projects that enhance an applicant’s personal growth and development in an artform. Projects that encourage others to pursue an artform or direction (workshops). Projects that encourage the development of creative art, rather than the sole financial gain of an artist or an arts organization. Projects that enhance awareness of the NWT arts community. Emerging artists over established artists. (80% to 20%). Projects that support a number of individuals (workshops).

Youth at risk is an important market for the Council programs, and priority is assigned to projects working with that demographic. Other priorities include youth studying the arts and programs for youth in the community. Integrating youth into their community is an important outcome, whether this is achieved through artists working in the schools, or by youth mentoring by senior artists in the community.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 46

Unique characteristics – lessons learned

In the NWT, learning about the arts takes the form of learning the cultural traditions and art forms of their own community, which is largely aboriginal. Likewise, learning through the arts is a medium by which students learn about geography or native history. These projects take place on the land, and could include, for example, tanning a hide and turning it into moccasins.

Many of the artists from the NWT feel it is necessary to make their living and their success in southern Canada. There is no way to track these artists and their success.

Challenges

While artists in schools and youth mentoring are identified as priorities on the Department’s agenda, there are insufficient resources to structure a program specifically about arts and learning.

Building awareness of the Council’s programs is a continuing challenge. Yellowknife has half the population of the territory, and other communities are very small, so communicating the availability of Council programs continues to be a challenge. Often the applicants from these communities also lack the necessary grantsmanship skills when it comes to applying for and reporting on a grant.

Keeping the balance between serving Yellowknife and the rest of the territory is difficult although progress is being seen in this area.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 47

NOVA SCOTIA – DEPARTMENT OF TOURISM, CULTURE AND HERITAGE www.gov.ns.ca/dtc/culture/default.asp

Description and purpose of the program

Nova Scotia’s Department of Tourism, Culture and Heritage supports arts education initiatives in the schools through third party delivery mechanisms. The overarching objectives are: a) the artistic and cultural development of youth; and b) community development which acknowledges the value of cultural activity to society. Its goal is to increase youth involvement and introduce youth to arts as potential participants or audiences. The two principal programs are:

1. Artists in Schools: The Department provides direct assistance to three organizations, one in each of the visual, literary and performing arts, who manage artists’ residencies in schools on their behalf. 2. ArtsSmarts: As in other regions, this program enables educators and artists to work together on projects that they themselves design to support specific curriculum goals. All schools in Nova Scotia are eligible for this program.

In addition, the Department supports pre-professional arts training to youth through: a) Youth Program which provides operating funds to key youth organizations, such as the Nova Scotia Youth Orchestra, The Halifax Young (dance) Company, and various youth festivals that have an arts focus; and b) Nova Scotia Talent Trust which provides scholarships to youth with the greatest potential who are accepted into training institutions such as RWB (Royal Winnipeg Ballet), Julliard and RADA (Royal Academy of Dramatic Arts).

The Department did offer a program encouraging performing artists to tour in the schools. While this program no longer exists, performing artists still tour to provincial schools. The activity is now financed by the schools, school boards and/or local school interests (parent teacher associations, etc.).

The Department recently announced a new program, Cultural Opportunity for Youth. This program will invest $100,000 annually and complements a further annual $171,000 recently committed by the Nova Scotia Department of Education. These are new youth oriented programs that will encourage more artists to work within the school system and will complement existing programs. The Cultural Opportunities for Youth Program is designed to be flexible and encourage innovation. Applicants can design unique projects as long as they meet program objectives.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 48

Unique characteristics – lessons learned

The Cultural Opportunities for Youth program is in part designed to integrate arts into the community. For example, if a project is developed and a local service club becomes involved, others in the community and in the service club learn about the value of the arts in community engagement. This is defined as learning through the arts.

The Department is looking for ways to describe the impact of an arts education. The economic arguments are more readily available through existing models and agencies like Statistics Canada, but what is missing are credible and significant social indicators. The Department is about to undertake work in this field.

Partnerships

The development of Cultural Opportunities for Youth has been positive and collaborative between the two government departments and is designed to encourage new communitybased partners. The Four C’s Foundation supports arts education activities in the Halifax region, and the McConnell Foundation is funding ArtsSmarts.

Challenges

Challenges identified in Nova Scotia are: Although Nova Scotia is home to many artists, the demand for arts education services outweighs their ability to deliver. Fiscal demand outweighs available resources and while other provinces enjoy the generosity of benefactors, in Nova Scotia the Province is most often the only contributor to artistic activity including arts education. The Province works with various service providers as indicated above. It is a challenge for these organizations to deliver programs provincewide. As well, the majority of creative artists tend to live near or in the city of Halifax and surrounding area (i.e., Nova Scotia’s South Shore). Getting artists from one end of the province to the other can be an added issue. Nova Scotia is home to four distinct cultures and is enjoying growth in its immigrant populations. These include Aboriginal, Gaelic, Acadian, and African Nova Scotians, as well asa host of new communities from around the world. Serving such a diverse cultural community is proving to be a challenge.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 49

NUNAVUT – DEPARTMENT OF CULTURE, LANGUAGE, ELDERS AND YOUTH www.gov.nu.ca/cley/home/english/commfund.html

Description and purpose of the program

The ministry has no youth program specifically for arts learning. The Department of Culture, Language, Elders and Youth (CLEY) provides funding in the form of grants and contributions to not-for-profit organizations and individuals seeking to develop community projects designed to protect and promote Nunavut’s culture, heritage and language. The projects come from a wide range of artistic practices, from young women’s throat singing to youth theatre, from hip-hop dance to drumming. CLEY’s Community Programs Division (Elders and Youth) and Culture and Heritage Division provide grants and contributions to support artists and organizations which disseminate arts and culture at the community level. These are aimed at research and creative projects and performance/exhibition efforts both within the territory and involving Canadian and foreign tours. Art is learned through performances and workshops.

Artistic projects for K-12 aged youth can be based in schools or in the community. The approach is currently based on Saskatchewan’s curricula. Nunavut promotes a holistic approach which integrates art into the children’s classroom learning.

One of the programs aimed specifically at schools is the one run in collaboration with Elders in the School Curriculum on the Land program.

Another example of a project aimed specifically at youth in schools is the one that helps youth travel to the National Archives in Ottawa so that they can access their people’s photographic heritage. This trip connects them directly with their community.

Unique characteristics – lessons learned

The Department of CLEY makes an effort to recognize positive role models and leadership, to improve communication among youth, and to offer them opportunities to create and collaborate. The artists work in the communities. Being exposed to artists contributes to young people’s general wellbeing. For example, presenting theatre to youth (Baffin Island, QIK Theatre in Pond Inlet), teaching hip-hop dance, or organizing a drum festival helps draw young people into a positive lifestyle. For the Department of CLEY, providing financial support to touring youth choirs and dance troupes to the communities or to various festivals (Throat Singing, drum festivals), is a way to help young artists gain experience and share their experiences with other artists. Returning to their community enriched by these encounters, they assume leadership roles among youth in the schools and communities.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 50

The Nunavut place name program, assisting individuals and organizations doing research on place names in order to provide official confirmation of traditional Inuktitut names for localities and regions in Nunavut, provides benefits not only from the research itself but also from the instruction, preservation and use of the language.

The ArtsSmarts program was in its final year of funding when Nunavut considered participating; however there was not sustained funding to begin the partnership.

Challenges

Over the past five or six years, the effects of investment in the arts have already started to be felt in Nunavut. Young people have an increased interest in theatre and other performing arts. They find it easier to develop new ideas. The number of music, theatre and arts festivals is growing. In small communities with barely 900 residents, we are seeing circus arts revivals inspired by Cirque du Soleil. The general public also recognizes various art forms, and participates more and more.

It is essential to promote children’s openness to art and culture as part of their education. To this end, programs must continue to be publicized and remain accessible to all citizens. Program flexibility is the key to success for these projects: flexibility in terms of the financing ratio, flexibility in award criteria, etc.

The overall budget of the Department of Culture, Language, Elders and Youth is $7 million for supporting communities. This represents small per-project contributions, since the total budget for the arts varies between $300,000 and $500,000. The arts are funded on a project basis (between $15,000 and $25,000 each) and recipient artists and organizations require additional funding from other sources.

Certain projects have the ability to attract more funding from federal support programs (Canada Council for the Arts, Canadian Heritage, Canada Economic Development) because of the nature of their activities. Festivals are a good example.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 51

ONTARIO ARTS COUNCIL www.arts.on.ca/English/

Description and purpose of the program

Arts education is an overall strategic goal for the Ontario Arts Council (OAC) and the Council is committed to developing creative and far-reaching partnerships with artists to enhance their work in this field. The Council has an arts education office responsible for developing and delivering the following programs:

School based

1. Artists in Education The objective of Artists in Education (AIE) is to place artists in schools to work with students and teachers in order to increase learning in and through the arts. The program is open to professional artists working in a recognized educational institution.

2. Arts Education Organizations Operating grants support non-profit organizations that self-identify as arts education organizations, delivering programs in the schools. Their priority is to support organizations which produce and present arts education activities and services in order to sustain a healthy arts education community, and to support artistically sound, rigorous, participatory, and meaningful arts education activity.

School and community based, children and adults

3. Arts Education Projects These projects are for individuals and organizations to create work with or for learners. Anything from creation and production, to presentation costs are covered. Projects in this category may take place in the classroom or in a community environment. The program is open to individual professional artists, collectives, arts organizations and community organizations involved in arts education for children, youth, educators,and adults.

4. Aboriginal Arts Education Projects This program is funded through the Aboriginal Arts office, not the Arts Education office. It funds arts education projects in schools and community settings, for children and adults, in the context of aboriginal culture, using both contemporary and traditional aboriginal art forms. It is open to practicing aboriginal artists who wish to work with learners, educators, communities, youth, children, adults, and inmates. It is also open to non-arts organizations, arts organizations, non-profits, schools and collectives conducting and coordinating arts education projects with aboriginal artists and learners.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 52

Discipline-based Office Support

5. Operating Support

The OAC funds approximately 200 organizations which work, either totally or in part, in arts education. For example, theatre companies for young audiences are funded through the theatre office, not the arts education office. Also included in this category are professional organizations whose sole mandate is not arts education, but which do a lot of work in this field.

The Council also supports youth studying the arts through their programs in support of pre- professional arts training. Targeted programs for youth at risk, new immigrant youth and youth in community programs are offered through the Community Arts Office.

The most important outcome of these programs is the development of a healthy citizenry with a sense of cultural literacy and cultural identity Benefits can be seen in improved math and literacy scores, self-esteem, socialization skills, self discipline and the ability to focus and to concentrate. Such programs teach people how to work together across races and cultures.

Unique characteristics – lessons learned

The OAC has documented evidence that 2.3 million children are exposed to arts experiences through OAC funded programs. A large proportion of these are exposed through a one shot presentation in the school. However, the Council knows that the most valuable intervention is when the artists or theatre companies for young audiences don’t just present but undertake residencies with very specific activities engaging students and educators in learning skills and the process of making art for at least five days. This is the area which they want to significantly expand. The long term goal is to provide each student in the province with at least two arts education residency experiences a year.

The Artists in Education program is almost entirely subsidized as the OAC pays 85% of the artists’ fees and 100% of travel costs, so that the cost to the school is only $50 per day. This appears financially accessible to the Council; however they are evaluating this to determine whether in fact $50 per day is a barrier to participation for some schools.

The OAC is strongly committed to arts education programming and they are introducing two new initiatives:

1. A pilot program placing artists in residence in two school boards for the entire year, one FTE in the anglophone system and one FTE in the francophone system. They hope to expand this to every school board in the province. The school board and the principals will negotiate what needs to be done with the artist – whether the artist is placed in one school, several schools, or if the artist will be working with teachers on the curriculum. OAC is paying for the whole cost of this pilot.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 53

2. A second pilot is dedicated to provide artists with teaching skills. They have negotiated an agreement with the Faculty of Education at York University, starting August 2006, where artists on the Artists in Education Roster will receive a one-week dedicated training course in classroom techniques, obtaining a certificate upon completion of this course. This is a first in the country. The goal is to accommodate up to 40 artists from the roster in the program. Topics will include classroom management, child and adolescent development, evaluation, making appropriate links to the curriculum, integrity of artistic practice, and diversity. It will be offered in English and in French. The OAC hopes to make this course a requirement for Artists in Education in future years.

Challenges

The biggest challenge for the OAC is getting arts education into every school in the province, and it wants to make inroads into those schools that are not aware of the programs and their benefits. The OAC knows that both staff and artists need to undertake more outreach to the schools and the school boards. The OAC is meeting this challenge by producing a 13-minute arts education video demonstrating the benefits of arts education, which will be sent to all the schools in the province. A written document will accompany the video.

Other challenges being faced are:

A. Increasing the number of hours of arts training received by teachers in teachers college. The current average in Ontario is 12 hours of instruction in how to teach all of the arts. B. Reaching out to the francophone school boards. Dialogue has started. C. Elimination of arts liaison officer positions at the school boards places a heavier burden on arts organizations trying to book activities within the school system. D. Teachers are already overworked, and working with an artist is an extra burden because the teacher is expected to participate in the activity. E. The demand for arts education is much greater than can currently be met through OAC resources. If the above-mentioned marketing activities are successful, there will be even greater financial pressure on the arts education budget.

The OAC would like to find some way to document: a) the benefits of arts education activity on the child in the short and long term in Canada (there is evidence of qualitative impact from other countries); and b) the extent of the existing demand across the 100+ school boards in Ontario.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 54

ONTARIO – MINISTRY OF CULTURE www.culture.gov.on.ca/english/index.html

Description and purpose of the program

Arts education is a priority for the Ministry of Culture. Over the past 18 months, the Ministry has invested in 10 arts education pilot projects in order to provide children and youth across Ontario with meaningful arts education experiences and to enhance and entrench art education both in the school system and in communities.

The Ministry has funded the pilot projects through their Cultural Strategic Investment Fund (CSIF). Examples of projects undertaken include: 1. A collaboration between three arts education organizations to provide an 8-week intensive after-school cultural program for youth at risk in Malvern, a Toronto community noted for gun violence and lack of community safety. Based upon the success of this pilot, the Ontario Trillium Foundation is funding an expansion of the program to three additional communities. 2. An investment in the first Ontario pilot of the ArtsSmarts program in the Durham region. Results of this pilot are awaited. 3. Two aboriginal arts education projects in Northern Ontario, seen as a key way for youth to learn about their culture and heritage. This project was also targeted towards youth at risk. 4. A project to take Canadian films into schools, where filmmakers would visit the school, screen their films, lead a discussion, and the film would be left behind as a legacy in the school library.

In May 2006 the Premier of Ontario, and the Ministers of Education and Culture announced a new program, the Arts Education Partnership Initiative, a matching program designed to encourage private sector donors to support arts education programs delivered by arts organizations. The $4 million budget will be met by allocations of $2.5 million from the Ministry of Education and $1.5 million from the Ministry of Culture. The program guidelines are in development.

With the introduction of this new program next year, fewer arts education pilot projects will be funded through the CSIF in the next year, and CSIF funds will be directed to other Ministry priorities.

The Ministry of Culture is also the conduit for the government’s annual allocation of $1 million to the Learning Through the Arts (LTTA) program at the Royal Conservatory of Music.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 55

Unique characteristics – lessons learned

The Ministry and politicians realize that the way to gain partners outside the traditional cultural environment is to use learning through the arts as a mechanism to capture attention and access the system. Linking arts education to the educational system’s priority of literacy and numeracy is a conscious strategy. That said, the Ministry recognizes that each area of learning in, about and through the arts is equally important and learners should be receiving quality arts education in each of these three areas.

Programs designed for youth at risk are most costly. The Malvern project was developed so that students did not have to pay fees, and they were provided with food and transit, in recognition that these expenses would have been a barrier to participation. In order to be effective, these programs also require hands on engagement over a long time period. However, when this happens, the results can be life-changing in terms of the paths that youth subsequently choose.

Partnerships

Projects supported through CSIF are all collaborative in nature. Other funding partners for Ministry projects include the Ministry of Education, the Ontario Arts Council, the Ontario Trillium Foundation, the Department of Canadian Heritage plus private and community foundations such as the Laidlaw Foundation, Toronto Community Foundation and the McConnell Foundation.

Challenges

The greatest challenge is ensuring equitable access, both geographic and financial, to arts education initiatives. That said, the Ministry would like to determine the regions and communities where students are under-serviced in arts education.

Learning through the Arts is still too expensive for many schools. LTTA is undertaking more web-based teaching to overcome both geographic and financial challenges, which is made possible through the sponsorship of TELUS.

The Ministry would like to track the long term impacts of the initiatives they have seeded, tracking the impact on children, then measuring their outcomes as adults. Such an initiative is seen as too expensive.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 56

PRINCE EDWARD ISLAND COUNCIL OF THE ARTS www.peiartscouncil.com/

Description and purpose of the program

The Prince Edward Island Council of the Arts is entering the third year of its partnership in the ArtsSmarts program. Applications to ArtsSmarts are accepted from partnerships of artists and teachers, and the projects are juried by PEI Arts Council members and educators based upon the artistic merit and design of the project, and on how the teacher has shaped the project to ensure it reaches its curricular goals. Approximately one-third of all applications are funded.

The objective for the Council is to enhance the education and arts experiences of children in the school system. The program operates across the province and funds are divided among the three schools boards to ensure fair distribution.

The Council’s contribution to the program is largely in-kind through support such as the database and artist directory available to teachers to locate artists with whom to partner. They have had such success that they now want to undertake fund raising to continue the program and make a larger cash contribution,as the funding from the McConnell Foundation will scale back in future years.

Unique characteristics – lessons learned

A key achievement in this program is the placing of professional practicing artists in the schools – not as an in-service or extracurricular activity, but as an actual partner in the delivery of the educational product. The outcomes are a better understanding of the non-arts curriculum, and building students’ familiarity with artistic practices. They find that the students’ understanding of and achievement in arts subjects is incalculably greater than if they were only taking the standard arts curriculum.

Partnerships

Financial partners in the program are the Department of Education and the McConnell Foundation, and the Department of Community and Cultural Affairs which contributes a 0.5 FTE program administrator.

Challenges The greatest challenge for the PEI Council for the Arts is securing funding. Given the program’s success the Council believes it should be possible to raise funds from the corporate sector to continue.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 57

PRINCE EDWARD ISLAND – DEPARTMENT OF COMMUNITY AND CULTURAL AFFAIRS www.gov.pe.ca/commcul/chal-info/index.php3

Description and purpose of the program

The Department of Community and Cultural Affairs funds two programs: ArtsSmarts receives in-kind support, and the Confederation Centre of the Arts receives annual operational funding.

The mission of the ArtsSmarts program is to give schools and the community the opportunity to integrate arts-related activities into the curriculum and encourage children to develop their intellectual abilities through dynamic participation in the arts. Toward that end, it aims to build long-term partnerships at the local scale bringing together students, artists and arts organizations, local communities and the broader community. It attempts to help schools and community organizations find the means to integrate artistic activities into the instruction of non-artistic subjects, consistent with provincial curricula to the extent possible, and to offer children the opportunity to participate actively in artistic activities while fostering an appreciation of the importance of culture and the arts. In this way, the program promotes learning through the arts.

Projects are developed by all partners, in keeping with school curricula. Teachers and artists work together on the project at every phase. Projects may involve working with photographs, writing a play to learn French, doing improvisation to learn about astronomy, etc.

It is one of many Confederation Centre of the Arts programs. Primarily directed at children, the studio arts program brings children into the gallery and workshop space. The children produce art on a daily basis in response to the practices and ideas they confront. Field trips and exposure to other areas of the arts centre, such as music and theatre, are also involved Local artists are used to staff the program. Regular school tours through the exhibition program, with trained guides and hands-on workshops, are offered throughout the school year. Tours are also offered to tourists and to the general public. These tours address the narrative threads which evolve through the exhibitions, and the ideas behind these thematic links are publicized and disseminated through local publications and publicity, and through the Department of Education.

Unique characteristics – lessons learned

The long-term partnership that made the ArtsSmarts program possible contributes to consolidating the arts education community’s leadership. This partnership includes P.E.I.’s three French-language school boards (CSLF, ESB, WSB), the P.E.I. Arts Council, the P.E.I. Cultural Federation, the department of Education and the department of Community and Cultural Affairs.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 58

The French-language school board (schools and teachers) receive the artistic project, while Community and Cultural Affairs contributes project administration and coordination services in collaboration with an ArtsSmarts grant. About 30% of schools are involved, and artists’ participation levels are high. Community and Cultural Affairs ensures that at least two projects per school board are funded. In 2005-06, 11 projects were distributed across ten schools in three school boards.

ArtsSmarts PEI conducted a survey of all ArtsSmarts participants: teachers, artists, children, parents. The survey revealed that the arts at school program raises the standing of the professional artists who work in the schools and encourages community involvement. From the children’s perspective, it gives them an unforgettable experience and helps them retain instructional material, gives them the opportunity to explore the arts, pursue artistic endeavors, and develop their talent. For children who do not attend classes as part of the Education Alternate Program, the results are positive: artistic creation helps them integrate into their milieu and to build confidence.

It was also noted that, thanks to the presentation of performances by children or the display of their works, and thanks to the involvement of the entire population in these activities, the project raises its partners’ profiles in the community by generating tangible momentum. In addition, the media has given positive coverage.

Challenges

The main challenge is a financial one. The amount invested by ArtsSmarts partners is estimated at $190,000, including $45,000 in cash and the remainder in services, specifically transportation for children, coordination, promotion, advertising, moving and administration. School boards are keenly aware of the impact of such expenses, and it is likely that they will reconsider their contributions in the future. Funding solutions will have to be found in the coming years. Currently, it is difficult for ArtsSmarts to gain access to sponsors. Merchants get involved directly with the schools by providing materials, for example, and partner organizations can provide volunteers but not money. As it stands, there is little hard data on the partners’ true contributions, except for the monetary contributions of the departments of Community and Cultural Affairs and Education, the school boards and the ArtsSmarts PEI Foundation.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 59

QUEBEC – CONSEIL DES ARTS ET DES LETTRES DU QUEBEC www.calq.gouv.qc.ca/index_en.htm

Description and purpose of the program

There is currently no Conseil des arts et des lettres du Québec (CALQ) program specifically addressing arts and education for youth. The Conseil’s primary mission is to provide Quebec- wide support for creation, experimentation and production in visual arts, crafts, media arts, literature, theatre, music, dance, circus arts, multidisciplinary arts, music and architectural research, and to help raise the profile of these fields in Quebec, the rest of Canada and internationally. It also supports extended training for professional artists. To reach Quebec residents, particularly youth, the CALQ chooses to work through artists. They are the ones who transmit art; they create the link between art and the child. If there is no cultural production, there can be no arts learning. The Conseil helps ensure that cultural production reaches young Quebecers in an accessible fashion.

Through its operational support to organizations and support for individual artists’ and organizations’ projects for young audiences, the Conseil supports artistic creation, production and exhibition. Its evaluation criteria allow it to ensure that artistic projects strive for excellence, reflect professionalism, have a qualitative and quantitative impact on the public, and contribute to the development of the artistic discipline in question.

Although the CALQ does not provide direct grants to exhibitors or museums, currently it is the exhibitors who contribute to keeping cultural production available to young audiences.

Unique characteristics – lessons learned

Artists who appeal to youth audiences generally develop educational workbooks for children attending their performances, visiting their exhibitions or participating in their workshops. Teachers make extensive use of these workbooks, either to prepare children for visits to artists at work, to prepare them for an upcoming cultural field trip or to prepare them for an artistic experience within the regular teaching curriculum. CALQ’s funding programs do not directly finance the preparation of workbooks, but do support the operations of the organization or the creation or production of a work for children, thus indirectly supporting the production of workbooks and defraying the costs incurred by artists exhibiting in schools.

The Montreal School Board and the Ministère de l’Éducation, des Loisirs et du Sport (MELSQ) have developed a specific program aimed at promoting the participation of artists in the academic curriculum. Certain organizations and artists supported by CALQ participate in this program either by inviting children to take field trips or by visiting children at school to give performances or workshops. (See detailed discussion of this project in the Quebec Cultural Ministry file below)

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 60

Whether at school, in an arts venue or in the community, the artist’s role is to raise children’s awareness of the arts so that they become well-rounded citizens with an appreciation for the arts.

Challenges

One of the significant challenges is in the development of the next generation of artists. How do we ensure that young artists can pursue the work done by theirpredecessors for young audiences? The CALQ will continue to support the arts for youth. However, the budget remains the same, and new members of the artistic community do not have access to funds already allocated.

In 2005 and 2006, school teachers from kindergarten to high school levels pressured the government to negotiate a new collective agreement. Among pressure tactics was a boycott of all cultural activities, including field trips and hosting guest artists in schools. This situation significantly slowed children’s arts learning process, already begun by artists in the schools, and prevented students from being exposed to the arts. It also disrupted the work of arts organizations and artists, depriving them of audiences for over a year, and of income in the process.

As part of the resolution of the conflict between teachers, schools, arts organizations and the MELSQ, the Culture and Communications Department (MCC), working with the CALQ, developed a memorandum of understanding with their colleagues at the MELSQ.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 61

QUEBEC – MINISTERE DE LA CULTURE ET DES COMMUNICATIONS www.mcc.gouv.qc.ca/index.php?id=9

Description and purpose of the program

The ministry runs three programs, the first two involving direct grants to organizations. The MCC’s primary objective is to provide access to high-quality training throughout the province.

Program 1 - “Specialized artistic training” supports 64 organizations (music camps, music schools, dance schools). The budget is $1 million, boosted to $2 million for this year. The amount the Ministry awards to each organization is equivalent, on average, to 15% of the organization’s budget and is in the form of operational funding.

Program 2 - “Advanced training” is a program that supports specialized advanced institutions preparing youth aged 16 to 18 for an artistic career. Eleven institutions are involved (circus, ballet and theatre schools, literary camps), for a budget of $5 million.

Program 3 - “Culture at school” is the result of the merger of the Rencontres culture- éducation (culture-education encounters) program, launched in 1999 by the MCC, and the Mesure de soutien à l'intégration de la dimension culturelle à l'école (support for integration of culture in schools), launched in 2000 by the education, sports and recreation department (MELSQ). By focusing their efforts on a single program and simplifying administrative requirements for the cultural and educational sectors, the two departments facilitate the enhancement of cultural instruction in public primary and secondary schools. The program reaches 8% of pre-school children, 69% of primary-school pupils, and 23% of high school students for a total of 406,000 children.16 The MCC invests $1 million in this program, while the MELSQ contributes $1.4 million. We are not in a position to estimate the per- child amount invested in the program. Approximately 2,000 projects have been selected by the regional offices. The project focuses on arts awareness activities within the curriculum. The Culture at school program encourages the initiation of culturally oriented activities by teachers, artists, writers and professional cultural organizations in a spirit of educational reform and with the aim of promoting the school’s openness to the world. It also aims to support regional projects related to the implementation of school boards’ cultural policies. Projects include a film education project, an aboriginal culture initiative and a writers-at-school project. The Directory of cultural-educational resources is a supporting element of the “Culture at school” program. It includes information on hundreds of artists, writers and cultural organizations that offer school-based activities.

16 This number may include double-counting of children who participated in more than one activity.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 62

Unique characteristics – lessons learned

The existence of the “Culture at school” program made it possible to provide art-awareness activities to all school-age children in Quebec, making these activities part of the school day. The approach is a universal client-based one, reaching just under 500,000 youth. The program seems to have been reasonably stable for the last ten years, since it is under the jurisdiction of two departments working to protect it (Education, Culture).

Introducing the arts into the curriculum and making them a requirement for academic success has enabled more advances in the field of Arts & Learning. However, allotted teaching hours and time limits for the instruction of all required subjects in the curriculum limit the time available for arts in the curriculum. As a solution, the health and athletics sector proposed the “after-school exercise” program as part of the after-school childcare program. This would be an interesting avenue to explore. There is a need to consolidate activities in children’s after- school social milieu in all regions. These activities must, however, occur within quality- controlled settings staffed by competent professionals.

Another experiment has been tried in specialized arts schools in certain remote areas, consisting of making a music teacher available to several students by covering the teacher’s transportation costs. The teacher works with each student individually.

In 2007, 350 hours of art will be required in high school, to be applied to one of four programs of the school’s choice: dramatic arts, fine arts, dance, music.

In 1997, the MELSQ launched the Programme de soutien à l’école montréalaise (support program for Montreal schools) in 125 of the most disadvantaged English– and French- language primary and secondary schools on the Island of Montreal. A team of teachers and professionals was formed to implement a measure aimed at promoting access to cultural resources. It has been observed that a significant number of students from disadvantaged backgrounds, including some with little schooling at the time of their arrival in Quebec, experience more difficulty and demonstrate a pronounced educational lag and less integrated learning. In addition, they have a lower success rate, a lower graduation rate and often leave school earlier than others, without obtaining any qualifications. It is this particular situation which inspired the creation of the program. Cultural resources might include participation in a baroque music workshop, an excursion to a children’s theatre festival, or visits to the Biodome, the Science Centre, the Montreal History Museum or other museums.

Challenges

For 17 years, there has been a moratorium (scheduled to end in 2006-07) on new program grants. This has prevented new schools and arts training organizations from joining the program even if they are otherwise eligible (based on criteria of excellence, regional representation, promotion of access to training for youth). There has necessarily been

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 63 stagnation in these organizations and, as a result, a lack of access to arts instruction for children in certain regions.

In 2005 and 2006, schoolteachers from kindergarten to high school levels pressured the government to negotiate a new collective agreement. Among the pressure tactics was a boycott of all cultural activities, including field trips and hosting guest artists in school. This situation significantly slowed children’s arts awareness-raising process, already begun by artists in the schools, and prevented students from being exposed to the arts. It also disrupted the work of arts organizations and artists, depriving them of audiences for over a year, and of income in the process.

With the goal of mitigating the negative effects of last fall’s boycott of cultural activities, and of stabilizing organizations which suffered losses, the sum of $2.5 million has been earmarked for assistance to affected arts and cultural organizations. This is intented to help artistic organizations pursue their work in developing children’s creativity within their usual academic environment.

Recently, a $300,000 envelope was allocated to help performance producers provide both attractive programming for students and a “turnkey” service for schools. This makes it possible for primary and secondary students to come into contact with the performing arts, including theatre, music and dance. Beyond the time devoted to teaching the artistic disciplines, children have the opportunity to visit the venues where the performing arts are practiced professionally in order to round out the knowledge acquired at school. This new contribution is one of the many joint efforts of the MCC and MELSQ to develop children’s taste for culture, along with a habit of attending events, in the wake of the cultural-activities boycott.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 64

SASKATCHEWAN ARTS BOARD www.artsboard.sk.ca/Grants/grants.shtml

Description and purpose of the program

The Saskatchewan Arts Board (SAB) offers the following arts education programs:

ArtsSmarts: ArtsSmarts has been in Saskatoon for some years, but was taken over by the Arts Board two years ago and rolled out on a province-wide basis. Applications are accepted from partnerships that include an elementary or secondary classroom, school or school division; a professional artist, group of artists or a professional arts organization; and a community partner. The community partner may, but does not have to be an arts group. Artist in Residence: This program funds collaborations between an artist and a host community organization, which could be a school, school division, or community organization. First time residencies are divided into two phases: the first is a development phase in which the proposed residency is carefully researched to ensure a suitable fit between the parties and their objectives; the second is the residency phase. Artist in Schools: This program is a sub-set of the Artist in Residence program, and funds three to five residencies in a school in any given year. This program is in a pilot phase. The applicant would be a school or a school division.

The SAB has a kit of Saskatchewan resource materials available for teachers and students.

The programs aim to change the climate for arts in the schools, and ultimately for Saskatchewan communities. They also aim to improve or enhance arts curriculum delivery; to engage young people in the arts through engagement with artists; to improve arts literacy for teachers; and to provide Saskatchewan materials and resources to teachers and students in the schools.

Underlying these programs is the view that schools are part of the community; they do not operate in isolation. In fact they are frequently at the centre of the community. Thus, through delivering quality arts education programs, the SAB is building healthier communities.

These programs have led to an increased awareness of the importance of the arts and arts curriculum in the schools, and the greater engagement of teachers. It has led to an improved climate for arts in the schools and in communities.

Unique characteristics – lessons learned

In Saskatchewan ArtsSmarts is not used to teach non-arts curriculum through the arts. The emphasis of the program is in and about the arts, not the instrumental benefits of the arts. The ArtsSmarts program is flexible enough to accommodate this shift. The SAB notes that the

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 65 more you use art to teach other subjects, the more it becomes dispensable if they find another, better way to teach the broader curriculum in the future.

The SAB is also very clear that their programs are not about artists becoming teachers, but about artists sharing skills and practices with teachers and students.

Partnerships

Saskatchewan Learning, the province’s education ministry, is a partner in the Artist in Schools program. Sask Culture (lottery fund) contributes to the Artist in Schools program and is a potential funder of ArtsSmarts. The McConnell Foundation is still a financial partner in ArtsSmarts, although the SAB knows it must find new partners for this program.

Challenges

In Saskatchewan there is general ignorance about what arts and learning programs can do in schools. Time is in short supply for teachers, the curriculum is competitive and good administrators seldom have an arts background. The SAB wants to change the mentality in the schools, which is one of the reasons they provide teachers with artists and materials.

Within the arts community there is some resistance to working in schools – artists often question why the arts community and the Arts Board should be paying to do what Saskatchewan Learning should be doing. They believe that Saskatchewan Learning is not doing its share. The Arts Board believes that a better approach rests in clarifying roles and responsibilities and working in partnership with Saskatchewan Learning, the schools and the artists.

Saskatchewan also faces geographic challenges as 60% of the population is scattered outside of main urban centres. Program delivery is therefore costly. The SAB tends to favour arts education projects in rural Saskatchewan because these smaller school districts do not have access to artists on a regular basis.

The SAB has no long-term tracking of the real impact of its programs, so it only has anecdotal evidence of the transformative effect of its work. It would welcome a simple instrument by which to capture and understand the impact of its programs on the lives of individuals and communities.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 66

YUKON – DEPARTMENT OF TOURISM AND CULTURE www.btc.gov.yk.ca/cultural/arts/index.html

Description and purpose of the program

Arts education is one of the main principals of the Yukon’s arts policy, and as such it is a priority in their programming. Their objective is to increase arts education in the schools, to facilitate public engagement in the arts through arts education, and the professional development of artists.

The Department funds an Artist in the School program which is administered on its behalf by the Yukon Arts Centre (YAC). The program is designed to facilitate the placement of professional artists from a variety of disciplines into the classrooms of Yukon school children. These artists augment the school art programs; they do not replace them. Every year, YAC gathers information on local artists who are available to work with students, and assembles a catalogue which is then distributed to schools. Teachers can choose artists (from the catalogue or someone they know locally) who fit their own curriculum needs and/or are able to assist schools with special projects. This program is used each year to its capacity, serving14 schools in Whitehorse and a further 14 spread around the territory.

While the Artist in the School program is the only legislated art and education program for schools, this does not represent the range of activity undertaken by arts organizations, artists, communities, small business, collectives and First Nation governments to deliver arts and learning programs targeted at school students, post secondary students, cultural labour force, youth, community members, and other populations such as people with disabilities for a variety of social, cultural and economic purposes.

Yukon’s Department of Education also funds an Artist in the Schools program which has a similar budget ($25,000) for performing arts presentations in the schools. This program is also administered by the Yukon Arts Centre. There has been some discussion of amalgamating the two programs, but not recently.

In addition, the Department has a collections program where a selection of visual art works created in home schools and the public system is toured into Yukon schools. Each year 10 pieces are purchased for the permanent art collection of the Ministry of Education.

Arts education projects outside of the Artist in the Schools initiative are funded through the Department’s grants programs - individuals, organizations and projects. There is no breakdown of how much is spent on arts education through these grant programs. Projects for youth at risk, First Nations, persons with disabilities, and francophones are a policy priority for funding within all existing programs.

An important outcome of the Artist in Education program is that it provides employment for artists, which supplements their arts income and makes their role as a full-time artist more viable. Increasingly, artists are able to make a living in the Yukon, whereas before they used

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part One: Existing Government Funding Programs Page 67 to have to leave the territory to find sufficient work. Other important program outcomes include community development and public engagement in the arts.

Unique characteristics – lessons learned

The Klondike Institute of Art and Culture (KIAC) is an arts organization that started as a presentation facility with a dream of building a postsecondary visual arts school. In preparing for this, it created several secondary programs, one of which is the Youth Art Enrichment Program based on the sport model. If you are an athlete, you get to travel and compete. You get time away from school in the company of other athletes. So what about students in art? KIAC developed a program where every high school puts a certain number of students on the bus and they travel to Dawson City and stay in a hotel. Each student selects one art form, and works in a group in a mini residency with a professional artist. Students get status in their school for being an artist. They get to learn from a professional artist. It is an opportunity for students to learn to celebrate their skills with their peers. The work is later exhibited both in Dawson City and Whitehorse. This program has been operating for five years territory-wide and approximately 25 – 40 students participate each year. This is an exemplary case study where an arts organization with abundant creativity and resources reaches out to school-age children.

Challenges

The principal challenge in the Yukon is to ensure that every school-age child has access to consistent and quality arts education, rather than working from project to project. The Department of Education does not appear to be able to ensure a wide-reaching and consistent approach to ensuring consistent and quality arts programming for every student. The Education Act has an arts curriculum but there is no overarching policy to guarantee that every child will have quality art instruction within the system. The schools are doing their jobs but there is no consistency; success depends upon an enlightened teacher or program (and there are some great examples of school-based arts programs that rely on the best of both arts and education professionals in the community).

Thus, not all children have access to programs as not all schools teach art thoroughly. A good part of children’s arts education happens privately outside the public school system.

There is an ongoing challenge to ensure that children are not only exposed to arts practice, but actively participate and create. Because artists are not celebrated in their communities, children do not have these role models and do not see art as a viable way of expressing themselves.

In addition, some schools have children with severe problems such as Foetal Alcohol Syndrome, so even a great artist can have difficulty getting the children to focus and achieve the project objectives.

Arts and Learning Environmental Scan – Final report – August 31, 2006

PART TWO: NATIONAL ARTS PROGRAMS

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 69

1. INTRODUCTION

The study team was provided with an interview list of 4 organizations involved with arts education initiatives that have national impact. These were chosen as they are noteworthy examples of arts and learning activity happening in different domains: a foundation, a university, and two not-for-profit organizations. While the scope of the current study did not allow for a comprehensive approach, the four organizations chosen represent, in the opinion of the working committee, the breadth of the organizations involved in arts and learning in Canada. Each is active in one key area of the field.

Interviews were conducted in order to provide additional context in this report for the work of public arts funders and the practitioners they support, whose programs and views are described in detail. However, these four are only select examples of work being undertaken in the field.

The questionnaire that formed the basis of each interview was divided into three parts; the first being about their specific arts education programs, the second soliciting information on existing arts education networks and their efficacy, and the third asking questions about jurisdictional challenges that might exist between funders and other organizations active in the field. A copy of the questionnaire is attached as Appendix 5.

2. SUMMARY OF FINDINGS

Partnerships

The importance of partnerships is a strong and recurring theme in these interviews. • At its core, arts education is a partnership between teachers and artists. This relationship is critical. • Because arts education is of national interest, but a provincial jurisdiction, effective multi-level government partnerships are very helpful in advancing the cause of arts education. • Arts education is a powerful tool for community development; a catalyst for the creation of community partnerships that would not otherwise develop, between schools, school boards, arts organizations, local health or social organizations, and businesses. These partners come together to realize community goals through arts education, and this can have a lasting positive impact on them, and the community. • Partnerships are also needed for funding, which must be found from multiple sources which jointly contribute to the success of an initiative.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 70

Many layers of impact

One acknowledged goal of arts education is to use the power of the arts to release the creative potential of individuals. Arts education has a powerful positive effect on students. But these interviews show that, over time, arts education initiatives can have a much broader impact in a community, especially where ongoing local partnerships develop.

In some parts of the country, keeping specific cultures alive is vital and essential. These projects demonstrate that arts help children build their identity. They contribute to strengthening the place of youth in a community, for example, through public presentations of performances or exhibitions of works created by children.

Finding ways to fully understand and to appropriately document these many layers of impact, is a preoccupation shared by every interviewee.

Resources – Teachers and Artists

The majority of artists are centralized in large urban areas, which make artist residencies in remote regions both expensive and problematic, especially as the most effective residencies are those where the artists develop long-term relationships with the children. Training artists for this work, and mentoring younger artists, are important. Through arts education initiatives such as these four, a new generation of artists is being exposed to the field. Enriched by these encounters, they can assume leadership roles among youth in schools and communities.

Arts liaison officer positions at school boards are very important to arts education projects such as these. The elimination of these positions endangers the advancement of arts education. A database, catalogue, and/or artist directory that teachers can use to locate artists with whom to partner, is an extremely useful tool.

Other challenges are primarily related to the shortage of competent people to teach the arts. Teacher training is a real issue. There are difficulties in recruiting specialists to work in

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 71 schools. But even trained teachers do not always have sufficient time to prepare projects or include arts education in an already crowded core curriculum.

Resources - Financing

A common theme was that the lack of resources available to schools and arts education practitioners is still an impediment to participation and success. Tremendous energy is used in continually searching out multiple one-time funding for initiatives. Financial insecurity makes it difficult for schools and organizations to plan and sustain long-term visions of effectiveness, accessibility and impact.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 72

3 PROGRAM INFORMATION FROM NATIONAL ARTS PROGRAMS

ARTS NETWORK FOR CHILDREN AND YOUTH www.artsnetwork.ca

Description and purpose of the program

Arts Network for Children and Youth (ANCY) is a service organization founded by arts practitioners with a vision of developing sustainable arts programming for children and youth in communities across Canada. It does not deliver arts education programs itself.

Seventy-five percent of its focus is on community-based programs, building the strength of the arts education sector and its infrastructure. These range from libraries and community centers, to galleries and theatres, to store front settings. Twenty-five percent of its work is on school-based programs. Many activities bridge both. The importance of bridging is that children see artists in the school and then are often more comfortable being involved with them in a community setting. The network’s activities are involved with both learning in the arts and learning through the arts. Both are needed in the schools.

The activities also cover all arts disciplines - creativity is the focus – and the whole range of school, from preschool to young adults under 30. They involve all categories of youth populations, but because they do so much work outside the schools they get streamed into youth in community and youth at risk. They are seeing more focus now on immigrant children.

ANCY works to move the field of arts education forward in the following ways: • Awareness and advocacy • Research and policy influence • Communications and networking, to support artists who do this work and to encourage access to them, especially in rural areas • Training and capacity building, tool kits for communities

The budget is about half a million, including in-kind. This can be substantial, such as a recent event where Harbourfront made a considerable donation of people and facilities. Other funding can flow through ANCY to the students themselves, for example the job creation program with Human Resources and Skills Development Canada. ANCY hopes to maintain its budget in the year ahead, but is not yet certain, , and funding from the Department of Canadian Heritage is crucial. It is also looking into Infrastructure Canada and crime- prevention sources, so there could be some growth.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 73

Unique characteristics – lessons learned

ANCY works more and more with collaborative partners, especially government and community organizations, and they work nationally. Between 300 and 400 partners are involved each year, but the network has between 20 and 30 key members. Partners can be governments at all levels, arts organizations and ministries, social services, justice, children's affairs, health, aboriginal organizations, Trillium, Laidlaw and McConnell foundations. There is less support from the Ontario Arts Council, because they tend to “fall between the cracks” there.

Store front settings especially established for youth arts activities are an easy entry point for young people and fairly inexpensive to set up. A good example is Sketch, a program for street- involved or homeless youth. (This visual arts studio facility in Toronto offers space, workshops, mentorship, training, exhibitions and sales, and connections to job opportunities for at risk young people beetween the ages of 15-29.) ANCY expects to see a lot of growth in this kind of setting.

An important outcome of their efforts has been networking and awareness. There's a buzz that wasn't there six years ago. It's not just ANCY, but their timing has been good. Young people themselves are finally stepping up to the plate and saying they want this, and they deserve it. It's important to mobilize them. There have been big ripples, moving the whole sector forward: • Greatly increased awareness of the benefits and potential of arts education, • Community development work, • Local mapping and data collection, • Bringing multiple partners and sectors together, • Working on both the demand and supply side, • More opportunities for every kid to have access to creative activity, • Pockets of funding are starting to appear.

Challenges

Definition is a problem, limiting access to funding right down the line. When arts education moves out of a school it starts to slide off the table. It's a big challenge for front-line people to get funding. There is way less available than in other youth delivery models, such as recreation. Funders and even communities can have a limited idea of what they could be doing, and for some it's a little intimidating.

The availability of artists, especially in rural or remote areas, is a concern. Non-arts people may pick up the ball but they’re not trained and qualified artists. This is an issue of quality.

Access is a challenge in rural areas, but on a per-capita basis there are also neighbourhoods in Toronto which are under-served, as are families with lower socio-economic status.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 74

ANCY wants to compile a lot of existing research into an easily accessible form. It wants to get on top of things and conduct more research in the policy arena. It wants to be able to better articulate the outcomes and benefits of youth interaction with the arts.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 75

ARTSSMARTS – CANADIAN CONFERENCE FOR THE ARTS www.artssmarts.ca

Description and purpose of the program

ArtsSmarts is a long-term, national initiative launched in 1998 by the J.W. McConnell Family Foundation to promote the active participation of young people in the arts. It is designed to increase and enhance arts-related activites in the classroom, and by doing so, to use the power of the arts to release the creative potential of young people. It is essentially a partnership between an artist and a teacher to deliver part of the curriculum using an art form as a medium of instruction.

Funding flows through ArtsSmarts to schools and their community partners. Last year there were 383 ArtsSmarts projects across Canada, in collaboration with 16 key partners based in all provinces. These partners can include such entities as Ministries of Education and/or Culture, provincial Arts Councils, universities, community foundations, and school boards. The program is used at all school levels, but mostly in elementary schools.

So far in 05/06 these initiatives have involved 517 artists, 1803 teachers, and more than 43,000 young people. Since its inception, ArtsSmarts has engaged over 75,000 K-12 students, more than 8,000 educators, and 3,500 artists.

The annual budget has been about $1.3 million, the majority of which flows through to the partners. Operating costs are about $300,000, some of which passes through to the partners as well, for activities like planning, professional development, or exhibitions. Projects vary in size, with a maximum $15,000 ArtsSmarts contribution, and in length from four months to several years. The partner contributes between 10 and 50 percent of the total costs.

The McConnell Foundation has been the major funder of ArtsSmarts. It will have contributed over $9.5 million to ArtsSmarts overall, but it is now gradually sunsetting its 10-year commitment, which will end in 2008. The Foundation’s support for project funding at the local/provincial level accounts for 32.8%; the remaining 67.2% contribution derives from a variety of sources including ministries of education, culture, schools, private sector, etc.

Over the next year, ArtsSmarts will be working towards developing an independent organization. McConnell is committed to a continued funding arrangement post-2008 and will review a proposal by ArtsSmarts in 2007. In 2006/2007 a transitional budget will include a significant contribution from the Canadian Council on Learning, for a 3-year researcher-in-residence, and an impact study.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 76

Unique characteristics – lessons learned

ArtsSmarts is an example of arts-infused education, where students learn through the arts in all disciplines. It is used primarily in schools, but also in alternative learning settings (e.g. a youth detention centres) depending on the needs and priorities identified by the partners.

The program requires local partnerships, and over time has been recognized as a community development model. It is extremely adaptable to community needs and circumstances. Initiatives can focus on youth at risk, learners in the primary grades, the children of recent immigrants, or any other priority, depending on the community partners, and what their objectives are.

Its activities are tri-level and partners exist on every level. ArtsSmarts itself partners with many government ministries and agencies, ministries of education, provincial arts councils, universities and colleges, school boards and school divisions, corporations and foundations. Each project also has its own local partners, which could be a hardware store, the PTA, or a community-based organization. ArtsSmarts is working hard to compile the names of all partners at the local level, but there were more than 300 last year. These many levels of partnerships have, over time, become a network of those committed to arts-infused education and the benefits it brings to students, schools, and communities.

ArtsSmarts has been active for 8 years now, long enough to begin to see significant changes develop. For example, there have been enormous changes in New Brunswick, PEI, and in Newfoundland where they have actually brought the arts back into their schools.

ArtsSmarts is proud of the following outcomes to date: • The diversity of partnerships, and collaborations between partners that would never otherwise have happened; • Partners have been able to leverage resources; • Stronger connections between schools and their communities; • Recognition of the importance of artists as a school and community resource; • The role of the arts in learning is greatly enhanced; • The ability to affect change at a policy level ; • A collaborative model that works from the grassroots, on many levels; • A new model and a new way of working: a local consortium model; • The network itself is a significant outcome.

But, after 8 years of working in the field, the organization is in a major transition. They see themselves changing from a granting program to a national network. They held a strategy meeting May 23rd and 24th, and this process is now well underway.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 77

Challenges

It is a challenge working at multiple levels to create systemic change. ArtsSmarts is currently developing a change theory that will impact all three levels of governments.

Knowing how ArtsSmarts fits into the larger environment in the context of learning is a challenge. How does it effect change as a social innovation? How the activities of ArtsSmarts be scaled up to encourage even more collaborative projects across the country? ArtsSmarts doesn't want to lose the current momentum of the partners.

Because it is based on proposals from communities, and any community can come forward, ArtsSmarts is widely accessible. The territories are only now developing their curriculum, so they are somewhat behind in this area. Financial resources are a limitation, and in remote and rural areas it is sometimes challenging to find artists. Where arts councils are partners, they bring artists to the table. Mentoring professional and community artists is an ongoing challenge. ArtsSmarts is currently working with CHRC (Cultural Human Resources Council) to develop a national competency/occupational analysis of artists as instructors, which will begin in April 2007.

Research is a primary focus in the next three years. Impact is the key issue to capture. ArtsSmarts is a community building model, and it would like a clearer sense of how many levels of impact there are in a community, not just the obvious impact on the students. ArtsSmarts is seeking to demonstrate the extent of its reach.

It has conducted a research synthesis and wants to do more of that. It is collecting more information from partners in order to build a complete data-base from the partner level. This will help use all levels to build a case for arts education.

ArtsSmarts has grown to this extent with no marketing. It looks forward to working with a social marketing consultant in the future to raise awareness about the program and its many successes.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 78

DRAMA EDUCATION – QUEEN’S UNIVERSITY www.educ.queensu.ca

Description and purpose of the program

Queens has a bachelor of education program, where most of its arts education teaching takes place. Students can specialize in Arts Education. They focus on visual arts, drama, and music. There is a Primary/Jr. program, and an Intermediate/Sr. program. In the primary division, students take a .5 course in the arts (36 hours) and are given admission credit upon entering the program if they have an arts course as an undergrad. In the secondary division the arts courses are handled as core curriculum courses (full load). Students who enter the program must have five full university courses in their undergraduate degree in one teaching (eg. arts) subject, and three in a second, along with arts major or minor in their undergraduate degree. The programs focus on visual arts, music, and drama.

There is also a graduate program (Masters and Doctorate level) with an arts/ed focus, and courses in the arts in education, the art of teaching, and special topics in arts education including drama education, international issues in arts education, and education through the arts. There is a continuing education program which provides upgrading for teachers, as well as an arts educator in residence in the studio who offers workshops and other interactions.

The program touches on all aspects of arts and learning (in, about and through) as does the arts curriculum. At the primary level there is probably more focus on learning through the arts. The Bachelor of Education program as a whole covers special education (e.g. youth at risk) in some detail. They also try to reflect this in the arts courses.

The goal of the elementary division is to introduce people to the art form and help them feel comfortable; to give them basic pedagogy because they will teach the arts curriculum. Another objective is to encourage teachers to use the arts as a tool in other subjects. In the secondary division the goal is to create teachers of an art form in order to become proficient at that work in a school setting. In Artists in Community Education (ACE) the goal is to create scope for artists to make a contribution and become leaders in the education field, returning to their arts practice with a greater educational awareness. In the graduate program the goal is to stimulate thinking and research in the area of arts education.

Unique characteristics – lessons learned

Twenty-five years ago the University saw an educational need for artists who want to be pedagogically based, to become teachers, or participate in other ways in the school system. They created the ACE track in the Bachelor of Education program. This program is for practicing artists; more people usually enrol in the secondary division than the junior division. This course

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 79

has an additional emphasis on arts education and includes an alternative practicum, which is an out -of -school placement in their discipline.

Very talented artists come forward to this program, making for a very interesting blend of people. The ACE program can work effectively with them to combine their interests in art and education; they respond especially well to the inter-arts experiences. Queen’s is very pleased that the program has worked out as well as it was originally envisioned .

Within the program the University tries to partner with arts organizations, such as the National Arts Centre and various museums in Ottawa. It partners with the schools, of course, and wherever people choose to go for alternative placements where they are mentored outside of the school system. These can take place all over the country or internationally and in a wide range of locations. The program is a regulated one, so it is reviewed by the Ontario College of Teachers.

There is also an aboriginal education program in partnership with the Bands, both on- campus and community-based. It tends to be focused on the elementary level and does have an arts component.

There are about 700 students in the Bachelor of Education program, about equally divided between the primary and secondary divisions. The ACE program has between 25 and 30 artists. Enrolment varies at the postgraduate level but there could be 150 or more students at that level.

The program outcomes are specific. In the elementary division, generalist teachers include the arts in their work; they enjoy it, and feel comfortable doing it. At the secondary level, highly qualified, skilled, and knowledgeable teachers in an art discipline are an asset as specialized teachers in the school. At the post-graduate level, students are building awareness about the field and expanding learning in the field.

Challenges

The education system is committed to many of the values arts education can provide, but the management of the school system tends to favour quantitative outcome- based analysis. The system makes demands that are quite out of sync with the values it espouses (creativity, innovation). Qualitative measures for arts education are also required, so a struggle exists within this split personality. The arts have so much to offer education in general, but the system is not configured to fully capitalize on them.

The faculty is consciously improving its inclusiveness. The population of Kingston is perhaps not as diverse as larger cities. Many of the student teaching placements are in the Greater Toronto Area, so they have a real mix of inner city and country schools as well as the alternative placements.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 80

MCCONNELL FOUNDATION www.mcconnellfoundation.ca

Description and purpose of the program

The Foundation's goals in arts education are multifaceted. It wants to see the arts fully integrated into Canadian society. It wishes to strengthen the creative capacities of Canadians, to position art and artists as vital to Canada's sense of self, and to support institutional efforts to provide access to the arts. Its support of arts leadership is a strategic investment, to strengthen the capacity and profile of artists, and to help them attract other sources of support.

ArtsSmarts, a program currently housed at the Canadian Conference of the Arts, is the major arts education program of the Foundation. But it also make grants to other organizations working in arts and education in the community, for example the National Gallery for their access program for people with disabilities, and the education and outreach programs of the Montreal Opera, especially in low-income neighbourhoods.

Taken together, the programs have a very broad reach, but activities are mainly focused on young people between the ages of 6 and 18. Youth in all categories benefit from access to arts education, but youth at risk is a very significant proportion of children in the ArtsSmarts program, as well as in the other programs. Activities take place primarily in schools, with an estimated one-third of activities in arts organizations or in other community locations.

The Foundation invests approximately $2.5 million per year in its arts education programs. The average grant is $300,000 ($100,000 per year over a three-year period). At the moment the Foundation anticipates that this support will remain the same in the year ahead, although they may be looking at different ways to support programs, particularly ArtsSmarts. Funding for ArtsSmarts is gradually being phased out, as the Foundation’s 10-year commitment ends in 2008. ArtsSmarts has gone from over 90% to 33%of the program’s budget.

Unique characteristics – lessons learned

ArtsSmarts is a collaborative, grass-roots community development model. It is very adaptable, which is one of its great strengths. It allows for multiple approaches depending on local conditions.

There are 17 key Program Partners for ArtsSmarts including coalitions of interested parties, with approximately 350 partners in ArtsSmarts activities at the community level. Partners may include ministries of culture, ministries of education, community foundations, arts councils, arts organizations, schools, and school boards.

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 81

There are important educational outcomes of ArtsSmarts, including engaging student interest and improving attendance, among other student outcomes. But there are also other important outcomes. For example, a new generation of artists is being exposed to arts education. McConnell programs bring two large systems into alignment, the education system and the arts, and gratifying changes have been seen on both sides. This is a very rich ground for collaboration and learning for both young people and artists.

In the beginning, the driving interest for parents and school boards was improved test scores. While all children can benefit, ArtsSmarts has demonstrated that learners at risk really respond to the program in positive ways. That's where the biggest opening is for dramatic change.

In one case where school attendance went up a phenomenal 30%, school-wide scores actually went down. This turned out to be because high-risk kids were flooding back to school in such numbers that they were affecting average scores school-wide. So it is important to get a better understanding and more documentation of the effects on learning outcomes. There are many ways to break down and look at arts-infused education. Measures such as school spirit, school attendance, or vandalism rates can provide policy makers with hard data. But it's not really about raising test scores, it's about the effect on children.

Challenges

Creating a national platform for arts-infused education is a major challenge. Although ArtsSmarts has grown enormously, it is a long way from having the kind of broad recognition and acceptance that it deserves. Between ArtsSmarts, Learning Through the Arts and other kinds of curriculum-based programs, perhaps only 10% of all the schools in Canada are seeing the benefits of enhanced arts education.

There is also a need for professional education for artists who wish to be involved in this field. Funding pools to support local projects, and the involvement of many more supportive partners are needed.

The Foundation has conducted a national evaluation of its program, but research is needed in the field to supplement the anecdotal evidence in order to change policy. McConnell is now in the midst of five different studies on various aspects of arts-infused education. The first of these reports is on differentiated learning: how students of different learning abilities or capacities can work on the same subject in a class. There is also a report mapping Aboriginal participation in ArtsSmarts projects. The results of this study may lead to more use of arts-infused education with Aboriginal students. A third study concerns the effect of arts-infused education on teacher practice.

ArtsSmarts is a community development model, and it is the quality of the specific project that attracts funding. There is a huge interest in the program, much more than ArtsSmarts can support. Interestingly, there has been greater take-up in some of Canada's smaller and poorer provinces. The community development model appeals to them, being very adaptable to varying

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Two: National Arts Programs Page 82

circumstances of size, scale, and design. It's simply easier, for example to reach all the schools in Prince Edward Island, than all the schools in Ontario or Quebec. In New Brunswick the Ministry of Education is looking for "system busters ", innovative curriculum strategies to help kids succeed in school and stay in the province. This is much more challenging in provinces with large populations, bigger bureaucracies, and many more schools.

Arts and Learning Environmental Scan – Final report –August 31, 2006

PART THREE: ARTISTS AND ARTS ORGANIZATION SURVEY

Arts and Learning Environmental Scan – Final report –August 31, 2006 Part Three: Artists and Arts Organization Survey Page 84

SUMMARY OF FINDINGS

In Canada, there are many individuals and organisations active in learning in, through and about the arts. This section captures the activities of 182 respondents to an online survey.

Of the 182 completed questionnaires, 55 were completed by artists or arts professionals and 127 by representatives of arts organizations.

These artists and arts organizations have generally been working in the field for about 20 years. All parts of Canada are well represented. Most individuals and arts organizations are active primarily at the regional or provincial level.

Excluding independent respondents (artists or arts professionals), the average number of administrative employees working for arts organizations is six, while the average number of artists employed by these same organizations is four. It should also be noted that contractual status is very common among artist employees.

Almost half of respondents are working in the field of learning in the arts. The best represented disciplines are music and theatre. The clientele is generally school-age (6 to 18 years), and the most frequently reached groups are arts students and youth at risk. Ontario stands apart from the other provinces for its more pronounced efforts among youth at risk and new immigrants.

Almost three quarters of respondents receive public funding, while 57% receive program grants. The most common source of funding is the provincial level. Two thirds (65%) of respondents are seeking additional sources of funding.

According to respondents, the main barriers to accessing federal and provincial funding are the programs’ failure to meet respondents’ needs and the absence of programs. At the municipal level, the absence of programs is the primary barrier. Barriers to private and corporate funding are generally related to organization types

Arts and Learning Environmental Scan – Final report – August 31, 2006

Part Three: Artists and Arts Organization Survey Page 85 and internal resources. Looking to the future, almost half (48%) of respondents said that the main challenge or barrier to be overcome is the lack of sustained and sufficient funding. Finally, over three quarters (79%) state that additional research in the field of arts education would be useful.

1- ARTIST AND ARTS ORGANIZATION PROFILE

1.1 Discipline

Half (50%) of the individuals and arts organizations that participated in the study are active in more than one discipline.

Most exclusive institutions are in visual arts (12%), music (12%) and theatre (10%). However, these disciplines are respectively offered by 40%, 47% and 43% of the respondents.

Discipline (n=182)

Institutions offering only TOTAL one discipline

Number of Number of % % respondents respondents

73 40 21 12 VISUAL ARTS

85 47 22 12 MUSIC

78 43 19 10 THEATRE

62 34 9 5 WRITING / LITERARY ARTS

52 29 5 3 MEDIA ARTS / FILM

58 32 12 7 DANCE

60 33 3 2 MULTIDISCIPLINARY ARTS / INTER-ARTS

Q.7 In which artistic discipline(s) offer arts and learning activities for children and youth? (select all that apply)

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 86

1.2 Respondent type and age

Almost three quarters (70%) of respondents are arts organizations. Their average age is 25 years, while individual respondents had been active for 18 years on average.

RESPONDENT TYPE AND AGE

Number of % respondents

NUMBER OF YEARS OF EXISTENCE OF THE ARTS ORGANIZATION (N=12617) 19 15 LESS THAN 10 YEARS 50 40 10 TO 25 YEARS 57 45 25 YEARS AND OVER 25 years MEAN

NUMBER OF YEARS INDIVIDUAL RESPONDENTS HAVE BEEN WORKING WITH CHILDREN AND YOUTH (N=5218) 16 31 LESS THAN 10 YEARS 18 35 10 TO 25 YEARS 18 35 25 YEARS AND OVER 18 years MEAN Q8 How long has your organization been in existence? Q9. How long have you been working with children and youth?

Jolicoeur et Associés July 2006

17 Among the 127 arts organizations, one respondent was not able to answer the question. 18 Among the 55 artists / arts professionals, three respondents were not able to answer the question.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 87

1.3 Geographical location

Ontario represents 34% of respondents and Quebec accounts for 15%. Note that individual respondents are proportionately more common in the NWT and Yukon and the Prairie provinces.

GEOGRAPHICAL LOCATION (n=182)

Number of % respondents 22 12 BRITISH COLUMBIA Prairies 38 21

Ontario 61 34

Quebec 27 15

19 10 EASTERN PROVINCES NWT/ Yukon 15 8

Q.23 In which province or territory?

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 88

2- PROFILE OF ORGANIZATIONS’ HUMAN RESOURCES

The following table presents the breakdown of employees within the arts organizations. Note that on the administrative side full-time status is relatively common, while contract positions are more common for artists.

TYPE AND NUMBER OF ARTS ORGANIZATIONS (n = 127)

Administrative employees Artistic employees Volunteers Other types of employees19 PART ON ON FULL TIME TOTAL FULL TIME PART TIME TOTAL Administrative Artistic (%) TIME20 CONTRACT CONTRACT Number of employees (%) (%) (%) (%) (%) (%) (%) (%) (%) (%)

None 36 42 65 19 73 76 30 59 51 62 21

1 employee 20 29 19 20 7 7 5 10 6 6 9

2 employees 12 13 6 14 11 5 8 13 7 7 14

3 employees or more 31 15 10 47 9 12 57 18 35 25 56

Mean number of employees 4.5 2.1 0.8 6.0 2.5 1.9 22.2 4.3 15.2 7.0 16.1

Q12A1. How many people were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months?

Jolicoeur et Associés July 2006

19 One case was excluded because of an extreme response (1000 part-time employees). 20 Two cases were excluded because of an extreme response (1000 employees and more).

Arts and Learning Environmental Scan – Final report – August 31, 2006

Part Three: Artists and Arts Organization Survey Page 89

3- CHARACTERISTICS OF ACTIVITIES OFFERED

3.1 Activity sectors

Almost half of respondents work in the field of Learning in the Arts, with the two other sectors (Learning about the Arts and Learning through the Arts) accounting for about 25% each. Individuals (artists or arts professionals) are slightly over- represented in Learning through the Arts.

MAIN ARTS AND LEARNING ACTIVITIES OFFERED (n=182) Number of % respondents 90 49 LEARNING IN THE ARTS 42 23 LEARNING ABOUT THE ARTS 50 27 LEARNING THROUGH THE ARTS Q.4 Which of the three activities most describes arts and learning activities for children and youth? (Please select all that apply and mark from 1 to 3 the importance of the program, 1 being the most important.)

Jolicoeur et Associés July 2006

3.2 Program objectives

Respondents pursue various objectives within the three major sectors:

Learning in the Arts Artistic training This refers to schools that offer instruction in an artistic discipline, such as music, dance, theatre, visual arts or media arts. The objective of these schools is to provide basic or specialized training in an artistic discipline; some offer academic credits.

Arts awareness or an introduction to the arts The activities of several respondents aim to increase awareness about the arts or to introduce young people to one or more art forms.

Arts and Learning Environmental Scan – Final report – August 31, 2006

Part Three: Artists and Arts Organization Survey Page 90

Learning about the Arts Cultural development or the development of future audiences Whether it is to develop future audiences: “Building a broader and more diverse audience,” “Seeding future artists and audiences,” or reaching the greatest numbers: “Foster awareness in the arts to as many Canadian youth as possible,” the objective is to develop youth culture and to educate the audiences of tomorrow. Professional arts performances and concerts, educational (outreach) activities offered by major arts institutions and a variety of participatory activities, such as workshops for young people, also pursue a similar objective.

Increase cultural understanding Some respondents assign their programs the objective of promoting multicultural relations through a better understanding of cultural diversity: “To educate youth about Aboriginal Culture,” “a vehicle for greater understanding of other cultures.”

Learning through the Arts

One group of respondents is devoted to core curriculum learning through close collaboration between teachers and artists. They state their objectives as follows: “Help students love learning – through the arts. Strengthen students’ ability to be critical, creative thinkers, collaborative learners and active citizens in their communities, and also contribute to improved academic achievement, an appreciation for the arts and lifelong learning,” “explore the arts as an educational tool,” “art, a learning tool that holds interest.” One respondent states that the arts encourage academic responsibility among students: “improve student engagement in school: expectation, behaviour and achievement.”

Personal development Many respondents indicate that their activities pursue the objective of personal development; for example, “empowerment and direction to a happy, healthy and productive life,” “confidence and well-being through artistic experience,” “engage youth in making tangible choices for healthy and sustainable future,” “foster creative thinking and doing,” “to be able to communicate and express ideas, thoughts, knowledge and feelings through dance, drama, literature, music and visual arts.”

Community and social development Some respondents mention specific social objectives, such as to “learn about dangers of anorexia and why it is not cool.” However, in general organizations involved in social and community development pursue larger objectives: “arts-based community development,” “foster social changes,” “provide a safe and supportive creative environment where all people can share and create collaboratively, promoting acceptance, accomplishment, social awareness and positive change,” “to give voice especially to misunderstood and misrepresented members of our communities,” “to

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 91 foster creativity, self-discovery, and personal empowerment for youth who are street- involved and homeless, in an atmosphere of safety, freedom and acceptance.”

Art advocacy as an educational tool or as a tool for personal and social development Some respondents’ programs aim to increase awareness of the importance of art in education: “Create awareness that art is not an education option; it is a basic,” “Leadership in advocacy for arts in education,” “influence public will.”

3.3 Artistic disciplines

All disciplines listed below are more or less equally covered, but note the importance of music and theatre.

ARTISTIC DISCIPLINES (n=182)

Number of % respondents

73 40 VISUAL ARTS

85 47 MUSIC

78 43 THEATRE

62 34 WRITING / LITERARY ARTS

52 29 MEDIA ARTS / FILM

58 32 DANCE

MULTIDISCIPLINARY ARTS / INTER- 60 33 ARTS Q.7 In which artistic discipline(s) offer arts and learning activities for children and youth? (select all that apply)

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 92

3.4 Area of involvement The great majority of respondents work at the regional and provincial level.

AREA OF INVOLVEMENT (n=182)

Number of % respondents

152 84 LOCAL / REGIONAL

111 61 PROVINCIAL

73 40 NATIONAL

45 25 INTERNATIONAL Q.6 What is the area ? (select all that apply) Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 93

4- CHILDREN AND YOUTH

4.1 Children and youths’ age, profile and location of practice

The preschool clientele is served by the programs to a much smaller degree and when they are served it is usually by provincial-level arts organizations. CHILDREN AND YOUTHS’ AGE, PROFILE AND LOCATION OF PRACTICE AMONG RESPONDENTS (n=182) Number of % respondents

63 37 PRESCHOOL CHILDREN

137 81 6-12 IN SCHOOL

155 92 12-18 IN SCHOOL

85 47 YOUTH AT RISK

48 26 YOUTH WHO ARE NEW IMMIGRANTS

113 62 YOUTH STUDYING THE ARTS

75 41 YOUTH IN COMMUNITY PROGRAMS

45 25 OTHERS

143 79 SCHOOL

118 66 ARTS VENUE

108 60 COMMUNITY

Q1. To what age group of children and youth programs / services? Q2. Do you offer targeted programs/services to any of the following groups? Q3. Where do your program activities take place?

Jolicoeur et Associés July 2006

The clienteles most effectively reached by programs are art students and youth at risk. Ontario stands apart from other provinces for its share of at-risk clienteles and recent immigrants. School is the preferred location for activities, but other venues are also heavily used.

Arts and Learning Environmental Scan – Final report – August 31, 2006

Part Three: Artists and Arts Organization Survey Page 94

4.2 Number of children and youth having taken part in activities

In total, we found that more than 2,282,915 young people have participated in the various programs. A little more than half (52%) of respondents offered activities requiring fees, 58% offered free activities and 69% offered other types of activities.

NUMBER OF CHILDREN AND YOUTH HAVING TAKEN PART IN THE ACTIVITIES (n = 182)

Proportion of respondents Proportion of respondents Proportion of respondents (paid attendance at (free attendance at (participants in other

performances) performances) activities) (%) (%) (%) None 48 42 31

1 to 999 children / youth 24 30 42

1000 to 9999 children / youth 14 20 16

10,000 children / youth and more 15 9 10

Mean number of children / youth 4,885 4,323 3,335

Total number of children / youth 889,072 786,839 607,004

Q13A. Approximately how many children and youth took part in / attended your arts and learning activities/events over the last 12 months?

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 95

5- FINANCIAL STRUCTURE OF ARTS ORGANIZATIONS

5.1 Financial structure, programs and required funding

Nearly three quarters of respondents (71%) receive support through operating grants and 57% receive some kind of project financial support other than operating grants. The most common source of funding is the provincial government but the municipal level of government is very active in offering operating grants. Two thirds (65%) of respondents are seeking other sources of funding; 93% of these respondents would like to receive funding from foundations, corporations, private donors or other sources.

OPERATING GRANT / FINANCIAL SUPPORT AVAILABILITY AND SOURCES (n=182)

Receive financial Other sources of Receive an operating support other than funding for arts and grant through an operating learning that they (%) grant would like to access (%) (%)

Available funding (Yes) 71 57 65

Sources of funding (Respondent may have mentioned more than one item.) Federal public arts funders (e.g. arts 56 47 50 council) Provincial public arts funders (e.g. 82 77 55 Ministry of Culture) Municipal public arts funders 41 18 20

Others 35 100 93

Q10. receive an operating grant ? Q10A. From which organization(s) do you receive operating grant support? Q10B. Is any of your operating grant support going to arts and learning activities for children and youth? Q10C. received, for your last fiscal year, project financial support for your arts and learning activities for children and youth, other than through an operating grant? Q10D. From which organization(s) do you receive this financial support? Q11. Are there other sources of funding for arts and learning that you would like to access but are not able to? Q11A. What are the sources of funding for arts and learning that you would like to access but are not able to ?

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006

Part Three: Artists and Arts Organization Survey Page 96

Note that for almost all respondents, a portion of operating grant support is used for arts and learning activities for children and youth.

OPERATING GRANT’S ACTIVITY FIELD (n=130)

Number of % respondents

104 80 YES

26 20 NO Q10B. Is any of your operating grant support going to arts and learning activities for children and youth?

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 97

5.2 Funding constraints

The following table presents the barriers identified by respondents, sorted by funding source. The responses show that the barriers to access to federal and provincial funding are closely related to existing programs’ shortcomings, organizational needs, and the absence of programs. At the municipal level, the absence of programs is the primary barrier. Finally, barriers to access to private and corporate funding are closely related to organization types and internal resources.

BARRIERS TO ACCESSING SOURCE(S) OF FUNDING FOR ARTS AND LEARNING (n = 182)

Provincial Municipal Corporate Federal public Ministry of Private public arts public arts Sponsorship / Others arts funders Education foundations funders funders Donations (%) (%) (%) (%) (%) (%) (%) The arts organization's characteristics 6 0 5 26 21 48 20 (size, language, etc.)

Its resources, expertise, capacities, etc. 8 11 5 21 55 48 59

Ignorance of the programs. 8 11 5 10 7 2 6

Absence of programs, absence of will, lack 37 39 62 33 7 2 12 of interest.

Inadequacy of programs offered compared 41 39 24 10 10 0 2 to needs.

Q11B. What are the barriers to accessing this / these sources of funding for arts and learning?

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006

Part Three: Artists and Arts Organization Survey Page 98

6- PARTNERSHIPS AND NETWORKING

Partner organizations identified by respondents are primarily • Arts organizations or institutions that are exhibitors (including festivals), museums, professional associations and national institutions such as the National Film Board or the National Arts Centre; • News media such as print, electronic or community media; • Funding bodies such as municipalities, cultural ministries, arts councils, culture councils, band councils, education ministries and other government services, such as libraries; • Public services such as police departments or the RCMP ; • Community organizations such as the YM/YWCA, youth centres, community centres; • Educational institutions such as public schools (school boards), private schools, universities and colleges; • Private partners: chambers of commerce, businesses, companies, foundations.

The types of collaboration are varied. They include service exchanges, financial partnerships, administrative support, grant writing assistance, cooperative marketing activities, co-productions, sharing space/equipment and contributing expertise.

Examples of partnership activities: • Community concerts or performances in schools • Awareness campaigns • Artistic forums • Arts workshops and other artistic activities • Intensive filmmaking camps • Inviting youth to orchestra rehearsals • Concerts for young children • Weekly music lessons that incorporate local recitals

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 99

6.1 Local partners

Over half (65%) of arts organizations offer certain activities in partnership with similar organizations. Almost all partners (97%) are located in the same area.

PARTNERSHIPS INVOLVING SIMILAR ORGANIZATIONS (n=182) Number of % respondents

118 65 YES

64 35 NO

Q.14 In offering arts and learning activities for children and youth, partner with other similar organizations? Jolicoeur et Associés July 2006

PARTNERS’ GEOGRAPHICAL LOCATION (n=118) Number of % respondents

115 97 YES

3 3 NO

Q.14A Are some of your partners in your local city or town? Jolicoeur et Associés July 2006

Almost all arts organizations (97%) offer programs developed with partners locally.

PROGRAMS OFFERED LOCALLY (n=115) Number of % respondents

105 91 YES

10 9 NO

Q14B Is the program you two are delivering in your city or town? Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 100

6.2 Non-local partners Two thirds (64%) of institutions have partners located outside their area.

NON-LOCAL PARTNERSHIPS (n=118)

Number of % respondents

76 64 YES

42 36 NO

Q.14E Are some of your partners outside your local city or town?

Jolicoeur et Associés July 2006

Two thirds (67%) of institutions offer a partnership-based program outside their local area.

PROGRAMS OFFERED ELSEWHERE (n=76)

Number of % respondents

51 67 YES

25 33 NO

Q14F Is the program you two are delivering in your city or town?

Jolicoeur et Associés July 2006

6.3 Required partners and obstacles encountered

The most frequently desired partners fall into three categories: • Financial partners Numerous respondents indicate that they would willingly seek financial backing through increased private-sector partnerships, corporate sponsors and private foundations. • Artistic partners On the artistic level, some respondents would like to be associated with more arts organizations, more artists (musicians, visual artists such as photographers, sculptors, filmmakers) and more internationally renowned artists. • Partners in arts and education, professional expertise There is a need for peer networking. In addition, one respondent would like to be associated with an organization that specializes in presenting arts activities in schools and another respondent would like to be associated with post-secondary educational institutions.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 101

A shortage of time and money is one of the most frequently cited obstacles. Shortages in the following areas are also mentioned: • Staff • Volunteers • Expertise • Contacts Other obstacles are also mentioned, including the difficulty of matching the realities of the organizations that are seeking funds with the funding program guidelines; the lack of information sharing and cooperation between ministries; and a lack of understanding about the importance of artists’ roles in education and learning.

7- FUTURE CHALLENGES

7.1 Measurement of outcomes

One third of institutions (35%) have performed studies to measure the results of their arts education efforts.

INCIDENCE OF QUANTITATIVE OUTCOMES MEASUREMENT (n=182)

Number of % respondents

65 36 YES

117 64 NO Q.18A Have you done any research to quantify the outcomes of your arts and learning activities?

Jolicoeur et Associés July 2006

Approximately one third of respondents state that they take specific action to measure the outcomes of their arts education activities. This action takes several forms, ranging from informal discussions with teachers and parents to formal scientific studies, and also includes surveys, questionnaires (very frequently) and focus groups. To perform these studies, some organizations outsource to companies or external resources and some hire students or university researchers. Most organizations handle their studies internally. In some cases, the results are stored in internal databases.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 102

7.2 Research needs

Over three quarters of respondents (79%) state that additional research in the field of arts education would be useful.

UTILITY OF ADDITIONAL RESEARCH IN THE AREA OF ARTS EDUCATION (n=182)

Number of % respondents

144 79 YES

38 21 NO

Q.18C Would additional research in the area of arts and learning be helpful?

Jolicoeur et Associés July 2006

Although several respondents note that many studies and research projects have been carried out on the influence of arts education on child development and on the well-being of society, one respondent seems to feel that this information has not reached or has not had an impact on the people responsible for funding arts activities for youth. In this person’s view, what we need is not more research but rather support and infrastructure. Nevertheless, several respondents would like to see such research undertaken.

Respondents active in the field of Learning through the Arts indicate that they would like to find out if their field has an impact on arts attendance in general. Other respondents would like to know the impact of exposure to the arts at a young age on the development of audiences, donors and professional artists.

Some specific research requests: • The correlation between a good music program and academic success • A study to legitimize the use of music and fine arts in a comprehensive educational strategy • New media in schools • Cross-cultural and diversity training • How the arts and arts activism impact on poverty • Information on funding opportunities • A study that examines the phenomenon of disinterest in the arts that is occurring at several schools • Investigation of best practices, including the smaller organizations that are testing a variety of models.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 103

7.3 Outlook for the future

Over the next 12 months, 51% of activities related to arts education will expand, while 40% will remain stable.

THE FUTURE OF ARTS & LEARNING ACTIVITIES (n=182)

Number of % respondents

EXPAND ACTIVITIES/BROADEN 93 51 REACH OF ARTS & LEARNING ACTIVITIES

DECREASE ACTIVITIES/LIMIT 17 9 REACH OF ARTS & LEARNING ACTIVITIES

72 40 STAY ABOUT THE SAME

Q.20 Over the next 12 months, planning to:

Jolicoeur et Associés July 2006

Those expecting their activities to decline are mainly individual respondents (artists or arts professionals). Note also that while 51% of respondents see expansion in the future, the number for Ontario is 61% and 33% for Quebec.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Three: Artists and Arts Organization Survey Page 104

7.4 Existing challenges

For nearly half of respondents (48%), the main challenge or barrier is the lack of sustained and sufficient funding. Arts organizations (54%) have a stronger tendency to identify this factor than do individual respondents (artists or arts professionals) (36%). Likewise, it is mainly arts organizations that have noted the lack of adequate offices and infrastructure. Individual respondents have a stronger tendency to point to the lack of art programs in schools, staff shortages, and difficulties in promoting their programs to public and private funding bodies.

MAIN CHALLENGES IN OFFERING ARTS AND LEARNING ACTIVITIES FOR CHILDREN AND YOUTH (n=182) First Sum of the challenge three main

only challenges (%) (%)

Lack of funding 48 70

Lack of arts curriculum in the schools 9 29

Lack of qualified people to deliver programs 4 17

Difficulty in communicating the value of what you do to 10 45 current and potential supporters / participants / funders

Competition with other arts organizations or programs 2 11

Lack of infrastructure for delivering programs 12 35

Isolation from other people doing similar work 1 10

Lack of access to research and learning opportunities to 1 9 improve your work / develop your artistic practice

Pressure to constantly develop and offer new programs 2 17

Number of government departments and agencies involved in 2 9 funding and delivering arts education

Others 8 16

Q19A What are the three main challenges in offering arts and learning activities for children and youth?

Jolicoeur et Associés July 2006

Arts and Learning Environmental Scan – Final report – August 31, 2006

PART FOUR : FIVE CASE STUDIES

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 106

1. INTRODUCTION

The study team were asked to research, interview and report on five case studies selected by the project working group. The case studies were:

Art Gallery of Nova Scotia – Nova Scotia ArtStarts in Schools – British Columbia De-ba-jeh-mu-jig Theatre Group – Ontario Regina Public School Division Learning Through the Arts – Saskatchewan Salon du Livre du Saguenay-Lac-Saint-Jean – Quebec

2. SUMMARIES OF KEY FINDINGS

The five case studies reflect the diversity of the arts and learning milieu. They are a microcosm of the arts education field, each offering different strategies developed by innovative minds intent on developing the best possible programs to serve an identified need in a specific community. The reader will learn about arts education programs in the visual arts, music, theatre, literature and multi-disciplinary arts.

In summary, the unique characteristics and defining features of each of these programs are:

Art Gallery of Nova Scotia (AGNS) The AGNS Education Program not only provides education programs to gallery visitors, but plans to take a leadership role in arts education in the Halifax region. Innovative activities include: The gallery recently curated an exhibition of art created by military families in direct response to the families’ viewing of an A.Y. Jackson painting on the theme of “homecoming”; and Programs specifically developed to bring homeless youth and youth in care to the gallery for meals and workshops.

ArtStarts in Schools ArtStarts offers a range of funding and facilitation programs aimed at engaging children and youth in and through the arts across British Columbia. The breadth of its programming means that approximately 500,000 children a year are exposed to a performance supported by ArtStarts and a further 10,000 are engaged in an in-depth exploration of art through a residency or workshop. ArtStarts believes that the arts should be used to explore larger curricular themes that cross over the curriculum, such as anti-racism, First Nations’ studies and creative thinking.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 107

De-ba-jeh-mu-jig Theatre Group De-ba-jeh-mu-jig (Debaj) works towns, cities and isolated communities primarily in the north. Their constituency is aboriginal youth living with extreme poverty, few resources and a high incidence of suicide and violence. Debaj creates custom-tailored residencies based on storytelling techniques. They are typically invited into communities by band councils, schools, or social service organizations. Their goal is to provide an alternative path to the mainstream for aboriginal youth through participation in the arts.

Regina Public School Division Learning Through the Arts The Regina Publis School division has embraced Learning Through the Arts (LTTA) as a compulsory professional development program for all of its teachers in Grades 3 – 5. LTTA is a structured arts-driven curriculum program providing teachers with creative tools by which to engage students in math, science, language arts and social studies. Approximately 230 teachers participate every year, working with between 30 and 35 artists. Approximately 5,750 students are exposed to the teaching method each year.

Salon du Livre du Saguenay-Lac-Saint-Jean The Salon du Livre hosts an annual five day book fair. The Salon introduced education programs to children and youth because the local population was not reading sufficiently, there was relatively little access to books, and little knowledge of regional authors. The Salon offers school-based programs that connect students with authors and encourage reading. These programs are designed to increaese the student’s interest in attending the book fair. Tangible changes in student behaviour have been noted by authors, publishers, exhititors and teachers.

These case studies are a fascinating glimpse into what can be achieved given creative ideas, determination and a willingness to build programs based on solid results. They are very distinct - ranging from the fairly structured, School Division-based Learning Through the Arts initiative across the entire Regina public school system, to the individually-designed interventions by De- ba-jeh-mu-jig animators in isolated Aboriginal communities. Vancouver-based ArtStarts in Schools offers a diverse array of programs in schools across a whole province, while Salon du Livre du Saguenay Lac-Saint-Jean focuses on promoting reading in a rural community in Quebec. The work of the Art Gallery of Nova Scotia and De-ba-jeh-mu-jig is closely interwoven with community development.

While it is the unique characteristics of these case studies that it most apparent, for all their differences, there are a number of unifying characteristics.

The desire to improve learning and life outcomes for children. Improved learning outcomes is the goal of all the programs studied, while improving life outcomes for young people is a key component of the work of the AGNS and Debaj. The programs provides the inspiration for educators and artists to do the best they can, in their own way. Thus they recognize, respect and honour the work of individual teachers and artists, and continue exploring new ways to reach children through the arts.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 108

The range of programs offered by ArtStarts speaks to this, as does the flexibility offered to teachers and artists in Regina to adapt LTTA lesson plans as they see fit. It takes time to fully develop and fine-tune the program. In order to provide the best service to its youth, every organization developed its program over a long period of time. Each successful program or partnership builds upon the foundation of success of previous programs. It has taken ArtStarts ten years to build its roster of programs, 15 years for Salon du livre and Debaj is constantly developing and evolving its residencies. The arts and learning initiatives are typically driven by a vision built on the artistic vision of the organization. This is most notably the case where arts education programs are an off-shoot of producing organizations, such as Salon du Livre, Debaj and AGNS. Strong partnerships are an essential foundation upon which to build successful programs. The pre-eminent partnership is typically between the artist, educator and child, or the artist and the child. Government departments are typically partners, while community service and health care organizations are important partners for the AGNS and Debaj. , The long term relation that Salon du livre does with its partner, the school district, is reflected in the quality of the Salon’s reading program which is now chosen by teachers as an instructional tool even though it is on a voluntarily basis. Thirteen thousand students have been reached and 150 schools are now participated in Salon programs. Successful programs require the “buy-in” and support of the whole organization, combined with staff focus and energy. From Regina to Halifax, from Vancouver to Manitoulin Island and Saguenay, these successful programs are all thriving on the energy of their directors and the belief of the whole organization in the value of arts and learning initiatives. The organizations train staff specifically in issues related to taking arts practice to young people, and provide acceptable working conditions in order to retain staff. This can be a challenge for projects in remote areas such as Salon du Livre and Debaj. Successful programs are more than just the work of one person they require a systemic approach towards arts and learning.

While each organization faces unique challenges, such as scheduling in Regina or human resources in Saguenay, the single unifying challenge faced by these projects is the need for sustainable funding. Interviewees time and again cited insufficient funding to do the work that needs to be done as the principal challenge. Most rely heavily on project funding, the endless pursuit of which each year weakens organizational capacity.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 109

1. ART GALLERY OF NOVA SCOTIA - NOVA SCOTIA www.agns.gov.ns.ca/halifax

Context

Located in the heart of historic downtown Halifax, the Art Gallery of Nova Scotia (AGNS) brings the visual arts and people together in an environment which encourages exploration, dialogue, and enjoyment. Founded in 1908 as the Nova Scotia Museum of Fine Arts, the Gallery became an agency of the province of Nova Scotia in 1975. AGNS is now located in the former Dominion Building, completed in 1867. This building has long been central to Nova Scotians as a post office, law courts, and RCMP headquarters.

Three years of renovations to transform the historic site to meet the needs of a modern gallery began in 1985. Ten years later the Gallery expanded to incorporate part of the adjacent provincial building to create the Barbara and Norman Newman Education Centre. This includes studios, seminar rooms, an artist in residence studio, and a darkroom. Its current facilities help the Gallery realize its purpose to collect, conserve, and exhibit art works, as well as to educate for the benefit of Nova Scotians and visitors alike.

There are over 10,000 pieces in the collection, which include historical and contemporary Nova Scotian, Canadian and international art, as well as an acclaimed collection of folk art.

Description of the program

The AGNS Education component of the Programming Department runs a number of programs which are built around the permanent collection, expertise, and facilities of the Gallery. The various programs are geared to children, youth and adults beginning with infant/parent workshops and pre-school programs. These programs include art classes, a summer school, Family Sundays, Children's Festival, school tours, curriculum support material for exhibits and displays, an early childhood education program, and ArtReach (a program with the Nova Scotia Department of Education), curatorial projects in addition to Public Programs. AGNS is also the home of ArtsSmarts Nova Scotia.

AGNS has built a strong partnership with the Nova Scotia Department of Education (NSDE), especially regarding outreach to rural communities and schools. When the Gallery was exhibiting an exhibition on ancient civilizations, they used it as a launching point for a pilot program with the Department called ArtReach. NSDE contributed $25,000, the Gallery matched it, and together the two partner organizations hired a liaison person with an education background as the ArtReach Coordinator, to work in collaboration with the AGNS Educator to design additional school programs available to students and teachers including curriculum support material focused on ancient civilizations. This was a huge success. ArtReach will continue again this year.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 110

In an interesting twist, an education program at AGNS provided the content for an exhibition, Reunion: Military Families Reflect. This initiative came about because of the recent arrival of an A.Y. Jackson painting, on a long term loan to AGNS from London’s Tate Gallery, which depicts ships returning to Halifax Harbour in 1919.

This painting had not been on display in Canada since 1920. In the picture, there are houses lining the harbour. The Education Department chose to focus on the unseen people on the ships, and in the houses, and to explore the theme of "homecoming" in an historic and contemporary context. This is a very resonant theme for the City of Halifax, which is both an international seaport and an active naval city. Military families were asked to participate by coming to AGNS to view, discuss and reflect on the A. Y. Jackson painting in reference to their own experiences of homecoming. This group then participated in a studio workshop where they created their own artworks on homecoming. These art works constitute the Reunion exhibition. Other such curatorial opportunities are available for community and school groups. Presently there is also a Homebridge exhibition and an ArtsSmart exhibition.

The Gallery's education staffs have been working on many levels to expand the way AGNS envisions the arts education work of the Gallery. Increasingly they are trying to see how the Gallery can take a larger role, even a leadership role in arts education. AGNS not only provides programs, but also provides service in a collaborative way with other organizations and the community to achieve mutual goals in arts education using the resources of the Gallery. Working together, they can help people understand the benefits of arts education and arts experiences for everyone.

ArtsSmarts fits very neatly into what they're trying to do, because it too has a community development approach. AGNS takes the lead role for ArtsSmarts Nova Scotia as there is now no Arts Council in Nova Scotia. AGNS gives ArtsSmarts a home base. AGNS is working toward bringing new partners to ArtsSmarts to allow for sustainability of the program in Nova Scotia. Nova Scotia College of Art and Design University (NASCAD), Department of Tourism, Culture and Heritage and Department of Education are all partners involved with ArtsSmarts Nova Scotia.

AGNS Education is focusing on identifying and outlining the strategic areas of arts education that AGNS has been developing. In addition to traditional core programming, AGNS offers a wide range of educational services through community collaborative partnerships that focus on building a broader and more diverse audience. AGNS community collaborative partnerships in Education focus on four areas of service: • Art and wellness • Youth and resiliency • Early learners • Reaching out to schools

So, for example, Phoenix Youth Programs bring homeless young people to the gallery for dinner and the chance to work in an open studio every Thursday evening. Homebridge brings youth in care who are unable to attend school for various reasons to workshops at the Gallery.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 111

Homebridge will apply for accreditation for this program, so the youth can earn school credits for the work they do in the studio at AGNS. The Gallery has had numerous programs over the past three years with the health sector, including ongoing participation with the IWK Health Centre in the outdoor garden program at the hospital and teen lounge.

AGNS also offers many special workshops as well as resources and links to artists in the community.

Outcomes of the program

Traditionally, arts education programs offer the expertise of the Gallery and the resources of its permanent collection to make art more accessible to young audiences. This effort benefits students and teachers, and also benefits the Gallery, because it contributes to the awareness of the importance of arts education.

AGNS Education works with many partners who contribute resources and expertise. Partnership programs are usually financed by both AGNS and the partner. These partnerships not only provide financial resources but also contribute considerable educational and community value to the Gallery as an institution.

As part of AGNS' advocacy and outreach work, AGNS has helped to design curriculum to ensure a vibrant place for the visual arts. AGNS has helped others to design programs using the arts to meet their needs. They connect organizations with artists. They contribute to advocacy efforts at the government level or in the university and college systems.

This year the Gallery has doubled the attendance for its school tour groups, but what's really exciting is that this work is taking them far beyond Family Sundays and other traditional arts education programs. Galleries can be very traditional institutions, and they remain in some ways intimidating and unfamiliar for far too many people. With this work, AGNS is trying to create the Gallery as a place where people can feel comfortable and have their diverse needs met.

The arts education programs are also beneficial to artists in the community. The Gallery acts as a referral, suggesting artists to other partners, and also hiring artists for specific programs. They've hired a number of graduates from the NSCAD University, and a number of international artists are now involved with AGNS in association with the Metro Immigration Settlement Association.

Budget

Both the Educator and the Curator of Contemporary Art are involved in this work and contract staff are hired on a project basis. The ArtsSmarts Nova Scotia Coordinator is not paid by the Gallery, but is housed in the Programming Department, Education. AGNS provides in-kind support to ArtsSmarts NS.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 112

The Gallery contributes $86,000 to the Education budget. Education curatorial projects have additional funding allowances. This investment leverages funding from participating partners. Some projects are sizeable - for example, the development of early learning programs including art resources was supported with $100,000 from the Department of Community Services.

Partners

AGNS Education works with a wide range of community partners: artists, arts organizations, community service and health care organizations, provincial departments of education, culture and tourism, municipal departments in Halifax and across the province, and others.

Unique characteristics – lessons learned

This vision of arts education in a community development role is slowly becoming more and more a way that AGNS Education does its work. This transition has been happening over time, certainly very strongly over the last four years.

This effort has required a lot of staff focus and energy and strategic choices have been made to determine the most effective programming and collaborations. As these partnerships are developed other community leaders see the many possibilities of how a Gallery can function in a slightly different way to order to build stronger connections between people and art. Each collaborative partnership both reinforces and builds incrementally on the work that has happened before.

Challenges

It is hard, ongoing work to bring change to a very traditional and established organization. The program must be more than just the work of one person; there must be a commitment from senior management in order to create systemic change in the way a Gallery perceives its role in the community as it fulfills its art education mandate. This change in attitude and understanding will ensure commitment and continuity for the work.

The lack of stable ongoing funding means that each program budget has to be brought together on a piecemeal basis. It is also a challenge to put together the right team of people for each project.

Assessing outcomes also presents a challenge, and requires more time and focus. AGNS has a great deal of anecdotal evidence about the impact of quality arts education on children and youth. Program evaluation forms are also provided on a regular basis. They recognize that it is one thing to document how many thousand children come through a program, but it is another thing to be able to understand and document the impact on those children and why a particular program is important and meaningful to them.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 113

2. ARTSTARTS IN SCHOOLS – BRITISH COLUMBIA www.artstarts.com

Context

ArtStarts in Schools was founded in 1996 by Wendy Newman and operates with a professional staff and a volunteer board of directors drawn from the arts, education and broader community. It offers educators, artists, parents and students a broad range of programs, services and resources to promote arts and creativity among BC's young people. ArtStarts envisions a society where the arts are regarded as an essential part of educating young people and are a catalyst for creating innovative, engaged and contributing members of society. ArtStarts in Schools has a leadership role in transforming the way children and youth are engaged, in and through the arts, and in promoting the value of the arts in young lives. They do this through the programs listed below.

Programs

The principal objective of ArtStarts in Schools is to link the arts to education – links between artists and teachers, and between artists and students. They attain this objective through providing practical resources for artists and teachers (such as a booking service) plus four funding programs.

Funding programs: 1. Artists in Education (AIE) 1: School Districts are eligible to apply to this program for matching funds towards touring performances, workshops or residencies. 2. Artists in Education (AIE) 2: Schools are eligible to apply for matching funds for residencies. 3. Schools in Community – A program for schools or districts that provide funds to support professional presentations in community venues. 4. Cherniavsky’s “Mr. Music”: provides subsidies to schools for students to attend live professional performances.

Facilitation programs 1. ArtScan: An annual showcase of more than 40 performing arts groups and an accompanying exhibition of outstanding student-created art work. 2. Booking Service: ArtStarts operates a booking service to facilitate artists’ touring throughout BC. This is particularly helpful to remote and rural schools in presenting artists of all disciplines in their schools and communities.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 114

3. Artist directory: an online and print directory featuring over 230 artists available for performances, workshops or residencies in BC schools. 4. Arts and Culture Week hosted in partnership with the Assembly of BC Arts Councils. 5. Catalyst For Change: A program bringing artists into classrooms to create collaborative art exploring a variety of contemporary social issues.

ArtStarts’ programs are related to learning in, about and through the arts, serving children from kindergarten to grade 12 across BC.

Outcomes

ArtStarts offers 100 different residencies/workshops in a typical year, and books over 2000 performances in remote, rural and urban communities across British Columbia. It is difficult to quantify the total number of children “touched” by the organization’s work, but approximately 500,000 children a year are exposed to a performance supported by ArtStarts. Up to 10,000 children are engaged in a more in-depth exploration of art through the residency program and workshops.

ArtStarts was involved with LTTA during the pilot period from 1999 to 2001 and was captured in the Queen’s University study21. It has also been part of the impact studies undertaken by ArtsSmarts. ArtStarts notes that there has not been enough research undertaken of the impact of programs such as theirs, probably because it costs more to research than it does to deliver the programs. That said, the organization is presently in discussion with Simon Fraser University over funding for a research project commencing in 2007.

Budget

The annual budget is $1,275,000. Government funding accounts for $575,000 (BC Arts Council provides $300,000 for Artists in Education plus $100,000 in operating and project grants). $20,000 comes from the City of Vancouver, and the balance from the Canada Council and the Department of Canadian Heritage.

Private sector funding is derived from the Vancouver Foundation which partners with the BC Arts Council in providing $300,000 for Artists in Education. Additional private sector funding of $175,000 comes from local foundations. In addition, the McConnell Family Foundation contributes $30,000 towards ArtsSmarts (now a part of Artists in Education 2.) This funding is now being reduced from the original contribution of $100,000 per year according to a sliding scale.

21 Learning Through the Arts National Assessment 1999 – 2002 authored by Dr. Rena Upitis and Dr. Katherine Smithrim, April 2003

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 115

The organization also has an earned revenue line of $175,000 from program fees, management fees and ArtScan fees.

Partnerships

In its first years ArtStarts offered touring programs into the schools. Eight years ago, ArtStarts was approached by the McConnell Family Foundation and asked if they would like to partner with ArtsSmarts. This opportunity arose at a time when ArtStarts wanted to develop residencies and workshops, so the ArtsSmarts partnership provided the resources and timeline to do this. This partnership was integral to ArtStarts development, but is only one of the four principal funding programs now offered.

Unique characteristics – lessons learned

The breadth of ArtStarts programs is probably its greatest achievement, as its programs provide different means by which artists can engage in the education of a child and the life of a school. ArtStarts believes it should provide the inspiration for teachers and artists to do their very best , in their own way, thus continuously recognizing , respecting and honouring the work of individual teachers and artists, and continuously exploring new ways of reaching children through the arts.

ArtStarts takes the view that arts should be used to explore larger curricular themes that cross over the curriculum, such as anti-racism, First Nations’ studies, innovation in the classroom, and creative thinking. ArtStarts sees value in placing artists in certain social science and art classes such as creative writing, modern languages, or social studies where these larger curricular themes can be clearly explored, but finds classes, especially in the secondary grades, in subjects such as science and math, more challenging to integrate. Recently it has been experimenting on a new model of teaching multiple literacies.

ArtStarts also recognizes the inherent limitations on what the organization can do. It cannot teach on a sustained basis. It cannot and will not go into a school with no art teacher, and attempt to teach the art curriculum. It will, however, enhance what the schools are already doing by taking art into a variety of classroom settings.

ArtStarts attempts to work in every school district in the province. It senses that many educators are hungry for innovative programs and new ways of working with children and bringing the classrooms alive. These educators are looking for the resources they need to make this happen.

For ArtStarts itself, the key to its current and future success is managing growth. It has continued to develop new initiatives, but has consciously introduced new programs gradually, one at a time, over a period of years. It has managed its human and financial resources and has neither over-extended nor under-extended itself.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 116

Challenges

The two most significant challenges facing ArtStarts are time and money. ArtStarts cautions that, even if it had a significant infusion of new money, it would want to expand the programs slowly and carefully to maintain quality control, and to ensure that both artists and educators are well prepared, and have time for the necessary pre-planning and training for the projects.

ArtStarts is moving to larger quarters this summer, where they will have a gallery to display young people’s art, 12 months a year. The fundamental objective of this initiative is advocacy – to draw attention to the importance of arts in education – and ArtStarts will host children, parents, teachers, and artists along with community leaders, including politicians and senior bureaucrats at the gallery to demonstrate how good children’s work can be. It is hoped this will inspire more funders to put additional resources into arts education.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 117

3. DE-BA-JEH-MU-JIG THEATRE GROUP - ONTARIO www.debaj.ca/professional/recent/index.html

Context

De-ba-jeh-mu-jig Theatre Group (Debaj) is a professional, community-based, non-profit organization dedicated to the vitalization of the Anishnaabeg culture, language and heritage through education and sharing original creative expression with Native and non-Native people. De-ba-jeh-mu-jig translates as “storytellers” in Cree and Ojibway and it is through storytelling that Debaj aims to serve the Aboriginal peoples in the North through arts-based problem-solving techniques. Debaj’s home base is on Manitoulin Island in Northern Ontario.

Debaj’s constituency has the highest youth suicide rate per capita in the world. This somber fact underlies all their work, which is primarily with Northern Indigenous peoples in cities, towns and isolated communities across Ontario, although they do work in other provinces and territories, as well as occasionally in Europe.

The Aboriginal peoples in the north live with extreme poverty, few resources, a high incidence of violence, and very little hope. Within this context, Debaj’s extensive outreach and education department sees its role as providing an alternative pathway to the mainstream for aboriginal people through participation in the arts sector or through remaining in their home community to become artistic animators for themselves and other artists in their community, engaging other sectors of those communities.

Debaj’s work in towns and cities is frequently delivered through health, education and social service organizations, band councils or other organizations serving the Aboriginal community. Provincial or territorial organizations that have ongoing or sustained youth initiatives often call on the group to enhance elements of their own youth empowerment or engagement programming.

In isolated communities, the organization is typically called on by the band council, school system or health centre. Children in remote communities face significant challenges, not the least of which is their outsourced high school experience when they typically leave an isolated existence to go and live in a non-native world, often boarding with a non-Native family in the closest northern urban centre to their home community. Typically, grade 10 children from remote communities are sent to Thunder Bay, Kenora, Timmins or North Bay. They must live in English rather than the language of their community, typically Cree or Ojibway, suffer from racism, and are then expected to succeed academically without the support systems of family and community. Frequently children abandon urban-based academic instruction after one year and return home to communities with a 70% - 90% unemployment rate.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 118

This is the context in which Debaj develops and implements programs uniquely designed to meet the specific needs of each community situation.

Description of the program

The youth programs offered by Debaj aim to affect a shift in behavior and attitude among young people. They want to affect the way children think about themselves, their culture, and their community. They want the children to see a future where there can be hope and where they can see a vision for themselves that they can begin to work towards. Debaj seeks to instill a sense of critical path management and goal-directed social behavior that can transfer in a cross- cultural context. All Aboriginal children are at risk, a situation exacerbated by the fact that in a community of over 100 children, there will always be a handful causing serious trouble impacting negatively on everyone. Debaj’s programming is designed to change the attitudes of all children, including these difficult ones, and thus positively affect the entire community.

The programs that Debaj offer for children aged 10 to 18 frequently take place within the school, which is often the only point of assembly in isolated communities. Within towns and cities, Debaj is typically asked to work with a customized group – such as Aboriginal youth workers and children. In each case they work with the host organizer – band council, school, or service agency - before their visit to identify objectives and to develop a program to meet specific objectives.

1. Touring Show and Residency Program: Twice a year Debaj tours to 4 or 5 communities with a play. They stay in each community for approximately one week. After the performance, the six or seven performers serve as community animators, providing workshops in technical design and execution, performance and story development, theatre improvisation, set and costume design. They engage students in the residency by engaging their response to the show, possibly reshaping it to the specific locale, and engaging the children in presenting it back to the community. The objective is to encourage sharing of stories and to engage the community in the process.

2. Residency: The residency program is typically a three-year commitment to working within a community for one or two, two-to three-week cycles. During these three years, Debaj returns to the community at least twice a year. Debaj collaborates with community leaders to design a program best suited to the particular issues facing local children. Local artists and the children then collaborate with two Debaj animators in a process of collective story development - the outcome may take the form of a play, a video blog, a movie, a piece of music or a parade. There are no pre-set formulae; much of the outcome will depend on the story, local artists’ creativity, and the children’s interests. Debaj undertakes 6 to 8 such residencies in a given year.

3. Summer Intensive: Each summer, between 8 and 12 young people over the age of 16 are invited to participate in the 6-week Summer Intensive program at Debaj’s home base on Manitoulin Island. Youth are eligible up to the age of 25, but the majority of participants are

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 119

typically between the ages of 16 to 18. Participants would generally have participated in one of Debaj’s residencies or touring programs in their home community. These young people typically have no resources, so Debaj pays for their transportation, food, accommodation and a stipend. Students who graduate from this program and demonstrate a high level of performance skills are then invited into a three-year training program with the company.

Debaj defines its work as learning through the arts.

Outcomes of the program

Over the past two decades, Debaj has developed from a start-up community-based theatre organization and the first professional theatre company located on an Indian Reservation to a multi-faceted entity working in the most far-flung reaches of Ontario.

The programs are interwoven, designed to provide various paths through which Aboriginal youth can learn to tell their stories, develop creative skills, and in turn become animators for further arts-based community development projects. Debaj has observed that if they can engage youth in a residency program, and then bring them to the summer intensive, the students are more likely to finish high school and stand a chance of going to college. Their summer intensive program has a 97% success rate based upon students achieving their intended outcomes.

Budget

Debaj has a budget of approximately $1 million, half of which is devoted to education, outreach and the three-year professional training program. Its revenue sources are: Government: 40% (Ontario Arts Council, plus Aboriginal programs through Health Canada and the Federal education system for Aboriginal peoples) Foundations: 10% Earned: 50% (This is how the revenue is accounted for in the financial statements. However, it should be noted that this earned revenue represents contributions from the band councils for the residency programs, which Debaj helped generate.) There is no private sector funding available for this type of work in the north.

Partners

Debaj’s partners in their work are the community leaders and local artists in the regions where they undertake their work.

Unique characteristics – lessons learned

While their outreach programs are largely focused on youth, Debaj’s approach is unique because of the nature of the communities they are working in, and the specific set of challenges those

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 120

communities are facing. For example, they are frequently asked to assist with the problem of the poor relationship between youth and elders. In a case such as this their artistic and creative intervention is not only directed to the children, but also to adults. Teaching youth to think differently and to learn to communicate more effectively with their elders is a key objective for the company.

Within this context, Debaj does not approach its work from the perspective of the Ontario curriculum. Instead they look to land-based learning, and learning from storytelling techniques, as a way to connect with young people and show them a path towards a better life.

They also approach their work using traditional problem solving structures, where they listen to all positions, decide which programs will meet the core needs, send these ideas back for approval to all parties, modify it again as necessary, then present the final work.

The uniqueness of the program is in its flexibility – it has many elements that can be combined in various ways to achieve diverse outcomes simultaneously. It is the neuro-linguistic programming that allows them to obtain these outcomes.

Problem-solving is at the heart of Debaj’s work, and is something they practice as well as teach. As an example, during one of their remote residencies some of the children participating in a stilt-walking exercise took off into the woods where one was injured and had to be flown out for medical treatment. The band leaders were initially angry with Debaj, but after discussion they agreed that they were supposed to have provided adult supervision for the children, but had neglected to do so. The announcement went out from the band council that adults were to become engaged in the process with their children. The adults responded to this, and the residency was more successful as a result of this parental involvement.

Challenges

The greatest challenge for Debaj is the lack of sustainable operating funding to do the work that needs to be done, and the endless pursuit of project funding. The basic expenses in the north – such as food, shelter and clothing - are significantly higher than in the south. In addition, Debaj pays the artists in the communities in which it works, and also pays for the purchase and transportation of healthy food supplies when it undertakes residencies in isolated communities. This is done so that participants eat together to create a sense of community, and further ensures that the children are nourished and focused on the project at hand. The people whom Debaj serve through its outreach and education programs have nothing, so all project materials have to be supplied.

Transportation is extremely expensive and many communities can only be reached by plane. Such a significant portion of the residency grants is devoted to transportation costs that the Debaj artists often subsidize these projects by reducing their fees to enable the project to proceed. The artists are constantly making these sacrifices in order to be able to do their work.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 121

4. REGINA PUBLIC SCHOOL DIVISION LEARNING THROUGH THE ARTS - SASKATCHEWAN www.ltta.ca

Context

Learning Through the Arts (LTTA) originated at the Royal Conservatory of Music and is a structured arts-driven curriculum program providing teachers with creative tools to engage all students in math, science, language arts and social studies. The program's comprehensive format incorporates ongoing professional development of teachers, professional development of artists, lesson plans for all academic subjects, curriculum development, in-class delivery and continuous assessment.

The Regina Public School Division has embraced Learning Through the Arts as a compulsory professional development program for all teachers of grades 3 to 5 (plus grades 2 and 6 if they are part of a split class). Consequently about 230 teachers participate in LTTA in 49 schools every year.

The Regina Public School Division was one of the pilot sites for LTTA offering the program in nine schools starting in 1999. During the following three years they participated in a research study commissioned by LTTA and undertaken by Dr. Rena Upitis and Dr. Katharine Smithrim of Queen’s University22. This three-year study demonstrated that students exposed to the program scored higher on mathematical tests of computation and estimation than students at control schools, and that students were more engaged in their studies and more motivated to learn. In addition the study observed that teachers were gaining confidence in embedding the arts in their teaching practices.

The study’s findings confirmed the belief in Regina that LTTA was contributing to positive student outcomes and enriching teachers’ skills. LTTA was introduced as a mandatory program promoting student learning and teacher professional development in 2002.

Description of the program

The objective of the LTTA program in Regina is to improve the quality of teaching by providing a greater variety of instructional strategies for teaching curricular objectives. A secondary objective is to improve student achievement.

22 Learning Through the Arts National Assessment 1999 – 2002 authored by Dr. Rena Upitis and Dr. Katherine Smithrim, April 2003

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 122

The School Division hires a half-time coordinator who manages the schedule and arranges which artist will work in what school with which teacher. They aim to maintain the partnerships between teachers and artists over several years wherever possible.

Each teacher has two artists from different artistic disciplines working with him/her in the classroom each academic year, the first in the fall term and the second in the winter term. The teacher discusses what he/she wants to teach with the artist, and typically utilizes one of the LTTA lesson plans. Once the lesson topic has been decided, the following sequence of events unfolds over a two-to six-week period: the teacher prepares the class; the artist comes to the classroom for a one-hour demonstration; the teacher bridges between this class and the next artist visit; the artist returns for a second visit; teacher again bridges the instruction to the final artist visit; artist returns for a final visit; teacher follows up teaching on the topic.

While the teacher and artist typically work from a LTTA lesson plan, they often modify the plan, or develop a new one based upon earlier years’ experience, and these are then sent back to LTTA for possible distribution to other schools and publication on the website.

Regina Public School Division and LTTA also offer job-embedded training sessions, in which a stellar artist educator is be sent by LTTA to lead a session with a class, which is observed by other teachers and artists. Each teacher has access to one of these training sessions every 3 or 4 years.

Outcomes of the program

About 230 teachers participate in the program every year, working with between 30 and 35 artists. Approximately 5,750 students are exposed to the teaching methods every year.

From the very beginning teachers saw the value of LTTA and enjoyed learning new teaching methods. A few teachers have been resistant, but this is modest compared to the scale of the program, and compared to resistance to other mandated programs. From the student perspective, the Division sees improved student engagement, especially for at-risk learners. These students often embrace these teaching strategies more than the typical teaching methods.

The School Division has not undertaken any studies since the program moved to full implementation across the Division. The Queen’s University study team has been monitoring one cohort of students in Regina Public schools and the results continue to be positive. LTTA has undertaken a study on the impact on artists and on teachers, which is being wrapped into the Queen’s University studies of the program. The Division does not have the funds to conduct a major longitudinal study of all their schools.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 123

Budget

The annual cost is $180,000, which includes the 0.5 FTE co-ordinator. Saskatchewan Learning has contributed $40,000 and the balance is from the School Division budget. The Saskatchewan Learning contribution will likely expire in 2006/07, and the School Division will have to find funding internally for the full cost of the program.

Unique characteristics – lessons learned

The School Division believes LTTA is effective. Regina’s mandate is to ensure the highest possible student achievement, so when the School Division sees instructional techniques that accomplish this they want to encourage the teachers to learn them and to adopt them. The Division also sees that LTTA learning strategies meet their goal of inclusiveness as arts -infused learning tends to reach students who are at risk, or from different cultural backgrounds.

Moving from a pilot to a full Board intervention was a significant step. This entailed logistical challenges that are described below. It also affected the lesson plans, and the way in which the program would work in a more diverse set of schools. The Division still sees enormous value in the program and hopes to maintain it into the future.

Challenges

The two principal challenges for Regina are logistics and funding.

When Regina moved to implement LTTA across the division, the scheduling of teachers, artists, and teaching spaces (classrooms, gyms, art rooms) across 49 schools became a logistical challenge. One of the ways Regina addressed this challenge was by restructuring the number of interventions at specific grade levels.

In a typical LTTA school, the program would be offered at two grades, and each teacher would have three artists visit during the year. Regina has altered this so that the program is offered over three grades, and each teacher has two artists visit during the year. This not only resolves some scheduling challenges, but spreads the program over three grades, which has a greater impact in that more teachers are exposed to the instructional strategies.

Funding from the School Division budget has been found because LTTA is seen as a priority. The program must continue to deliver a quality product and retain the support of teachers and Trustees or else it might not survive budget cuts in tough times.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 124

5. SALON DU LIVRE DU SAGUENAY LAC-SAINT-JEAN - QUEBEC www.salondulivre.ca

Context

The Salon du livre du Saguenay–Lac-Saint-Jean is a not-for-profit organization whose mission is to promote reading in the region. The organization holds a five-day annual Book Fair in late September. It also holds year-round activities. The organization was founded in Arvida in 1953 and is run by an eleven-member volunteer board supported by a team of three permanent employees. Richard Lafleur has been executive director for 12 years, and Richard Boivin has been chair for five years. The office is located at 4014 rue de la Fabrique in Jonquière, in one of the city’s two heritage centres, the MASC (Maison d’animation sociale et culturelle –social and cultural activities centre).

The reasons for the organization’s decision to develop activities for children are the following: • Needs: people in the region were not reading sufficiently, there was relatively little access to books, and there was little knowledge of Quebec and Saguenay-region authors. • Successes: They observed that by developing familiarity with the creative process and the circumstances involved in creating a book, and by engaging a dialogue with the author, children develop respect for the author’s work and a sense of ownership of local books.

Description of the program

The activities of the organization’s youth division are a major focus for the Salon. The programs are for toddlers, elementary and high school students, and college and university students. The organization’s educational efforts run throughout the school year, in collaboration with various actors in the schools.

1. Le Concours Lecteur-Lectrice (readers’ competition): has existed for 15 years. It is offered to students from grade 3 through 11 in the five school boards of the Saguenay–Lac- Saint-Jean/Chibougamau-Chapais regions. Every year, between 1,100 and 1,500 students from 80 schools participate by writing an essay up to five pages long on a topic and within a style specified by the youth author sponsoring that year’s competition. The competition, one of the few of its kind in Quebec, was designed to be integrated with classroom instructional activities. It fits perfectly with ministerial directions (MEQ, 2001)23 by setting up a real- world writing situation that contributes to the development of a specified skill: writing varied texts. In recent competitions, particular attention has been given to themes that appeal specifically to boys, which is consistent with the focus of the Plan d’action sur la lecture (reading action plan) put forward by the Department of Education, Sports and Recreation

23 Ministère de l’Éducation, (2001). Programme de formation de l’école québécoise. Québec : Auteur.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 125

(MELS) in 200524. Participation in the competition provides personal validation for the student, who has his or her essay read by a jury.

2. La Tournée Pré-Salon (TPS) (pre-Salon tour): Shortly before the book fair, twelve youth authors visit schools in the Saguenay–Lac-Saint-Jean area’s four school boards, where they meet children from kindergarten to secondary 5. The TPS gives students the chance to experience an enriching, unique literary encounter by meeting authors. In addition, it reaches groups of students who, for a variety of reasons, are unable to attend the fair.

3. Les Visites d’Informations Privilégiées (VIP) (privileged information visits): Since 2003, a partnership with the Université du Québec à Chicoutimi’s preschool and primary education units has allowed the Salon to add another innovative activity to its roster. Here, students run the VIP sessions in order to prepare primary and secondary students for their visits to the book fair.

4. Activities: 90 activities for preschool, primary and secondary level children , are presented during the five days of the Book Fair on site. L’Île magique, “the Magical Island,” is a space where authors and illustrators are interviewed and where literary games, story-readings and book launches are held. L’Île magique is also a place where children of various ages can stop to read or talk about things they’ve discovered during their time at the fair.

Outcomes of the program

For the organization, it is clear that books represent the foundation of knowledge. The outreach activities were originally initiated to promote reading and its principal medium, books. These activities are aimed at making books accessible by “taking them off the shelf,” and at building a taste for reading by encouraging children to develop an interest in publishers’ youth catalogues with which they are unfamiliar, and by helping to ensure that reading is voluntarily chosen by teachers as an instructional tool. Thirteen thousand students have been reached and 150 schools have participated in Salon programs.

Pre-book fair tour by youth authors • 40 stops over two days • 11 participating authors • 30 participating schools • 2,000 students reached • Cost per school: $150 / visit Readers’ competition, 2004 • 70 participating primary and secondary schools • 2,000 participants, 155 school finalists, 12 regional winners • Value of prizes: $20,000 in books • Cost to schools: $0

24 Ministère de l’Éducation, du Loisir et du Sport, (2005). Plan d’action sur la lecture. Québec : Auteur

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 126

The values promoted through these activities, such as inquisitiveness, a critical sense, attention and awareness of the literary environment, are prerequisites to systematic cultural practice. For the last four years, extra-mural activities have helped contribute to preparing youth to benefit from the presence of books and authors visiting their area during the Book Fair. They do so by suggesting approaches to authors (writing process and sources of inspiration), and by helping them demystify the author’s work by exploring their writing process and the content of their works, and subsequently having them make critical judgments about books.

Budget

The organization’s annual budget is $285,000, of which 40% is allocated to human resources, administration and activities. Ten percent of income comes from private sources, 17% from the federal government, 25% from the provincial government, and 48% of revenues are self- generated.

Although some of the activities in the youth program are self- sustaining, the Book Fair is the main source of self-generated revenues.

Partners

The organization arranges encounters and partners facilitate them. The quality of work done by the organization with its partners is reflected in the quality of the relationship linking the parties. • Teachers and schools: The first partner is the teacher. This collaboration is essential to the pursuit of the common goal of promoting reading. Thanks to the instructional tool the Salon provides them, partners in the schools are better able to promote reading to children. • Authors, publishers, distributors: the reading competition is sponsored by a reputed author • Jonquière chamber of commerce: the Salon is a member and director • Conseil régional de la culture (CRC – Regional Cultural Council): the organization is a founding member and presides over the Books and Letters Working Group • The organization is a member of the comité technique de l’entente spécifique sur les industries culturelles (technical committee, specific agreement on cultural industries): Quebec’s main arts-funding body, the Société de développement des industries culturelles (SODEC); the Department of Culture and Communications (MCC); the Conférence régionale des Élus-es (CRÉ – Regional Conference of Elected Representatives) and the CRC.

Unique characteristics – lessons learned

Inspired by Quebec’s reading action plan, the organization does everything possible to ensure that its school-based activities (primarily the competition) help teachers create their own reading

Arts and Learning Environmental Scan – Final report – August 31, 2006 Part Four: Five Case Studies Page 127

workshops. Teachers receive a “turnkey” instructional tool from the organization dealing with writing techniques, and a known author, invited by the Salon, makes a classroom visit. The instructions provide suggestions on how to prepare for the author’s visit.

Tangible changes in student behavior have been noted by authors, publishers, exhibitors and teachers during the students’ visits to the Book Fair. They state that the students are more attentive and inquisitive and, above all, better prepared. The organization believes that children’s involvement in literary creation contributes to reducing the dropout rate.

The TPS tour gives youth the privilege of meeting authors they can meet again at the Book Fair. For many students, this first contact constitutes the trigger to the discovery of the joy of reading. There are now countless testimonials to this effect. It has been noted that some students whose classes were visited by an author return to the fair with their parents. The more school-based activities are decentralized (with 150 schools now involved), the more important the event becomes in the region.

The philosophy and attitude toward the clientele are key. “Everything I do is for the benefit of the clientele; it is my living, and the child is my investment in the future.”

“Extra-mural” activities are more costly than other types. The provincial government has a program designed specifically to support such activities as part of its action plan on reading (1998), which helped the organization build and maintain its activities.

Challenges

The boycott of cultural activities by teachers put a significant damper on school-based activities; few students were able to participate. This reduction in activities resulted in a major decline in revenues. The organization’s board was very well informed of the situation, remained vigilant and maintained its cohesion. The public continued its support. The organization had to dig into its accumulated surplus.

The obvious human resource challenge for the organization, as with many organizations in remote areas, is that of retaining staff. It must train staff and provide acceptable working conditions in order to remain competitive with other sectors in the area.

Over the years, the maintenance of its activities has become more difficult due to rising costs. Because of this, the organization expects an increase in funding needs.

Convincing municipal jurisdictions to invest in the organization will be the major issue in coming years. Thanks to its high standing, the organization generates economic spin-offs in the region. The organization’s financial efforts in the next few years will be focused on the municipal level of government.

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDICES

APPENDIX 1– PROVINCIAL GUIDELINES - CURRICULUM

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 1: Provincial Guidelines - Curriculum Page 3

PROVINCIAL GUIDELINES - CURRICULUM

All information was found in each province’s Department of Education website. Links are provided below:

Alberta:

• Source: http://www.education.gov.ab.ca/k_12/curriculum/bysubject/ • Fine Arts programs are separated in Elementary, Junior High and Senior High programs • In both the elementary (grades 1-6) and junior high level (grades 7-9), fine arts is separated into 3 separate programs: Art, Drama and Music • Fine Arts programs classified as an elective in secondary school • Programs at the secondary level include: Art 10, 20, 30; Art 11, 21, 31; Drama 10, 20, 30; Coral Music 10, 20, 30; General Music 10, 20, 30; and Instrumental Music 10, 20, 30 • No standardized testing at any level. Curriculum’s provide guidelines for assessment. • Curriculums make distinction between required and optional content to be taught.

British Columbia:

• Source: http://www.bced.gov.bc.ca/irp/irp_fa.htm • Programs divided into primary and secondary programs • Primary programs titled Fine Arts, from grades K-7, and include the subjects of Dance, Drama, Music, and Visuals Arts • Fine Arts is a required subject at the primary level • No standardized assessments for the Fine Arts, curriculum provides guidelines that are then left to the teacher’s discretion. • Secondary level, the Fine Arts classes are separated and considered electives. They include: Dance 8-12; Drama 8-12; Music 8-12; and Visual Arts 8-12 • No standardized testing at secondary level. Assessment guidelines are provided in the curriculms. • All curriculms make distinction between required and option content for each program.

Manitoba:

• Source: http://www.edu.gov.mb.ca/ks4/cur/index.html • Dance, Drama, Music and Visual Arts are offered from Kindergarten to Senior 4 (K-S4) students. • New Arts curriculum documents are under development by Manitoba Education, Citizenship and Youth and are not yet available.

New Brunswick:

• Source: http://www.gnb.ca/0000/anglophone-e.asp#cd

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 1: Provincial Guidelines - Curriculum Page 4

• Arts Education is classified as Visual Arts for grades K-8. Curriculum includes required outcomes and assessment strategies. • Grades 9-12: music is the only arts program offered. Curriculum includes general outcomes and assessment strategies.

Newfoundland:

• Source: http://www.ed.gov.nl.ca/edu/sp/main.htm • Art education programs divided from grades 1-6, 7-9 and 10-12 • The art programs focus on developing a visual awareness, enable children to express themselves visually, develop an appreciation for the visual arts and increase self-awareness • Curriculum guides provides required content and methods of evaluation • At the secondary level Art Technologies 1201 is offered in grade 10 and is designed to expose students to the relationships among perception, art and technology. • Art and Design 2200 and 3200 is offered in grades 11 and 12. At the end of two years, students will have completed six of the following eight studio units: Drawing, Sculpture, Photography, Fibre Arts, Painting, Printmaking, Graphic Arts and Pottery

Nova Scotia:

• https://sapps.ednet.ns.ca/Cart/index.php?UID=20060606153020198.103.196.130 • Primary to Grade Six: Courses offered in Music and Visual Arts. Included in the curriculum guides are key outcomes and guiding principals for assessment. • No materials could be found detailing arts courses in grades 7-9. • Courses offered at the secondary level are Drama 10 and 11; Music 10 (curriculum under development); Visual Arts 10 (curriculum under development); Cultural Industries 11 (curriculum under development); Dance 11; Film and Video Production 12. • Curriculum guides list required outcomes and assessment strategies.

NWT:

• Source: http://www.ece.gov.nt.ca/Divisions/kindergarten_g12/indexK12.htm • Grades K-9: follows the Saskatchewan Arts Education curriculum • Grades 10-12: follows the curriculum of the Alberta Arts programs

Nunavut:

• Source: http://www.gov.nu.ca/education/eng/css/index.htm • Grades K-9: follows the Saskatchewan Arts Education curriculum Grades 10-12: follows the curriculum of the Alberta Arts programs

Ontario:

• Source: http://www.edu.gov.on.ca/eng/document/curricul/curricul.html • The Arts: Separated into Grades 1-8, 9 and 10, 11 and 12.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 1: Provincial Guidelines - Curriculum Page 5

• Grades 1-8: the Arts are organized into 3 strands: Music, Visual Arts, and Drama and Dance • Curriculum has two elements: expectations and achievement levels. • Guidelines given for assessment but no standardized testing • The Arts is a required subject from grades 1-8; grades 9-12 it is considered an elective • Grades 9 and 10: Courses offered are Comprehensive Arts (grade 9 only); Dance; Dramatic arts; Music; Visual Arts; Media Arts (grade 10 only) • Curriculum Expectations are identified along with guidelines for assessment • Grade 11: Dance (university/college prep and open); Dramatic Arts (university/college prep and open), Media Arts (open); Music (university/college prep and open); Visual Arts (university/college prep and open) • Grade 12: Dance (university/college prep); Dramatic Arts (university/college prep); Exploring the Arts (open); Media Arts (open); Music (university/college prep); Visual Arts (university/college prep) • Curriculum Expectations are identified along with guidelines for assessment

PEI:

• Source: http://www.gov.pe.ca/education/peb-info/index.php3 • A music program is offered at the elementary level; art is a required subject • Intermediate and Senior Instrumental offered at the secondary level • While the Department of Education states it has an art program, no documentation could be found detailing any information

Quebec:

• Source: http://www.qesnrecit.qc.ca/arts/index.html • Courses separated into Elementary and Secondary level • Elementary: Arts education is a required course and includes the subjects of Dance, Drama, Music and Visual Arts • Each subject of arts education includes evaluation criteria and essential knowledge in its curriculum • Secondary: offers subjects in Dance, Drama, Music (secondary I and II), and Visual Art • These subjects are considered electives at the secondary level. Evaluation is left to the teachers’ discretion but guidelines and required content are found in the curriculum guides.

Saskatchewan:

• Source: http://www.sasked.gov.sk.ca/branches/curr/evergreen/artsed.shtml • Arts Education divided into 3 levels: Elementary (Grades 1-5); Middle (Grades 6-9) and High School (Grades 10-12) • Arts Education at the education level is required for 200 minutes per week. (Dance 40 minutes, Drama 40 minutes, Music 60 minutes and Visual Art 60 minutes). • Middle Grades: 200 minutes of Art Education is required per week (Dance 50 minutes, Drama 50 minutes, Music 50 minutes and Visual Art 50 minutes).

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 1: Provincial Guidelines - Curriculum Page 6

• High School: Programs are separated and are considered electives • High School programs include: Arts Education 10, 20, 30; Band 10, 20, 30; Drama 10, 20, 30; Dance 10, 20, 30; and Visual Art 10, 20, 30. • Curriculums provide required content along with assessment strategies. No standardized testing at any level.

Yukon:

• Source: http://www.education.gov.yk.ca/curriculum.html • All art programs follow British Columbia’s curriculum

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 2 – SURVEY TECHNICAL REPORT : AIRMS TABLE

Arts and Learning Environmental Scan – Final report – August 31, 2006

Appendix 2: Survey Technical Report : AIRMS Table Page 8

Below is an AIRMS table detailing the response rate for the Web survey. After eliminating respondents who were not reachable or unable/unwilling to participate, the Web-survey was sent out to 320 respondents. A total of 182 Web surveys were completed, achieving a response rate of 48.55%.

Organization Individual TOTAL TOTAL NUMBERS AVAILABLE 276 120 396 100,00% NUMBERS CALLED 276 120 396 100,00% Out of service 6 5 11 2,78% Non-residentiel 0 0 0 0,00% Line problems 0 0 0 0,00% Fax 1 0 1 0,25% Changed numbers 1 3 4 1,01% Closed companies 1 0 1 0,25% A, INVALID 8 8 16 4,04% VALID 268 112 380 95,96% Not eligible (OTHER) 0 1 1 0,26% Language problems 0 0 0 0,00% Age, sickness 0 0 0 0,00% Duplicate 2 1 3 0,79% B, OUT OF SAMPLE 2 2 4 1,05% SAMPLE 265 110 375 94,70% C, Receptionist refusal 0 0 0 0,00% D, Selected person refusal 0 2 2 0,53% D, Long absence 4 2 6 1,60% D, Incomplete 0 0 0 0,00% C. No answer 2 10 12 3,20% D, Call backs 17 18 35 9,33%

COMPLETED (validated e-mail address) 242 78 320 85,33% COMPLETED (WEB) 127 55 182 56,88% % REFUSAL 0,00% 1,82% 0,53% % COMPLETED 91,32% 70,91% 85,33% ELIGIBILITY RATE 99,25% 98,04% 98,91% RESPONSE RATE (AIRMS) 91,33% 71,04% 85,36% RESPONSE RATE (AIRMS) (Web) 47,93% 50,09% 48,55%

A.: INVALID No possible contact with a respondant at those numbers B: OUT OF SAMPLE The respondant are noteligible or capable of doing the survey SAMPLE Possible numbers C. NON-ESTABLISHED ELIGIBILITY : Household refusal + no answer D. ESTABLISHED ELIGIBILITY: Selected person refusal, long absence, incomplete, call backs % REFUSAL Total of refusal on the sample % COMPLETED Completed interviews on the sample ELIGIBILITY RATE (ER) D+Completed/B+D+Completed RESPONSE RATE (RR) Completed/C*(T.É.)+D+Completed

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 3 – LIST OF RESPONDENTS

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 10

LIST OF RESPONDENTS FROM INTERVIEWS

• Alberta Foundation for the Arts (AFA) / Alberta Community Development, Stephen William, Arts Development Consultant, Arts Development Branch • Arts Gallery of Nova Scotia, Dale Sheppard, AGNS Educator • ArtsSmarts Program, Canadian Conference of the Arts Annalee Adair, National Coordinator • ArtStarts in Schools, British Columbia, Wendy Newman, Executive Director • British Columbia Arts Council, Richard Brownsey, Executive Director • De-ba-jeh-mu-jig theatre group, Ontario, Joahnna Berti, Director of Outreach and Training • Manitoba Arts Council, Douglas Riske, Executive Director • New Brunswick Department of Education, Direction des services pédagogiques (pedagogical services office), Sophie Lacroix, Provincial pedagogical agent for arts education and francization • Newfoundland and Labrador Arts Council, Reg Windsor, Executive Director • Nova Scotia Department of Tourism, Culture and Heritage, Marcel McKeough, Director of Programs, Culture Division • Nunavut Department of Culture, Language, Elders and Youth Doug Stenton, Director of Culture and Heritage • Nunavut Department of Education, Patricia Smith • Ontario Arts Council, John Brotman, Executive Director and Steven Campbell, Director of Community Partnerships • Ontario Ministry of Culture, Alida Stevenson, Policy Adviser, Culture Policy, Programs and Services Division • Prince Edward Island Council of the Arts, Darrin White, Executive Director • Prince-Edward-Island Department of Community and Cultural Affairs, Cecile Arsenault, Francophone cultural affairs agent • Québec Conseil des arts et des lettres, Alain Filion, director of the Theatre division • Québec Ministère de la culture et des communications Lynda Fortin, Director, arts training and youth programs • Queen’s University, Faculty of Education, Larry O’Farrell, Professor, • Regina Public School Division Learning Through the Arts, Sandra Pace, Assistant Superintendent of Curriculum and Support Services • Salon du livre du Saguenay Lac-Saint-Jean, Québec, Richard Lafleur, executive director • Saskatchewan Arts Board, Jeremy Morgan, Executive Director • The J. W. McConnell Foundation, Stephen Huddart, Senior Program Officer • Yukon Department of Tourism and Culture, Laurel Parry, Manager, Arts Section, Arts and Cultural Industries Branch

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 11

LIST OF RESPONDENTS FROM SURVEY

STATUS ORGANIZATION RESPONDENT Completed Musitechnic Services éducatifs inc. MADAME ISABELLE LEDUC Completed École nationale de théâtre du Canada MONIQUE NÉRON Completed Ecole de cirque de Verdun CHRISTIANE POULIN Completed Corporation du Camp littéraire Félix DANYELLE MORIN Completed Le Camp musical des Laurentides RAYMOND DESSAINTS Completed Les Ateliers de danse moderne de CHRISTINE BOUCHARD Montréal Completed EPCOR CENTRE for the Performing Arts RAYE ANDERSON Completed Lethbridge Youth Strings Association LYNN GILLIAT Completed Pumphouse Theaters Society SCOTT MCTAVISH Completed The Alexandra Writers' Centre ROBIN LUNN Completed Allies Arts Council of Spruce Grove LORNA KEMP Completed Banff Centre for Continuing Education DEBRA HORNSBY Completed Calgary Arts Partners in Education CASSANDRA DAM Society (CAPES) Completed Evergreen Theatre TARA RYAN Completed SAMATHA WHELAN KOTAS Completed Alberta Opera KRISTIN TUSTIAN Completed Trickster Theatre DAVID CHANTLER Completed Dr Lyle Weis Completed Young Alberta Book Society STEPHANIE GREGOROWICH Completed Caslan School TIM MURPHY Completed DONNA JO MASSIE Completed WENDY PASSMORE Completed Elysian River Theatre LOWELL GASOI Completed Concerts M TIM BRADY Completed Centre d'artistes Vaste et Vague GUYLAINE LANGLOIS Completed LAURA TUREK Completed Black Theatre Workshop TYRONE BENSKIN Completed Communication-Jeunesse JOHANNE GAUDET Completed Fortier Danse-Création AUDE RIOLAND Completed Jeunesses musicale du Canada JACQUES MARQUIS Completed Ochestre symphonique de Quebec MICHEL LÉTOURNEAU Completed Ochestre symphonique du Saguenay- ANGÈLE TREMBLAY Lac-St-Jean Completed Atelier du Conte en Musique et en LISE ROY Images Completed Arrière Scène PIERRE TREMBLAY Completed DynamO Theatre PIERRE LECLERC Completed Le Théatre des Confettis HÉLÈNE BLANCHARD Completed Theatre les gens d'enbas/ Theatre du Bic BENOIT VAILLANCOURT Completed Theatre Sans Fil ANDRÉ VIENS Completed Youtheatre JANA SMITH Completed Les Nauges en pantalon JEAN-PHILLIPE JOUBERT Completed Comité de spectacles de Fermont MICHEL MICHAUD Completed Theatre de Baie-Comeau DENISE ARSENAULT Completed IMAGO (Atelier d'estampe) JENNIFER BELANGER Completed Galerie Sans Nom Co-op Ltée NISK IMBEAULT Completed Newfoundland Symphony MARY O'KEEFE Completed PEI Department of Education VICKI ALLEN-COOK Completed Island Media Arts Co-op RILLA MARSHALL Completed Symphony Nova Scotia (SNS) MARY PAT MOMBOURQUETTE Completed Art Gallery of Nova Scotia/ArtSmarts DALE SHEPPARD Completed Perform! An Artists In Schools Program JOANNE MILLER Completed Dance Nova Scotia DIANNE MILLIGAN Completed Ross Creek Centre for the Arts Chris O'Neill (Ms.) Completed Arts Express WILLIE REID Completed Cirque du Monde Mike Hirschbach Completed Le Conseil des arts de Chéticamp PAUL GALLANT Completed 4C's Foundation TERRI WHETSTONE Completed Kinetic Studio SHEILAGH HUNT

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 12

Completed Nations in a Circle Kathy Leege Completed MOTUS O Dance Theatre JACK Completed RICK FINES Completed Georgian Bay Folk Society CAROLYN BIGLEY Completed Sheatre Educational Alternative Theatre JOAN CHANDLER Completed The 411 Initiative for Change TAMARA DAWIT Completed Opera York Completed Ottawa Symphony Orchestra BRIAN CROFT Completed NATALIE ISABEL ALVAREZ Completed Smith, Kristen Catherine Completed Learning Through The Arts CONRAD BOBIWASH Completed ELIZABETH SALLY-ANN FRATER Completed Kenjgewin Teg Educational Institue STEPHANIE ROY Completed ALISON LAFRANCE Completed ArtsSmarts: Canadian Conference of the ANNALEE ADAIR Arts Completed Arts for Schools and Communities AUDREY CHURGIN Completed Carousel Players LESLIE FRANCOMBE Completed Ingersoll Creative Arts Centre HEATHER MACINTOSH Completed Music and Opera Appreciation Inc. JOHN LEBERG Completed Orchestras Mississauga JENNIFER ANAND Completed The School of Dance MERRILEE HODJINS Completed ShakespeareWorks PETER JAMES HAWORTH Completed MASC (Multicultural Artists for Schools AUDREY CHURGIN and Communities) Completed Ontario Library Association LARRY MOORE Completed International Readings at Harbourfront GEOFFREY TAYLOR Completed ArtsSmarts Saskatchewan and DIANNE WARREN Saskatchewan Arts Board Completed Saskatoon Community Youth Arts DARRELL LECHMAN Program Completed MacKenzie Art Gallery WENDY WINTER Completed Sage Hill Writing Experience STEVEN ROSS SMITH Completed Saskatchewan Learning LYNDA OLIVER Completed Org. of Sask. Arts Councils MARIANNE WOODS Completed In partnership with Saskatchewan Heather Cline Communication Network Completed In partnership with a large rural school DEVON COLES division Completed Sakewew High School CELESTE TOOTOOSIS Completed Society of Yukon Artists of Native LINDA J.A. POLYCK Ancestry (SYANA)(Traditional Fine Crafts Tra Completed Klondike Institute of Art Culture (KIAC) DAVID CURTIS Completed Yukon Educational Theatre Society Arlin McFarlane Completed DIANNE HOMAN Completed Artist in the School Yukon Arts Centre CORRIE GALLIENNE Completed Jeff Nordlund and Mary Sloan Completed ANNE TURNER Completed Bringing Youth Towards Equality JEN JONES Completed ArtStarts in Schools WENDY NEWMAN Completed Arts Umbrella LUCILLE PACEY Completed BICH NGOC HO Completed Robert Minden Duo ROBERT MINDEN Completed Pro Musica Society of Vancouver JOHN BAKER Completed Orchid Ensemble LANTUNG Completed GEORGE BENEDICT ZUKERMAN Completed Story Theatre Company TIM O'GORMAN Completed Catrina Anne Whan Completed CATHERINE ANNE PULKINGHORN Completed MARCELLA MARIE BAKER Completed Secwepemc Cultural Education Society GRACE Completed Mandala Arts and Culture Society JAI GOVINDA Completed Public Dreams Society DOLLY HOPKINS Completed Joe Ink Performance Art REENA COHEN

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 13

Completed Scotiabank Dance Centre MIRNA ZAGAR Completed Surrey Art Gallery INGRID KOLT Completed SAL FERERRAS Completed Victoria Conservatory of Music LINDA BABB Completed Surrey Art Gallery LIANE DAVISON Completed Art Gallery of Greater Victoria LORA CARROLL Completed Whistler Community Arts Council DOTI NIEDERMEYER Completed PAULA JARDINE Completed Meshell Melvin Completed Art Gallery of Hamilton MS LOUISE DOMPIERRE Completed Ballet Jörgen Canada BENGT JÖRGEN Completed Canadian Children's Dance Theatre MICHAEL DECONINCK-SMITH Completed Community Arts Heritage Education MS LILA CANO Project Completed Compagnie Vox Théâtre PIER RODIER Completed De-ba-jeh-mu-jig Theatre Group RONALD BERTI Completed Gallery 44 Centre for Contemporary SARA ANGELUCCI Photography Completed Guelph Jazz Festival JULIE HASTINGS Completed Inner City Angels JANE HOWARD-BAKER Completed Kaeja d'Dance SHIRA LEUCHTER Completed League of Canadian Poets Ms Joanna Poblocka Completed Lorraine Kimsa Theatre for Young People NANCY WEBSTER Completed Mammalian Diving Reflex NAOMI CAMPBELL Completed Red Pepper Spectacle Arts Incorporated ANDREW MORO Completed SAW Video Co-op PENNY MCCANN Completed Sketch Working Arts for Street involved RUDY RUTTIMANN and Homeless Youth Completed The Canadian Stage Company CELIA SMITH Completed The Guelph Contemporary Dance MS CATRINA VON RADECKI Festival Completed The Storytellers School of Toronto JODY JAMES Completed The Writers' Union of Canada DEBORAH WINDSOR Completed Theatre Direct Canada MS LYNDA HILL Completed Théâtre la Catapulte JOËL BEDDOWS Completed Toronto Symphony Orchestra ROBERTA SMITH Completed VideoCabaret DEANNE TAYLOR Completed Weeneebeg Aboriginal Film and Video Mr. Fred Rickard Festival Completed Windsor Symphony Orchestra JAY KATZ Completed CLAUDE BOUCHARD Completed Mr. Kai Chan Completed PASCAL DEMONSAND Completed LISA DILIBERTO Completed ELENI GIZAS Completed MARIE-MONIQUE JEAN-GILLES Completed JONARNO LAWSON Completed Mr. BaKari E. Lindsay Completed MICHEL PAYMENT Completed MICHELLE SILAGY Completed LISE VAUGEOIS Completed M. FRANÇOIS VIAU Completed STEPHEN WILLIAMS Completed CÉCILE ARSENAULT Completed LYNDA FORTIN Completed Arbor Records Ltd. DENEEN MEIR Completed Manitoba Theate Centre ZAZ BAJON Completed Freeze Frame NICOLE MATIATION Completed Winnipeg Art Gallery MICHAEL BOSS Completed Prairie Theatre Exchange HAANITA WAGN Completed MARK CAMERON Completed Faculty of Education, University of LIZ COFFMAN Manitoba Completed SUSAN HAMMER Completed Fred Penner

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 14

Completed RHIAN BRYNJOLSON Completed BRIONY HAIG Completed Bob Christiani Completed Aurora College MIKI O'KANE Completed Great Northern Arts Festival Society TOM LIE Completed BOB MUMFORD Completed Diane Boudreau Completed BETTY WILCOX Completed Crazy Legs Contemporary Dance KAREN JOHNSON Duplicata 4Cs Foundation TERRI WHETSTONE Duplicata Carousel Players Ms Leslie Francombe Incomplete Institut national de l’image et du son MICHEL G. DESJARDINS Incomplete École nationale de l’humour LOUISE RICHER Incomplete École nationale de cirque MARC LALONDE Incomplete École de cirque de Québec MONSIEUR YVES NEVEU Incomplete The Mountain Arts Foundation Jean Samis Incomplete EMMEDIA DIANE DICKERT Incomplete In-Definite Arts DARLENE MURPHY Incomplete Creative Kids Museum Society of Alberta TO WHOM IT MAY CONCERN Incomplete JOYCE HOWDLE Incomplete Young Alberta Book Festival Society Stephanie Gregorwich Incomplete Ballet Ouest de Montreal SUSAN ALTSCHUL Incomplete MATTHIAS OSTERMANN Incomplete Ochestre symphonique de Montréal MARIE-FRANCE FORTIN Incomplete Répercussion Theatre FELICIA MONTELLA Incomplete Festival international des arts de la MARIE VILLENEUVE OU DOMINIQUE BÉDARD marionnnette Incomplete La Maison Theatre ISABELLE PICHÉ Incomplete NB Filmakers' Co-operative TONY MERZETTI Incomplete Artistic Fraud of Newfoundland Inc. Not Listed Incomplete Newfoundland Independent Filmmakers JEAN SMITH Cooperatives (NIFCO) Incomplete St. John's Folk Arts Council Dave Penny Incomplete Kangirqlinik Center for Arts and Learning Incomplete Neptune Theatre Company SAMANTHA WILSON Incomplete Writers In The Schools (WITS) JANE BUSS Incomplete Teeple Architects Inc. TO WHOM IT MAY CONCERN Incomplete ELDER, BRUCE RICHARD Incomplete Tafelmusik Baroque Orchestra TRICIA BALDWIN Incomplete Horowitz, Risa Simone Incomplete Edward Day Gallery MARY SUE RANKIN Incomplete Association of Canadian Publishers, Toronto Incomplete The Milkweed Collective LOUISE GARFIELD Incomplete Kaeja d'Dance ELLA COOPER Incomplete Rina Singha Incomplete Canadian Children's Book Centre CHARLOTTE TEEPLE Incomplete Bluesfest: Blues in the School MICHAEL ROULEAU Incomplete Sun West School Division BARBARA PEARDON Incomplete Brightwater Science and Environmental MARCIA KLEIN Centre Incomplete Holy Trinity Catholic Schools JANIE FRIES Incomplete Dr. Martin LeBoldus High School MISTY WENSEL Incomplete University of Regina ANN KIPLING-BROWN Incomplete Vancouver Foundation MAURO VEFCERA Incomplete Janice Santos Valdez Incomplete Community Radio Education Society Incomplete Vancouver New Music LINDA HOFFMAN Incomplete ADRIENNE CHARLENE VICKERS Incomplete (East Side Youth Video Project) LORETTA SARAH TODD Incomplete (Performance Arts Training) MARGO GWEN KANE Incomplete Vancouver Art Gallery MARIE LOPES Incomplete Vancouver Art Gallery SUSAN ROME Incomplete Art Starts Neighbourhood Cultural TAMARA STEINBERG Centre

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 15

Incomplete Association des professionnels de la M. LUCIE MAILLOUX chanson et de la musique (APCM) Incomplete Kitchener-Waterloo Art Gallery ALF BOGUSKY Incomplete River Run Centre ROB MACKAY Incomplete Tafelmusik Baroque Orchestra Chamber MS TRICIA BALDWIN Choir Incomplete Théâtre Action ROBERT CORBEIL Incomplete Toronto Children's Chorus HEATHER WOOD Incomplete Writers in Electronic Residence TEVEOR OWEN Incomplete Ministry of Education MS. ALIDA STEVENSON Incomplete Alliance for Arts Education in Manitoba CHERRY KARPISHIN Incomplete LEN UDOW Incomplete BUD GILLIES Incomplete Shakespeare in the Ruins Theatre THERESA LEE company Incomplete Lee Mandeville Incomplete PAT BRADEN Incomplete Northern Arts Cultural Centre / Stuck in OZGUR CULHA the Snowbank Theatre Incomplete - Geordie Productions ANNE CLARK Refusal Incomplete - Réseau Ontario FRÉDÉRIC JULIEN Refusal Unused L’Institut d’enregistrement du Canada VINCENT MERCIER Unused Maison de la danse Ludmilla Chiriaeff DIDIER CHIRPAZ Unused École de danse de Québec MADAME DOMINIQUE TURCOTTE Unused Le Domaine Forget de Charlevoix GINETTE GAUTHIER Unused Centre d’arts d’Orford JMC SOPHIE GALAISE Unused Kehewin Native Performance Resource ROSA JOHN Network Unused Blackfoot Canadian Cultural Society MARY ANNE CROW HEALY Unused Cantos Music Foundation ANDREW MOSKER Unused Fairview Fine Arts Society KERRY ANN Unused Foothills Acoustic Music Institute MARILYN GIESBRECHT Unused Photographic Arts Society of Alberta not listed Unused Vinok worldance LEANNE DOYLE Unused Ira Lee Gathers Unused Bernard Yankson Unused Manasc Isaac Architects Ltd. VIVIAN MANASC Unused Alberta Band Association NEIL CORLETT Unused Nancy Corrigan Unused Susan Timchuck Unused MARIE SUSAN BOTI Unused Malcolm Robert Guy Unused Compagnie Danse Nyata Nyata ZAB MABOUNGO Unused Teesri Duniya Theatre RAHUL VARMA Unused Musée national des beaux-arts du Line Ouellet Québec Unused Salon du livre du Saguenay Lac-Saint- RICHARD LAFLEUR Jean Unused Paul Demers Unused Tuyo Unused Le Théatre de la Ligue Nationale ÉTIENNE ST-LAURENT d'Improvisation Inc. Unused Les Amis de Chiffon Inc. HÉLÈNE DALLAIRE OU JEANNOT BOUDREAULT Unused Café-Theatre Graffiti YVES DESROSIERS Unused Comité de spectacles de Forestville Robert Bouchard ou Dominic Tremblay Unused Comité de spectacle de Havre-Saint- CLAUDIA RICHARD Pierre Unused Comité de spectacles "Par Natashqaun" NICOLE LESSARD Unused Theatre de la Mouette LOUISE DUPONT Unused Ensemble Independent JULIE LEBEL Unused Canadian Society of Education through MARY BLATHERWICK Art (CSEA) Unused Saint John Arts Centre Jane Bourque-Grebene

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 16

Unused Owens Art Gallery LUCY MACDONALD Unused The Space Paul Macauley Unused Les Chandelles Artisanales (Candle JANICE ARSENEAULT Economuseum) Unused New Brunswick Museum JANE FULLERTON Unused Neighbourhood Dance Works ROBBIE THOMAS Unused Theatre Newfoundland and Labrador Jeff Pitcher Unused Writers' Alliance of Newfoundland and Not Listed Labrador (WANL) Unused Nunavut Arts Council Lootie Pijamini Unused Nunavut Arts and Crafts Association BETH BEATTIE Unused The College of Piping and Celtic SCOTT MACAULEY Perfoming Arts of Canada Unused Theatre PEI Not Listed Unused Black Cultural Centre for Nova Scotia DR. HENRY BISHOP Unused Mi'kmaq Association for Cultural Studies DEBORAH GINNISH Unused Sherri Lee Hunter Unused NS Dept of Education ERIC FAVARO Unused Youtheatre masterminds, Mermaid CHRIS HEIDE Theatre Unused (Literacy Coalition of New Brunswick Sheree Fitch (LCNB) and others) Unused Shakespeare in Action MICHAEL KELLY Unused Moriyama Teshima Architects DIARMUID NASH Unused Hot Docs - Canadian International ROSE BELLOSILLO Documentary Festival Unused Earshot Concerts Unused SUSAN WINNIFRED Unused SUSIAWAN Unused The League of Canadian Poets Unused Kids Can Fly SHARON BROOKS Unused Menaka Thakkar Dance Company MENAKA THAKKAR Unused Nathaniel Dett Chorale Brainerd Blyden-Taylor Unused J.U.M.P. (Junior Undiscovered John Mighton Mathematical Prodigies) Unused Toronto Blues Society STEFAN READ Unused Learning Through the Arts HEATHER MAZURAK Unused Saskatchewan Drama Association SHERRON BURNS Unused Common Weal Community Arts ELWOOD JIMMY Unused Sask. Native Theatre DONNA HEIMBECKER Unused The Thing with Feathers Production Inc. Carol Geddes Unused Duncan MacLeod Unused Klondike Institute of Art Culture (KIAC) KEN ANDERSON Unused ANDREA SIMPSON-FOWLER Unused Judith Marcuse Projects Judith Marcuse Unused Access to Media Education Society Unused Chief Dan George Centre for Advanced Education

Unused Out On Screen DREW DENNIS Unused DAVID ANTHONY NEEL Unused SUZI MARGARET BEKKATTLA Unused Vancouver Art Gallery Cheryl Meszaros Unused Vancouver Academy of Music / SKLee JEROLD GERBRECHT College Unused Powell River Academy of Music / Don James Symphony Orchestra Academy of the Pacific / Kat Unused Three Rivers Gallery George Harris Unused Enowkin Centre TRACEY JACK Unused Emily Carr Institute of Art and Design RON BURNETT Unused Wired Writing Workshop Susan Musgrave Unused Wired Writing Workshop Marilyn Bowering Unused University of Victoria Lorna Crozier Unused University of Victoria Patrick Lane Unused Vancouver Parks Board Susan Gordon

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 17

Unused Art Gallery of Peterborough CHISHOLM DEIRDRE Unused Bureau des regroupements des artistes LUCE MARQUIS visuels (BRAVO) Unused Fédération de la jeunesse franco- GENEVIÈVE COUILLARD ontarienne Unused Gardiner Museum of Ceramic Art ALEXANDRA MONTGOMERY Unused Hot Docs CHRIS MCDONALD Unused Jumblies Theatre RUTH HOWARD Unused Peterborough Arts Umbrella CANDICE SHAW Unused Regent Park Focus Community Coalition ADONIS HUGGINS Against Substance Abuse Unused Soulpepper Theatre Company IAIN NEWBIGIN Unused The Spirit Garden Ms Claire Heistek Unused Toronto Jewish Film Festival Ms Cheryl Landy Unused Ms Brigitte Berman Unused M. Paul Demers Unused DEBORAH DUNLEAVY Unused MS KRISTEN FAHRIG Unused MS ANDREA NANN Unused MR. MUHTADI THOMAS Unused Madarte Ms. Madelaine Aubrey Unused Ms. Dianne Warren Unused Art City Inc JASON GRANGER Unused Manitoba Theatre for Young People LESLEE SILVERMAN Unused Aboriginal Languages of Manitoba Inc. CAROL BEAULIEU Unused Manitoba Writers' Guild Jessica Woolford Unused Sigrid Dahle Unused Manitoba Conservatory of Music and Arts SHARON TEASSON WOODS Unused Manitoba Printmakers Association SHEILA SPENCE Unused Art Gallery of Southwestern Manitoba BARB FLEMINGTON Unused Royal Winnipeg Ballet School GREG KLASSEN Unused School of Contemporary Dance CHARLENE MELVIN Unused LEIGH-ANNE KEHLER Unused Jane MacDonald Unused ELAINE ROUNDS Unused Lisa Gamblin Unused Irvin Head Unused Laurie Block Unused DENNIS ALLEN Unused Paulatuk Moonlight Drummers and DEBBIE GORDON-RUBEN Dancers Unused Robert Arthur Alexie Unused Robert Buckle Unused ANTOINE MOUNTAIN Unused Teaching Learning Centre Mary Richardson Unused HayWired Audio Productions DANA CROSS Unused Dehcho Business Development Centre / TONYA CAZON Open Sky Festival Unused NWT Arts Council SONNY MACDONALD Unused Territorial Writers Association DORIS MC CANN Unused Aurora Arts Society Jan Fullerton Unused Western Arctic Moving Pictures DIANE BOUDREAU Unused LUCY SIMON Unused Kole Crook Fiddle Association / Strings TANNIS CLI Across the Sky Unused John Rombough Unused Folk on the Rocks Music Festival TRACEY BRYANT Unused STEPHEN PRETTY Unused Karen Wright-Fraser Unused NWT Literacy Council CATE SILLS Unused - Refusal Laurie Clark Unused - Refusal Jayant G. Gala

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 3: List of Respondents Page 18

STATUS Number of cases Completed 182 Duplicata 2 Incomplete 64 Incomplete - 2 Refusal Unused 144 Unused - Refusal 2 Total 396

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 4 – INTERVIEW GUIDE FOR GOVERNMENT AND NATIONAL ARTS EDUCATION PROGRAM RESPONDENTS

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 4: Interview guide for Government and National Arts Education Program Respondents Page 20

The Canadian Public Arts Funders (CPAF) and the Federal-Provincial/Territorial Working Group on Arts and Learning (F-P/T WG) is undertaking a research study to better understand the breadth and impact of learning in, about and through the arts, both within the educational system and outside the educational system. Through this project, ArtExpert.ca and its research team will collect data, conduct interviews and examine case studies, the findings of which will expand the clients’ understanding of the scope of arts and learning across the country, and highlight best practices.

PART 1 - Questions about programs

1. What funding program(s) do you offer for arts education, specifically programs geared to learners from kindergarten to grade 12?

2. What are the objectives of this (these) program(s)?

3. Which of the following statements most describe your area of support?1 Learning in the Arts Learning about the Arts Learning through the Arts

4. For which artistic disciplines do you fund arts education activities? Visual arts Music Theatre Writing / literary arts Media arts / film Dance Multidisciplinary Arts / Inter-arts All

1 Note to interviewer: respondents can select more than one area.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 4: Interview guide for Government and National Arts Education Program Respondents Page 21

5. Are the funding programs delivered directly by your organization and/or by third parties?

√ What are the eligibility criteria?

√ How many organizations did you fund in your last fiscal year specifically for arts education activities?

6. Who are the end users of this (these) program(s)? Pre-school children 6-12 in school 12-18 in school Others: Explain ______

7. Do you offer targeted programs to any of the following groups? Youth at risk Youth who are new immigrants Youth studying the arts Youth in community programs Others: Explain ______

8. Where do your program activities take place? school arts venue community Other: Explain ______

9. What are the most important outcomes of your program(s)?

10. What is the: overall budget of the program(s) budget levels of different categories within the program(s) (if they exist), and average grant and/or range of grants (smallest to biggest)

11. In the next year, is the budget of your arts education program going to expand, decrease, or stay about the same?

12. Can you identify other partners or agencies who contribute to the arts education activities that you fund in your province/territory?

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 4: Interview guide for Government and National Arts Education Program Respondents Page 22

13. What are the most important challenges that you face in developing and delivering arts and learning programs and achieving those program objectives?

14. What are some of the challenges you face with regard to the accessibility of your program(s)? For example, what areas or populations are underserved by your program(s)?

15. What kind of information would you like to report about your program, but are unable to capture?

16. What do you feel works really well or what are you are most proud of in your program?

PART 2 - Questions about networks

17. Does an arts and learning network exist in your province or territory?

18. If yes, what is its purpose?

19. Is it effective? Why or why not?

20. Is there a need for a national network? Why or why not?

21. If yes, what would its purpose be?

PART 3 - Questions about jurisdictional challenges

Introduction to this section: There are many different players involved, directly and indirectly, in arts education across Canada. Federal, provincial and territorial governments all have an interest, as do individual Ministries (such as education and culture), and arms length agencies. Some private charitable foundations are also heavily engaged in this work. In this section, we would like to understand the challenges and opportunities that exist because of the large number of players in the field.

Your response to questions in this section will be recorded for our analytical purposes, but will only appear in aggregate in the report.

22. Who takes the lead in developing arts education curriculum in your province/territory?

23. Does your Ministry/Council have any input or role in this? If no: √ do you think it would be helpful if it did? If yes: √ what is the nature of this input? √ do you feel it is effective?

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 4: Interview guide for Government and National Arts Education Program Respondents Page 23

24. For those who are delivering arts education programs: √ Are there other government departments also engaged in arts education program delivery? √ If so, are these programs complementary?

25. Is there any overlap or are there any challenges between your work and that of other provincial or federal government departments or agencies?

26. While delivery of arts education is a provincial/territorial responsibility, there are many arts education issues that transcend borders, such as reaching remote, rural and aboriginal communities. What opportunities for cooperative approaches between provinces and territories exist in this area?

27. Is there anything I haven’t asked you about that you would like to comment upon or add?

On behalf of the Canadian Public Arts Funders (CPAF) and the Federal-Provincial/Territorial Working Group on Arts and Learning (F-P/T WG), we would like to thank you for your time.

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 5 – INTERVIEW GUIDE FOR ARTS ORGANIZATION RESPONDENTS FOR CASE STUDIES

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 5: Interview guide for Arts Organization Respondents for Case Studies Page 25

QUESTIONNAIRE # 2: CASE STUDY TEMPLATE

Section 1: Description of the Program

1. What is the principal objective of your program?

2. How does this program support your organization’s mission and mandate?

3. What are the principal descriptors of your program, as it relates to: a. Curriculum b. Duration of program c. Number/nature of interventions d. Location

4. (If not apparent from the previous question) Would you say that your program is primarily related to • Learning in the Arts, • Learning about the Arts or • Learning through the Arts? • Or a combination?

5. Who does your program serve? a. What age group b. Which region (national, provincial, municipal) c. Number of learners and educators in a typical year d. Is this targeted to a social demographic (such as youth at risk)

6. What is your program budget? a. What percentage of your budget do you derive from each of the government, private sector, foundations and user fees?

Section 2: Impacts

7. What is it, in your opinion, that makes your program compelling and unique, specifically as it relates to: a. Curriculum b. Methodology/pedagogy

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 5: Interview guide for Arts Organization Respondents for Case Studies Page 26

c. Approach to teaching/learning d. Other…………..

8. What are the two most important/significant documented or quantifiable impacts of your program (if nothing documented, ask for anecdotal) : a. On clientele, b. on the organization management and the overall budget, c. on the disciplinary arts and the artists, d. in the community/school

Section 3: Challenges

9. What are the two most significant challenges that you are facing with your program?

10. Are these challenges unique to your program, or are they impacting on other arts education initiatives?

11. What strategies are you developing to address these challenges?

Section 4: Best practices

12. Have you had any problems or failures in your program? If so, have their been any successful interventions that have turned things around?

13. What have you learned from your program that you would want to share with others?

14. What is the key element of your program that will ensure its long term survival/success?

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 6 – QUESTIONNAIRE FOR ARTS ORGANIZATION SURVEY

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 28

ENGLISH QUESTIONNAIRE

LISTE: LISTE => /+1 if 1 > 0 N = ...... 182 100% A&A coordonnées QC3.rtf ...... 1 6 3% AL Contacts#2 pour questionnaire.xls ...... 2 41 23% A&L Contacts pour questionnaire.xls ...... 3 117 64% A&L Contacts MB2.xls ...... 4 12 7% NWT ArtsLearningContacts.doc ...... 5 6 3%

TYPE: TYPE DE RÉPONDANT (MODE TEST SEULEMENT) => /+1 if 1 > 0

N = ...... 182 100% Organization / Organisme...... 1 127 70% Individual / Individu ...... 2 55 30%

PROV: Province => /+1 if 1 > 0

N = ...... 172 100% Québec ...... QC 27 16% Ontario ...... ON 62 36% Nouvelle-Écosse...... NS 12 7% Nouveau-Brunswick ...... NB 2 1% Alberta...... AL 1 1% Colombie-Britannique ...... BC 23 13% Terre-Neuve ...... NF 0 0% Yukon ...... YK 0 0%

LANG: A Study of Organizations dedicated to Arts and Learning Activities Please select the language in which you wish to answer the questionnaire. Étude auprès d'organismes vouées à l'éducation artistique Veuillez inscrire la langue dans laquelle vous désirez répondre au questionnaire. N = ...... 182 100% Français ...... 1 36 20% English...... 2 146 80%

NTRO: Study of organizations dedicated to arts and learning INTRODUCTION The main objective of the present study is to collect information on arts and learning activities and programs offered by different public and private institutions: learning in the arts, learning about the arts and learning through the arts. It aims to provide an overall portrait of arts and learning activities for youth, from kindergarten through high school, that are within the Canadian provincial and territorial education systems, and outside the education system. The study captures three types of activities: -Learning in the arts, such as learning to play a musical instrument; -Learning about the arts, such as learning art history; - Learning through the arts, which involves the use of the arts as a tool to teach other skills, such as songs for learning the alphabet. For the purposes of this project, we are considering activities for children and youth, 5-18 (students K-12). Please be assured that this questionnaire will remain strictly confidential once completed. The consulting firm Art Expert.ca, main developer of the project, and the research firm Jolicoeur and Associates both assure the total confidentiality of collected data, and the anonymity of respondents throughout the process of compiling, treatment, analysis and data presentation. We ask you to complete and return the questionnaire as soon as possible to us and we thank you very much for your collaboration. To print a copy of this questionnaire, click on the link corresponding to the language of your choice. To contact technical support concerning the Web- based questionnaire: by telephone (voice mail): 1-800-636-3106 extension 107 (leave a message with your coordinates and a technician will call you back); by e-mail: [email protected] N = ...... 182 100% Start...... 1 D 154 85% I would like to continue from where I left off ...... 9 => /LASTQ 28 15% ...... Z I => /COMM 0 0%

Arts and Learning Environmental Scan – Final report – August 9, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 29

TQ1: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% does your organization offer its ...... 1 127 70% do you offer...... 2 55 30%

Q1: Q1. To what age group of children and youth programs / services? Please select all that apply. N = ...... 182 100% Pre-school children ...... 1 56 31% 6-12 in school...... 2 126 69% 12-18 in school ...... 3 141 77% Others (Please specify in the box below): ...... 4 O 89 49%

Q2: Q2. Do you offer targeted programs/services to any of the following groups? Please select all that apply. N = ...... 182 100% Youth at risk...... 1 80 44% Youth who are new immigrants ...... 2 45 25% Youth studying the arts...... 3 110 60% Youth in community programs ...... 4 71 39% None of the above ...... 5 X 31 17% Others (Please specify in the box below): ...... 6 O 50 27%

Q3: Q3. Where do your program activities take place? Please select all that apply. N = ...... 182 100% School ...... 1 139 76% Arts venue ...... 2 114 63% Community...... 3 101 55% Others (Please specify in the box below): ...... 4 O 29 16%

TQ4: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 182 100% your organization's ...... 1 127 70% your ...... 2 55 30%

Q4A: Q.4 Which of the three activities most describes arts and learning activities for children and youth? (Please select all that apply and mark from 1 to 3 the importance of the program, 1 being the most important.) Learning in the Arts: refers to learning the specific knowledge and skills of a particular art form (for example, a writer-in-residence teaching students how to write poetry). Learning about the Arts: is generally an integral part of the arts program and allows the student to understand and appreciate works of art as well as the function and history of a particular art form (for example, orchestra programming with daytime concerts for schools). Learning through the Arts: involves using arts lessons to teach concepts that are being studied in other subjects of the curriculum (such as geometric forms in a visual arts lesson to help with mathematics) or a skill (for example, conflict resolution through drama). First mention (the MOST important): N = ...... 182 100% Learning in the Arts ...... 1 90 49% Learning about the Arts ...... 2 42 23% Learning through the Arts ...... 3 50 27%

Q4B: Q4. Second mention: eliminate -> 3 ...... according to Q4A...... N = ...... 182 100% Learning in the Arts ...... 1 50 27% Learning about the Arts ...... 2 60 33% Learning through the Arts ...... 3 41 23% No second mention...... 4 => +2 31 17%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 30

Q4C: Q4. Third mention: eliminate -> 3 ...... according to Q4A Q4B...... N = ...... 151 100% Learning in the Arts ...... 1 18 12% Learning about the Arts ...... 2 46 30% Learning through the Arts ...... 3 38 25% No third mention ...... 4 49 32%

TQ5: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% your organization offers ...... 1 127 70% you offer ...... 2 55 30%

Q5: Q.5 What is the stated purpose of the programs for children and youth? N = ...... 182 100% Please write your answer in the box below ...... 98 XO 180 99% I refuse to answer ...... 99 X 2 1%

TQ6: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% your organization reaches ...... 1 127 70% you reach...... 2 55 30%

Q6: Q.6 What is the area ? (select all that apply) N = ...... 182 100% Local / regional ...... 1 152 84% Provincial ...... 2 111 61% National ...... 3 73 40% International...... 4 45 25%

TQ7: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% does your organization...... 1 127 70% do you ...... 2 55 30%

Q7: Q.7 In which artistic discipline(s) offer arts and learning activities for children and youth? (select all that apply) N = ...... 182 100% Visual arts ...... 1 73 40% Music...... 2 85 47% Theatre...... 3 78 43% Writing / literary arts ...... 4 62 34% Media arts / film...... 5 52 29% Dance ...... 6 58 32% Multidisciplinary Arts / Inter-arts ...... 7 60 33%

Q8: Q.8 How long has your organization been in existence? Please indicate the number of years (if less than 1 year, write 1) : $E 1 75 => +1 if TYPE=2

Mean = ...... 25.4 N = ...... 127 100% I refuse to answer ...... 999 1 1%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 31

Q9: Q9. How long have you been working with children and youth? Please indicate the number of years (if less than 1 year, write 1) : $E 1 75 => +1 if TYPE=1 Mean = ...... 17.6 N = ...... 55 100% I refuse to answer ...... 999 3 5%

TQ10: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 182 100% Does your organization ...... 1 127 70% Do you...... 2 55 30%

Q10: Q.10 receive an operating grant ? N = ...... 182 100% Yes...... 1 130 71% No...... 2 => TQ10C 52 29%

Q10A: Q.10A From which organization(s) do you receive operating grant support? N = ...... 130 100% Federal public arts funders (e.g. arts council) - specify in the box below: ...... 1 O 75 58% Provincial public arts funders (e.g. Ministry of Culture) - specify in the box below: ...... 2 O 112 86% Municipal public arts funders...... 3 65 50% Other - please specify in the box below:...... 9 O 125 96%

Q10B: Q.10B Is any of your operating grant support going to arts and learning activities for children and youth? N = ...... 130 100% Yes...... 1 104 80% No...... 2 26 20%

TQ10C: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% Has your organization ...... 1 127 70% Have you ...... 2 55 30%

Q10C: Q.10C received, for your last fiscal year, project financial support for your arts and learning activities for children and youth, other than through an operating grant? N = ...... 182 100% Yes...... 1 103 57% No...... 2 => Q11 79 43%

Q10D: Q.10D From which organization(s) do you receive this financial support? N = ...... 103 100% Federal public arts funders (e.g. arts council) - please specify in the box below: ...... 1 O 48 47% Provincial public arts funders (e.g. Ministry of Culture) - please specify in the box below: ...... 2 O 77 75% Municipal public arts funders...... 3 19 18% Ministry of Education ...... 4 14 14% Private foundations - specify in the box below: ...... 5 O 64 62% Corporate Sponsorships / Donations ...... 6 42 41% Other - please specify in the box below:...... 9 O 97 94%

Q11: Q11. Are there other sources of funding for arts and learning that you would like to access but are not able to? N = ...... 182 100% Yes...... 1 119 65% No...... 2 => Q12A1 63 35%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 32

Q11A: Q.11A What are the sources of funding for arts and learning that you would like to access but are not able to ? N = ...... 119 100% Federal public arts funders (e.g. arts council) - please specify in the box below: ...... 1 O 60 50% Provincial public arts funders (e.g. Ministry of Culture) - please specify in the box below: ...... 2 O 35 29% Municipal public arts funders...... 3 24 20% Ministry of Education ...... 4 49 41% Private foundations - specify in the box below: ...... 5 O 54 45% Corporate Sponsorships / Donations ...... 6 56 47% Other - please specify in the box below:...... 9 O 100 84%

Q11B1: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Federal public arts funders => +1 if NON Q11A=1 N = ...... 60 100% Please write your answer in the box below ...... 98 XO 56 93% I refuse to answer ...... 99 X 4 7%

Q11B2: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Provincial public arts funders => +1 if NON Q11A=2 N = ...... 35 100% Please write your answer in the box below ...... 98 XO 33 94% I refuse to answer ...... 99 X 2 6%

Q11B3: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Municipal public arts funders => +1 if NON Q11A=3

N = ...... 24 100% Please write your answer in the box below ...... 98 XO 22 92% I refuse to answer ...... 99 X 2 8%

Q11B4: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Ministry of Education => +1 if NON Q11A=4 N = ...... 49 100% Please write your answer in the box below ...... 98 XO 45 92% I refuse to answer ...... 99 X 4 8%

Q11B5: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Private foundations => +1 if NON Q11A=5 N = ...... 54 100% Please write your answer in the box below ...... 98 XO 51 94% I refuse to answer ...... 99 X 3 6%

Q11B6: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Corporate Sponsorship / Donations => +1 if NON Q11A=6 N = ...... 56 100% Please write your answer in the box below ...... 98 XO 54 96% I refuse to answer ...... 99 X 2 4%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 33

Q11B7: Q11. What are the barriers to accessing this / these sources of funding for arts and learning? Others => +1 if NON Q11A=9 N = ...... 100 100% Please write your answer in the box below ...... 98 XO 71 71% I refuse to answer ...... 99 X 29 29%

Q12A1: Q12A1. How many people were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months? Administrative employees - FULL TIME: Enter «0» if not applicable $E 0 1000 => Q13A if TYPE=2 Mean = ...... 4.50 N = ...... 127 100%

Q12A2: Administrative employees - PART TIME: Enter «0» if not applicable $E 0 1000 Mean = ...... 9.94 N = ...... 127 100%

Q12A3: Administrative employees - ON CONTRACT: Enter «0» if not applicable $E 0 1000 Mean = ...... 0.764 N = ...... 127 100%

Q12A: Q.12 How many people were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months? Administrative employees - TOTAL: Enter «0» if not applicable $E 0 1000 => * if SOM([Q12A1-Q12A2]) Mean = ...... 6.02 N = ...... 127 100%

Q12B1: Artistic employees - FULL TIME: Enter «0» if not applicable $E 0 1000 Mean = ...... 2.47 N = ...... 127 100%

Q12B2: Artistic employees - PART TIME: Enter «0» if not applicable $E 0 1000 Mean = ...... 1.87 N = ...... 127 100%

Q12B3: Artistic employees - ON CONTRACT: Enter «0» if not applicable $E 0 1000 Mean = ...... 22.2 N = ...... 127 100%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 34

Q12B: Artistic employees - TOTAL: Enter «0» if not applicable $E 0 1000 => * if SOM([Q12B1-Q12B2]) Mean = ...... 4.35 N = ...... 127 100%

Q12C: Administrative volunteers: Enter «0» if not applicable $E 0 1000 Mean = ...... 15.2 N = ...... 127 100%

Q12D: Artistic volunteers: Enter «0» if not applicable $E 0 1000 Mean = ...... 7.02 N = ...... 127 100%

Q12E1: Q.12 Are there any other type of people that were employed or involved in delivering your arts and learning activities for children and youth during the last 12 months? OTHER TYPES OF EMPLOYEES N = ...... 127 100% Yes - Please write THE TYPE OF EMPLOYEE in the box below:...... 98 XO 45 35% No other ...... 99 82 65%

Q12E: Q.12 How many were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months? Other type of employees $E 0 1000 => +1 if Q12E1=99 Mean = ...... 59.8 N = ...... 45 100%

Q13A: Q.13 Approximately how many children and youth took part in / attended your arts and learning activities/events over the last 12 months? A) Number of children / youth (paid attendance at performances): Enter «0» if not applicable $E Mean = ...... 4885 N = ...... 182 100%

Q13B: B) Number of children / youth (free attendance at performances): Enter «0» if not applicable $E Mean = ...... 4323 N = ...... 182 100%

Q13C: C) Number of children / youth (participants in other activities): Enter «0» if not applicable $E Mean = ...... 3335 N = ...... 182 100%

TQ14: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% does your organization...... 1 127 70% do you ...... 2 55 30%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 35

Q14: Q.14 In offering arts and learning activities for children and youth, partner with other similar organizations? N = ...... 182 100% Yes...... 1 118 65% No...... 2 => Q15 64 35%

Q14A: Q.14A Are some of your partners in your local city or town? N = ...... 118 100% Yes...... 1 115 97% No...... 2 => Q14E 3 3%

Q14B: Q14B Is the program you two are delivering in your city or town? N = ...... 115 100% Yes...... 1 105 91% No...... 2 10 9%

Q14C: Q.14C Specify all these activities (e.g. artistic activity or organizational activity, such as fund raising): N = ...... 115 100% Please write your answer in the box below ...... 98 XO 105 91% I refuse to answer ...... 99 X 10 9%

Q14D: Q.14D Specify the type of partners (e.g. foundation, arts organization, private sector partner): N = ...... 115 100% Please write your answer in the box below ...... 98 XO 112 97% I refuse to answer ...... 99 X 3 3%

Q14E: Q.14E Are some of your partners outside your local city or town? N = ...... 118 100% Yes...... 1 76 64% No...... 2 => Q15 42 36%

Q14F: Q14F Is the program you two are delivering in your city or town? N = ...... 76 100% Yes...... 1 51 67% No...... 2 25 33%

Q14G: Q.14G Specify all these activities (e.g. artistic activity or organizational activity, such as fundraising): N = ...... 76 100% Please write your answer in the box below ...... 98 XO 68 89% I refuse to answer ...... 99 X 8 11%

Q14H: Q.14H Specify the type of partners (e.g. foundation, arts organization, private sector partner): N = ...... 76 100% Please write your answer in the box below ...... 98 XO 69 91% I refuse to answer ...... 99 X 7 9%

Q15: Q.15 With what other types of organizations / artists / educators would you like to partner? N = ...... 182 100% Please write your answer in the box below ...... 98 XO 152 84% I refuse to answer ...... 99 X => +2 30 16%

Q16: Q.16 What are the barriers to achieving these partnerships? N = ...... 152 100% Please write your answer in the box below ...... 98 XO 146 96% I refuse to answer ...... 99 X 6 4%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 36

TQ17: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% Is the work of your organization...... 1 127 70% Is your work ...... 2 55 30%

Q17: Q.17 linked to an educational curriculum? N = ...... 182 100% Yes...... 1 104 57% No...... 2 => Q17B 78 43%

TQ171: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% We ...... 1 64 62% I ...... 2 40 38%

TQ174: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% we...... 1 64 62% I ...... 2 40 38%

TQ172: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% We are...... 1 64 62% I am ...... 2 40 38%

TQ173: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% our ...... 1 64 62% my ...... 2 40 38%

Q17A: Q.17A If so, how? N = ...... 104 100% follow Ministry of Education guidelines in developing services ...... 1 29 28% informed by curriculum guidelines as develop programs for different age levels, but do not follow them closely ...... 2 44 42% Other - please specify in the box below:...... 3 O 31 30%

Q17B: Q.17B Are you delivering courses where credit is offered for work completed by participants? N = ...... 182 100% Yes...... 1 39 21% No...... 2 143 79%

Q18: Q.18. What do you believe to be the primary impact of your arts and learning activities? N = ...... 182 100% Training in a specific discipline ...... 1 19 10% Exposure to the arts ...... 2 92 51% Improved academic outcomes...... 3 16 9% Other (Please specify in the box below)...... 4 O 55 30% I don't know ...... 9 0 0%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 37

Q18A: Q.18A Have you done any research to quantify the outcomes of your arts and learning activities? N = ...... 182 100% Yes...... 1 65 36% No...... 2 => Q18C 117 64%

Q18B: Q.18B Please describe that research: N = ...... 65 100% Please write your answer in the box below ...... 98 XO 62 95% I refuse to answer ...... 99 X 3 5%

Q18C: Q.18C Would additional research in the area of arts and learning be helpful? N = ...... 182 100% Yes...... 1 144 79% No...... 2 => Q19A 38 21%

Q18D: Q.18D Please describe the type of research that would be helpful: N = ...... 144 100% Please write your answer in the box below ...... 98 XO 128 89% I refuse to answer ...... 99 X 16 11%

TQ19: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 144 100% for your organization ...... 1 100 69% for you...... 2 44 31%

Q19A: Q.19 What are the three main challenges in offering arts and learning activities for children and youth? (rank top three in order) First challenge: rotation -> 10...... N = ...... 182 100% Lack of funding ...... 01 88 48% Lack of arts curriculum in the schools ...... 02 17 9% Lack of qualified people to deliver programs ...... 03 7 4% Difficulty in communicating the value of what you do to current and potential supporters / participants / funders 04 19 10% Competition with other organizations or programs...... 05 4 2% Lack of infrastructure for delivering programs ...... 06 21 12% Isolation from other people doing similar work...... 07 2 1% Lack of access to research and learning opportunities to improve your work / develop your artistic practice ...... 08 2 1% Pressure to constantly be developing and offering new programs ...... 09 4 2% Number of government departments and agencies involved in funding and delivering arts education...... 10 4 2% Other (Please specify in the box below)...... 98 O 14 8% I don't know ...... 99 I 0 0%

Q19B: Q.19 Second challenge: rotation -> 10...... eliminate -> 10...... according to Q19A...... N = ...... 182 100% Lack of funding ...... 01 28 15% Lack of arts curriculum in the schools ...... 02 21 12% Lack of qualified people to deliver programs ...... 03 10 5% Difficulty in communicating the value of what you do to current and potential supporters / participants / funders 04 33 18% Competition with other organizations or programs...... 05 8 4% Lack of infrastructure for delivering programs ...... 06 29 16% Isolation from other people doing similar work...... 07 9 5% Lack of access to research and learning opportunities to improve your work / develop your artistic practice ...... 08 2 1% Pressure to constantly be developing and offering new programs ...... 09 9 5% Number of government departments and agencies involved in funding and delivering arts education...... 10 6 3% Other (Please specify in the box below)...... 98 O 9 5% No second mention...... 99 18 10%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 38

Q19C: Q.19 Third challenge: rotation -> 10...... eliminate -> 10...... according to Q19A Q19B ...... N = ...... 178 100% Lack of funding ...... 01 11 6% Lack of arts curriculum in the schools ...... 02 14 8% Lack of qualified people to deliver programs ...... 03 14 8% Difficulty in communicating the value of what you do to current and potential supporters / participants / funders 04 29 16% Competition with other organizations or programs...... 05 8 4% Lack of infrastructure for delivering programs ...... 06 15 8% Isolation from other people doing similar work...... 07 8 4% Lack of access to research and learning opportunities to improve your work / develop your artistic practice ...... 08 12 7% Pressure to constantly be developing and offering new programs ...... 09 18 10% Number of government departments and agencies involved in funding and delivering arts education...... 10 6 3% Other (Please specify in the box below)...... 98 O 12 7% No third mention ...... 99 31 17%

Q19D: Q19D. Please use this additional space to elaborate upon perceived challenges and gaps and to add any additional comments. N = ...... 182 100% Please write your comments in the box below ...... 98 XO 82 45% No, I do not wish to comment...... 99 X 100 55%

TQ20: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% is your organization ...... 1 127 70% are you ...... 2 55 30%

Q20: Q.20 Over the next 12 months, planning to: N = ...... 182 100% Expand activities/broaden reach of arts & learning activities ...... 1 93 51% Decrease activities/limit reach of arts & learning activities...... 2 17 9% Stay about the same ...... 3 72 40%

TQ21: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% Does your organization belong ...... 1 127 70% Do you belong ...... 2 55 30%

Q21: Q.21 to any arts and learning networks? N = ...... 182 100% Yes...... 1 92 51% No...... 2 => Q22 90 49%

TQ21A: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 92 100% does your organization...... 1 60 65% do you ...... 2 32 35%

Q21A: Q21A. What networks belong to? N = ...... 92 100% Please write your answer in the box below ...... 98 XO 87 95% I refuse to answer ...... 99 X 5 5%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 39

Q22: Q.22 In which city are you located? N = ...... 182 100% Please write your answer in the box below ...... 98 XO 179 98% I refuse to answer ...... 99 X 3 2%

Q23: Q.23 In which province or territory? N = ...... 182 100% Alberta...... 01 17 9% British Columbia...... 02 22 12% Prince Edward Island ...... 03 4 2% Manitoba ...... 04 12 7% New Brunswick ...... 05 2 1% Nova Scotia ...... 06 12 7% Nunavut...... 07 0 0% Ontario ...... 08 61 34% Quebec ...... 09 27 15% Saskatchewan...... 10 9 5% Newfoundland and Labrador ...... 11 1 1% Northwest Territories ...... 12 6 3% Yukon ...... 13 9 5%

COMM: COMMENTS. If you wish to comment on the content or form of this consultation, please use the space below. N = ...... 182 100% Please write your comments in the box below ...... 98 XO 62 34% No, I do not wish to comment...... 99 X 120 66%

INT99: We thank you for your invaluable collaboration! Please click " NEXT" to validate the answers of your questionnaire N = ...... 182 100% INTERVIEW COMPLETED ( click " NEXT" to validate the answers of your questionnaire ) ...... CO D => FIN 182 100%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 40

QUESTIONNAIRE FRANÇAIS

LISTE: LISTE => /+1 if 1 > 0

N = ...... 182 100% A&A coordonnées QC3.rtf ...... 1 6 3% AL Contacts#2 pour questionnaire.xls...... 2 41 23% A&L Contacts pour questionnaire.xls...... 3 117 64% A&L Contacts MB2.xls ...... 4 12 7% NWT ArtsLearningContacts.doc ...... 5 6 3%

TYPE: TYPE DE RÉPONDANT (MODE TEST SEULEMENT) => /+1 if 1 > 0 N = ...... 182 100% Organization / Organisme ...... 1 127 70% Individual / Individu ...... 2 55 30%

PROV: Province => /+1 if 1 > 0 N = ...... 172 100% Québec ...... QC 27 16% Ontario ...... ON 62 36% Nouvelle-Écosse...... NS 12 7% Nouveau-Brunswick...... NB 2 1% Alberta...... AL 1 1% Colombie-Britannique ...... BC 23 13% Terre-Neuve ...... NF 0 0% Yukon ...... YK 0 0%

NTRO: Étude auprès d'organismes voués à l'éducation artistique INTRODUCTION L'objectif de la présente étude consiste à recueillir des informations sur l'éducation artistique à travers les différentes institutions publiques et privées : Apprendre par les arts, apprendre au sujet des arts et apprendre grâce aux arts. Il s'agit en quelque sorte de fournir une vue d'ensemble des activités d'éducation artistique, disponibles dans les systèmes d'éducation des provinces et territoires canadiens et ce, pour les jeunes de la maternelle à la fin du secondaire et à l'extérieur des systèmes d'éducation. Les activités éducatives sur les arts ainsi recensées sont à la fois : -les formations au sein des arts, soit, par exemple, l'apprentissage de la musique par le biais d'instruments ; -les formations à propos des arts, comme l'apprentissage de l'histoire de l'art ; -les formations à travers les arts, soit l'utilisation des arts comme instrument d'apprentissage, par exemple, la chanson pour apprendre l'alphabet. Pour les besoins de cette étude, nous allons considérer les activités éducatives sur les arts destinés aux jeunes de 5 à 18 ans seulement. Soyez assurés que ce questionnaire demeurera confidentiel lorsque complété. La firme de consultants Art Expert.ca, maître d'œuvre du projet et la firme de sondage Jolicoeur et Associés s'engagent à assurer la confidentialité des informations saisies et l'anonymat des répondants tout au long du processus de compilation, traitement, analyse et présentation des données. Nous vous prions de compléter le plus rapidement possible. Nous vous remercions de votre collaboration. Pour imprimer une copie du questionnaire, cliquez sur le lien correspondant à la langue de votre choix. Pour contacter le soutien technique concernant le questionnaire web : par téléphone (boîte vocale) : 1-800-636-3106 # 107 (laissez un message avec vos coordonnées et un technicien vous rappellera) ; par courriel : [email protected]. N = ...... 182 100% Commencer...... 1 D 154 85% Je désire continuer là où j'étais rendu ...... 9 => /LASTQ 28 15% CAS DE NON-ÉLIGIBILITÉ ...... Z I => /COMM 0 0%

TQ1: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% votre organisme offre-t-il ...... 1 127 70% offrez-vous...... 2 55 30%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 41

Q1: Q1. À quel groupe d'âge de jeunes ces programmes/services ? Cochez tout ce qui s'applique. N = ...... 182 100% Enfants de pré-maternelle ...... 1 56 31% 6-12 ans allant à l'école ...... 2 126 69% 12-18 ans allant à l'école ...... 3 141 77% Autres, veuillez expliquer dans la boîte ci-dessous : ...... 4 O 89 49%

Q2: Q2. Offrez-vous des programmes / services visant l'un ou l'autre des groupes suivants ? Cochez tout ce qui s'applique. N = ...... 182 100% Jeunes à risque...... 1 80 44% Jeunes nouvellement arrivés au pays...... 2 45 25% Jeunes qui étudient en arts...... 3 110 60% Jeunes inscrits dans un programme communautaire ...... 4 71 39% Aucune de ces réponses...... 5 X 31 17% Autres, veuillez expliquer dans la boîte ci-dessous...... 6 O 50 27%

Q3: Q3. À quel endroit vos programmes d'activités ont-ils lieu ? Cochez tout ce qui s'applique. N = ...... 182 100% À l'école ...... 1 139 76% Dans un lieu voué aux arts ...... 2 114 63% Dans la communauté ...... 3 101 55% Autres, veuillez expliquer dans la boîte ci-dessous...... 4 O 29 16%

TQ4: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 182 100% ANGLAIS SEULEMENT ...... 1 127 70% ANGLAIS SEULEMENT ...... 2 55 30%

Q4A: Q4. Lequel des trois secteurs éducatifs suivants décrit le mieux vos activités d'éducation artistique ? (plusieurs mentions possibles, marquez 1, 2 ou 3 par ordre d'importance, 1 étant le secteur principal) Apprendre par les arts : fait référence à l'acquisition des connaissances et des compétences dans une discipline artistique (par exemple, un écrivain enseignant comment écrire de la poésie aux élèves). Apprendre au sujet des arts : fait généralement partie intégrante des programmes d'arts et permet aux élèves de comprendre et d'apprécier les œuvres d'arts, ainsi que la fonction et l'histoire d'une discipline artistique. Apprendre grâce aux arts : Lorsque les enseignants utilisent les cours d'arts pour enseigner des concepts qui font l'objet d'une étude dans d'autres disciplines inscrites au programme scolaire (enseigner les mathématiques en s'inspirant des formes géométriques d'un cours d'arts visuels) ou pour développer des compétences (le théâtre au service de la résolution de conflits), il s'agit d'apprentissage grâce aux arts. Cette approche est également appelée « intégration ». Les arts sont ainsi utilisés pour enseigner d'autres matières ou sont intégrés à d'autres matières. Première mention (le plus important) : N = ...... 182 100% Apprendre par les arts ...... 1 90 49% Apprendre au sujet des arts...... 2 42 23% Apprendre grâce aux arts ...... 3 50 27%

Q4B: Q4. Deuxième mention : eliminate -> 3 ...... according to Q4A...... N = ...... 182 100% Apprendre par les arts ...... 1 50 27% Apprendre au sujet des arts...... 2 60 33% Apprendre grâce aux arts ...... 3 41 23% Pas de deuxième mention ...... 4 => +2 31 17%

Q4C: Q4. Troisème mention : eliminate -> 3 ...... according to Q4A Q4B...... N = ...... 151 100% Apprendre par les arts ...... 1 18 12% Apprendre au sujet des arts...... 2 46 30% Apprendre grâce aux arts ...... 3 38 25% Pas de troisième mention ...... 4 49 32%

TQ5: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% votre organisme offre ...... 1 127 70% vous offrez ...... 2 55 30%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 42

Q5: Q.5 Quel est le but du programme que aux jeunes ? N = ...... 182 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 180 99% Je refuse de répondre ...... 99 X 2 1%

TQ6: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% votre organisme offre ...... 1 127 70% vous offrez ...... 2 55 30%

Q6: Q.6 Quelle est la portée des formations que ? (plusieurs mentions possibles - sélectionner tout ce qui s'applique) N = ...... 182 100% Locale / régionale...... 1 152 84% Provinciale...... 2 111 61% Nationale ...... 3 73 40% Internationale...... 4 45 25%

TQ7: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% votre organisme offre-t-il ...... 1 127 70% offrez-vous...... 2 55 30%

Q7: Q.7 Dans quelle(s) discipline(s) artistique(s) des activités d'éducation artistique, que ce soit pour les enfants allant de la maternelle aux jeunes du secondaire ? (plusieurs mentions possibles - sélectionnez tout ce qui s'applique) N = ...... 182 100% Arts visuels ...... 1 73 40% Musique ...... 2 85 47% Théâtre...... 3 78 43% Littérature et création littéraire ...... 4 62 34% Cinéma et multi-média ...... 5 52 29% Danse...... 6 58 32% Arts multidisciplinaires ...... 7 60 33%

Q8: Q.8 Depuis combien de temps votre organisme existe-t-il ? Inscrire le nombre d'années (si moins d'un an, inscrire 1) : $E 1 75 => +1 if TYPE=2

Mean = ...... 25.4 N = ...... 127 100% Je refuse de répondre ...... 999 1 1%

Q9: Q.9 Depuis combien de temps travaillez-vous auprès des enfants et / ou des jeunes ? Inscrire le nombre d'années (si moins d'un an, inscrire 1) : $E 1 75 => +1 if TYPE=1 Mean = ...... 17.6 N = ...... 55 100% Je refuse de répondre ...... 999 3 5%

TQ10: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% votre organisme reçoit...... 1 127 70% vous recevez ...... 2 55 30%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 43

Q10: Q.10 Est-ce que un soutien financier pour votre fonctionnement régulier ? N = ...... 182 100% Oui...... 1 130 71% Non ...... 2 => TQ10C 52 29%

Q10A: Q.10A De quel(s) organisme(s) ce soutien financier provient-il ? (plusieurs mentions possibles, sélectionner tout ce qui s'applique) N = ...... 130 100% Agences gouvernementales fédérales (Ex. Conseil des arts) - spécifiez dans la boîte ci-dessous...... 1 O ...... 75 58% Agences gouvernementales provinciales (Ex. Ministère de la culture) - spécifiez dans la boîte ci-dessous : ...... 2 O 112 86% Agences gouvernementales municipales...... 3 65 50% Autres - spécifiez dans la boîte ci-dessous :...... 9 O 125 96%

Q10B: Q.10B Est-ce qu'une partie du soutien financier pour votre fonctionnement régulier va à des activités d'éducation artistique pour les enfants et les jeunes ? N = ...... 130 100% Oui...... 1 104 80% Non ...... 2 26 20%

TQ10C: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% VERSION ANGLAISE SEULEMENT ...... 1 127 70% VERSION ANGLAISE SEULEMENT ...... 2 55 30%

Q10C: Q.10C Avez-vous reçu, lors de votre dernière année financière, un soutien financier dédié au programme d'éducation artistique que vous offrez aux enfants et aux jeunes, autre que le soutien pour votre fonctionnement régulier ? N = ...... 182 100% Oui...... 1 103 57% Non ...... 2 => Q11 79 43%

Q10D: Q.10D De quel(s) organisme(s) ce soutien financier provient-il ? (plusieurs mentions possibles, sélectionner tout ce qui s'applique) N = ...... 103 100% Agences gouvernementales fédérales (Ex. Conseil des arts) - spécifiez dans la boîte ci-dessous...... 1 O ...... 48 47% Agences gouvernementales provinciales (Ex. Ministère de la culture) - spécifiez dans la boîte ci-dessous : ...... 2 O 77 75% Agences gouvernementales municipales...... 3 19 18% Ministère de l'Éducation ...... 4 14 14% Fondations privées - spécifiez dans la boîte ci-dessous : ...... 5 O 64 62% Dons corporatifs ou privés...... 6 42 41% Autres - spécifiez dans la boîte ci-dessous :...... 9 O 97 94%

Q11: Q11. Y a-t-il d'autres sources de soutien financier dédié au programme d'éducation artistique que vous voudriez recevoir mais auxquelles vous n'êtes pas en mesure d'accéder? N = ...... 182 100% Oui...... 1 119 65% Non ...... 2 => Q12A1 63 35%

Q11A: Q.11A De quelle(s) autre(s) source(s) aimeriez-vous recevoir du financement? (cochez les réponses appropriées et pour les questions suivantes, spécifier les obstacles pour chaque réponse) N = ...... 119 100% Agences gouvernementales fédérales (Ex. Conseil des arts) - spécifiez dans la boîte ci-dessous...... 1 O ...... 60 50% Agences gouvernementales provinciales (Ex. Ministère de la culture) - spécifiez dans la boîte ci-dessous : ...... 2 O 35 29% Agences gouvernementales municipales...... 3 24 20% Ministère de l'Éducation ...... 4 49 41% Fondations privées - spécifiez dans la boîte ci-dessous : ...... 5 O 54 45% Dons corporatifs ou privés...... 6 56 47% Autres - spécifiez dans la boîte ci-dessous :...... 9 O 100 84%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 44

Q11B1: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Agences gouvernementales fédérales => +1 if NON Q11A=1 N = ...... 60 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 56 93% Je refuse de répondre ...... 99 X 4 7%

Q11B2: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Agences gouvernementales provinciales => +1 if NON Q11A=2 N = ...... 35 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 33 94% Je refuse de répondre ...... 99 X 2 6%

Q11B3: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Agences gouvernementales municipales => +1 if NON Q11A=3 N = ...... 24 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 22 92% Je refuse de répondre ...... 99 X 2 8%

Q11B4: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Ministère de l'Éducation => +1 if NON Q11A=4 N = ...... 49 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 45 92% Je refuse de répondre ...... 99 X 4 8%

Q11B5: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Fondations privés => +1 if NON Q11A=5

N = ...... 54 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 51 94% Je refuse de répondre ...... 99 X 3 6%

Q11B6: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Dons corporatifs ou privés => +1 if NON Q11A=6 N = ...... 56 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 54 96% Je refuse de répondre ...... 99 X 2 4%

Q11B7: Q.11 Quels sont les obstacles qui vous empêchent de l'obtenir ? Autres => +1 if NON Q11A=9 N = ...... 100 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 71 71% Je refuse de répondre ...... 99 X 29 29%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 45

Q12A1: Q.12 Combien de personnes ont été employées ou impliquées dans vos programmes d'éducation artistique destinés aux enfants et aux jeunes au cours des 12 derniers mois ? Employés administratifs - TEMPS PLEIN : Inscrire «0» si non-applicable $E 0 1000 => Q13A if TYPE=2 Mean = ...... 4.50 N = ...... 127 100%

Q12A2: Employés administratifs - TEMPS PARTIEL : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 9.94 N = ...... 127 100%

Q12A3: Employés administratifs - À CONTRAT : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 0.764 N = ...... 127 100%

Q12A: Q.12 Combien de personnes ont été employées ou impliquées dans vos programmes d'éducation artistique destinés aux enfants et aux jeunes au cours des 12 derniers mois ? Employés administratifs - TOTAL : Inscrire «0» si non-applicable $E 0 1000 => * if SOM([Q12A1-Q12A2]) Mean = ...... 6.02 N = ...... 127 100%

Q12B1: Artistes employés - TEMPS PLEIN : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 2.47 N = ...... 127 100%

Q12B2: Artistes employés - TEMPS PARTIEL : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 1.87 N = ...... 127 100%

Q12B3: Artistes employés - À CONTRAT : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 22.2 N = ...... 127 100%

Q12B: Artistes employés - TOTAL : Inscrire «0» si non-applicable $E 0 1000 => * if SOM([Q12B1-Q12B2]) Mean = ...... 4.35 N = ...... 127 100%

Q12C: Bénévoles administratifs : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 15.2 N = ...... 127 100%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 46

Q12D: Artistes bénévoles : Inscrire «0» si non-applicable $E 0 1000 Mean = ...... 7.02 N = ...... 127 100%

Q12E1: Q.12 Y a-t-il d'autres types de personnes qui ont été employées ou impliquées dans le cadre de vos programmes d'éducation artistique destinés aux enfants et aux jeunes au cours des 12 derniers mois? Autres types d'employés N = ...... 127 100% Oui - veuillez inscrire LE TYPE D'EMPLOYÉ dans la boîte ci-dessous...... 98 XO 45 35% Aucun autre...... 99 82 65%

Q12E: Q.12 Combien d' ont été employées ou impliquées dans vos programmes d'éducation artistique destinés aux enfants et aux jeunes au cours des 12 derniers mois ? $E 0 1000 => +1 if Q12E1=99

Mean = ...... 59.8 N = ...... 45 100%

Q13A: Q.13 Approximativement, combien de jeunes et d'enfants ont participé / assisté à vos activités d'éducation artistique au cours des douze (12) derniers mois ? A) Nombre d'enfants / jeunes (assistance aux activités payantes): Inscrire «0» si non-applicable $E Mean = ...... 4885 N = ...... 182 100%

Q13B: B) Nombre d'enfants / jeunes (assistance aux activités gratuites): Inscrire «0» si non-applicable $E Mean = ...... 4323 N = ...... 182 100%

Q13C: C) Nombre d'enfants / jeunes (participation aux autres activités): Inscrire «0» si non-applicable $E Mean = ...... 3335 N = ...... 182 100%

TQ14: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% offertes par votre organisme ...... 1 127 70% que vous offrez ...... 2 55 30%

Q14: Q.14 Dans le cadre des activités d'éducation artistique , offrez-vous certaines de ces activités en partenariat avec des organismes similaires ? N = ...... 182 100% Oui...... 1 118 65% Non ...... 2 => Q15 64 35%

Q14A: Q.14A Est-ce que certains de vos partenaires sont situés dans votre communauté / localité ? N = ...... 118 100% Oui...... 1 115 97% Non ...... 2 => Q14E 3 3%

Q14B: Q.14B Est-ce que le programme que vous offrez en partenariat est offert dans votre localité ? N = ...... 115 100% Oui...... 1 105 91% Non ...... 2 10 9%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 47

Q14C: Q.14C Spécifiez toutes ces activités (ex. activités artistiques ou activités organisationnelles comme une levée de fonds) : N = ...... 115 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 105 91% Je refuse de répondre ...... 99 X 10 9%

Q14D: Q.14D Spécifiez ces partenaires (ex. fondations, organismes artistiques, partenaires du secteur privé) : N = ...... 115 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 112 97% Je refuse de répondre ...... 99 X 3 3%

Q14E: Q.14E Est-ce que certains de vos partenaires sont situés en dehors de votre localité ? N = ...... 118 100% Oui...... 1 76 64% Non ...... 2 => Q15 42 36%

Q14F: Q.14F Est-ce que le programme que vous offrez en partenariat est offert en dehors de votre localité ? N = ...... 76 100% Oui...... 1 51 67% Non ...... 2 25 33%

Q14G: Q.14G Spécifiez toutes ces activités (ex. activités artistiques ou activités organisationnelles comme une levée de fonds) : N = ...... 76 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 68 89% Je refuse de répondre ...... 99 X 8 11%

Q14H: Q.14H Spécifiez ces partenaires (ex. fondations, organismes artistiques, partenaires du secteur privé) : N = ...... 76 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 69 91% Je refuse de répondre ...... 99 X 7 9%

Q15: Q.15 Avec quels autres types d'organismes / artistes / éducateurs aimeriez-vous vous associer (en partenariat, par exemple) ? N = ...... 182 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 152 84% Je refuse de répondre ...... 99 X => +2 30 16%

Q16: Q.16 Quels sont les obstacles rencontrés vous empêchant de réaliser ce / ces partenariat(s) ? N = ...... 152 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 146 96% Je refuse de répondre ...... 99 X 6 4%

TQ17: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 182 100% le travail de votre organisme ...... 1 127 70% votre travail ...... 2 55 30%

Q17: Q.17 Est-ce que est lié à un programme éducatif (curriculum du ministère de l'Éducation) ? N = ...... 182 100% Oui...... 1 104 57% Non ...... 2 => Q17B 78 43%

TQ171: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% ANGLAIS SEULEMENT ...... 1 64 62% ANGLAIS SEULEMENT ...... 2 40 38%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 48

TQ174: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 104 100% ANGLAIS SEULEMENT ...... 1 64 62% ANGLAIS SEULEMENT ...... 2 40 38%

TQ172: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% ANGLAIS SEULEMENT ...... 1 64 62% ANGLAIS SEULEMENT ...... 2 40 38%

TQ173: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 104 100% ANGLAIS SEULEMENT ...... 1 64 62% ANGLAIS SEULEMENT ...... 2 40 38%

Q17A: Q.17A De quelle manière ? N = ...... 104 100% Nous suivons les directives du ministère de l'Éducation dans le développement de nos programmes...... 1 29 28% Nous prenons connaissance des directives du Ministère dans la préparation de ces programmes et bien que nous nous en inspirions, nous ne les suivons pas de près ...... 2 44 42% Autre (Veuillez préciser dans la boîte ci-dessous) : ...... 3 O 31 30%

Q17B: Q17B Est-ce que vous offrez des cours pour lesquels des crédits sont accordés pour les travaux complétés par les participants ? N = ...... 182 100% Oui...... 1 39 21% Non ...... 2 143 79%

Q18: Q.18 Quel est, selon vous, l'impact principal de vos activités d'éducation artistique ? N = ...... 182 100% La formation dans une discipline spécifique ...... 1 19 10% L'exposition aux arts...... 2 92 51% De meilleurs résultats académiques...... 3 16 9% Autre (Veuillez précisez dans la boîte ci-dessous) ...... 4 O 55 30% Je ne sais pas ...... 9 0 0%

Q18A: Q.18A Avez-vous fait des études pour mesurer les résultats de vos activités d'éducation artistique ? N = ...... 182 100% Oui...... 1 65 36% Non ...... 2 => Q18C 117 64%

Q18B: Q.18B Veuillez décrire ces études : N = ...... 65 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 62 95% Je refuse de répondre ...... 99 X 3 5%

Q18C: Q.18C Est-ce que des recherches additionnelles dans le domaine de l'éducation artistique seraient utiles ? N = ...... 182 100% Oui...... 1 144 79% Non ...... 2 => Q19A 38 21%

Q18D: Q.18B Veuillez décrire le type d'études qui seraient utiles : N = ...... 144 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 128 89% Je refuse de répondre ...... 99 X 16 11%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 49

TQ19: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 144 100% votre organisme rencontre ...... 1 100 69% vous rencontrez ...... 2 44 31%

Q19A: Q.19 Quels sont les trois principaux défis que dans le cadre de vos activités d'éducation artistique destinées aux enfants et aux jeunes ? (identifiez les trois principaux obstacles, par ordre d'importance) Première mention (le plus important) : rotation -> 10...... N = ...... 182 100% Manque de financement soutenu et adéquat ...... 01 88 48% Manque de programmes d'art dans les écoles ...... 02 17 9% Manque de personnel qualifié pour administrer ces programmes ...... 03 7 4% Difficultés à promouvoir les programmes auprès des organismes de subventions / auprès des participants / auprès de fondations ou corporations 04 ...... 19 10% Compétitivité des programmes similaires offerts par d'autres organismes...... 05 4 2% Manque d'infrastructure ou manque d'accès à des locaux adéquats ...... 06 21 12% Isolement par rapport aux autres personnes ou organismes offrant des programmes d'éducation artistique...... 07 2 1% Manque d'accès aux recherches et aux opportunités de perfectionnement de la pratique artistique...... 08 2 1% L'obligation de renouveler constamment les programmes d'éducation artistique...... 09 4 2% Le nombre de répondants provenant de plusieurs sources financières gouvernementales impliquées dans le financement des programmes 10 ...... 4 2% Autres (Veuillez préciser dans la boîte ci-dessous)...... 98 O 14 8% Je ne sais pas ...... 99 I 0 0%

Q19B: Deuxième mention : rotation -> 10...... eliminate -> 10...... according to Q19A...... N = ...... 182 100% Manque de financement soutenu et adéquat ...... 01 28 15% Manque de programmes d'art dans les écoles ...... 02 21 12% Manque de personnel qualifié pour administrer ces programmes ...... 03 10 5% Difficultés à promouvoir les programmes auprès des organismes de subventions / auprès des participants / auprès de fondations ou corporations 04 ...... 33 18% Compétitivité des programmes similaires offerts par d'autres organismes...... 05 8 4% Manque d'infrastructure ou manque d'accès à des locaux adéquats ...... 06 29 16% Isolement par rapport aux autres personnes ou organismes offrant des programmes d'éducation artistique...... 07 9 5% Manque d'accès aux recherches et aux opportunités de perfectionnement de la pratique artistique...... 08 2 1% L'obligation de renouveler constamment les programmes d'éducation artistique...... 09 9 5% Le nombre de répondants provenant de plusieurs sources financières gouvernementales impliquées dans le financement des programmes 10 ...... 6 3% Autres (Veuillez préciser dans la boîte ci-dessous)...... 98 O 9 5% Pas de deuxième mention ...... 99 18 10%

Q19C: Q4. Troisème mention : rotation -> 10...... eliminate -> 10...... according to Q19A Q19B ...... N = ...... 178 100% Manque de financement soutenu et adéquat ...... 01 11 6% Manque de programmes d'art dans les écoles ...... 02 14 8% Manque de personnel qualifié pour administrer ces programmes ...... 03 14 8% Difficultés à promouvoir les programmes auprès des organismes de subventions / auprès des participants / auprès de fondations ou corporations 04 ...... 29 16% Compétitivité des programmes similaires offerts par d'autres organismes...... 05 8 4% Manque d'infrastructure ou manque d'accès à des locaux adéquats ...... 06 15 8% Isolement par rapport aux autres personnes ou organismes offrant des programmes d'éducation artistique...... 07 8 4% Manque d'accès aux recherches et aux opportunités de perfectionnement de la pratique artistique...... 08 12 7% L'obligation de renouveler constamment les programmes d'éducation artistique...... 09 18 10% Le nombre de répondants provenant de plusieurs sources financières gouvernementales impliquées dans le financement des programmes 10 ...... 6 3% Autres (Veuillez préciser dans la boîte ci-dessous)...... 98 O 12 7% Pas de troisième mention ...... 99 31 17%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 50

Q19D: Q19D. Veuillez utiliser cet espace supplémentaire pour élaborer sur les défis et lacunes perçus et pour ajouter tout commentaire additionnel. N = ...... 182 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 82 45% Je refuse de répondre ...... 99 X 100 55%

TQ20: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE)

N = ...... 182 100% ANGLAIS SEULEMENT ...... 1 127 70% ANGLAIS SEULEMENT ...... 2 55 30%

Q20: Q.20 Au cours des 12 prochains mois, est-ce que les activités liées à l'éducation artistique que vous offrez vont.... N = ...... 182 100% Plutôt augmenter ...... 1 93 51% Plutôt diminuer ...... 2 17 9% Rester stables...... 3 72 40%

TQ21: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 182 100% votre organisme appartient ...... 1 127 70% vous appartenez ...... 2 55 30%

Q21: Q.21 à des réseaux reliés à l'éducation artistique ? N = ...... 182 100% Oui...... 1 92 51% Non ...... 2 => Q22 90 49%

TQ21A: QUESTION CALCULÉE (TEXTE REPORTÉ) => * if SI ((1>0),TYPE) N = ...... 92 100% votre organisme est...... 1 60 65% vous êtes ...... 2 32 35%

Q21A: Q21A. Quels sont ces réseaux dont membre? N = ...... 92 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 87 95% Je refuse de répondre ...... 99 X 5 5%

Q22: Q.22 Dans quelle ville êtes-vous situé ? N = ...... 182 100% Veuillez inscrire votre réponse dans la boîte ci-dessous...... 98 XO 179 98% Je refuse de répondre ...... 99 X 3 2%

Q23: Q.23 Et dans quelle province ou territoire ? N = ...... 182 100% Alberta...... 01 17 9% Colombie Britannique...... 02 22 12% Ile du Prince Édouard...... 03 4 2% Manitoba...... 04 12 7% Nouveau Brunswick ...... 05 2 1% Nouvelle Écosse ...... 06 12 7% Nunavut...... 07 0 0% Ontario ...... 08 61 34% Québec ...... 09 27 15% Saskatchewan...... 10 9 5% Terre Neuve ...... 11 1 1% Territoire du Nord-Ouest ...... 12 6 3% Yukon ...... 13 9 5%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 6: Questionnaire for Arts Organization Survey Page 51

COMM: COMM. Si vous souhaitez ajouter des commentaires sur le contenu ou la forme de la présente consultation, utilisez l'espace ci-dessous. N = ...... 182 100% Veuillez inscrire vos commentaires dans la boîte ci-dessous...... 98 XO 62 34% Non, je n'ai pas de commentaires...... 99 X 120 66%

INT99: Au nom des Organismes publics de soutien aux arts du Canada (OPSAC) et le groupe de travail Fédéral-Provincial/Territorial sur les Arts et l'apprentissage, nous vous remercions de votre précieuse collaboration. SVP, cliquez sur SUIVANT pour valider les réponses de votre questionnaire N = ...... 182 100% ENTREVUE COMPLÉTÉE (cliquez sur SUIVANT pour valider les réponses de votre questionnaire) CO D => FIN 182 100%

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 7 – TECHNICAL APPENDIX – CROSS TABLES

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 53

CROSS TABLES

Each cross tables presents the Khi2 result : - = indicates that there is no significant differences between de segmentation variable categories. (90), 95, 99, 99.9 = indicates that there is a significant difference between de segmentation variable categories at a X% significance level. (between categories of RESPONDENT TYPE, REGION, etc.).

In each cell, we also might observe + and – symbols, which indicates the presence and orientation of the significant differences observed between the CELL and all the respondents (TOTAL). The significance level of the symbols is exposed below : + /- = (90%) ++ / -- = 95% +++ / --- = 99% ++++ / ---- = 99.9%

Metric variables and ordinal variables transformed as metric variables also have a Student’s T result, which presents significant differences between the segmentation variable categories and all the respondents (TOTAL). The values of the significance level of this difference ((90), 95, 99, 99.9) are presented underneath the segmentation variable categories in the Student’s T line.

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 54

BANN MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Organization 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 70% 100% 0% 71% 79% 60% 68% 70% 71% 76% 73% 58% 70% 89% 79% 47% ++++ ------Individual 55 0 55 26 9 20 49 33 21 11 6 16 18 3 4 8 30% 0% 100% 29% 21% 40% 32% 30% 29% 24% 27% 42% 30% 11% 21% 53% ---- ++++ + + Learning IN the Arts 90 64 26 90 0 0 69 60 35 19 10 25 24 12 11 8 49% 50% 47% 100% 0% 0% 45% 54% 48% 42% 45% 66% 39% 44% 58% 53% ++++ ------++ - Learning ABOUT the Arts 42 33 9 0 42 0 40 24 16 13 6 3 17 11 4 1 23% 26% 16% 0% 100% 0% 26% 22% 22% 29% 27% 8% 28% 41% 21% 7% ---- ++++ ---- ++ -- Learning THROUGH the Arts 50 30 20 0 0 50 43 27 22 13 6 10 20 4 4 6 27% 24% 36% 0% 0% 100% 28% 24% 30% 29% 27% 26% 33% 15% 21% 40% - + ------++++ Local / regional 152 103 49 69 40 43 152 93 60 41 18 29 54 22 15 14 84% 81% 89% 77% 95% 86% 100% 84% 82% 91% 82% 76% 89% 81% 79% 93% -- ++ ++++ Provincial 111 78 33 60 24 27 93 111 61 39 16 28 32 14 15 6 61% 61% 60% 67% 57% 54% 61% 100% 84% 87% 73% 74% 52% 52% 79% 40% ++++ ++++ ++++ + - National 73 52 21 35 16 22 60 61 73 41 12 12 26 14 5 4 40% 41% 38% 39% 38% 44% 39% 55% 100% 91% 55% 32% 43% 52% 26% 27% ++++ ++++ ++++ International 45 34 11 19 13 13 41 39 41 45 11 6 12 10 4 2 25% 27% 20% 21% 31% 26% 27% 35% 56% 100% 50% 16% 20% 37% 21% 13% ++++ ++++ ++++ British Columbia 22 16 6 10 6 6 18 16 12 11 22 0 0 0 0 0 12% 13% 11% 11% 14% 12% 12% 14% 16% 24% 100% 0% 0% 0% 0% 0% +++ ------Prairies 38 22 16 25 3 10 29 28 12 6 0 38 0 0 0 0 21% 17% 29% 28% 7% 20% 19% 25% 16% 13% 0% 100% 0% 0% 0% 0% - + ++ -- + ++++ ---- Ontario 61 43 18 24 17 20 54 32 26 12 0 0 61 0 0 0 34% 34% 33% 27% 40% 40% 36% 29% 36% 27% 0% 0% 100% 0% 0% 0% ------++++ Quebec 27 24 3 12 11 4 22 14 14 10 0 0 0 27 0 0 15% 19% 5% 13% 26% 8% 14% 13% 19% 22% 0% 0% 0% 100% 0% 0% ++ -- ++ ------Eastern provinces 19 15 4 11 4 4 15 15 5 4 0 0 0 0 19 0 10% 12% 7% 12% 10% 8% 10% 14% 7% 9% 0% 0% 0% 0% 100% 0% + -- --- NWT/ Yukon 15 7 8 8 1 6 14 6 4 2 0 0 0 0 0 15 8% 6% 15% 9% 2% 12% 9% 5% 5% 4% 0% 0% 0% 0% 0% 100% -- ++ ------Khi2: (99.9) (99.9) (99.9) (99.9)

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 55

Q8. How long has your organization been in existence? Please indicate the number of years (if less than 1 year, write 1) : MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 126 126 0 63 33 30 103 77 52 34 16 22 42 24 15 7 Less than 10 years 19 19 0 8 3 8 15 11 8 4 1 3 6 2 5 2 15% 15% 0% 13% 9% 27% 15% 14% 15% 12% 6% 14% 14% 8% 33% 29% ++ 10 to 25 years 50 50 0 25 11 14 42 30 20 15 9 7 16 9 4 5 40% 40% 0% 40% 33% 47% 41% 39% 38% 44% 56% 32% 38% 38% 27% 71%

25 years and over 57 57 0 30 19 8 46 36 24 15 6 12 20 13 6 0 45% 45% 0% 48% 58% 27% 45% 47% 46% 44% 38% 55% 48% 54% 40% 0% + -- NA 1 1 0 1 0 0 0 1 0 0 0 0 1 0 0 0

Khi2: - (90) - - Frequency: 126 126 0 63 33 30 103 77 52 34 16 22 42 24 15 7 Moyenne: 25.4 25.4 * 27.3 28.4 18.1 24.5 26.6 27.2 25.1 24.1 31.5 24.4 27.3 23.1 14.0 Écart-type: 17.3 17.3 * 18.9 16.3 13.0 15.9 17.8 19.0 16.6 12.7 23.1 17.0 15.7 17.3 7.0 Sum: 3201 3201 0 1721 938 542 2524 2046 1415 853 385 693 1025 654 346 98 Student's T : * * - - 99 ------99 Minimum 2.0 2.0 * 3.0 4.0 2.0 2.0 3.0 2.0 3.0 8.0 3.0 2.0 5.0 6.0 2.0 Maximum 75.0 75.0 * 75.0 75.0 59.0 75.0 75.0 75.0 75.0 59.0 75.0 75.0 75.0 75.0 20.0

Q9. How long have you been working with children and youth? Please indicate the number of years (if less than 1 year, write 1) : MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 52 0 52 25 9 18 47 30 21 11 6 15 18 2 4 7 Less than 10 years 16 0 16 5 4 7 15 8 5 3 1 3 9 1 1 1 31% 0% 31% 20% 44% 39% 32% 27% 24% 27% 17% 20% 50% 50% 25% 14%

10 to 25 years 18 0 18 11 4 3 17 12 7 4 2 6 6 1 0 3 35% 0% 35% 44% 44% 17% 36% 40% 33% 36% 33% 40% 33% 50% 0% 43%

25 years and over 18 0 18 9 1 8 15 10 9 4 3 6 3 0 3 3 35% 0% 35% 36% 11% 44% 32% 33% 43% 36% 50% 40% 17% 0% 75% 43%

NA 3 0 3 1 0 2 2 3 0 0 0 1 0 1 0 1

Khi2: - - - - Frequency: 52 0 52 25 9 18 47 30 21 11 6 15 18 2 4 7 Moyenne: 17.6 * 17.6 18.4 13.3 18.6 16.3 17.4 20.7 16.0 25.7 19.1 12.3 9.5 22.3 20.7 Écart-type: 12.4 * 12.4 10.0 10.4 16.1 10.3 10.0 14.6 10.4 21.7 10.4 8.8 10.6 13.8 11.4 Sum: 914 0 914 460 120 334 767 521 435 176 154 286 221 19 89 145 Student's T : * * ------95 - - - Minimum 1.0 * 1.0 2.0 1.0 1.0 1.0 1.0 1.0 1.0 2.0 1.0 1.0 2.0 2.0 6.0 Maximum 65.0 * 65.0 40.0 32.0 65.0 40.0 40.0 65.0 30.0 65.0 40.0 28.0 17.0 32.0 36.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 56

Q20. Over the next 12 months, planning to: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Expand activities/broaden reach of arts 93 69 24 44 21 28 79 52 35 23 9 20 37 9 9 9 & learning activities 51% 54% 44% 49% 50% 56% 52% 47% 48% 51% 41% 53% 61% 33% 47% 60% + Decrease activities/limit reach of arts & 17 5 12 7 3 7 14 12 9 3 4 4 7 1 0 1 learning activities 9% 4% 22% 8% 7% 14% 9% 11% 12% 7% 18% 11% 11% 4% 0% 7% ---- ++++ Stay about the same 72 53 19 39 18 15 59 47 29 19 9 14 17 17 10 5 40% 42% 35% 43% 43% 30% 39% 42% 40% 42% 41% 37% 28% 63% 53% 33% -- Khi2: 99.9 - - -

Q12A1. How many people were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months?

Administrative employees - FULL TIME: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 46 46 0 28 9 9 36 23 12 7 2 8 16 12 5 3 36% 36% 0% 44% 27% 30% 35% 29% 23% 21% 13% 36% 37% 50% 33% 43% + ------1 26 26 0 9 10 7 23 17 10 6 4 7 11 1 3 0 20% 20% 0% 14% 30% 23% 22% 22% 19% 18% 25% 32% 26% 4% 20% 0% - 2 15 15 0 5 2 8 14 10 7 6 2 3 4 1 3 2 12% 12% 0% 8% 6% 27% 14% 13% 13% 18% 13% 14% 9% 4% 20% 29% +++ 3 or more 40 40 0 22 12 6 30 28 23 15 8 4 12 10 4 2 31% 31% 0% 34% 36% 20% 29% 36% 44% 44% 50% 18% 28% 42% 27% 29% ++ + Khi2: - (95) - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 4.5 4.5 * 5.7 4.5 1.8 4.2 5.8 6.3 8.2 7.6 3.5 3.5 3.2 8.7 2.0 Écart-type: 10.4 10.4 * 13.1 8.6 2.3 10.6 12.5 13.4 16.2 11.5 6.5 9.0 4.7 21.0 2.3 Sum: 572 572 0 367 150 55 434 449 328 278 122 78 150 77 131 14 Student's T : * * - - 99 - 95 - 90 - - - - - 95 Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 75.0 75.0 * 75.0 40.0 10.0 75.0 75.0 75.0 75.0 40.0 22.0 52.0 20.0 75.0 6.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 57

Q12A2. Administrative employees - PART TIME: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 53 53 0 28 16 9 43 30 20 11 3 10 18 12 6 4 42% 42% 0% 44% 48% 30% 42% 38% 38% 32% 19% 45% 42% 50% 40% 57%

1 37 37 0 16 7 14 33 24 15 9 6 7 12 7 2 3 29% 29% 0% 25% 21% 47% 32% 31% 29% 26% 38% 32% 28% 29% 13% 43% ++ 2 17 17 0 9 6 2 11 12 8 8 4 2 7 1 3 0 13% 13% 0% 14% 18% 7% 11% 15% 15% 24% 25% 9% 16% 4% 20% 0% ++ 3 or more 20 20 0 11 4 5 16 12 9 6 3 3 6 4 4 0 16% 16% 0% 17% 12% 17% 16% 15% 17% 18% 19% 14% 14% 17% 27% 0%

Khi2: - - - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 9.9 9.9 * 17.8 2.3 1.6 11.7 14.9 21.4 31.9 1.8 2.2 1.3 4.0 68.7 0.4 Écart-type: 88.7 88.7 * 124.9 7.1 2.8 98.5 113.1 138.5 171.2 1.7 6.3 1.9 11.1 257.7 0.5 Sum: 1262 1262 0 1137 77 48 1204 1166 1111 1083 29 48 55 97 1030 3 Student's T : * * ------Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 1000.0 1000.0 * 1000.0 40.0 15.0 1000.0 1000.0 1000.0 1000.0 5.0 30.0 11.0 40.0 1000.0 1.0

Q12A3. Administrative employees - ON CONTRACT: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 83 83 0 42 20 21 65 51 36 23 9 14 26 17 13 4 65% 65% 0% 66% 61% 70% 63% 65% 69% 68% 56% 64% 60% 71% 87% 57%

1 24 24 0 12 7 5 21 14 5 4 5 3 11 2 1 2 19% 19% 0% 19% 21% 17% 20% 18% 10% 12% 31% 14% 26% 8% 7% 29% -- 2 7 7 0 4 2 1 5 4 4 2 1 1 2 2 0 1 6% 6% 0% 6% 6% 3% 5% 5% 8% 6% 6% 5% 5% 8% 0% 14%

3 or more 13 13 0 6 4 3 12 9 7 5 1 4 4 3 1 0 10% 10% 0% 9% 12% 10% 12% 12% 13% 15% 6% 18% 9% 13% 7% 0%

Khi2: - - - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 0.8 0.8 * 0.7 0.8 0.7 0.8 0.8 1.0 1.1 0.6 0.9 0.8 1.1 0.3 0.6 Écart-type: 1.5 1.5 * 1.6 1.5 1.6 1.6 1.7 2.0 2.3 0.9 1.4 1.4 2.5 0.8 0.8 Sum: 97 97 0 47 28 22 84 63 50 38 10 19 33 27 4 4 Student's T : * * ------95 - Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 10.0 10.0 * 10.0 7.0 6.0 10.0 10.0 10.0 10.0 3.0 4.0 6.0 10.0 3.0 2.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 58

Q12A. How many people were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months?

Administrative employees - TOTAL: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 24 24 0 16 5 3 18 13 7 4 1 6 5 8 3 1 19% 19% 0% 25% 15% 10% 17% 17% 13% 12% 6% 27% 12% 33% 20% 14% + 1 25 25 0 9 9 7 24 12 6 3 2 4 13 2 2 2 20% 20% 0% 14% 27% 23% 23% 15% 12% 9% 13% 18% 30% 8% 13% 29% - - ++ 2 18 18 0 9 3 6 14 10 5 3 1 3 9 1 2 2 14% 14% 0% 14% 9% 20% 14% 13% 10% 9% 6% 14% 21% 4% 13% 29%

3 or more 60 60 0 30 16 14 47 43 34 24 12 9 16 13 8 2 47% 47% 0% 47% 48% 47% 46% 55% 65% 71% 75% 41% 37% 54% 53% 29% ++ ++++ +++ Khi2: - - - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 14.4 14.4 * 23.5 6.9 3.4 15.9 20.7 27.7 40.0 9.4 5.7 4.8 7.3 77.4 2.4 Écart-type: 95.4 95.4 * 134.0 11.7 3.9 105.9 121.5 148.5 183.4 12.4 9.0 9.5 13.0 276.2 2.4 Sum: 1834 1834 0 1504 227 103 1638 1615 1439 1361 151 126 205 174 1161 17 Student's T : * * ------Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 1075.0 1075.0 * 1075.0 46.0 17.0 1075.0 1075.0 1075.0 1075.0 42.0 30.0 54.0 47.0 1075.0 7.0

Q12B1. Artistic employees - FULL TIME: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 93 93 0 52 25 16 72 54 34 20 10 20 26 20 12 5 73% 73% 0% 81% 76% 53% 70% 69% 65% 59% 63% 91% 60% 83% 80% 71% ++ ------1 9 9 0 3 1 5 8 7 4 2 3 0 4 2 0 0 7% 7% 0% 5% 3% 17% 8% 9% 8% 6% 19% 0% 9% 8% 0% 0% ++ 2 14 14 0 6 4 4 14 9 8 7 2 2 7 0 1 2 11% 11% 0% 9% 12% 13% 14% 12% 15% 21% 13% 9% 16% 0% 7% 29% ++ 3 or more 11 11 0 3 3 5 9 8 6 5 1 0 6 2 2 0 9% 9% 0% 5% 9% 17% 9% 10% 12% 15% 6% 0% 14% 8% 13% 0% + Khi2: - (90) - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 2.5 2.5 * 2.9 2.3 1.7 2.3 3.7 3.2 4.4 1.0 0.2 1.6 3.0 9.9 0.6 Écart-type: 11.3 11.3 * 14.4 8.9 3.1 10.8 14.2 13.5 16.5 2.3 0.6 3.3 13.4 27.1 1.0 Sum: 314 314 0 186 77 51 239 286 168 151 16 4 70 72 148 4 Student's T : * * - - - - 90 - - - 95 - - - 90 Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 96.0 96.0 * 96.0 50.0 13.0 96.0 96.0 96.0 96.0 9.0 2.0 14.0 66.0 96.0 2.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 59

Q12B2. Artistic employees - PART TIME: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 97 97 0 54 23 20 78 61 40 24 11 21 25 19 15 6 76% 76% 0% 84% 70% 67% 76% 78% 77% 71% 69% 95% 58% 79% 100% 86% ++ ---- 1 9 9 0 2 3 4 7 3 3 3 1 0 5 2 0 1 7% 7% 0% 3% 9% 13% 7% 4% 6% 9% 6% 0% 12% 8% 0% 14% - - 2 6 6 0 1 3 2 6 2 1 1 0 0 5 1 0 0 5% 5% 0% 2% 9% 7% 6% 3% 2% 3% 0% 0% 12% 4% 0% 0% - +++ 3 or more 15 15 0 7 4 4 12 12 8 6 4 1 8 2 0 0 12% 12% 0% 11% 12% 13% 12% 15% 15% 18% 25% 5% 19% 8% 0% 0% + Khi2: - - - (90) Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 1.9 1.9 * 2.6 1.0 1.4 2.1 2.6 3.4 4.4 1.5 0.2 2.9 3.5 0.0 0.1 Écart-type: 8.3 8.3 * 11.3 2.3 3.8 9.1 10.4 12.6 15.1 3.2 0.9 8.3 15.3 0.0 0.4 Sum: 238 238 0 164 32 42 213 202 178 148 24 4 125 84 0 1 Student's T : * * ------95 - - 95 95 Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 75.0 75.0 * 75.0 12.0 20.0 75.0 75.0 75.0 75.0 12.0 4.0 50.0 75.0 0.0 1.0

Q12B3. Artistic employees - ON CONTRACT: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 38 38 0 17 11 10 31 25 17 12 4 8 14 5 5 2 30% 30% 0% 27% 33% 33% 30% 32% 33% 35% 25% 36% 33% 21% 33% 29%

1 6 6 0 4 1 1 6 2 0 0 0 1 2 1 1 1 5% 5% 0% 6% 3% 3% 6% 3% 0% 0% 0% 5% 5% 4% 7% 14% -- 2 10 10 0 5 3 2 8 5 5 4 2 0 4 2 1 1 8% 8% 0% 8% 9% 7% 8% 6% 10% 12% 13% 0% 9% 8% 7% 14%

3 or more 73 73 0 38 18 17 58 46 30 18 10 13 23 16 8 3 57% 57% 0% 59% 55% 57% 56% 59% 58% 53% 63% 59% 53% 67% 53% 43%

Khi2: - - - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 22.2 22.2 * 19.0 12.2 40.2 18.9 23.6 31.3 24.6 26.3 15.4 22.5 11.2 50.8 9.4 Écart-type: 58.9 58.9 * 30.2 17.6 110.8 54.9 62.8 86.7 63.3 44.1 21.4 55.9 18.7 130.8 18.6 Sum: 2824 2824 0 1214 403 1207 1946 1838 1628 837 421 338 969 268 762 66 Student's T : * * - 90 ------90 - - Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 517.0 517.0 * 135.0 60.0 517.0 517.0 517.0 517.0 350.0 135.0 70.0 350.0 60.0 517.0 51.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 60

Q12B. Artistic employees - TOTAL: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 75 75 0 45 19 11 57 45 28 14 6 19 17 17 12 4 59% 59% 0% 70% 58% 37% 55% 58% 54% 41% 38% 86% 40% 71% 80% 57% +++ ------1 13 13 0 5 1 7 10 6 5 3 2 0 6 4 0 1 10% 10% 0% 8% 3% 23% 10% 8% 10% 9% 13% 0% 14% 17% 0% 14% +++ 2 16 16 0 5 5 6 16 10 7 7 3 2 8 0 1 2 13% 13% 0% 8% 15% 20% 16% 13% 13% 21% 19% 9% 19% 0% 7% 29%

3 or more 23 23 0 9 8 6 20 17 12 10 5 1 12 3 2 0 18% 18% 0% 14% 24% 20% 19% 22% 23% 29% 31% 5% 28% 13% 13% 0% ++ ++ Khi2: - (95) - (95) Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 4.3 4.3 * 5.5 3.3 3.1 4.4 6.3 6.7 8.8 2.5 0.4 4.5 6.5 9.9 0.7 Écart-type: 14.1 14.1 * 18.3 9.0 6.5 14.0 17.6 18.3 21.7 3.5 1.0 9.6 20.5 27.1 1.0 Sum: 552 552 0 350 109 93 452 488 346 299 40 8 195 156 148 5 Student's T : * * - - - - 95 - - - 99 - - - 99 Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 96.0 96.0 * 96.0 50.0 33.0 96.0 96.0 96.0 96.0 12.0 4.0 52.0 75.0 96.0 2.0

Q12C. Administrative volunteers: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 65 65 0 36 15 14 55 43 31 21 9 13 15 14 9 5 51% 51% 0% 56% 45% 47% 53% 55% 60% 62% 56% 59% 35% 58% 60% 71% --- 1 8 8 0 6 1 1 5 4 3 2 0 1 2 2 2 1 6% 6% 0% 9% 3% 3% 5% 5% 6% 6% 0% 5% 5% 8% 13% 14%

2 9 9 0 3 1 5 9 5 3 5 0 1 4 2 1 1 7% 7% 0% 5% 3% 17% 9% 6% 6% 15% 0% 5% 9% 8% 7% 14% ++ ++ 3 or more 45 45 0 19 16 10 34 26 15 6 7 7 22 6 3 0 35% 35% 0% 30% 48% 33% 33% 33% 29% 18% 44% 32% 51% 25% 20% 0% + -- +++ Khi2: - - - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 15.2 15.2 * 21.8 8.9 8.1 16.2 13.3 5.8 4.5 35.6 18.4 19.3 3.7 2.5 0.4 Écart-type: 45.9 45.9 * 59.7 26.2 21.3 49.3 41.1 15.6 17.3 78.8 63.4 41.3 6.6 6.2 0.8 Sum: 1935 1935 0 1398 293 244 1671 1038 302 154 570 405 832 88 37 3 Student's T : * * 90 - - - - 95 95 - - - 99 99 99.9 Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 300.0 300.0 * 300.0 150.0 100.0 300.0 300.0 100.0 100.0 300.0 296.0 160.0 20.0 24.0 2.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 61

Q12D. Artistic volunteers: MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 None 79 79 0 44 18 17 61 50 35 20 8 15 22 19 10 5 62% 62% 0% 69% 55% 57% 59% 64% 67% 59% 50% 68% 51% 79% 67% 71% - 1 7 7 0 4 3 0 7 3 1 1 1 1 2 2 1 0 6% 6% 0% 6% 9% 0% 7% 4% 2% 3% 6% 5% 5% 8% 7% 0%

2 9 9 0 3 2 4 7 6 2 3 1 1 5 1 1 0 7% 7% 0% 5% 6% 13% 7% 8% 4% 9% 6% 5% 12% 4% 7% 0%

3 or more 32 32 0 13 10 9 28 19 14 10 6 5 14 2 3 2 25% 25% 0% 20% 30% 30% 27% 24% 27% 29% 38% 23% 33% 8% 20% 29%

Khi2: - - - - Frequency: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Moyenne: 7.0 7.0 * 4.0 4.2 16.6 7.8 7.9 5.2 6.0 12.3 3.5 12.4 1.4 1.7 3.4 Écart-type: 28.8 28.8 * 10.6 8.5 56.1 31.5 35.3 14.0 15.1 22.1 7.9 46.6 4.5 4.0 7.5 Sum: 891 891 0 254 139 498 803 617 271 204 197 77 533 34 26 24 Student's T : * * ------95 95 - Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 300.0 300.0 * 60.0 40.0 300.0 300.0 300.0 75.0 75.0 75.0 30.0 300.0 20.0 15.0 20.0

Q12E1. Are there any other type of people that were employed or involved in delivering your arts and learning activities for children and youth during the last 12 months? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon OTHER TYPES OF EMPLOYEES Total absolu: 127 127 0 64 33 30 103 78 52 34 16 22 43 24 15 7 Yes - Please write THE TYPE OF 45 45 0 23 14 8 37 27 15 10 8 6 17 7 5 2 EMPLOYEE in the box below: 35% 35% 0% 36% 42% 27% 36% 35% 29% 29% 50% 27% 40% 29% 33% 29%

No other 82 82 0 41 19 22 66 51 37 24 8 16 26 17 10 5 65% 65% 0% 64% 58% 73% 64% 65% 71% 71% 50% 73% 60% 71% 67% 71%

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 62

Q12E. How many were employed/involved in delivering your arts and learning activities for children and youth during the last 12 months? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Other type of employees Total absolu: 45 45 0 23 14 8 37 27 15 10 8 6 17 7 5 2 None 9 9 0 6 1 2 6 7 3 1 2 1 2 0 3 1 20% 20% 0% 26% 7% 25% 16% 26% 20% 10% 25% 17% 12% 0% 60% 50%

1 4 4 0 2 1 1 3 2 3 2 0 0 3 1 0 0 9% 9% 0% 9% 7% 13% 8% 7% 20% 20% 0% 0% 18% 14% 0% 0%

2 6 6 0 3 2 1 5 3 2 1 1 1 2 2 0 0 13% 13% 0% 13% 14% 13% 14% 11% 13% 10% 13% 17% 12% 29% 0% 0%

3 or more 26 26 0 12 10 4 23 15 7 6 5 4 10 4 2 1 58% 58% 0% 52% 71% 50% 62% 56% 47% 60% 63% 67% 59% 57% 40% 50%

Khi2: - - - - Frequency: 45 45 0 23 14 8 37 27 15 10 8 6 17 7 5 2 Moyenne: 59.8 59.8 * 58.5 80.7 27.0 38.7 87.7 70.7 104.9 8.3 210.3 64.8 4.7 45.0 2.0 Écart-type: 210.3 210.3 * 211.6 264.9 69.9 165.8 267.2 257.2 314.6 9.9 399.3 241.2 4.1 87.3 2.8 Sum: 2692 2692 0 1346 1130 216 1433 2368 1061 1049 66 1262 1102 33 225 4 Student's T : * * ------90 - 90 Minimum 0.0 0.0 * 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 1.0 0.0 0.0 Maximum 1000.0 1000.0 * 1000.0 1000.0 200.0 1000.0 1000.0 1000.0 1000.0 27.0 1000.0 1000.0 13.0 200.0 4.0

Q1. To what age group of children and youth programs / services? Please select all that apply. MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 169 118 51 83 41 45 142 103 65 42 22 34 59 25 18 11 Pre-school children 63 46 17 31 16 16 54 47 24 15 11 15 19 10 6 2 37% 39% 33% 37% 39% 36% 38% 46% 37% 36% 50% 44% 32% 40% 33% 18% +++ 6-12 in school 137 96 41 67 32 38 117 94 57 36 19 30 50 17 14 7 81% 81% 80% 81% 78% 84% 82% 91% 88% 86% 86% 88% 85% 68% 78% 64% ++++ + 12-18 in school 155 112 43 77 37 41 128 93 57 37 20 30 55 23 17 10 92% 95% 84% 93% 90% 91% 90% 90% 88% 88% 91% 88% 93% 92% 94% 91% ++ -- NA/Others 13 9 4 7 1 5 10 8 8 3 0 4 2 2 1 4

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 63

Q2. Do you offer targeted programs/services to any of the following groups? Please select all that apply. MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Youth at risk 85 59 26 42 16 27 73 53 36 23 13 14 39 6 9 4 47% 46% 47% 47% 38% 54% 48% 48% 49% 51% 59% 37% 64% 22% 47% 27% ++++ Youth who are new immigrants 48 37 11 24 6 18 43 30 21 12 6 8 27 3 3 1 26% 29% 20% 27% 14% 36% 28% 27% 29% 27% 27% 21% 44% 11% 16% 7% -- + ++++ Youth studying the arts 113 83 30 63 26 24 96 75 49 32 18 25 39 14 10 7 62% 65% 55% 70% 62% 48% 63% 68% 67% 71% 82% 66% 64% 52% 53% 47% ++ -- + Youth in community programs 75 52 23 38 15 22 69 49 29 19 14 14 29 6 7 5 41% 41% 42% 42% 36% 44% 45% 44% 40% 42% 64% 37% 48% 22% 37% 33% +++ Others 45 31 14 19 14 12 37 27 16 9 0 10 12 11 7 5 25% 24% 25% 21% 33% 24% 24% 24% 22% 20% 0% 26% 20% 41% 37% 33%

Khi2: - - - (99)

Q3. Where do your program activities take place? Please select all that apply. MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 180 126 54 90 40 50 150 109 72 45 22 38 60 27 18 15 School 143 95 48 68 34 41 119 92 61 38 15 30 54 20 14 10 79% 75% 89% 76% 85% 82% 79% 84% 85% 84% 68% 79% 90% 74% 78% 67% -- ++ ++ ++ Arts venue 118 90 28 55 34 29 102 78 49 29 17 22 40 19 14 6 66% 71% 52% 61% 85% 58% 68% 72% 68% 64% 77% 58% 67% 70% 78% 40% ++ -- +++ ++ Community 108 78 30 55 20 33 91 71 42 23 15 24 39 10 9 11 60% 62% 56% 61% 50% 66% 61% 65% 58% 51% 68% 63% 65% 37% 50% 73% + NA/Others 2 1 1 0 2 0 2 2 1 0 0 0 1 0 1 0

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 64

Q4A. Which of the three activities most describes arts and learning activities for children and youth? (Please select all that apply and mark from 1 to 3 the importance of the program, 1 being the most important.) Learning in the Arts: refers to learning the specific knowledge and skills of a particular art form (for example, a writer-in-residence teaching students how to write poetry). Learning about the Arts: is generally an integral part of the arts program and allows the student to understand and appreciate works of art as well as the function and history of a particular art form (for example, orchestra programming with daytime concerts for schools). Learning through the Arts: involves using arts lessons to teach concepts that are being studied in other subjects of the curriculum (such as geometric forms in a visual arts lesson to help with mathematics) or a skill (for example, conflict resolution through drama). First mention (the MOST important): MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon 1st mention Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Learning in the Arts 90 64 26 90 0 0 69 60 35 19 10 25 24 12 11 8 49% 50% 47% 100% 0% 0% 45% 54% 48% 42% 45% 66% 39% 44% 58% 53% ++++ ------++ - Learning about the Arts 42 33 9 0 42 0 40 24 16 13 6 3 17 11 4 1 23% 26% 16% 0% 100% 0% 26% 22% 22% 29% 27% 8% 28% 41% 21% 7% ---- ++++ ---- ++ -- Learning through the Arts 50 30 20 0 0 50 43 27 22 13 6 10 20 4 4 6 27% 24% 36% 0% 0% 100% 28% 24% 30% 29% 27% 26% 33% 15% 21% 40% - + ------++++ Khi2: - 99.9 - (90)

Q6. What is the area ? (select all that apply) MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Local / regional 152 103 49 69 40 43 152 93 60 41 18 29 54 22 15 14 84% 81% 89% 77% 95% 86% 100% 84% 82% 91% 82% 76% 89% 81% 79% 93% -- ++ ++++ Provincial 111 78 33 60 24 27 93 111 61 39 16 28 32 14 15 6 61% 61% 60% 67% 57% 54% 61% 100% 84% 87% 73% 74% 52% 52% 79% 40% ++++ ++++ ++++ + - National 73 52 21 35 16 22 60 61 73 41 12 12 26 14 5 4 40% 41% 38% 39% 38% 44% 39% 55% 100% 91% 55% 32% 43% 52% 26% 27% ++++ ++++ ++++ International 45 34 11 19 13 13 41 39 41 45 11 6 12 10 4 2 25% 27% 20% 21% 31% 26% 27% 35% 56% 100% 50% 16% 20% 37% 21% 13% ++++ ++++ ++++ Khi2: - - 99.9 -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 65

Q7. In which artistic discipline(s) offer arts and learning activities for children and youth? (select all that apply) MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Visual arts 73 44 29 33 13 27 63 42 22 13 10 21 18 3 11 10 40% 35% 53% 37% 31% 54% 41% 38% 30% 29% 45% 55% 30% 11% 58% 67% -- ++ ++ -- - ++ -- Music 85 58 27 42 18 25 70 50 34 19 14 16 28 10 10 7 47% 46% 49% 47% 43% 50% 46% 45% 47% 42% 64% 42% 46% 37% 53% 47%

Theatre 78 61 17 35 15 28 65 50 32 22 6 17 27 13 9 6 43% 48% 31% 39% 36% 56% 43% 45% 44% 49% 27% 45% 44% 48% 47% 40% ++ -- ++ Writing / literary arts 62 42 20 31 8 23 47 41 23 13 5 17 24 5 8 3 34% 33% 36% 34% 19% 46% 31% 37% 32% 29% 23% 45% 39% 19% 42% 20% -- ++ -- Media arts / film 52 37 15 28 4 20 43 30 21 13 4 16 13 5 9 5 29% 29% 27% 31% 10% 40% 28% 27% 29% 29% 18% 42% 21% 19% 47% 33% --- ++ ++ Dance 58 43 15 31 8 19 44 39 28 19 9 11 16 5 10 7 32% 34% 27% 34% 19% 38% 29% 35% 38% 42% 41% 29% 26% 19% 53% 47% -- - + Multidisciplinary Arts / Inter-arts 60 39 21 32 8 20 53 39 23 16 4 16 19 6 10 5 33% 31% 38% 36% 19% 40% 35% 35% 32% 36% 18% 42% 31% 22% 53% 33% -- Khi2: - 95 - (90)

Q13A. Approximately how many children and youth took part in / attended your arts and learning activities/events over the last 12 months?

A) Number of children / youth (paid attendance at performances): MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 None 87 56 31 44 17 26 71 46 28 18 11 23 22 13 9 9 48% 44% 56% 49% 40% 52% 47% 41% 38% 40% 50% 61% 36% 48% 47% 60% -- -- + -- 1 to 999 43 30 13 25 8 10 38 27 20 10 7 5 13 6 6 6 24% 24% 24% 28% 19% 20% 25% 24% 27% 22% 32% 13% 21% 22% 32% 40% - 1000 to 9999 25 18 7 11 7 7 19 16 8 6 1 5 13 3 3 0 14% 14% 13% 12% 17% 14% 13% 14% 11% 13% 5% 13% 21% 11% 16% 0% ++ 10 000 and more 27 23 4 10 10 7 24 22 17 11 3 5 13 5 1 0 15% 18% 7% 11% 24% 14% 16% 20% 23% 24% 14% 13% 21% 19% 5% 0% + - + ++ +++ ++ + Khi2: - - - - Frequency: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Moyenne: 4885.0 5701.7 2999.3 4003.0 5883.4 5633.9 5187.7 7166.5 6292.2 7247.1 3042.2 6103.3 6336.2 6505.3 1394.3 104.9 Écart-type: 13805.2 14200.7 12770.3 12214.3 12763.7 17142.0 14598.1 17073.5 13326.9 16806.6 6821.8 17911.9 15388.4 15641.2 3101.7 197.0 Sum: 889072 724110 164962 360274 247101 281697 788535 795484 459327 326119 66929 231927 386507 175644 26491 1574 Student's T : ------99.9 ------99 99.9 Minimum 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 98000.0 98000.0 90000.0 90000.0 70000.0 98000.0 98000.0 98000.0 70000.0 98000.0 24454.0 98000.0 90000.0 70000.0 10000.0 634.0

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 66

Q13A. Approximately how many children and youth took part in / attended your arts and learning activities/events over the last 12 months?

A) Number of children / youth (paid attendance at performances): MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Q13B) Number of children / youth (free attendance at performances): MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 None 76 51 25 40 17 19 57 39 26 13 3 23 18 14 9 9 42% 40% 45% 44% 40% 38% 38% 35% 36% 29% 14% 61% 30% 52% 47% 60% ------+++ -- 1 to 999 54 39 15 25 14 15 49 30 19 15 7 6 20 10 6 5 30% 31% 27% 28% 33% 30% 32% 27% 26% 33% 32% 16% 33% 37% 32% 33% + -- 1000 to 9999 36 24 12 17 10 9 33 30 20 12 5 8 17 1 4 1 20% 19% 22% 19% 24% 18% 22% 27% 27% 27% 23% 21% 28% 4% 21% 7% +++ ++ + 10 000 and more 16 13 3 8 1 7 13 12 8 5 7 1 6 2 0 0 9% 10% 5% 9% 2% 14% 9% 11% 11% 11% 32% 3% 10% 7% 0% 0% - Khi2: - - - (99.9) Frequency: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Moyenne: 4323.3 5001.8 2756.7 4048.6 1407.3 7267.1 4090.2 5497.2 5378.7 3940.1 9089.8 2724.1 6904.4 1682.4 760.8 153.3 Écart-type: 15183.1 16280.0 12275.2 14192.7 2631.3 21531.4 14515.5 17132.3 16768.1 12043.5 18388.8 13476.6 20510.7 5972.4 1500.8 280.6 Sum: 786839 635223 151616 364378 59107 363354 621714 610193 392647 177306 199975 103515 421168 45426 14455 2300 Student's T : - - - 95 ------90 99 99.9 Minimum 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 99999.0 99999.0 90000.0 90000.0 10000.0 99999.0 99999.0 99999.0 90000.0 75000.0 75000.0 83100.0 99999.0 30000.0 5000.0 1000.0

1 to 999 76 45 31 35 18 23 64 40 26 18 12 19 26 3 5 11 42% 35% 56% 39% 43% 46% 42% 36% 36% 40% 55% 50% 43% 11% 26% 73% --- +++ - 1000 to 9999 30 25 5 16 9 5 26 21 14 8 4 7 12 2 4 1 16% 20% 9% 18% 21% 10% 17% 19% 19% 18% 18% 18% 20% 7% 21% 7% + - 10 000 and more 19 17 2 10 4 5 14 14 9 7 3 3 8 1 4 0 10% 13% 4% 11% 10% 10% 9% 13% 12% 16% 14% 8% 13% 4% 21% 0% ++ -- Khi2: 95 - - (99.9) Frequency: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 67

Q13C) Number of children / youth (participants in other activities): MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Enter «0» if not applicable Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Moyenne: 3335.2 3825.8 2202.4 3476.5 2994.5 3367.0 3072.5 4206.3 4166.4 5082.6 2333.3 3244.8 4340.4 2060.1 5640.1 321.6 Écart-type: 10384.4 9520.5 12169.0 11283.3 8756.8 10138.7 10369.0 12136.4 11254.0 12514.7 5468.9 8999.8 13410.0 9614.0 11370.1 773.2 Sum: 607004 485874 121130 312887 125767 168350 467026 466898 304144 228719 51332 123302 264762 55622 107162 4824 Student's T : ------99.9 Minimum 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 0.0 Maximum 90000.0 50000.0 90000.0 90000.0 50000.0 50000.0 90000.0 90000.0 50000.0 50000.0 23200.0 45000.0 90000.0 50000.0 45000.0 3057.0

Q10. receive an operating grant ? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Yes 130 101 29 64 30 36 106 83 53 29 14 28 42 23 15 8 71% 80% 53% 71% 71% 72% 70% 75% 73% 64% 64% 74% 69% 85% 79% 53% ++++ ---- No 52 26 26 26 12 14 46 28 20 16 8 10 19 4 4 7 29% 20% 47% 29% 29% 28% 30% 25% 27% 36% 36% 26% 31% 15% 21% 47% ---- ++++ Khi2: 99.9 - - -

Q10A. From which organization(s) do you receive operating grant support? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 130 101 29 64 30 36 106 83 53 29 14 28 42 23 15 8 Federal public arts funders (e.g. arts 73 67 6 34 22 17 58 44 37 19 10 8 22 21 9 3 council) 56% 66% 21% 53% 73% 47% 55% 53% 70% 66% 71% 29% 52% 91% 60% 38% ++ +++ Provincial public arts funders (e.g. 107 84 23 53 26 28 86 68 50 25 10 15 39 22 14 7 Ministry of Culture) 82% 83% 79% 83% 87% 78% 81% 82% 94% 86% 71% 54% 93% 96% 93% 88% +++ ++ Municipal public arts funders 53 48 5 22 17 14 46 32 23 10 5 10 22 12 3 1 41% 48% 17% 34% 57% 39% 43% 39% 43% 34% 36% 36% 52% 52% 20% 13% ++ + Others 46 31 15 19 7 20 39 33 16 10 5 22 12 1 4 2 35% 31% 52% 30% 23% 56% 37% 40% 30% 34% 36% 79% 29% 4% 27% 25% +++ Khi2: 99 90 - (99.9)

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 68

Q10B. Is any of your operating grant support going to arts and learning activities for children and youth? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 130 101 29 64 30 36 106 83 53 29 14 28 42 23 15 8 Yes 104 82 22 51 27 26 84 66 39 22 11 23 36 17 13 4 80% 81% 76% 80% 90% 72% 79% 80% 74% 76% 79% 82% 86% 74% 87% 50%

No 26 19 7 13 3 10 22 17 14 7 3 5 6 6 2 4 20% 19% 24% 20% 10% 28% 21% 20% 26% 24% 21% 18% 14% 26% 13% 50%

Khi2: - - - -

Q10C. received, for your last fiscal year, project financial support for your arts and learning activities for children and youth, other than through an operating grant? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Yes 103 77 26 54 23 26 88 61 39 21 13 21 40 10 13 6 57% 61% 47% 60% 55% 52% 58% 55% 53% 47% 59% 55% 66% 37% 68% 40% + - + No 79 50 29 36 19 24 64 50 34 24 9 17 21 17 6 9 43% 39% 53% 40% 45% 48% 42% 45% 47% 53% 41% 45% 34% 63% 32% 60% - + - Khi2: 90 - - -

Q10D. From which organization(s) do you receive this financial support? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 103 77 26 54 23 26 88 61 39 21 13 21 40 10 13 6 Federal public arts funders (e.g. arts 48 40 8 22 12 14 42 27 20 10 11 7 21 4 4 1 council) 47% 52% 31% 41% 52% 54% 48% 44% 51% 48% 85% 33% 53% 40% 31% 17%

Provincial public arts funders (e.g. 79 61 18 43 17 19 65 50 32 15 11 16 32 6 9 5 Ministry of Culture) 77% 79% 69% 80% 74% 73% 74% 82% 82% 71% 85% 76% 80% 60% 69% 83%

Municipal public arts funders 19 15 4 11 3 5 16 11 5 2 5 3 9 1 1 0 18% 19% 15% 20% 13% 19% 18% 18% 13% 10% 38% 14% 23% 10% 8% 0%

Others 103 77 26 54 23 26 88 61 39 21 13 21 40 10 13 6 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100%

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 69

Q11. Are there other sources of funding for arts and learning that you would like to access but are not able to? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Yes 119 92 27 63 24 32 98 78 49 29 14 25 45 16 12 7 65% 72% 49% 70% 57% 64% 64% 70% 67% 64% 64% 66% 74% 59% 63% 47% +++ --- + + No 63 35 28 27 18 18 54 33 24 16 8 13 16 11 7 8 35% 28% 51% 30% 43% 36% 36% 30% 33% 36% 36% 34% 26% 41% 37% 53% --- +++ - - Khi2: 99 - - -

Q11A. What are the sources of funding for arts and learning that you would like to access but are not able to ? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 119 92 27 63 24 32 98 78 49 29 14 25 45 16 12 7 Federal public arts funders (e.g. arts 60 44 16 34 9 17 51 47 31 20 9 14 17 12 4 4 council) 50% 48% 59% 54% 38% 53% 52% 60% 63% 69% 64% 56% 38% 75% 33% 57% +++ ++ -- Provincial public arts funders (e.g. 66 52 14 34 15 17 57 41 29 20 8 10 26 13 7 2 Ministry of Culture) 55% 57% 52% 54% 63% 53% 58% 53% 59% 69% 57% 40% 58% 81% 58% 29%

Municipal public arts funders 24 18 6 12 7 5 21 18 15 11 4 8 8 4 0 0 20% 20% 22% 19% 29% 16% 21% 23% 31% 38% 29% 32% 18% 25% 0% 0% ++ Others 111 85 26 58 22 31 91 76 46 28 14 24 40 15 11 7 93% 92% 96% 92% 92% 97% 93% 97% 94% 97% 100% 96% 89% 94% 92% 100% ++ Khi2: - - - -

Q11B1. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Federal public arts funders Total absolu: 51 35 16 29 9 13 43 40 26 17 8 12 17 9 4 1 The organization's characteristics (size, 3 2 1 2 0 1 3 3 0 1 0 2 1 0 0 0 language, etc.) 6% 6% 6% 7% 0% 8% 7% 8% 0% 6% 0% 17% 6% 0% 0% 0%

Its resources, its expertise, its 4 3 1 2 0 2 3 2 1 0 0 2 1 0 0 1 capacities, etc. 8% 9% 6% 7% 0% 15% 7% 5% 4% 0% 0% 17% 6% 0% 0% 100%

Ignorance of the programs. 4 2 2 3 1 0 4 4 2 1 0 2 2 0 0 0 8% 6% 13% 10% 11% 0% 9% 10% 8% 6% 0% 17% 12% 0% 0% 0%

Absence of programs, absence of will, 19 13 6 9 6 4 16 16 12 8 4 2 6 5 2 0 lack of interest. 37% 37% 38% 31% 67% 31% 37% 40% 46% 47% 50% 17% 35% 56% 50% 0%

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 70

Q11B1. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Federal public arts funders Total absolu: 51 35 16 29 9 13 43 40 26 17 8 12 17 9 4 1 Inadequacy of the offer compared to 21 15 6 13 2 6 17 15 11 7 4 4 7 4 2 0 the needs. 41% 43% 38% 45% 22% 46% 40% 38% 42% 41% 50% 33% 41% 44% 50% 0%

NA/Others 9 9 0 5 0 4 8 7 5 3 1 2 0 3 0 3

Khi2: - - - -

Q11B2. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Provincial public arts funders Total absolu: 28 19 9 13 6 9 26 21 14 11 5 5 8 6 2 2 The organization's characteristics (size, 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 language, etc.) 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0%

Its resources, its expertise, its 3 1 2 2 0 1 3 3 1 0 0 1 1 1 0 0 capacities, etc. 11% 5% 22% 15% 0% 11% 12% 14% 7% 0% 0% 20% 13% 17% 0% 0%

Ignorance of the programs. 3 2 1 2 1 0 3 3 2 0 0 1 2 0 0 0 11% 11% 11% 15% 17% 0% 12% 14% 14% 0% 0% 20% 25% 0% 0% 0%

Absence of programs, absence of will, 11 8 3 3 4 4 11 9 7 8 4 2 1 2 1 1 lack of interest. 39% 42% 33% 23% 67% 44% 42% 43% 50% 73% 80% 40% 13% 33% 50% 50%

Inadequacy of the offer compared to 11 8 3 6 1 4 9 6 4 3 1 1 4 3 1 1 the needs. 39% 42% 33% 46% 17% 44% 35% 29% 29% 27% 20% 20% 50% 50% 50% 50%

NA/Others 7 6 1 5 1 1 6 5 4 3 1 1 3 1 1 0

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 71

Q11B3. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Municipal public arts funders Total absolu: 21 15 6 9 7 5 18 16 13 9 4 7 7 3 0 0 The organization's characteristics (size, 1 1 0 0 1 0 1 1 1 1 1 0 0 0 0 0 language, etc.) 5% 7% 0% 0% 14% 0% 6% 6% 8% 11% 25% 0% 0% 0% 0% 0%

Its resources, its expertise, its 1 0 1 1 0 0 1 1 0 0 0 1 0 0 0 0 capacities, etc. 5% 0% 17% 11% 0% 0% 6% 6% 0% 0% 0% 14% 0% 0% 0% 0%

Ignorance of the programs. 1 1 0 0 1 0 1 1 1 0 0 1 0 0 0 0 5% 7% 0% 0% 14% 0% 6% 6% 8% 0% 0% 14% 0% 0% 0% 0%

Absence of programs, absence of will, 13 9 4 6 4 3 11 9 7 7 1 4 6 2 0 0 lack of interest. 62% 60% 67% 67% 57% 60% 61% 56% 54% 78% 25% 57% 86% 67% 0% 0%

Inadequacy of the offer compared to 5 4 1 2 1 2 4 4 4 1 2 1 1 1 0 0 the needs. 24% 27% 17% 22% 14% 40% 22% 25% 31% 11% 50% 14% 14% 33% 0% 0%

NA/Others 3 3 0 3 0 0 3 2 2 2 0 1 1 1 0 0

Khi2: - - - -

Q11B4. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Ministry of Education Total absolu: 39 31 8 20 9 10 34 21 14 9 6 7 17 6 2 1 The organization's characteristics (size, 10 9 1 6 3 1 10 4 3 1 2 2 5 0 1 0 language, etc.) 26% 29% 13% 30% 33% 10% 29% 19% 21% 11% 33% 29% 29% 0% 50% 0%

Its resources, its expertise, its 8 6 2 4 1 3 6 4 5 4 1 2 3 1 1 0 capacities, etc. 21% 19% 25% 20% 11% 30% 18% 19% 36% 44% 17% 29% 18% 17% 50% 0%

Ignorance of the programs. 4 2 2 2 1 1 4 3 3 1 0 1 3 0 0 0 10% 6% 25% 10% 11% 10% 12% 14% 21% 11% 0% 14% 18% 0% 0% 0%

Absence of programs, absence of will, 13 11 2 6 3 4 10 7 3 3 2 2 4 5 0 0 lack of interest. 33% 35% 25% 30% 33% 40% 29% 33% 21% 33% 33% 29% 24% 83% 0% 0%

Inadequacy of the offer compared to 4 3 1 2 1 1 4 3 0 0 1 0 2 0 0 1 the needs. 10% 10% 13% 10% 11% 10% 12% 14% 0% 0% 17% 0% 12% 0% 0% 100%

NA/Others 10 10 0 5 2 3 7 6 4 3 0 3 3 2 2 0

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 72

Q11B5. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Private foundations Total absolu: 42 31 11 24 9 9 31 24 17 10 7 9 16 6 1 3 The organization's characteristics (size, 9 7 2 3 5 1 9 4 2 1 1 0 6 2 0 0 language, etc.) 21% 23% 18% 13% 56% 11% 29% 17% 12% 10% 14% 0% 38% 33% 0% 0%

Its resources, its expertise, its 23 17 6 16 1 6 16 13 10 6 2 6 8 4 0 3 capacities, etc. 55% 55% 55% 67% 11% 67% 52% 54% 59% 60% 29% 67% 50% 67% 0% 100%

Ignorance of the programs. 3 2 1 1 1 1 2 1 2 0 0 2 1 0 0 0 7% 6% 9% 4% 11% 11% 6% 4% 12% 0% 0% 22% 6% 0% 0% 0%

Absence of programs, absence of will, 3 1 2 1 1 1 2 3 2 2 1 0 1 0 1 0 lack of interest. 7% 3% 18% 4% 11% 11% 6% 13% 12% 20% 14% 0% 6% 0% 100% 0%

Inadequacy of the offer compared to 4 4 0 3 1 0 2 3 1 1 3 1 0 0 0 0 the needs. 10% 13% 0% 13% 11% 0% 6% 13% 6% 10% 43% 11% 0% 0% 0% 0%

NA/Others 12 10 2 5 3 4 11 10 9 6 2 3 3 3 1 0

Khi2: - - - (95)

Q11B6. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Corporate Sponsorship / Donations Total absolu: 52 44 8 26 13 13 42 38 22 17 6 11 16 9 6 4 The organization's characteristics (size, 25 21 4 11 8 6 22 17 10 10 3 3 9 5 4 1 language, etc.) 48% 48% 50% 42% 62% 46% 52% 45% 45% 59% 50% 27% 56% 56% 67% 25%

Its resources, its expertise, its 25 22 3 15 4 6 18 19 10 6 2 7 7 4 2 3 capacities, etc. 48% 50% 38% 58% 31% 46% 43% 50% 45% 35% 33% 64% 44% 44% 33% 75%

Ignorance of the programs. 1 1 0 0 1 0 1 1 1 0 0 1 0 0 0 0 2% 2% 0% 0% 8% 0% 2% 3% 5% 0% 0% 9% 0% 0% 0% 0%

Absence of programs, absence of will, 1 0 1 0 0 1 1 1 1 1 1 0 0 0 0 0 lack of interest. 2% 0% 13% 0% 0% 8% 2% 3% 5% 6% 17% 0% 0% 0% 0% 0%

Inadequacy of the offer compared to 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 the needs. 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0%

Please write your answer in the box 4 4 0 3 1 0 3 2 1 1 0 2 1 1 0 0 below-I refuse to answer

Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 73

Q11B7. What are the barriers to accessing this / these sources of funding for arts and learning? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Others Total absolu: 49 36 13 25 11 13 39 33 21 12 7 12 21 3 3 3 The organization's characteristics (size, 10 7 3 4 3 3 8 8 5 2 0 3 3 1 2 1 language, etc.) 20% 19% 23% 16% 27% 23% 21% 24% 24% 17% 0% 25% 14% 33% 67% 33%

Its resources, its expertise, its 29 22 7 16 5 8 23 17 10 8 7 7 12 1 1 1 capacities, etc. 59% 61% 54% 64% 45% 62% 59% 52% 48% 67% 100% 58% 57% 33% 33% 33%

Ignorance of the programs. 3 2 1 1 1 1 3 2 1 0 0 1 1 0 0 1 6% 6% 8% 4% 9% 8% 8% 6% 5% 0% 0% 8% 5% 0% 0% 33%

Absence of programs, absence of will, 6 4 2 3 2 1 4 5 4 1 0 1 4 1 0 0 lack of interest. 12% 11% 15% 12% 18% 8% 10% 15% 19% 8% 0% 8% 19% 33% 0% 0%

Inadequacy of the offer compared to 1 1 0 1 0 0 1 1 1 1 0 0 1 0 0 0 the needs. 2% 3% 0% 4% 0% 0% 3% 3% 5% 8% 0% 0% 5% 0% 0% 0%

NA/Others 51 40 11 27 8 16 41 36 22 14 7 10 13 12 6 3

Khi2: - - - -

Q14A. Are some of your partners in your local city or town? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 118 86 32 61 23 34 95 74 47 26 14 24 38 13 17 12 Yes 115 85 30 61 23 31 93 73 46 25 14 24 36 13 17 11 97% 99% 94% 100% 100% 91% 98% 99% 98% 96% 100% 100% 95% 100% 100% 92% + --- No 3 1 2 0 0 3 2 1 1 1 0 0 2 0 0 1 3% 1% 6% 0% 0% 9% 2% 1% 2% 4% 0% 0% 5% 0% 0% 8% - +++ Khi2: - (95) - -

Q14B. Is the program you two are delivering in your city or town? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 115 85 30 61 23 31 93 73 46 25 14 24 36 13 17 11 Yes 105 77 28 55 23 27 89 64 41 24 12 22 34 12 14 11 91% 91% 93% 90% 100% 87% 96% 88% 89% 96% 86% 92% 94% 92% 82% 100% - No 10 8 2 6 0 4 4 9 5 1 2 2 2 1 3 0 9% 9% 7% 10% 0% 13% 4% 12% 11% 4% 14% 8% 6% 8% 18% 0% + Khi2: - - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 74

Q14E. Are some of your partners outside your local city or town? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 118 86 32 61 23 34 95 74 47 26 14 24 38 13 17 12 Yes 76 58 18 36 19 21 56 54 32 19 8 15 25 8 13 7 64% 67% 56% 59% 83% 62% 59% 73% 68% 73% 57% 63% 66% 62% 76% 58% ++ No 42 28 14 25 4 13 39 20 15 7 6 9 13 5 4 5 36% 33% 44% 41% 17% 38% 41% 27% 32% 27% 43% 38% 34% 38% 24% 42% -- Khi2: - - - -

Q14F. Is the program you two are delivering in your city or town? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 76 58 18 36 19 21 56 54 32 19 8 15 25 8 13 7 Yes 51 36 15 21 16 14 43 35 19 13 4 11 16 5 10 5 67% 62% 83% 58% 84% 67% 77% 65% 59% 68% 50% 73% 64% 63% 77% 71%

No 25 22 3 15 3 7 13 19 13 6 4 4 9 3 3 2 33% 38% 17% 42% 16% 33% 23% 35% 41% 32% 50% 27% 36% 38% 23% 29%

Khi2: 90 - - -

Q17. linked to an educational curriculum? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Yes 104 64 40 49 23 32 88 67 43 27 9 30 42 6 10 7 57% 50% 73% 54% 55% 64% 58% 60% 59% 60% 41% 79% 69% 22% 53% 47% --- +++ +++ ++ No 78 63 15 41 19 18 64 44 30 18 13 8 19 21 9 8 43% 50% 27% 46% 45% 36% 42% 40% 41% 40% 59% 21% 31% 78% 47% 53% +++ ------Khi2: 99 - - 99.9

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 75

Q17A. If so, how? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 104 64 40 49 23 32 88 67 43 27 9 30 42 6 10 7 follow Ministry of Education 29 18 11 13 7 9 26 16 15 9 2 5 17 1 3 1 guidelines in developing 28% 28% 28% 27% 30% 28% 30% 24% 35% 33% 22% 17% 40% 17% 30% 14% services ++ informed by curriculum 44 24 20 20 10 14 37 29 15 9 5 13 12 4 5 5 guidelines as develop 42% 38% 50% 41% 43% 44% 42% 43% 35% 33% 56% 43% 29% 67% 50% 71% programs for different age -- levels, but do not follow them closely Others 31 22 9 16 6 9 25 22 13 9 2 12 13 1 2 1 30% 34% 23% 33% 26% 28% 28% 33% 30% 33% 22% 40% 31% 17% 20% 14%

Khi2: - - - -

Q17B. Are you delivering courses where credit is offered for work completed by participants? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Yes 39 19 20 23 4 12 33 24 15 12 4 9 14 2 5 5 21% 15% 36% 26% 10% 24% 22% 22% 21% 27% 18% 24% 23% 7% 26% 33% --- +++ -- No 143 108 35 67 38 38 119 87 58 33 18 29 47 25 14 10 79% 85% 64% 74% 90% 76% 78% 78% 79% 73% 82% 76% 77% 93% 74% 67% +++ --- ++ Khi2: 99 90 - -

Q21. to any arts and learning networks? MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Yes 92 60 32 52 20 20 74 67 41 25 12 28 30 9 7 6 51% 47% 58% 58% 48% 40% 49% 60% 56% 56% 55% 74% 49% 33% 37% 40% + - ++++ +++ No 90 67 23 38 22 30 78 44 32 20 10 10 31 18 12 9 49% 53% 42% 42% 52% 60% 51% 40% 44% 44% 45% 26% 51% 67% 63% 60% - + ------Khi2: - - - 95

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 76

Q19A What are the three main challenges in offering arts and learning activities for children and youth? (rank top three in order) MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon FIRST CHALLENGE ONLY Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Lack of funding 88 68 20 45 22 21 72 54 40 28 12 13 37 14 10 2 48% 54% 36% 50% 52% 42% 47% 49% 55% 62% 55% 34% 61% 52% 53% 13% ++ -- ++ -- ++ Lack of arts curriculum in the schools 17 10 7 6 5 6 16 10 5 2 0 2 6 7 1 1 9% 8% 13% 7% 12% 12% 11% 9% 7% 4% 0% 5% 10% 26% 5% 7%

Lack of qualified people to deliver 7 3 4 3 0 4 7 5 2 1 0 2 1 1 1 2 programs 4% 2% 7% 3% 0% 8% 5% 5% 3% 2% 0% 5% 2% 4% 5% 13% + Difficulty in communicating the value of 19 12 7 8 4 7 15 12 9 5 1 7 4 2 2 3 what you do to current and potential 10% 9% 13% 9% 10% 14% 10% 11% 12% 11% 5% 18% 7% 7% 11% 20% supporters / participants / funders + Competition with other organizations or 4 3 1 2 2 0 3 3 2 2 1 1 1 1 0 0 programs 2% 2% 2% 2% 5% 0% 2% 3% 3% 4% 5% 3% 2% 4% 0% 0%

Lack of infrastructure for delivering 21 16 5 11 5 5 16 14 8 6 7 2 6 1 3 2 programs 12% 13% 9% 12% 12% 10% 11% 13% 11% 13% 32% 5% 10% 4% 16% 13%

Isolation from other people doing 2 1 1 2 0 0 2 1 1 0 0 0 0 0 0 2 similar work 1% 1% 2% 2% 0% 0% 1% 1% 1% 0% 0% 0% 0% 0% 0% 13%

Lack of access to research and learning 2 1 1 0 1 1 2 1 0 0 0 1 1 0 0 0 opportunities to improve your work / 1% 1% 2% 0% 2% 2% 1% 1% 0% 0% 0% 3% 2% 0% 0% 0% develop your artistic practice Pressure to constantly be developing 4 2 2 2 1 1 4 2 1 1 1 1 1 0 0 1 and offering new programs 2% 2% 4% 2% 2% 2% 3% 2% 1% 2% 5% 3% 2% 0% 0% 7%

Number of government departments 4 3 1 2 0 2 4 2 1 0 0 3 0 0 1 0 and agencies involved in funding and 2% 2% 2% 2% 0% 4% 3% 2% 1% 0% 0% 8% 0% 0% 5% 0% delivering arts education +++ Others 14 8 6 9 2 3 11 7 4 0 0 6 4 1 1 2 8% 6% 11% 10% 5% 6% 7% 6% 5% 0% 0% 16% 7% 4% 5% 13% -- ++ Khi2: - - - (99)

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 7: Technical Appendix - Cross tables Page 77

Q19A What are the three main challenges in offering arts and learning activities for children and youth? (rank top three in order) MAIN ARTS AND LEARNING RESPONDENT'S TYPE ACTIVITY AREA OF INTERVENTION REGION Learning Learning Learning IN the ABOUT THROUGH Local / British Eastern NWT/ TOTAL Org. Individual Arts the Arts the Arts regional Provincial National Internat. Columbia Prairies Ontario Quebec provinces Yukon SUM OF THE THREE MAIN CHALLENGES Total absolu: 182 127 55 90 42 50 152 111 73 45 22 38 61 27 19 15 Lack of funding 127 93 34 66 27 34 104 79 50 34 14 24 46 22 14 7 70% 73% 62% 73% 64% 68% 68% 71% 68% 76% 64% 63% 75% 81% 74% 47%

Lack of arts curriculum in the schools 52 32 20 27 15 10 44 31 19 11 6 9 16 13 5 3 29% 25% 36% 30% 36% 20% 29% 28% 26% 24% 27% 24% 26% 48% 26% 20%

Lack of qualified people to deliver 31 20 11 14 4 13 29 21 11 6 0 6 9 6 5 5 programs 17% 16% 20% 16% 10% 26% 19% 19% 15% 13% 0% 16% 15% 22% 26% 33% ++ + Difficulty in communicating the value of 81 61 20 45 16 20 69 49 33 22 12 18 21 11 9 10 what you do to current and potential 45% 48% 36% 50% 38% 40% 45% 44% 45% 49% 55% 47% 34% 41% 47% 67% supporters / participants / funders - Competition with other organizations or 20 18 2 8 9 3 18 13 10 7 4 2 8 3 3 0 programs 11% 14% 4% 9% 21% 6% 12% 12% 14% 16% 18% 5% 13% 11% 16% 0% ++ -- ++ Lack of infrastructure for delivering 64 46 18 30 18 16 51 36 23 17 11 12 27 5 6 3 programs 35% 36% 33% 33% 43% 32% 34% 32% 32% 38% 50% 32% 44% 19% 32% 20% + Isolation from other people doing 19 8 11 10 3 6 17 12 11 5 2 4 5 2 2 4 similar work 10% 6% 20% 11% 7% 12% 11% 11% 15% 11% 9% 11% 8% 7% 11% 27% --- +++ + Lack of access to research and learning 16 8 8 7 2 7 15 9 6 4 2 4 7 0 2 1 opportunities to improve your work / 9% 6% 15% 8% 5% 14% 10% 8% 8% 9% 9% 11% 11% 0% 11% 7% develop your artistic practice - + Pressure to constantly be developing 31 24 7 15 9 7 26 21 10 9 5 5 9 7 2 3 and offering new programs 17% 19% 13% 17% 21% 14% 17% 19% 14% 20% 23% 13% 15% 26% 11% 20%

Number of government departments 16 14 2 9 1 6 13 10 6 4 3 6 4 2 1 0 and agencies involved in funding and 9% 11% 4% 10% 2% 12% 9% 9% 8% 9% 14% 16% 7% 7% 5% 0% delivering arts education - + Others 29 20 9 14 6 9 24 17 11 3 2 9 11 2 2 3 16% 16% 16% 16% 14% 18% 16% 15% 15% 7% 9% 24% 18% 7% 11% 20% - Khi2: (95) - - -

Arts and Learning Environmental Scan – Final report – August 31, 2006

APPENDIX 8 – REFERENCES AND SEARCHING

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 8: References and Searching Page 79

REFERENCES AND SEARCHING

Reading • “Canadian Reflections on Arts and Learning: The Challenge of Systemic Change”, Canadian Commission for UNESCO(World Conference on Arts Education Lisbon 2006) • “An Information Supplement from LTTA” , The Globe and Mail, Monday, April 24, 2006 • “Mapping an Artistic Space : Arts Education in Canada”, by Monica Nyvlt, Canadian Commission for UNESCO, 2003 • Web site of LEAInternational: UNESCO Culture • “Partners in Excellence”, National Guild of Community Schools of the Arts, New York, by Jacqueline Sideman Guttman, 2005 • “Effect of Arts Education on Participation in the Arts”, Executive Summary, National Endowment for the Arts, Louis Bergonzi and Julia Smith, 1996. • “Learning to Live, Living to Learn: Perspectives on Arts Education in Canada”, Preliminary Report on Consultations conducted by the Canadian Commission for UNESCO • Colloque des partenaires culturels du programme de soutien à l’école montréalaise, « Ensemble pour créer », Cahier du participant, Juin 2005 • Artssmarts strategic planning 2006

Web Site Alberta www.cd.gov.ab.ca/artsbranch/artists_and_education/index.asp www.albertastringassociation.ca/ www.albertabandassociation.com www.nucleus.com/~capes/ www.education.gov.ab.ca/k_12/curriculum/bysubject/ British Columbia www.bcartscouncil.ca/programs/ Manitoba www.artscouncil.mb.ca/english/artsdev.html New Brunswick www.gnb.ca/0000/francophone-f.asp www.gnb.ca/0000/anglophone-e.asp#cd www.mcconnellfoundation.ca/ Newfoundland and Labrador www.nlac.nf.ca/grants/ Northwest Territories pwnhc.learnnet.nt.ca/artscouncil/ Nova Scotia www.gov.ns.ca/dtc/culture/default.asp Nunavut www.gov.nu.ca/education/eng/css/index.htm www.gov.nu.ca/cley/

Arts and Learning Environmental Scan – Final report – August 31, 2006 Appendix 8: References and Searching Page 80

Ontario www.arts.on.ca/English/ www.culture.gov.on.ca/english/index.html Prince Edward Island www.gov.pe.ca/education/peb-info/index.php3 www.gov.pe.ca/infopei/index.php3?number=491&lang=F www.peiartscouncil.com/ Québec www.calq.gouv.qc.ca/index.htm www.mcc.gouv.qc.ca/ www.mcc.gouv.qc.ca/index.php?id=2024 www.mels.gouv.qc.ca/DGFJ/projets/culture/culture2006-2007.htm Saskatchewan www.artsboard.sk.ca/Grants/grants.shtml Yukon www.btc.gov.yk.ca/cultural/arts/index.html

Case Studies www.salondulivre.ca/statistiques.html www.salondulivre.ca/prix.html www.artstarts.com/ www.debaj.ca/professional/recent/index.html www.ltta.ca/ www.agns.gov.ns.ca/halifax

National Arts Programs www.educ.queensu.ca www.mcconnellfoundation.ca www.artssmarts.ca www.artsnetwork.ca www.artssmartsnovascotia.ca www.sketch.ca

Arts and Learning Environmental Scan – Final report – August 31, 2006